My profession is like the universe – it is endless

Interview with Rudolf Buchbinder.
22 and 23 June Rudolf Buchbinder concerts

– What is your typical working day like? How many hours a day do you play?
– In my life there is one very important rule – that there are no rules. Every day I do something new, something different. For example, I never get up at the same time. It’s different each day. The only thing that is sacred for me is an afternoon nap on the day of a concert. With regard to rehearsals, I only sit down at the piano when I feel like it, so here, too, I don’t have any rules. Sometimes I don’t play for four days in a row.

– Which company made your instrument? Or perhaps you have several?
– I have three. And they are all Steinways.

– How does your family react to your regular music sessions?
– Here it’s all quite simple: my children never heard me rehearse. I always had time for that when they were at school. And when they came home I dedicated my time to them and not to music. It’s the same with my grandchildren. They are seven and nine years old. When they visit I spend all my time with them and not at the piano.

– How do you spend your days off?
– Thank goodness my profession doesn’t know the meaning of the word “weekend”. For example, any Tuesday or Wednesday can be like a Sunday for me. But if I do have spare time I am never at a loss for something to do with it – I have interesting hobbies such as painting, literature and film. I have a huge film library, about four thousand movies. I have collected every film that has won an Oscar. Apropos, I really love Russian cinema. I also have a great many Russian films. Of course, they’re famous ones like The Battleship Potyomkin or Andrei Tarkovsky’s films. Apart from art films I also like watching biographical films. Films about interesting people and extraordinary individuals.

– How would you describe yourself off the stage?
– I’m a man who always finds time for others. It doesn’t matter who they might be – family, friends or just acquaintances. Of course, it is very, very difficult to describe oneself. Particularly if you have to say something positive about yourself. I have a rather complex profession. I often feel like Dr Jekyll and Mr Hyde. Good and evil. On the concert stage I’m evil and at home I’m good. These are, of course, very dangerous roles. And I take great care not to get them mixed up.

– What do you think of success? What does that word mean for you?
– With regard to audiences... When they come to concerts they expect a great deal from the performer. And it’s our job not just to justify those expectations but even to go beyond them. Otherwise there’s a risk that people won’t come to your next concert. With regard to success, I have to say I’m absolutely convinced that success is important for everyone, regardless of which profession they choose. I have a favourite saying that “If you think you are already someone then you stop moving forwards.” That is where all the beauty of my profession lies – there are no perfect, finished features. My profession is like the universe – it is endless.

– In terms of spirit, which composers are you close to?
– I understand your question. It’s rather dangerous to give a definite answer to that. You see, my repertoire begins with Bach and ends with contemporary composers who have written music specially for me. But I can say with absolute certainty that Ludwig van Beethoven occupies a key position not just in my repertoire but in my life as a whole. Beethoven is someone I keep on and on trying to discover. Apropos, I’m writing a book about him at present. It’s due to be published on 2 August this year.

– If he were alive today do you think you would be friends?
– Yes, I think so. At least I would like to hope so.

– In one interview you said that Beethoven was a composer who never compromised and in another that he was sentimental. What is your opinion of Brahms?
– Beethoven was one of the greatest Romantics. The same may be said of Brahms. He was very sensitive. And not just as a musician but, first and foremost, as a human being. You know how he supported Robert Schumann!!! How he loved Clara Wieck Schumann! And in his music, particularly in the miniatures, you can sense warmth and dreaminess. A dreaminess for love. He was once asked why he didn’t compose operas. He replied: “If ever I marry then I shall compose an opera.” But his love for Clara would never have had a happy end. So you can’t call him a very happy person. And that desire to love, that sensitivity and warmth, in my opinion is something that Beethoven and Brahms share.

– Your alliance with Beethoven is known as B&B. What could your alliance with Brahms be called?
– I would be really rather pleased if Brahms and I were also referred to like that (laughs) .

– What, in your opinion, is the main difficulty in interpreting Brahms’ music?
– I have copies of his own sheet music of both piano concerti with his handwritten notes. I’m always very interested to see what was important for him himself. Particularly in the Second Piano Concerto, where Brahms himself wrote several indications as to the dynamics. I think that most people have misleading notions about Beethoven, Mozart and Brahms. They think that if it’s Beethoven then it’s something dramatic, and if it’s Mozart then it’ll be something flittering and light. Wolfgang Amadeus Mozart was the most dramatic composer! He wrote the most dramatic opera, Don Giovanni. Beethoven and Brahms are both incredibly Romantic and sensitive composers. I never tire of performing Beethoven’s thirty-two sonatas or Brahms’ lyrical cantatas. And this music is always full of admissions of love. Only with Beethoven the problem was that he was always falling in love with the wrong women. Brahms, fortunately, found his Clara.

– Do you think that Brahms’ music is accessible by the younger generation?
– Of course, after all, this music can never die. It’s been around for a hundred and seventy years, and I see no reason why that should change. Young people need live music, and that’s why concert halls are always full. Such sensitive music as Brahms’ could touch any heart.

– Your performances are unusual for their particular relationship with every sound played as well as the scale of musical thought in general. How do you manage to combine the two? Please share your experiences...
– That’s very simple. For many years I’ve been increasingly studying early works. I always work with the original materials. I have so many different editions of every work. I often tire of repeating to my students that “Before performing music by Brahms, Rachmaninoff or Tchaikovsky you have to read a book about them. Only after that can you start rehearsing.” Today I’ve become much more free in my interpretations of pieces of music. But that’s only possible when you have an immense amount of knowledge behind you. I love to say that “Knowledge sets you free.” If there’s something I don’t know, then I don’t feel free. Knowledge is like a foundation. The stronger the foundation the better the building will stand. The same may be said of music.

– You are a very open man. What people do you find it hard to get along with?
– Fools!

– What things bring you pleasure in life and what things rouse negative emotions?
– I’m always delighted by other people’s successes. I am a very passionate gambler. When I play cards with friends I could lose for hours at a time and it doesn’t bother me at all. I just like the process of the game. And one other thing... With time I have learned to keep my negative emotions in check. There are fewer and fewer things in life that can throw me off balance. For example, if I’m sitting in an airport, the flight is delayed and there’s a risk I’ll be late for a concert I don’t get nervous or angry as I once used to. The reason for that is very simple – I can’t change the situation, even by banging my head on the wall. And in situations where I can’t change anything I don’t see the use in wasting nervous energy. With time you come to totally different values in life. Many things simply stop seeming so important – they don’t matter to me any more. But you have to live life to learn that lesson. And to be grateful to God for a great deal.
Speaking with Svetlana Nikitina and Sonya Lyubich