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Tuning in…
Castaway
2 appearances
An international concert pianist who won the Tchaikovsky Competition and became the most successful British pianist of the 20th century.
On the island
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.
Piano Concerto No. 1 in D minor, Op. 15
Claudio Arrau, Philharmonia Orchestra conducted by Carlo Maria Giulini
If I were forced to name a favourite piano concerto, I suppose I'd have to say it was the drums D minor, number one. I first heard it when I was in company with my uncle, who's been a tremendous help to me all my life. And also my favorite pianist at that time was Claudio Arrau, the great Chilean pianist. And it's wonderful that both the composer and the artist teamed up for this performance.
I've always been a great lover of the Goon Show. A long time ago, but still as fresh as a daisy in my book, can we have part of the China story, where the poor man has to knock six thousand times at the door and ask for mister R Pong?
String Quartet No. 14 in C sharp minor, Op. 131Favourite
This is certainly one of his greatest works. I shouldn't be too English, should I? It's the very late quartet in C sharp minor, oppos 131, played by the Guaneri Quartet, who I think play Beethoven superbly. It's a work of such indescribable greatness and achievement, and when you consider this man was virtually deaf when he wrote it, it's all the more amazing.
Berlin Philharmonic conducted by Wilhelm Furtwängler
This is a great contrast of mood from the last Beethoven. This is the Symphony No. eighty eight by Haydn. This is a particularly cheerful finale, conducted by normally a very uncheerful conductor, Wilhelm Furtwengler, and the combination is fascinating.
Violin Concerto in D minor, Op. 47
Jascha Heifetz, London Philharmonic Orchestra conducted by Sir Thomas Beecham
Sibelius. the violin contretto, because although I'm a pianist, I'm aware that it is a percussion machine, and the sound of Heifitz playing this great violin concerto is really amazing.
Symphony No. 3 in E flat major, Op. 55 'Eroica'
Hallé Orchestra conducted by James Loughran
Well, I'm afraid it's Beethoven again. I have to have two Beethovens, because, you know, it is my lifeblood. And there have been so many great conductors of Beethoven symphonies it's very, very difficult to isolate a choice... But I'm a great lover of a British conductor. Sadly, very underrated. James Loughran. And he is a wonderful Beethoven conductor.
Transcendental Étude No. 12 'Chasse-neige'
Well, I mentioned Arrau as being a great pianist, but I think of the younger generation of pianists now, Evgeny Kissin must come, as far as I'm concerned, my number one. And I'm very fond of the list output and the transcendental studies themselves are wonderful pieces.
Symphony No. 5 in B flat major, Op. 100
Danish State Radio Symphony Orchestra conducted by Erik Tuxen
Years and years ago I heard something on the old steam radio, and I was mesmerized by it. It was fantastic, it was so exciting. I think I was a teenager. I can't remember exactly when it was. And that introduced me to the wonderful music of Prokofiev. The Fifth Symphony has a colossal ending, a great build-up. of rhythmic passion and marvellous orchestration.
In conversation
Presenter asks
0:15If 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
2:12You 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.
Presenter asks
3:27How long does the whole thing [the Tchaikovsky competition] take? Assuming you get through all three rounds?
The keepsakes
The luxury
Solar-powered electronic piano
Has to be some sort of piano, doesn't it? But of course pianos do wear out and they need tuning and I was thinking of an electronic piano which is solar powered. Would that be allowed? That would keep me happy as well for a little while.
Assuming you get through to the Finals it takes nearly four weeks, which is quite some time.
Presenter asks
5:37Do 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.
Presenter asks
0:29Did you feel then that [having your hands slashed by muggers] was the end of this career of yours?
No, because uh life has many doors and playing the piano is one in for me of course very important door. But in this case I was aware, philosophically if you like that there was always teaching, that there were always other aspects in music and even other subjects because I've always been quite careful to have lots of hobbies, lots of interests in life.
Presenter asks
2:55How early in your life were you aware that you had something that was more than an ordinary aptitude for the piano?
For some chemical reason or whatever, I was always drawn to the piano, and my mother had a friend uh down the street who had a beaten up old uh upright piano, and I was inseparable from this thing. I was always going along teaching myself. I think about three or four.
Presenter asks
11:20Were you very much aware of [your family's poverty] as a child?
Yes, but they hid most of their poverty from me. Um but I did know that they lived from money lenders, and they gave them six pounds a week, and they received three to live on. It was quite difficult. But, I must stress, I didn't see the very worst sides. I was comparatively a spoilt brat.
Presenter asks
16:42How did you come to play the Emperor Concerto in the Royal Festival Hall at aged only eighteen?
Because of this Rachman Loft Number three at the Royal College with Sir Adrian Bolt, Lady Beecham um read the reviews, which apparently were very, very good, and organised a concert for me at the Festival Hall about a month later. And I was very, very fortunate in the sense that it did receive a lot of glowing press coverage.
Presenter asks
20:36How long was it before you could actually say to your parents, 'Now I'm gonna sort your lives out, I'm gonna help you now'?
Yes, I got very frustrated with their circumstances because they they lived in ever increasing difficulties. Um and that was one of the reasons why I went to Moscow to participate in this Tchaikovsky competition. I thought if I did well in this I could perhaps get them out of that life of hell and get them a different place to live in. And um it worked out.
“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.”
“I always feel by practicing, preparing, you are cleaning a window, and outside the window there is this most beautiful picture. But if the window is misted or distorted, then you can't see that picture. So the more I work, the less I'm in the way, the less I almost exist.”
“Although I may have been given a musical gift, my greatest gift in life is the absolute evidence I've had that there is no death, that the mind does continue, and this spiritual soul does indeed carry on.”
“At a concert, a public concert, you have an extra dimension which you can't get in a studio because it is so artificial. And once you've recorded something, it may be correct, but it's predictable and dull because you know exactly what's coming round the corner.”