On 3 July at the Concert Hall of the Mariinsky Theatre there will be an unusual duo performance – organ maestro Thierry Escaich and the young and talented pianist and composer Eduard Kiprsky.
– The organ and the piano is rather an unusual ensemble combination. What makes it special?
Thierry Escaich: It appears that these two instruments cannot be put together. But when I was composing my Choral’s Dream I wanted to give the organ flexibility and liveliness as well as giving the piano some of the colours that the organ possesses.
Eduard Kiprsky: A composer working on the creation of such a piece has to know the nature of the organ and take into account the variety of shading and colour that comes thanks to the change in timbres. In maestro Escaich’s Choral’s Dream the structure is incredibly varied and differentiated, the organ and the piano come together dynamically with an abundance of colouristic effects!
– In your programme, in addition to works by French composers, you have included two pieces from The Sleeping Beauty arranged for piano. Is there some kind of intrigue for you in such a combination?
Thierry Escaich: I think that in Tchaikovsky and Saint-Saëns’ melodies there is much that is shared, and we can hear this in Saint-Saëns’ scherzo. It was initially written for the harmonium and piano, but performing one of the roles on the organ gives the work an orchestral scale and dazzle. This music could also be used for a ballet.
– Eduard, you also compose a great deal. Does Kiprsky-the composer ever interfere with Kiprsky-the pianist?
Eduard Kiprsky: You can’t always control it. Min March this year at the Liszt Festival in Raiding over three days I had to perform four works by Liszt with an orchestra. At the time I tried to focus entirely on the performance. On the other hand, when some new musical ide or sketch turns up you have to try to embody that, however hard it may be, to use Schumann’s words, it is a gift from above that you have to share with others.
– Mr Escaich, you recently became the youngest member of the French Academy of Arts, other members of which have included Anton Rubinstein, Tchaikovsky, Rimsky-Korsakov and Cui. What is it like to be in such company?
Thierry Escaich: I’m very proud of it! The lyricism of Tchaikovsky, his talent for melody, just like Rimsky-Korsakov’s orchestral genius, for me were ideals during my years as a student. French music owes them a great debt.
Speaking with Svetlana Nikitina
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