2017 Pedagogy Conference Saturday Artist

Leon Fleisher And KAtherine JAcobson The Waltz Of One Piano, Four Hands

eon Fleisher and Katherine Jacobson will pres- James Litzelman (JL): We’re delighted that the two of ent an evening concert at the 2017 MTNA you will be performing a four-hand recital at our confer- National Conference in , . ence this March! How often do you perform together? In addition, Fleisher will serve as clinician for Leon Fleisher (LF): We perform together rather fre- the advanced piano master class during the con- quently, actually—at least a dozen times each year. ference. (See pages 30 and 31 for information.) Katherine Jacobson (KJ): Leon and I are very much James Litzelman, MTNA member and the AMT looking forward to playing a recital for MTNA in March. Editorial Committee chair, recently had the opportunity to For the past several years, we have performed hundreds of Lask them about their careers and future music plans. duo-piano concerts around the world including Carnegie Hall, Tanglewood, the Library of Congress, Tokyo, Beijing and Brussels—on the very same stage that Leon won the James Litzelman, NCTM, teach- Queen Elizabeth Competition! es piano and piano pedagogy at the Catholic University of America in JL: Do you focus mostly on 4-hand repertoire, or Washington, D.C., and is an inde- two-piano or concerto? pendent piano teacher in Arlington, LF: Four-hand repertoire, mostly. There’s some really Virginia. He currently chairs the AMT beautiful music there. Editorial Committee, and is past pres- KJ: Yes, our recitals have focused on the four-hand piano ident of the Northern Virginia Music repertoire. We have enjoyed performing and recording the Teachers Association. Mozart Concerto for Two Pianos, K. 242 for Sony, and we have also played it several times in its original version for

10 DECEMBER/JANUARY 2016/2017 Photo © Jennifer Bishop three pianos, most recently with the Chicago Symphony LF: Schnabel was presented with the possibility of Orchestra at Ravinia with Alon Goldstein. teaching me by two conductors—the then conductor of the Symphony, and Alfred JL: Ms. Jacobson, one of the first questions that our Hertz, who was Monteux’s predecessor. At the behest of readers might want to know is “What is it like to collab- President Roosevelt, Hertz started a WPA (Works Progress orate with Leon Fleisher?” Administration) orchestra because so many musicians were KJ: It is invariably an intense experience due to the mag- out of work at the time. Hertz and his orchestra played a netic force of Leon’s musical vision. He has a powerful way number of school concerts, and he had heard of me and of drawing his collaborators inside that world. I have been invited me to play with him. affected by that. Leon is a big proponent of the idea that the Whenever Schnabel came out to the west coast, he always performer is there solely for the music and the performer’s had dinner at the Hertz’s. The Hertz’s recommended me ego should not be part of the equation. He often likens the to Schnabel, but he very politely turned me down—just performer to being a vessel through which the music pours. on principle, simply because of my age. Up to that point, the youngest student he had ever accepted was 16. Another JL: Mr. Fleisher, I wonder how may reason he declined was because of language. Schnabel have impacted you in this regard. You began your stud- spoke very often in abstraction, and he wasn’t sure that a ies with him at age 9, studying with him for almost 10 9-year-old could understand all of the imagery he used in years. Could you speak about what it was like to study his teaching. That winter, when I was 9, Schnabel came with a man such as Schnabel? Although you were a prod- out to play a concert, and as usual, he had dinner with the igy, you were only 9, so I wonder how much you were Hertz’s. While they were dining, Mrs. Hertz snuck me into able to absorb from him at that young age. the house through the basement and had me sitting at the

AMERICAN MUSIC TEACHER 11 Leon Fleisher And Katherine Jacobson

JL: It must have been extremely difficult to present one’s artistic vision of the work by having to record in this manner. LF: Precisely, but he did it.

JL: That reminds me of the Schnabel edition of the Beethoven Sonatas—I believe I’ve read that Schnabel came to regret the fact that he had his edition of the Beethoven Sonatas published. Is that true? LF: Yes, but not for the reasons you might imagine. He was very unhappy because he felt that the edition was misunderstood. For example, he tried to indicate the very small fluctuations of tempi that occur when interpreting the sonatas. Some tempi kind of moved forward and others were more relaxed, or Photo © Steve Riskind kind of suspended in time, and he developed this method of trying to piano when the dining room doors opened after dinner indicate these things by marking a metronome change of one and well…there I was. Poor Schnabel was trapped! But or two notches. He felt eventually that this was so misunder- being the gentleman he was, he proceeded to listen to me, stood—that people actually thought it was different tempi— and I remember very clearly I played some Liszt for him— and that was not his intention at all, so in certain ways he the Sonetto 123 and the Beethoven Cadenza to the B-flat regretted the edition. Concerto. It was after this that Schnabel agreed to accept me One of the great things he did, of course, was to intro- as a student. duce this idea of a different print for everything that he JL: And you started your studies with him in Italy, thought should be done as an interpretation of the music, correct? as opposed to Beethoven’s indications, which are volumi- LF: We started in Italy in 1938, but then war clouds nous. He wanted large print for Beethoven and small print started gathering, and he recommended I return to New for Schnabel. We are to be very grateful for that, because York. He eventually followed, coming in 1939, and I there are terrible editions where the editors don’t distin- worked with him for the following 9 years. guish between what they think should be done and what JL: At the time, did you know what a colossal figure Beethoven obviously indicated in the score. Schnabel was? LF: Yes, yes I did. Because my teachers in San Francisco JL: You are probably the most famous living pianist prior to Schnabel all knew of him, and he was a giant. with focal dystonia. This is a topic that is of particular Having been the first actually to record all of the Beethoven interest to me, as I, too, have focal dystonia. Some years Sonatas, and doing so in the old format of the 78 LPs. ago, you were asked in an interview on The Diane Rehm JL: Only two or three minutes a side, right? Show if, given the opportunity to relive your life without LF: Exactly! They had to stop to change the mother focal dystonia, would you choose to do so. Your answer record, and he had to pick up exactly where he had left surprised me, because you said you might not choose a off. It’s truly inconceivable to imagine going through the different path than the life you’ve had. Could you speak Beethoven Sonatas in this manner—can you imagine! about that a bit for us?

12 DECEMBER/JANUARY 2016/2017 Leon Fleisher And Katherine Jacobson

LF: Once I got over my period of—oh, what would for a tour with each player then traveling separately to con- you call it?—my deep funk, and my period of self-pity, I cert venues. Thankfully, Leon and I haven’t come to that guess—and started to function again as a musician, what I yet! realized is that my connection to music was not exclusively as a two-handed piano player, but as a musician. I became JL: Are the two of you still learning new pieces to add quite active as a teacher, and there is a considerable litera- to your repertoire and, if so, how do you go about choos- ture for left hand alone, and I began to conduct. Some of ing repertoire that you both want to play? my greatest joys have been as a teacher, to share some of KJ: A concerto for two pianos by composer, Nicholas these insights with gifted young people who are searching Jacobson-Larson, has been commissioned for us. We look for answers; this has brought me a level of satisfaction that forward to premiering it and adding it to our repertoire. I’m not sure I would have given up just to continue con- LF: The digits are perhaps losing a little bit of their flu- certizing as a two-handed pianist. ency, so I’m more interested in conducting than in playing at this point, but yes, indeed we do look at new repertoire. JL: Ms. Jacobson, you studied with Vronsky and Babin, one of the truly great duo-piano teams. That JL: Ms. Jacobson, what’s been the most rewarding must have been enormously helpful in your later collabo- aspect of being able to collaborate with your husband? ration with your husband, I would guess. KJ: Becoming a better musician. KJ: I will always be grateful that I had the amazing opportunity to study with Vitya Vronsky and Victor Babin JL: Finally, can you offer us any clues as to what we at the Cleveland Institute of Music. They were both mon- might hear on your program? umental musical influences in my life. The Babins had KJ: It is my hope that Leon will agree to play a few piec- studied with Schnabel and would regularly speak of his es from the solo piano repertoire. Our duo performances teaching. I remember Victor Babin making reference to may include Brahms “Liebeslieder Waltzes,” Schubert “F Schnabel’s playing and likening it to “hearing the angels Minor Fantasy,” and Ravel “La Valse,” which have been sing.” A lesson with Dr. Babin on the Scriabin Third Sonata recorded on our Four Hands CD. (Sony) will forever be etched in my memory. After I played the We played our first performance of the “Liebeslieder sonata for him, he sat down at the piano and sight-read the Waltzes” at the Aspen Music Festival quite a few years ago. piece for me to show me how it should go. I was in awe During one of the waltzes, I felt Leon’s arm around me, as he somehow fit his mammoth fingers on the keys and as if he were about to sweep me onto the dance floor! It played Scriabin’s music with such great beauty and passion. didn’t happen that time, but who knows for the future? In the past we both have taken ballet class as well as Viennese JL: Mr. Fleisher, what’s been the most rewarding Waltz lessons. I encourage my students at Peabody to take aspect of being able to collaborate with your wife? dance lessons as it helps in defying gravity in music and LF: Oh, that means we can fight all 24 hours every day! encourages the music to be air-born rather than earth- JL: I suppose that, in some ways, rehearsing with bound. As my husband is fond of saying, “Music is an your spouse is easier than rehearsing with others and in adventure in anti-gravity.” some ways it’s more difficult. Do you care to share any thoughts about that, Ms. Jacobson? JL: Mr. Fleisher, you turned 88 last July. KJ: Rehearsing four-hand piano repertoire with a spouse LF: That’s right—I am as old as there are keys on a has its challenges! First of all, there’s not a lot of room for grand piano! My next goal is to become a Bösendorfer! each pianist to share space at the keyboard, so collisions JL: Wonderful, because we’re all rooting for you, of may occasionally occur. My husband always jokes that course! You’re still incredibly active with performing, he recommends elbow guards to prevent serious injury. teaching and conducting. How do you do it at your age? Seriously though, four-hand piano playing involves a cer- LF: Well, I don’t know, really. I had a pacemaker put tain twist in the upper body, which over time can present in, and that has made me feel like a butterfly again. Now, I problems. Yoga can help a lot with that! These days we try have to find a way to sting like a bee again! to “keep it fresh” by rehearsing minimally until right before AMT the concert. Certain string quartets are known to rehearse

AMERICAN MUSIC TEACHER 13 2017 Pedagogy Conference Saturday Artist

Lessons LeArned In Room 413

oom 4-1-3. For some students who earned Lessons with Mr. Fleisher were unique in every way. their performance degrees from the Peabody Each was a two-hour event shared by three students. These Conservatory of Music in Baltimore, Maryland, afforded students an exposure to more music, different this room number evokes a very special, powerful playing styles and the greater gift of hearing him teach— memory. It compels us to stop for a moment absorbing his perspectives, his techniques, his visions and in response to a spark of enlightenment that incomparable, inspirational pedagogy. It also created won- remains, for many of us, a continual daily inspi- derful friendships that have lasted a lifetime. The energy ration. Room 413 is a corner room on the top floor of the created in each lesson routinely poured out of room 413 RConservatory’s 1857 structure, perched aloft, high above in lengthy conversations, rolling down four flights of stairs, the daily activity at one of the country’s most prestigious through the courtyard and into the cafeteria. Over several institutions of music education and performance develop- tall cups of coffee, they continued to inspire and develop ment. For more than 50 years, Leon Fleisher has made his creative thinking among lesson partners for hours. To this way to this private sanctuary several times weekly to nurture day, when I meet another of Mr. Fleisher’s students, we are and guide those fortunate enough to be invited into this instantly reconnected by the same feeling of partnership room and into his world. Within these walls he shared his that began so many years ago in that corner room on the experiences, his insatiable love of music and the piano, and top floor at Peabody. created a pedagogical culture focused on respect for the The gifts of working with Leon Fleisher are almost too score, the instrument and the student. numerous to mention and are both personal and profes- sional in nature. Listening to the thoughts of a musician of his stature deeply enriches ones understanding and expe- Sheila Vail holds BM and MM degrees rience of creating music. Listening to him speak about his from the Peabody Conservatory, where experiences with the many musical icons with whom he has she studied with Leon Fleisher. She is worked throughout his life, notably his own teachers Artur managing partner of the Indian Springs and Karl Schnabel, offered an unparalleled perspective and Academy of Music in Cincinnati, wealth of influence, which he shared without constraint. Ohio. A teacher, author and clinician, Working with him, we all felt part of an important historic she is a regional leader for the Music legacy, holding hands with Schnabel, Leschetizky, Czerny Development Program. and Beethoven.

14 DECEMBER/JANUARY 2016/2017 Photo © Joanne Savio

Leon Fleisher is a powerful musical force of nature. His pedaling, effective textural definition and layered tonal col- masterful pianism is instantly apparent when he touches oring. And then there is his sound. A defining sound that, the keyboard, and his understanding of the music, style when combined with a driving pulse, transforms a piano and intent of the composer in his selected work is conveyed into a kaleidoscope of colors and textures—untethered by so uniquely, performed so impeccably, it momentarily the constraints of an instrument. To this day I often pull stops the world around you. His experience of rhythm and over while driving or remain in the car to be able to clearly pulse underpins all of his music and creates an irresistible hear—and feel—a performance of Mr. Fleisher’s that I am drive that propels everything he plays. He sees rhythm as listening to. an interpretation of human experience, and its underlying The first lesson learned from Leon Fleisher, one learns pulse is its emotional channel of human expression. Over immediately. The lesson of humility. Being in the presence the intelligence of pulse organization, all else can be crafted of such enormous talent, of such phenomenal, innate abil- with meticulous molding of phrasing, the most judicious ity and understandings that reach far beyond one’s own,

AMERICAN MUSIC TEACHER 15 Lessons Learned In Room 413

is instantly and permanently humbling. Equally humbling Mr. Fleisher’s ability to evoke an image, create an expe- is his own genuine respect for both the music and the art rience and develop specific physical abilities in his students of teaching—creating a perfect partnership of a respectful gives each student the precise tools needed to cultivate approach for the composer, the score and the student. their own individual performances. His ability to verbally As a teacher, Mr. Fleisher was the consummate model. describe the warmth of tonal colors, fine pedal gradation, Totally and completely professional, he never brought textural clarity, pacing and tonal sonority takes one far the anxieties of his life into the sanctuary of inspirational beyond the experience of playing the piano. His ability to learning and teaching. Despite the minimal use of his right craft a human experience through the molding of sound hand, he was able to demonstrate everything on the piano and meticulous management of the instrument permanently and was committed to achieving the results he wanted to changed us as musicians. He once summarized his thoughts hear in our hands. After reading his biography a few years to me as simply, “The goal of the whole is your soul.” ago, I learned for the first time how difficult and extremely His three-dimensional approach to teaching gave us painful his life was at the time I was working with him. concrete imagery, clarity of the score and broadened our That pain was never apparent in our lessons. Not once. He perspectives in creating our own performances. In every les- conducted each and every session as if it were the focus of son he created a deeper, more defined relationship with the his day and spoke to each of us as if we were equal partners sound and explored greater variety of physical approaches in our mutual exploration of the score. This lesson I keep to its creation. Some examples will never leave me. In with me every single day. Copland—evoking images of skyscrapers, steel, glass, cylin- drical shapes and hard corners. In Debussy—“Glide your fingers across the keys as if it was wet ice.” (Play it) “like a fast paced walk.” (A forte passage) “Find your output without shouting.” (Chordal passage) “Think of your hand as if it were a giant paw.” (Bach) “Articulate your fingers like bubbles in boiling water.” (An ascending chromatic scale) “like water rising” And so many, many more.

Mr. Fleisher’s total respect for and allegiance to the score was clear and present in every lesson. His awareness of detail, particularly of the inner voices and connecting tissue between phrases and sections, often left us wonder- ing if even the composer himself had considered the same possibility. Approaching a work from the macro-vision, working his way to the micro-vision, he was able to explore all aspects of both the score and the performance in the Katherine Jacobson, Leon Fleisher and Sheila Vail were recently reunited greatest detail. His own talent and rich musical heritage has when Fleisher performed with the Cincinnati Symphony Orchestra. led to his perfect comprehension of each composer’s writing style, even peculiar to specific compositions. In Bach—

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lucidity, contrasts of subject, color and contoured intensi- this point in her very young life. His language, his physical ties. In Mozart—the underlining poetry, sectional framing work with her—molding her hand, demonstrating on her and presentation, and impeccable execution. In Beethoven’s arm—was remarkably gentle, in difference to her youth, piano sonatas, Mr. Fleisher has an unparalleled understand- but nonetheless committed to the uncompromised end ing of the composer’s writing, the organic evolution of the result. He was focused on the learner that day, as all days, content and the ability to “speak” a phrase as if he him- taking the path she needed for her success. This great lesson self were its author. His understanding and command of I embrace every moment I teach. Brahms is unequaled, evidenced by his recordings of both Another lesson I learned from Mr. Fleisher is that musi- Brahms concerti. cians live in service to something far greater than ourselves, His work with his students was no less respectful. He and this truth bonds all musicians, regardless of their stature consistently demonstrated consummate professionalism, or professional path they have chosen. I recall an evening I inexhaustible patience and the never ending pursuit of per- was invited to attend a casual dinner with Leon, his former formance excellence. Once accepted into his studio, each student and good friend André Watts, and a few other friends. student was afforded equal respect and affection. I clearly Over a table of Baltimore’s great seafood, we all enjoyed a remember one Tuesday morning leaving his room following conversation that about conductors, traveling, Beethoven a lesson. The next student was making his way down the and backyard gardens. We also enjoyed watching André hall toward room 413. We had met several times previously blow perfect smoke rings which, for hours, hovered over the when his lessons were scheduled right after mine. His name table like a finely woven tapestry. The warmth of their per- was . A month prior I heard Fima perform sonal friendship glowed. Fifteen years later I briefly caught all 24 Chopin etudes in recital and was aware that we were up with André at a function in Cincinnati, and he remem- all watching the launch of a world class career. We said our bered me, the dinner in Baltimore—and the smoke rings. brief hellos, and he went in for his lesson. My feet would Mr. Fleisher has shaped several generations of some of not take me down the stairs that day. I sat in the stairwell our greatest pianists and musicians, and cultivated excel- across the hall and listened to what was, even at his young lence in the teaching world through his own practices, age, a stunning performance of a Prokofiev sonata move- consistently demonstrated for more than 50 years. Mr. ment. Listening to the pyrotechnical splendor, the sheer Fleisher may never know just how deeply he is loved by the power, the personal and tender poetry, and the tapestry of many of us who were so fortunate to have been with him sound and color simply took my breath away. Later that for the brief periods of time that we were. But we certainly day, I ran into Leon and mentioned that I heard Yefim that do. When we reacquaint at various functions or occasions, morning. I had also played a Prokofiev sonata movement the first words we share reference the magic of the time we that day, nowhere near the level he heard from Yefim—not shared in the shadow of greatness. Every day as I walk into even close! Before I could say another word, Leon gave me my studio I remain grateful for the gifts given to me by my warm words of encouragement and offered an additional teacher and mentor, Mr. Fleisher, and the musical enrich- thought for me to consider in my own approach. Need I ment shared with me by my friend, Leon. “Music makes mention I learned several life altering lessons this particular life worth living,” he once told me. Thirty-seven years later, day? Many years later I took a young student of mine, 12 I still embrace that reality and carry with me those many years old, to him for coaching. I was honored that he would life changing lessons I learned from a phenomenal musi- accept this student on my recommendation and privilege cian, one of the greatest American pianists, in a corner on to join them for the lesson. I sat in admiration watching the 4th floor marked room 4-1-3. him approach her with respect for her understandings at AMT

AMERICAN MUSIC TEACHER 17