Philadelphia Maestros: Ormandy, Muti, Sawallisch

Chapter Four - Voices from the Music World: Gary Graffman, Lang Lang, Sarah Chang

C H A P T E R F O U R Voices from the Music World Gary Graffman, Lang Lang, Sarah Chang The interaction of soloists and conductors is always fascinating. Among the numerous soloists who have performed with the Philadelphia Orchestra, Gary Graffman, Lang Lang, and Sarah Chang have especially strong ties to the Philadelphia scene, and therefore a special relationship with the Orchestra and its music directors. Taken together, these artists span the eras of Maestros Ormandy, Muti, and Sawallisch. Gary Graffman, pianist, was a frequent soloist with Eugene Ormandy and performed once with Riccardo Muti. Since 1986 he has been the president/director of the Curtis Institute of Music, where his contact with the conductors takes a different form. He will retire from Curtis in 2006. Lang Lang, also a pianist, came to Philadelphia from China at age 14 to study at Curtis. He made his Philadelphia debut with Wolfgang Sawallisch and the Orchestra in the Academy of Music and then performed with them during their 2001 tour of Asia. Violinist Sarah 129 Chang, born in Philadelphia, made her Philadelphia debut at age 10 with Riccardo Muti and has played many times with Maestro Sawallisch. These musicians graciously consented to be interviewed about their experiences with the music directors. Their concepts and thoughts shed light on the relationship between conductor and soloist and add a further dimension to the portraits of the “Philadelphia Maestros.” Interview with G A R Y G R A F F M A N Pianist and President/ Director of the Curtis Institute of Music Q. You have been the soloist many times with Eugene Ormandy and the Philadelphia Orchestra.1 How would you describe the relationship between Ormandy, the conductor, and the soloist? A. Ormandy was known by everyone as the best accompanist among the great conductors. I would say there were no exceptions. If someone asked you who do you think is the best accompanist, Ormandy’s name would come up immediately. He was amazing, as if he anticipated what you were going to do, even if in a performance you played something slightly differently. A great C H A P T E R F O U R 130 chamber musician would have this ability as well. Ormandy’s ability came from something in his brain. It was simply amazing. There was never a problem or a question when you were the soloist. Q. In 1988 you performed with Riccardo Muti in the Academy of Music, playing Ravel’s Piano Concerto for the Left Hand. How would you describe the manner in which Muti collaborated with soloists? A. Although I got to know Muti personally, that was the only time I performed with him. Before the first rehearsal you got together to determine any place in the music where there might be a sudden change in tempo. He would want to know how the soloist does the ritardando and accelerando, and anything that the soloist has had experience in. This was really a normal piano rehearsal. And then, because of union regulations, you are limited in how much rehearsal time you have. The usual standard is a maximum of two rehearsals, and the second is really a play-through. If the conductor likes the soloist – and if not, he wouldn’t have engaged him, or at least won’t engage him again – he goes over the piece, stops when necessary , and goes over that part. Both Muti and Sawallisch were excellent collaborators. After all, both have 131 V O I C E S F R O M T H E M U S I C W O R L D done so much opera. We are talking of the highest at the highest levels. Q. In case the conductor and soloist disagree, who has the final word? A. It often depends on age. This sounds as if I am joking, but it does depend on who is older. If a mature conductor engages a young, talented 18-year-old soloist, probably the conductor will prevail. If it’s a young conductor , and he has engaged a middle-aged or older soloist, it is the opposite. For example, I started to play with orchestras when I was very young, 17; and for Szell and Ormandy, I was “little Gary.” The first time I played with a younger conductor – by my standards today, I was quite young, but he was younger – was...