1 00:00:00,440 --> 00:00:04,400 Speaker 1: Hey, it's Alec. We all love true crime podcasts, but 2 00:00:04,559 --> 00:00:08,760 Speaker 1: perhaps you're looking for something a little different, less murder, 3 00:00:08,800 --> 00:00:12,479 Speaker 1: more intrigue. I invite you to check out a new 4 00:00:12,520 --> 00:00:16,800 Speaker 1: podcast I just released called Art Fraud. It's the true 5 00:00:16,840 --> 00:00:19,759 Speaker 1: story of one of New York City's oldest and most 6 00:00:19,800 --> 00:00:23,200 Speaker 1: trusted galleries dealing in world class art, and how its 7 00:00:23,239 --> 00:00:27,160 Speaker 1: doors would close forever in the wake of an unprecedented scandal. 8 00:00:28,080 --> 00:00:33,800 Speaker 1: The art market is ripe for cons because it's inherently subjective. 9 00:00:34,400 --> 00:00:37,320 Speaker 1: I just couldn't even look at it because it was 10 00:00:37,479 --> 00:00:43,760 Speaker 1: so garish and so not by Rothko. We're talking about 11 00:00:43,840 --> 00:00:48,240 Speaker 1: eighty million dollars in fake paintings, or more precisely, forgeries. 12 00:00:48,760 --> 00:00:53,040 Speaker 1: All episodes of Art Fraud are available right now. Okay, 13 00:00:53,280 --> 00:00:57,520 Speaker 1: here's our show. I'm Alec Baldwin and you're listening to 14 00:00:57,640 --> 00:01:24,200 Speaker 1: Here's the Thing from my Heart Deo. My guest today 15 00:01:24,240 --> 00:01:29,800 Speaker 1: is the brilliant pianist Laife Uvas. This is as performing 16 00:01:30,120 --> 00:01:34,160 Speaker 1: a work from a fellow Norwegian composer, Edvard Grieg's Piano 17 00:01:34,240 --> 00:01:39,039 Speaker 1: Concerto in a Minor with the Bergens Philharmonic Orchestra. Honest 18 00:01:39,080 --> 00:01:43,000 Speaker 1: Now has received accolades for his musical prowess since he 19 00:01:43,080 --> 00:01:46,520 Speaker 1: was a teenager. He won second place in Eurovision's Young 20 00:01:46,600 --> 00:01:50,560 Speaker 1: Musician of the Year contest at age eighteen. Since then, 21 00:01:50,680 --> 00:01:55,000 Speaker 1: he's been nominated for eleven Grammys, holds an honorary doctorate 22 00:01:55,040 --> 00:01:58,280 Speaker 1: from Juilliard, and was called one of the most gifted 23 00:01:58,400 --> 00:02:02,280 Speaker 1: musicians of his generation by The Wall Street Journal. To 24 00:02:02,360 --> 00:02:05,520 Speaker 1: put it simply, anst. Nous is a superstar of the 25 00:02:05,560 --> 00:02:09,799 Speaker 1: classical world. From two thousand twelve to two thousand fifteen, 26 00:02:10,200 --> 00:02:14,519 Speaker 1: as this undertook an intense and ambitious multi year project 27 00:02:14,639 --> 00:02:17,960 Speaker 1: interpreting one of the greatest sets of work for piano 28 00:02:18,040 --> 00:02:23,480 Speaker 1: ever written, Beethoven's Piano Concertos. He recorded and performed all 29 00:02:23,600 --> 00:02:28,760 Speaker 1: five concertos in fifteen countries across three continents with the 30 00:02:28,800 --> 00:02:33,320 Speaker 1: Mahler Chamber Orchestra, all while conducting from his piano bench. 31 00:02:34,280 --> 00:02:39,880 Speaker 1: His latest release is Mozart Momentum seventeen eighty six, a 32 00:02:40,040 --> 00:02:43,400 Speaker 1: project that pairs him with the Mahler Chamber Orchestra again. 33 00:02:44,080 --> 00:02:47,639 Speaker 1: This time, anst. Nous is exploring a time of immense 34 00:02:47,720 --> 00:02:52,680 Speaker 1: creativity and growth in Mozart's career, concentrating on the specific 35 00:02:52,720 --> 00:02:56,480 Speaker 1: period that would forever change the form I wanted to 36 00:02:56,520 --> 00:02:59,520 Speaker 1: know what his piano of choice is and what it 37 00:02:59,600 --> 00:03:04,320 Speaker 1: takes to bring out the best from his instrument, basically 38 00:03:04,360 --> 00:03:08,400 Speaker 1: a Steinway D model. And yeah, when I say my 39 00:03:08,400 --> 00:03:11,400 Speaker 1: favorite piano, I mean there are many many good pianos. 40 00:03:12,080 --> 00:03:14,959 Speaker 1: And what I've learned over the years is that more 41 00:03:15,000 --> 00:03:18,720 Speaker 1: important actually is the piano technician, because a great piano 42 00:03:18,720 --> 00:03:21,120 Speaker 1: technician can bring out the best of a in a 43 00:03:21,200 --> 00:03:24,840 Speaker 1: mediocre piano actually can bring something of a jewel out 44 00:03:24,880 --> 00:03:28,960 Speaker 1: of something which is rather gray. So over the years 45 00:03:28,960 --> 00:03:31,520 Speaker 1: I have now a network of piano technicians that I know, 46 00:03:31,600 --> 00:03:35,520 Speaker 1: and I sometimes bring them on tour, and that's incredibly valuable. 47 00:03:35,520 --> 00:03:39,520 Speaker 1: I often compare it with you know, Formula one cars. 48 00:03:40,160 --> 00:03:43,600 Speaker 1: I'm gonna say yeah, because you need the technicians on hand, 49 00:03:43,840 --> 00:03:46,200 Speaker 1: you know, right next to you there and then and 50 00:03:46,320 --> 00:03:51,800 Speaker 1: before viewing the recording and and and you know, yeah, absolutely. Now, 51 00:03:52,040 --> 00:03:55,760 Speaker 1: you make some pretty laudatory comments about Beethoven. You say, 52 00:03:55,800 --> 00:04:00,040 Speaker 1: Beethoven is really the most meaningful music there is, and 53 00:04:00,120 --> 00:04:04,160 Speaker 1: every composer was trying to write something meaningful. But with Beethoven, 54 00:04:04,520 --> 00:04:08,800 Speaker 1: every phrase and around every corner, there was such context, 55 00:04:09,080 --> 00:04:14,320 Speaker 1: such surprises, such original ideas. When did you first fall 56 00:04:14,440 --> 00:04:17,120 Speaker 1: so deeply in love with Beethoven above all, I don't know. 57 00:04:17,520 --> 00:04:20,240 Speaker 1: I mean, as a child, I felt this music had 58 00:04:20,279 --> 00:04:23,479 Speaker 1: a lot of gravity, but it was it was a 59 00:04:23,480 --> 00:04:25,520 Speaker 1: little bit for and it was like something I thought, 60 00:04:25,600 --> 00:04:28,279 Speaker 1: I will need time to understand this. Also, playing it 61 00:04:28,360 --> 00:04:32,040 Speaker 1: was kind of uncomfortable because Beethoven goes for the extremes, 62 00:04:32,160 --> 00:04:34,920 Speaker 1: so the right hand would go very high up and 63 00:04:34,960 --> 00:04:37,800 Speaker 1: the and the left hand very goot down in the travel, 64 00:04:38,440 --> 00:04:42,080 Speaker 1: you know, in comparison with with Grego or Shopower modes 65 00:04:42,120 --> 00:04:44,080 Speaker 1: that where it was more. I was more dealing with 66 00:04:44,120 --> 00:04:46,880 Speaker 1: the middle of the keyboard, and that was uncomfortable for 67 00:04:46,960 --> 00:04:50,800 Speaker 1: childs naturally, and to feel and understand that space in 68 00:04:50,839 --> 00:04:53,479 Speaker 1: the music which he creates between the base and the 69 00:04:53,520 --> 00:04:56,240 Speaker 1: travel and wanting to go to the extremes, and that 70 00:04:56,320 --> 00:04:58,560 Speaker 1: took some time for me, but naturally, you know, something 71 00:04:58,600 --> 00:05:01,200 Speaker 1: like the first moment of the moonlight so not. I 72 00:05:01,320 --> 00:05:03,560 Speaker 1: played it probably when I was seven or eight, and 73 00:05:04,000 --> 00:05:06,560 Speaker 1: and I felt that, you know, there is some real depth, 74 00:05:07,360 --> 00:05:10,599 Speaker 1: there's some something going on here. So literally, when you 75 00:05:10,640 --> 00:05:14,240 Speaker 1: talk about the expanse and the range and the keyboard, 76 00:05:14,480 --> 00:05:16,520 Speaker 1: Beethoven sounds like it's something you have to grow into 77 00:05:17,400 --> 00:05:21,000 Speaker 1: or some of his composition to physically into it, unless 78 00:05:21,000 --> 00:05:24,200 Speaker 1: you have a junior sized piano, which do they make those? 79 00:05:24,240 --> 00:05:27,080 Speaker 1: They don't know. No, that's that's the advantage of a pianist. 80 00:05:27,120 --> 00:05:28,880 Speaker 1: And of course I didn't reach the pedal till I 81 00:05:28,920 --> 00:05:31,320 Speaker 1: was about nine or something, and I started playing when 82 00:05:31,360 --> 00:05:34,080 Speaker 1: I was five, so there was some disadvantages in the beginning. 83 00:05:34,080 --> 00:05:35,960 Speaker 1: And when you played the first moment of the moli 84 00:05:36,120 --> 00:05:39,520 Speaker 1: or not that you you need the pedal um otherwise 85 00:05:39,560 --> 00:05:42,560 Speaker 1: it becomes rather dry, comes in handy. Yeah, who were 86 00:05:42,560 --> 00:05:47,160 Speaker 1: the maestros? You think we're really great piano players? Oh well, 87 00:05:47,200 --> 00:05:51,720 Speaker 1: I mean obviously, um, obviously barn Boy is somebody who 88 00:05:51,720 --> 00:05:56,320 Speaker 1: has done it from both disciplines, from being a teenager. 89 00:05:57,120 --> 00:06:00,960 Speaker 1: Christoph Eschenbach is another one. Just some people that come 90 00:06:01,000 --> 00:06:02,800 Speaker 1: to mind. I mean, so many of the conductors have 91 00:06:02,880 --> 00:06:06,120 Speaker 1: played the piano, but some have played, you know, more professionally, 92 00:06:06,960 --> 00:06:09,960 Speaker 1: more professionally than others. But it's actually, I think a 93 00:06:10,080 --> 00:06:12,880 Speaker 1: real advantage to play the piano, you know. I often 94 00:06:14,040 --> 00:06:17,240 Speaker 1: I am amazed at some conductors at conductive meetings and 95 00:06:17,240 --> 00:06:19,680 Speaker 1: they sit down and start playing, and wow, you know 96 00:06:20,000 --> 00:06:22,240 Speaker 1: the one. I mean, somebody who really plays whenst This 97 00:06:22,440 --> 00:06:26,559 Speaker 1: is Antonio Papano, who is chief conductor of Covent Garden, 98 00:06:26,560 --> 00:06:28,520 Speaker 1: the opera house in London for for so many years 99 00:06:28,520 --> 00:06:31,280 Speaker 1: down and he started as a repetitor. And to really 100 00:06:31,320 --> 00:06:34,080 Speaker 1: control an opera, I mean, it's such must be such 101 00:06:34,120 --> 00:06:37,200 Speaker 1: an advantage to actually being able to play the opera 102 00:06:37,279 --> 00:06:40,679 Speaker 1: from a piano score and to understand the harmonies and everything. 103 00:06:40,800 --> 00:06:44,320 Speaker 1: And with my motor project now I'm of course trying 104 00:06:44,360 --> 00:06:47,360 Speaker 1: to conduct myself as well, and and with the beta 105 00:06:47,760 --> 00:06:50,360 Speaker 1: to try to do two disciplines as one which can 106 00:06:50,400 --> 00:06:53,479 Speaker 1: be difficult, but which actually is really rewarding in that 107 00:06:53,640 --> 00:06:56,840 Speaker 1: music when when it works with an orchestra, because I 108 00:06:57,120 --> 00:06:59,440 Speaker 1: feel part of the narrative all the time. The problem 109 00:06:59,480 --> 00:07:01,600 Speaker 1: with the piano chatter is that you can often I 110 00:07:01,839 --> 00:07:04,600 Speaker 1: feel like you're waiting for your entrance and be a 111 00:07:04,760 --> 00:07:08,280 Speaker 1: bit on the side, and then it's my entrance, that's 112 00:07:08,320 --> 00:07:11,640 Speaker 1: my turn, then it's the orchestra's turn. When I'm conducting 113 00:07:11,720 --> 00:07:13,480 Speaker 1: or leading the orchestra at the same time, I'm in 114 00:07:13,520 --> 00:07:17,280 Speaker 1: the narrative of the music constantly, and there's a great 115 00:07:17,280 --> 00:07:20,800 Speaker 1: feeling of flow in the music making. When you talked 116 00:07:20,840 --> 00:07:24,640 Speaker 1: about as a child and you're passion for Beethoven. The 117 00:07:24,760 --> 00:07:27,480 Speaker 1: ensemble you're performing with this is a mall chamber orchestra. Correct, 118 00:07:28,400 --> 00:07:30,880 Speaker 1: and that's what you did the Beethoven project, and you're 119 00:07:30,880 --> 00:07:36,080 Speaker 1: gonna do they So when you finish with them six 120 00:07:36,200 --> 00:07:39,880 Speaker 1: years ago the Beethoven thing ended, had you worked with 121 00:07:39,920 --> 00:07:42,080 Speaker 1: them in an ongoing way, or you would get a 122 00:07:42,080 --> 00:07:45,040 Speaker 1: lot you you weren't performing with them. Well, but you're 123 00:07:45,040 --> 00:07:46,880 Speaker 1: gonna pick it up before the COVID So it wasn't 124 00:07:46,880 --> 00:07:50,320 Speaker 1: that long. Yes, we started talking about a new project, 125 00:07:50,320 --> 00:07:52,160 Speaker 1: but it took a few years before we actually But 126 00:07:52,280 --> 00:07:56,880 Speaker 1: why them? What about them? Well, it became so special 127 00:07:56,920 --> 00:07:59,200 Speaker 1: for me to do this project for three years with them, 128 00:07:59,200 --> 00:08:02,280 Speaker 1: with all the Beta chatters, and we did about eighty 129 00:08:02,320 --> 00:08:05,920 Speaker 1: concerts together, three recordings. And I've never had the feeling 130 00:08:05,960 --> 00:08:09,520 Speaker 1: that I could work on pieces going so far in 131 00:08:09,600 --> 00:08:12,720 Speaker 1: terms of detail. And this is an ensemble that you know, 132 00:08:12,760 --> 00:08:15,880 Speaker 1: you suggest something and you get something slightly different, which 133 00:08:15,920 --> 00:08:19,400 Speaker 1: is better than you imagined. You want a really explosive 134 00:08:19,520 --> 00:08:22,720 Speaker 1: chord followed by silence, and you get an amazing sound 135 00:08:22,800 --> 00:08:26,720 Speaker 1: from them. I've never come across an ensemble that it's 136 00:08:26,840 --> 00:08:29,760 Speaker 1: searching for kind of truth in every project they do, 137 00:08:29,880 --> 00:08:31,920 Speaker 1: you know, they are touring ensemble. They don't actually have 138 00:08:32,000 --> 00:08:35,560 Speaker 1: a geographical home. They have an administration in Berlin, but 139 00:08:35,640 --> 00:08:39,120 Speaker 1: they play all over Europe, mostly in Europe, also other continents, 140 00:08:39,120 --> 00:08:41,439 Speaker 1: but it's a touring ensemble and to be a member 141 00:08:41,440 --> 00:08:43,560 Speaker 1: in the orchestra you have to do six of the project, 142 00:08:43,600 --> 00:08:45,920 Speaker 1: so it's a lot of traveling for the members. And 143 00:08:45,960 --> 00:08:48,679 Speaker 1: when you choose that kind of lifestyle, you choose it 144 00:08:48,720 --> 00:08:52,480 Speaker 1: because this is important. You know, this is not just work, 145 00:08:52,760 --> 00:08:55,920 Speaker 1: this is your life. Did work period of three years 146 00:08:56,440 --> 00:08:59,880 Speaker 1: and especially the same three years, yeah, and the law 147 00:09:00,200 --> 00:09:03,480 Speaker 1: here we played several times all the five Beethoven's again 148 00:09:03,520 --> 00:09:06,440 Speaker 1: and again in ten twelve different cities we had residencies, 149 00:09:07,480 --> 00:09:11,079 Speaker 1: and to revisit these pieces, which we had already recorded 150 00:09:11,120 --> 00:09:14,800 Speaker 1: and already taught with, was so wonderful. And I started 151 00:09:14,800 --> 00:09:19,400 Speaker 1: the project thinking of Beethoven as structure and contrast and 152 00:09:19,480 --> 00:09:22,760 Speaker 1: revolutionary music, and so I ended up thinking of him 153 00:09:22,880 --> 00:09:25,600 Speaker 1: as as freedom. You know, that's really what the music 154 00:09:25,800 --> 00:09:28,760 Speaker 1: is ultimately about. And that's how we felt in the 155 00:09:28,840 --> 00:09:31,600 Speaker 1: last concept. Was such a spontaneity and freedom in the concept, 156 00:09:31,679 --> 00:09:34,320 Speaker 1: and I have to say that's how I feel also 157 00:09:34,360 --> 00:09:36,840 Speaker 1: now with the Mozart with just different music but in 158 00:09:36,880 --> 00:09:41,840 Speaker 1: different ways. Now you're focusing on the Mozart project, like 159 00:09:41,920 --> 00:09:46,680 Speaker 1: a couple of years. Yeah, this sevent period where he 160 00:09:46,800 --> 00:09:51,160 Speaker 1: has this explosion of creativity and the surge of creativity 161 00:09:51,160 --> 00:09:55,360 Speaker 1: in his life. And I'm wondering from your experience, don't know, 162 00:09:55,360 --> 00:09:57,640 Speaker 1: all the great composers have that kind of a period 163 00:09:57,640 --> 00:10:00,160 Speaker 1: in their life, well, and certainly Mozart, I mean outse 164 00:10:00,200 --> 00:10:02,840 Speaker 1: that seemed to have it most of his life, though 165 00:10:02,880 --> 00:10:05,040 Speaker 1: I don't think he was such a wunda kin in 166 00:10:05,160 --> 00:10:08,240 Speaker 1: terms of composition as he maybe his portrayed as you 167 00:10:08,280 --> 00:10:11,319 Speaker 1: know it. We don't see the real masterpieces until he's 168 00:10:11,320 --> 00:10:13,600 Speaker 1: about twenty. But then the last fifteen years of his life, 169 00:10:13,600 --> 00:10:17,640 Speaker 1: I mean, he was constantly writing wonderful things. But something 170 00:10:17,679 --> 00:10:20,640 Speaker 1: specifically happens with the piano concertos in this period, and 171 00:10:20,640 --> 00:10:24,600 Speaker 1: that's why we call it Mozart Momentum eighty six. So 172 00:10:24,640 --> 00:10:29,200 Speaker 1: he starts, he expands everything. He's expands the narrative, the 173 00:10:29,320 --> 00:10:32,560 Speaker 1: drama of the music. He expands the orchestration, he brings 174 00:10:32,559 --> 00:10:35,360 Speaker 1: in clarinets, he brings in more instruments to the orchestra, 175 00:10:35,440 --> 00:10:38,160 Speaker 1: and he expands the dexterity of the solo part, you know, 176 00:10:38,200 --> 00:10:42,040 Speaker 1: the possibilities, and it's the first time in the history 177 00:10:42,080 --> 00:10:45,320 Speaker 1: that you feel he's separating the solos a little bit 178 00:10:45,760 --> 00:10:48,280 Speaker 1: from the orchestra used, so you have sometimes the feeling 179 00:10:48,320 --> 00:10:52,240 Speaker 1: of this heroic role that the soloist would get so 180 00:10:52,320 --> 00:10:54,680 Speaker 1: much in the nineteenth century and Beethoven with you know, 181 00:10:54,720 --> 00:10:56,679 Speaker 1: if you think about the Emperor Concerto, for instance, you know, 182 00:10:56,800 --> 00:10:59,760 Speaker 1: starts with this kind of flourish after the first chord 183 00:10:59,800 --> 00:11:02,319 Speaker 1: in the orchest journey say here I am, and you're 184 00:11:02,320 --> 00:11:05,280 Speaker 1: being thrown out on on on the gladiator stage, and 185 00:11:05,440 --> 00:11:09,040 Speaker 1: you are potentially the hero. And that that's very much 186 00:11:09,040 --> 00:11:12,120 Speaker 1: a big element of those big concertos that we know 187 00:11:12,320 --> 00:11:15,760 Speaker 1: so well inli from the nineteenth century, from Schumann Greek 188 00:11:15,800 --> 00:11:20,040 Speaker 1: to Rockmaninoff and Mozart started this. This is the very beginning, 189 00:11:20,120 --> 00:11:24,240 Speaker 1: i think, in so for me it's the most important 190 00:11:24,559 --> 00:11:27,720 Speaker 1: moment in the history of the genre of the biano. Concerto. 191 00:11:28,200 --> 00:11:32,160 Speaker 1: Sore is the Mozart Project in the same name as 192 00:11:32,200 --> 00:11:35,120 Speaker 1: the Beethoven Project, where you and the ensemble will travel 193 00:11:35,720 --> 00:11:39,520 Speaker 1: and tour and perform around the world and do dozens 194 00:11:39,559 --> 00:11:42,360 Speaker 1: of performances of these concertos and before you record them, 195 00:11:42,440 --> 00:11:45,440 Speaker 1: or you'll record them live. The project has been limited 196 00:11:45,480 --> 00:11:48,840 Speaker 1: by the pandemic. But the fact that we managed to 197 00:11:48,880 --> 00:11:51,320 Speaker 1: do both these recordings and and now in that we 198 00:11:51,360 --> 00:11:53,640 Speaker 1: did the three week tour in Europe with twelve concerts 199 00:11:53,760 --> 00:11:56,679 Speaker 1: in Brussels and Hamburg and the wonderful new help Filarmony. 200 00:11:57,080 --> 00:11:59,760 Speaker 1: We had a resident residency of three concerts and then 201 00:11:59,760 --> 00:12:03,080 Speaker 1: recording and music friend and Vienna right before they closed 202 00:12:03,080 --> 00:12:05,920 Speaker 1: the country in fact for another lockdown. So I feel 203 00:12:06,120 --> 00:12:08,920 Speaker 1: extremely lucky to have been able to do these four 204 00:12:08,960 --> 00:12:13,400 Speaker 1: CDs two double CDs of recordings with this orchestra. And 205 00:12:13,880 --> 00:12:17,680 Speaker 1: what I I mean we're dealing with, you know, history 206 00:12:17,760 --> 00:12:20,520 Speaker 1: is it's a long time since the eighteenth century, and 207 00:12:21,000 --> 00:12:23,640 Speaker 1: I want to keep this personal and it helps me 208 00:12:23,760 --> 00:12:27,559 Speaker 1: to choose a specific time, like one or two years 209 00:12:27,679 --> 00:12:30,439 Speaker 1: and put on the glasses and really look at what 210 00:12:30,800 --> 00:12:34,840 Speaker 1: happened there. And then it was also really interesting time 211 00:12:34,960 --> 00:12:37,720 Speaker 1: in Vienna. I mean most he was in a way 212 00:12:37,720 --> 00:12:41,080 Speaker 1: the first freelancer. I mean he quit his job for 213 00:12:41,160 --> 00:12:43,840 Speaker 1: the archbishop in Salzburg when he was twenty one and 214 00:12:43,880 --> 00:12:47,200 Speaker 1: he said, I'm going to Vienna. Vienna's piano land. He 215 00:12:47,280 --> 00:12:51,040 Speaker 1: said that's the name of your next album, Piano Land right, 216 00:12:51,600 --> 00:12:54,400 Speaker 1: quite commercial. And he created his career, of course with 217 00:12:54,480 --> 00:12:57,120 Speaker 1: the piano as a center piece and with the piano 218 00:12:57,120 --> 00:12:59,560 Speaker 1: and focus, and that's why all these piano concertos and 219 00:12:59,600 --> 00:13:02,800 Speaker 1: all this, all this music with piano keeps coming. And 220 00:13:02,840 --> 00:13:05,120 Speaker 1: then of course the operas and all that. And he 221 00:13:05,200 --> 00:13:07,640 Speaker 1: was lucky because there was an emperor, Joseph the Second, 222 00:13:07,640 --> 00:13:10,360 Speaker 1: who was very liberal and big supporter of the arts 223 00:13:10,400 --> 00:13:14,160 Speaker 1: and created an environment just there and then, so I 224 00:13:14,200 --> 00:13:15,760 Speaker 1: think we should be very glad that he ended up 225 00:13:15,800 --> 00:13:20,480 Speaker 1: in Vienna. How has the recording aspect of your career 226 00:13:20,640 --> 00:13:24,320 Speaker 1: changed in your lifetime. I'm assuming there are some similarities 227 00:13:24,360 --> 00:13:27,960 Speaker 1: with popular music in terms of the difficulty of getting 228 00:13:28,160 --> 00:13:29,960 Speaker 1: labels to want to record. Like when you do the 229 00:13:30,000 --> 00:13:33,480 Speaker 1: beto On project, do you go with a recording contract 230 00:13:33,520 --> 00:13:35,640 Speaker 1: in hand already you're not gonna bother doming unless you 231 00:13:35,679 --> 00:13:38,160 Speaker 1: know you're gonna put it down with somebody or yeah, 232 00:13:38,480 --> 00:13:41,600 Speaker 1: that's evolves in time. I've had for the last years 233 00:13:41,600 --> 00:13:45,520 Speaker 1: an exclusive recording contract with Sony Classical and and so, 234 00:13:46,000 --> 00:13:48,400 Speaker 1: and they very much wanted to do this Beto On project, 235 00:13:48,400 --> 00:13:50,960 Speaker 1: and they're also doing the Mozart project, but of course 236 00:13:51,000 --> 00:13:53,400 Speaker 1: everything has changed so much. I mean I started making 237 00:13:53,440 --> 00:13:57,840 Speaker 1: recordings around where you know, we had the CD boom 238 00:13:57,880 --> 00:14:02,160 Speaker 1: and everything seemed possible. And you know you I recorded 239 00:14:02,640 --> 00:14:06,200 Speaker 1: Jan Chick piano music and it's sold thousands and thousands. 240 00:14:06,240 --> 00:14:09,400 Speaker 1: I mean, and I wasn't, you know, very well known 241 00:14:09,480 --> 00:14:12,280 Speaker 1: or anything. It's just amazing to be part of that journey, 242 00:14:12,360 --> 00:14:15,680 Speaker 1: but where everything seemed possible and today it's it's something 243 00:14:15,720 --> 00:14:18,960 Speaker 1: completely different. But I find it really important to do 244 00:14:19,000 --> 00:14:22,000 Speaker 1: it for myself, you know, for every project to have 245 00:14:23,040 --> 00:14:25,400 Speaker 1: well for often for a project to have an end 246 00:14:25,800 --> 00:14:28,760 Speaker 1: end goal. And I learned so much from the recording 247 00:14:28,800 --> 00:14:31,960 Speaker 1: as well. There's no situation where you have to analyze 248 00:14:32,000 --> 00:14:35,000 Speaker 1: your playing so much as when you record. I often 249 00:14:35,040 --> 00:14:37,360 Speaker 1: do a take and I go and listen and think, no, no, no, 250 00:14:37,480 --> 00:14:41,520 Speaker 1: I mean it needs to more contrast, less taking time there, 251 00:14:41,600 --> 00:14:45,160 Speaker 1: you know, move over there, all kinds of things, and 252 00:14:45,200 --> 00:14:47,840 Speaker 1: then you play yourself closer and closer to where you 253 00:14:47,880 --> 00:14:50,720 Speaker 1: think you need to be to do many takes, oh yeah, 254 00:14:51,000 --> 00:14:53,000 Speaker 1: lots and lots. And and also I take part of 255 00:14:53,040 --> 00:14:56,200 Speaker 1: the editing process after now, after the New Year's I 256 00:14:56,200 --> 00:14:59,120 Speaker 1: will I will take part in our last Mozart recording. 257 00:15:00,040 --> 00:15:03,040 Speaker 1: And that's been a wonderful thing with the COVID period 258 00:15:03,120 --> 00:15:05,320 Speaker 1: is that I've learned that there is a possibility called 259 00:15:05,320 --> 00:15:08,280 Speaker 1: source connect where you can I can join my producer 260 00:15:08,320 --> 00:15:11,800 Speaker 1: and editor online and we can do this work online. 261 00:15:11,880 --> 00:15:15,080 Speaker 1: I used to travel to London for two days for 262 00:15:15,160 --> 00:15:19,040 Speaker 1: each recording and do editing together with with my people there. 263 00:15:19,640 --> 00:15:22,160 Speaker 1: But that's really intense. You know, you listen the whole 264 00:15:22,240 --> 00:15:26,040 Speaker 1: day and after the final cut I do, of course. Yeah, 265 00:15:28,080 --> 00:15:30,200 Speaker 1: there's no producers from that you work with when you 266 00:15:30,280 --> 00:15:32,760 Speaker 1: defer to them, there is a discussion, of course, but 267 00:15:33,000 --> 00:15:36,160 Speaker 1: it ultimately becomes very personal. And I I said, you know, 268 00:15:36,800 --> 00:15:38,720 Speaker 1: that's the way I wanted to go. And that's why 269 00:15:38,720 --> 00:15:42,480 Speaker 1: I really like that take because that means something to me. 270 00:15:42,840 --> 00:15:46,280 Speaker 1: And that's why I will ultimately be disappointed when I 271 00:15:46,280 --> 00:15:50,160 Speaker 1: get the first editor recording because I haven't put it 272 00:15:50,200 --> 00:15:52,720 Speaker 1: together and I know the producer did his best, but 273 00:15:53,560 --> 00:15:55,840 Speaker 1: it's really really personal. So I need to be part 274 00:15:55,840 --> 00:15:59,560 Speaker 1: of that process. When you perform, whether you're with the 275 00:15:59,600 --> 00:16:04,320 Speaker 1: march or orchestra or whomever, is there a typical preparation 276 00:16:04,840 --> 00:16:07,120 Speaker 1: you have before you go on stage or are you 277 00:16:07,640 --> 00:16:10,600 Speaker 1: I mean I've spoken to some of the biggest stars 278 00:16:10,600 --> 00:16:12,840 Speaker 1: of popular music, some of them older from you know, 279 00:16:12,920 --> 00:16:15,480 Speaker 1: the seventies and so forth. Some of them talked about 280 00:16:15,640 --> 00:16:17,560 Speaker 1: I take a nap before the show. You know that. 281 00:16:17,640 --> 00:16:21,560 Speaker 1: There's all kinds of different approaches. I've always done that. 282 00:16:21,680 --> 00:16:23,880 Speaker 1: I've always done that, and I you know, you can't 283 00:16:24,960 --> 00:16:26,800 Speaker 1: you can't eat a lot right before you go on 284 00:16:26,840 --> 00:16:30,000 Speaker 1: stage then, but also you mustn't be hungry also, so 285 00:16:30,080 --> 00:16:31,800 Speaker 1: you have to time these things a little bit. And 286 00:16:31,840 --> 00:16:36,200 Speaker 1: I've I'm always trying to nap, and I was really 287 00:16:36,200 --> 00:16:38,280 Speaker 1: good at it, like twenty years ago, and today I 288 00:16:38,360 --> 00:16:42,640 Speaker 1: might get, you know, seven minutes of sleep, but or relaxation, 289 00:16:42,720 --> 00:16:46,280 Speaker 1: but that's enough sometimes. And it's interesting. I find that 290 00:16:46,320 --> 00:16:50,800 Speaker 1: the body seems to hibernate in the afternoon often before 291 00:16:50,960 --> 00:16:54,000 Speaker 1: I mean often in the afternoon. Mind does I mean 292 00:16:54,040 --> 00:16:58,080 Speaker 1: the brain knows that I need to deliver in the evening. 293 00:16:58,600 --> 00:17:01,320 Speaker 1: It just gets very low in the afternoon. If I 294 00:17:01,360 --> 00:17:03,480 Speaker 1: have to do something big, I don't I certainly don't 295 00:17:03,520 --> 00:17:06,080 Speaker 1: want to see people. I'm not very social. And and 296 00:17:06,560 --> 00:17:09,600 Speaker 1: before a concert and I get to the whole, you know, 297 00:17:09,680 --> 00:17:12,520 Speaker 1: quite early, and and just prepare for myself thinking about 298 00:17:12,520 --> 00:17:14,919 Speaker 1: the piece, playing a little bit backstage, and and and 299 00:17:14,960 --> 00:17:18,080 Speaker 1: these kind of things. And also physically with the yes, 300 00:17:18,200 --> 00:17:19,639 Speaker 1: I feel I have to prepare. I have to do 301 00:17:19,680 --> 00:17:23,760 Speaker 1: some core exercises, these kind of things, maybe one or 302 00:17:23,760 --> 00:17:27,120 Speaker 1: two yoga positions, so you know, actually get into shape 303 00:17:27,440 --> 00:17:35,280 Speaker 1: because it's it's of course, you know, athletic. Yeah. If 304 00:17:35,280 --> 00:17:39,120 Speaker 1: you're enjoying this conversation with lafe Un, check out our 305 00:17:39,160 --> 00:17:43,240 Speaker 1: episode with another giant of the classical world, pianist Long Long. 306 00:17:43,720 --> 00:17:46,320 Speaker 1: We spoke before a live audience in New York City 307 00:17:46,560 --> 00:17:50,760 Speaker 1: in two thousand nineteen. One thing good about connotation is 308 00:17:50,840 --> 00:17:54,400 Speaker 1: that it's kind of pushes you to play better than 309 00:17:54,440 --> 00:17:59,200 Speaker 1: you're normally does because you you try to play without 310 00:17:59,400 --> 00:18:03,480 Speaker 1: round notes, you try to be concentrate on what you do. 311 00:18:04,400 --> 00:18:07,120 Speaker 1: But also, in the same time, if you are too 312 00:18:07,119 --> 00:18:10,720 Speaker 1: serious about compotation, you lose your soul. You know me 313 00:18:10,920 --> 00:18:14,480 Speaker 1: that you are afraid to do something wrong. And as 314 00:18:14,520 --> 00:18:18,400 Speaker 1: you know in art, sometimes when you really do something unique, 315 00:18:18,680 --> 00:18:22,000 Speaker 1: you are actually not really on the page, you're actually 316 00:18:22,040 --> 00:18:25,159 Speaker 1: doing something. But that that is a really great moment. 317 00:18:26,160 --> 00:18:30,080 Speaker 1: Here the rest of my conversation with celebrated pianists Long Long, 318 00:18:30,480 --> 00:18:34,040 Speaker 1: and here's the thing dot Org After the break leafe 319 00:18:34,160 --> 00:18:37,600 Speaker 1: Uba Honest no shares what he believes all great pianists 320 00:18:38,000 --> 00:18:51,600 Speaker 1: haven't coming. I'm Alec Baldwin and you were listening to 321 00:18:51,720 --> 00:19:18,879 Speaker 1: here's the thing. This is lafe Vera Honest nous and 322 00:19:18,960 --> 00:19:22,879 Speaker 1: the Mallard Chamber Orchestra performing Beethoven's piano can share to 323 00:19:23,040 --> 00:19:27,080 Speaker 1: number five and E flat major from the Beethoven Journey. 324 00:19:28,440 --> 00:19:31,280 Speaker 1: Honest had the good fortune of being born into a 325 00:19:31,359 --> 00:19:34,600 Speaker 1: musical family, which allowed him to begin charting his career 326 00:19:34,640 --> 00:19:39,399 Speaker 1: path from an early age. My parents are teachers and 327 00:19:39,640 --> 00:19:42,960 Speaker 1: music was the main subject. So I'm lucky because I'm 328 00:19:42,960 --> 00:19:45,040 Speaker 1: from a really small community. I'm from an island on 329 00:19:45,080 --> 00:19:47,199 Speaker 1: the western part of Norway, and I had absolutely no 330 00:19:47,320 --> 00:19:51,040 Speaker 1: friends who did music and played. But there was a 331 00:19:51,080 --> 00:19:54,199 Speaker 1: piano in our home, and there came a few kids 332 00:19:54,280 --> 00:19:56,720 Speaker 1: who wanted to have piano lessons from my parents, and 333 00:19:57,119 --> 00:19:58,840 Speaker 1: and I saw this and I said, I also want 334 00:19:58,880 --> 00:20:02,879 Speaker 1: to play. I'm very flush with admiration for the Norwegian 335 00:20:02,880 --> 00:20:05,080 Speaker 1: people because of the work I've done with climate change 336 00:20:06,240 --> 00:20:12,159 Speaker 1: and how the expenditure of hundreds of millions of Norwegian 337 00:20:12,440 --> 00:20:18,560 Speaker 1: currency from their sovereign oil accounts to purchase land and 338 00:20:18,640 --> 00:20:22,480 Speaker 1: to protect land and the rainforest in South America. I mean, 339 00:20:22,520 --> 00:20:25,240 Speaker 1: what the Norwegian government has done with the Norwegian people 340 00:20:25,320 --> 00:20:29,159 Speaker 1: are doing on behalf of climate change is really just amazing. 341 00:20:29,280 --> 00:20:31,280 Speaker 1: Well thank you, but I think we really have to. 342 00:20:31,600 --> 00:20:34,440 Speaker 1: I mean, we are a very origination that that became 343 00:20:34,520 --> 00:20:37,480 Speaker 1: rich because of the island, and we have to do 344 00:20:37,560 --> 00:20:40,080 Speaker 1: something sensible with money. But you see, this is an 345 00:20:40,080 --> 00:20:43,439 Speaker 1: island off the coast. Your parents were music teachers, and 346 00:20:43,840 --> 00:20:46,240 Speaker 1: I mean, was there any pushing or there was There 347 00:20:46,320 --> 00:20:49,080 Speaker 1: was no pushing. They just let you decide. It was 348 00:20:49,119 --> 00:20:52,240 Speaker 1: my decision. I liked playing, but there's always, you know, 349 00:20:52,440 --> 00:20:54,520 Speaker 1: there's a moment. And then for me, it was probably 350 00:20:54,520 --> 00:20:57,040 Speaker 1: when I was twelve years old when I thought it 351 00:20:57,080 --> 00:21:00,000 Speaker 1: was much more interesting to do social things and football 352 00:21:00,000 --> 00:21:02,040 Speaker 1: all and I I played also in a in a 353 00:21:02,080 --> 00:21:04,720 Speaker 1: school band. I played euphonium, you know, and I was 354 00:21:05,040 --> 00:21:07,680 Speaker 1: in the choirs, and it was a kind of diverse 355 00:21:07,840 --> 00:21:11,560 Speaker 1: musical childhood. And it's very lonely just to play the piano, 356 00:21:11,680 --> 00:21:14,160 Speaker 1: and I really had no friends doing the same thing. 357 00:21:14,600 --> 00:21:17,000 Speaker 1: So I guess there was some pushing involved, you know, 358 00:21:17,080 --> 00:21:19,560 Speaker 1: for a few years there. But on the other hand, 359 00:21:19,600 --> 00:21:22,159 Speaker 1: I knew inside that this was my language, because I 360 00:21:22,200 --> 00:21:25,400 Speaker 1: remember sitting down when I was about eight. I remember 361 00:21:25,600 --> 00:21:30,440 Speaker 1: Christmas when I started having the joys of sight reading, 362 00:21:30,680 --> 00:21:34,360 Speaker 1: you know, just simple pieces Greek Chopin, and feeling these 363 00:21:34,359 --> 00:21:37,600 Speaker 1: harmonies and actually exploring them for the first time myself 364 00:21:38,480 --> 00:21:41,880 Speaker 1: and I I really felt that this is my first language. 365 00:21:42,200 --> 00:21:45,000 Speaker 1: I was a very shy boy, but this here I 366 00:21:45,040 --> 00:21:48,200 Speaker 1: could express myself. That's interesting, that's very very well. But 367 00:21:48,800 --> 00:21:52,200 Speaker 1: your first language. I believe that all the great pianists 368 00:21:52,280 --> 00:21:55,719 Speaker 1: have something in common, as you said, this first language idea. 369 00:21:56,160 --> 00:21:58,320 Speaker 1: What do you think you have in common with all 370 00:21:58,359 --> 00:22:02,040 Speaker 1: the other great pianists. You have the ability to do 371 00:22:02,119 --> 00:22:04,480 Speaker 1: what you have a peculiar nature that leads you to 372 00:22:04,600 --> 00:22:07,240 Speaker 1: what What do you all have that helped you become 373 00:22:07,280 --> 00:22:09,560 Speaker 1: so great at what you do? I mean, I do 374 00:22:09,680 --> 00:22:13,520 Speaker 1: remember quite early on that I had a feeling that 375 00:22:13,560 --> 00:22:15,760 Speaker 1: people listened when I played, you know, and that was 376 00:22:15,840 --> 00:22:20,600 Speaker 1: already as a child or you know, early teenage years, 377 00:22:20,680 --> 00:22:24,159 Speaker 1: and that was very inspiring. I I thought, Okay, I 378 00:22:24,400 --> 00:22:26,919 Speaker 1: I have a voice, I have something to say, and 379 00:22:26,960 --> 00:22:29,600 Speaker 1: I felt that inside like a burning desire to to 380 00:22:30,160 --> 00:22:32,879 Speaker 1: share this music with people. I played a lot for 381 00:22:32,920 --> 00:22:34,720 Speaker 1: people when I when I was young, my parents would 382 00:22:34,760 --> 00:22:37,240 Speaker 1: take me around the local partisan things and and I 383 00:22:37,240 --> 00:22:39,159 Speaker 1: would play for I would always love that. And I 384 00:22:39,160 --> 00:22:43,160 Speaker 1: think that's really important that you love sharing it. I mean, 385 00:22:43,160 --> 00:22:46,119 Speaker 1: it's like it's about sharing, and we we all have 386 00:22:46,200 --> 00:22:48,840 Speaker 1: that in common. Otherwise we just couldn't do it. And 387 00:22:48,960 --> 00:22:52,680 Speaker 1: you see some people just having been pushed and they 388 00:22:53,480 --> 00:22:57,119 Speaker 1: become adults and they have no motivation anymore, because it 389 00:22:57,240 --> 00:23:00,399 Speaker 1: has to be within you. You can become, you know, 390 00:23:00,480 --> 00:23:02,840 Speaker 1: great at playing the piano, but if you don't have 391 00:23:02,880 --> 00:23:06,200 Speaker 1: a feeling that you have that voice and you really 392 00:23:06,240 --> 00:23:08,399 Speaker 1: really want to share, there's no way you can. You 393 00:23:08,440 --> 00:23:12,400 Speaker 1: can have this lifestyle. Now, when you're playing with the 394 00:23:12,480 --> 00:23:16,439 Speaker 1: chamber orchestra, there's a relationship between them, with you and them. 395 00:23:16,560 --> 00:23:20,040 Speaker 1: You're the soloist. There's the ensemble, and there's the soloist. 396 00:23:20,160 --> 00:23:24,879 Speaker 1: And and I'm assuming that without apology, the task for 397 00:23:24,880 --> 00:23:28,760 Speaker 1: everybody there is to support the soloist. The soloist is 398 00:23:28,800 --> 00:23:31,520 Speaker 1: what's the music itself is what's featured. But the performance 399 00:23:31,560 --> 00:23:35,240 Speaker 1: of the soloist is ever so slightly more front and 400 00:23:35,280 --> 00:23:37,680 Speaker 1: center than the than the work of the ensemble itself. 401 00:23:38,320 --> 00:23:41,600 Speaker 1: Describe that meaning, do these people naturally do what you 402 00:23:41,640 --> 00:23:43,320 Speaker 1: need them to do. Do they just fall into place 403 00:23:43,440 --> 00:23:44,639 Speaker 1: or do you need to kind of tell them what 404 00:23:44,680 --> 00:23:46,919 Speaker 1: to do what you need. Well, I'm working with them, 405 00:23:46,960 --> 00:23:50,199 Speaker 1: and I have, you know, opinions and ideas about the 406 00:23:50,280 --> 00:23:53,200 Speaker 1: music and what I want. But these are strong personalities 407 00:23:53,280 --> 00:23:56,320 Speaker 1: and and they offer different things. And when we talk 408 00:23:56,359 --> 00:23:59,919 Speaker 1: about Mozart's music, it's so much about dialogue. There are 409 00:24:00,200 --> 00:24:02,560 Speaker 1: many many places in these in these pieces where I 410 00:24:02,560 --> 00:24:06,159 Speaker 1: am accompanying them. I actually think that Motas music is 411 00:24:06,200 --> 00:24:10,080 Speaker 1: maybe the music which is most about human beings and society. 412 00:24:10,800 --> 00:24:13,600 Speaker 1: I don't think it's much about nature, like a lot 413 00:24:13,640 --> 00:24:17,320 Speaker 1: of scanning a Nordic music, for instance, But it's it's 414 00:24:17,320 --> 00:24:21,440 Speaker 1: always about people. It's it's theater, it's it's opera and conversation. 415 00:24:22,320 --> 00:24:24,919 Speaker 1: And that's so wonderful. When I play with them, I 416 00:24:24,920 --> 00:24:26,639 Speaker 1: sit in the middle of the orchestra. We take the 417 00:24:26,720 --> 00:24:29,280 Speaker 1: lid of the piano, so I'm sitting actually with the 418 00:24:29,320 --> 00:24:32,280 Speaker 1: back to the audience. But I'm seeing the musicians, they 419 00:24:32,280 --> 00:24:34,639 Speaker 1: are seeing me. We hear each other extremely well, and 420 00:24:34,720 --> 00:24:38,720 Speaker 1: that intimate contact is is crucial to that kind of 421 00:24:38,800 --> 00:24:41,520 Speaker 1: music making and and to mos As well. I think, 422 00:24:41,560 --> 00:24:43,159 Speaker 1: I mean he wouldn't have had a conductor when he 423 00:24:43,720 --> 00:24:47,760 Speaker 1: when he was playing these things. You have performed in 424 00:24:47,880 --> 00:24:50,440 Speaker 1: some pretty exactic locations on the edge of a cliff. 425 00:24:51,920 --> 00:24:53,680 Speaker 1: I'm no Asian. I mean that's you know, you have 426 00:24:54,080 --> 00:24:58,200 Speaker 1: your Norwegian so fiorids. I have to be injected into 427 00:24:58,200 --> 00:25:00,919 Speaker 1: the process somewhere an oil we go off the coast. 428 00:25:01,520 --> 00:25:05,119 Speaker 1: But beyond these more exotic locales that you've been performing in, 429 00:25:05,520 --> 00:25:07,679 Speaker 1: are the cities that you love to return to. Are 430 00:25:07,680 --> 00:25:09,639 Speaker 1: their places that when you get there they feel like 431 00:25:09,720 --> 00:25:13,880 Speaker 1: home more than others. Absolutely, But and that's the wonderful 432 00:25:13,880 --> 00:25:17,560 Speaker 1: thing with touring. I remember actually my US manager when 433 00:25:17,560 --> 00:25:20,280 Speaker 1: I was twenty, who I started working with, said, you know, 434 00:25:20,320 --> 00:25:22,439 Speaker 1: the most important thing in this business is to build 435 00:25:22,520 --> 00:25:27,200 Speaker 1: up a network of friends and and acquaintances and places 436 00:25:27,280 --> 00:25:29,600 Speaker 1: and holes. And you know that we have a feeling 437 00:25:29,640 --> 00:25:33,119 Speaker 1: of home wherever you come, if it's Los Angeles or 438 00:25:33,200 --> 00:25:37,639 Speaker 1: Tokyo or in Oslo. What I've been very careful at 439 00:25:37,720 --> 00:25:41,160 Speaker 1: keeping at the same time is connection to home and 440 00:25:41,560 --> 00:25:44,520 Speaker 1: being able to play in smaller holes in Norway once 441 00:25:44,560 --> 00:25:48,679 Speaker 1: in a while. And I've also basically for the last 442 00:25:48,960 --> 00:25:52,520 Speaker 1: twenty five years been involved in festivals. I have at 443 00:25:52,560 --> 00:25:55,480 Speaker 1: a moment at a chamber music festival in in Rosendal, 444 00:25:55,520 --> 00:25:59,119 Speaker 1: which is a beautiful small village in western Norway by 445 00:25:59,160 --> 00:26:04,000 Speaker 1: the fjords and and mountains. And for you know, a 446 00:26:04,040 --> 00:26:07,440 Speaker 1: small week, we do twelve concerts and I'm curating the program, 447 00:26:07,640 --> 00:26:10,440 Speaker 1: I'm putting the people together. And that's also another part 448 00:26:10,480 --> 00:26:13,960 Speaker 1: of sharing in another part, you know, way of feeling 449 00:26:14,359 --> 00:26:17,600 Speaker 1: connected to my home country and doing something more here 450 00:26:17,640 --> 00:26:21,320 Speaker 1: than just jumping around playing different programs. So for me, 451 00:26:21,400 --> 00:26:25,800 Speaker 1: it's been important to spend summers, especially in my part 452 00:26:25,840 --> 00:26:28,960 Speaker 1: of the world and to feel connected here. Now I 453 00:26:29,000 --> 00:26:31,560 Speaker 1: also have a family, so there's a different connection. But 454 00:26:31,560 --> 00:26:34,480 Speaker 1: but it's three kids. I three kids, and how old 455 00:26:34,480 --> 00:26:38,480 Speaker 1: are that? They are eleven and we have twins, right, 456 00:26:39,720 --> 00:26:43,400 Speaker 1: Any musical, any musical, but we already have rumblings. They're 457 00:26:43,520 --> 00:26:45,639 Speaker 1: already have a piano trio in the house. So there's 458 00:26:45,800 --> 00:26:49,080 Speaker 1: there's cello Island the piano. But we'll see how long 459 00:26:49,119 --> 00:26:53,159 Speaker 1: that lasts. But there's some fun. Yeah. Yeah, when you 460 00:26:53,240 --> 00:26:56,560 Speaker 1: come to the US, which I've always thought those people 461 00:26:56,600 --> 00:27:00,760 Speaker 1: who love classical music in the US, there are a 462 00:27:00,840 --> 00:27:02,879 Speaker 1: decent number of them, maybe not as many as I like. 463 00:27:03,760 --> 00:27:06,399 Speaker 1: And that task that all the great ensembles have of 464 00:27:06,480 --> 00:27:08,960 Speaker 1: cultivating the next generation of audience, you know, like the 465 00:27:09,000 --> 00:27:12,080 Speaker 1: Philharmonic would do a lot of heavy ticketing and give 466 00:27:12,119 --> 00:27:15,199 Speaker 1: a lot of free tickets to students to try to 467 00:27:15,200 --> 00:27:18,440 Speaker 1: get them just to just to have that latent learning. 468 00:27:18,520 --> 00:27:21,280 Speaker 1: You know, you're gonna hear this piece I talked about 469 00:27:21,280 --> 00:27:23,280 Speaker 1: when I was a child and they had us do 470 00:27:23,400 --> 00:27:26,920 Speaker 1: mandatory music classes, and we had a guy who would 471 00:27:26,920 --> 00:27:29,240 Speaker 1: come in and play I mean, and he was he 472 00:27:29,359 --> 00:27:32,440 Speaker 1: was lovable and he was nuts, this guy. And we 473 00:27:32,440 --> 00:27:35,000 Speaker 1: were in eighth grade, in the middle of working class 474 00:27:35,040 --> 00:27:38,560 Speaker 1: Long Island, and he was playing us Manati operas on vinyl. 475 00:27:39,240 --> 00:27:42,480 Speaker 1: He was playing the medium and a telephone and we'll 476 00:27:42,520 --> 00:27:44,879 Speaker 1: be sitting there going, what the hell is this guy? 477 00:27:44,920 --> 00:27:48,000 Speaker 1: But I do believe. I'm I'm a firm believer in 478 00:27:48,160 --> 00:27:52,160 Speaker 1: latent learning where you dropped that seed on the ground, 479 00:27:52,400 --> 00:27:55,080 Speaker 1: and not always, but for many people it's gonna bloom later, 480 00:27:55,320 --> 00:27:58,080 Speaker 1: you know, down the road. And so for me when 481 00:27:58,200 --> 00:28:01,240 Speaker 1: the popular music see to have anything to say to me, 482 00:28:01,880 --> 00:28:06,200 Speaker 1: when popular music remained even even more sophomoric in terms 483 00:28:06,240 --> 00:28:08,800 Speaker 1: of I love you, why don't you love me? It 484 00:28:08,880 --> 00:28:12,080 Speaker 1: was all like for kids and I turned on the radio. 485 00:28:13,359 --> 00:28:15,280 Speaker 1: I turned on the radio, and there came the final 486 00:28:15,400 --> 00:28:20,199 Speaker 1: strains of Shalty, the Chicago, the Mall or nine, and 487 00:28:20,280 --> 00:28:22,639 Speaker 1: I never turned back, and I never turned back. And 488 00:28:23,119 --> 00:28:27,320 Speaker 1: now I listened to minimal popular music, I mean music 489 00:28:27,640 --> 00:28:30,879 Speaker 1: that's contemporary popular music. None. I couldn't even tell you 490 00:28:30,880 --> 00:28:32,639 Speaker 1: who these people are, which is also a sign of 491 00:28:32,640 --> 00:28:34,840 Speaker 1: my age. But do you give some credit to your 492 00:28:34,880 --> 00:28:37,760 Speaker 1: old teacher for you know the men I do believe 493 00:28:37,800 --> 00:28:41,240 Speaker 1: in respecting the ideas of people. Were that person took 494 00:28:41,240 --> 00:28:43,320 Speaker 1: the time to tell me about that? Why did they 495 00:28:43,360 --> 00:28:46,960 Speaker 1: want me to know that? And in music, I feel 496 00:28:47,000 --> 00:28:50,840 Speaker 1: like in classical music, there's people who they don't realize 497 00:28:51,320 --> 00:28:53,719 Speaker 1: how much they love classical. Maybe not all of it. 498 00:28:54,040 --> 00:28:56,760 Speaker 1: Maybe they don't need to be listening to Stravinsky. Maybe 499 00:28:56,760 --> 00:28:59,000 Speaker 1: they have like everything much more lush and kind of romantic. 500 00:28:59,040 --> 00:29:02,720 Speaker 1: But there's class music that that they want in their 501 00:29:02,760 --> 00:29:05,880 Speaker 1: life and they just don't know it yet. Yes, And 502 00:29:05,920 --> 00:29:08,200 Speaker 1: that's you can come into your life later, you know. Yeah, 503 00:29:08,360 --> 00:29:10,719 Speaker 1: And I think that there's there's an age, you know, 504 00:29:10,760 --> 00:29:13,720 Speaker 1: when when you were so open to these kind of things. 505 00:29:13,760 --> 00:29:16,200 Speaker 1: I mean, my piano teacher I got when I was fourteen, 506 00:29:16,280 --> 00:29:19,680 Speaker 1: was the first person I knew he was a professional musician, 507 00:29:19,720 --> 00:29:22,240 Speaker 1: and he gave me was kind of notice. But he 508 00:29:22,280 --> 00:29:27,040 Speaker 1: gave me some cassettes of Scherenberg piano music, and and 509 00:29:27,560 --> 00:29:30,120 Speaker 1: also some more standard chopin and things and and these 510 00:29:30,120 --> 00:29:31,800 Speaker 1: are things that stay with me. I mean, I was 511 00:29:31,840 --> 00:29:35,240 Speaker 1: so hungry for this stuff because nobody had had given 512 00:29:35,240 --> 00:29:38,280 Speaker 1: me introduction to these pieces and these pianists that he was, 513 00:29:38,360 --> 00:29:42,000 Speaker 1: you know, Paulini's recording of Scherenberg or whatever. But there's 514 00:29:42,040 --> 00:29:45,640 Speaker 1: so little today in school, you know about music. How 515 00:29:45,680 --> 00:29:48,440 Speaker 1: do we how do we how do we get out there? 516 00:29:48,480 --> 00:29:51,800 Speaker 1: I mean, I think we mustn't be afraid to take 517 00:29:52,440 --> 00:29:54,960 Speaker 1: kids to classical concerts. Also that of course they will 518 00:29:55,000 --> 00:29:58,640 Speaker 1: be bought part of the time. But something stays I think. 519 00:29:58,680 --> 00:30:01,880 Speaker 1: I mean, I I loved it. Maybe I was very 520 00:30:01,960 --> 00:30:05,160 Speaker 1: unusual in this respect, but I my parents took me 521 00:30:05,200 --> 00:30:08,680 Speaker 1: to concerts, piano recitals, some orchestra concerts when I was 522 00:30:09,520 --> 00:30:14,480 Speaker 1: ten eight. Those experiences stay today. I remember how it 523 00:30:14,600 --> 00:30:19,320 Speaker 1: smelled in the concert hall, you know how certain gestures 524 00:30:19,320 --> 00:30:22,320 Speaker 1: of the pianist or the conductor, or how it felt 525 00:30:22,320 --> 00:30:26,640 Speaker 1: physical in the stomach. You know how according it's just 526 00:30:26,720 --> 00:30:31,200 Speaker 1: a college symphony could make you feel totally extatic symphony 527 00:30:31,440 --> 00:30:35,440 Speaker 1: and it's just a college fifth symphonical. Yeah. Um well, 528 00:30:35,440 --> 00:30:38,760 Speaker 1: I think the people like you and long, long and 529 00:30:38,800 --> 00:30:40,320 Speaker 1: on and on and on with all these people that 530 00:30:40,360 --> 00:30:44,960 Speaker 1: we've enjoyed. You have a gift from God. You know, 531 00:30:45,000 --> 00:30:46,960 Speaker 1: you have a calling. I look at people like you 532 00:30:47,040 --> 00:30:49,160 Speaker 1: and say, what choice did you have? You know, I mean, 533 00:30:49,160 --> 00:30:51,000 Speaker 1: this is what you wanted to do, of course, is 534 00:30:51,040 --> 00:30:53,320 Speaker 1: what you had to do. It's absolutely not to sacrifice, 535 00:30:53,360 --> 00:30:55,760 Speaker 1: because this is my life. It's not work, it's just 536 00:30:55,960 --> 00:30:58,360 Speaker 1: it's just who I am. I have. I mean, this 537 00:30:58,440 --> 00:31:08,240 Speaker 1: is how I communicate with the world basically, Maestro laife Us. 538 00:31:09,000 --> 00:31:12,080 Speaker 1: If you're enjoying this episode, don't keep it to yourself, 539 00:31:12,200 --> 00:31:14,640 Speaker 1: Tell a friend, and be sure to follow us on 540 00:31:14,720 --> 00:31:18,720 Speaker 1: the I Heart Radio app, Apple Podcasts, or wherever you 541 00:31:18,840 --> 00:31:23,120 Speaker 1: get your podcasts. You can listen to all four selections 542 00:31:23,200 --> 00:31:26,400 Speaker 1: of the music from this episode and more in a 543 00:31:26,560 --> 00:31:31,640 Speaker 1: curated Spotify playlist of my favorite pieces from Lafe Vasus. 544 00:31:32,280 --> 00:31:35,040 Speaker 1: You'll find a link to the playlist in the show 545 00:31:35,080 --> 00:31:40,520 Speaker 1: notes of this episode. When we return, laife Uva shares 546 00:31:40,560 --> 00:31:55,400 Speaker 1: with us the composition that makes his heart race. I'm 547 00:31:55,440 --> 00:32:27,080 Speaker 1: Alec Baldwin and this is here's the thing. Yeah, this 548 00:32:27,240 --> 00:32:31,520 Speaker 1: is Lafe Ubas performing rock. Moaninov's piano can share to 549 00:32:31,680 --> 00:32:35,840 Speaker 1: number two in C minor with the Berlin Philharmonic Orchestra. 550 00:32:36,560 --> 00:32:39,200 Speaker 1: I wanted to know his favorite places to play in 551 00:32:39,280 --> 00:32:43,120 Speaker 1: the United States and what makes a great concert halls unique. 552 00:32:44,200 --> 00:32:47,320 Speaker 1: I mean, New York is such a musical home to me, 553 00:32:47,360 --> 00:32:50,800 Speaker 1: and I've had many wonderful experiences in elkn Center, but 554 00:32:51,080 --> 00:32:53,440 Speaker 1: not as not so much for the whole, but Carnegie 555 00:32:53,920 --> 00:32:58,120 Speaker 1: certainly it's absolutely a magical place to me, especially maybe 556 00:32:58,120 --> 00:33:00,520 Speaker 1: for piano recycling. I mean, which other all can you 557 00:33:01,400 --> 00:33:04,440 Speaker 1: feel that you're feeling it and you can create the 558 00:33:04,480 --> 00:33:08,840 Speaker 1: intimacy when it takes two eight hundred people. I mean, 559 00:33:08,880 --> 00:33:13,000 Speaker 1: that's really quite extraordinary. I think Sevence Hall in Cleveland 560 00:33:13,120 --> 00:33:16,960 Speaker 1: is wonderful. Symphony Symphony Hole in Boston, the New Disney 561 00:33:17,000 --> 00:33:20,320 Speaker 1: Hall in in Los Angeles is quite Someone said that 562 00:33:20,360 --> 00:33:24,320 Speaker 1: hole in Miami is a good hole, and that's very nicely. Yeah. Yeah. 563 00:33:25,560 --> 00:33:28,400 Speaker 1: Now in the United States where we had, you know, 564 00:33:28,480 --> 00:33:31,800 Speaker 1: for a while for decades, we had a wonderful recordings 565 00:33:31,800 --> 00:33:34,440 Speaker 1: and a kind of a battery between an ensemble and 566 00:33:34,520 --> 00:33:38,960 Speaker 1: a maestro. So lots of this is not just in 567 00:33:39,000 --> 00:33:41,640 Speaker 1: the United States but in North America. So with the 568 00:33:42,200 --> 00:33:47,560 Speaker 1: Montreal Slatkin, with this St. Louis Zel, with the Cleveland Shalty, 569 00:33:47,600 --> 00:33:50,520 Speaker 1: with the Chicago Bernstein, New York and so forth. But 570 00:33:50,720 --> 00:33:53,440 Speaker 1: Montfred Honick in the Pittsburgh I mean, they really keep 571 00:33:53,760 --> 00:33:57,160 Speaker 1: he keeps putting out recordings. I mean they keep recording music, 572 00:33:57,840 --> 00:34:03,160 Speaker 1: and it's so beautiful. He's very genuine, very genuine musician, 573 00:34:03,280 --> 00:34:06,520 Speaker 1: and so honest and really believes in what he's doing, 574 00:34:06,760 --> 00:34:10,160 Speaker 1: and really I enjoyed a lot time. I'm going there 575 00:34:10,200 --> 00:34:12,960 Speaker 1: actually in March playing with him, hopefully. What are you 576 00:34:13,000 --> 00:34:15,880 Speaker 1: gonna play? I'm playing the Benjamin Britain Concerto, which is 577 00:34:15,920 --> 00:34:20,080 Speaker 1: really fun. Britain wrote, I'll find out. I'll come see you, okay, right, 578 00:34:20,560 --> 00:34:22,279 Speaker 1: that would be heaven. Are you coming to New York 579 00:34:22,280 --> 00:34:26,360 Speaker 1: anytime soon? I'm with the Pittsburgh and Chicago Symphony in 580 00:34:26,360 --> 00:34:28,319 Speaker 1: in the spring, and I was supposed to be with 581 00:34:28,320 --> 00:34:30,759 Speaker 1: the ne yok Philharmonic this fall and I couldn't get 582 00:34:30,760 --> 00:34:34,920 Speaker 1: a visa, you know, because of this situation before November, 583 00:34:34,960 --> 00:34:36,560 Speaker 1: it was very difficult to get a visa for the 584 00:34:36,560 --> 00:34:39,200 Speaker 1: States for Europeans because there was such a backlog of 585 00:34:39,360 --> 00:34:42,839 Speaker 1: applications and things. But we're working out some plans. I'm 586 00:34:42,840 --> 00:34:49,000 Speaker 1: playing recycled Lincolnegie next next season. So one of the 587 00:34:49,040 --> 00:34:52,320 Speaker 1: benefits I think for what you do, because I always 588 00:34:52,320 --> 00:34:54,960 Speaker 1: say to people that in the movie business, the difficulty 589 00:34:55,080 --> 00:34:56,560 Speaker 1: is that you don't really get to see the place 590 00:34:56,600 --> 00:34:59,320 Speaker 1: that you're visiting that much because the days are long, 591 00:34:59,719 --> 00:35:01,560 Speaker 1: and if you have a decent role in you're shooting, 592 00:35:01,640 --> 00:35:04,799 Speaker 1: most days you go to New Orleans, or you go 593 00:35:04,880 --> 00:35:07,560 Speaker 1: to a foreign city, anywhere you go in the world, 594 00:35:08,160 --> 00:35:11,200 Speaker 1: and the days that you're free to be a tourist 595 00:35:11,400 --> 00:35:13,680 Speaker 1: there are few and far between. What are your favorite 596 00:35:13,680 --> 00:35:15,960 Speaker 1: cities to come rolling into? What's the city that you 597 00:35:16,040 --> 00:35:18,040 Speaker 1: just get excited to go to? What I love in 598 00:35:18,040 --> 00:35:20,560 Speaker 1: this business. For instance, I was just in Brussels, and 599 00:35:20,600 --> 00:35:22,840 Speaker 1: that's the place where I've played a lot, one of 600 00:35:22,880 --> 00:35:26,480 Speaker 1: the places I've played most in in in Europe. And 601 00:35:26,680 --> 00:35:29,040 Speaker 1: I love that you can have done a great concert 602 00:35:29,040 --> 00:35:32,960 Speaker 1: in London two days earlier and nobody in Brussels would care, right, 603 00:35:33,000 --> 00:35:35,759 Speaker 1: I mean, you have to convince every every place you 604 00:35:35,800 --> 00:35:38,440 Speaker 1: go that you have something to offer. I love the 605 00:35:38,440 --> 00:35:41,440 Speaker 1: fact that you can maybe over time build an audience 606 00:35:41,480 --> 00:35:44,080 Speaker 1: in different places. So when I played in Brussels the 607 00:35:44,080 --> 00:35:47,239 Speaker 1: first time, I had a hundred twenty people coming to 608 00:35:47,280 --> 00:35:51,280 Speaker 1: the concert, and now there might be twelve hundred instead, 609 00:35:51,400 --> 00:35:54,560 Speaker 1: And that's really really heartwarming to feel that you have 610 00:35:54,680 --> 00:35:57,680 Speaker 1: that loyalty from the audiences. But also if you don't 611 00:35:57,719 --> 00:36:00,319 Speaker 1: deliver that, of course they will not come back. When 612 00:36:00,360 --> 00:36:04,680 Speaker 1: some of the people I've interviewed from your world have 613 00:36:04,840 --> 00:36:07,359 Speaker 1: all in their own way said the same thing, which 614 00:36:07,400 --> 00:36:10,799 Speaker 1: is as difficult as the work can be, the other 615 00:36:10,880 --> 00:36:13,480 Speaker 1: incredibly difficult thing for them as writing music. I mean 616 00:36:13,520 --> 00:36:15,560 Speaker 1: they said that's the hardest thing to do is to write, 617 00:36:15,600 --> 00:36:18,080 Speaker 1: to write their own original music. Have you done a 618 00:36:18,120 --> 00:36:20,400 Speaker 1: lot of writing over we would describe your writing career 619 00:36:20,440 --> 00:36:25,600 Speaker 1: over the last No, I've never felt very rarely felt 620 00:36:25,600 --> 00:36:28,640 Speaker 1: compelled to compose. That as a teenager, I often sat 621 00:36:28,680 --> 00:36:31,560 Speaker 1: down and improvising at the at the keyboard and finding 622 00:36:31,600 --> 00:36:36,400 Speaker 1: melodies of things reminded me of other other music. But 623 00:36:36,480 --> 00:36:40,080 Speaker 1: then I found how much joy there was in discovering, 624 00:36:40,880 --> 00:36:44,919 Speaker 1: you know, composers music and recreating them. Because I think 625 00:36:45,160 --> 00:36:47,640 Speaker 1: many people don't understand how much freedom we have as 626 00:36:47,719 --> 00:36:50,279 Speaker 1: classical musicians they think that we have a school in 627 00:36:50,280 --> 00:36:52,160 Speaker 1: front of us, and it says, okay, it's supposed to 628 00:36:52,200 --> 00:36:55,279 Speaker 1: go fast, and it starts soft and then gets a 629 00:36:55,280 --> 00:36:58,279 Speaker 1: little louder and it's all set. But of course not, 630 00:36:58,880 --> 00:37:02,280 Speaker 1: because if it's a legal in the beginning, that means fast. 631 00:37:02,560 --> 00:37:05,840 Speaker 1: You know what is fast? That's just one of the parameters. 632 00:37:05,880 --> 00:37:08,200 Speaker 1: I mean you talked about tempo earlier, how much it 633 00:37:08,239 --> 00:37:10,279 Speaker 1: can vary in a piece likely to lean or in 634 00:37:10,280 --> 00:37:13,000 Speaker 1: in in in a modern symphony. But also if if 635 00:37:13,040 --> 00:37:16,000 Speaker 1: I see piano, which means soft in the beginning, what 636 00:37:16,160 --> 00:37:18,920 Speaker 1: is soft? If I play in my living room, I 637 00:37:18,960 --> 00:37:23,320 Speaker 1: can be very silent and it might still sound rather loud. 638 00:37:23,440 --> 00:37:25,440 Speaker 1: If I play in Carnegie Hall and I play the 639 00:37:25,480 --> 00:37:28,960 Speaker 1: same dynamic, nobody can hear me. I have to pronounce 640 00:37:29,200 --> 00:37:31,600 Speaker 1: it in a very different way. Even when it says 641 00:37:31,600 --> 00:37:34,960 Speaker 1: piano in the score, and what kind of piano are we? Are? We? 642 00:37:35,800 --> 00:37:38,960 Speaker 1: Does the music mean? Here? Is it full of tension? 643 00:37:39,160 --> 00:37:41,279 Speaker 1: Or is should it be very secretive? Should it be 644 00:37:41,360 --> 00:37:46,880 Speaker 1: very confessional? You know all these kinds of things. So I'm, 645 00:37:46,920 --> 00:37:50,319 Speaker 1: you know, more and more discovering how much freedom there 646 00:37:50,400 --> 00:37:53,400 Speaker 1: is inside these course they're they're just dots. On a 647 00:37:53,400 --> 00:37:55,399 Speaker 1: piece of paper. I mean, we we have to bring 648 00:37:55,440 --> 00:37:59,080 Speaker 1: them um to life. And I've in my life being 649 00:37:59,160 --> 00:38:02,600 Speaker 1: much more attractive to that than than trying to write 650 00:38:02,600 --> 00:38:07,600 Speaker 1: some bad music. I was. I said to Brompton one 651 00:38:07,600 --> 00:38:10,040 Speaker 1: time we went to dinner with him, and I said 652 00:38:10,080 --> 00:38:12,479 Speaker 1: to him, is there a piece or there are there 653 00:38:12,480 --> 00:38:17,080 Speaker 1: pieces for you which are just more, uh like the 654 00:38:17,120 --> 00:38:20,160 Speaker 1: equivalent of like a double black diamond ski run for you? 655 00:38:20,200 --> 00:38:23,160 Speaker 1: Were there a piece? You sit down and you've mastered 656 00:38:23,200 --> 00:38:25,440 Speaker 1: this piece, you've played many many times, and you know 657 00:38:25,560 --> 00:38:28,560 Speaker 1: and you know what you're doing, but you nonetheless have 658 00:38:28,680 --> 00:38:31,640 Speaker 1: a pause before you put your fingers on those keys 659 00:38:31,680 --> 00:38:33,680 Speaker 1: and said, this is a tough one. This is one 660 00:38:33,680 --> 00:38:35,839 Speaker 1: that demands more of me than any other piece. Are 661 00:38:35,880 --> 00:38:38,839 Speaker 1: there pieces like that for you? Oh? Yeah? And in 662 00:38:38,920 --> 00:38:42,920 Speaker 1: different ways, you know, also for the memories sometimes, you know. 663 00:38:43,000 --> 00:38:45,319 Speaker 1: And of course if I play rock mind enough. Third 664 00:38:45,360 --> 00:38:48,320 Speaker 1: piano Concerto, it's it's a huge piece. But I played 665 00:38:48,360 --> 00:38:52,560 Speaker 1: that since I was twenty two, and it's very demanding physically, 666 00:38:52,960 --> 00:38:55,799 Speaker 1: but it's also very comfortable to play somehow because it's 667 00:38:55,800 --> 00:38:59,680 Speaker 1: so fantastically written for the instrument. The fourth concerto, it 668 00:38:59,840 --> 00:39:03,880 Speaker 1: was much less known is extremely hard for the memory, 669 00:39:04,320 --> 00:39:07,000 Speaker 1: so I would my my pulse would always go up 670 00:39:07,120 --> 00:39:11,640 Speaker 1: before playing that piece over four. Yeah, and I played 671 00:39:11,640 --> 00:39:14,200 Speaker 1: that a lot as well. That's always with some tension 672 00:39:14,680 --> 00:39:20,319 Speaker 1: because it's much more asymmetrical and weird and sometimes like 673 00:39:20,440 --> 00:39:23,400 Speaker 1: jazz improvisation, and to memorize the whole thing is is 674 00:39:23,760 --> 00:39:26,720 Speaker 1: really really you know, it's tough together with the orchestra. 675 00:39:26,920 --> 00:39:30,640 Speaker 1: Is there a decent stock of piano concertos from Ratmlino? Well, 676 00:39:30,680 --> 00:39:32,640 Speaker 1: you've done them already. I've done them. There are the 677 00:39:32,760 --> 00:39:37,160 Speaker 1: four Piano Concertos and the Paganini Rhapsody UM, and that's 678 00:39:37,520 --> 00:39:43,680 Speaker 1: wonderful stuff. Revel. You know, I have some really favorite 679 00:39:43,680 --> 00:39:46,600 Speaker 1: composers that I've hardly played a note of, and Rebel 680 00:39:46,760 --> 00:39:49,520 Speaker 1: is one of them. I've never played the piano concertos. 681 00:39:49,560 --> 00:39:51,840 Speaker 1: I'm very little of the solo repsode, but I absolutely 682 00:39:51,920 --> 00:39:53,880 Speaker 1: love listening to it. I don't know what it is 683 00:39:53,960 --> 00:39:57,000 Speaker 1: I would as a pianist. I think I find more 684 00:39:57,080 --> 00:40:00,279 Speaker 1: freedom and creativity in playing Debucy, you know, the other French, 685 00:40:00,560 --> 00:40:04,239 Speaker 1: great French composer. But I adore Ravel and I absolutely 686 00:40:04,480 --> 00:40:06,960 Speaker 1: I mean, that's the luxury you have on your pianis 687 00:40:07,000 --> 00:40:08,719 Speaker 1: you don't need to play everything because there's so much. 688 00:40:09,440 --> 00:40:12,279 Speaker 1: Well listen. Thank you. I'm very grateful to your great 689 00:40:12,600 --> 00:40:14,600 Speaker 1: and best of luck with the finishing your project. Okay, 690 00:40:14,600 --> 00:40:22,040 Speaker 1: thanks a lot, my thanks to lafe uva honest Nous. 691 00:40:22,920 --> 00:40:27,320 Speaker 1: We leave you with honest performing composer Les Checks Peace 692 00:40:27,719 --> 00:40:32,759 Speaker 1: our evenings from the Piano series entitled On an Overgrown Path. 693 00:40:33,520 --> 00:40:37,360 Speaker 1: The musical selections in today's episode are presented with the 694 00:40:37,440 --> 00:40:41,600 Speaker 1: kind permission of Warner Classics and Sony Classical. I'm a 695 00:40:41,760 --> 00:40:44,120 Speaker 1: Mic Baldwin. Here's the thing is brought to you by 696 00:40:44,239 --> 00:41:28,000 Speaker 1: iHeart Radio Think Coming