The phone rang in my hotel room while in Rio: it was someone from TUCCA, an association in aid of cancerous children which campaigns most effectively through events, asking me to do a very especial concert date for them. Actually they once promoted another concert of mine: in that occasion I was partnered by Antonio Meneses and his gorgeous cello. Imagine that then we were booked to play in the lovely Teatro S‹o Pedro Ð only at the very last minute an influential friend of mine mentioned that as far as she knew, the chosen venue had not got a resident piano! So upon arrival, exhausted from the very long flight from London and on a hot and sticky day and I spent hours been driven to 2 or 3 places which had the odd instrumentÉ for possible locationÉ from side to side in the horribly polluted streets of S‹o Paulo! Of course I should have refused to play any of the proposed ÔwrecksÕ but having flown from Europe especially for the concert how could I let down, Antonio? If you could only imagine how bad the piano wasÉ I often wonder how string players would feel if their instruments were taken away and theyÕd been handed some Ôjoke of a fakeÕ!

Enough of that nightmare and back to this new event: TUCCA tantalizingly offered me a first-half recital plus a concerto of my choice to be played in the best hall in South America, Sala S‹o Paulo. Plus the catch or should I say, the bliss of not having a conductor: I was to direct myself from the keyboard, an orchestra formed mostly by players from the best orchestra in Brazil, the OSESP. I had never dreamt IÕd have the chance of appearing in that role in my home countryÉ no-one else has. It is in my opinion the most complete way to perform: only thus can one get everyone on stage to phrase and breathe together!

I chose to do BeethovenÕs 3rd Piano Concerto knowing that IÕd be perfectly at ease: I had had the time of my life when directing the Swedish Chamber Orchestra in Orebro (v. My Journal > Mar/05): a very important issue, considering the pressure... The fact that the ends of the many runs ending cadenzas in the 3rd movement were caught to perfection by all, without a hint of hesitation -- all it takes is a simple nod -- was greatly enjoyed by the musicians many of whom exclaimed during rehearsals, things like: Òobviously all conductors should playÓÉ ÒitÕs usually such a messÓ (Éand not on such mild termsÉ) or Òwho needs conductorsÉ ?Ó

Once the particularly successful performance was over, many orchestra members came to tell me that if ever I decided to form an orchestra they would happily join immediately; others most grateful for the intense music-making and lastly but not least, a few of them as they were been paid for the concert date, exclaimed that they were the ones to who should pay, for that much pleasure!! IsnÕt that great?

One last touching comment came from Ovanir, the wonderful first clarinet who claimed he had simply ÒtravelledÓ during my 1st movement cadenza! Most orchestra players donÕt even know what or whom they are accompanying, let alone listen to a cadenza that wellÉ?! ÒAny day, guys! My pleasure was even greater than yours!Ó

A week later I went to play a recital in Mexico City, a welcome occasion to visit some dear friends. The promoter who, in the past, had been a very loyal supporter of mine, possibly because a new job may have incurred too much responsibility for him -- very much under pressure for whatever reason, apparently sent an email to my agency in London literally while I was playingÉ relating a series of misunderstood behaviours, from me to him Éand his staff Éblab-blah; all sorts of exaggerated ÔnothingsÕ.

When I heard that complaint it came as such a shock to me that I never even thought of explaining myself and in a way, this one acted as the Ôlast dropÕ in a series of related incidents which over quite a period of time had been trickling into my management of over 30 years. As I got home I had to face the total loss of support from them. This should have happened long in the past although I had always refused to consider it. Obviously it hurt tremendously, IÕll remain weakened and ÔlostÕ for quite some time. In order to keep my sanity, I literally decided to adopt that expression Òchin upÓ and must keep going no matter what, as if all is well, very well. The last engagement of the month was a recital celebrating the 20th anniversary of ThŸrmer Hall, in Bochum. Arriving to perform a surprise lay in wait for me: the piano on stage was ... a ThŸrmer Grand, not the venueÕs usual Bšsendorfer. It took me half of a Schubert Impromptu to adjust to the instrument Ð sorry, Franz! From then on it was quite plain sailing.

Whenever I enjoy the acoustics and have the chance of going back to the piano I will play a few pieces solo then IÕll go through a concerto or two. As usual I try to sing the orchestra part Ð itÕs the only way I know! Attracted by sounds coming from the stage, the audience came back to listen to more music; then I started to involve them in the ÔsungÕ accompaniment of BeethovenÕs 3rd Concerto -- this being a very popular Concerto; after a few glasses of wine and/or beer everyone was quite relaxed therefore quite up to the role asked of them. It was a most amusing finish to the happy evening.

Already the previous week at MemoÕs house in Mexico City, the 80 + people invited to hear an informal recital of mine, kept asking for more.:. Having exhausted my solo repertoire I chose to involve them in the same stunt, and because itÕs common belief that Latins are rather romantic, I played RachmaninovÕs Concerto no 2.

Fun-4-all!

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