BD: Are we not making some kind of improvement as we go along?
JFO: No, I think just that it’s changed. It just happened that at that time there were so many; something might have been in the air or in the mind of all these people and the way they performed that made them play like that. It’s so wonderful. Also, life has changed so much. They didn’t have to travel the way we do. They had more time to think about things. The communications weren’t as wonderful as now — which, in a way is wonderful, but in another way where you wonder if it is really necessary.
BD: You don’t want to be beeped anywhere you are?
JFO: No! [Both laugh]
BD: I can just see that — in the middle of a concert, you’re playing, and all of a sudden your agent beeps!
JFO: Yes, can you imagine! Technology is wonderful, but there has to be a balance with all that and with your way of life.
BD: When arranging your life, do you make sure that you schedule enough times off, some vacations, some rest times, some learning times?
JFO: Yes. Yes, I try to, always. And I try always to have something new to learn because that’s something I need to be fresh. And that also helps the older repertoire. Sometimes I try to schedule it, and it’s not always possible, of course. But as much as possible, yes. I don’t like to just lead a life of work and be constantly on the road, not being able to do other things that are important — family, kids, friends. When you go to other countries and other cities, at least have some time to spend there to get a feel of the place, which is important.
BD: And make new friends?
JFO: Exactly, yes.
* * * * *
BD: What advice do you have for someone who wants to write music for the piano today?
JFO: I don’t know that. [Thinks for a moment] I never thought of that. It never occurred to me. If I would ask someone to write, it would be someone that I would respect as a composer. I don’t think I would tell him how to write.
BD: So it would someone who already knew how to write for the piano?
JFO: Yes, yes. On the contrary, I would like maybe to be surprised by it. That would be more interesting.
BD: How far back do you go in music? Do you play some Bach and Scarlatti?
JFO: Yes, Bach, of course. Scarlatti, yes. It’s from then on, really, that I play.
BD: All on the modern piano?
JFO: On the modern piano, yes. I enjoy his music tremendously on the modern piano!
BD: Do you have any feelings about people who insist on doing it only on the old instruments?
JFO: It’s interesting, but I’m not that convinced by it. I think it sounds so expressive on the piano. That’s just the way I feel. I don’t think I would go and get myself an instrument just to see. We really don’t know, really, what was in their minds. At that time, those were the instruments that were available, but it’s not to say that they were stuck with that! I think the music is much greater than that. It transcends all that, so it’s fine with me to play Bach on the piano.
BD: Is that what makes his music great, the fact that it can transcend all of these changes of time?
JFO: I think so, yes. Like Beethoven, also. In his last sonatas you really get a feeling that he was searching for something new, something he was really trying to get out of there. And when you hear these on instruments that were there when he was alive, I don’t think it has the same impact. I’m not all that for it.
BD: Perhaps it doesn’t have the impact on us because we’ve heard the big, new pianos.
JFO: Yes, but he couldn’t hear anyway! [Both laugh] Everything in his message was more transcendental. That’s why I think he’s so popular all the time. Beethoven’s message always transcends; whatever happens, it will be there.
BD: One last question — is playing the piano fun?
JFO: Yes, it is. Actually, this is a question that someone asked me at the outreach recital I did. They asked me, “Is it work or is it fun?” Of course, I tell them, while you’re performing, it’s not that it’s fun, but it’s another type of enjoyment. It can be fun, of course. I love practicing. I love really being in music, and this is my life, so in a way it is fun. It depends also what you’re playing.
BD: How much time do you practice every day, on average?
JFO: Average, I try to do three or four hours — sometimes more.
BD: Are there times when you just get completely away from it and don’t touch the piano for a day or a week?
JFO: Oh, yes. Yes, it happens very often! [Laughs] Sometimes it happens when you’re on tour because you have to. It’s not because you choose to do it, but you have to travel, and sometimes you arrive and there’s no piano to practice. And in a way, sometimes that’s very healthy because you just get out and refresh your ideas and do something else!
BD: Then how long does it take you to get back to full strength?
JFO: Hopefully you’re prepared for it, so it’s not too long, really... A couple of hours.
BD: Thank you for coming to Chicago. I’m very glad that we’ll get to hear your artistry.
JFO: Me, too. I’m really thrilled to be here. It’s a wonderful city with a wonderful feeling.
© 1994 Bruce Duffie
This interview was recorded in Chicago on June 27, 1994. Portions (along with recordings) were used on WNIB in each of the following three years — 1995, 1996, and 1997. This transcription was made and posted on this website in 2009.
Award - winning broadcaster Bruce Duffie was with WNIB, Classical 97 in Chicago from 1975 until its final moment as a classical station in February of 2001. His interviews have also appeared in various magazines and journals since 1980, and he now continues his broadcast series on WNUR-FM, as well as on Contemporary Classical Internet Radio.
Used by permission.
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