The Inside Story: Allison Brewster Franzetti and PIANISTA

Allison Brewster Franzetti makes a charming return with PIANISTA, a new collection of recordings that the artist herself describes as a “rich musical tapestry.” Centered around Carlos Franzetti’s Minotaur in the Labyrinth suite, and supplemented with works by Kapustin and Salgán, PIANISTA colors itself in Franzetti’s signature style, a combination of jazz and tango alongside an always enticing homage to Argentinian sound, both folk and urban.

Today, Allison is our featured artist in “The Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn about the mentors that guided her along her musical journey and the wisdom they imparted…

What were your first musical experiences?

I actually don’t remember my first musical experiences as I have no conscious memory of starting to play the piano or of singing. I’m told that as soon as my parents had a piano (I think I was 2 years old at the time), I started figuring out how to play it. I DO remember being able to play whatever I heard by ear, in whatever key I wanted and change from Major to minor, by the age of 4. I could also sing anything I heard and did so, even before I began to speak. I have perfect pitch, so I’m sure that had a lot to do with it. My grandmother was a local piano teacher and taught piano for 55 years in the Elizabeth NJ area. It was she who told my mother that I was beyond her ability to teach, so at the age of 6 they took me to Juilliard for a consultation. The rest is history!

What’s the greatest performance you’ve ever seen, and what made it memorable?

The greatest performance I’ve even seen was the renowned pianist Arturo Benedetti Michelangeli. I think it was in 1987, and he was performing at the Barbican Centre in London. One of the reasons it stands out to me is that he frequently canceled performances, but not this one. I went with my beloved piano teacher, the late Benjamin Kaplan, his wife Nomie, and a friend. He performed both books of Images by Debussy, the Bb minor Sonata by Chopin and Gaspard de la Nuit by Ravel. The Barbican acoustics are not the best by any stretch, but even so Michelangeli brought such depth, such colors and sonorities to every piece that evening. Every nuance had meaning, and he allowed time and space for the music. I remember saying to Ben, “I could die and go to heaven after hearing this concert.” I was so inspired by it that I replicated the program in March 2013 and dedicated it to my father, who had passed away a few weeks earlier.

Who are your musical mentors?

I’ve had several musical mentors that have had an impact on my journey. I’m proud to name Dianne Flagello, Solomon Mikowsky, Adele Marcus, Arminda Canteros, Samuel Sanders, Benjamin Kaplan, Graham Johnson, and Daniel Epstein amongst others. Each person contributed something unique and unforgettable. Dianne Flagello became one of my champions when I was 13 years old, and it was she who sent me to Solomon Mikowsky when I turned 20 and had one more year to complete my degree at Manhattan School of Music. Solomon Mikowsky helped me enormously with my confidence at the time when I most needed it. Adele Marcus wrote in my copy of Valses nobles et sentimentales by Ravel the phrase, “You can’t divorce technique from style,” and I’ve always wanted to recreate her sound (which to this day is the most beautiful I’ve ever heard). Arminda Canteros believed in my talent and constantly told me so. Samuel Sanders encouraged my collaborative skills and recommended me often. Benjamin Kaplan worked with me on so many musical endeavors, redeveloped my technique and welcomed me into his family. I lived at Graham Johnson’s home when I first moved to London. One day I was practicing Poissons d’or by Debussy there, and without saying anything about my performance he showed me a book with the painting that inspired it. He included me on Songmakers Almanac concerts as well. Daniel Epstein worked with me further on my technique during my doctoral studies, and I quote him often in my own teaching as he made a profound difference in so many ways.

If you could collaborate with anyone, who would it be?

If I could collaborate with anyone, it would have to be Michael Tilson Thomas. I’ve never met him and would love to have the opportunity. It wouldn’t have to include a performance and/or recording, but a conversation would be wonderful. I don’t know if we’ll see the likes of someone quite like him again. If I could choose anyone else, it would be Martha Argerich. I’m such a fan and have been for years!

How do you prepare for a performance?

I prepare for performances in various ways, depending upon what the performance is. I’ll be specific about PIANISTA although it’s a recording rather than a performance. The suite Minotaur in the Labyrinth was originally composed for 3 pianists, myself included. Due to COVID and other factors, we weren’t able to find the time to rehearse or record together as we were in different locations internationally. I had learned piano 2 and had a short window of time in which to learn the other two parts for the recording. In addition to learning each part separately and on its own merits, I would record myself playing a part with a click track and then play another one of the parts along with it. I also used midi tracks and played along with those, in effect music minus one, so that by the time I had to record I was very used to the process. 

If I’m going to play a concerto, orchestral piano/celeste, or collaborative/chamber work, I’ll not only learn my part thoroughly on my own but I’ll study the other parts or full scores as appropriate to the particular work. If there is a recording available, I’ll study performances with the score if I’m not familiar with it. If the work is a concerto or symphonic, I’ll listen to various performances to study the scores, performers, and conductors and learn as much as I can by doing so. For symphonic music, sometimes I’ll play with the performances if I have a particularly challenging part to play. For new works by living composers, if at all possible, I like to be in contact with them to ask questions, make sure the scores are correct, and any insights they may have to offer while I’m learning the music.

What advice would you give to your younger self if given the chance?

If I were to give advice to my younger self, I think it would be to keep believing in myself, no matter what, and to find the best possible mentors. I didn’t have the teachers who could provide the kind of supportive mentorship I needed until I was already 20 years old. If anything, they were the exact opposite of what I needed. That made my musical life very difficult and almost drove me to quit. I was fortunate at that time to work with Solomon Mikowsky and Arminda Canteros, who encouraged me tremendously and helped me with my self-esteem. It made such a difference and I was very successful during my studies with them. It also helped me to find the best mentors as time went on, all of whom I have mentioned earlier and to whom I’m grateful for everything I have learned and hope I’m imparting through my playing and teaching.