The November 1998
artist/educator was:
 Vladimir Feltsman, Concert Pianist, New York, NY USA
Born in Moscow in 1952, Mr. Feltsman made his public debut at age 12 as
soloist with the Moscow Philharmonic Orchestra. His first-prize victory in the 1967
Concertina International Competition in Prague led to his enrollment in the Moscow
Conservatory and four years later won the prestigious Marguerite Long Competition in
Paris. His career was abruptly interrupted when then Soviet authorities responded to his
application to emigrate with a ban on his performing in public. In 1987 Mr. Feltsman was
finally granted permission to leave the Soviet Union and come to the U.S. Since that time
he has performed with virtually all the major American orchestras and on most major
recital series. In 1991 Mr. Feltsman's triumphant return to the Moscow concert halls from
which he had been banned was the subject of prize-winning TV documentary "Journal
from Home - Vladimir Feltsman in Moscow." |
 PEP: What made you go into music?
It had to happen. Call it destiny or calling or. ...whatever. I did not have a choice.
PEP: Who was the most influential person in your years
as a student of the piano and why?
Several...I've learned from many people, still do, also a lot of reading...
PEP: What do you enjoy the most about making music?
That which is between the notes. Also, silence!
PEP: Is there a"best" way or
"method" to learn to play? Any that should be avoided?
Playing the piano has to be easy and comfortable. All which helps it is good; all which
does not is bad.
PEP: What "deficiency" in training or
technique do you most often find in students of the piano?
Tension, under-developed fingers, general deficiency of technique.
PEP: What kinds of things would you tell students of the
piano and their teachers to try to avoid?
Tension-both physical and mental. Playing piano must be comfortable, natural and easy,
if it is difficult, you are doing something wrong.
PEP: What advice would you give to students of the
piano?
Patience and perseverance, devotion to music- not to yourself.
PEP: How do you motivate yourself to do the long hours
of practice necessary to be a successful performer?
It happens naturally!
PEP: Can you give us your reflections upon music as a
career? Specifically, what do you like most about performing and what do you dislike most?
Like - sharing, enriching people who are listening, uplifting. Dislike - travel and too
much socializing.
PEP: How do you deal with pre-performance
"jitters" and what is your pre-concert routine?
I don't have it anymore.
PEP: What does it take to be a "successful" musician
or music educator?
Care more about music, less for yourself.
PEP: What are your views on competitions and what should
teachers and students expect from that experience?
They are a necessary evil! But, they can be very useful, as a learning experience.
PEP: What do you do to prepare a work new to you for
performance and how long does it take?
The most important part is done without the piano, in the head.
PEP: What was your most memorable performing experience
and why?
I can't single out one, it is still ahead...
PEP: When you teach a master class, what do you hope to
accomplish and what general messages, if any, do you offer to all those in attendance?
To expand, to blow out their self imposed limitations, to show them how good they could
be, give them a taste of 'perfection'.
PEP: Do you have a favorite pianist(s) and if so, what
attracts you to that person’s performances?
No, but I have learned from many. Not only pianists, but singers, conductors, etc.
PEP: What can we do as musicians to interest more
people, children in particular, in good music?
It is a cultural thing, music should be part of school day...
PEP: Pretend this is your personal soapbox. What would
you like to say to students, parents, and teachers of the piano?
I would like to tell people about a project I'm running - a summer piano institute at
SUNY- New Paltz for advanced, serious piano students who are seeking new ideas, new
approaches, who are not afraid to explore and expand. The faculty is really outstanding,
musicians, performers, teachers, representing different traditions and cultures, so
students are working with all teachers gaining a unique "stereoscopic" insight
into their repertoire. There are individual lessons, master classes, lectures, student
recitals, trips to New York, etc. For information, contact Margaret Howe, Director at the
College at New Paltz, New Paltz, NY (Ph.: 914-257-2700, Fax: 914-257-3121). I think it is
most likely the best piano summer school in the USA! |
