Leslie Howard in conversation with Melanie Spanswick

[@alcubierrevj]

Wow, Leslie Howard is such a knowledgeable musician and pianist and it is a joy to see how he patiently reveals so much depth and nuances of Liszt's voluminous body of work. It's awesome to see an artist who understands how important it is to slow down and learn the foundational pieces of any composer before tackling the more complex and more musically developed pieces like sonatas. So happy that erudition, attention to detail, patience and depth of knowledge without a hint of arrogance are qualities that are still alive today in this fast paced world. And thank you so much, Melanie for this interview. It really was a treat!

[@philosophyprof4999]

Leslie Howard is one the most Extra-ordinary pianists on the classical music scene today. The depth and breadth of his pedagogy is remarkable, something found in very very few pianists these days. His recording of the Liszt complete solo piano music (along with the concertos!) is one of the greatest contributions to Western Culture. Dr. Howard is a treasure and an astute student of music as well as a Grand Teacher of it in the finest sense of the word. At 70 he continues to concertize and remain active in scholarly work. He is at once a consummate musician and a scholar/pedagogue of the highest highest Order. Classical piano would not be the same without him. His performances of Liszt are bar none. And, one MUST listen to his recording of his own compositions, Opus 25 Classical Preludes for Piano on Cavendish Music label. Find a copy of this CD. It is not only some of the MOST exquisite compositions you'll ever hear, it is some of the finest playing you will ever hear. Bravo, Dr. Howard. Remarkable. There aren't the words for your contributions. Maybe this: Thank you!

[@treesny]

Fantastic interview, thank you!

[@ClassicalMel]

Thank you! Glad you enjoyed it.

[@johnreacher8676]

Wonderful interview with some superb insights and advice from Mr. Howard.

[@johnreacher8676]

Dr Howard I've just discovered...

[@DanielHewsonPianist]

Great interview, great man.

[@ClassicalMel]

Thank you. He certainly is..... :-)

[@chidlers99]

It's great to watch/listen to all these interviews - thanks for doing them, and sharing with piano aficionados worldwide. (I'm from Canada)

[@ClassicalMel]

Thanks so much - really pleased that you are enjoying them from Canada - Best wishes...

[@jordanstephens95]

Love this interview!

[@ClassicalMel]

Thank you :-)

[@gerardbedecarter]

Most interesting.

[@ClassicalMel]

Thank you!

[@Patafisique]

Great interview! The bit about Rubinstein cracked me up

[@ClassicalMel]

Thank you! :-)

[@peterczipott6854]

A marvelous conversation! The Liszt thematic catalogue still hasn't been published -- is there any word on when it might come out?

[@ClassicalMel]

Thank you, Peter. So glad you enjoyed it. I'm afraid you'll need to ask Leslie about the Liszt thematic catalogue.

[@chrish12345]

I disagree that you shouldn't play a fugue subject louder than the surrounding music if it is possible to do so - I'm sure Bach encouraged it on instruments where it was possible, and probably would do so today.

[@gjeacocke]

The musical institutions make rules that the students obey. That is the function of the idea behind law to enable people to act better in a certain way. The lecturers could pass a rule banning students from playing these established pieces. The role of a leader is to take action when needed.

[@gjeacocke]

I have to disagree with Dr Howard on performing pieces slowly. If we take any slow movement of a sonata we have many styles that a pianist will play it. It is not that a piece is played slow but that time has been suspended that enable a pianist to play it slow. When you go out to enjoy a holiday, you say "is that it over?". Somehow your activity tricked your mind in taking away the hold of time on you. And thats exactly what pianists should try to do. I know of Sviatoslav Richter and his taking of Schubert slower than that was indicated in the score. The fact that Schubert did not anticipate a slower tempo and the sense that it could bring is also important. Maybe he did. Another performer is glen gould with bernstein in brahms piano concerto nbr 2. Bernstein was half right. Glen gould style of slow was wrong but that does not infer another performers understanding of taking it slow would be wrong. To say that all compositions by a composer have valid tempo markings is quite wrong especially when ppl categorise them into minor and major works. If you say this then it is logical to conclude, a tempo suggestion could be a possible reason why it is a minor piece. A fine example is Beethovens Hammerklavier. Do you or do you not play it at the tempo suggested?

[@m.a.3322]

9:00 (unorthodox)

[@m.a.3322]

11:00 Guido agosti

[@m.a.3322]

15:00 (Liszt)

[@m.a.3322]

24:35 Loretta

[@suremate]

He’s Australian.

[@Patafisique]

"Very strange Lady"