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SUNDAY, NOVEMBER 28, 2010 A crippling 30-year malady opens new paths fleisher from E1 Even for a child prodigy, the


Brahms DMinor is a tall order. It calls for two-fisted piano playing and emotions that you might think are beyond the compass of a child. But I loved it so much I couldn’t stay away. Within a year or so, I was working onmaking it my own. I was probably a little young. It’s smart, though, to learn very difficult repertory when you’re young. That way, you get it in your fingers, and in your DNA, before you realize just howhard it really is. From the moment I first heard


it, I dreamed of playing the Brahms D Minor with a full or- chestra, with George Szell con- ducting. And when I began learn- ing it, actually playing itmyself, I dreamedevenharder. Dreaming helps. My dreams


were fulfilled. The Brahms D Mi- nor Concerto became my talis- man. I played it inmy debut with theNewYorkPhilharmonic,when Iwas 16. IplayeditwhenIwonthe prestigiousQueenElisabethCom- petition in Brussels at age 23, the first American to win it. And I played it, finally, with George Szell.We even recorded it togeth- er. Some people call our recording a classic. If my story is about anything,


it’s about being very carefulwhen yourdreamscometrue.TheGreek mythsarefullof talesofheroes cut down in the arrogance of their prime, taught humility by a blow fromthe gods. It soundsmelodra- matic. But such things really can happen.Theyhappenedtome. I was at the peak of my career,


ready to conquer the world, and whether or not I was guilty of hubris, the thunder of Thor came down and hit me where I lived. WhenIwas36yearsold, Imysteri- ously lost theuse of two fingers on my right hand. The fourth and fifthfinger startedcramping,curl- ing up, until they were firmly lodgedagainstmypalm.Whenthe gods want to get you, they know right where to strike: the place it will hurt the most. I thought I wouldneverplay again. Was it inmy head?Was it some


biggermalady?Noonewas able to tellmewhatwaswrong. I looked. I lookedinmoreplacesthanImight have thought possible. I was will-


COURTESY OF LEON FLEISHER


HIGHNOTE: Fleisher and Leonard Bernstein go over a score together around the time of their 1945 Ravinia Festival performance.


ingtotryanythingtoget theuseof my hand back: treatments, thera- py,medications, spiritual healers, youname it. I wasn’t especially noble in my


affliction. I shut down. I acted out in all kinds ofways, ofwhich I am notparticularlyproud. Inwardly, I railed against my situation; out- wardly, Ihid fromit, turning away fromfriends and family, trying to prove however I could that I was


still vital. I grewmy hair, grew out my beard, and began tooling around on a Vespa. I didn’t have any other tools to help me deal withwhathadhappened. Itwashardtofindwordsfor the


dark cloud that hovered overme: of anguish, of dejection, of rage. I fell into a deep depression. Atmy lowest point, I seriously consid- eredkillingmyself. But I didn’t. I stayed alive.And,


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1 5.88 Synergy Brass Quintet The Waverly Consort


The Christmas Story Friday, December 10 at 8 p.m.


“This is the way to begin the Christmas season,” says the Los Angeles Times of the unique holiday celebration presented by this 13-member ensemble. Singers join instrumentalists to recreate the pageantry and joy of the medieval church. Their performance recounts the events of the Biblical Christmas story—the message of the archangel Gabriel to the shepherds, the journey of the Magi to the manger at Bethlehem, the intrigue of Herod and his court, and the flight into Egypt—in an uplifting and moving celebration of ritual drama and song “One of the joys of the season.” (Chicago Tribune)


$42, $34, $21 ff Synergy Brass Quintet


Christmas in Brass Saturday, December 11 at 8 p.m.


“Blazing precision…amazing technique,” says the Watertown Daily Times about this illustrious brass quintet. Acclaimed for their amazing technical skill, marvelous showmanship, and diverse programming, the Synergy Brass Quintet has emerged as one of the country’s most exciting new classical music ensembles. The quintet makes its Center debut with a spirited holiday program that features lush brass arrangements of Bach’s choral works, as well as Handel’s triumphant Messiah, amid a broad selection of classic Christmas carols. Their extraordinary musicianship is matched only by the delightful wit that they weave into this evening of holiday entertainment.


$44, $36, $22 Leahy ff LOIS RAIMONDO/THE WASHINGTON POST


ESTEEMEDCOMPANY: The 2007Kennedy CenterHonors recognized, from left, SteveMartin, Leon Fleisher, Diana Ross, Brian Wilson andMartin Scorsese, seen after their State Department dinner.


justas Iwas stuckwithbeingalive, Iwas stuckwithmy love ofmusic. Something about it was still sus- taining, and still worthwhile. So I embarkedonaquest tomakealife inmusic, inanyway I could.


Another path I slowly foundmyway to other


careers in music. I became a con- ductor, working with other musi- cians to make the sounds I could no longer make myself. I devel- oped as a teacher, learning to use words to communicate the truths in the pieces I loved, which I had once expressed with my fingers alone.Somehow,my experienceof music became richer the more I explored other ways of relating to it.


I didn’t fully realize, as I lived


them, how much these different careers were opening me up to newexperiencesandapproaches I had never even dreamed of. I, the


clean-cut piano soloist, took on the appearance of a long-haired hippie. I, the interpreter of Brahms, began conducting con- temporary music that was unlike anythingIhadpreviously encoun- tered in my musical life: thorny scores and avant-garde operas. I, the hard-nosed rationalist who spent hours a day sitting at the piano practicing, began visiting faith healers, practitioners of Eastern medicine, gurus and quacks, in search of a cure. I, the acolyte of the great Schnabel, be- ganseekingoutotherpianoteach- ersandexperimentingwithdiffer- ent techniques to see if anything couldcast some lightonmy condi- tion. Because callme obsessive-com-


pulsive, callme stubborn, callme inspired, I never stopped looking for a way to make my right hand work again. And I never stopped testing it on the keyboard, every day, to see if my symptoms were abating. Everyday.For 30 years. Inthemeantime, theworldwas


moving forward. Medical science was making advances. Repetitive straininjuries became a subject of study. So did injuries to instru- mentalists. Once, we were told it was all in our heads. Now, it seemed, inflicting the same un- naturalsetofmovementsoverand over on your body could lead to severe consequences if you weren’t careful — or if you were just unlucky. I began hearing of other pianists with hand prob- lems, violinists who couldn’t fin- ger, horn and flute players who lost the ability topurse their lips. I began hearing of a neurological condition that could be aggravat- ed by repeatedmovement or trig- geredby stress or trauma. Therapists and doctors, practi-


tioners of Western and holistic healing alike, were becoming more adept at dealing with such injuries. And after all the years of


searching, of suffering, some of theprinciplesof recoverybeganto takehold. Igradually realizedthat my handmight not regain its full former strength. But that didn’t meanthat I couldn’t,withthehelp of healing techniques and the full force ofmywill, begintouse it. I turned to Rolfing, amassage-


like technique. The practitioner identified pressure points where years of tension were stored, and slowly broughtmy frozenmuscles back to life. I turned to Botox, a deadly poison that doctors run- ning an experimental program at the National Institutes of Health suggested might help numb the muscles that had been pulling at my fingers, so the rest ofmy hand couldget onwithit. And I turned to my inner re-


sources, the part ofme deepwith- inthatknewthat,somehow,some- day, I was going to be able to play withtwohands again. My righthandbeganto open. Onemorning inmy home,with


the sun streaming through the windows, I went and sat at my keyboard. I flexed my fingers. I heard, in my inner ear, the thun- der ofThor. And I began playing, with both


hands, the Brahms DMinor Con- certo, at the point where the long orchestral introduction ends and the piano finally makes its en- trance. I was 66 years old, and I was


about tobeginanothernewcareer. midgettea@washpost.com


Fromthe book: MYNINE LIVES: AMemoir ofManyCareers in Music by Leon Fleisher and Anne Midgette. Copyright©2010by Leon Fleisher. Published by arrangementwithDoubleday, an imprint of theKnopfDoubleday Publishing Group, a division ofRandomHouse Inc.


D


Turtle Island Quartet With Cyrus Chestnut and Mike Marshall


Saturday, December 4 at 8 p.m. Turtle Island Quartet


“A sterling example of first-rate jazz music-making,” (Los Angeles Times) Formed 25 years ago by four virtuosos, this Grammy Award-winning quartet began redefining chamber music by integrating jazz improvisation and rhythms and including different music styles. Celebrating their anniversary in grand style, Turtle Island Quartet invites pianist Cyrus Chestnut and mandolin player Mike Marshall to join them onstage. A remarkable evening of classic jazz, Americana, and holiday favorites.


$44, $36, $22


VIDEOONTHEWEBTowatch Leon Fleischer playBach, go to


washingtonpost.com/style. Visit us at cfa.gmu.edu


Leahy Family Christmas Friday, December 17 at 8 p.m.


When Leahy last performed at the Center, they packed the house and brought the audience to its feet. Described by the Buffalo News as “fresh, vibrant, and engaging,” this charming and award-winning Canadian octet of brothers and sisters presents an energetic and joyous holiday program mixing Celtic melodies with traditional Christmas carols. “Leahy makes Christmas a true family affair!” (Calgary Herald)


$48, $40, $24 ff Vienna Boys Choir


Christmas in Vienna Saturday, December 18 at 8 p.m. Sunday, December 19 at 4 p.m.


Vienna Boys Choir


ff =FAMILY FRIENDLY: Youth through grade 12 half price!


After a sold-out performance at the Center in 2008, The Washington Post praised this beloved choir for its “totally disciplined voices” and “a sound conveying ebullience, humor, or solemnity as the music called for.” Since its founding more than five centuries ago, the Vienna Boys Choir has been synonymous with choral music, and has delighted audiences across the globe. Bring the whole family to enjoy their exceptionally beautiful singing in this program of holiday music from Gregorian chant to favorite Christmas carols. “Theirs are the voices of Christmas, as pure as angels, as clear as the winter light.” (Charles Passy, Ovation)


$48, $40, $24 ff


On the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.


Center fortheArts 888-945-2468 or cfa.gmu.edu


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