The Inside Story: Jeffrey Middleton and BACH: THE WELL-TEMPERED CLAVIER, BOOK TWO

Pianist Jeffrey Middleton interprets Bach’s legendary collection of 24 preludes and fugues on BACH: THE WELL-TEMPERED CLAVIER, BOOK TWO. Showcasing Middleton’s sensitive virtuosity and technical ability, this album carries on the legacy of Bach’s timeless compositions with nuance and clarity.

Today, Jeffrey 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 early church gig that prepared him for a life in music, and his sound advice for learning a new skill…

What were your first musical experiences?

I grew up in Western New York in a family of six children. My parents were religious, and we had to go to church every Sunday. I began playing piano for the children’s choir, played the electronic organ (faking the pedals), and ended up being the organist at our little church at age 13. Only later did I come to appreciate the opportunity. Harmony, having to play every week — it was great training. And I earned $10 a week! I had church jobs all through college. 

What musical mentor had the greatest impact on your artistic journey? Is there any wisdom they’ve imparted that still resonates today? 

That’s an easy one: Joseph Fennimore. I met him in the 1980s — back in the “dark ages” — through a mutual musician friend, Ted Hoyle. It took me a while to trust that everything he sent me was worth the considerable effort and time it took to learn. In retrospect, I see this Bach recording (which was initially released in 2004) as a preliminary project — part of a years-long effort that ultimately led me to Joe’s music: voice leading structure, how to be both imaginative and rigorous. I kept finding the connections. 

How have your influences changed as you’ve grown as a musician? 

I guess the way to address this is by citing the range of experiences I’ve had. The classical music scene in 1980s New York held plenty of opportunities for young pianists willing to do anything — voice lessons, education programs, etc. I became more involved with teaching jobs, and all of that influenced the kind of music I made. I tried to maintain my playing, and eventually, I was able to focus on it more. 

Take us on a walk through your musical library. What record gets the most plays? Are there any “deep cuts” you particularly enjoy? 

I’ve worked a lot with vocal repertoire — opera, songs, etc. In fact, I think most people know me as a coach/accompanist, so I listen to a lot of singers. (Souzay, Flagstad, and Ferrier are three of my favorites.) Wagner operas are a regular thing for me. Now that I have a bit more time, I’ve been going to the Metropolitan Opera. I also enjoy early vocal music — it’s all so good for the ears. As much as I love the piano and think of it as an expressive instrument, it’s not, inherently — not until we make it so. 

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

If time travel is an option, it would be Riccardo Viñes. His name keeps cropping up, and he must have been a real personality. Born in Spain, he made his debut in Paris in 1895 and became the go-to pianist for new piano works — including works by Debussy, Ravel, Satie, and Albéniz. He introduced Russian music to the Parisian public. A virtuoso, Viñes was at the center of an incredibly rich musical culture — Paris in the early decades of the 20th century. 

What are your passions beyond music?

I’m interested in languages, though I haven’t gotten much beyond an intermediate level in any other language besides English. I justify this by believing that even some skill is better than none, and I’ve dabbled in Chinese, Russian, French, and German. It’s wonderful how learning languages opens up a culture, so I keep plugging along.