Upon Further Reflection: Pianist John Wilson on Making His Solo Album Debut and Recording the World Premiere of Mentor Michael Tilson Thomas’ Three Movement Suite for Piano
John Wilson
The Americana-themed program, released on AVIE Records on September 30, also includes Copland’s Piano Sonata and Earl Wild’s Gershwin Transcriptions
This fall, AVIE Records released Upon Further Reflection, the solo album debut by American pianist John Wilson featuring the world-premiere recording of the title track written by Wilson’s friend and mentor, Michael Tilson Thomas. Aaron Copland’s Piano Sonata and Earl Wild’s virtuoso arrangements of iconic George Gershwin tunes complete the Americana-themed program.
John Wilson first encountered Michael Tilson Thomas in 2015 when he was a fellow with the New World Symphony. John’s protégé status quickly evolved to that of close confidant and collaborator, leading to this solo debut album.
We spoke with John Wilson about the new recording.
Tell me about how you and MTT determined that you should play and record his piano works. Before this time, had you worked closely with other contemporary composers on performances of their works?
“I love music, especially classical music. I am glad to have shared it and served it in a life of orchestral conducting. But the musical language of these piano pieces is much more a reflection of who I really am and have always wanted more to be.”
Contemporary music has for a long time been an important part of my life, and especially at New World Symphony, I had the opportunity to be a part of many premiere performances, music by pioneering composers of today such as HK Gruber, Timo Andres, Unsuk Chin, Steve Reich and, especially, Michael Tilson Thomas. MTT, as he did in San Francisco, brought new music to life by making it relatable. With his guidance, we understood the connections to the past as well as what made them pressing voices of today. His Playthings of the Wind premiere was a milestone for me while there. At New World they were adventurous, fostering an appreciation for the contemporary, programming the avant-garde with commitment and pride. One of my fondest memories at New World Symphony was discovering Messiaen’s Oiseaux Exotiques. I felt so deeply for the piece that I fully committed it to memory for our performance. When MTT gave me the opportunity to perform his solo piano compositions it seemed like a natural progression in this creative environment at New World.
I was first introduced to the piece that would become the “Sunset Soliloquy” in 2018, and it was that year that I premiered an early version of this piece, as well as “You Come Here Often,” performing it live in Miami, which was recorded for Medici.tv. That next summer I was performing solo piano works by Debussy at the San Francisco Symphony when MTT showed me his newest piece: “Bygone Beguine.” When I saw that score, I was in amazement - a truly remarkable piece. More playing, more discussion, and the idea came about for me to record his suite of all three pieces, collectively titled Upon Further Reflection.
What were your initial impressions of MTTs compositions? After working with him “phrase by phrase, note by note, exploring the meaning of each gesture, phrase and riff,” How did those initial impressions evolve?
When I first saw the score to “Bygone Beguine” what struck me was this trifecta of counterpoint and textures structured within a framework of a delightfully catchy melody punctuated by these rhythmic, jazzy, sometimes middle-eastern influenced pops that propel the piece to its climactic moments. Its nod to minimalism of texture was in contrast to the more symphonic grand scale of the “Sunset Soliloquy,” nonetheless completely equivalent in its impact and artistic density. Because of this, there are many shaping decisions one can and I think should make as an interpreter. As we worked through the score – discussing as composer and performer – I knew the notes were only the beginning. One can discover new moments of say, nostalgia or a passage that is reminiscent of a woodwind passage by Nielsen, or maybe even a 70s disco beat! We let our imaginations guide us through a tour of different emotions and feelings all in the service of the composition and experience of the listener. This process runs that spectrum from start to finish and it is exhilarating.
You write in the liner notes for the new album “This nexus of Americana with Euro-classicism, compositional elements that American composers have so often wrestled with, seemed somehow to me to enlighten both.” Can you give me an example of this in this new recording and how the nexus plays out (I am thinking this applies to all three composers on the album)?
Copland’s Piano Sonata contains so much of the American idiom, replete with its serialist backbone, quartal chords, and adorned with the landscape of sprawling phrases across huge ranges of sound and color - all within an almost symphonically encompassing architecture and multi-movement form. Who can know what Copland really thought as he crafted this? It almost does not matter. The score is what we deal with. The Piano Sonata, in my opinion, is Copland’s greatest piano piece – perhaps even one of his greatest compositions entirely (not to detract from his Piano Variations of which I am a very big fan). I initially considered recording the Variations but I thought this composition more impactful to complete the album. I thought, ‘what a bold message it would be to show three of our country’s treasures: the aforementioned grandfather of Americana, Aaron Copland, the firebrand jazzy and showtime energy of Gershwin, and a man who has given so significantly to our generation of music performance: Michael Tilson Thomas.’ Copland represents the greatest distillation of iconic Americana - so much of his output was tied deeply to his outlook of hope and positivity for our country, during some of its most harrowing times in history. I hope this album offers an element of hope and positivity - despite it being recorded throughout quite a trajectory of pandemic obstacles!
You spent three years with the New World Symphony and have been guest pianist for the San Francisco Symphony since 2018. How has your time at those two institutions influenced your artistry and the trajectory of your career.
New World Symphony helped me to find my artistic voice and to hone the skills necessary to project it. I was lucky enough to have a fourth year at New World where I gained a sizable percentage of my artistic development. From the first time I played with San Francisco Symphony – I played Petrushka on my first concert with them – I was immersed in the legendary sound of these virtuosi. It is such an iconic composition and hits one as an artist in a deeply affecting way. I think I had played Petrushka maybe 30 times prior to this, but it is different every time. Music is communicated in the air and in that dialogue between players – we all exchange ideas – maybe one day the phrases are playful, the next day sarcastic, the next day rife with innocence – all of this interplay between musicians builds our collective artistry and sound and these experiences then affect the next one, in a continuous cycle. I am always learning from my colleagues. I believe the true measure of an artist is what they can do on a stage, to an audience, to the listener, with their artistry. These institutions have certainly imbued that.
What is next for you? Are there other composers (of any era) you want to tackle or some you hope to collaborate with? What are the pieces you are excited to interpret for audiences in upcoming seasons?
I am currently working on final production of my second solo album. It includes transcriptions of Rachmaninoff’s songs by Earl Wild, as well as his “Porgy and Bess Fantasy.” I top it off with a set I have adored my entire piano life, Gershwin’s Three Preludes. It is a project I am eager to share with listeners. It shows the piano in its most provocative forms with cascading textures and beautiful melodies – and in so many ways this road began with the fanfare of those three preludes we all know.
I tend get obsessed with everything I am playing – one day it is Stravinsky, the next day it is Mozart, or Rachmaninoff. I have just finished a number of performances of Shostakovich Piano Concerto No. 1. The more I study Shostakovich’s works the more I realize what this man was going through while managing to express himself in his compositions. I would like to record his solo piano works perhaps alongside a living composer. Gershwin said, “music must represent the time and people in which it is situated,” and we certainly find ourselves in precarious times! Soon I’m switching gears entirely to Mozart’s Piano Concerto No. 9 for a performance at Carnegie Hall with the Chamber Orchestra of New York. Whatever I play, I like to interpret it differently each time, based on how I view the composer’s thoughts in their lives during their writing, or current events, or even just in the spirit of ‘hey let’s do the phrase this way today, just try it!’
Music is always alive whether or not the composer is. In the case of the latter, I keep an open mind. I am always keen to discover new musical ideas and unique voices.
