At the age of 23, Jonathan Biss is already considered one of Americaís
finest young pianists. This year alone sees the Curtis Institute graduate
paired with Daniel Barenboim and the Berlin Staatskapelle in Carnegie Hall,
James Levine and the Munich Philharmonic, Sir Roger Norrington and the
Rotterdam Philharmonic, Sir Neville Marriner and the San Francisco Symphony,
and Lorin Maazel and New York Philharmonic. Add in the imminent release of
Bissí first Beethoven disc for EMI, an Avery Fisher Career Grant (1999) and
Wolf Trap's Shouse Debut Artist Award (1997), and performances with
conductors Kurt Masur, Marin Alsop, and Pinchas Zukerman, and you have some
indication of the manís talent.
Jonathan Biss and I spoke at length in August 2003, shortly before he was to
perform with the Hartford Symphony. Hearing Biss perform live six months
later with the San Francisco Symphony only confirmed the truth of this
assessment from the Washington Post: "That Biss is deeply musical,
interpretively principled and technically secure (never ostentatious) makes
him an exceptional pianist for any age group.Ē
Jason Victor Bellecci-Serinus: Iíve read some of your reviews; thereís one
that speaks of you playing like a pianist from the long lost Golden Age of
Jonathan Biss: Thatís lovely to hear. I donít remember that one, but I like
JVBS: When I ask pianists who influences them in their playing, just about
everyone mentions people who are dead. Who are your influences?
JB: Iím sorry, but I have to start with those who are dead. Itís just
The first pianist that I loved was Rubinstein. Iím still obsessed with his
sound, even though people who heard him play live say that the records canít
compare. I still listen in incredible admiration, not just to the sound, but
also to the effortless communication of his playing.
Dinu Lipati is an artist whose almost every recorded note is sacred to me.
And then, rounding out the list is Arthur Schnabel for very different
reasons. All three were very different kinds of artists, but all came very
close to the heart of what is important about music in a way which maybe was
more common than it is now. I think that they had a very direct relationship
to the music they played, and all managed to communicate that in an
JVBS: ďHeartĒ is a word I use a lot in my reviews, though I find a number of
critics shy away from it. What does the heart of the music mean to you when
weíre talking about piano composition?
JB: Of course, inherently that whatís the most difficult to describe.
JVBS: Thatís why people write music.
JB: Exactly. Music is the most abstract of the arts.
Itís a combination of things. Great performers generally are people with
tremendous instincts for everything from form to whatís beautiful inside a
phrase. All great music is unlike all other great music in a substantive
way; great performers know what makes a composer or a particular composition
unique. Those elements are usually not explicable. Scholarship can take you
a long way, and thereís a lot to be gained from knowing a tremendous amount
about music. But, in the end, itís the quality that the greatest performers
are able to find in the greatest pieces thatís very hard to put into words
but that I think anybody can hear.
When I mentioned those three, very different pianists, I think this is what
they all had in common.
JVBS: How are they different?
JB: What I find so remarkable about Lipatiís playing is its directness. He
is the most modern of the three because he has the most unfettered approach.
Thereís very little going on around the edges, but somehow he speaks with an
incredibly direct voice.
With Rubinstein, itís the beauty of the sound and the joy he took in playing
for people, even on records. Thatís pretty amazing; itís so hard to do on a
recording. But it comes through strongly that he loved playing for people
With Schnabel, you feel so strongly the reverence for the music that he
played. Probably the reason I love his playing so much is that we both
revere a lot of the same music. But to hear the Beethoven sonatas played
with that kind of freedom is probably what I love most about his playing.
These are easy answers in a way because Schnabel also had an extraordinary
beautiful sound, and Lipati was a great communicator. So maybe theyíre more
alike than I give them credit for.
JVBS: When I think about singers, as soon as you said the word reverence, I
thought of Kathleen Ferrier.
JB: Ah yes.
JVBS: who to me had a holy sound like no other singer.
JVBS: She had a beautiful, beautiful voice, with an incomparable pearly
quality we can hear when sheís close-miked.
JB: It is quite extraordinary, yes.
JVBS: Hearing her gives me a sense of being in touch with the sacred.
JB: Yes, and you donít feel that as much with a lot of artists these days,
in the sense of speaking with the sound. Whether weíre talking about a human
voice or an instrument, thereís an art that I wouldnít say has disappeared
but maybe isnít valued as intensely.
JVBS. Itís interesting that you say ďspeaking with the sound.Ē A lot of
pianists Iíve interviewed make analogies between their pianism and singing.
Do you sing along with the music, or hold the intention of creating a
JB: Oh, absolutely. On the piano, the most difficult instrument on which to
make a singing line, itís something youíre thinking of constantly. In terms
of singing along, I discovered only relatively recently is that by singing a
phrase, youíll discover things about it that youíll never discover any other
way. Itís unbelievable. Sometimes thereíll be something in a phrase that
will be unclear to you in terms of direction, and you sing it once and
realize that thereís absolutely no question whatsoever. Because singers have
the most direct contact with the sound theyíre producing.
When youíre trying to play and instrument and trying to be at one with it,
itís so easy to loose touch with the musicís singing essence because youíre
grappling with a physical problem. When the sound is coming out of you, the
boundaries are stripped away.
JVBS: What are your strengths, and are there places where youíre still
striving to communicate or achieve something? Where would you like to see
improvement? Iím asking for criticism/self-criticism here.
JB: Itís a bit of a pat answer, but Iím always trying to come closer to the
essence. For me, my work is always about looking for ways to reproduce
honestly what I hear in my head. Itís tricky, because what we hear in our
head is always evolving, so you have to constantly be looking for new
things. Practicing is about listening intently, because the more you listen,
the more you realize the things youíre not happy with.
I've always felt an extreme sense of devotion to the music that I play; it
may well be that something of that devotion comes through in my playing. As
for what I can still develop, it is difficult to encapsulate both because it
is so clear in my head that I am not used to verbalizing it, and because
there is just such a lot of it!
What I can say is that the crux of my work involves looking for the essence
of the music that I play, and using a highly critical ear, trying to realize
it with ten measly fingers and a rather large black and white beast... What
I hope will continue to evolve is my intellectual and emotional
understanding of music, as well as my pool of physical resources which I
(one) ultimately use (uses) to express said understanding.
Again, there are so many small things that itís difficult to put your finger
on them. Sound is a quality in oneís playing, and you can always grow in
that area as well as others.
I know Iím not answering this question very specifically. Probably what I
always felt when I was little was that I was more serious in my approach
than a lot of other young pianists. I donít know if that comes from having
grown up in a musical family. Maybe Iím more well-rounded than a lot of
other pianists, but itís hard for me to say.
JVBS: What do you mean by Ďserious?í Iíve noticed that in the PR photos, you
donít crack a smile.
JB: Thatís not important; itís because I have a very bad smile.
Itís such a clichť, but supposedly young pianists are flashy, interested in
playing lots of notes and making a big effect, and itís only later in life,
when a little wisdom comes in, that you become interested in the finer
nuances. Itís such a clichť because I think itís only true in the roughest
From when I was little, playing Mozart Concertos and the Beethoven sonatas
and Schumann was where my heart always was. I think that is a little
unusual. And when I was at Curtis I was interested in Shenckerian analysis,
a way of looking at harmony and counterpoint which I thought very
interesting. I think if you donít have a love of music first, itís not going
to get you any closer to the core, but the more you knowÖ Maybe I was
inclined more toward the study of music than some other people. but
ďseriousĒ is such a broad answer.
JVBS: You came from a musical father, mother and grandmother. Did you have a
goal of being a concert pianist from an early age?
JB: Not really. I sort of fell into it. I certainly wasnít pushed to play an
instrument; that was my choice. Nor did I lead any kind of prodigy life.
I went to public school in Bloomington and all of that. But as long as I can
remember, playing the piano was what I wanted to do. From the time I started
playing my first few concerts when I was 13 or 14, it became pretty clear to
me. But even at that time, I didnít have specific goals or any idea if
building a career was realistic or not. I just let things develop as they
JVBS: Did some of your career come about because your parents had contacts
in the industry? Jon Nakamatsu, for example, knew he wanted to be a concert
pianist at age 4, but he studied German and ended up becoming a German
teacher because he knew building would be tough. Did you have concerns about
making a career? Did you go to college for something else?
JB: I was very lucky. While Iím sure my parentsí positions have opened doors
for me, I was actually signed to management when I was 16. Isaac Stern heard
me play, and he arranged for ICM to take me on. There couldnít have been a
farther thing from my mind at the time. It was weird and shocking.
I ended up being managed even before I went to school. So I really didnít
have to make a decision about whether I could make a go of it; I was making
a go of it.
I did think about whether I wanted to go to college or conservatory. I went
to conservatory not because I wasnít interested in college, but rather
because I felt I needed to spend a lot time at the instrument. At times Iíve
regretted my decision and considered going back to school. I did take some
classes at Penn while I was at Curtis and I still wonder if thereís a way
for me to go back to school (although Iím really busy now).
Obviously I love playing and really love what I do, but I never pursued a
career that much. Things sort of happened naturally, and Iím incredibly
lucky that it happened that way. Iím also lucky that I had parents who said
to me over and over again, ďBe sure that youíre doing this because you
really want to do it, because if not, you should do something else. Itís way
too hard to do unless youíre really passionate about it.Ē
I didnít play a lot of concerts while I was in school. My career developed
naturally, playing a little more each year. Itís great that Iíve been given
time to develop, and that Iíll continue to be given time. I wish everybody
that kind of career.
JVBS: So youíre happy with your schedule and the balance between down time
and performing time?
JB: Absolutely. There are times when itís crazy and when exciting things
come up making it busier for a period than I want it to be, but my life is
pretty reasonable. I make it a point to learn a lot of new pieces every
year. Itís been arranged really well. Iím really lucky in that regard.
JVBS: This sounds very different than what Joshua Bell told me about his
life. He said that he grabs every opportunity that comes his way, wanting to
do so much that he burns out.
JB: Itís hard. I have had moments when Iíve asked, ďWhy did I accept this?
Itís a stupid decision.Ē You learn from that. But I think in the end I
didnít want to live an intense, overscheduled kind of life all of the time.
Probably my biggest asset is that Iím incredibly passionate about music. I
canít believe how lucky I feel to be playing what Iím playing for a living.
And I always want to feel that way. I would never want to go onstage and not
JVBS: You play some contemporary repertoire. Kirschner has written a piece
for you, for example. What other contemporary music have you performed?
JB: Iíve played music by Takemitsu, another composer I like a lot. Wolfgang
Rihm, John Corigliano, Richard Danielpour are other composers Iíve played in
the last year or two.
JVBS: Youíre playing the Emperor Concerto in Hartford. What can people look
for in your interpretation?
JB: I feel that itís so often played in a rather bombastic way. It has the
reputation of being the ďbigĒ concerto, and its title cements that belief.
But so much of it is so ethereal and so beautiful, yet that element of the
piece has been lost a bit.
Pieces get labeled. The Fourth is considered to be the more delicate
concerto, when I actually find it more big-boned in a way. My feeling about
the Fifth is that itís much more lyrical than you hear very often, and
thatís what Iím looking for whenever I play the piece. The parts of it that
are large and grand are obvious; those everybody will hear anyway.
JVBS: Do you find conductors amenable to your approach?
JB: It obviously varies from time to time. As with any concerto, there are
times when itís going to be easier and times when itís more difficult. But
usually you can find common ground when itís not there to begin with.
JVBS: Your recording release with EMI has been pushed back. Is that a
disappointment for you?
JB: Not exactly. Thereís was talk of moving it up, but that has proven not
to be possible, so itís back at its original release date of April 2004.
Itís a pity in a way, because I have lots of concerts in the fall that it
would have meshed nicely with. But itís okay.
JVBS: Do you have any pieces youíre dying to record next?
JB: Nothing Iím talking about right now, but a Beethoven cycle of the five
concertos is something I dream about. Theyíre all in different ways very
close to me. The incredible emotional content, musical variety and sense of
process in those five concertos are extraordinary; it would be such a
pleasure to do them as a set.
I adore the Second concerto. While it could only have been written by
Beethoven, itís very much in the world of Mozart and clearly has the Mozart
concertos as a model. The First (which came after the Second) is also a very
classical piece, but itís more ambitious in many ways. The Third, the C
minor concerto, is vintage middle period Beethoven. The Fourth is one of the
great pieces ever written. Itís so visionary, from its structure to its
emotional content. Then in the Fifth, Beethoven again breaks so much new
ground. There are so many new ideas in it.
To play those five pieces as a cycle would be such a privilege. Playing
Beethoven is the greatest privilege I have as a musician; at least itís up
there with a few other composers. Sharing his music with people is the
greatest thing I have in my life.
JVBS: If you had a chance to record something written in the last 50 years,
what would it be?
JB: Leon Kirschnerís music is very close to me. Iíve played a lot of it, and
his language speaks directly to me. I do like Takemitsu as well. Itís a
little too much in miniature to imagine recording a whole CD of it.
JVBS: What popular music do you listen to?
JB: Not a whole lot. I listen to the Dixie Chicks now. I am a jazz person:
Art Tatum, Thelonious Monk, Ella Fitzgerald, Billie Holiday. I love jazz.
JVBS: Because youíre only four years out of high school, it would seem to me
that youíd be feeling the impact of the decline in music education.
JB: Yes, and weíre going to feel it a lot more in the next couple of years.
JVBS: When I interviewed Eugenia Zukerman, she was very pessimistic about
what 30 years of MTV and computer screens and 30-second sound bites and have
done to peopleís mentalities. What are you doing about all this?
JB: Until recently, I felt pretty strongly that as musicians, it was our job
to play as best we could. When we went somewhere, making an impression was
our responsibility, and that was enough. But Iím starting to think that itís
not, that we have a greater social responsibility. Weíve come to a place
where popular culture has usurped the arts to such a degree that theyíre not
really recognized by most people. Classical music is not a language that
most people speak any more.
I think that we may need a public forum on the arts in general. There needs
to be a public discussion about what music is, what its role is in society,
and the direction it should be going that can speak to people. Itís
absolutely true that weíve become so entrenched in the immediate that the
idea that music can speak to the soul and be something that one has to be
involved in has become foreign to people. People go to concerts and expect
to sit back and be entertained, and it doesnít occur to them that they have
to open their ears for that to happen in a meaningful way.
JVBS: Do we wish to reinforce the notion that one of the primary reasons for
going to concerts is entertainment?
JB: Itís a terrible idea. Which is not to say that I donít think that music
shouldnít be fun. Most great music, not all, has an incredible sense of fun
and play in it. But I donít think that dumbing down with the idea of opening
the door for people works. People who buy crossover records donít tend to
buy classical records; weíve seen it again and again and again. The record
companies can say all they want otherwise, but theyíre lying.
[Note: An August 3, 2003 article in on classical sales in the UK, published
in UKís The Independent and publicized by andante.com, confirms the truth of
Bissí statement about crossover discs. They do not build classical sales].
JVBS: Have you ever worked with conductor Michael Morgan? He conducts
Oakland East Bay Symphony and Festival Opera, and is at Tanglewood every
year. When I interviewed him for a local paper, he told me that when
Festival Opera brings students to their rehearsals, most of his associates
feel we have to entertain kids with comic operas. Instead, he gave them
Werther. The kids were all crying; they totally identified with the tragedy
JB: This is the mistake people make in educating children. They think they
have to dumb down. When you insult someoneís intelligence, theyíve never
going to be interested again.
JVBS: How would you begin to initiate a public forum on the role of music?
JB: I donít know. Thatís the problem, and itís been consuming me of late. It
seems weíre moving farther and farther away from considering the arts an
essential element in society. Getting someone interested is going to prove
I think we should be talking to the National Endowment of Arts. Certainly
theyíre not going to make a big impact with their tiny budget. Maybe their
role is to get a discussion going among musicians, artists, writers, music
administrators and arts administrators. Nobodyís really talking right now,
so it could only be a step in the right direction.
I think somehow we have to convince the government that music education is
important. Weíre operating at a bigger disadvantage than ever before.
JVBS: The current political structure in this country does not promote
dialogue on almost anything.
JB: My feeling is that you have to make a point of dissenting as loudly as
you possibly can. That may be all we can do, but at least itís something.
The more you talk, and the more loudly you talkÖ at least youíre trying to
make a difference. I have to believe that eventually that will have some
effect. Otherwise, what are we living for?
JVBS: What can people ultimately get from music?
JB: Music deals in the realm of the unknown and the mysterious; it heals the
soul. Music can make me feel more strongly than almost anything else in
life. Hearing great music is an experience I would love for everyone to
share in one way or another. I think thatís possible; I donít buy into the
idea that music is ultimately inaccessible to a large number of people.
I do believe what Isaac Stern was talking about when he said that people who
have music in their lives are better people. Theyíre more peace loving and
more thoughtful. Of course, there are always exceptions to the rule. But
when you have the experience of something so profound, youíre changed and
marked by it. If everyone had the element of great music in their lives,
weíd probably find ourselves in a better place on a whole variety of levels:
we would be more tolerant, we would care more about the plight of other
peopleÖ all of the things that are bad would maybe be a little less bad.
- Jason Victor Serinus -
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