On the cusp of 30, pianist Jan Lisiecki has been wowing the classical music world since age 15, when he became one of the youngest artists ever signed to the Deutsche Grammophon label. Fast-forward to 2025, and Lisiecki has just released Preludes, his 11th album for DG. In tandem with that recording, he will appear in recital presented by San Francisco Performances at Herbst Theatre on March 20, before heading to San Diego’s Jacobs Music Center with the same program the next night.
Born in Calgary, Canada, to Polish parents, Lisiecki began piano lessons at age 5 and made his orchestral debut at 9. His first album, of Mozart concertos, was nominated for a Juno Award in 2013. At 18, he became the youngest-ever winner of Gramophone’s Young Artist Award and also received the Leonard Bernstein Award.
Recently, Lisiecki has been touring Germany with the Academy of St Martin in the Fields, conducting and playing all five Beethoven piano concertos, which he recorded with the orchestra in 2020 as part of the composer’s 250th anniversary year. Lisiecki’s current U.S. tour includes a recital program centered around Frédéric Chopin and East Coast appearances with violinist Julia Fischer.
SF Classical Voice spoke to Lisiecki — who was named a UNICEF Ambassador to Canada in 2012 — by phone from Seattle. Among topics discussed were Preludes, his fondness for Chopin, and his rock-star-like touring schedule. This conversation has been edited for concision and clarity.
You began your career so young that a 2021 New York Times article dubbed you “piano’s Doogie Howser.” What did you make of that headline, and did you even know who Doogie Howser was?
Myself, along with a lot of other people, had no idea what they were referring to in that headline because I didn’t know [the character] until I Googled [him]. Well, it’s an honor, of course, but we all forge our own paths. Certainly, I had the fortune of studying quite young and working with amazing conductors. I worked hard for it and am enjoying every moment.
What was it like signing with Deutsche Grammophon when you were only 15?
I don’t come from a musical family, but everybody who plays classical piano or music knows what Deutsche Grammophon is. I was not naive, and the president of DG [and others] at the time were all incredibly kind. And that’s why I signed. They were willing to entertain my wishes — my Mozart, [for example].
Let’s talk about your current solo recital. You’re playing only preludes, including all of Chopin’s Preludes, Op. 28. What makes for a good program?
When you’re performing in front of an audience, no matter how deep the music is, in the end it’s still entertainment. In some way, it has to be enriching, enjoyable. Many factors go into it. If [the pieces are] well-known works, there’s a mixture of energies [because] different eras are [being] played. In this case, it’s always good to have a focal work, and that’s Chopin’s 24 Preludes.
But then I like to explore, go further. I wouldn’t say they’re themes, but I like to connect and give a new perspective on pieces one might not know.
Before Chopin’s Op. 28, you’re playing 16 preludes by six different composers spanning three centuries, including J.S. Bach and Sergei Rachmaninoff.
The Chopin preludes are an homage to Bach, going through the circle of fifths, every key from The Well-Tempered Clavier. They’re solid, and Chopin wrote them in such a way. A “prelude” means something beforehand, [and] each leads into the next.
To start off, I take away and individualize [Chopin’s] Prelude Op. 28, No. 15, the “Raindrop.” Hearing it first in the concert, separately — as one hears it most often — and [then again] later in the program, it’s given perspective. I don’t play it in a different way, [but] it does sound different. It has a different feeling. Chopin’s ability to write short pieces — under a minute, yet they feel whole — is incredible.
What’s your attraction to Chopin, and what’s the secret to playing him?
Chopin has a close place in my heart. As pianists, we have exclusive access [to much of his music]. He uses the best elements of the piano and has the ability to create a long phrase. The right hand is floating above [while] the left hand is creating some sort of movement. It’s the most beautiful sound you can create on the piano.
Everybody has a different secret, [but my] secret is to let his music stay in the foreground. You get very drawn into the romanticism, the lushness, the space. He provides space for you to do your own thing. It’s elegant simplicity.
In the recital’s first half, you’re also featuring composers in their youth. Karol Szymanowski was 18, Olivier Messiaen was 20, and Henryk Górecki was 21 when they wrote the pieces you’re playing.
I couldn’t include everybody [who wrote a prelude] because the program could have [only] so many minutes. These were composers I felt at the time fit best into the overall architecture. The contrast from Górecki to Bach is my favorite and a highlight. It’s a link to the 20th century. [Górecki is] modern and angular, but both [he and Bach] have the same drive, energy, vitality.
The Messiaen is wonderful. The Rachmaninoff is grandiose — it’s very big and lush in sound. I also enjoy Szymanowski’s preludes. There’s a singing quality and interesting harmonies for piano.
You don’t play much contemporary music. Why? Would you like to?
Yes, I would. That’s the privilege and fortune — and curse — of being a pianist. There’s so much music to play and to learn. I still feel that there are things I would like to learn and to have deeply within me, music I would like to live with for many years. But that isn’t to say I don’t want to play modern music. I do, most definitely. And composers have approached me. I think when the right circumstance [or] occasion, [arises], I will be ready.
Do you have a preference — recitals or orchestral work?
It’s almost like two different professions. Playing a recital, you have complete control, freedom, and responsibility. You are the only source of inspiration. You’re playing by yourself. You can do whatever you like in the moment. With an orchestra, if you’re playing with the greatest, you have that freedom, [and] you get the response, the feedback, but you don’t have ultimate control over everything.
The main difference is how you engage with the audience. [In a solo recital] you guide them through the whole performance. It’s not only solos or cadenzas with an orchestra. It’s a completely different environment.
From your website and social media, it seems like you’re constantly on tour. What is that like?
I have lots of stories to tell. If you can enjoy [touring] — and I do — it’s an incredible life. [Right] now I’ve been on the road for a long time: 18 performances in one month. I enjoy traveling, exploring, seeing countries, museums, different cities — that’s always been very enjoyable to me. But [during the pandemic] I also realized how much I enjoy being home — gardening, going camping, skiing, being with family. In the summer, I have a few weeks off at home. [Touring] is a lot in terms of personal life.
Speaking personally then, and seeing as you’re Canadian, do you have any thoughts about the current political moment?
I’ve been asked this: “How does it feel to be in the States now?” It feels completely the same. Nothing has changed. Many people are even friendlier toward us when they find out we’re Canadians, [but] music and politics should stay apart. Music should be the escape from whatever reality we’re living in. I hope that Canada and the U.S. maintain friendly relationships. [After all] we play hockey together. I’m not even such a big hockey fan, but that’s a rivalry that is fun.
