The first African-American classical performer to gain world superstardom, Andre Watts actually spent much of his boyhood in Europe.
Born in Germany to an African-American Army sergeant, Herman Watts, and a Hungarian mother, Maria Alexandra Gusmits, Watts didnt come to the states until he was eight.
They say father knows best, but it was Watts mother who was most instrumental in his musical career. When her youngster wouldnt practice, she told him stories of her countryman, the legendary piano virtuoso Franz Liszt. Watts identification with Liszt became so complete that the young performer adopted the Hungarians famously flamboyant performing style.
Watts big break came when he played his heros E-flat Concerto at Lincoln Center for a nationally broadcast concert on CBS in 1963. Leonard Bernstein, who conducted Watts and the New York Philharmonic in that broadcast, then invited the young pianist to substitute for an ailing Glenn Gould for a subscription concert that same year. That performance not only garnered Watts an ovation from audience and orchestra alike, it opened the door to a successful recording and touring career.
At this years Savannah Music Festival, Watts will perform one of his signature repertoire pieces, Rachmaninoffs Second Piano Concerto, with the Atlanta Symphony Orchestra on March 19 at 3 p.m. in the Johnny Mercer Theatre.
Connect Savannah: Surely youve played in Savannah before.
Andre Watts: I played there with Philip Greenberg. I believe it was the Second Brahms and the Second Rachmaninoff.
Connect Savannah: Casual fans will remember that the movie Shine highlighted Rachmaninoffs Third Piano Concerto. But youre actually playing his Second. Tell us about that piece.
Andre Watts: Its like a gigantic Rachmaninoff symphony really, with a gigantic piano part. It has a lot of famous tunes. Since a lot of the tunes were used by Hollywood and all, we tend to forget what a really fabulous composition it is, and how well constructed.
Connect Savannah: Is the Third really as difficult as the movie portrayed?
Andre Watts: Well, the Third is very difficult to play. Id say the movie was a little bit hyped. You do find people who think the Second is actually more difficult. Im not necessarily one of them.
Connect Savannah: Are you still as big a fan of Franz Liszt and the Romantic period as when you started out?
Andre Watts: Im still Lisztian, I guess youd say, still a believer in the music and the ideals of the man and the composer. It was an age of virtuosos, of that kind of self-expression, where that kind of young man could become a virtuoso. At the time there was sort of an attitude that we humans can rival God, that kind of thing. Then of course you had Paganini, a similar kind of virtuoso for the violin.
Connect Savannah: Small-market symphonies, like Savannahs, are folding all over the U.S. What does this mean for the future of classical music?
Andre Watts: Well, from what I understand you had a lot of other things going on in Savannah. You had some real internal problems.
Ill tell you about my very first experience with the Savannah Symphony. One of the players had a thermometer of some type where they were sitting. When that person saw that the temperature was two degrees hotter than their union contract allowed, they stopped playing and wouldnt play anymore until something was done. Im sitting there thinking, well, I dont want to die of heat stroke either -- but come on!
Its one of the problems of modern society, really, that go way beyond music. It seems theres so much standing on ones own rights, and thats the first, primary and only thing of interest.
Again, its part of a bigger problem. You have governors in this country running around talking about how federal funding is drying up for states. So of course the funds are going to dry up in the arts as well.
Overall its not in a good situation. But I dont think its in dire straits. I always hope it will get better.
Andre Watts performs this Sunday with the Atlanta Symphony Orchestra at 3 p.m. at the Johnny Mercer Theatre. For tix and info go to www.savannahmusicfestival.org
Bio: A native Savannahian, Jim has been editor-in-chief of Connect Savannah for ten years. The University of Georgia graduate is also a travel writer, authoring regional guides in the Moon handbook series...A native Savannahian, Jim has been editor-in-chief of Connect Savannah for ten years. The University of Georgia graduate is also a travel writer, authoring regional guides in the Moon handbook series.more
The City rightly and responsibly expects cultural organizations to diversify their funding streams and not be overly reliant on taxpayer largesse. Most administrations, however, have seen the value of the investment not only for political purposes, but also because it’s just the right thing to do.