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The musicians do not just have to play the piano to get
that fee. Brodsky gave them an extra challenge.
"Last year, we couldn't afford to get program notes for
the recitals, so I asked the pianists if they wanted to write
their own. Only two did. This year, when I booked the artists,
I told them they would have to sit down and write the program
notes.
"It makes it more interesting for the audience; it helps
you to get into the pianist's stated of mind. Each has his
own style of expressing himself, the feelings and ideas they
have about the music they have chosen to play."
Brodsky laughs and adds: "It's also less work for me." Well,
not entirely.
She had to find someone to translate some of the notes into
English. Still, Brodsky isn't complaining. She clearly thrives
on every aspect of the festival, which includes lectures,
a recital by local piano students, the showing of three films,
receptions, and a special Lecture/performance by Rev. Sean
Duggan commemorating the 250th anniversary of Bach's death.
"A member of the Taubman Institute [a summer event in Massachusetts
devoted to Dorothy Taubman's problems-solving techniques for
pianists] told me that I had to hear this Benedictine priest,
an absolute genius who knows all the works of Bach," Brodsky
says. "He also teaches Latin and is the spiritual director
at St. Joseph Seminary College in Louisiana.
"I couldn't get over him when I heard him play. It was such
an experience. People were in tears. He plans to perform all
of Bach's keyboard works this year and he's been invited to
play at the Vatican."
The films being shown during the festival are by Bruno Monsaingeon,
whose documentaries about musicians are highly valued. In
addition to one about nearly legendary pianist Glenn Gould,
there will be two about violinists - the late Yehudin Menuhin
and Gilles Apap, dubbed by the filmmaker "The Unknown Fiddler
of Santa Barbara." The director will chat with the audience
after each showing.
The principal focus of the festival, though, will be on the
pianists and their recitals. "The passion they have for their
music is unbelievable," Brodsky says. "They are eager to play,
to be in contact with an audience, to give their best.
"There aren't many opportunities for pianists to give recitals
anymore. I'm worried about the future. What will these pianists
do? How can you ask an artist to become a doctor or lawyer?
We have to help them, to bring them into the limelight."
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