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Bruce Brubaker on all things piano

Mr. Brendel, thank you

November 5, 2009 by Bruce Brubaker

My introduction of Alfred Brendel last night in Boston:

In classical music, there are those who believe that thinking about music can compromise feeling — compromise our emotional response to music. Alfred Brendel’s example vividly shows us that such notions are foolish. Mr. Brendel scrutinizes the canonic texts of the piano repertory. He examines the behaviors of piano playing and musical life, and he’s shown that deep reflection can yield (not impede) a heightened emotional and even spiritual connection to the muses.

To a young pianist, it was a powerful example. From the high balcony at Carnegie Hall, I overheard Mr. Brendel grapple with Beethoven’s music. I recall the thrill of anticipation I felt just buying the tickets for one of his Beethoven cycles. And then:

I had been, let us say, to hear
(From highest Carnegie incline)
The latest Fōld of the great garment of Beethoven’s sonatas
Transmitted by Mr. Brendel through his hair and fingertips …

(And for that, apologies to Mr. Brendel and to T. S. Eliot.)

From that high place — from those cheap seats — I witnessed probing and unforgettable performances: of Schubert’s and Beethoven’s music, of Liszt’s Sonata, of the Two Saint Francis Legends, of Robert Schuman’s C-Major Fantasy. On those occasions, control was “in league with chance,” as Mr. Brendel has described an ideal.

Through Mr. Brendel’s words, as well, provocative guidance has been offered. There are many well-worn copies of Musical Thoughts and Afterthoughts, and Music Sounded Out. Alfred Brendel has led generations of musicians “away from the piano, and to themselves.”

Mr. Brendel has written of “the unseen hand” that can grip an audience and a player. I will paraphrase a passage from his essay, “On Recitals and Programmes”:

There has been a spiritual link between Alfred Brendel and his public — an intense physical experience, unique and unrepeatable, tied to a specific time in history, tied to the sounds of particular halls and instruments, to the sudden bursts of the athlete, and the peregrinations of the poet. All has been well, and Mr. Brendel’s mastery has only been surpassed by the grip of an unseen hand, that has kept its hold over a player and his listeners alike for decades — a few timeless moments… Through a long and magnificent career, he has brought us to an understanding, and a love, that we didn’t know ourselves to be capable of.

Mr. Brendel, thank you.

Filed Under: Uncategorized Tagged With: Alfred, Alfred Brendel, Brendel, Carnegie Hall, Edwin Fischer, musical feeling, musical thought, New England Conservatory, T. S. Eliot, unseen hand

Bruce Brubaker

Recordings like the new American piano music albums I make for ECM, InFiné, Bedroom Community, and Arabesque reach millions of listeners, and break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Billie Eilish, The Weeknd — even the occasional Mozart track! Spotify, Apple Music, YouTube are allowing music lovers to discover music they could not have found so easily before. Live performances begin to reflect what’s happening online. My performances occur in classical venues like the Philharmonie in Paris, the Barbican in London, at La Roque d’Anthéron, at festivals such as Barcelona’s Sónar and Nuits Sonores in Brussels, and such nightclubs as New York’s (le) Poisson Rouge. Read More…

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PianoMorphosis

Music is changing. Society's changing. Pianists, and piano music, and piano playing are changing too. That's PianoMorphosis. But we're not only reacting... From the piano -- at the piano, around the piano -- we are agents of change. We affect … [Read More...]

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“Glass Etude” on YouTube

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“Bruce Brubaker on Breaking Down Boundaries” — extensive audio interview at PittsburghNewMusicNet.com

“Heavy on the Ivories” — Andrea Shea’s story for WBUR about Bruce Brubaker’s performances and recording of “The Time Curve Preludes” by William Duckworth

“Feeding Those Young and Curious Listeners” — Anthony Tommasini in The New York Times on the first anniversary of the Poisson Rouge

“The Jewel in the Fish” — Harry Rolnick on Bruce Brubaker at the Poisson Rouge

“The Post-Postmodern Pianist” — Damian Da Costa profiles Bruce Brubaker in The New York Observer

Bruce Brubaker questioned at NewYorkPianist.net

“Finding the keys to the heart of Jordan Hall” — Joan Anderman in the Boston Globe on the search for a new concert grand piano

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Bruce Brubaker about Messiaen’s bird music, NPR, “Here and Now”

“I Hear America: Gunther Schuller at 80” — notes and programs for concert series, New England Conservatory, Harvard University, Boston Symphony Orchestra

“A Conversation That Never Occurred About the Irene Diamond Concert,” Juilliard Journal

Bruce Brubaker plays music by Alvin Curran at (le) Poisson Rouge

Bruce Brubaker

Recordings such the new American piano music albums I make for ECM, InFiné, and Arabesque reach many listeners, and seem to break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Cardi B, Childish Gambino, Ariana Grande — even the occasional Mozart track! Spotify, Apple Music, and YouTube are allowing music lovers to discover music they could not have encountered so easily in the past. Live performances begin to reflect what’s happening online: this year I play at the International Piano Festival at La Roque d’Anthéron, traditional concert venues in Los Angeles, and Boston — as well as nightclubs in Berlin, Hamburg, Paris, Lyon, Geneva, and New York’s (le) Poisson Rouge.

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