More Beethoven sonatas, Chopin works, and French music.
Lots and lots of music, but I won’t mention names of living composers, as I don’t want to offend hard working composers. Of the older ones, at the moment it doesn't feel like I will ever play any music by Messiaen and Scriabin. Not because I don’t like the music, but because their characters are very foreign to me, and I can only admire their music from a distance.
Absolutely. I feel that I have lots of experience in programming a festival, after doing it for 17 years in Risør.
This is difficult, because musicians are always terrible in judging their own recordings. But in my own very subjective feeling, I am quite proud of the Rachmaninov Piano Concertos Nos. 1 and 3., and Mussorgsky’s Pictures at an Exhibition.
For me chamber music has always been important, and an integrated part of my activities, ever since I started studying at the Bergen Conservatory of Music when I was 16, and began playing both with a violist and a mezzo soprano. What could be more normal and fun than two or three people getting together, playing together, discovering a piece together? Then I have, of course, also learned a lot from different great personalities that I have been working with during the years.
Well, working with another pianist can actually be very frustrating, because a pianist’s touch, colouring and rhytmic precision is a very personal thing, and one easily gets annoyed at a colleague who has a different feeling of timing, for instance. With this as a background, I have to say that working with Marc-André Hamelin on Stravinsky’s Le Sacre du Printemps has been miraculous. His incredibly precise touch and his exact feeling of colour and tempo is unique, and I have found the concerts we have made with this iconic piece very inspiring.
I was in Ojai in beginning February, and having come from a wet and snowy Norwegian coastal climate, picking tangerines from the trees in Ojai was a very welcome change, I have to say. The diversity of plants in the district around Ojai, I find very fascinating—I have never seen so many different trees. I love the wine and the food, healthy and tasty at the same time (not always the case in Europe!). And I love a certain openness to the unexplored, the new, the avant-garde, which the contemporary music scene and tradition in Los Angeles is an example of.
Sure. The biggest challenge is that it will feel like the sound on stage is extremely dry, and doesn’t carry. I understand, though, that there is a very good amplifying system, so we musicians will just have to trust that the audience hears something much richer in sound than what we do on stage. Then there are the flies... I am interested to see how many of those will "like" our program in Ojai, so much that they will visit us on stage. And likewise the birds, though I am curious to see if they also can contribute fruitfully to the concerts, to make the programs even more weird and wonderful.
After Ojai, I am playing at the Risør Chamber Music Festival in Norway, where I was one of the artistic directors until two years ago. Then I'm recording Mozart's "Kegelstadt-trio" with Martin Fröst and Antoine Tamestit, and then I will have a good holiday, which I am longing for, especially since I didn’t get a summer holiday last year. It will start with two weeks in the north of Norway, on the miraculous island of Kjerringøy, where my parents-in-law have a summer house. Last time I was there, we saw whales, eagles, reindeer, and felt like one with the silence and nature. I couldn't be more happy.
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