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In 1840, Franz Liszt invented the piano recital
Under his fingers the piano became both intimate confessional and instrument of theater
Compelling the attentions and the emotions of eager expectant and sometimes almost voyeuristic audience
Liszt was the father of several diverse pianist traditions
But the experience of the public arena was common to all the virtuosi who followed him
whatever their different backgrounds
Solomon, 1956 Beethoven: Appassionata Sonata
Claudio Arrau,, 1983
Myra Hess, 1945
Sviatoslav Richter, 1992
Arthur Rubinstein, 1975
A large enthusiastic public celebrated the diversity of virtuosi who followed Liszt
And particularly those who were trained in the conservatoires of Russia and Eastern Europe
Of all these, none was more controversial or inspired the great adulation than Jan Ignance Paderewski
Liszt: Hungarian Rhapsody
Born in Poland in 1860, Paderewski didn't study seriously until he was 24
His teacher Leschetizky doubted that he would ever make a career as a soloist
Yet despite a flawed technique, and the musical taste which sometimes provoked criticism
Audiences loved him
After the First World War, he briefly became Prime Minister of Poland
And in his late 70s, he made his debut as a Hollywood movie star
The myth about Paderewski
Not myth, the fact of Pedrevsky he was an extremely attractive man
And he would have every woman in the audience gasping with pleasure not only at his musical and artistic qualities
But also he's a very handsome fellow with the shock of waving red hair
Paderewski's pianism was always controversial
Saint Saens hailed him as a genius
But others criticized him to be insensational, empty, vulgar and violent
Paderewski was the father of a very very poor tradition
exaggerated, he was
He was simply marvelous in personality with a great, unforgettably marvelous personality
That would make him a great speaker, make him even a politician, I mean whatever he chose to be
If Paderewski was the public's favourite concert artist
his fellow pianists would probably have chosen Josef Hoffman as theirs
Hoffman was born in Poland in 1876
And was the most celebrated pupil of the Russian composer-pianist Anton Rubinstein
He made his US debut as a child in New York Metropolitan Opera House
Where his technique can grow combining with an extraordinary rhythmic and dynamic imagination
to produce playing of elemental force and power
He was an incredible pianist
All the great pianists that I heard during my time considered him the number one
He was the greatest to all of them
absolutely unimaginably great
As far as music goes, interpretation and technique technically and everything
Not ease, but the most natural, most normal approach
In music, I heard him playing Chopin's sonata
The B flat sonata the first movement and the repeated exposition
They superbly repeated it totally different which was just wonderful
So musically speaking, he had maybe the greatest knowledge and instinct for a pianist
And technically he pocketed everybody
Our guest for this performance of the Telephone Hour
is the distinguished pianist Joseph Hoffman
Suspicious of early recording technique and engineers
Hoffman toned down the subtleties of his performance when playing in the studio
This was his only filmed appearance
He had everything, he had fantastic technique beautiful sound, it was hot, cold a less this time
I believe it's from the 40s, this film
I think it's a period when he hardly performed any more
Having performed so much in the 20s, for example
I think he was a heavy drinker by then, already
And still, it was I think, quite amazing, especially Rachmaninoff's prelude
Just the complete naturalness with which he played he would be really ...
wound about the piano You feel there's absolutely no
no battle with the piano whatsoever
Just his feeling of complete happiness with the instrument which is absolutely unique, I think
Rachmaninoff: Prelude in C sharp minor
To Hoffman, it seems everthing came without any pain
and which at the end became his tragedy
He didn't have anything to hold on to it, It's probably destroyed him, this facility
Too much talent sometimes is dangerous
Hoffman was a great admirer of his Russian colleague Sergei Rachmaninoff
And Rachmaninoff's influence on his contemporaries was prodigious
When he left Russia after the revolution in 1917
Rachmaninoff abandoned his vocation as a composer
And became a formidable soloist instead
Josef Hoffman described him as having arms of steel and a heart of gold
And critic Harold Schonberg rated him that
So big with his musical thoughts .So aristocratic his instinct that ennobled whatever he played
As most of the great pianists, he develpped and he had a sound of his own
which was the most interesting, the most penetrative, the most colourful playing
And the way he played a melody was absolutely unique
He being a composer of course, he played the music as freely as he knew what it should be
His tech was formidable
And the polyphony to bring all the inner voices
the colours and their little rubatos and the arpeggios which were very individual
Individual mostly the way he produced those sounds very characteristically
And I must say, luckily he recorded all the concertoes
And unluckily, many people don't listen to those
And many people interpreted Rachmaninoff's concertoes rather differently than he suggested how it should be
who always sentimentalize them
Rachmaninoff was never sentimental very romantic, very emotional, but never make these excessive
Rachmaninoff: Piano Concerto in D minor
One of Rachmaninoff's greatest recitals was Benno Moiseiwitsch
who played with similar firey impactsibity
Rachmaninoff was reported to have said that the younger man played his works better than he did
Moiseiwitsch was born in Odessa but came to live in London when he was 8 years old
As a teenager he studied in Vienna with Leschetizky
who also taught Paderewski and
Moiseiwitsch was his last great pupil
Rachmaninoff: Piano Concerto in C minor
So it happened at my first visit to America Rachmaninov came to the concert
And he was very gracious, complimentary and said particularly
"I thank you for playing my piece: B minor prelude"
I said this happens to be my favorite one
And he said, "well, it's also my favourite"
And that created the link of friendship
I said, did you have a program when you composed the B minor prelude?
He said, yes, in his base voice
I said, good, I want a fresh sound
I said I know your idea is not mine but I know that mine is correct
He said now that you tell me if you want me to tell you mine
And we had gone for a while eventually
I said, mine is a long story He said if yours is a long story
It can't be anything like mine because mine can be answered with one word
So desperately I sat down on the chair and I said,
Well, to me, it suggests the return where upon the long I'm short out
"Stop"
So I said, why, what have I done?
He said that is what it is It's the return
It was an exile, and that's how Rachmaninoff was
Rachmaninoff: Prelude in B minor
Perhaps the one pianist since Paderewski who truly captured the imagination of a huge public
was Vladimir Horowitz
Horowitz' prodigious technique, his unique bell-like sound and his personality which was at once neurotic and yet profoundly musical
Let some critics in the 1920s to hail him as the extraordinary virtuoso they had ever seen
Horowitz was a devil maker
you know, who was really able to make the visage of piano playing
especially call me to this kind of very sparklin...
very, how should I say
Really visage when he played, for instance, his own transcription of Tchaikowski's concerto
The octaves of Tchaikovski Because nobody could do it like him
He was a musician very rare
But I think,the primary concern was for him, the piano technique which he was the king
Chopin: Etude in B minor
When he played in Carnegie Hall in 1920s people were standing up to watch his octaves
Actually how does he do it
It wasn't so much the speed with which he played the octaves
But actually he played them faster than he could probably that was the exciting thing
His hands when he played, that was the most beautiful, real pianist hands
It was like a beautiful racehorse
With many tiny muscles
And so much reflect the fine technique qualities which he could perform on the piano
Scriabin: Etude in D sharp minor
For all his chairmanship, Horowitz could be nervous of public performance
And once retired from the concert platform completely for twelve years
That pressure is terrific, and for pianist, I think it's a special problem
Because they are... it's so antisocial really I mean
Sitting in the room with this great machine
And they have to got to every day proving they're the master of it not the other way around
That kind, I think, because it's a narcissistic process
Complicate the psyche
Horowitz was a phenomenen I think he was extremely shrewd
And I think he was a very smart chairman
Because he knew how to coax his public
In 1965 Horowitz announced that he would end his 12 year retirement
and give an afternoon recital at Carnegie Hall
The tickets were sold out within hours though many expected he would ultimately cancel
Everybody, if he was anybody in the music world were in, they saw me standing at the 56th Street entry of Carnegie Hall
And it was Hurok, the late Sol Hurok I think he said to me
"What are you going to say when he doesn't show up?"
"How are you going to tell the people this?"
I said to him, "I don't know"
And about 10 minutes later, Horowitz arrived
He'd been caught in his own traffic jam
And here is 2700 people who've been sitting for an hour, waiting
And suddenly the stage lights go on, the house lights go off
And physically at backstage
It was, the tension was as if one was putting his hand in an electric socket
And I brought him downstairs and he got to the edge of the stage
And he turned around and faced me
Just like I'm looking at you
And I thought, "What I do now", and I thought, "OK"
So I turned him around, put my hand on the lower part of his back
And push him out onto the stage
Well, the wave, the sheer sound wave
Of all these people getting up and greeting him was physically visual
They really were just physically hit by
And he, it got him for a moment
But then, you know, immediately he was straight as a dime standing up
And he went to every sides of the hall to bow to the audience
and then he gestured toward the piano, and started to sit down, well
The silence was as loud as the applause appeared a moment ago
Horowitz: Variations on Bizet's Carmen
There is something about perfection and artistry which is contradictory
Because artistry is not a mechanical thing
You can not do something that now you...How should I say
You're not a computer
If you're too much concentrated to be accurate
Then you lose the essence of art
And art is feeling, to communicate feelings To feel something and to communicate
Mostly something about love, you know
Now how can you feel love if you feel that you're the racehorse
Or you're the ...you have to become a computer in a certain way
So it's something very contradictory
The Hungarian and Gypsy pianist George Cziffra had a distinctive musicianship
But he first played as a 5-year-old improvising at the piano for the audience of the Budapest circus
His very individual technique enabled him to play the most demanding works in the piano repertoire with apparent ease
Your fame seems to rest on the fact that you've played so much Liszt
Yes. When l came to France, l began by playing Liszt
Now l have become legendary as...
a pianist who plays Liszt, Liszt, Liszt, and yet more Liszt
But it's not true!
Since he was a Gypsy, since he played a lot of Liszt
Everybody said that his Liszt was wonderful
I heard him doing Mozart conerto here in London
Superb, absolutely superb
And I find, if I may say that I have the feeling
If somebody's really very good in any one style then he's good in other styles too
We like to classify people, that he's romantic, contemporary
If you play Chopin very well, you play Bach very well, and Bartok too
Cziffra ended his career as a presumed celebrity
But before he emigrated to France
He was often to be found working as a Jazz pianist in a Budapest bar
We entered and I heard the piano playing A fantastic pianist
And I said who is the other pianist
Because I heard a four hand piano piece they're playing
Said, there's no other pianist It's just Cziffra
Hence I think I had seen this most incredible playing which I have ever seen
And so he was improvising, got any tune you gave him
As long as you wanted
And actually he played so fast
That I couldn't know what he was doing
Liszt: Grand Galop Chromatique
None of us really wanted the danger, yet we're attracted by it
And the reason why one practices is to reduce the possibility of disaster
And to be as safe as possible
And yet, then one realizes
Being as safe as impossible is often boring
And second thing, you'll never be completely safe because
Music is something that is life, and life is never safe
Life is not about this
In 1940, as London burned during the Blitz
The British pianist Myra Hess inaugurated the series recitals in the National Gallery
which turned her into a popular heroine
Despite the fact that, somewhat ironically
She's specialized in the German classics
Mozart: Piano Concerto in G
She was deep, a deep musician
And at her best, also a very exciting musician
Because there is the demoniac side
And the extreme side
The classical veneer is precisely that: it's a veneer
The core is very hot indeed
And someone like Myra Hess could occasionally really zap into it
I think the first movement of Appassionata does show the fury
the sense of drama that she had
You know she takes her chances, it's extremely fast
And there are some technical things which are stunning
There are many, many people who describe her career as a concert pianist
The ones that succeed
We'll just, we'll accept the fact that they have fabulous technique
And accept the fact that they can really, you know, play the instrument
What that makes people succeed
Is how they are able to capture the audience
Chopin: Polonaise in A flat
Artur Rubinstein was born in Poland in 1886
And was still giving recitals almost 100 years later
A bon vivre as much at home in the salons of the rich and famous and the concert platform
Rubinstein felt part of a lost tradition, as he described it, not a romanticism but an extreme emotionalism
From the outset of his career, critics commented on the nobility and grandeur of his piano playing "Chopin: Etude in E minor"
As well as on the range of his repertoire which stretched from Bach to Albeniz and Falla
But it was his love of performing which made him uniquely popular with his public
Even in his nineties of the year, he can still declare before a concert that he was "the luckiest man I know"
I believe very strongly that when we play to an audience
It's not just what they hear
But what emanates from us
That's what makes them come still so much to the concert
Instead of listening quiet in their slippers
To a, to a gramophone performance
It makes a big difference, you see
Because there is a personal touch, there is an antenna
I'm sometimes feeling the audience, some person, might be anybody
an old man, a young girl a woman or a man
There's nothing to do with the sex or something
But I feel suddenly that there is a person who listens best to me
Much better than the others Who takes everything in
That helps me a lot, because I address myself to that person
There was a certain steadfastness and a certain
spine to his music
Making anything that has to do with his person or personality
Something very healthy about his music making
He also had very little patience for neurotic
the association between neurotic and artistic
which was very common, especially in the first of the century
In other words, the artistry has something to do with...
Something that is not common, which is true
But also not normal, which is not true
I go to the concert with the feeling of a little heartbeating
Do I own the piece or not? I mean what will happen
But this what really happened is all for the good
Because that prompts, that new approach that same mystery about the public feels
You know, that makes it alive That makes it alive
Beethoven: Piano Concerto in G
In the early years of the twentieth century
the advent of recorded sound and film added a new dimension to the art of the great piano virtuose
For the first time, it became possible to capture the intimate atmosphere of a salon performance
and present it to a wider public
By the 1930s, even the 90-year-old veteran pupil of Liszt, Francis Planté
Who had heard Chopin play
And won his first piano prize in 1850 have been recorded for posterity on wax and celluloid
Chopin: Etude in C
These films now serve as a window into a lost age of performance
where personality, improvisation and sense of harmony structure were at least as important to performers as technical possessions
Perhaps the most individual and also among the most technically unreliable of the early recording artists
was the French pianist Alfred Cortot
Chopin: Waltz in A flat
He really captured the spirit of Chopin
which I think is ...very, very difficult
This combination of being romantic
and expressive and yet aristocratic and restraints
I think he really coped this, this paradox
Cortot is a real poet
Everything he did was, I wouldn't say unexpectable
surprising, profound, colorful and improvised
His technique is superb too
But in those days of course, people didn't care so much about the notes
do the engineers do
So it happens the recording of Alfred have a lot of foreign notes
And I would suggest one not to listen to the wrong notes
Because he could play the right notes if he needed to, But he just didn't buy that too much
Chopin: Etude in C
But there were details in any of his performance which were very, very unique
I think Cortot looked for the opium in music
He looked for anything that was extraordinary
He always put something... not sickly
But something abnormal, something...
totally removed from reality
and from anything distinctly
that could even be construed to be smelling of normality
It seems to me that this last piece, The Poet Speaks
which is the title Schumann gave to this immortal work
should be conceived as a kind of intimate reverie
It's not just about making a beautiful sound
and expressive phrasing
You need also to create a sense of dreaming
The truth is, you need to dream this piece, rather than play it
WiII you aIIow me to take your pIace?
Schumann: The Poet Speaks from Scenes from Childhood
These two phrases are not connected
They are two different eIements...
of the same musical state
Here, like a question...
And here again, another, tenderIy...
asking the way
And from this moment
you should convey the music not just through the notes
but through some kind of inspiration
drawn from its immortal spirit
Now the sonorities should fade away...
grow fainter and dimmer...
and you are left simply...
in the presence of a dream which haunts you still
All the pianists that we're talking about
lived in a tonal world
None of them had anything to do with atonal music
with the exception of Glenn Gould
And therefore, the harmony
was the leading element
whether the esthetic was Fischer's
Cortot's or Rubinstein's. It's not even a question of conscious decision
This is how the whole training came into being
Which means that when they play their arpeggios, for instance
It's not only that they were making a wash of sound
They were actually not playing 16 or 18 notes
whatever their appreggio may be
But they were playing a flourish of a D-flat major chord or whatever the case may have been
They were looking for something else
They were looking for the ... not bettwen the bar lines
What's laid behind all this.
Where were these shapes, these gestures?
What were behind them? And why? How?
Why they made sense? And how you made sense of them?
How you built up vision of all that
that the composer had had
with the instrument that you were the master of them
The inner meaning of music was always of great importance to the German pianist Wilhelm Backhaus
Although critics sometimes accused him of lack of imagination
Chopin: Etude in G flat
And Bela Bartok once described him as "a performing metronome"
His patent to touch one however disguised a hidden and unexpected sense of narrative fantasy
This is my favourite concerto
Hans Richter called it 'The Greek Concerto'
He saw the second movement as a dialogue...
in which Orpheus pleads with the gods in Hell...
to set Eurydice free
He meets with fierce resistance...
before his entreaties are rewarded
And then the doors of the Underworld open
and they dance out into a beautifuI Greek Spring landscape
Backhaus rather understated everything
but had a superb control and technique
So he played, he interpreted the music in the most direct
most meaningful way, and it took tremendous pianism
We say today we have more technique Not at all
I know in the greatest respect I admire a lot of contemporary pianists
But none of them had the technique for Backhaus
for Rachmaninov, or Hofmann or Lhevinne
Those were technique which were not just correct and musically beautiful
And not just very impressively good
But so flexible, and so colourful
That were able to express any kind of music
Beethoven: Piano Concerto in G
Backhaus was an enthusiastic recording artist
As was another master of German classics, the innocent, otherworldly Edwin Fischer
Bach: Prelude in C minor
Fischer's film endorsements of his own recordings are tentalizingly brief
But they're the only visual records survived of an individual style
that combined exquisite refinement with intellect and spontaneity
Beethoven taught Czerny
how he pIayed Bach's Well-Tempered Clavier
Czerny taught Liszt
and Liszt taught Eugene D'AIbert
And D'AIbert, who was your teacher, passed it to you
and you've passed it on to a new generation of pianists
Now, thanks to my recordings
I can refresh my own memory as weII!
The first time I heard Edwin Fischer play, I was 9 years old
And I will never forget the luminous quality of the sound
in very soft playing
whether it was a concert or at the classes he gave
Fischer had a great distrust, I would say
of anything that was fabricated or manipulated
There were so many things that were consciously
and philosophically left to chance
Because he really believed in that
that you can't not, you should not you can, but you should not calculate the rubato
If you need the time, every day this is different
Every day it comes out in a different way
And this is why a lot of his playing has
I would say, an almost childlike quality in the best sense of the word
A pianist's touch...
The softness of a human voice...
Clara Haskil was a very great admirer of Edwin Fischer
a very great artist, but also who was choosing always artistry and
at the moment he was not caring about wrong notes, and played the wrong notes
Haskil was travelling as a young student
with another student, colleague in the train
They were discussing pianists
And they came to Edwin Fischer, and Haskil said:
"Well, he's certainly a great aritist but he played so many wrong notes, it's so incredible."
When they got to the station they wanted to leave the train
Who did they see on the other side of the compartment? That Edwin Fischer
And Edwin Fischer said:
"Would you please help me with this huge, heavy suitcase?
"Very heavy this suitcase, because it's... you know why?" She said, "I don't know"
"Because it's full of my wrong notes that I'm carrying with me!"
Sorry, I mean that he had overheard the conversation
Shortly after the Second World War from deep in the heart of Soviet Russia
emerged two pianists whose combination of virtuosity, physical power and intellectual rigor
Were to startle audiences in the West
Sviatoslav Richter and Emil Gilels
grew up in the culture where great music was still being written for them by composers
like Dmitri Shostakovich and Sergei Prokofiev
They also have involved these musicians with a time
when music was closely identified with the fate of a nation in crisis and at war
GiIeIs pIays on the front Iine
The troops need music
They need to remember why the war is worth fighting
ImmortaI Music!
Rachmaninoff: Prelude in G minor
Gilels definitely had a very special sound
of his own
"The golden sound", so to say
Every great pianist had a sound of his or her own
and intonation
But some pianists, like, for example Horowitz or Gilels
cared for the sounds
for the sake of the sounds
And that's probably what made their sound so special
and so personal
Tchaikovsky: Piano Concerto in B flat minor
Sviatoslav Richter was like Gilels, a pupil of Heinrich Neuhaus
But Neuhaus later claimed that he had been able to teach Richter nothing
Possessing both exquisite delicacy of touch and a huge range of sonorities
Richter was also an overwhelming physical presense of the keyboard
A combination which awed and sometimes intimidated his colleagues
Tchaikovsky: Piano Concerto in B flat minor
Richter experimented during the concert
as he did that during practicing
So that's why his concerts
was so interesting and so unpredictable
You couldn't say we made music together
No, he was too powerful for me
I performed with him twice
Both times were very difficuIt
He had a kind of energy...
which tended to crush you...
rather than help you to collaborate
There were some very uneasy or difficult moments
of his performances
But when he reached the full concentration
I have never heard
more demanding performances from any other pianists
His virtuosity was transcendental
Never the less
It was never
virtuosity for the sake of ...virtuosity
Chopin: Etude in C minor
Richter's concert repertoire was huge
unlike that of his Italian contemporary Arturo Benedetti Michelangeli
Whose reputation was built on infrequent public appearances and limited performing repertoire
Michelangeli was a maverick who delighted in creating unusual stories about himself
And claimed among other things that he was descendent from St. Francis of Assisi
But his play had an absolute technical perfection
that compelled the listener and would greatly influence a future generation of pianists
We never hear a single wrong note from Michelangeli
Whereas when we listen to live recordings of
even such great virtuose as Horowitz was
Sometimes we do hear those things
He didn't really like performing And then he didn't like recording either
And he didn't write books
He didn't give interviews, it's just as if he would almost not exist...
He's a ghost actually
He was very much caring about his looks at the piano
completely obsessed, with the movements how every muscle should work
And yet also you feel these beasts somewhere
Beasts that he decided to
to put in a cage and make it civilized
Scarlatti: Sonata in B minor
Michelangeli shared the taste for the solitary with the Canadian pianist Glenn Gould
Who gave up public performance in his early thirties
And retired to his lakeside retreat where he could think, compose and indulge his passion for Bach
He didn't fit... At all, he was a kind of "enfant terrible"
One of the most influential artists of our time
This is quite amazing
Considering that it's primarily because of the way he played Bach
Not only the Bach that he plays in the normal way, with genius
But also the eccentric Bach equally both have influenced us
Bach: Partita in C minor
Gould believed that live performance was an anachronism
And felt uncomfortable with what he saw as the hierarchical division between artist and audience
He looked back fondly to the 18th century
when performers and public thought themselves as equal
I think that what happened in the 18th century
when performers stopped being composers was a great disaster for music
I think that to look at it today as an irrevocable move
and to say that this is not any longer corretable
that we cannot in fact get back to that glorious time
when performers had a composer's insight into music
And when an audience consisted largely of people who performed and composed for themselves
That we cannot get back there I think it isn't to say that music is finished
There are many people here who would tell you that music in our purely occidental sense is indeed finished
I don't share that gloom, I must say But this could cause for it
Ravel: La Valse
Glenn would say: "I'm not a pianist"
He called himself either a musician or a composer
who expressed himself through the piano
I think what he meant was that
when he saw notes on the printed page
He looked on them as a fellow composer
He didn't believe in tradition
and he didn't necessarily believe in playing things in a certain way
even, well, particularly the "approved way"
And Glenn took that thinking a little further, and played it as he felt
And therefore he was a composer paying his respect to other composers
Bach: Piano Concerto in D minor
If Gould saw himself as the first of a new breed of modern pianists
the Chilian Claudio Arrau, who died in 1991
was perhaps the last of the great virtuose who could claim a direct artistic descent from Liszt
Arrau's singing line at his combination of textural fidelity with an inspiring imagination
dated back to his childhood in Berlin
when he was taught by Martin Krause, one of Liszt's favourite pupils
Arrau was a very complexed personality
Arrau was born in Chile
and came to Germany at a very young age
and had fascination with everything that is teutonic
that very often Latin people have
Because it is exactly the opposite of what they have at home
He devoutly and devotedly
believed in the seriousness in music
And he, therefore, was the example of ...
the musician most unwilling to compromise
on any level
He played with an enormous strength, but he wasn't aggressive
He had... he had paws instead of hands
He said the piano was actually flexible
And he plunged his hands into it
And he could make a wonderful rich sound on the piano
very organ-like, not brittle and staccato
If you keep your body relaxed
the body is in contact
with the depth of your soul
Is that clear? Because it's quite important
If you are stiff in any joint
you impede the current
the emotional, physical current
what the music itself dictates to you
If you have a stiff joint,
it don't let it go through into the keyboards
Brahms: Piano Concerto in B flat
He had an exceptional kindness
an ease of contact with the instrument
and an extraordinarily naturaI sense of musical logic
Every pause is significant
There's no showy rubato...
or false virtuosity
It's as if one was back in the 19th century, and facing...
Brahms himself
I think the old pianists were able to read the score
in the profound sense of the word
much better than many piano players of today
In the sense that they were not satisfied with
just seeing the letter 'P' in 'piano', or the 'c'
of the word 'crescendo' was written
It's basically the relativity
'Piano', in relation to what? What comes before or what comes after
Well all this is not in the score
And all that area, which is
the area of music making
It was totally natural phenomenon
for all these pianists
regardless where they come from and what school they came from
The Bible for them was the sound
and not the printed page
Vanity, vanity, the most terrible
the most blocking things for an interpreter
If you're sure that what you have to say is unique
then you're not allowed to please or not please
to impress or not impress
You have your message, and that's it
If they like it, it's alright, if they don't...
I don't know whether it's clear
Beethoven: Sonata in C minor
Chopin: Waltz in D flat
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