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Interview by Richard Hoenich

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Interview by Richard Hoenich photo by Milton Feinberg interview by Richard Hoenich t’s hard to imagine a busier saxophonist teacher than IKen Radnofsky. For five workdays each week, and on weekends “for just 9 hours,” he’s also a teacher. He is not the after school teacher, the college teacher, the adminis- trator teacher, the performer teacher, or the volunteer teacher. Ken Radnofsky is all of these things. The common thread in all his work is simply to be a dedicated teacher. In Ken’s words, “I teach my age,51 hours each week of basic teaching, plus the volunteering, travel, and gigs (if being the Boston Symphony’s on-call saxophonist for 28 years can be called a gig). In addition to all this he is an avid supporter of new music, although Radnofsky now refuses to call it new music. His support is realized through his own commis- sions and those of World-Wide Concurrent Premieres and Commissioning Fund, Inc. (WWCPCF, founded 12 years ago by Radnofsky). Ken Radnofsky has had a long and distinguished teach- ing career, including ongoing faculty positions at all three of Boston’s major private conservatories, the Longy School, Boston Conservatory and New England Conservatory. 18 January/February 2005 distance run so the secret is to keep KEN RADNOFSKY ON PLAYING WITH THE BSO (picture at left) running. In the saxophone world we Kenneth Radnofsky in his Boston Symphony Orchestra 1977 have lots of long distance runners. We debut, at age 23, as a member of the concertino in David Del just don’t stop. Don Sinta, Fred Tredeci’s Final Alice, with soloist Barbara Hendricks, Seiji Ozawa, Hemke, and Eugene Rousseau are still conducting. Says Radnofsky, “By the third rehearsal, pictured running as are people from my genera- here, the symphony had already replaced the mandolin, 1st so- tion, such as John Sampen, Arno prano sax, and accordion members of the 5-person concertino. Bornkamp, Jean-Michel Goury, and They flew in the accordion from Chicago, and Harvey Pittel, pic- Claude Delangle, are still running. And tured next to Ken, from Los Angeles and all were there for this then of course there are the sprinters, rehearsal. As a young person it became absolutely clear to come to the young ones who take the lead, rehearsals with the music prepared!” some of whom studied with me like, Amongst the legendary wind players pictured are Armando Chien-Kwan Lin, Greg Ridlington, Eliot Ghitalla, Rolf Smedvig, Andre Come (trumpet section), Charles Gattegno, Philipp Staudlin, Randy Hall, Kavalovski (principal horn), Roland Small, Matt Ruggiero (bas- Matt Sintchak, and Eric Hewitt. It’s so much fun to try to keep up soons), Ralph Gomberg, Wayne Rapier, and Al Genovese (oboe with them! If my colleagues and I are section). “Playing with these people began a wonderful education good teachers then every generation playing with the orchestra and was a dream come true. Even should be better, and in the saxophone though it’s been 28 years there’s always the chance that a clarinet world it is so. Two years ago I formed a player in the orchestra will ask to play the sax parts. I’m glad to saxophone quartet, which is immod- have done it for this long,” Ken Radnofsky. estly named The Radnofsky Quartet. In this case though there was a reason for I first became acquainted with Ken Radnofsky when we it. All the members studied with me, and though God collaborated on a recording project of Donald Martino’s knows we have different personalities, it’s such a joy to dramatic Saxophone Concerto, a work I didn’t know. Ken’s work with musicians I helped train and now have to keep flaming passion for “music of our time” as he puts it, and up with. I’m 30 years older than the youngest player, Eliot this piece in particular, was the guiding light and goad for Gattegno, and twenty years older than the next oldest, me to study and absorb the work, and to then rehearse, Philipp Staudlin. Eric Hewitt, who studied with me from perform and record it with the student orchestra at New the age of 11, is 26. All of them have their own identities England Conservatory. His gentle, easy way with col- and interests as soloists, teachers, and conductors. We leagues and students, concealed a steely professionalism play virtually all music of our time. Every week we meet and determination to achieve the highest possible results. and play Wuorinen, Elliott Schwartz, and Felipe Lara, Yet, there was remarkably little “ego” or prima dona atti- among others. Occasionally though, we do perform great tude with this Ken. In fact, it seemed to me that the entire vintage music. Just recently we performed Glazounov effort was never about “Ken” in Ken’s mind. He had a more Quartet and Pierne Introduction and Variations for the important mission. It was really about the music at hand. Longy School’s Fall Septemberfest. It was about supporting and encouraging the composer and through him all living composers. It was about the Ken, I could not help but notice that you have chosen, other performers, myself, and the young gifted students, deliberately I suppose, to call new music, ‘music of our and helping us understand our role in bringing this music time,’ and music of previous eras, though still the 20th and other music of our time to life. And perhaps most century, ‘vintage music.’ important of all, it was for the listeners of our time, who Well, I’m finally done with the new music appellation. deserved to hear for themselves that living composers are Those of us who play music of our time allowed ourselves writing music both vital to the spirit and delightful to the to be stigmatized with the term new music, and although ear. not intended to be self deriding, it brings up certain nega- Almost needless to say, after this undertaking Ken and I tive connotations to the public. After all, it is our music, became very close friends and have remained so for a music of today. The rest is vintage music, and from now on decade now. We have worked together on many musical that’s what I’m calling it. We need to re-educate the public. projects over the years. Time spent conversing with him is I believe that vintage music accurately describes Brahms, always lively; we share many points of view, and see other Mozart, Haydn, Debussy, Mahler, Strauss, Glazounov, and issues from differing perspectives. As the reader will soon Ibert. see, Ken’s deep love of teaching, or better put, supporting, nurturing, and guiding is at the core of his musicianship Do you think there is still room for new ideas in composing and his humanity. It shapes what is a great generosity of music? spirit. I am delighted to have this opportunity to “sound There’s still not enough great music out there for all the out” Ken for Saxophone Journal with some questions that I instruments. You know, it’s not just about the saxophone. put to him recently. We have to be a model for the rest of the musicians too. The average orchestral musician (the non-saxophonist) Let’s begin by talk about some of your current activities in needs to be kept on their toes. In Europe they all play playing and teaching. Mozart and Berio Sequenzas for their auditions. Here in Well, first of all life, and a career in music, is a long the United States we still play just Mozart and excerpts. Saxophone Journal 19 WWCPCF doesn’t commission solely works for saxophone, Yes, I play all the time. Early in my career I would spend we’ve also commissioned concerti for horn and flute by hours meeting with agents, preparing publicity, working Elliott Schwartz, a cello Sonata by Gunther Schuller and a the phone, doing mailings, etc. Now, even though there’s Horn Trio (violin, horn, and piano by Yehudi Wyner). Com- no longer any of that, people call anyway. I am very grate- missioning works is part of my personal investment in our ful and lucky. I simply don’t have time for all of the mail- civilization. I am very proud that so many other musicians ings, except with World-Wide Concurrent Premieres that have teamed up with us at WWCP. benefits a greater number of people. To answer your specific question, though, since I was It should be noted that at the time of this interview World- last interviewed I’ve been to Cuba to perform with my Wide Concurrent Premieres is preparing for three simulta- daughters and composer John McDonald. Lauren is a neous World-Premiere Performances beginning February 20, terrific cellist doing graduate work at Eastman, playing 2005; Quintet for Alto Saxophone and String Quartet by Ligeti, Birtwhistle, etc., and Julia is a wonderful artist John McDonald, Trio for Saxophone, Cello and Trio by with a lot to say. Going to Cuba with them was a highlight Howard Frazin, and Sonata for Saxophone and Piano by in my life. I’m supposed to be talking about myself, but my Shih-Hui Chen. All three pieces, with performance scores children are so much more interesting! and parts are still available for a cost of $200, with all But again, to try to answer the original question I’ve scores numbered and signed by the composers. You may played with the Boston Symphony a number of times, write to participate at [email protected]) including the Berio Sinfonia, Bizet L’Arlesienne, a Bolero You mentioned you personal investment in our civilization, recording with Bernard Haitink (a rehearsal recording in terms of new music, and your strong feelings about this session without a separate rehearsal or performance), and are very apparent.
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