Ravinia 2023 Issue 1

Revealing a bit of marginalia about a song, it changes the way it’s heard. We have some delightful stories, but there is spontaneity in our banter. a T BY DONALD LIEBENSON anniversary last year. The foundation preserves and carries on the legacy of this uniquely American art form through educational programs, mas- ter classes, and the annual Songbook Academy for high school singers each summer. He also serves on the Library of Congress’s National Recording Pres- ervation Board, which helps guide the National Recording Registry, an archive established in 2002 that each year inducts 25 recordings deemed worthy of preservation based on their based on their “cultural, historical or aesthetic importance in the nation’s recorded sound heritage,” according to the organization’s website. Thibaudet, a two-time Grammy nominee, shares Feinstein’s passion for arts education, music preservation, and nurturing the next generation of musical artists. In his more-than-30- year career, he has recorded upward of 50 albums and performed with the world’s most distinguished orchestras. He is featured on the soundtracks of such critically acclaimed films as The French Dispatch , Pride and Prejudice , and Atonement , and he is a Holly- wood Bowl Hall of Fame inductee. THE CONCEPT for “Two Pianos” grew out of a personal and artistic mutual admiration. Thibaudet is “a kindred spirit who listens to and loves different kinds of music,” Feinstein says. “I had certainly appreciated his work from afar because he, to me, was not only a great interpreter of Ger- shwin, but he plays Debussy, Ravel, Chopin, Khachaturian, and Poulenc, and also records transcriptions of Bill Evans and Duke Ellington. His musi- cal taste is without prejudice.” Their collaboration has been “a lot of fun,” Feinstein shares. “Jean has an extraordinary ear and perfect pitch. His artistic suggestions are wonderful. We do in the program a medley of Richard Rodgers waltzes and a daz- zling interpretation of ‘Tea for Two.’ It starts lushly and then turns into a pyrotechnic showcase. Those sorts of things are great fun to present to the audience.” While “Two Pianos” showcases the artists’ exquisite musicianship, Feinstein, a charming and compelling raconteur, is excited about having the opportunity “to put a piece of music in context,” he says. “When one re- veals a bit of marginalia about a piece, it changes the way somebody hears it.” Check out Feinstein’s 2022 appearance on Gilbert Gottfried’s Amazing Colos- sal Podcast , in which he demonstrates the intended rhyme scheme of Gersh- win’s “Someone to Watch Over Me.” “It’s part and parcel of what I do. Jean is excited at the thought of being able to speak a little bit onstage, even though he was feeling some intimidation. It’s not something he normally does. To me, it’s like a duck taking to water. We went through the pieces and decided who would say what about each one. He has some delightful stories that he has incor- porated, but there is spontaneity in our banter. I may go off on a flight of fancy and he’s right there. It’s a pro- cess like anything. The first time I ever stood up from the piano and sang with accompaniment, I didn’t know what to do with my hands. I thought I had grapefruits on each one because I was so used to them being engaged. That was a little process to become comfortable. The more we do it, the more freewheeling and smooth the entire presentation becomes.” FEINSTEIN, a world-class pianist, is a tremendous solo entertainer. But he treasures these opportunities to collaborate with other artists. “It’s like dating,” he says. “You discover things about each other and become more comfortable in communication.” Last year, for example, he recorded the al- bum, Gershwin Country which paired him with Alison Krauss, Brad Paisley, Dolly Parton, and others. RAVINIA.ORG • RAVINIA MAGAZINE 7