Stephen Prutsman, pianist

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

Influences – a couple wonderful teachers and many fascinating and challenging colleagues. Music would include J.S. Bach, prog-rock bands “Yes” and “Genesis”, Art Tatum/Bill Evans/Chick Corea, Ravel, Scriabin, Stephen Sondheim, Steve Reich and Buster Keaton. Oh, and Satyajit Ray.

What have been the greatest challenges of your career so far?

Probably first figuring out which musical languages do I have an authentic relationship with, and then finding ways to communicate that relationship at the keyboard.

Which performances/recordings are you most proud of?

Bach Well Tempered Clavier Book II – although made 30 years ago I think it has some of my best musicianship. And “Passengers” – my first all piano solo original music album.

Which particular works/composers do you think you perform best?

This is tough – maybe Bach, Ravel and some American composers, including myself.

What do you do off stage that provides inspiration on stage?

Recently I’ve accepted a role as “Creative Director” for a new music company, Phenotypic Recordings. Their very first release are two Haydn quartets featuring the St. Lawrence String Quartet and a Korngold album. A few months after these sessions their co-founder (and good friend of mine) Geoff Nuttall passed away. Getting this album released and ‘out there’ has been a passion of mine; the playing is heavenly and deserves to be heard by all who love Haydn (as Geoff did).

I enjoy working with advocacy organizations for better quality of life for our autistic or intellectually/developmentally disabled friends and their families.

How do you make your repertoire choices from season to season?

Of late, I enjoy combining my jazz-based originals or 70’s Progressive Rock transcriptions with Bach’s music. Bach and Forth – hehe. Often I will also play what I’m asked …

Do you have a favourite concert venue to perform in and why?

Teatro Bibiena in Mantova left a staggering impression on me 25 years ago. I haven’t been back. It’s magnificent. Big hall at Carnegie is also understandably special. But I’ve found that I have had equally beautiful experiences, and in many ways more meaningful, when I play in the developing world with sub-standard pianos in dank and stuffy old buildings with benches (or floor) for audiences.

What do you feel needs to be done to grow classical music’s audiences?

I remember as a young kid in the 60s and 70s, there was talk about ‘classical music dying’… I do think before answering I would need to discuss a bit:

Define ‘grow’ the audience – more tickets sold at symphony and recital performances? Or help individuals cultivate their own personal relationships with great music?

I do think as a society we should be making sure that all students in primary and secondary education have music lessons and develop an appreciation for great art. As we know, this helps with mathematics (pitch and number relationships) and does improve quality of life.

What is your most memorable concert experience?

At this moment, I remember playing the final concerto (Prokofiev 3) in Moscow during the 1990 Tchaikovsky Competition. Insane heat, disorganized, late at night… but I was euphoric. But again, on the other side of life, I have particularly fond memories of improvising 4 hands with non-verbal, severely neurologically disabled kids, in front of a handful of folks. Those performances were much more transcendent.

As a musician, what is your definition of success?

Being happy with one’s relationship to music (and career…) at least 72% of waking hours.

What advice would you give to young/aspiring musicians?

Explore ALL musical languages – including folk music from cultures not normally represented on the concert stage. Diversify your musical activities, (don’t just be a pianist who plays only the standard piano literature). And try to obtain a respectable broad-based education of the sciences and humanities, as truths are universal (in some form) in all subjects. Finally, dedicate a certain number of hours a week towards activities and engagement in a legitimate humanitarian cause. This will do wonders towards finding your unique voice in, say, a slow movement of a Beethoven Sonata.

What’s the one thing in the music industry we’re not talking about which you think we should be?

Given that visual imagery is vital to the success of performances of non-classical, why aren’t large classical music institutions doing more to combine first-rate performances with unique video and/or lighting, along with more cross-cultural collaborations?

What’s next? Where would you like to be in 10 years?

Alive, first of all – I think doing what I’m doing now, but better. It would be fun to write a large-scale piece for musical theatre.

What is your idea of perfect happiness?

I know it’s cliché but it’s true: Being in the moment and not thinking.

What is your most treasured possession?

My home! My dog is not my possession… But he’ll take preference over my house if I needed to choose.

What is your present state of mind?

Ha! Zoooooooooooooooooooom. So much to do – continuing to engage with those with disabilities and their families along with all the many fun and interesting musical projects I look forward to.

---

stephenprutsman.com