Trevor Pinnock: “Just a Musician”

San Francisco audiences have a personal invitation from harpsichordist and conductor Trevor Pinnock: “Come and listen. It’s my main language, and it’s an important one.” What he has to say, both musically and in words, is well worth listening to. He’s been a pioneer, helping revive performances of early music as well as founding the English Concert Orchestra in 1972 and leading it for 30 years. He’s also world renowned as a harpsichordist and conductor. He’s in the U.S. for four performances this spring, and, luckily for Bay Area audiences, one of these will be at the Church of St. Mary Magdalen in Berkeley on April 3, presented by Music Sources.

You’re currently on short tour. Where are you today, and how has it been going?

I’m in the Library of Congress. I’ll be going to Nashville, and then to California. I was just in Wilmington, Delaware. The concerts there and in Washington have been sold out. People come and say that they first heard me 30 years ago. They used to say that they had all my recordings; now they say that their parents had all my recordings!

It’s a large number of recordings.

Not all are available, but it is quite a few.

I understand you’re playing a playel harpsichord in Washington, D.C.? What exactly is that?

It’s an instrument that belonged to Wanda Landowska. It’s a strange beast, quite unlike the historic instrument. It’s taken me a whole day to prepare two pieces. But it’s a privilege to play this. It’s a unique instrument, similar to picking up an old instrument. It’s a challenge to get to know it and bring the best out of it, but I feel it will be just a pale rendition of what she could do. But all we can do is our best.

You’ve certainly had plenty of experience with period instruments. What drew you to early music?

A large part of my life has been pioneering early music. I was drawn as a child to the early music I found. I liked the sound. Of course, I was playing it on the piano.

What made you turn to the harpsichord?

I had so much interest in early music, it was just natural to turn to the instrument the music was written for. It was a challenge.

How much have you changed your approach to early music over the years?

Of course, as we get older, we have organic growth. I know it much better now, much more intimately. I have an understanding of it from years of playing it.

Do you think that how you, as an early-music pioneer, have approached early music has changed how audiences react?

I never really think of it that way [as early music that has to be “presented” to an audience]. I just make music. It’s very important that the music is there for the audience, but it should be as fresh as if it was composed this morning. If it’s not living, it’s not worth playing.

What do you think of the newer proponents of early music?

Everyone takes their own path, and there are all sorts of people who are now involved. I always had that feeling that there were difficulties, when I was starting, because it was unusual. But then I was reading Wanda Landowska, and she said in her time she felt the same way at first, but then there were harpsichords sprouting up like mushrooms.

I don’t think of it as a separate category of music, or really as something different. I am glad to say that early music is more integrated into mainstream music, and there are so many good people performing out there.

And you do more than just play early pieces.

Probably 60 percent of my life is working with symphonies. This is just a part of my music. I’m just a musician. I’m passionate about music of the past, but when we open up a piece of music, it’s always new to us.

I do many things: I do solos. I play chamber music. I conduct symphony orchestras, many of whom I’ve developed a special relationship with over the years.

Will the European Brandenburg Ensemble be playing this year?

Well, that was a special 60th birthday project. But I will be playing some concerts with a small group of the members in Europe this summer.

What are you looking forward to with the concert in Berkeley?

The Bach “French Suite No. 5” is probably one of the most familiar pieces. There are two pieces by Handel. Not many people play his music [for harpsichord]. Froberger’s Suite No. 12 begins with a great lament. It has a wonderful human touch. It disproves the myth that there was no feeling in music before a certain date.

I just played in Wilmington on priceless instruments that were restored by a Berkeley harpsichord maker, John Phillips. They had the most glorious sound; it was a joy and privilege to play them. I’ll probably be playing one of his instruments in Berkeley. I’ve known him since the 1970s. He’s a wonderful craftsman. I have one of his instruments at home.

What would you do if not a musician?

I live for my music. I can’t imagine doing anything else.

What do you do for hobbies?

I walk and read and make music all the time. I like to be at home. I spend a lot of time away from it. I live about 50 miles outside London, on the salt marshes at the end of the Thames. It’s always changing.

What are you listening to these days?

Silence, mostly. I go to concerts, but I don’t listen to recorded music unless I really want to work on something. For me, if there’s music, it’s a matter of utmost concentration.