Feature Article -
"The Art of Pianist Louis Lortie" -
October, 2001
Jason Serinus
Introduction
Born in 1959 in Montreal, Quebec, Canada, French-Canadian pianist Louis Lortie
gave his first public performance at age 13, playing Beethoven's Piano Concerto
No. 1 with the Montreal Symphony. He has been known for his Beethoven ever
since.
At age 16, Lortie won the first prize in both the Canadian Music Competition and
the CBC Competition. Nine years later, he won First Prize in the Busoni
International Piano Competition and Fourth Prize in the Leeds International
Pianoforte Competition.
Lortie made his first recording of Mozart Piano Concertos Nos. 12 and 14 for
Chandos in 1986, thus initiating his long-term relationship with label. His
Chandos recording of Beethoven's Eroica Variations; Six Variations, Op. 34; 2
Rondos, Op. 51; and Für Elise won Holland's Edison Prize in 1991. BBC Magazine
called his 1994 recording of Beethoven's Sonatas 1-3 one of the "Best CDs of the
Year." With six of a total of eight CDs in his complete Beethoven Sonata cycle
already released, he is currently recording the remaining sonatas.
In 1997-1998, Lortie performed his first complete Beethoven Piano Sonata cycle
at Toronto's Ford Center and Berlin's Philharmonie. A Beethoven cycle in
London's Wigmore Hall followed shortly thereafter.
After completing his year 2001 Beethoven Sonata cycle in Milan's Conservatorio,
Lortie became the featured artist in Montreal's Beethoven Plus chamber music
festival. From October 1 through November 1, 2001, Lortie played all 32
Beethoven piano sonatas; his 10 sonatas for violin and piano; five sonatas for
cello and piano; and six trios for piano, violin, and cello with violinist James
Ehnes and cellist Jan Vogler.
During the same time period, Lortie completed a second Beethoven Festival with
the Montreal Symphony. There he played and conducted all the Beethoven Piano
Concerti, conducted Beethoven Symphony No. 1, and joined cellist Amanda Forsythe
and violinist Pinchas Zukerman in Beethoven's Triple Concerto.
Louis Lortie performs far more than Beethoven. This past spring, he gave a
recital in New York of works by Bach and Kurtag. In Toronto's famed Glenn Gould
studio, he recently completed a series of three concerts devoted to the
keyboard, chamber and vocal music of 19th-century German-Romantic composers
Robert Schumann and Johannes Brahms. In 2002, he turns to Mozart, playing all of
Mozart's Piano Concertos with Charles Dutoit and the Montreal Symphony.
Louis is also a fervent devotee of the music of Franz Liszt. He has recorded
three volumes of Liszt's works for piano and orchestra with the Residentie
Orchestra of The Hague. Volume 2 was released April 24, 2001, with Volume 3 due
out in February 2002.
Shortly before his October 19, 2001 all-Beethoven recital at Oakland,
California's Mills College, I spoke with Lortie by phone. Here is what we
shared:
Discovering the Beethoven Sonatas
Jason: If someone were to drawn to explore the Beethoven sonatas for the
first time after encountering this interview, what do you think entering into
the world of Beethoven might mean to them?
Louis Lortie: You might have to put a little effort into listening to it, but
afterwards they will lift you up. I'm not talking about my own performance; I
don't want to be pretentious here. But certainly, if I'm doing my job well, the
music should do that.
Let me explain what I mean about "a little effort." Too much these days is about
enjoying the evening, relaxing, or entertaining oneself. Great artists like
Beethoven ask people to somehow sit at the edge of their seat. There is a
strength of concentration in Beethoven's compositions. I hope the intensity that
I carry to the music that evening will take them to such a place; that's always
my aim in a concert, to grab people immediately, from the start.
This is why the structure of a program is important. I believe that an
intermission is a mistake. It's maybe good if people are going to walk outside
humming the themes, but not if they go the bar to have a drink and talk about
their new credit card. It's absolutely silly. That's why we need to rethink why
we have concerts and how to do them. Let's not just have people who come from
work and go to a concert like they would sit in front of the TV. It's not the
same thing.
It's not a workaday phenomenon. It's something special.
Absolutely.
Bay Area Performances
There are so many places to perform in the Bay Area. What brings you to Mills
College?
I perform regularly with the San Francisco Symphony and on the San Francisco
Performances recital series; I occasionally perform other places in the Bay
Area, such as universities. As someone who doesn't reside there, I tend to
forget exactly where I performed 12 or 14 years ago.
There are so many venues in the Bay Area. So many are closing, so many are
opening, it's very difficult for me to keep up with. It's also an unknown
geography for me; I don't even know which airport is closest.
The plain truth is, I don't know Mills College at all. My management does the
bookings. I always trust my management to put me in a series where there is a
decent piano and a good public. For me, that plus whether my program fits are
the important things.
When did you last perform in the Bay Area?
Last year, I played the Mozart Piano Concerto No. 13 in C major, K. 415 with the
SF Symphony and Donald Runnicles. It was around the same time as Runnicles
conducted the premier of Jack Heggie's Dead Man Walking with San Francisco
Opera. No. 13 is a very operatic concerto. It has flourishing cadenzas in the
last movement, which also has a couple of unexpected adagios inserted in it. The
last movement is quite a lovely rondo.
My recital with San Francisco Performances was probably the year before, when I
played the Chopin Preludes.
I played in a splendid northern California setting last year, the Montalvo
Villa. People may know the name, but they would have never found out there was a
concert there. The series doesn't advertise in any of the papers. They have a
very small hall, that holds 300 people maximum, but they had no one there.
Mills is a women's school that has a famed New Music and Electronic Music
program. Terry Riley used to be on staff, as was Pauline Oliveros. Current
faculty includes Maggie Payne, Julie Steinberg and David Abel. Mills has
graduated a huge number of cutting edge composers. But I don't know what your
audience will be like. The school is not centrally located.
I'm never really insulted. I just find it bad for the classical music industry
if there's no audience. The presenters complain that the papers don't talk about
classical music, but it's a shame if they can't get their act together to
publicize the concerts.
The State of Classical Music
You perform all over the world. We have a situation in the United States
where people have somehow decided that classical music is for old people, the
audience is graying, classical music is dying, it's not hip, it's not where it's
at or what people want... Are you encountering this attitude in Canada and
Europe?
People think classical music can survive simply by maintaining the old
traditions. Organizations rely on so much on regular Tuesday and Wednesday night
subscription series where people will come automatically. It's a very
traditional milieu, and they expect people to go on like this. But it just
doesn't work like this anymore. They have to create something interesting.
People like to go to festivals. They like to go to small festivals, single
events, or single weeks they want to attend. They don't want to decide two years
in advance to get a subscription.
I think this is a trend all over the world. It's not a bad thing. Performers
like to have a live audience that's really interested in coming to this concert,
rather than people who are sitting there because they always sit there the same
day of the week. Of course, it's now more difficult to get people. Maybe it's
important not to present the same orchestra with the same conductor so often.
Concert promoters are at least trying to get a lot more contact between the
artist and the audience. For example, they sponsor pre-concert events. I don't
remember doing one in San Francisco; maybe you don't need them. But a lot of
places ask the artist to go onstage before playing, talk about the piece, give
examples at the piano, answer the audience's questions.
I find that very interesting. It forces you to be more articulate. It also
presents a problem for a lot of performers who are hopelessly unable to talk
about themselves and what they're doing.
Last year, I went to a wonderful pre-concert lecture with Andrew Manze at Cal
Performances. It was quite enthralling. Right now, San Francisco Performances is
sponsoring the Alexander String Quartet doing the Shostakovich quartets. Robert
Greenberg lectures before the performance of each quartet, with the quartet
playing examples.
I think that's marvelous. Things like that have to be tried. And the artists
themselves need to be far more involved in the programs.
Conductors and Soloists
I hope we will soon be past the time when management books any artist with
any conductor without any link between these people. That's the problem. People
go to concerts, and they see a conductor and artist who have probably never met
before. Maybe they couldn't care less about playing together, because they have
different musical approaches.
Most conductors don't even give the soloist ten minutes to meet before the
performance; sometimes you're luck if you even get ten minutes. It's a very
strange attitude, very traditional, very stale, and often very uninteresting.
All of this has to change.
What does that mean for you if you do a piano concerto and you and the
conductor have very different ideas?
It's interesting if we can discuss this. Maybe it can be very productive. Maybe
we can produce an interesting performance - even an interesting confrontation is
possible.
As with Leonard Bernstein and Glenn Gould in the famous performance of the
Brahms Piano Concerto No. 1?
At least something interesting happened there. As a matter of fact, years after,
when Bernstein recorded the piece with Krystian Zimerman, he forced Zimerman to
play even slower tempos than Gould insisted upon. People evolve, people change
their minds. Maybe Bernstein and Gould were tired of each other, and the tempo
thing was sort of an excuse. There are many extras that have to be analyzed.
Have you had these difficulties with some conductors?
Of course, because we're booked with people with whom we don't necessarily have
something in common. It's too much of a business sometimes.
I wish the orchestras would discuss things directly. When you do an opera, you
have to have people who can work together, because they have to work together
for weeks. If the people staging are not getting along with some of the singers
and the conductor, it can be a disaster. It's got to be planned and thought of.
Too much of the industry is about, "The Tuesday night series has to have a
concerto in it. Let's just put this big name with this other big name and that's
it." It doesn't always work well that way.
Have you done much outreach to children and young people?
I don't do much of this. You need a special gift to talk to very young children.
I do it once in awhile, but I think the best people who can do it are the
teachers. And it can be very dangerous, because children can be turned off very
quickly.
I'm thinking specifically the Lincoln Center Institute, an absolutely thrilling
program for children in which works of art become real for them.
The Essence of Beethoven
Let's talk about the Beethoven you're performing. I was just listening to
your recording of Beethoven Sonatas Op. 31, No. 1 and 2 [Chandos CHAN 9842,
paired with Op. 31 No. 3], both of which you'll perform at Mills College. What
does this music say to you? What is it about to you? Why are you drawn to it?
The incredible thing about Beethoven is that you can hum HIS motives all your
life - they work on you on such a basic level. It's fascinating. It stays inside
of you, and it seems to be evolving almost as if you would catch a virus;' you
can't get rid of it. It's really inside of you.
Beethoven's music comes back very quickly if you haven't played it for awhile.
You lose a lot of music if you haven't played it for ten or twelve years. But
Beethoven seems to be music that just sticks with you. At least with me it's
like that. I tend not to forget a lot of this music, and it comes back. If I
forget a Sonata, I just have to read it and it's back.
There's an urgency in Beethoven's music which is absolutely incredible. I think
it's the power of the will and concentration in the material. Nobody was ever so
concentrated as Beethoven in his use of music and his way of reducing things to
the essentials. The famous themes of Beethoven, the fate motives -- you can
always take a part of those themes and distill them to a four-note motive or
five-note pattern.
The way Beethoven uses these small cells in all of his works and makes a whole
world out of them seems so basic; yet he was the first one to discover how to
use this to a greater extent, how to create all these psychological changes from
a motive. Nobody else had allowed themselves to do this before him.
Beethoven will use the same motive within a movement, but with dramatic changes
of tempi or dynamics. Nobody ever did this before. Every composer would stay
within a certain frame, a certain tempo, a certain psychological use of a
motive. But with Beethoven it's incredible how much he allows himself.
I compare Beethoven's music to a virus because it's really like a little cell in
the biological sense of the word. It spreads out and through you, as if the
organism grows by itself in all sorts of directions.
It's as though he's operating on a very primal level, working with basic life
force building blocks.
Exactly.
When you play, you must go through many cycles of emotion. Do you sometimes
find that hard to contain, or can you cycle those feelings back into the music?
There are so many ways you can play Beethoven's music and play it "right."
Sometimes you can have a certain idea about a certain piece, for example, the
Appassionata Sonata. (The title wasn't even Beethoven's, but the music is very
passionate). Passion can mean something different for you every day, depending
on how you feel and what you're experiencing in life.
What's incredible is that the primary motives of the Appassionata can be played
in so many different ways. If you listen, for example, to the recordings of
great artists who were obsessed with this music - recordings that they made 30
or 40 years apart - they sound like they were played by different persons
altogether. And you are a different person as you grow older. The earlier
version is not necessarily closer to Beethoven than the later one. It's just
different ways of experiencing his music.
This music is also very, very open. And it's very modern, because it allows a
lot of interpretation, a lot of which can be correct and be justified.
You gave your first public performance at age 13, playing Beethoven. You've
been performing before the public for 29 years. Do you have early recordings of
the Beethoven, and have your interpretations changed a lot?
Of course. The things you perceive as a teenager are of course different.
Certain composers are almost impossible to understand fully when you're young.
Mozart and Bach you can hear teenagers play absolutely stunningly. But with
Beethoven, perhaps because of this unleashing of so many radical changes, you
can experience his music fully only a little later in life.
Late Beethoven
Let's talk about Op. 111, the final work on your Mills program.
What's interesting about the late Beethoven sonatas is that the composer, who
had been experimenting with sonata form and motives all his life, seems at the
end of his life to have gone back to an incredible simplicity. It's almost as
though he was writing with a certain detachment.
It's very difficult to understand these later works, because he seems to have
given up his usual way of writing. The motives do not go through so many
stunning changes; they are more concentrated in their psychological
transformations. It's as if he was already detached.
The later works are also less physical. The second movement of Op. 111 is
probably one of the least physical works of Beethoven. A lot of it is in the
higher registers, and really seems to be played by an instrument that would not
even be a piano. It sounds very much like a xylophone sometimes, like something
played on an ethereal instrument rather than an earthly one. It's quite puzzling
that he would go that far.
And he was totally deaf by the time he wrote it. Only the Ninth Symphony, Op.
125 remained when he wrote the work; the other symphonies were composed way
before.
Beethoven and Brahms
I remember reading an interview with Anne Sophie Mutter in which she
contrasted Beethoven and Brahms. She said something like with Brahms, you always
you know what he's feeling. You play it and you know it, because the meaning is
all on the surface. With Beethoven, there are always deeper layers of meaning;
there are always new discoveries, so it's always fresh. Do you share her
experience of these composers?
I find Brahms just as puzzling, if not more so, as Beethoven. Brahms is as
difficult to get deeper into. I'm very fond of both composers, but for totally
different reasons.
I'm crazy about Brahms' sense of and obsession with history, his way of
assimilating everything that was great in the composers before him. He was the
first composer who was really obsessed with history. And of course that
disturbed all the people around him, because when you're a modern composer,
you're supposed to say that the past is the past. He was studying everything. He
knew the complete works of the contemporaries he admired, such as Schumann and
Beethoven, but he also know all of Palestrina.
The amount this man studied was amazing. He had a way of rewriting all of it.
He was not quoting other composers; he was always reinterpreting the whole
history of music.
Brahms was writing at a dead end time for composers. People were either
reinventing the harmonic language, like Wagner or Liszt, or reassimilating the
lessons of the past, such as the variation principle or the sonata form. The
latter seemed impossible for most people, because their predecessors were such
giants. But Brahms not only worked in those idioms, but took them farther and
made something new out of them.
Career Development
Are you happy with the direction your career has taken?
I would like to have more control of with whom I'm working, especially with
others musicians, and have more freedom. I envy people who present their own
festivals. The project I currently have in Montreal, performing all the
Beethoven Sonatas over a period of time, is very close to this kind of thing,
We all travel too much. We all do too many things too quickly. I like to take
time to shape things with conductors, and build musical relationships. I think
it's great when you can see conductors again and work on the repertoire. There
are very few real associations between conductors and soloists that really last.
Which conductors have you really be simpatico with?
They're not necessarily famous. Conductors tend to become well known later in
life, and I like to work with people from my own generation. Their egos are not
fighting all the time, and they aren't thinking that they could be your father
or whatever. This problem comes up a lot. So I tend to like to work conductors
who are just starting to be known. They really take a different approach. We can
take the time to sit down and take the time to go through a piece before we
rehearse, and discuss various things.
Have you worked with Michael Tilson Thomas?
No, I haven't.
There are soloists he seems to love, like there were people that Lenny really
loved.
This is great. What matters is the quality of the rapport.
Are there other Beethoven pianists you really admire?
Most of them are dead. Not so many people play a lot of him nowadays. You will
find a hard time finding someone who plays all of Beethoven; people don't think
it will sell. It's strange - I haven't had any problems with it, but it's what
people think.
There are so many people I respect from the past. Of those still alive,
certainly Daniel Barenboim is a great Beethoven player. In the past, there were
so many greats. Wilhelm Kempf I've always found interesting. These two are the
most influential for me.
Frankly, I don't have the time to listen to so many interpretations these
days.
Final Thoughts
Thank you for taking so much time. I thought this interview would last 10 or
15 minutes. Most people want just snapshots. But you seem to be someone who
likes to investigate so many aspects.
I'm a performer myself. The music I perform is in my blood the same way that
Beethoven is in yours. So when I speak to a professional musician, I want to get
a sense of how the music really touches them.
I have a feeling we just started. It's amazing, because you have gone in so many
directions.
Matthias Goerne loved our interview together. He invited me to come to Los
Angeles last spring to talk more. [See the interview with Matthias Goerne in the
archives].
He is great. We were just talking about him today. One of the cellists I'm about
to rehearse with is from Dresden. I told him they must have him in their
Festival.
I would be on my knees to work with him. I heard him do Mahler's Songs of a
Wayfarer in Berlin. It was the experience of a lifetime.
- Jason Serinus -
© Copyright 2001 Secrets of Home
Theater & High Fidelity
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