I am just a music lover

Interview with Aleksei Volodin.
18 June Alexei Volodin recital

– In one of your interviews you said that no-one can be allowed to interfere with compiling your concert programme, for it's your exclusive prerogative. What made you put together in one concert music by Bach, Ravel and Prokofiev, composers, separated in terms of not time but rather genre?
– It was, as usual, the idea of contrast. I am not too interested in playing music of the same style for the whole evening. Even when making a programme of Beethoven sonatas, I always try choose ones written in different periods. As for this recital, the music of Bach and the two other composers (who, incidentally, were contemporaries) is separated by the intermission, so there is no point talking about “combining” Bach and Ravel. Let's say, my concert is like two small ones.

– In your numerous interviews the conversation is often about your performance of Rachmaninoff, Schubert, Beethoven, Ravel and, of course, Chopin. But which of Bach’s works was the beginning of your deliberate acquaintance with his music?
– It was English Suite in A Minor – I played it in my first ever recital.

– Could you tell more about it? Where and when was it? Why Suite in A Minor? What did you feel like at that time?
– It was in Moscow. I was only 13 years old and by that time I had been learning to play the piano for four years only, so the complexity of my program still amazes me. Apart from the Bach suite I was also playing Sonata in C Minor by Mozart and Rachmaninoff's Concerto No 1. Why it was Suite in A Minor, it is difficult to say. At this age, almost everything depends on the teacher. It was the first recital in my life, so I felt nothing but joy. When you are so young you do not yet feel the real responsibility for each note of the author, so your stage performance is not marred by realizing some of your faults, as it happens afterwards. On the contrary, you feel euphoric, and you think that your dream came true.

– How extensive is your repertoire of Bach? Is there anything else that you have not played yet? Why?
– It is quite extensive, as it includes clavier concertos, a large number of preludes and fugues, partitas, toccata, suites as well as Goldberg Variations. Of course, a lot of pieces have not been played, since I never set myself a goal to play everything, I am not a big admirer of so-called integrals. I believe that in almost every cycle there is something most precious for the performer, while also there is something which is less close to you. So playing something that you do not feel attached to does not make much sense, in my opinion.

– And what criteria do you have for the "most precious"? What attracts you most in, let’s say, “Goldberg Variations”?
– For me the most precious is what the poet expressed saying: "What depth, what courage and what harmony!" Strictly speaking, these words indicate a perfect shape, deep content in the piece and the perfect combination of these two. I love those works reflecting the picture of the universe and also the deepest inner world of a human being. All of it can be found in "Aria with Variations" by Bach known as Goldberg Variations.

– Do you have any idols among musicians performing Bach's music? If so, who are they?
– Perhaps Glenn Gould. He is an unattainable summit. But this does not mean he is the only one. Other outstanding artists have also performed some Bach’s pieces excellently.

– I cannot disagree with you. Glenn Gould is a kind of "mathematical genius" of Bach's polyphony. Once you said, "I do not imitate, but rather learn ..." Is there anything that you learned from Gould or other musicians?
– I cannot say that I really learned anything from Gould. His interpretations are often highly paradoxical, and what he does cannot be done by another pianist. The impact of his unique personality is huge, his energy and expressiveness, and, what’s more, the combination of the highest culture and absolute freedom is what really impresses. You don’t quite understand how he does it. You can only enjoy the amazing result of his thinking. Listening to his playing is always interesting, even when you disagree with some of his interpretations. But as for the ones you could (and should) learn from, I would name Emil Gilels.

– Volodin as a performer and Volodin as a listener – is there a fundamental difference between these people, and what is it?
– Practically there is no difference, as when playing, I always try to be a listener, too, and while listening to other musicians you cannot cut off your own professionalism. However, it does not matter much, as in both cases I am just a music lover.

– Loving music so passionately, you're not concentrating on the classics only, are you? What other genres are you interested in? What do you listen to when you relax? Are you interested in improvisation?
– I listen to something that fits my mood at the moment. I may be fascinated for some time by, say, Mahler symphonies or Shostakovich quartets listening to them every day, then I do not listen to them at all for years, and then I am again back to them. As for other genres and improvisation ... Definitely, yes! In almost every style I can find something that is close to me. Frankly, my favorite pianists are not classical musicians but jazzmen: Oscar Peterson, Keith Jarrett, Brad Mehldau. These great musicians are, in some way, my ideal because music is born right under their fingers at the moment when it is played of execution, and, in the most successful moments, a real miracle happens when new melodies and harmonies appear. Although generally I dislike rock music, there are some exceptions, however, like the awesome Jesus Christ Superstar by Andrew Lloyd Webber as well as some songs from Pink Floyd’s The Dark Side of the Moon or Echoes (the unique rock watercolor). Duke Ellington was absolutely right saying that there is only good music and bad music. I'd certainly prefer a good jazz piece to bad classical one, and vice versa.
Speaking with Inna Rodina