ROMANTIC FOR THE AGES: ABBEY SIMON

BUENA PARK, CA (August 1, 2003)—When the great book of distinguished pianists is written, the name of Abbey Simon will be among the volume's prominent entries. A student of the great Polish pianist Josef Hofmann (who was a student of Russian pianist Anton Rubenstein), the 81 year-old maestro is a link to the old Romantic tradition. He specializes in works of the Romantic and early twentieth-century periods, notably those by Chopin, Schumann, Rachmaninoff and Ravel. "I would never play any music that I didn't love," he notes.

Simon has become synonymous with a style of virtuosity in which no aspect of the music seems too difficult. He has been described by The New York Times as a "super-virtuoso," and by another music critic as "a pianist's pianist."

Described by the New York Times as a "super-virtuoso," 81-year-old Abbey Simon is a direct link to the glories of the old Romantic tradition. He embraces both the acoustic grandeur of the Yamaha CFIIIS and the technological advantages of the Yamaha Disklavier.

Over the past 50 years, the prodigious pianist has performed to critical acclaim in recitals and as soloist with major orchestras throughout the world. His recordings on Philips, EMI, and the Vox Turnabout labels make him one of the most recorded classical artists of all time. His discography includes the complete repertory of Ravel, all the works for piano and orchestra by Rachmaninoff and Chopin, as well as a large number of solo works by Chopin and Schumann.

These days Simon brings his musical thoughts to life on the Yamaha CFIIIS concert grand piano. "For the sensitive action, luminous sound and power," he explains, "Yamaha is my piano of choice." In his Manhattan apartment, Simon uses a Yamaha DS8 Pro series grand. "I love the high-tech aspects of the Disklavier," he notes.

Born in New York City in 1922, Simon began private piano studies at the age of 8 with Hofmann, which lasted until 1940. Among his teachers were David Saperton (son-in-law of another legendary pianist Leopold Godowsky), Harold Bauer (an Englishman rooted in the Romantic tradition, but modern in his approach to questing after the essence of the printed score), and Dora Zaslavsky. In 1940, he won the Walter W. Naumburg Foundation Award, an honor that led to his New York recital debut at Town Hall. Simon played several Carnegie Hall recitals before undertaking his first European tour in 1949. There, as he himself put it, he "found himself" and initiated the process of refining his own approach to the works he performed. Subsequent tours took him to many parts of the world, including South Africa, South America, Asia, Australia, New Zealand, and the Middle East.

"I would never play any music that I didn't love," says Simon.

A variety of honors followed, among them the National Orchestral Award, the Elizabeth Sprague Coolidge Award, and the Harriet Cohen Medal. Critics were approving of his virtuosity and conscientious musicianship. The New York press routinely offered such comments as "Phenomenal! Control of near miraculous order" and "One of the finest, most hypnotic virtuoso techniques of the day."

Simon currently holds the Hugh Roy and Lillie Cranz Cullen Distinguished Professor Chair at the Moores School of Music of the University of Houston, where he founded the much lauded International Piano Festival. He is also a member of the faculty at the Juilliard School, where, among many students, he instructed renowned pianist and Yamaha artist Frederic Chiu. Commuting regularly between his home in Geneva and his two teaching positions in Houston and New York City, Simon jokes, "My actual address is an airplane seat." Simon also served as chair of the jury for the recent International Piano-e-Competition in Minneapolis and St. Paul, MN—a competition that blends ancient art, modern technology and world-class artistry through the use of Yamaha Disklavier® technology (Accent, Spring 2002 and Accent, Summer 2002).

To maintain his vim and vigor, Simon is also an avid tennis player. "I'm famous all over the world as the worst tennis player," he grins. "People think that tennis can ruin your hands for piano, but the essence of playing tennis is an arm of great strength and solidity; the essence of playing piano is a relaxed hand. I play tennis like a pianist. Tennis gives me great pleasure—and also an opportunity to use a lot of foul language."

Nearly ten years ago, tragedy struck Simon when an accident put into question whether he would ever play the piano again. While performing in Amsterdam, the pianist and his wife were struck in a crosswalk by a car driven by a negligent driver. His wife suffered a broken leg, and Simon suffered severe injuries to both of his hands. Flown back to visit the best hand doctor in Geneva, Simon was told that due to the extensive injury to his fingers, he would most likely never play again. Simon was at a loss watching his career diminish before his eyes, "I cried because I didn't know what I would do if I couldn't play the piano," he says.

Feeling that he had nothing else to lose, Simon risked major reconstructive surgery on his right hand. "The first three fingers on my right hand, and thumb on left hand were smashed," recalls Simon. "The doctor made little casts for each finger. After a month, the doctor took the casts off. I spent months in physical therapy—all day long—to resume the use of my fingers. The incident occurred in early December, and by the middle of March, I played Carnegie Hall. It was miraculous."

Since the accident, the only difficulty Simon maintains is with stretching his entire hand span across the keys. "When you've been playing the piano for 50 or 60 years, to suddenly alter your fingering is not that easy," he notes. "It's muscle memory as well as neural memory—and that's very hard to change. It's almost like learning to walk again. I had to relearn every piece of music I played previously. I have managed quite well, but there are a few pieces that I can no longer play."

Concerts on the maestro's schedule this season include the Schlern International Music Festival in June, located in the majestic Italian Alps, and the New York City's Mannes College of Music in July. Through Yamaha Artist Services in New York, a new album with Simon performing on a Disklavier is currently in development. "I'm anxious to get back into the studio soon to do some recording," remarks Simon.

When asked how he sustains his motivation and creativity, Simon responds, "I think it's something you're born with. Put it this way: artists don't retire. They always feel that they have something to offer, at least I do. It's the idea of coming to a new place and playing for different people and hoping to bring them the joy that you feel. It's what keeps me going."

For more information about Yamaha pianos, write Yamaha Corporation of America, Piano Division, P.O. Box 6600, Buena Park, CA 90622-6600; telephone (714) 522-9011; email infostation@yamaha.com; or visit www.yamaha.com.