Pianist Leif Ove Andsnes
A Conversation with Bruce Duffie
Time is a very interesting and elusive concept. When one is very
young, time drags and you cannot wait to get older. As we settle
into adult life, time speeds up a bit and there never seems to be
enough of it to accomplish what is desired. And, I am told, when
one reaches an advanced age, time flits by at an incredible pace so
that things are over before they seem to start.
I say all of this because the thought of time and its relationship to
life popped into my mind when I realized that this conversation with
pianist Leif Ove Andsnes took place when he was about to turn
twenty-five! Yet even back in 1995, he performed well and was
already fairly well established.
Needless to say, he has continued to advance — not just in
age, but in depth of artistry. His repertoire has expanded and
his list of recordings has grown. Details are in the box at the
conclusion of this interview, and on his official website.
He was in Chicago in January of 1995 for performances with the Chicago
Symphony. He graciously agreed to meet with me in his dressing
room after the concert, and here is what transpired . . . . .
You play solo recitals and you play
concertos. How do you divide your career between those differing
Leif Ove Andsnes:
There seems to be more orchestra
engagements around these days, though I am playing nice recitals tours
as well. I seem to maybe do three recital tours each year, and I
tend to do one program for maybe seven or eight concerts.
BD: Do you
prefer one over the other, the solo or the
LOA: No, not
really. It’s easier to feel
really satisfied by a recital because you can control everything
yourself, but when it works with an orchestra and a
conductor, it’s also such a marvelous thing. You can’t compare
the two, really.
you’re playing a concerto, whose
responsibility is it to make it work —
is it the pianist, the conductor, the
LOA: That, of
course, depends on the piece!
Some pieces are very much solo concertos with accompaniments,
some are very symphonic, and some are with the piano more accompanying
than actually playing the solo parts. The Grieg Concerto, which I’ve played very
much, I find quite easy to work — even
orchestras — because it’s
very much divided into solo parts for the pianist and
then comes the orchestra. So for me, it can feel comfortable even
with a less-good orchestra. However, if you’re playing the
Prokofiev Third Concerto,
it’s much more integrated into the orchestra, and you really need a
conductor. Of course, it’s always much more enjoyable to have a
really good partner.
BD: Is the
Grieg more close to your heart than
anything else since you are Norwegian?
LOA: No, I
wouldn’t say that, though I really love
music. There is something very touching that speaks
very directly to the heart about his music; a real honesty. And I
especially like his smaller pieces, his Lyric Pieces and his
songs, which are absolutely fabulous. He didn’t always succeed
when he was trying to make bigger things, though the Piano Concerto is
a real exception.
BD: So the
solo piano are wonderful?
they are. They are, really.
BD: Have you
played all of them?
LOA: No I
haven’t, but I’ve played around twenty of
the Lyric Pieces.
BD: Is that a
special joy for you to
come upon a new piece of Grieg because you know you’re going to like it
know it will fit in, yet it’s still something new for you?
LOA: Yes it
is, though at the moment I am
concentrating on other things because I did very much Grieg
already. The Piano Concerto
is sort of my
piece. I’ve done it about sixty times in concert, and I had to
take a break from it because I want to play other pieces. So for
some years I think I’ve done my job of doing Grieg pieces, but
I love the music and I will come back to it.
BD: From this
huge array of pieces that you can
play, how do you decide which pieces you will play, and which pieces
you will let go — either
for a while or forever?
Interesting question. It happens very much
by instinct, actually. When thinking about the Rachmaninoff
example, I felt
that I wanted to do the third one first. I don’t know if I will
ever do the second; I don’t know if I could do something special
with it. I have to feel that I can contribute something personal,
something that is really me, and that the piece really fits me.
At this point also I have just started playing Brahms First
Concerto, while I felt the Second
Concerto can wait for some
years. So it happens very much by instinct, but also
there is some long-term planning, ideas for some years now. I
will concentrate on some Beethoven sonatas, and then maybe do Schubert
building up repertoire.
BD: Once you
start on the Beethoven,
will it not be imperative that you to do all thirty-two?
LOA: I’m not a great
one for completeness, actually! I think I will not do the
complete set. I will
do the five concertos — that’s one of the few
complete sets I will do! But somehow, people seem to get really
obsessed with this idea of doing things complete, doing a whole
opus always complete. Often it’s not meant like
that from the composer. You can very easily pick
etudes from an opus or preludes from an opus, and do a
selection. I find it’s sometimes more interesting, more
BD: Does your
selection of pieces from an
opus change over time — do you do some this time
LOA: Yeah, it
absolutely may change.
BD: Do you
find that the old selection was wrong, or
just that you want to do something different?
LOA: You want
to do some new pieces,
therefore you make a slightly different selection.
you’re going to play a
concerto or a big sonata, about how long does it take to get it
into your fingers and into your psyche?
depends very much
on the piece, but as you mentioned, for a big sonata or a big concerto
will at least have worked on it for half a year. Not constantly,
not every day for that half a year because I have so many
concerts. It will have to be between the concerts that I study
repertoire, but at least half a year, I think, it has to be
inside your brain somehow.
BD: Does it
please you that all of this material has
to be memorized?
No. [Laughs] That’s something that
should be discussed, because I find it in a way
strange that people are playing, let’s say Bach, from memory. I
don’t see it. This is something that started with Liszt, and I’m
sure if in my future recitals I will do everything from
memory. I don’t have any great problems
memorizing, but it’s not really necessary for every piece of
Obviously, when you play the Rachmaninoff Third Concerto, the page-turner
would be too busy! [Both laugh] And it would not make
sense, really, to play
with the music. Also, in cases like that you almost need the
excitement of playing without music, just the risk that something might
happen, that you might have a memory lapse. That can create
something exciting. You get more adrenaline, while with the Bach Well Tempered Clavier, I’m not sure
that element is so necessary.
BD: Maybe for
a large piece you could have just one page with a few cues, each one to
started on a new section.
LOA: I don’t
think that would be a real
help for me, though. But when I play chamber music,
I always have music in front of me, and I don’t feel less
free by that. I know several people have
started also to play recitals with music again. Slatislav
Richter decided fifteen years ago that he wanted to play only with
music, and he says that he regrets that he learned anything by
mentioned a moment ago about the
little extra adrenaline of not knowing if you’re going to make it
the concert. Is there any sense of this being a contest, of
you versus the music, or you versus the audience?
LOA: I don’t
know if it would be a contest, but we are talking about the
Rachmaninoff Third Concerto,
going to do a recording of it that will be live because
there is something about the audience that really gives you much more
adrenaline, and you sort of feel much more focused. It’s much
easier to feel really focused and concentrated on what is
happening in the very moment, and for a piece like that it would
be very hard to catch that in the recording studio. The pianist
is so busy there with so many million notes, and you
have to be absolutely there in the moment to find that
inspiration. At least, I need the audience there.
BD: Is there ever a
chance that there’s too many
sometimes it scares me. But
that piece always scares the hell out of me before going on
stage! At the same time it’s so enjoyable to play it, I wouldn’t
BD: Does the
music of Rachmaninoff particularly fit
well into your hands because he was a pianist and wrote for himself?
Absolutely! He knew how to write
for the piano better than anyone, and there is probably no better
pianistic music written. It is wonderful, though it demands that
you have big hands because he really had huge hands. And there
are many big chords, so if one has very small
hands, it may not seem very pianistic.
one thing I assume that you take
into consideration when selecting repertoire — if
your hands will fit
around all of the notes?
BD: So if you
have large hands like Rachmaninoff,
do you then shy away from Haydn or Scarlatti, something that’s more
LOA: I don’t
know. That really more depends on other things as well. It
depends not only if your
hands are large, but if you are able to play elegantly with large
hands. Then you can do Scarlatti as well.
BD: Do you
have the elegance for it?
[Laughs] Yeah. I am not much into Scarlatti, but
I love Haydn, for example. I do many sonatas.
BD: In the
early music, you mentioned Bach and
even the Haydn, which were not written for the modern piano. Do
you always use the modern piano, or do you use
haven’t used the fortepiano or the hammerclavier, though I’m interested
in that question because
I find they are pretty. But the modern grand piano is sort of
built for the concert halls. They are often being built so that
they are extremely brilliant and quite hard in sound. I find
them developing more and more in that direction, which I don’t really
like because the pianos today very often lack warmth and singing tone
quality. I’m always amazed if I try a Steinway or a
Bechstein from the 1940s or ‘30s.
BD: Do you
find it warmer?
LOA: I find
it warmer and it has a thinner sound,
it sings more. It sings longer. Especially with music like
Mozart and Haydn, it is very difficult to play on some of
these very brilliant, hard grand pianos. When
recording those things, I may think about looking into
some older instrument — even a fifty-year-old grand piano — or
a grand, grand piano, but sort of a lesser, a baby grand or something.
BD: You mean
a seven-foot instead of nine-foot,
or something like that?
something like that.
BD: Is that
not something you could
discuss with the manufacturers — maybe get them
to make some instruments a little
bit less brilliant? Or is this style being demanded by other
LOA: It is
also something that people are demanding. I am sometimes shocked
when I come to
concert halls and the piano is very brilliant. I ask the tuner,
“Why do you make it so hard?” and they say that people ask for it
as well. [See my Interview
with Franz Mohr, chief concert technician for Steinway & Sons,
BD: Can’t you
ask for it to be made a little less
harsh just for your specific performance?
LOA: I can,
but it’s not possible to change it so
much when you just arrive the day before the concert. It’s very
character of the instrument as well, which are now very big-sounding
and hard-sounding. I guess if enough people were complaining
about it, they would start changing it.
the major cities have a group of pianos for you to choose from,
shouldn’t they have
some that are brilliant and some that are less brilliant?
and actually some places they have. They will often have, for
example, a German Steinway and an
American Steinway. I have to say, though, that most people prefer
the German Steinways, though I very
often prefer the American ones. I find those thinner in
sound. They have more warmth, but they’re thin.
BD: How is
touch on American Steinways is often
lighter in a way, but that’s very individual. I’m more
concerned about when it sounds good than I am about it being
practically never get to play on your own instrument, at least in
concert. You go from city to city. How long
does it take to make that piano your own?
some pianos I never could make
them my own! But I often will arrive the day of the concert and
spend a couple of hours to get used to the piano. That can be
enough. With some pianos you can just sit down and it is your
friend immediately! It really depends. All those pianos are
like persons. One Steinway is not the same as another
Steinway. It’s really
exciting every time when you go onstage and try a new piano.
BD: Does the
piano change at all if you come back to
the same instrument next year or two years later?
LOA: Oh, it
may change a lot! It’s incredible
how important a good piano tuner and a technician is, really.
I come from Norway, and often there we
don’t have good technicians. If people buy a huge piano
for a new home, they think, “Ah, wonderful, we have a new Steinway,”
and manage to get money to pay for it. But then they don’t think
about the fact that it has
to be looked after. It will be wonderful when it’s new, and
three years later will be awful.
BD: It has to take
care and feeding like a cherished pet!
the public be aware of the fact
that it needs so much tuning and regulation?
shouldn’t. If it’s out of
tune, they will be aware of it! [Both laugh]
should they be aware of how
much effort it takes on the part of the instrument, not just on
the part of the performer?
interesting, I guess, for the
to know how much work goes into what is happening on the platform, both
regarding the instrument and regarding the music.
BD: You said
you have to get used to the
piano. Are you getting used to the piano, or is the piano getting
used to you?
LOA: It goes
both ways, of course, but I guess I’m more
flexible than the piano! [Laughs] A good piano is
flexible, but I like that kind of excitement upon coming to a
new hall and trying a piano. And when it’s a bit different from
night, you play instinctively different, as you do in a new hall as
well. You get new things back from the hall that you didn’t get
the night before. So you play differently, and I think one should
play differently. One shouldn’t have only one recipe for all
BD: So even
in a run of three or four
performances, it’ll be different from night to night?
Yes. Of course there’s framework, but that’s the great
thing about music — it’s happening in that very
moment. There should really be a feeling that it’s
happening in the moment and that something special happens.
BD: Does the
size of the hall influence how you
play — if you’re in a very intimate chamber
hall, or a great big barn
of a hall, or even outdoors?
Yes. Obviously in a large
hall you have maybe to give a wider dynamic range sometimes to make it
more expressive, or to show the whole dynamic range of a piece, to
reach the back row. But I would say that I prefer playing in
smaller halls, because then you can know that the audience can
hear every detail, and can hear all the voices and what you do.
BD: Are the
audiences different from city to city and
country to country?
LOA: A bit,
but I feel like if something good is
happening onstage, most audiences will notice. And if there is
something boring happening, then they will also not be following it
very well. In a way there is some difference. In Germany I
find there is an audience of knowledge, and
in Japan there’s a very quite audience, but they are not very different.
BD: Are they
most of the time! [Both laugh]
advice do you have for audiences
who come to a piano concert?
demands more than people think. When I go to a concert myself, I
find that if I’m tired,
for example, I don’t get much out of it. Also, because you come
from the street, from a lot of noise, sitting in a car going directly
into a huge hall, if you’re going to hear a Mozart sonata the sound is
not very big. We are used to such a
high noise level in this society, so actually to be part of the
audience demands a lot. You have to really concentrate. I
find that some people think they can just sit down and get
entertained, which it’s not all about. It’s really about
participating and really having open ears to everything that’s
happening on stage.
BD: When you
play a concert, how much is art
and how much is entertainment? And where is the balance?
LOA: I never
think of it as entertainment, and I should never do that, so I guess
I’m the wrong person to ask. What I’m trying to do on the stage
is create art. The visual thing
with a concert is not necessarily entertainment. I find the
gestures that musicians do onstage, if they fit with the music then
that’s not cheap. A gesture
is really important, and it may be also important for the sound of the
music. So what is happening visually on the stage often is not
something you put on to make it look interesting or exciting or to
BD: You are
saying you are really you, and any
gestures you make are really from the music?
Yes. I try to be that the stage.
BD: [With a
gentle nudge and a big smile] You’re not a phony???
[Laughs] No, I’m not.
BD: Is the
music that you perform for everyone?
for a moment] I like to think so, but of course it’s
not. People like different kinds of music. I
was mentioning that it demands a lot to be part of an audience.
It demands a lot to listen to new pieces; when you know a
piece, it’s easy to appreciate it if you’ve heard it several
times. One has to get used to listening to classical music, and a
good beginning is to go to concerts and hear
pieces there. I always find if I go to a concert and listen to a
good performance, then I will remember the piece better than
if I listen to the same piece on a recording. If you listen to
the recording after having been
to the concert, then you will remember it quite clearly.
re-emphasize it into your mind?
You’ve made a number of recordings and you
mentioned the next one will be a live recording, but the previous ones
were made in the studio. Do you play differently for the
you do for the live audience?
LOA: I try not
to. What I’m really
in my recordings is a real live feeling, that it’s
supposed to sound like a performance. When listening to
recordings I’m very often disappointed that it doesn’t sound like a
performance; it sounds like notes. This also comes from the
way people record these days. I would say most people
record in small takes; that means a few bars, or maybe one page.
they repeat that and then do the next segment. Or they will do a
of patching. They will
maybe do one or two complete performances, and lots of patching.
a real hassle to put it together.
BD: I assume
you’re trying to avoid that.
LOA: I am
really trying to avoid that because it
doesn’t make it sound like a performance — and
that comes very
clearly through. I’m really surprised that people do it that
way. So when I’m recording, I try to play complete movements
absolutely all the time. It’s amazing — if
I’m trying to do a small patch, which I do sometimes — when
I listen to
it, it’s much more boring because what you do now is a consequence of
what you did ten bars earlier and also five minutes
earlier. So if you play a whole sonata, for example, you may find
that the last movement is very different than if you’re doing it
separately, because you have all the music. You have the other
movements already done, and then you play the last movement
differently. I find this very interesting because it shows
that music also works on the long term basis. Therefore when I
record big pieces like sonatas, I like to do
sometimes complete sonatas to see what comes out.
the whole thing once and then work with that?
Yeah. Maybe even the whole sonata twice, and then
BD: Are you
pleased with the recordings
you’ve made so far?
LOA: Yes, I
am quite pleased, actually. I
have a very good crew and a great producer who’s very
understanding of these questions that we are talking about now.
is extremely important, that you have somebody editing that understands
these things. Otherwise they can actually destroy the music by
editing too much.
not the one that selects the takes?
LOA: No, the
producer does it. Of
course I will listen to the master tape, and then if I find some
things are not working, I ask for another take.
about to turn twenty-five. Are
you at the point in your young career that you want to be at this age?
LOA: Yes, I
think it feels quite natural at the
moment, the way it’s developing, but things are really happening.
I’m glad it didn’t happen before it
happened with me, that I didn’t start playing concerts when I was
thirteen or fourteen. I’m glad I didn’t have parents pushing
me. So I guess it has happened at the right time. It feels
BD: Do you
have enough concerts each year?
LOA: I play around
seventy to seventy-five concerts
each year, and that’s about how much I want to do. I
probably could have played more, but I want to have periods where I
study new repertoire, and just have some holiday as well. It’s
important for me to be at home for
and also have a social life and friends. So when I’m traveling I
don’t like to be away from home for more than three weeks in one go.
good. I’m glad you’re
keeping that and I hope you’ll keep that for the rest of your career.
LOA: I hope
so, too! [Both laugh]
advice do you have for younger
pianists who want to have a career?
LOA: I don’t
know if I have good advice, other than
really trusting your instincts, and trusting what you really believe
in, what you really feel about music. There are many persons who
maybe will push you in that and this
direction — everyone from teachers to critics
— and it’s
important, at the end of the day, to say that you did what you really
advice do you have for someone who wants to
write piano music these days?
LOA: Oh, my
goodness! That’s even more difficult to answer!
Please write something that really uses the instrument!
isn’t much piano music around now, maybe because people think that the
opportunities were so wonderfully used. We talked about
Rachmaninoff as the high peak of pianistic tradition. It seems
like composers are finding other mediums than the piano. It’s
quite rare to find piano music today that is
well-written for the piano, that looks like there’s a pianist who wrote
it, not the computer!
mock horror] You don’t want to be just
a little robotic technician???
please no! [Both laugh]
playing piano fun?
LOA: Yes, it
really gives me a lot of pleasure. Sometimes it varies and I get
sick and tired of
it, but most of the time it is fun. But it’s also fun because
there is so much
wonderful music. That’s what I’m feeling absolutely
all the time. It’s a real problem because every great composer
has written so much for piano, that for one life
there is too much to choose from. I always have plans of what to
BD: Are you
going to pay particular attention
to some of the Norwegian composers such as Svendsen or Larsson?
Svendsen doesn’t have any piano music, so
that’s easy! His is symphonic productions. But
yes, and I think in a way, in our time it’s
important to be local and regional, or national if you want say that,
music. Because we are being so cosmopolitan today and we want to
do every kind of music, musicians are being told they have to do
from Bach to contemporary music. Of course it’s important
to know lots of music, but still, it’s very
interesting to hear a French pianist playing Ravel with a
French taste, or especially twenty years ago, to have a Russian
pianist playing Tchaikovsky. It’s a shame if we really lose
all that. And I shouldn’t necessarily have to do Albeniz’s piano
music as easily as Grieg. There is a certain Nordic feeling
about that music that maybe is more in my blood, and should be more in
my blood than maybe American music.
BD: Are you
coming back to Chicago?
LOA: I hope
so. There is no definite plan.
BD: I hope
you will come back; this was a
wonderful concert. Thank you very much for speaking with me.
LOA: Thanks a
acclaimed pianist Leif Ove Andsnes has been
referred to as “an eminently sensual musician, an artist capable of
grace and introspection” by the Financial Times whilst the BBC Music
Magazine commented on "how hard it is to over-praise the vitality and
distinction of this princely pianist."
In addition to giving recitals and playing concertos each season in
the world’s leading concert halls and with the all the foremost
orchestras, Andsnes is an avid chamber musician who joins select
colleagues each summer at Norway’s Risør Festival of Chamber
which he is co-artistic director. The New York Times has placed
amongst the top 10 musical events of the year.
Leif Ove Andsnes opened the 2009/2010 season
performing Rachmaninov Piano Concerto no. 2 with the Danish National
Symphony Orchestra and Thomas Dausgaard. He went on to perform the same
work with the Bergen Philharmonic under Andrew Litton and then moved
his attention to Rachmaninov’s Piano Concerto no. 4 which he performs
this season with the Royal Scottish National Orchestra and Stephane
Deneve, the Gothenburg Symphony Orchestra and Gustavo Dudamel and the
Academy of Santa Cecilia and Antonio Pappano. In May 2010 Andsnes
performed and recorded Rachmaninov’s fourth concerto with the London
Symphony Orchestra and Antonio Pappano for release this Autumn by EMI
Andsnes’ major project in the autumn of 2009 saw the culmination of
several years of planning for a programme centered around Mussorgsky’s
epic piano cycle “Pictures at an Exhibition“ which was premiered at New
York’s Lincoln Center in November 2009 and toured throughout Europe
with performances in Brussels, London, Paris, Hamburg, Berlin, Munich,
Cologne, Oslo, Stavanger, Copenhagen, Stockholm, Naples and Moscow.
With sponsorship from Statoil "Pictures Reframed" saw the collaboration
of Andsnes and South African artist Robin Rhode who created a video and
still imagery installation for a unique programme culminating in
Mussorgsky's masterpiece. EMI Classics released “Pictures Reframed” on
both CD and DVD and Norwegian TV documented the project on film.
Other highlights of the current season include the world premiere
of a new work written by Danish composer Bent Sørensen which
performed with the Norwegian Chamber Orchestra in Oslo in October and
performances of Mozart Piano Concerto no. 23, K488 with the New York
Philharmonic and Alan Gilbert over the New Year. In January he
performed the same work at the famous Salzburg Mozartwoche with the
Vienna Philharmonic and Nikolas Harnoncourt and remained in Salzburg
for a chamber music concert of Mozart and Kurtag with Antje Weithaas,
Nicolas Alstaedt, Kim Kashkashian and Jorg Widmann before embarking on
a recital tour of Spain, Italy and the Netherlands which also included
recitals in London and Warsaw. In March 2010 he toured Japan and Asia
with the Norwegian Chamber Orchestra, leading concerts of Mozart piano
concertos from the piano.
As an exclusive EMI Classics artist, Andsnes has recorded over 30
discs spanning repertoire from Bach to the present day, been nominated
for seven Grammies and awarded many international prizes including 4
Gramophone Awards to date. In addition to "Pictures Reframed" he
released “Shadows of Silence”, features works by the Danish composer
Bent Sørensen and the French Marc-André Dalbavie both of
Leif Ove Andsnes premiered at New York’s Carnegie Hall and London’s
Proms respectively. Other repertoire on the disc includes solo works by
Kurtag and Lutoslawski’s piano concerto recorded live with the Bavarian
Radio Symphony Orchestra and Franz Welser-Möst.
Leif Ove Andsnes has received Norway’s most distinguished honor,
Commander of the Royal Norwegian Order of St. Olav. In 2007, he
received the prestigious Peer Gynt Prize, awarded by members of
parliament to honor prominent Norwegians for their achievements in
politics, sports, and culture. Andsnes has also received the Royal
Philharmonic Society’s Instrumentalist Award, the Gilmore Artist Award,
four Gramophone Awards and seven Grammy nominations – including a
nomination for this year’s Awards for his latest recording of Mozart
piano concertos with the Norwegian Chamber Orchestra. Saluting his many
achievements, Vanity Fair named Andsnes one of the “Best of the Best”
Andsnes was born in Karmøy, Norway, in 1970 and studied at the
Bergen Music Conservatory under the renowned Czech professor Jiri
Hlinka. Over the past decade he has also received invaluable advice
from the Belgian piano teacher Jacques de Tiège, who, like
greatly influenced his style and philosophy of playing. Andsnes cites
Dinu Lipatti, Arturo Benedetti Michelangeli, Sviatoslav Richter, and
Géza Anda among the pianists who have most inspired him. Andsnes
currently lives in Copenhagen and Bergen, and also spends much time at
his mountain home in Norway’s western Hardanger area. He is a professor
at the Norwegian Academy of Music in Oslo, a Visiting Professor at the
Royal Music Conservatory of Copenhagen and a member of the Royal
Swedish Academy of Music.
© 1995 Bruce Duffie
This interview was recorded in Chicago on January 5,
Portions (along with recordings)
were used on WNIB three months later, and again in 2000. It was
also used on WNUR in 2003. This
made and posted on this
website in 2010.
To see a full list (with links) of interviews which have been
transcribed and posted on this website, click here.
broadcaster Bruce Duffie was with WNIB, Classical 97 in Chicago
from 1975 until its final moment as a classical station in February of
2001. His interviews have also appeared in various magazines and
journals since 1980, and he now continues his broadcast series on WNUR-FM,
as well as on Contemporary Classical Internet Radio.
You are invited to visit his website
for more information about his work, including selected transcripts of
other interviews, plus a full list of his guests. He would also
to call your attention to the photos and information about his
grandfather, who was a pioneer in the automotive field more than a
century ago. You may also send him E-Mail
with comments, questions and suggestions.