It's been almost an hour when coffee, talked about Bach and the world, the bar pianist plays loud and warm, and actually would Interview all of the characters on the end. But then Cédric Pescia says by the way that he is learning now by the way the Tabla, the Indian Instrument that consists of two different-sized drums – and then, once again to sit.
That Pescia is an original head it clear. The 42-year-old from Lausanne, and Berlin is one of those remarkably large group of Swiss pianists who are not (yet) to the Superstars, but offers a nice international career track. Pescia is doing it, especially in French-speaking Switzerland, France and Germany; in German-speaking Switzerland and others are on the way (the 'rösti divide' also exists in this industry).
With his CDs, he was also here again and again: as one who was not afraid to debut with Bach's "Goldberg variations". And then with the works of Bloch, or Cage, or Enescu recordings nachschob, which would bring every marketing consultant to despair. Pescia can afford, after all, he has, since 2012, a nearly full-time job as a Professor at the Geneva University of music.
No answers, but Inspiration
And now he learns Tabla. Why? The answer is a typical Pescia-answer: "Because my Knowledge about music ever." Finally, the Indian music is very different than the Western, free, open, at the same time formulaic. Above all, the sense of time was different, says Pescia, "often, much is happening in the Indian music". Since he could not learn as a Pianist very much, for the design of slow Tempi. For what is between the notes.
This is what Pescia interested in the classical Repertoire. Earlier he had seen the notes as at the beginning, "in the meantime, I am working a lot more with what it was before: What has brought the composer to write out of silence exactly those notes? What thought, what gesture, what kind of Improvisation?" Concrete answers on such questions. But it changes the Interpretation, if you will.
Tchaikovsky? Prefer not to
the glittering virtuosity is not for Cédric Pescia in the first place, is because soon made it clear. His way is another, and he entered it relatively late. Seven years old, he was visited, as a Pianist in his school: "After that, I wanted to play the piano." His parents had no interest in music, but they bought him a piano and let him make. It was his luck, he says: "I was never pushed, and long have I played more than really practiced." Because he actually wanted to be a doctor to study, like his father, or philosophy. But with the first concert, everything was clear: "It is an incredibly nice feeling to play on a stage."
He has to practice then started. And in 2002, in the United States, a prestigious competition, the Gina Bachauer International Artists Piano Competition in Salt Lake City. This has brought him a lot of attention, lots of offers and also a couple of findings. For example, that Russian music is not for him: "After the competition I was invited to Tschaikoswky concerts, but I've played so bad, was it really nonsense."
Each piece is an adventure
So he focused on what he is, really. On Bach, Schumann and the music of the last fifty years, Gérard Grisey, Karlheinz Stockhausen, John Cage. Pescia is one of the few pianists who play a lot of new music, without specializing on them. Just recently he has listed, along with two students at the Geneva University of Pierre Boulez's "Sur Incises", "a really difficult piece, we have been working on it for six months". At the same time, he approaches the Baroque master Girolamo Frescobaldi, "someday I'm going to make it, to play his music on the piano adequately".
Johann Sebastian Bach he is a long way off. Even as a child, he has loved this music, and later he has it circled on a harpsichord modeled after where they came from; and at the Steinway tried, what's inside is all that is in it. Recently he has brought out the "well-tempered piano" on CD – and in the process, the art piece made that one thinks of when Listening to Glenn Gould, whose rhythm-oriented style of the pianistic Bach is shaping up today. Pescia plays kantabler as Gould, spirited and improvisatory: as each piece is an adventure with open-hearth output.
school visits with Ligeti
This is not a coincidence. Because as a Pescia went to the recording Studio, he had no fixed Interpretation in the mind – but for each prelude and each Fugue in two, three or even five different variants. In addition to the notes is required nothing, "the music is very open, and this openness, one should keep himself as a performer". By doubling, for example, in one piece, the Tempo changes. Or a completely different articulation chooses. Or quiet play, what was the last passage out loud. In the end, says Pescia, have chosen the sound engineer Johannes Kammann, what combination of versions, comes on the Four-disc CD: "He knows me well and knows what I like. And I had no energy, all through listening."
He puts you hold dear for another. For the next performances. For the concert series, which he supervised in Lausanne. For the Tabla. For The Teach. For the Commute, "because in Geneva the Job is so wonderful and in Berlin, the life". And, increasingly, also for visits to schools. In his example, you see Yes, what could be the cause, he says, with a grin; in addition, it is always an interesting experience. Not least, because recent works in the school-rooms far to arrive better than in the concert halls: "Chopin, the children mostly uninteresting, but to a fall Ligeti the craziest things to you."
himself, so it may be assumed, also.
Cédric Pescia: J. S. Bach, The well-tempered clavier (4 CD, La dolce volta).
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Created: 08.01.2019, 18:32 PM