Benjamin Hochman | Pianist

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Israeli-born pianist Benjamin Hochman first appeared in Houston a couple of years ago. In 2009 he stepped in on short notice to play Bach's Goldberg Variations in the Houston Symphony's Bach vs. Vivaldi Festival at Houston Baptist University's Belin Chapel and Recital Hall.

Friday, the 31-year-old musician who calls New York home returns to Houston to play Mozart's Piano Concerto No. 23 with the Houston Symphony during a free concert at the Miller Theatre.

Of late, Hochman has been making a name for himself through appearances with the orchestras of Chicago, San Francisco, Pittsburgh, Cincinnati and Seattle, among others — and with performances in Israel. The New York Times has praised his "fluidity and resiliency" at the keyboard.

In March, his star rose higher when it was announced that he'd won a prestigious Avery Fisher Career Grant from New York's Lincoln Center, worth $25,000. He talks about his plans for the award and what motivates him as a musician.

Q: How did you win an Avery Fisher Career Grant?

A: I'm not quite sure! It's the kind of award where you're nominated by a committee of very distinguished artists. I didn't know anything about it until I got a call telling me I'd won the grant. Of course, I was absolutely thrilled.

Q: According to Lincoln Center, the award is for "specific needs" in furthering your career. So what will you do with the money?

A: I'm planning to commission a new piano concerto. It's in the latter stages of the decision-making process, and I'll be able to say more about it soon. What I can say is that it will probably be from a European composer, but it's likely that the premiere will be in the United States.

I feel that working with today's composers is tremendously satisfying and important. I love playing Mozart and Beethoven and all the great composers — but there's something vital about commissioning music from people who are writing today. And there are so many interesting voices of composers these days. And I think there's something especially exciting about juxtaposing the music of today with the music of the past.

Q: Your repertoire seems to be wide-ranging - solo repertoire, chamber music and concertos. And your first CD spanned 200 years, from J.S. Bach to Alban Berg. Do you ever feel the desire to specialize more?

A: The modern world has a tendency to want to pigeonhole artists. I tend to resist that trend because there are so many works of quality, and composers of quality, in all eras. It's very revealing to see the similarities and differences of works by composers of different periods. However, there are some composers who are so great and inspiring that I hope to focus more on their work — composers like Beethoven, Mozart, Schubert and Schumann.

 

Q: Looking back on your career so far, what performances stand out as particularly memorable?

A: I would have to say my first performance in Isaac Stern Auditorium at Carnegie Hall, when I played with the Israel Philharmonic, in 2004. Working with the greatest orchestra from my home country — and my first performance in one of the greatest halls in the world — was very meaningful. I'd also mention my debut recital in New York at the Metropolitan Museum, which was an important engagement as well.

Q: There are thousands of concert pianists in the world today. What does a pianist have to do to stand out?

A: Personally, I feel that although the competition is intense, the most important thing is to deepen my own art — to communicate what I have to say to audiences. In the 21st century many people are looking to find ways to grab the attention of the public. But in the end, what people are looking for is the moment when something really special happens that goes beyond words — which is why we have music in the first place.

Q: What makes a concert special for you?

A: It has to do with the music I'm playing, and the chemistry between myself and the other performers. And sometimes it has to do with the hall and the audience. These are all factors that have the potential to make a great performance. You never know when it will happen, but you always strive for it.

Q: What's the hardest thing about being a concert pianist today?

A: Being on planes so much! I say that half in jest — but it can be very challenging to maintain the freshness of performances when you're playing in different countries from one day to the next. I think keeping the inspiration the devotion to the art is the most important thing.

Q: And what's the most rewarding part of the job?

A: The most rewarding thing is to be able to share great music with others.

Q: There's some concern in the world today that younger people aren't much interested in classical music. When you look around at young people, how worried do you think we should be?

A: It's a legitimate concern, given that there are so many problems with orchestras and other arts organizations these days. But I have to say that I'm optimistic. Maybe that's just my nature.

Historically, people have tended to come to classical music later in life. But it's always great to see young people at concerts. And I think some young people just need a chance to get hooked on classical music — the right music, the right setting and the right artists.

The one thing I'm worried about is arts education. I'm concerned about the fact that not enough young people are exposed to art in general, and music specifically. That's something that everyone should be worried about.

Colin Eatock is a writer who covers classical music. He lives in Toronto.