Tuning in…
Tuning in…
Desert Island Discs
Presented by Roy Plomley
An international concert pianist who won the Tchaikovsky Competition and became the most successful British pianist of the 20th century.
Eight records
Piano Concerto No. 3 in D minor, Op. 30
Discussed as the concerto he played at the Royal College with Sir Adrian Boult.
The keepsakes
No book or luxury recorded for this episode.
In conversation
Presenter asks
If you have a very good memory, it's often labelled phenomenal.
Part of the business of being a concert pianist is to have an excellent memory, because you must use it all the time, and it must be dependable. In my case uh I'm fortunate in that it's it's been reliable up to now, and it seems to have been natural um throughout my development. I only hope it continues that way.
Presenter asks
You acquired a reputation, possibly your memory had something to do with this, as someone who would jump in an aircraft and go and play more or less anything, anywhere if an emergency arose.
It's a mixed blessing, I feel, because um the public still expect the goods from you, and you must still play very well, even as as if you had had a great deal of notice. Uh it's important now for me to stop doing this sort of thing, because um nothing can take the place of quality. … and I feel that quantity is of less importance. However, when you are developing and when you are starting your career, you have to take these chances if if they're offered to you in order to try and um scatter the the the the seeds as far as you can so that people can hear you play.
The recording
Timestamps play the recording from that turn
John Lill
This download is the only extract the BBC has of this edition of Desert Island Discs. The presenter was Roy Plumley.
Presenter
Now you were at the Royal College, you won prizes, you were a star pupil, you also impressed people with your phenomenal memory.
John Lill
Uh
John Lill
If you have a very good memory, it's often labelled phenomenal.
John Lill
Part of the business of being a concert pianist is to have an excellent memory, because you must use it all the time, and it must be dependable. In my case uh I'm fortunate in that it's it's been reliable up to now, and it seems to have been natural um throughout my development. I only hope it continues that way.
Presenter
Goodbye.
Presenter
Now you made your London debut while you were still a second year student at the college.
John Lill
Yes, I gave a concert at the Royal College um with Sir Adrian Bolt, playing Rekhmaninoff's third concerto, with the first orchestra there.
Presenter
It.
John Lill
And this received considerable um press um coverage, together with very favourable reviews. And as a result, um Lady Beecham um
John Lill
was uh brave enough to organize an appearance uh at the Festival Hall for me. And uh this I suppose was my official London debut. It was a concert at the World Festival Hall in nineteen sixty three playing Beethoven's Emperor Concerto.
Presenter
Anywhere.
John Lill
Yeah.
Presenter
What, eighteen sixty
John Lill
Yeah.
Presenter
You had excellent reviews and and the critics remarked on your composure and and confidence. Were you Napus Uh
John Lill
Oh yes. I'm always nervous whenever I play, but you mustn't give uh the audience the feeling that you are insecure. That will make them feel insecure as well. Somehow you must make them feel that you are in command, even if you are nervous.
Presenter
And you were booked for another concert at the festival hall a few weeks later.
John Lill
That's right. Um, at that time Mazayevich uh
John Lill
died and I was asked to take his place, playing McManninoff.
John Lill
Um and since then it's been like a a snowball um the the work has increased and I think I've got better gradually.
John Lill
When did you make your Continental debut?
John Lill
Well, um when I was in my late teens I had played in many countries in Europe.
John Lill
But more recently I've uh toured Canada, America and uh Scandinavia and of course this year I went to to Russia.
Presenter
You acquired a reputation, possibly your memory had something to do with this, as someone who would jump in an aircraft and go and play more or less anything, anywhere if an emergency arose.
Presenter
Yeah.
John Lill
It's a mixed blessing, I feel, because um the public still expect the goods from you, and you must still play very well, even as as if you had had a great deal of notice. Uh it's important now for me to stop doing this sort of thing, because um nothing can take the place of quality.
John Lill
and I feel that quantity is of less importance. However, when you are developing and when you are starting your career, you have to take these chances if if they're offered to you in order to try and um scatter the the the the seeds as far as you can so that people can hear you play.
Presenter
However
Presenter
Now this year the the big news you were joint winner of the International Tchaikovsky competition in in Moscow. This is a worldwide competition isn't it?
John Lill
Yes, I feel it's about the biggest of its kind, um, in that it has an enormous
John Lill
number of people taking part and uh um the realms themselves take a a long time.
Presenter
Yeah.
John Lill
For example, there there are three rounds in it and uh the first round alone takes ten days for everyone to play their
John Lill
There are pieces.
John Lill
Also, of course, there is a very large number of people on the jury, and it does receive a great deal of of publicity.
Presenter
Hm. How long does the whole thing take? Assuming you get through through all three rounds?
John Lill
Assuming you get through to the
Presenter
The f
John Lill
Finals it takes nearly four weeks, which is quite some time.
Presenter
and previous winners have been Van Kleiber, Nashkenazzi, John Ogden,
John Lill
Yes. Is it held every year?
John Lill
No, it's every four years.
John Lill
And um
John Lill
I think the age limit is thirty one.
Presenter
Yes. Now the Tchaikovsky competition, you don't play only Tchaikovsky.
John Lill
Oh, not at all. No, they they pay particular stress to the fact that you must uh give all types of styles and uh you must uh play everything from memory. Um you must also play with orchestra and without.
John Lill
And uh
John Lill
And it's in public? It is always in public. Everything is is recorded and it's off and everything is broadcast. Even the early rounds. So it's a good test on the nerve as well, you know.
John Lill
What was the pride?
John Lill
The prize was all about one thousand one hundred pounds. And can you take the money out? Oh no. No, it's uh it's something which has a great deal of prestige value, this prize, but one doesn't consider it to be financially a wonderful prize in that it has to stay in Russia.
Presenter
So you have to go back to Russia occasionally for a holiday to spend some money. Well, it seems like it, yes. You were invited as winner to tour Russia.
John Lill
Yes. I had a very enjoyable tour after the uh the competition, and I played at uh the leading um cities in Russia. Uh I was most impressed by the the kindness of of the audiences, uh and they do seem to be extremely demonstrative. They throw flowers by the dozen, even to male artists, and uh
Presenter
Yeah.
John Lill
Which is something you don't quite get over here.
Presenter
So professionally, winning this competition gives you major international status.
John Lill
Yes, uh in fact it's been quite surprising uh the developments that have occurred. What's for the future? Well, um
John Lill
I dare not look uh because uh it seems that I'm going to be extremely busy. I've got um appearances at major concert halls, it seems, all over the world. And in the next two years I've got um concerts in America. Uh I've got a Far East tour with um the London Symphony Orchestra.
John Lill
And I'm playing in New Zealand.
John Lill
South Africa, Scandinavia.
John Lill
Um
John Lill
In fact, the list seems to grow every week, and it's all that
Presenter
That looks after you for a bit. Do you compose, John?
John Lill
Yes, but um I keep it private. Uh I think there are two major reasons.
John Lill
why one shouldn't um be
John Lill
Too keen about exposing one's compositions oneself. In the first place,
John Lill
I think one has to specialize.
John Lill
And um in something as competitive as piano playing you need to
John Lill
to give it every bit of your attention. And secondly,
John Lill
Um music is going through a very difficult period at the moment.
John Lill
in that so many different styles are trying to combine and force their way through.
John Lill
Um I only like to play music that I understand.
John Lill
Therefore I leave a great deal of the avant garde music alone.
John Lill
And in in that I write music which is a little out of date.
John Lill
I'm sure it will be received that way too.
John Lill
Nevertheless, I do it for good fun.
Presenter asks
How long does the whole thing [the Tchaikovsky competition] take? Assuming you get through all three rounds?
Assuming you get through to the Finals it takes nearly four weeks, which is quite some time.
Presenter asks
Do you compose, John?
Yes, but um I keep it private. Uh I think there are two major reasons. … why one shouldn't um be Too keen about exposing one's compositions oneself. In the first place, I think one has to specialize. And um in something as competitive as piano playing you need to give it every bit of your attention. And secondly, Um music is going through a very difficult period at the moment. in that so many different styles are trying to combine and force their way through. Um I only like to play music that I understand. Therefore I leave a great deal of the avant garde music alone. And in in that I write music which is a little out of date. I'm sure it will be received that way too. Nevertheless, I do it for good fun.
“Part of the business of being a concert pianist is to have an excellent memory, because you must use it all the time, and it must be dependable. In my case uh I'm fortunate in that it's it's been reliable up to now, and it seems to have been natural um throughout my development. I only hope it continues that way.”
“Oh yes. I'm always nervous whenever I play, but you mustn't give uh the audience the feeling that you are insecure. That will make them feel insecure as well. Somehow you must make them feel that you are in command, even if you are nervous.”
“It's a mixed blessing, I feel, because um the public still expect the goods from you, and you must still play very well, even as as if you had had a great deal of notice. Uh it's important now for me to stop doing this sort of thing, because um nothing can take the place of quality. and I feel that quantity is of less importance.”
“I was most impressed by the the kindness of of the audiences, uh and they do seem to be extremely demonstrative. They throw flowers by the dozen, even to male artists, and uh Which is something you don't quite get over here.”
“Um I only like to play music that I understand. Therefore I leave a great deal of the avant garde music alone. And in in that I write music which is a little out of date. I'm sure it will be received that way too. Nevertheless, I do it for good fun.”