Yefim Bronfman: The “Complete Pianist”

At 52, not only is pianist Yefim “Fima” Bronfman loved by audiences as one of the more virtuosic and commanding soloists on the concert hall stage, he’s a musician’s musician. He has performed with most major orchestras and chamber music ensembles and boasts a discography of dozens, with a few Grammy awards to boot. Close friend Emanuel Ax calls him a “complete pianist,” and composer/conductor Esa-Pekka Salonen, who recently wrote a concerto for him, says, “He can play better than most other people on the planet.” On Nov. 24, 26, and 27, Bronfman performs the Brahms Piano Concerto No. 1 with Michael Tilson Thomas and the San Francisco Symphony. Classical Voice spoke with him during an engagement in Kansas.

You emigrated to Israel when you were 15 and then three years later to the U.S. What were the circumstances behind those moves?

Growing up in the Soviet Union at that time was rather problematic, and my parents wanted to let the children live in the Free World. My mother’s family had settled in Israel right after the Second World War. Some of the lucky ones were able to escape the Holocaust, not all. My mother wanted to reunite with them and I was the beneficiary of that immigration. I enjoyed moving around and I still do, playing concerts all over the world.

What brought you to the U.S.?

I won all kinds of scholarships and auditioned for lots of people, and they advised me to continue my education in the United States. I was fortunate enough to make my debut in Carnegie Hall with Leonard Bernstein conducting, around this time, so basically one thing led to another and I stayed here to further my education and make a career at the same time. Most of my family stayed in Israel, and I still go back there quite a bit.

New York City feels like home now?

Well, that’s where I’ve spent most of my life. It’s where I’m based, my friends and books and some family, like my mother, are there so it’s definitely home. I became a U.S. citizen in 1989.

You have played with many brilliant Israeli musicians. Do you still consider Israel as a primary musical influence, or is it Russia?

It’s difficult to say because I always admired Russian musicians, growing up. Going to Israel, I was able to hit another peak in my life, observing musicians like Daniel Barenboim, Pinchas Zukerman, Zubin Mehta, and Isaac Stern. These colleagues pushed me towards a new sphere of inspiration. I was able to admire and learn from them, interact with them, and to this day I collaborate with them and they are friends. I feel very, very close to their philosophy of music, their spirit and true dedication to music.

How did your collaboration with Pinchas Zukerman begin?

He played in one of the first concerts I went to when I arrived in Israel at age 15. Zubin Mehta was conducting the Israeli Philharmonic with a 10-year-old violin soloist whom I’d never heard of. I went to the concert not knowing what to expect, but he played so beautifully I about fell off of my chair. I thought, One day I’m going to collaborate with that man. And be careful what you wish for, because for close to 30 years I’ve played with him! We’ve done chamber music, I’ve played when he conducted, we made a recording together, and now we’re doing duo recitals. I’ve known him all these years and he’s become one of my closest friends.

Did you commission the Esa-Pekka Salonen Piano Concerto, and what was your connection with him? [Their recent recording with the Los Angeles Philharmonic was nominated for a 2010 Grammy award.]

Esa-Pekka is a close friend and musical colleague with whom I’ve played many, many times all over the world. In two weeks we’re playing together in Vienna. I basically commissioned him in a restaurant in Vienna years ago, and in 2007 we finally had the premiere. Bringing his new sounds to the world was a great experience and a great honor. We must stretch our horizons and look into the future with new composers. Not only to create new sounds, but to learn about musical development. It’s all connected.

Can you tell us something of the Brahms Concerto you’re performing in San Francisco?

So much has been said about this piece, but there is one thing to remember: Brahms was 22 or 23 when he wrote it. He was a true genius. Can you imagine that he wrote such a masterpiece at that age? The rest I will say by trying to play the best I can.

Another exciting event for you this year was touring Europe with the New York Philharmonic under their new leader, Alan Gilbert. How did that feel?

It was wonderful. The New York Phil is not only my hometown orchestra, but also one of the greatest in the world. It was a source of joy and pride for me. I also had a fantastic tour with the San Francisco Symphony in Europe about two or three years ago, with MTT. We played major towns in Europe and major festivals, and it was definitely a highlight of my career.

What is your favorite concerto to perform?

I don’t have favorite concertos. I play so many and I love them for different reasons. It’s like asking who is your favorite child.

Where do you find inspiration in order to remain artistically fresh?

I don’t question it. After 30 years of doing it, it’s a lifestyle. You need to reinvent yourself constantly; it’s different from being inspired at age 18. You have new experiences in life which lead to new interpretations and, the longer you do it, the more rewarding it becomes. Today I’m much more proud as a musician than I ever was before. It’s a great thing to do and I appreciate it more. Let’s face it, not every performance can be inspired. But you want to be a musician and you are a musician and that’s the foundation for all of it.