In fact, these potential favorites change; the extra I work on them the extra I uncover the richness, the way in which how he may stability and compose, extraordinarily fastidiously, every identification: identification of textures, identification of actions, of polyrhythms. I’m not a preacher of this music, I’m an interpreter, so I attempt to have the closest and very best contact with every of the items I attempt to make current onstage.
How would you describe the Piano Concerto for someone who doesn’t comprehend it?
I’d keep away from describing it too briefly, the work is so wealthy. It’s a piece that renews polyphony via fascinating polyrhythm, and a chunk by which his personal fantasy reinvents the connection between the soloist and the group of gamers in 5 alternative ways. There are 5 actions within the piece.
Do you consider it as a form of chamber concerto?
It’s a chamber concerto with extremely virtuosic soloists, a bunch of them, as a result of the half for every instrumentalist is difficult. So, that is, let’s say, for a bunch of kamikaze.
It hasn’t been performed by the New York Philharmonic for seven years, and solely twice within the historical past of the orchestra. Do you assume that’s due to that problem?
It’s true that it’s difficult, and I’m not the one one who has performed this piece who thinks that, when it comes to difficult concertos, this one is basically on the high. I don’t assume that the problem is an issue; the problem is a problem. The query mark is extra, I believe, understanding the language. When a brand new language seems, it takes time to be absorbed. As an example, an awesome majority of my younger colleagues play some, if not a number of, of the Ligeti Études. So, it has taken a little bit of time — however not a lot.
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