AN INTERVIEW WITH WILLIAM WOLFRAM
The third in our series of musician interviews is renowned pianist William Wolfram, who will be prominently featured in the Liszt program on January 30. His dynamic playing and colorful personality will be familiar to local audiences who have seen him frequently on this series; he has also often appeared as a soloist with the Milwaukee Symphony.
1. At what age did you start playing, and who were some of your earliest artistic influences?
My grandmother was, she taught me piano and composition, which was my main interest. Composition lessons once a week and piano lessons once every two weeks. I was quite isolated as a child, so she was my only influence for many years.
2. What advice would you give a young musician thinking of entering the classical music field?
One important thing in the arts is to try not to base your sense of well being on the performance of others.
It’s nearly impossible not to compare oneself to others, but I’ve seen countless people start to decline in their ability due to the fact that I believe that way too much of their energy was centered on envy and negativity. Being more self-centered oddly enough may be the best answer. Just keep working to better yourself .
3. You’ve played here quite often over the last several years. Briefly explain why Frankly Music is your favorite chamber music series in the world.
Everything is comfortable, good quality and fun. The city, the food, the musicians, the concerts and the concert venues…even the guy they named the series after.
4. You have a fair amount of experience with music competitions, both as a competitor and as a judge. How do you see their role in the music world today?
Competitions are good at providing an introduction to the world of performing. However, if a young person is not ready for the crush of obligations that occur from winning a big competition it could end up hurting him/her. Many feel that a 2nd , 3rd or 4th prize is a more sensible way to begin. One must never forget that competitions do breed a good deal of conformity into a young persons outlook…which is not good.
5. On average, how much do you practice each day?
It’s hard to say…because when I’m home I work quite a bit…but the only way that I can do it all day is to take millions of tiny breaks.
6. Are you still a Red Sox fan?
I am. Thank you for asking…and my loyalty has been rewarded
7. What’s the most difficult thing about being a classical musician, and what’s the most enjoyable?
I honestly enjoy most of what I do. I feel lucky to work at something that I love and is meaningful. Sometimes it’s hard…when you play poorly after working your head off..or when you play really well and a critic says you stank. Most of it is wonderful though….most of the people whom I meet at venues I enjoy very much….some lasting interesting friendships can be made in those situations.
8. What’s your view on the classical music field right now? Is there a “crisis”?
Too complicated. I’m going to avoid this question, and before you get annoyed at me, politicians do it all the time …they just never admit it like I just did.
9. Do you have any unusual or offbeat repertory or projects coming up?
I just played a recital at Bargemusic in New York City. The first half was Ligeti Etudes and some pieces by Justin Dello Joio; it was great. Now I’m trying to find a conductor and orchestra interested in playing the Howard Hanson concerto.
10. What makes a great live performance, as opposed to sitting at home and listening to a CD? And why should anyone come to hear you play, anyway?
Going with the moment. Going down a different interpretive path at the spur of the moment. Realizing that all the coughing occurred AFTER the slow movement ended!