qtz2134R. Schumann – Works for Piano / Joseph Tong

This new release by British pianist Joseph Tong on the Quartz label contains some of Schumann’s most intimate and autobiographical music, notably the Fantasie in C, Op 17.

Never one for disguising his emotions, Schumann described it as “perhaps the most impassioned music I have ever written” (writing to Clara Wieck, March 1838), and here he wears his heart on his sleeve in a remarkable display of soul-bearing. Imbued with passionate and unresolved longing, the music portrays the heart-fluttering panoply of emotions from ecstasy to agony which being in love provokes. It is a work of great virtuosity, a huge test for the pianist, but Joseph makes light of this, offering an authoritative, magisterial and poised reading of the first two movements, whose seemingly disparate elements segue fluidly to create a coherent sense of ongoing narrative. The final movement, by contrast, is tender and intimate, and Joseph holds back in the more climactic episodes where others might push the tempo and volume, thus bringing a greater insensity of emotion and expression. There’s a wonderful lyricism and clarity throughout the work, with many interior details highlighted.

The fantasie is prefaced by the charming Arabesque, also in C, which moves forward with relaxed purpose and elegance. Papillons, the other large scale work on the disc and a work which amply reveals the contrasting sides to Schumann’s personality, is rich in wit and colour, and recalls some of the heroism of the Fantasie. The disc closes with the Faschingsschwank aus Wien, an engaging and robust account.

The disc includes detailed, informative liner notes by Richard Wigmore.

Recommended.


508178Dystonia: Franz Schubert – Sonata in A, D959, Robert Schumann – Kreisleriana / Andreas Eggertsberger, piano

This is a very personal disc for Austrian pianist Andreas Eggertsberger and the reason is in the title, Dystonia. With diminishing use of his left hand, Andreas finally received the diagonosis of focal dystonia in 2012, the same neurological disease that was probably documented for the first time with Robert Schumann. Following five years of treatment and therapy, which required a complete re-learning of the piano and meticulous exercises to bring rehearsed movement back under control, Andreas has returned to performing.

The pairing of a late Schubert sonata and Schumann’s Kreisleriana is an intelligent choice. Schumann was a great admirer of Schubert and championed his music after his death in 1828.

Andreas gives the first movement of the Schubert sonata a generally good-natured air, the emotional voltes-faces are not laboured but feel fleeting and poignant. Nor does he push the tempo, which gives the movement a pleasing spaciousness without feeling overlong (and Andreas observes the exposition repeat). The second movement, too often given an overly psychological treatment with an almost funereal tempo (it’s marked Andantino, not Adagio!) by others who shall remain nameless, has a spare simplicity which contrasts well with the sprightly articulation and warm-hearted nature of the opening movement. It’s sombre rather than melancholy. The middle section unfolds with the drama of a Baroque fantasy, restrained at first so that the eventual climax is all the more impactful. Even in the bigger, louder gestures, the overall mood is introverted and reflective.  Again, a rather more leisurely tempo in the third movement gives the music more breathing space and time to appreciate smaller details, which are neatly articulated. The trio gives way to grandeur, briefly, but the overall mood is intimate. The good nature of the opening movement is reprised in the finale, and here Andreas brings a pleasing sense of nostalgia and warmth, the opening theme played with an elegant lyricism, its fragmented return at the close of the movement fleeting and tender. Overall, excellent articulation, tasteful pedalling and a clean, but not over bright sound (a Bosendorfer Imperial 1922). Having spent three years studying and learning this sonata myself, and listening to many different performances of it, Andreas’ account comes very close to my own and is perhaps the reason why I like his so much.

Kreisleriana, like Papillons, is a multi-movement work and reflects Schumann’s contrasting personalities, which he named Florestan (active, extrovert) and Eusebius (passive, introvert). Like the Schubert Sonata, this is elegantly and tastefully articulated with fine clarity, particularly in the more florid passages, and Andreas is ever alert to the shifting moods. The sehr langsam movements have a distinct poignancy, reflective, almost verging on tragedy. Overall, a colourful account, rich in character and contrast.

In addition to detailed notes on the pieces, the liner notes also contain an account of Andreas Eggertsberger’s journey from diagonosis to rehabilitation and as such may prove supportive to others afflicated with focal dystonia

Recommended

 

 

Do you ever think you might be practising the piano in your sleep? Yesterday I went to practise Debussy’s prelude La cathédrale engloutie, which I’m preparing for a performance later in the year. The second section, when the waves start to roll and the sunken cathedral begins to emerge from the deep, it bells tolling and organ playing distantly, has previously been problematic for me, in part because of the position of the right hand chords and the necessity for the right arm to cross the body to the bass. I find this difficult because of a left shoulder impingement which is painful and limits my movement. In previous practise sessions this section has tended to sound chunky and lacking in fluidity, but yesterday the chords, with their flowing bass accompaniment, rose gracefully from the piano, growing in drama as the section approaches its climax and the full resonance of the cathedral’s organ is heard through those big, deliciously hand-filling chords. I was also able to play without pain, which is quite an achievement for me these days. I later tweeted that perhaps I had been “practising in my sleep” and that this had led to the improvement in the Debussy!

It’s not such a fanciful idea, “sleep practising”. We can do a huge amount of useful, productive practising away from the instrument, both detailed work studying the score, analysing the music and memory work, but also seeing the wider picture of the music, its narrative, character and context. Listening is also useful practising – not to imitate other people’s versions of our repertoire, but to get ideas and pique the imagination to create our own personal vision for the music.

I may not practise in my sleep per se, but as someone who tends not to sleep very well, I often replay the music I’m working on in my head in the middle of the night, hearing the sound in my “mind’s ear” and imagining the music as it would be heard by a listener. When I was working on Schubert’s penultimate piano sonata for my final Diploma I was, through this kind of practising away from the piano, able to create a vivid, perfect interior model of the sonata, and could replay huge parts of it in my head, such was my familiarity with it (though I never memorised the entire work).

Returning to Debussy’s drowned cathedral, I wonder if the improvement also had something to do with the fact that I’d been away in France for a long weekend break. On our return journey from Nantes to Cherbourg, I glimpsed le Mont St Michel emerging from a mist of rain and immediately thought of Debussy’s Cathédrale engloutie. Later, lying in my bunk on the overnight ferry crossing, I felt the boat pitch and roll and heard the strange deep bass groan and yawn of the sea (which Debussy imaginatively includes in his prelude). Perhaps the sounds and motion of the ocean infused my practising…

1779-9-le-mont-saint-michel-dans-les-nuages-tsomchat-fotolia-com-jpg

Who knows, but I do believe that imagination and visualisation play a huge part in shaping our music, far beyond mere technical assuredness (and technique should always serve the music). Cues such as the view of Mont St Michel spark the imagination, help us bring our music to life, and communicate stories and images to the audience with expression, vibrancy and musical colour.

Who or what inspired you to pursue a career in music?

There was always music being heard at home because both my parents are music lovers but actually playing the piano was introduced relatively late to me. I had many friends my age (8 at the time) who were playing an instrument and so my parents simply thought, why not?

It wasn’t until much later that I realised just what it might mean to be a concert pianist which was when I went to hear the Tchaikovsky first piano concerto at the Royal Festival Hall. The concerto captures your attention from start to finish and you can imagine how impressive it was to a child aged eleven. Of course my reaction then and what thoughts whirled in my head would not be how I hear the concerto now, but I learnt at that moment about the communication of music.

Who or what have been the most important influences on your musical life and career?

My many professors, of course, have all had an impact to my music making. One of my first professors was Christopher Elton. I was at the Purcell School and searching for a new teacher. I was introduced to Christopher and he accepted me in his class but I was this incredibly shy child who didn’t talk much to adults but was determined to make efforts through playing. Christopher was incredibly patient with me, and has, in in a way, been a musical father to me, as he has seen through all my career phases. Many, many years later, we still keep in touch and a friendship has developed since, which is always one of the nicer aspects of a musical relationship.

Then there is Maria Curcio-Diamond, who transmitted so many pearls of wisdom but I was too young to fully appreciate when I studied with her and now refer back to constantly today.

Lev Naumov was just a brilliant mind and musician and I was immensely fortunate to have had the opportunity to participate regularly in his classes.

John Lill has also been influential but I would say that however, it was the years I spent alongside Ruggiero Ricci that has had the most impact with my approach to music making today. He was heralded as a prodigy as a youth, a virtuoso as an adult violinist (a term he disliked) and the first violinist to have recorded all the Paganini Caprices. He was so modest and lived through so many experiences. I would often accompany his students in masterclasses and I learnt so much from watching him teach and from when we played together. There was something so natural and straightforward in his music making. It’s something I have tried to transmit in my own performances. It was also these years spent with Ricci that opened many doors for me, notably by meeting other musicians, some very well known, others less, as well as non-musicians but music lovers who have all had an influence into my approach to performing and life today on and off the concert circuit.

What have been the greatest challenges of your career so far?

Juggling between raising two small children and keeping up with the rhythm of giving concerts have been challenging but extremely rewarding. Before my children, my focus before and during performances would hinge entirely around the concert, but today, now with my children, I am somewhere in the back of mind, thinking, “I hope they had a good day at school, I hope they have eaten well, I hope they are sleeping well”. The usual worries all parents have!

Which performances/recordings are you most proud of?

Always wanting to improve on the last performance/recording is a common trait in performers and I share this!

Of course there have been certain performances that have been more satisfying than others, not only in terms of my particular performance, but also when the audience is so reactive and appreciative, it is a very special moment. I really appreciate also when sometimes members of the public write to me following a performance to let me know how much they enjoyed that particular concert or how much they enjoyed the last album.

Which particular works do you think you perform best?

In giving an interpretation to any one work, I really try to show what might be new to discover in the piece. In this sense, I think I convey Beethoven quite well. The French composers also seem to suit me; maybe it’s being married to someone French!

How do you make your repertoire choices from season to season?

What’s great about mixing chamber, duo and solo repertoire in a season is that there is an abundance of choice! It’s common these days to link a theme to a programme so that gives me a certain guideline. Otherwise for concerto dates, it’s quite often what the promoter has in mind for the season alongside the choice from the conductor so I need to be quite flexible for these dates.

Do you have a favourite concert venue to perform in and why?

Of the more well known venues, like many other performers, I would have to say the Wigmore Hall. Its reputation precedes it and the hall doesn’t disappoint. That said, there is a venue in France called Prieuré Sainte-Marie du Vilar that has to be included. It is a restored Romanian Orthodox Church, lost in the middle of the Pyrénées Orientales, and each year the monks and nuns organise a music festival for the community. The rawness of the venue and being surrounded by the stones impregnated with history gives a very unique atmosphere.

What is your most memorable concert experience?

I gave a series of concerts in Greece and one of the venues was in Patras. What was most striking about the make-up of this audience was that it was treated as a family outing. The children were all placed in the front rows, some not abiding by the ‘silence code’ of a concert, but it didn’t matter. At the end of each work, they applauded enthusiastically and seemed to enjoy the concert as much as the adults. It reminded me of my first impressions of attending performances and I hope I was able to communicate something to them with the Mozart concerto that I performed at the time.

As a musician, what is your definition of success?

When you feel you have found your voice and you have the opportunities to express this.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Never be afraid to be wrong and learn from everyone. Watch and watch and listen and listen again. There is so much archive available on the internet today. It’s important, I think, to be open to all interpretations and techniques of playing before creating and defining your own.

What is your idea of perfect happiness?

Two answers to this question. It would be either to find the time between concerts and practice for a good dance session with my husband and children because we always end up by collapsing in laughter. Otherwise it would be to take time out from playing to be by the sea with the family and catch up reading and a good glass of wine to hand.


Min-Jung Kym’s debut recording of Beethoven’s Piano Concerto No. 4 and Mendelssohn’s Double Concerto is available now. Further information

Min-Jung Kym is establishing herself as an artist bringing fresh quality and musicianship to her performances. Since her London solo concert debut at the age of just 12, she has performed at the Barbican Centre, Wigmore Hall, Cadogan Hall, Royal Festival Hall, Queen Elizabeth Hall, UNESCO in Paris, the National Museum of Korea in Seoul, South Korea and many, many other venues.

www.minjungkym.com


(artist photo: Arno MiseEnavant)

The music is behind those dots. You search for it…. I play, so to speak, from the other side of the printed score, looking back

Vladimir Horowitz

The notated musical score is a wonderful thing. Contained within it are myriad markings, signs, symbols and directions which guide us in our recreation and interpretation of the composer’s intentions, bringing the written to life in sound. The ability to recognise, understand, interpret and act upon all those signs and symbols is an integral part of the musician’s skillset, and taking care of all these details is crucial in the learning process.

But the score is also the starting point for exploration. It’s a roadmap, a prompt or reminder, which connects us to the composer’s intentions but which also directs us, if we allow it to, to our own personal vision of the music, supported by our musical knowledge, experience and imagination. It is for these reasons that people seek out specific performers, for they each go beyond the notes, highlighting the unwritten things in their own distinct way.

Students and less experienced players may cling to the written score, adhering to its details with slavish devotion, fearful that making their own interpretative decision about a dynamic marketing or sign will result in something that is “wrong”. A very literal interpretation of the score can also result in a performance which feels restrained or robotic, lacking in requisite breathing space, rubato or depth of expression. Encouraging students to think beyond the notes is one of the great roles of the teacher, and we do this by giving students the knowledge and confidence to see the score not just as a document in black and white but rather a vivid palette of colours and expression.

The ability to unearth the unwritten things in music comes from a very deep knowledge of the score. It’s that old maxim “from discipline comes freedom”, and a detailed understanding of all the notes, dynamics, tempo, articulation and expression markings opens up a lot of the unwritten things. Assured technical control of a piece gives one the confidence to dig below the surface of the music, to get behind and beyond the notes. In addition, a sound understanding of the context of the music, gained through study of other works by the composer/period, an appreciation of historical precedents, and performance practice all contribute to our interpretative depth. Much is also imbibed almost unconsciously from going to concerts and listening to recordings, or from conversations with teachers, colleagues and others. Such a rich source of knowledge, ideas and inspiration fuels the artistic temperament and frees the imagination.

To interpret a score is to recreate an object from its shadow 

– James Boyk, pianist

How to judge an agogic accent, a particular type of articulation, the use of stringendo or rubato, for example, become personal interpretative decisions, founded on one’s own musical knowledge and skill, and the ability to make these actions seem natural and spontaneous, a form of  “sprezzatura”, comes from many hours of detailed, conscientious and mindful practice, at the instrument and away from it. It is only then that we discover the unwritten things are in fact written within our musical selves…..


If you enjoy the content of this site, please consider making a donation towards its upkeep:

Buy me a coffee

Who or what inspired you to take up the trumpet and pursue a career in music?

It was mainly the incredible Dizzy Gillespie who taught me how fantastic the trumpet can be! 

Who or what have been the most important influences on your musical life and career?

Definitely Dizzy, but also many other musicians – Queen,  also Trevor Pinnock, and many violin virtuosos who helped me understand song-like communication through an instrument 

What have been the greatest challenges of your career so far?

The lack of Classical repertoire for the solo trumpet… and finding adequate time to mindfully practice and the courage to perform in front of audiences and at the front of symphony orchestras. 

Which performance/recordings are you most proud of?

I was so proud of creating GABRIEL at Shakespeare’s Globe in 2013. It was everything I adore about music: the greatest material one can imagine in the music of Purcell and Handel, the delightful opportunity to work for an extended period with the English Concert,  also to work for the first tine with very fine actors and explore a different kind of attitude and camaraderie on stage than anything I’d experienced before. Happily we’re restarting it as a concert performance at Saffron Hall and the Barbican later this month. 

Which particular works do you think you play best?

That’s not really for me to say! But I think over the years and over many many performances I finally know what I’m doing – or ideally would like to be doing with the two mainstays of the repertoire: Haydn’s and Hummel’s trumpet concertos. They are less of a display of short term technique and more of a vehicle of expression of who you are as a person through the instrument. 

How do you make your repertoire choices from season to season?

It’s pretty organic – it’s a mixture of conversations that rapidly take off (or don’t, and go on a slow burn!) and long standing relationships with beloved orchestras and conductors. Inspiration taken from all over the place too which is where the next album starts. 

Do you have a favourite concert venue to perform in and why?

I’m quite keen on all the main UK venues as I have such a long history with them, and they bring back fond memories each time I visit, but I do love magical settings such as the Hollywood Bowl and Hamburg’s Elbphilharmonie. 

What is your most memorable concert experience?

The last night of the Proms will always be a big personal highlight 

As a musician, what is your definition of success?

Being totally inside the music and living each moment in the present, with nothing hampering what you want to say – technique, distractions, doubts, random sticky valves etc. ! 

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Keep listening to live music and going to concerts to remind you why this is such a brilliant, powerful, relevant, important, beautiful thing in a human’s life and why you should keep on searching for those memorable, spine tingling occurrences. 

Alison Balsom performs in Gabriel at London’s Barbican Hall on 21 October as part of her Artist-in-Residence series. Further information

Her new album Royal Fireworks is released worldwide on 8 November on Warner Classics


Alison Balsom has performed with some of the greatest conductors and orchestras of our time including Pierre Boulez, Lorin Maazel, Sir Roger Norrington, l’Orchestre de Paris, San Francisco and Toronto Symphony Orchestras, Philadelphia Orchestra, New York and London Philharmonic orchestras, and has appeared as soloist at the Last Night of the BBC Proms. She regularly collaborates with some of the world’s leading chamber ensembles including the Academy of Ancient Music, Il Pomo d’Oro, The English Concert and most recently The Balsom Ensemble (a handpicked group of leading Baroque soloists). Alison is a recipient of numerous prestigious awards, including Gramophone Artist of the Year, the Nordoff Robbins O2 Silver Clef Award, three Echo Klassik Awards and three Classic BRIT awards (two of which as Female Artist of the Year).

Read more

FFGuy for F&AGuest interview by Michael Johnson

François-Frédéric Guy was just finishing his 20th performance at the piano festival of La Roque d’Anthéron in the south of France. The 2200-seat outdoor amphitheatre was almost full as Guy displayed his love of Beethoven – playing two of his greatest sonatas, No. 16 and No. 26 (“Les Adieux”). After the interval, Guy took his place at the Steinway grand again and shook up the audience with the stormy opening bars of the Hammerklavier sonata. It was like a thunderclap, as Beethoven intended. The audience sat up straight and listened in stunned silence. Monsieur Guy joined me and a colleague after his concert for a question-and-answer session about his playing, the role of the piano in his life, and his future as a conductor of Beethoven symphonies.

Question: Can you describe your technique for creating such a stormy opening for Hammerklavier? The audience was thrilled.

Answer: I try to achieve several things at once with those opening bars – signaling immediately the dimension of the complete work, its conquering majesty, and the vital energy that begins to build from those enormous, outsized chords. I try to give it weight and pace, as Beethoven wanted. It is as if Beethoven was saying, “Let’s go conquer the universe!”

Q. And your surprising low-key encore? What were you thinking?

A. I enjoy the idea behind this little piece which is probably the best-known and simplest work of Beethoven. I chose it to come immediately after the most dense and complex of Beethoven’s work, one that is relatively little known to the general public. But “Elise” is also Beethoven and can, as you say, touch people to the point of tears.

Q. What does music mean to you, as a career pianist. Since we have known each other – nearly 25 years – you have dedicated yourself entirely to music.

A. Music fills my life, my existence. Even when I am not at the instrument, even when I am speaking of other things…. Through music, one can express things that words cannot.

Q. I see you are busy – 50 concerts and recitals per year.

A. Yes, now it’s closer to 60, apportioned among concertos, chamber music and solo recitals. I try to maintain a balance of about one-third for each format.

Q. Your new career seems to be taking off – now you are an orchestral conductor …

A. Yes, I am doing some conducting. I started by conducting from the keyboard, the so-called “play and conduct” format. Seven or eight years ago I started doing the Beethoven piano concertos that way, and it’s becoming more a part of my life. Now I have booked about ten play-and-conduct engagements in which I add a performance on the podium, conducting the full orchestra.

Q. Alone on the podium? What drove you to undertake this new challenge?

A. Actually it’s an old dream dating back to adolescence. I started conducting from the keyboard, and gravitated to the podium. My conducting has been well-received so I am continuing. For the moment, I conduct only Beethoven.

Q. Only the symphonies?

A. Yes, I have already done the Fourth and Fifth at the Théâtre des Champs Elysées and will conduct the Seventh in October at the Opéra de Limoges, with its very good orchestra that I have worked with frequently. I enjoy it very much, and will conduct Beethoven’s “Fidélio” there in 2022.

Q. Will you do what Rudolf Buchbiner did in Aix recently, all five piano concertos in one day?

A. Yes, I am scheduled to do just that in January, again at the Théâtre des Champs Elysées. We will start at 7 p.m. with Nos. 1 and 3, then a break, returning for Nos. 2 and 4, and finally at 10 p.m. the Fifth.

Q. This sounds like a major exploit!

A. That’s not at all why I am doing it. I merely want to take the public on a journey with me to better understand the evolution of these concertos. I find this idea very exciting and I think the public will as well. In addition, these concertos are all works of genius and so individual – each one has its own character. They do not encroach on each other. It’s like a great crossing of seas on an ocean liner. I will be taking the public with me.

Q. I was also thinking of it as a physical marathon.

A. Yes, both musically and intellectually. It’s even more true in a play-and-conduct format because I have to control what’s going on around the piano. We must remember, though, that in Beethoven’s time all concertos were performed like this. There were no conductors. Same goes for Mozart.

Q. So you are putting yourself in Beethoven’s and Mozart’s shoes, so to speak?

A. Well yes, somewhat, a bit. It’s a return to the concertos as they were intended. The piano is not king – it’s there for a dialogue with the instrumentalists, like a big family.

Q. Do you like the feeling of disappearing into the orchestra when you play-and-conduct?

A. Yes indeed. The pianist turns his or her back on the audience and is encircled by the other players. So there is a sort of fraternity – no rivalry – but it’s not easy. Sometimes it works, sometimes it doesn’t. But when it does, there is a kind of unity, and that’s what is so interesting.

Q. You have said that keyboard conducting gives you a new understanding of the music. What do you mean? Does it really change your perspective?

A. Absolutely. When you play traditionally with a conductor, one must be familiar with the orchestral parts while concentrating essentially on the piano part – that’s our role. But when the pianist and the conductor are the same person, it becomes clear how completely the piano is integrated into Beethoven’s concept, and Mozart too, and then later Brahms and Schumann.

Q. How did you go about studying for your role as a conductor?

A. Well I am largely self-taught, an autodidact. But I have been counseled by some eminent conductors, notably Philippe Jordan, conductor of the Bastille Opera and soon to direct the Vienna Staatsoper, when he leaves the Bastille next year. He is a fabulous conductor, an extraordinary talent. He has helped me tremendously. And another one is Pascal Rophé, conductor of the Orchestre des Pays de Loire – Nantes and Angers. He has been a big help with the Beethoven symphonies. But I am essentially self-taught and I have no ambitions to become a full-time conductor.

Q. Ah no? That was my question – isn’t there a temptation to leave the piano behind? Solti, Bernstein and many others abandoned the piano to conduct.

A. No, no, that’s not my plan. Conducting is an extension of my interests in music. For example, I have played practically all of Beethoven’s piano music, all his chamber music, all his important piano works. And it seemed natural to try conducting. I could not imagine NOT conducting one of the symphonies. So I had to learn how to do it.

Q. Contemporary music in one of your big interests. You have collaborated with the composer Tristan Murail, I believe, and others?

A. Yes, I am currently on a concerto Tristan Murail is composing for me. What matters for me is new ideas in composition that still retain traditional structures. I want innovation, ideas that change the piano and the orchestra. Sounds we have never heard before. That’s what interests me with Tristan Murail.

Q. Are you spending your life focused solely on the piano to the exclusion of all other activities? Some pianists wear blinkers.

A. I am not wrapped up in a bubble. Nothing stops me from following important events, such as Korea, or the relations between the two Koreas.

Q. You are in touch with people outside the world of music?

A. Yes, I am very involved in astronomy, for example. I study mushrooms!

Q. Mushrooms?

A. Yes. The other day I found ten kilos of cepes on my property in the Dordogne. I have always had a passion for mushrooms of all types.

Q. John Cage was also a mushroom enthusiast. He wrote books about them. He even created the New York Mycological Society for the study of mushrooms.

A. I am a specialist too. I know all the names of different species in Latin.

Q. Tell us about your tenth Beethoven cycle planned for Tokyo. What does it consist of?

A. What it means is that I will play all of the 32 Beethoven sonatas from memory over a ten-day period, about three weekends, for the tenth time. Almost twelve hours of music.

Q. Do you have a loyal fan base in Japan?

A. Yes, yes. I usually play in a very beautiful hall in the Shinjuku district of Tokyo. Two years ago I played there with the Dresden orchestra conducted by Michael Sanderling. And last year I played all the Beethoven violin and piano sonatas there.

Q. If you give 60 recitals and concerts a year, as you said at the start of this interview, can you still find time to develop new repertoire?

A. Yes, I try to master one or two important works every year. I recently accepted to learn and play a concerto by Enescu. I always try to put aside time for new works.

Q. But at your age, don’t you find you learn more slowly?

A. Yes, I am 50 years old. But I have many things I want to do in music. I am not stopping.

 

Artist portrait by Michael Johnson


Michael Johnson is a music critic with particular interest in piano. He worked as a reporter and editor in New York, Moscow, Paris and London over his writing career. He is the author of five books and divides his time between Boston and Bordeaux. He is a regular contributor to The Cross-Eyed Pianist

 

(This article first appeared on the Facts & Arts site. Illustrations by the author.)