A Quote by David Finckel
Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.
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The chamber music repertoire is so vast that if one is genuinely curious about music, the art of listening, understanding and responding to a score, the elementary skills and requirements of chamber works are easily applicable to that of any solo playing.
When I hear the words jazz pianist, that just means I have the skills to do most things. Because to be a jazz pianist, even to be a bad jazz pianist, you have to be pretty good.
I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.
I like Stevie Wonder as my favorite non-pianist pianist. I mean, I shouldn't call him a non-pianist, because he's really a great pianist, but he doesn't feature it that much - he uses his keyboards and his piano technique to support his great songs and so forth, but he can really blow.
It's very hard to find a pianist that's willing to play the so-called accompanist role on part of the program and yet be capable of being a great solo pianist that you would want for the big sonatas.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
It's all very well having a great pianist playing but it's no good if you haven't got anyone to get the piano on the stage in the first place, otherwise the pianist would be standing there with no bloody piano to play.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
We were very rich culturally. One Sunday each month, we would do this thing called Chamber Pots at somebody's house. A classical music group would come over and we'd have dinner. There were thirty people - parents and kids - and we'd sit on the floor and listen to this beautiful music.
I don't record for my own glory.I mean, of course part of it is for career advancement, but more importantly, I want some of that repertoire - as much of it as possible - to remain and enter pianists' consciousness and, hopefully, into the standard repertoire.
I play a lot chamber music.As for something that's hard for me to play, before I leave this Earth I'm hoping to play Brahms' Second Piano Concerto.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
The nice thing about the violin repertoire is that it's small enough that you can plan on learning everything at some point - whereas the piano repertoire is so enormous it wouldn't be possible unless you're a learning machine.
Whenever I record something, I always believe that it's worthy of inclusion in the pantheon, and I would certainly like pianists to pay more attention to it. I think it's ridiculous now, because the range of repertoire - or what's considered 'safe' - is so narrow, even though there are pianists who are really trying to push the envelope. There is still a lack of attention, and there's no reason for it. The piano repertoire is so rich, with so many wonderful things that still are not given their due.
I would advise all young musicians to not only experience and play chamber music, but to go to operas, speak to the singers, to explore and expand your horizons.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
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