Yes, thanks!
Damn, she looks nothing like that pic. 
She actually looked like count Dracula or something yesterday. No pics, but the hotness was there. 
Damn!
Well, you could always listen to the Fiorentino Clochette (whoever the FUCK is really playing that )
Yeah - in all honesty I don’t rate the work particularly highly, but it’s both rare, early and ambitious Liszt so it would have been amazing to hear such a gifted pianist play it. She still has the program in place for her recitals during the spring, including in Milan where I have a friend who wouldn’t miss it. We’ll see I guess.
That one’s legit.
tru
Do we know which ones aren’t?
To answer the original question, I used a combination of muscle memory and active cues, usually based on structural signposts and harmonic analysis.
Oftentimes the music moves too quick to think and you’re relying on your fingers to know what note comes next, while the active structural/harmonic cues give you the global view of what’s ahead. You can never be 100% safe, so it helps to be able to improv out of lapses. Another method is to use the stuctural signposts to skip ahead (heard Sudbin use this method when I saw him last summer). This one won’t work when you’re playing concerti however. If you have a lapse in a concerto, you’re basically fucked unless you can pick it up at the next entrance (think Edna Stern did this in K488 because she stopped playing for a few bars for no reason).
I’m suspicious of everything issued after his death.
I should specify that I’m referring to anything issued by BC after his death.
Everything on Concert Artists except the Gershwin Concerto & Preludes on CACD9234 (the songs on the same disc are fakes). The APRs are all him.
Thanks - my discs are all APR so that’s a relief!
I obviously believe in everything that’s been said so far about structure, physicality, etc., but I personally have a “fluffier” way, and that is to assign some kind of personal meaning to the notes or phrases. I feel almost embarrassed to say this, but I honestly have a really hard time remembering things if they don’t have some kind of emotional attachment to them. I think it helps me understand the rhetoric of the piece so much better and know why something follows another. 
Goes to show getting a DMA doesn’t fundamentally change how my brain processes shit.
I also just remember things by solfege because I sing things in my head that way when I’m not at the piano.
How did you remember choreography in your dancing days?
I think choreography was far easier to memorize because they usually originate from a “stock” sequence of steps that are drilled in classes. Polishing obviously takes a ton of time, so the repetition element is built in and the segments are far shorter than giving a solo recital where you’re in charge of every detail. I did a lot of visualization practicing when I was in math class or whatever else I almost failed in high school.
Been away so need to go through all this.
I’ve never f’ed up so bad that I’ve stopped and can always recover with sign posts etc. It’s always little things that have never happened before and split second memory blanks.
Those happen due to stress.
I don’t really know what you can do about it, unless you find a way to not be stressed/nervous, in which case you should let me know your secret.
I’d guess those things are about keeping your brain in good general shape. Early bed times, omega-3, exercise (both types), etc.