Steven Kovacevich, pianist

Who or what inspired you to pursue a career in music?

I fell in love with music at around the age of five when I first heard Mozart’s Symphony No. 40 in G minor, K. 550.  I also loved the music of Wagner and J. Strauss from an early age, so my first influences were not piano music at all!

Who or what have been the most important influences on your musical life and career?

A hugely influential person for me was my teacher, Dame Myra Hess. I studied with her for around a year and a half.  She was a great artist with a profound understanding of the music of late Beethoven, Brahms and Schubert in particular. 

In terms of influential recordings, definitely Horowitz and also Schnabel – I loved his work – and also Rachmaninov.  Important too for me were Toscanini’s electrifying performances on disc and particularly his sound in Wagner.  I feel that my own sound is a kind of homage to Fritz Reiner in his work in the 1950s and 60s with the Chicago Symphony Orchestra, especially in R.Strauss and particularly ‘Don Juan’ – it was inescapable.  He was in a class of his own.

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

Learning to play Bartok’s Piano Concerto No. 2 in G major, Sz. 95, BB 101.  Luckily I had the support and encouragement of Sir Colin Davis and I performed it in 1966 and again in 1968 with Sir Colin and the BBC Symphony Orchestra at the BBC Proms.  I worship the piece now, but at the time, learning it certainly took a paralysing toll on my wrists in the preparation.

Of which performances/recordings are you most proud?

The last Beethoven Sonata for Cello & Piano with Jacqueline du Pré; Brahms 2 and Bartok 2 with Sir Colin and Bartók: Sonata for Two Pianos & Percussion, BB 115, Sz. 110. with Martha Argerich.

Which particular works do you think you perform best?

Brahms Piano Concerto No. 1 in D minor, Op. 15 – it’s my favourite concerto.

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

Angel Place, Sydney for its marvellous sound.  There are also several incredible halls across Japan.  I am also very fond of The Queen’s Hall in Edinburgh.

What is your most memorable concert experience?

When I was about 25 or 26 years old, I was about to give a live concert broadcast for the opening of the Edinburgh Festival of Bartok 2 and by accident, the VIP guest list was revealed to me just before I was about to begin, with details of all the fellow artists and conductors who were attending.  It took all of my inner strength to settle the nerves that broke out in that moment. 

Similarly, on a later occasion and also just seconds before stepping onto the stage for a live performance, this time of Beethoven’s Diabelli Variations, an usher whispered to me that they had just seen Arturo Benedetti Michelangeli take his seat in the audience, which rocked my disposition and caused me to play a few wrong notes through nerves that he was in the house, only to be told afterwards that it was a mistake and it was just someone who looked like him!

As a musician, what is your definition of success?

Being well prepared and bringing on stage what you have to give

What do you consider to be the most important ideas and advice to impart to aspiring musicians?

The level of talent today is staggering and there are so many musicians trying and hoping to succeed.  Sadly not everyone will survive in the small space available in our industry, so if you are musically gifted and willing to put in the effort, try to find your own personal way and don’t shy away from your own individualistic nature or be influenced too much by how other people do things.  Follow your own intuition – without being conceited, of course – and play your own hand.

What is the most important issue we should be talking about in classical music that is not currently being addressed?

I can be enraptured and dazzled by music and music-making but to be moved is rare and it is important that this quality is not lost.  

I recall an anecdote from my teacher, Dame Myra Hess, going backstage to congratulate her teacher, Toscanini, after a Beethoven performance only to hear screams coming from his dressing room as he berated himself for what he considered to be his own poor performance and that he had “sinned against the ‘Holy Ghost'”, i.e. the truth,such was his reverence for the music.  For him, it was imperative not to betray the music.  Who would say such a thing today?  He was beside himself at the idea of not having done the music and the composer justice.  It’s an important lesson, I believe.

What is your most treasured possession?

A beautiful yet fragile silk Indian wall hanging, purchased over 50 years ago from Liberty in London.  I take great pleasure in looking at it every day.

Steven Kovacevich gives a masterclass at this year’s Oxford Piano Festival, which runs from 25 July to 2 August. Find out more