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the zero is and the guys sat around the table as well known jazzmen named john option as dodd has been making a lot of noise i think here and abroad and he's not with us in the united states unfortunately won't be playing in the city but that might be interesting for mr arkin to tell us something about the beginnings of his career before he made the world wide bit of noise with the tchaikovsky award nineteen sixty two i think you tell us something about the early part of the training will yes i started training in manchester england duo college of music will pull a bait and then this math is after the scholarship on petri who have been associated with manchester city pitch in nineteen ten but when i went to an intellectual triple ball and switzerland about a plea and i felt very privileged to be associated with him it was a pimple but
german political drama can ironically only recently that shadow has come up from illinois that agree with your performance of it and i think you haven't been recording of that coming out and yet in december an angel or some of the problems with that picture was a very long can show when it first came out one of the critics that was on his shaved his beard off but you built a very big competitive compensate for this and it is a five movement work meeting a male quiet in the fifth movement and the strong orchestra to combat the book mary and five orchestra and the main difficulty in protecting workers to get to such effect because and how long has been working on their teacher workman can jettison some dispute about eighty why do you think that it has been that second chance for him to be quiet but only because of necessity of having a large orchestra and a choir well i
think apart from the public the difficulty of projecting was a news spot of interpretation there was quite a lot but i think that life behind the notes of the work one leads the feeling of a living tradition almost in the sense that only the feeling of all men in addition to the project will destroy do you farm when studies your career have championed contemporary works as an aegis good example beginning with the sony how receptive have a new audiences here and abroad to the content we were sitting including the concerns what's included most content to work back in england where i found that is quite of the show to have a moment in the audience a considerable number of concert of new new ship and i was for a time a member of a group called new music manchester and the very short acquire and sounding tired and consisted of a group of young composers including alexander girl pete a much loved aviation and
the crucial vote for coverage of them and what sort of things are they writing for the piano well within the limits of the avant garde style that traditionally oriented piano work when they didn't follow the prepared piano to a convention that was that have you playing the american works farther and further pointing and i play ball theorem copeland and of the two main interest in america would buy young composers including want to talk to a political go another reason for years was were for piano by ross stevenson is an unfortunate mccartney opened yet but that was recorded by not something about that stevenson were very interesting and they'll most unique work it's based on the initials bs va with shostakovich
himself as you've been musical notation in the hole that it's a pasta color and maintains the shtick full and eighty minutes do nation that in itself i think of the two of the full show this was an oblong got work although seven years you've made a pianist drinking woman to have a lot of that it's i think it's a lot of equipment almost from all of them from an official concentrated full what about some of the other us of maine stays in the repertoire where you found that you tend to concentrate on to concentrate on one particular tile and paulson ayer can enjoy very much a clash of beethoven and the launch of what the nineteen century earlier twenty sent to work as concentrate to either a chopin specialist disease specialist ann nothing else it announced most young pianist tend to spread them so we are there with her and they are idea of constant they don't want
style was their population is going to find property and most of them play a wide variety of cars with stephen bishop who i've probably his greatest reputation to beethoven play also does play boggle from stravinsky and similarly ashkenazi have plunked rangers little bit from bulk call for how has the audience into that have they grown up to this and we did so conditioned to expect a rude son to concentrate on show and yet ironically rubenstein was a couple great innovative of contemporary works well enough dedicated to opens on wall recordings without a very pleased when a pianist presents an unexpected facets to them we won rubenstein played in england at on both these last two cycles ago people were delighted that included the seminal skin was a christian cabaniss altman worked in
flight they unload of the clockwork we hadn't been so associated with him in england you find that that ten city improv live programming say in a broader demands or how free are you or other passwords with selecting their programs is is it's a little bit of a problem with reform that's become known for global kind of news show then the potential fuel efficient going to talk about that we're running out of the equivalent of the troops you're making a toy united states now and one eye problems going to be like whoa i'm giving recitals in minneapolis and washington what will those two concerts consist of what washington warm will be a more traditional form well as they well well take advantage of a wyatt a while use a more traditional do feel that this was expected of you from that audience or is a soprano well i
want to quote unquote one made a traditional one left and his work except that of other children in minneapolis from her male allen will fall by working within the question do you think that all pianists have to go to the summit how big this you are rubenstein that you can just say this is a problem of thoughtful and where else to go on trial in which you play they play well for those shows there's an angel recording of the tchaikovsky and i'm also never thought as a frog symphonic variations even though we referred to tchaikovsky having to wear a rate for what was some of the problems of a recording that approach with that concerto on any anymore what the real problem with the final one feels bigger than
like interpretation i think of the march of the thomasville were played a minute i've never found a bit of excitement and from one of unity when that event turning it to his honest and interpretation and as we take for granted in some things that we feel are not simple things to law is quotes a beethoven sonata how do you approach a sudden lead to a new piece that is in every piece that you think that you get at your repertoire one thing faith one approaches a very conscious way that maps out for one considers that with a different vocal point that they think at a certain point and working longer afford to shop in the dark full flush of life and suddenly begins to cohere well it happened before but there's an intuitive thankful to the takeover about halfway through the working at work hasn't been any episodes you can think
of that has really caused a lot of pain and before he finally got to make it fit together yes i think that mozart ever difficult group of these farmers sophisticated and yet so low all over the field more difficult is it permanent injury or is it just all the standards also i would say primal emotional obstacles wonderful field early age inevitably an expressive of an african church management you're touring now with the london symphony and there was a correct yes we're going to get to play with her left in daytona played and cut off when i'm warm and the ones allotted only one other picture is headed today one reason that they would
probably have second in london the beethoven for continuity you're married or start into a pianist and brendan lukens yes we don't know here and there he's also starting to note that you have to get to work well we made the mozart sonata and dave to stravinsky and shirt a lot of staff to coalition percussion would have been one of two first homes knew who worked for instance or a new piece by mark moreland from him out to give that list of abortion you accountable when you think about music that first isn't being written for two pianos and one step forward to the court but i don't know i think it meant that a very difficult medium for composing the natural man that a very attractive at him for not in the head but in
fact for mozart on without remarkably few who think it's an enormous like it ends with a long way and i think in the public face of the composer climate if you can imagine a lot of the concert ended to work which is so much like one gotten so difficult to walk from anaconda have you played the bottle sonata is when hubble was on the problems involved with that sense an eloquent ensemble the percussionist whatever reason the record about the ammonia really makes some feel the united states i want to talk about as well was one of your teachers dennis nash and who has no small part of very mildly large select following him through his recordings goes curious to know that you have been studying with him
nineteen fifty seven nineteen fifty nine is that we cede while assad he was the same age as you call them at what young about forty forty minute film will be if you also over teacher omar nagy have the flag of the argument the nation nearly one can feel so much more news it's not what you think about this point of rice's we have seen have an abundance of not only good but excellent pianist about channeling some of these musicians into teaching i think that the problem of phone number and how does one discover that one is or has the makings of an excellent teacher what is the training like in england well up to a point i think that it's a fallen to the
us approach to discover was up to the tv and one problem us must fail ability to express oneself claire lambe and to project different points an interpretation that and then they go ok that gets lunch counter through an interpreter to get a glimpse of the thing one can imagine that that explaining how they got a particular that portion of the month and that engine plants that in exactly what it does not much of it and talk about it starting what you think about and another sore point with innocent this is now of recording and also forming in front of a live audience recording prof another first one that will not a substitute for the field communication with a lot of what would he find
for the feeling of starting over the morton would you prefer your performances were recorded choice but the edges of those are also a composer what do you feel about yourself as a composer was joy compose a poem went and i've written several shotgun engine lot of unaccompanied violin and i'm working and can do before many victims and concert organs that level as it was in theory when one would want my guest is ben john dugan celebrated english pianist who's here with us and the dodgers new recording is a bit sunny concerto of the superman thing in december i angel and should be pretty
Series
Listen!
Episode
Cyril Peters Interviews English Pianist John Ogden
Producing Organization
WRVR (Radio station: New York, N.Y.)
Contributing Organization
The Riverside Church (New York, New York)
AAPB ID
cpb-aacip-528-959c53g60m
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-528-959c53g60m).
Description
Episode Description
An interview with pianist John Ogden.
Broadcast Date
1967-11-15
Asset type
Program
Genres
Interview
Topics
Music
Biography
Media type
Sound
Duration
00:16:00.624
Embed Code
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Credits
Interviewee: Ogden, John, 1937-1989
Interviewer: Peters, Cyril
Producing Organization: WRVR (Radio station: New York, N.Y.)
AAPB Contributor Holdings
The Riverside Church
Identifier: cpb-aacip-ab978f0f4b6 (Filename)
Format: 1/4 inch audio tape
Generation: Master
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Listen!; Cyril Peters Interviews English Pianist John Ogden,” 1967-11-15, The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed July 3, 2022, http://americanarchive.org/catalog/cpb-aacip-528-959c53g60m.
MLA: “Listen!; Cyril Peters Interviews English Pianist John Ogden.” 1967-11-15. The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. July 3, 2022. <http://americanarchive.org/catalog/cpb-aacip-528-959c53g60m>.
APA: Listen!; Cyril Peters Interviews English Pianist John Ogden. Boston, MA: The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-528-959c53g60m