The Piano Plus series showcases an exciting variety of duo pianists and chamber ensembles. Purchase tickets using the links below or call (312) 291-0291.
Saturdays at 3 pm
$15 admission; $10 students (ID required)
September 27: MIGUEL KERTSMAN, PIANO
with MARTIN KUUSKMANN, BASSOON, and SHINPEI INOUE, FLUTE
3:00 pm
“The Brazilian Belle Epoque & Progessive Chamber Jazz”
A program of deliciously vibrant and nostalgic classic “Choros” from Brazil’s Belle Epoque, and Chamber Jazz compositions by Brazilian-American composer and pianist Miguel Kertsman. Kertsman is joined by bassoonist Martin Kuuskmann and flutist Shinpei Inoue, bringing this music to life in a uniquely intimate, fresh, and progressive approach. From traditional Chorinhos of Rio de Janeiro’s golden days, to progressive textures, Mr. Kertsman’s unique compositional idiom, and indeed improvisation, this musical experience will not only transport the listener back to the sensuous salons of old Rio, but also propel one’s imagination into new musical landscapes.
PianoForte recently interviewed Mr. Kertsman about his experiences with music, and got some excellent and thorough responses. See below for the full Q&A!
PianoForte: How did you become interested in playing music? Was there a certain event in your life that inspired you to start playing, or did it just come naturally?
Miguel Kertsman: Growing up in Brazil, one gets exposed to music almost everywhere… on the streets, at the beach and the work space. People sing a lot and there is always some type of folk musical manifestation around you. Perhaps that contributed as further incentive to become interested in music — further because music was also very much part of our household as both my mother and older sister played the piano. My father was not musical but loved to sing and loved music as well.
At about age 7, I decided to play the guitar but fell in love with keyboard instruments — organ, piano and harpsichord but very quickly switching to the piano and organ. I did not pursue music 100%, however, until I was in college and at age 19 I finally left the electrical engineering university (which at that time was a coveted school with a competitive ratio of 23 to 1 to even get in) for a music school.
PF: Who and/or what where your influences? Who inspired you and encouraged you?
MK: It would be too many to mention…at some point very early on, the incredibly rich folklore of Brazil, the Viennese waltzes and Hungarian dances my grandparents loved, Bach and Beethoven mainly. Not long after, progressive rock, fusion jazz, bop, cool, experimental, electronic, contemporary music and just about every composer I have heard - from Mahler to Ligeti.
I had some incentive from home, not much at the beginning but much more later on, and there were a couple of relatives and dear friends in New York who were absolutely wonderful in making sure I would not leave the music path for other more “logical” or perhaps “easier” choices. I am forever grateful.
PF: I see you have an extensive repertoire! What are your favorite pieces to play and why? Do you even have a favorite?
MK: I remember already in my early 20’s in New York, I would be doing a studio session as an arranger and keyboardist for a club house music record, and playing a flute and organ recital at a Park Avenue Church during the session break in the same evening! I was also founding the jazz ensemble Amazonica Universal Orchestra at that time and writing a Tone Poem for orchestra — all at the same period. It may sound like spreading oneself thin, but it really is not.
Yes, the repertoire is extensive and it will always be. There are areas I can enjoy more deeply at one point in time or another, such as writing new music for the concert stage, doing an experimental electronic studio project or playing progressive jazz or in a chamber music setting. I would not really be able to say I have a “favorite”.
I would make an analogy as going to a great home-cooking pasta place in the Italian countryside: you love pasta and everything they have there is great and gives you much pleasure. Nuances may be different between one type of pasta or another, but in the end the experience will be equally wonderful.
Still, if I had to really pick one, it would probably be writing a new piece and simply sitting back and watching what a group of musicians and/or soloist may do and add to the music; to experience other people conveying that message in their own way.
PF: Music has been said to be the food of love and the universal language.
MK: Indeed — “universal music” has long become almost a jargon. I have always seen it that way. My first tour in Brazil at age 17 or 18 was a program called “Musica” — it featured only original works performed on the organ, piano, synthesizers and a drummer/percussionist where genres and labels did not mean anything. All proceeds went to charity to help drought victims in the remote countryside. Music brings - it certainly can if we all as a global group of Earth residents allow it - the world and people together. We are all in tune with a wonderful dimension, and sharing that dimension by creating and communicating together.
Music has always been universal to me. Genres and styles do not matter. It is about what one feels, hears, and wants or needs to communicate and be communicate to in return. It is a wonderful synergy.
PF: Name one “fun fact” about yourself
MK: I guess deep down I will always be a kid, and very much enjoy crunchy snacks sometimes after already having a dessert!
