Pianist Menahem Pressler
A Conversation with Bruce Duffie
|Born in Magdeburg, Germany in
1923, Menahem Pressler fled Nazi Germany in 1939 and emigrated to
Israel. Pressler’s world renowned career was launched after he was
awarded first prize at the Debussy International Piano Competition in
San Francisco in 1946. This was followed by his successful American
debut with the Philadelphia Orchestra under the baton of Maestro Eugene
Ormandy. Since then, Pressler’s extensive tours of North America and
Europe have included performances with the orchestras of New York,
Chicago, Cleveland, Pittsburgh, Dallas, San Francisco, London, Paris,
Brussels, Oslo, Helsinki and many others.
After nearly a decade of an illustrious and praised solo career, the
1955 Berkshire Music Festival saw Menahem Pressler’s debut as a chamber
musician, where he appeared as pianist with the Beaux Arts Trio. This
collaboration quickly established Pressler’s reputation as one of the
world’s most revered chamber musicians. With Pressler at the Trio’s
helm as the only pianist for nearly 55 years, The New York Times
described the Beaux Arts Trio as “in a class by itself” and the
Washington Post exclaimed that “since its founding more than 50 years
ago, the Beaux Arts Trio has become the gold standard for trios
throughout the world.” The 2007-2008 season was nothing short of
bitter-sweet, as violinist Daniel Hope, cellist Antonio Meneses and
Menahem Pressler took their final bows as The Beaux Arts Trio, which
marked the end of one of the most celebrated and revered chamber music
careers of all time. What saw the end of a one artistic legacy also
witnessed the beginning of another, as Pressler continues to dazzle
audiences throughout the world, both as piano soloist and collaborating
chamber musician, including performances with the Juilliard, Emerson,
American, and Cleveland Quartets, among many others. Of his recent solo
performance in Austria, Die Presse wrote: “he struck a tone that was
long believed lost already, a tone we perhaps last heard from Wilhelm
Kempff.” His upcoming solo concertizing engagements include
performances with the Berlin Philharmonic, the Orchestra de Paris and
the Concertgebow Orchestra, among others.
For nearly 60 years, Menahem Pressler has taught on the piano faculty
at the world-renowned Indiana University Jacobs School of Music where
he currently holds the rank of Distinguished Professor of Music as the
Charles Webb Chair. Equally as illustrious as his performing career,
Professor Pressler has been hailed as “Master Pedagogue” and has had
prize-winning students in all of the major international piano
competitions, including the Queen Elizabeth, Busoni, Rubenstein, Leeds
and VanCliburn competitions among many others. His former students
grace the faculties of prestigious schools of music across the world,
and have become some of the most prominent and influential
artist-teachers today. In addition to teaching his private students at
Indiana University, he continuously presents master classes throughout
the world, and continues to serve on the jury of many major
international piano competitions.
-- Part of the biography
from his Official Website
As with so many of my guests, Menahem Pressler was one whom I
had known and admired for a very long time. As performer of both
solo and trio repertoire, it was a special privilege to arrange a
conversation with him during his regular visit to the Ravinia Festival
in June of 1996. He knew that the chat would make its first
appearance on WNIB, Classical 97 in Chicago, and he made reference to
that at one point.
Warm and affable, he welcomed me, and we got right to the business of
speaking about our mutually favorite subject . . . . . . . . .
Bruce Duffie: Aside
from the obvious, what is the difference between playing a solo recital
and chamber music?
From the point of view of making music
there’s actual no difference, because if you make music, music is music
is music. In chamber music you have the advantage and
disadvantage of having colleagues, the advantage being if they are
inventive and if they are alert and if they relate to you and you
relate to them. You get ideas, they get ideas, and this is a
wonderful interplay. When you play by yourself, you are the idea
man and you have to create that interplay. You are also the
person who has to keep a balance, like in chamber music, your right and
left. There are many things that are very similar, but then comes
the question if you are capable of continuously
renewing your interest in the works you play. It’s obvious that
when you play as soloist, you cannot play that many programs.
When I go on tour with the Beaux Arts Trio, the most difficult
thing is carrying the music because we play so many different
programs. That is, in a way, difficult, because you
have to rehearse them. But I have played them so many times that
am a bit ahead of the game in that respect, although I do
rehearse. There isn’t a day that goes by when we are together
don’t rehearse, no matter how often we have played a certain piece.
BD: There are
always the new ideas?
always the search for them because you can never get deep enough into a
score. For Beethoven, or Brahms or Schumann or Schubert, you need
to be a Beethoven to go to the bottom of it.
BD: Is this
what makes a piece of music great, that you never do get to the bottom
It is great, but you look for more and
you find more. That’s what is great. You hear a symphony of
that overwhelms you. Then you study it, and it still
overwhelms you. Then you perform it, and it still overwhelms
you. I don’t know if there will come a time that it
doesn’t... same for the Archduke Trio
or the Opus 111, or any opus,
actually, for that matter. It does not make
anything smaller when in Tchaikovsky the feelings are much
more obvious than in Beethoven and Schubert. But you have to
refine them there, too, so that it will have all that he expresses in
terms of an artist, which he certainly was.
you’re playing Beethoven or
Tchaikovsky or Haydn or any of the composers, how
much is the composer and how much is the artist?
MP: If I
could give you the percentage, that
would be good! [Laughs] No, there is no such a thing as
able to give you a percentage. First of all, and foremost,
naturally, is the composer. The artist is nourished and guided by
the composer. The composer gives tempo markings, the
composer gives dynamic markings, the composer gives moments to
wait. He does all of those things. Now, do you
wait that long or this long? That’s you. And if you make a
forte or a piano a little higher than usual,
that’s you. If the
speed of an allegro on a
given night is faster, that’s you. So the artist does have a lot
of leeway, which is wonderful. That
makes it possible for an audience to hear the same work during a season
four or five times and they may not even recognize that work!
That’s facetious, but they will have the joy out of those different
ways of getting to those points.
BD: There are
composers who sometimes say they
don’t recognize their own works when they hear them!
true, too, and I will say there are
composers I have met who are very insistent that it’s absolutely the
have written; there’s no other way to do it. Then there
are composers who will let you find your way into the work, and use a
point of view that you have found in relation to the work, which is
very, very nice to be able to do that.
BD: I would
think that would be best both for the
work and the artist.
Absolutely because the work has to live
after the composer is long gone! I know one composer
who said he doesn’t like to end up on the
ash heap of history. We hope not.
BD: Who is it
that decides what is in the
concert hall, and what is in the ash heap? Is it the performer,
the composer, the audience, the critics, the historians?
MP: First of
all, the composer
writes the work. If a performer loves it, he’ll fight for
it. Right now I have in my mind a man who used to be my teacher,
a man by the name of Steuerman, who fell in love with the works of
Schoenberg, Webern, Berg at the time when it was not allowed and the
people were running away. But he loved it and continued to play
it and continued to teach it. It made its way because it
found other people who loved to play it. It found people who
loved to listen to it.
BD: But it
still seems like those works are still
finding their way.
Absolutely. They’re not as popular as
Beethoven, but you will be amazed and surprised how accepted some of
them are. Bartók is now a classic composer. You put
him on a program and the public does
not run away from it.
facetiously] If it’s cushioned between a Haydn and a
Beethoven, perhaps. [Both laugh]
MP: Now the
radio is talking! But in
any case, if it is cushioned between a Haydn and a
Beethoven, why not? Wouldn’t you want to eat a wonderful,
well-balanced meal where the main dish is something that you’re
looking forward to enjoying with great relish? That’s the same in
mentioning any names, are there works being written in the very recent
past and even today which are going to stand alongside Haydn,
Beethoven, Bartók, Schoenberg?
MP: I will
tell you the truth — we
don’t know. The test of time will tell. It has to inspire
the next generation of young players, and an audience must want to hear
it. I hope there are, and it is our duty to
give them the time of the day, which means we have to play them.
BD: You have
got to give them a shot?
MP: Give them
a shot, absolutely. There is a recording of the Beaux Arts of
written for them and dedicated to us by Ned Rorem, George Rochberg and
David Baker, the jazz trio. [See my Interview with Ned Rorem.]
the Beaux Arts Trio collectively,
and you individually, will receive scores from composers. How do
you decide, yes, we want to give this the
time and work on it, or no, we can’t afford the time and will let this
MP: We look
at it together, and
if one person has a very strong idea that he thinks that it’s
worthwhile to look at, we will make a
special effort. We played a piece by Bruce Adolph, a young
composer in New York, and actually it was very well received in
Australia two or three or four weeks ago when we were there.
BD: This is
what I’m trying to get at.
What is it that makes you say, “Yes, we want to give this a shot”?
were two reasons for it. One was
it was commissioned for us and written for us, which is not yet the
decisive point, but it’s at least the point at which they brought us
the piece. We looked at it, and when we played it
through we found that there were many lovely things in
it. So we learned it, and we played it, and played it with
pleasure, actually. That is one of the things. The other is
that you do know some of the composers. You meet them and
you feel you know other work of that composer that you like, so there
something that will maybe interest you to look at it.
BD: So you
know they have done it, so they can do it?
MP: Yes, they
have some works that you liked in the
past. Sometimes I wish a certain composer had written a
work and we could play it, but he didn’t. I
was just thinking of the composer Dutilleux, who wrote a wonderful
piano, and he wrote a string quartet for the
Juilliard and wrote a violin concerto for Stern. I wished he had
written a trio. I
did ask him, but he’s a very slow writer. [See my Interview with Isaac Stern.] Messiaen
was supposed to write a
concerto for us, but he died before he could get to it.
BD: What advice do
you have for someone who
wants to write for the piano trio?
MP: First of
write a good piano part, which is very difficult, very difficult.
It’s a medium
that is very difficult to conquer. Very few composers really have
conquered the piano trio. Haydn has conquered it because his are
mainly piano, but the ideas are so glorious. In Mozart, it’s
mainly piano and violin, and the cello is very
little. Beethoven is the first to be able to write for the three
instruments like equals. Someone who wrote perfectly for three
instruments is Mendelssohn. One of the finest writing for trio,
really an instrument called trio, is the first and second movement of
the Ravel Trio. It is
perfection in balanced writing. Schubert’s
music is so heavenly, so balance-schmalance, it does not matter.
[Laughs] It is glorious!
BD: The cello
is just along for the ride?
Schubert? No. He has
these wonderful moments. But even so, it would have
been wonderful because the ideas, the melodies, are too beautiful for
words. It is carried that way. So if a composer today
writes a trio, he has to be able to understand the medium well so that
his way of writing will create a balance, so that the sound of a trio
will live in it.
BD: Is there
a way of making sure that it’s not just
a piano part with a couple of extra instruments, rather just a teeny
MP: Well, you
see that. After all, when you do it as long as we have done it...
BD: I mean
from the composing
MP: From the
composing standpoint he will have to see
examples. It’s like learning
instrumentation. You can’t double a phrase. [Laughs]
about the performers? You work with coaching young performers,
even older performers, in the trio. What is it that makes playing
in the trio so unique, as opposed to, say, solo with orchestra?
MP: What is
unique in a trio is that the creative
process can involve all three, or should involve all three. So
are present at a work being played, it should be as if it was
discovered just then. It’s new. It’s real, in that
sense. That is what we are after, what we look for. With
orchestra it’s more
difficult. You would have to find a kindred soul in the
conductor, and he must want to be a kindred soul. You
have to find someone whose view of the world mirrors yours.
Obviously, when you are the soloist you have spent much more time with
the work than a conductor would have. But on the other hand, a
conductor will look at a Beethoven concerto or a Brahms concerto and
find what he feels is the right way of doing it, and then to
conglomerate it. An inspired
performance with orchestra can also result in the same kind of
inspiration as a trio performance, only it’s more difficult and it’s
much more seldom.
BD: Is there
such a thing as a perfect
MP: No, there
BD: I assume
though that you keep striving for one?
MP: Well, of
course. First of all
you strive for your best. That doesn’t make it
perfect. You strive first. What is perfect? When a
performance can reach out and transmit the unique
message that the composer has given us, so that the work is still alive
today as if it was written yesterday, and you are able to transmit that
message with inspiration, that would be a perfect
performance. When you speak of a note-perfect performance, that
in itself is not as laudable. Especially lately,
when I judge a competition, I heard some people play note-perfect, but
had a meaning.
BD: So it was
MP: In this
case you can’t even say it was cold. It
was a foreign language to them, those notes, as if you would speak
French having written it down phonetically.
You would still not know what you’re saying, but you would say
it. It would sound a little bit like French, but a
Frenchman would laugh. He would not hear his language
there. That’s what happens in music. You hear this
performance. They play the notes marvelously — fast and loud and
furious, and clean — and the message has
somewhere gotten lost by
the time they played the music.
BD: So it’s all
MP: It’s all
they have because to express music is also a
technique. It’s not just technique, per se. It’s a
facility. Technique means also that it
does say the things the composer intends to say, or that which makes
that piece great, or that which makes the piece still alive.
BD: In very
it is obvious that the technical abilities of the people coming
along has gotten higher.
BD: Has the
musical ability and the musical
understanding gotten higher?
Rubinstein was the first to say
that. He said it rather harshly. He said the average has
gone much higher, but the outstanding ones stayed
the same number, and there is a truth in that.
kind of too bad.
MP: It is.
BD: Is this
something where you can you grab the people
by the lapels and shake them a little?
no. It has nothing to do with them not
wanting to. It has to do with the size of the talent.
God-given great talent, with not that many people around.
have always been a few, so there’s the same number, just a few?
MP: The same
number, a few. The same elected few.
BD: Are there
are more trying to get into that group?
course, as there always used to be, but now
even more so because the average has risen.
BD: Are you
optimistic about the
future of music?
MP: I don’t
know about performance, but of music,
yes. I cannot believe that we can live without it.
Everybody judges what this means. I don’t feel I would
love living without music. Mind you, not just playing, but
listening to it, filling my soul with its beauty, being refined by its
refinements, being happy by its message. So I can’t believe that
there will become a generation that will give it up. It’s true,
it takes an effort on part of the listeners. Maybe not as much
as the player, but it takes an effort as does everything
worthwhile. People drink wine and
they get drunk, and those can be the cheapest wines. But the
ones who do develop a palate will know when they drink a very fine
wine and savor it on special occasions.
The same is true with music.
BD: But it
seems that we have taken music from the
special occasions and made it almost like wallpaper. We have it
in elevators and in the background
everywhere. Are we misusing it music?
MP: Maybe to
some extent, but I
can hear it in an elevator and I don’t hear it. I will have to
sit down and put on the radio and listen to it to enjoy it, or if I am
in my car enjoying it. When I go to a concert, I get
dressed, which means I also get also in the mood. Then it’ll be a
holiday for me, sitting down to hear it.
BD: I want to
ask you about the
instruments. You’re a pianist, so you can’t put your
instrument in a case and bring it with you. You’re at the mercy
of the concert venue. I assume there are wonderful tales and
MP: Both, although
lately I have better tales to tell, because when the trio became better
known we got better pianos.
BD: Is there
any difference in
the piano that you would be given if you’re playing a solo recital or
if you’re playing a trio?
MP: That used
to be. When the
trio was in its first year, we came onstage in Horton, Kansas, and
an upright piano. I said to the man, “Where is the piano
I’m playing in the concert?” He said, “You
play on this
one.” I said, “Is this the piano all
the soloists play?” “No,” he says, “For a soloist we
bring a grand piano, but for an accompanist we bring this one.”
[Both laugh] The following season was the second season of the
trio, and in the contract it stipulated that the piano has to be as
good as for solo
pianist. But now it doesn’t even have to say that in the
contract. Now I do get as good a piano as they have.
BD: Will any
piano trio now get that, or
is it just the Beaux Arts Trio?
MP: No, no,
no, not any piano trio, because when you
are not well known it is more difficult.
BD: [With a
gentle nudge] Should they all get the good pianos?
[Smiles] They ought to! Of course they should! It’s
not only to honor them, it’s to honor that
concert. I must say that at the time we played in Horton,
Kansas, my two colleagues, Bernie Greenhouse and Daniel Guilet, both
had Stradivariuses. They brought Stradivarius’s violin and
cello, and I played an upright! [Laughs]
BD: When you
come to a new venue and you get a
good piano, you sit down and warm up a little bit. How long
is it before that piano is yours?
MP: I can’t
give you a time limit. I cannot
tell you how long it takes, but by having as much
experience as I have in playing different instruments, I have cut down
the time it takes. Also attitude plays a role. I don’t
fight the piano. I will try to see what is the best I can take
out from it, and play with what the piano has. I will not force
it to play louder than it can play. I will not force it to have a
more beautiful melodic sound than I can achieve of it. So once
you accept it, that in itself is already a big victory.
BD: So you
really have one more collaborator in the
Indeed! Absolutely. I made one record where
the piano on the record sounds so beautiful! It’s the
Quintet and Quartet with the Emerson
Quartet. It’s a recent record, and it was recorded
in New York by a man who has done 65 records for Rubinstein. So
knows the piano well. But he has done it in a way that has not
taken away strengths or beauty from the strings. He just has the
beautiful piano sound to listen to.
made recordings all through your
career, both solo and all the trio recordings. Do
you play differently for the microphone than you do for the audience?
really, no. We try to play for the microphone
like for the audience, which means with the inspiration. The
advantage of being in front of a mike is that you can redo
things, and now with digital, you can actually redo nearly
everything — I mean one note at one place. So you can really let
yourself go while recording it and play it with abandon because
you’ve always got another chance. That’s
nice. It’s that
net under you. If one plays only for the right notes, for
cleanliness, you again will miss that which will instill in a
listener the desire to hear it again. It would be as if he had
heard it once
played by a computer and that was that. [Laughs] You don’t
desire. There is that sense of nuance, the sense of... gentleness
is not the right word that I want to use. It’s
that which we call, for the lack of a better word, inspiration.
That can be on a record, and it is very nice when you have it on a
record because you yourself can hear it. I’m
not in the habit
of listening to my records because I’ve made too many of them and I
am living that very active life. But I’m
listening to your
radio station when I am traveling, and very often I will hear
one of mine. If I can recognize certain things in it and I can
it, I feel rewarded because very often it reminds me. When I
do it I’m very, very critical, enormously so, and
that recording seems to me
like taking a passport picture. You look at that passport
picture and you say, “That’s horrible!” It only needs a number
underneath and you could be a prisoner in any kind of a state
prison! Then five years later, when you have to take another
passport picture, you look at it, and you say, “You know, the old one
wasn’t bad at all.” [Laughs]
BD: I’m glad
to know you’re eventually pleased with the
MP: With many
of them, yes, indeed. They have just re-released on a less
expensive label our complete Haydn trios, and they really came out very
BD: Do you
ever feel that you’re
competing against your recordings?
Absolutely! Always! And we compete with ourselves,
too. I remember
one time we had an hour concert in Paris five days in a row. I
said, “That’s perfect, just an hour. We have the rest of
the day and it’s the same program all week, so it’s easy.”
performances of the same program?
MP: Yes, of
the same program. It was at the
Hotel de la Ville. It was before a play. They have a
performance just for an hour between five and six, and then the play
begins at nine. The first night was a pleasure! The second
night we were playing against that first night. We felt we had to
better, and the third night, we had to do even better. It became
excruciatingly difficult, because you always have the
feeling you’re playing in front of the same audience. So
when you play the work, you’re playing against yourself. You
are the audience, and you’re very critical.
BD: Is there
ever a time that you put too much
pressure on yourself?
there is a time. There is no perfect
solution. There are solutions, and some have to serve as perfect
solutions, but like there is no perfect performance, there is no
BD: Are the
audiences similar or different from
Europe, to America, to Australia, the Middle East?
MP: They are
BD: How so?
difficult to specifically tell you.
Sometimes an audience is very, very showing of its emotion, and you
good about that. Then sometimes an audience is not showing its
emotion, and the applause is not that great, and you feel unhappy about
BD: You feel
you’ve let them down?
You feel you haven’t succeeded. Then it turns out that the
audience where you thought you hadn’t
succeeded, you get more letters. You find that when you meet them
they seem more deeply impressed. They carry it longer. So
don’t always really know. I have found sometimes when I
walk off the stage and say, “Oh, tonight I just didn’t do well,” they
come back and say to me, “Tonight you really played
beautifully.” And sometimes I walk off a stage feeling that was
good, and they say, “Tonight you weren’t really
form.” So it happens. It is that people look for different
come a long way in your career.
You’ve been soloist, chamber musician,
teacher... Are you pleased
to be at the point in your career where you are now?
MP: Oh, yes. I’m
very grateful that I’m at this
point. I also feel privileged that God
gave me longevity, the desire to play, the strength to practice hard,
still teach, still do all of those things. That’s a great
privilege, and I am grateful for it.
BD: How much
an upheaval was it to change the members of the trio?
MP: It was an
upheaval, there’s no question about
it. You have to always get used to the new player, but it
was, in a sense, less than I expected, because somehow, when you are
lucky and every one of the people that you have had join you brought
something to the group that enhanced it in some other way, that was a
very great positive. After Guilet came Izzy Cohen. He’s a
very fine musician, an excellent
musician, and after Bernie Greenhouse came Peter Wiley, a very
fine cellist. It’s different. I find that the Bernie
Greenhouse sound is the most beautiful that I know on the cello.
And Ida Kavafian is, again, different than Guilet was, than Izzy Cohen
was, and now I have her as the colleague. But she has many
excellent and wonderful qualities.
BD: You were
there from the start?
MP: I was the
only pianist. They never played
without me. There was a concert
sometimes without Bernie, who had a broken foot, and sometimes without
Izzy, who had something with his hand. But rain or shine, the
was always there, hurting or not hurting.
played in pain?
the finger hurt or you
have the grippe. Whatever it is, I was always there on time to
perform... [laughs] up to this point!
BD: Let me
ask what may be an indelicate
question. Should the trio continue when you retire?
MP: I don’t
know. I can’t answer that question.
be up to Ida and Peter?
MP: I don’t
know even if it will be up to them.
The audience may not take that trio. There are
many trios right now, many, many trios.
BD: Too many?
MP: No, never
too many, because what you are looking
for is a good one. There are many trios, but the singular one,
the Beaux Arts, has something that is always
special. Otherwise it wouldn’t have had the longevity it
has. It’s 41 years. That’s a feat.
BD: When was
the first concert?
Thirteenth of July, 1955. That’s a long
time ago, and since that time, the heart of the trio, the
pianist, was the same.
BD: Was it a
difficult decision for you to
essentially give up a solo career for the trio?
Yes and no, but I would say no.
The trio had a singular career. The first year there was
always a struggle. There always are struggles, but we had a
special kind of a success to begin with, and continued
with that. We used to play some places each year. It
doesn’t matter if that was Ravinia or
if that was any other, we would play one year and we would play the
The audience, or the person in charge, or the critic would ask us
back, which is quite the unique experience.
BD: I assume it was
much more difficult then. Now a trio has the model of the Beaux
Arts and a few others to
stand on. You were almost the pioneering.
because when we started, the chamber
music societies didn’t want any trios. They said, “Oh, it’s a
poor man’s piano concerto,” or, “It’s an accompanist for two
strings.” That it could be a whole, that it could have a balance,
that it could have one point of view, at that time they weren’t
used to that. So we started, in
couldn’t say, “Well, Beethoven didn’t think
so; Haydn didn’t think so; Mendelssohn didn’t think so.”
true. I said it, but they wouldn’t
listen... [laughs] until they heard us.
BD: So were
your first concerts essentially a
substitute on a string quartet series?
mostly were string quartets. Yes,
very few trios. There was maybe one concert for trio and we had
to fight our way up to it. The first concerts were mostly
community concerts, although the very first one was at Tanglewood — a
a good place to start!
place to start. Charles Munch was
the director, and he said, “As long as I’m here,
you play every year as
BD: Thank you
for being a pianist.
MP: Oh, thank
you. It was very kind.
Thanks very much.
appreciate your taking the time today. I’ve
performances and recordings for many years. I have a few of the
this point I mentioned a few of the items (both old and new) which I
had on hand, and he started rattling off a few others.]
I have 30 solo LPs. For trio, we have over 125 works
that I recorded in the different groupings.
BD: [With a
gentle nudge] You never had any
desire to play or record the 32 Beethoven sonatas?
[Smiles] Why not, if I was given the opportunity? [Laughs]
just have to clone yourself!
MP: No, you
would sit down and you would work.
You would do this. Like this year, delayed after that
many years I had my Carnegie Hall debut as a solo pianist on the 21st
February. I played in Carnegie Hall many times with the New York
Philharmonic, with the Philadelphia Orchestra, with the Royal
Philharmonic, with the Czechoslovakian
Orchestra, with my trio, with the Emerson Quartet. I’ve played
many, many times, but this was the first time as soloist.
BD: Did that
freak you out, as they say?
freaked me out, and then it gave me the
greatest thrill of my life. The hall was sold out, and I was in
my best form. I was freaked out to begin with, but it ended up
being very, very beautiful.
Good. I wish you lots of continued success.
very kind. Thank you.
© 1996 Bruce Duffie
This conversation was recorded at the Ravinia Festival in
Highland Park, IL, on June 8, 1996. Portions were broadcast on
WNIB in 2001, on WNUR in 2012, and on Contemporary Classical Internet
Radio also in 2012.
This transcription was made in 2015, and posted on this
at that time.
To see a full list (with links) of interviews which have been
transcribed and posted on this website, click here.
Bruce Duffie was with WNIB, Classical 97 in Chicago from 1975
its final moment as a classical station in February of 2001. His
interviews have also appeared in various magazines and journals since
and he now continues his broadcast series on WNUR-FM, as well
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.