The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
Sentiment: NEGATIVE
Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.
You can't play a symphony alone, it takes an orchestra to play it.
I have always studied my parts with the orchestral score and not with the piano reduction.
Why write for the orchestra? For one thing it's a very challenging problem.
A symphony is a stage play with the parts written for instruments instead of for actors.
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
To me, the piano in itself is an orchestra.
It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.
It's like a whole orchestra, the piano for me.