Season 3 Episode 15 Part 2 -- Dr. Alan Moverman, Piano Soloist at New York City Ballet

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You can't follow them in the same way that you follow a singer.
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As a rule, you have to keep in mind that they need structure.
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You can't see them, so they know where the music is.
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They need to know where the music is.
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In a way, your primary responsibility is a structural responsibility.
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Welcome back to the PianoPod.
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I am your host, Yukimi Song.
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Thanks for tuning in for the second half of Season 3, Episode 15, with a guest, Dr.
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Alan Moverman, piano soloist at New York City Ballet.
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In Part 2, you will get to hear Alan's take on what makes someone to be the greatest ballet
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pianist and what it's like to work with world-renowned dancers and choreographers at New York City
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Ballet and more.
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Before continuing the show, I want to welcome everybody listening to the PianoPod for the
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first time.
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I'm a classical pianist and educator from New York City, passionate about creating a
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thriving and meaningful community of the classical music industry through this podcast.
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Please visit yukimisongsuyu.com to find out more about my work.
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In each episode of the PianoPod, I interview a guest speaker who has been breaking exciting
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new ground in the industry.
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Please rate the show and review it on your favorite podcasting platform because every
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rating review will help people find my show.
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So my friends, here is Part 2 of the PianoPod, Season 3, Episode 15, with Alan Moverman.
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Please enjoy the show.
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Harold Boss Gordon, who was probably one of the great ballet pianists in history, Gordon
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Belsner, was Balanchine's kind of right-hand man.
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He was the man at the piano when Balanchine choreographed all the masterpieces, Nutcracker,
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well not Nutcracker, but he was a little after that time, but all these Stravinsky, you know,
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it was Gordon, Stravinsky, and Balanchine sitting in the room.
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What makes them, these people, the great ballet pianists and soloists?
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Well, the music we do is really hard.
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So you kind of have to be a concert-level pianist to play here, more or less.
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I mean, that doesn't mean you're András Schiff, but you have to have gone pretty far,
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you know, played big recitals.
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And so Gordon was a wonderful pianist.
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That was the start.
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He was supremely gifted, beautiful sound, you know, warm, approachable, fantastic technique,
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you know, immaculate kind of musical thinking.
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He was a student of Michelangelo, and also, but in a way, something that is maybe a little
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like me in a certain way, he was a composition student of John Cage.
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Wow.
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So he had like this kind of funky, creative, cool aspect to him that opened him up, you
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know.
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He would talk about David Lynch movies, and you know, all these, he had all these interests
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that were so interesting.
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And so he was an amazing pianist, but he was also like a wide-ranging person.
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And he never would have been satisfied, I don't think, with just struggling with, you
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know, fine-tuning his Beethoven sonata.
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I don't think that was his, you know, he wanted to be more with people, I think.
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And that, I think you have to be not so, maybe not so single-minded about piano.
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But to play here, you have to start with being basically concert-level pianist.
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I mean, one of our pianists now, Steve Gosling, he's probably one of the ten greatest performers
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of contemporary music in the world.
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He's incredible.
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I mean, he, you know, he has like 30 records, and you know, he's played all, you know,
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this impossible music.
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Wow.
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You know, Edis and crazy stuff, you know, Stockhausen, all the stuff.
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And we've had really Susan Walters, who was one of our pianists, she's a fantastic pianist,
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Elaine Chelton.
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So anyway, you have to be a good pianist, but then you have to have this little, you
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have to be a good musician.
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If you have to choose between the two, it's probably better to be a little bit, if you
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can even divide these things, which is hard, a little better musician than you are a pianist.
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Wow.
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Yeah, yeah, yeah.
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You have to care more about the music than you care about being Mr. Perfect, which is
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kind of a relief in a certain way.
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If you think about it, it's, music is fun.
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It sounds like also being musician requires more flexibility, versatility.
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It's not just about what's on the score, but you also have to read the room, what's going
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on on the, you know, exactly.
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Read the room is a really good skill.
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Read the room is saying a lot.
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I was thinking about that yesterday in my rehearsal, because I was playing Serenade
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and I was thinking, oh, well, the ballet rehearsal director said, oh, it's too, it's too fast.
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They're just remembering it.
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But it's hard because I was at this part in the music, which I have trouble playing.
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And so I was like, is it me or is it...
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Which happens every day.
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So at that point, you have to make a decision.
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You have to decide, am I going to slow down my tempo?
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Or if I'm going to slow tempo, you also have to a little bit ask yourself, was I actually
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wrong or were they wrong?
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It's important to keep your sense, your center, you know, like you can change for them, but
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still think they were wrong.
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It wasn't too fast.
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Maybe it wasn't too fast.
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Maybe the answer, because sometimes they get behind, you know, they're doing fine for a
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while, then they are to have trouble with the step and they're like, oh, it's too fast.
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So what are you then if she's like, oh, maybe I rush, you know, and they can say you're
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rushing when you're sometimes you're not rushing.
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Sometimes you are.
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Right.
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Yeah.
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Pianist, pianist, we all tend to rush.
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Yes.
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Yeah.
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Yeah.
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Now, in your bio, you are saying that you worked with this amazing, the most celebrated
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choreographers such as Alexei Ratmansky, Jerome Robbins, Justin Peck, and all the wonderful,
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wonderful choreographers.
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So even I know of, I've heard of Jerome Robbins, the name, and also he did the choreograph
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for West Side Story.
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So you worked with him.
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Can you tell us how was it like to work with this amazing choreographer?
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Well, I mean, all right, I have to say I worked with him at the very end of his life and I
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don't think I really experienced the full Jerry Robbins.
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He was famously hard to work with and critical, you know, unbelievably critical, apparently.
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It was a different time.
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It was an old school.
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I'm sure things that were done in those days would not have been done the same way now.
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But by the time I worked with him, he just left me alone because I don't think he had
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enough energy to bother with me.
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And you know, I was the pianist for, or one of the two pianists for choreographing his
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last ballet, which was Brandenburg.
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And I also worked with him on a couple other pieces, but that was my main experience as
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to movements from several Brandenburg concertos and a couple other pieces, I think, that aren't
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in Brandenburg concertos.
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So I don't have any of the great stories.
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You can read biography and tell the great stories, but he was famously difficult.
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But the only funny thing I remember, I remember two really funny things about him.
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One was that, you know, to give you an idea of how I stacked up in his hierarchy of people
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in his life, even though I spent, you know, probably 30 hours with the guy, he'd just
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say, hey, you play.
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And so I play, you know, and apparently thought I was okay.
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He told the people on the fourth floor that he's okay.
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I was I had only just started.
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I think I had only I think I had only played for four months.
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Then I rehearsed another couple things.
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Suite of Dances, I played the which is actually a Bach cello suites, but we rehearsed it on
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piano and then we brought in Wendy Sutter to play it.
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At that time, it was Wendy.
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Now it's Ann Kim a lot.
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So that was funny.
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But I remember I had one moment with him where he was sitting at the piano next to me on
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the stage of the theater here.
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We're at the Koch Theater here.
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And he was just playing some notes and he just started reminiscing how he used to play
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the piano.
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And it was it was kind of sweet.
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He was in his mid 70s then.
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And I don't think he quite made 80.
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I'm not sure.
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But people he was a stressful guy, but obviously a genius.
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I think I should say for the people who aren't ballet fans but might be interested in going
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and checking out, he had he created a special kind of intimacy on stage between the piano
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and the dancers in his piano ballets, in particular, the Chopin, also this Tchaikovsky piece.
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It's really hard to define, but you kind of have to see it.
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But it was like this this kind of very almost quiet theatrical space that you'd feel between
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the solo pianist and the dancers.
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I think it had a lot to do with the fact that one of his I know this for a fact that one
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of his inspirations was the ballet studio itself.
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So the connection I'm sure you felt being playing for dance classes at some point, anyone
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who's played knows that there can be a special quality in the room.
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And he was able to do something like that with these Chopin pieces.
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What was interesting is they often had no set.
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They were often just dancers on stage and piano kind of pared down, you know, and had
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a particular quality.
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And even in the fast pieces like, I forget it.
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But just it was very special.
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It was very, very special, different, totally different than Balanchine.
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All choreographers have a different relationship with music.
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Some people illustrate the music more like bleed the audience to understand the music.
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Some composers respond to the music with their own.
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How do I?
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OK, here's the music.
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How do I feel about this?
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This thing I'm confronting like so they could have beautiful music and they could even express
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something angry sometimes.
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Maybe they're like, well, I didn't get any of that.
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Let's talk about New York City Ballet.
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How exciting is that this ballet company is?
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And you've been working for them for 20 years, 28 years, 28, I think.
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And what's so special about this ballet company?
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Well, it's just I mean, it's just got a lot of great dancers.
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You know, I mean, you know, it's it's the top or one of the very tops.
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And they're just wonderful.
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And that's that's the main thing.
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And then we've had the best choreographers here.
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I mean, there are other great choreographers, but we've had probably the main ones.
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Robin's Balanchine, Complete Genius.
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I mean, Balanchine without without Balanchine, a lot of those Stravinsky scores, in my view,
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don't even really work.
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One of the most interesting things about Balanchine, there are a lot of interesting things, but
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there's some music that almost needs the dance and not right of spring and not really Petrushka.
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But you get Stravinsky post 1930.
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The dance helps.
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It helps you without the dance.
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There's something about it that I mean, why didn't great orchestras not play all that
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music?
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Very rare to hear even a performance of Symphony in Three Movements.
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It's an exciting piece, dramatic, hardly ever.
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We play it here.
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When you see it with the dance, you know, it puts you right back into the you know,
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you're there in World War Two and the boats are floating around the Pacific and, you know,
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there's bombs flying and you know, it just helps.
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But it's not somehow Stravinsky sometimes is not enough.
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It's like there's something suggested that maybe is not fully realized.
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But it's great.
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It's great stuff.
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We do tons and tons.
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I can't tell you Stravinsky pieces.
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But how many how many programs do you have at New York City Ballet?
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Well, I mean, different seasons are different.
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Right, right.
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I mean, and you know, believe it or not, we used to do seasons regularly with 50 ballets,
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50 full length ballets a season.
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Oh, my goodness.
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I mean, it was insane.
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You know, that that also had to do with the fact that, you know, the subscribers wanted
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to see the great Balanchine Ballets.
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They were just hungry to see them.
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And some of them honestly were sometimes like kind of thrown on.
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You know, they you know, the dance, our dancers are really fast.
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I've sat in the piano room in like Tivoli Concert Hall in Denmark.
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You know, someone gets injured.
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A principal dancer, Joaquin learned Judicart by Stravinsky, one of the most complicated
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Stravinsky scores.
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He learned this principal role in five hours and when performed it that night, you know,
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and we just we just hacked away at it all afternoon.
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You know, he did it.
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It was great.
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And that happens not infrequently.
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Too much repertoire, but but tons and tons and tons of great stuff.
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I mean, you should see you should see the music cabinet in the music room.
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I should bring you into the music room and just take out the scores.
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You know, what's there would just I mean, you know, there's vibrant scores.
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You know, there's scores by all these great living composers are like, you know, ten Philip
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Glass scores there.
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You know, there's I just can't even tell you there's you know, John Adams was here for
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a while.
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We play like I think we play five John Adams scores.
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I play often Howlwoolie Junction for two pianos.
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You should play it if you like that sort of thing.
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It's really one of his best pieces.
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It's really fantastic, fun and beautiful.
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We do fearful symmetries.
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We do harmony, harmony, we are huge pieces.
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And you know, like, for example, we play fearful symmetries.
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We play it on the piano in the rehearsals.
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I mean, I haven't played it in 15 years.
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But I you know, for the you know, 30 minutes of John Adams, you know, it gets really hard
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by so many different repertoire that you that you are using in the ballet.
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That's fun.
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It's fun.
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If you're if you're that kind of musician, you should definitely work here.
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You should definitely and and and if you're if you're someone who just likes music and
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is has a lot of facility at the piano and like it's you know, they need you.
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These days, people get really like piano is so hard and people really get into their box.
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And and I know that the new generations are expanding a lot.
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Even a lot of classical musicians improvise a little bit now.
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Oh, yeah.
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Oh, yeah.
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It's changed.
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I mean, it used to be when I was in Juilliard, it was like, holy, holy cow, you know, it's
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unbelievable, you know.
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You know, like you just you know, every practice room, you know, right.
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People are trying to get those fingers moving.
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And yeah, it's good.
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You know, if that's what you want to do, great.
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Right.
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And but I think we need to talk about how we're going to bring this industry forward.
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Right.
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So then especially this post pandemic era and then you mentioned as pianists, we tend
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to be in the room practicing all the time and not communicating with others, not collaborating
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with others.
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But that sort of culture has to change.
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I know we have to practice on our own.
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But your job, your career is all about working with others, working with people in the people.
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And that's something that I want to encourage new generations to experience.
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And, you know, don't just get stuck in a practice room all day, but experience the life.
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And that's how you experience music, too.
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I completely agree.
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Hey, TPP friends and listeners.
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The Piano Pod is in its third season.
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Thanks to all of you for watching or listening to every episode since its launch in 2020.
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I started this show with a simple question I had in mind for quite some time, which is
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how can we as classical pianists and music educators present the beautiful classical
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music tradition to the 21st century audience in a fun and contemporary and stylish and
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engaging way?
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It's been an incredible journey for the last three years, and I love what I do through
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this podcast, providing a platform for pianists and educators to reflect and discuss freely
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how we can keep the classical music industry thriving and relevant in this rapidly changing
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world.
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Now more than ever, I need your support so that I can continue my work by bringing you
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highly valuable content biweekly by interviewing groundbreakers in the industry.
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show notes or going to the Piano Pod's website at thepianopod.com.
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As a thank you, you will receive the Piano Pod's fun logo sticker in the mail.
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So please support my show today and don't forget to subscribe and continue listening
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and tell your friends and colleagues about the Piano Pod.
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Let's continue with the episode.
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So let's talk about your career and life outside of New York City Ballet.
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So you have this ongoing project with a painter.
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Her name is Karen.
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Capke.
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Well years ago I decided to focus my energies outside the ballet, my energies that had to
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do with me as a recitalist.
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I decided to focus it on late works, pieces that composers wrote toward the end of their
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lives.
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And I was inspired by a book called Late Style by Edward Said who's a philosopher, was a
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philosopher at Columbia and was very famous in that field.
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He was also a friend of Daniel Berenbaum.
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He was very involved with Israeli-Palestinian issues.
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In fact that was I think the basis of how they got together because Daniel Berenbaum
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was Israeli and Said was Palestinian.
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I think that he may have had to do with the founding of this east-west orchestra that
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exists where they have Palestinians and Israelis play together.
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They've done shows around the world.
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Anyway he's very interesting and he wrote about Lake Beethoven and Lake Strauss and
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Lake Mozart.
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So my project is to learn and perform the last three Beethoven sonatas, the last three
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Schubert sonatas and the Prokofiev War sonatas but I don't like the sixth sonata that much.
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Oh no.
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So I'm not going to do it.
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I don't think I'm going to do it.
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And so I substitute the Copland Piano Fantasy which is a very late Copland work and always
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meant a lot to me.
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So based on those pieces and surrounding them with lots of other pieces, late Ligeti etudes,
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late Arvo Peric pieces, Philip Glass etudes are fairly late.
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I play those.
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So that's the music part of the project.
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And then Karen created paintings as a result of our conversations about the music.
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And we've done three of these recitals slash art exhibitions.
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You can see when you hear me playing the Copland Fantasy you can see there are people sitting
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on the right and left of me and there are paintings behind them.
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And then in back of the piano is a projection of the painting that is the Copland Piano
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Fantasy painting.
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But the other paintings actually were from other parts of the recital and had been projected
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onto the wall, onto the screen.
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You know when I played the other pieces I played a Bach piece and I played Opus 111
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and even a Bill Evans transcription, a transcription of Jazz solo and she painted that as well.
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So, that's a perfect example of what we did.
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So we did that in different places.
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You know three recitals, they're very complicated to put together.
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Especially as most musicians know when you do these things.
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My job is at New York City Ballet, it's very satisfying but when I do these other things
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there's no management, there's no stage manager to greet me.
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There's no one to make my programs.
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You have to embrace it if you want to do those things and I have.
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I get inspired by, maybe this is too heady, but there was a great conceptual artist named
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Christo.
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He died recently, maybe you know him.
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He made environmental art, I think they called it that, something like that.
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It's kind of a silly name.
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But years ago he made something called the gates in Central Park.
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I think maybe before you were born.
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But I mean my daughter was like two when we did it.
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What he did is all the paths of Central Park there were like these kind of curtains that
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fell over the path and these little metal constructions and they were orange.
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It was very beautiful and it was through the whole park and he did this all over the place.
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He did it in the mountains of California, he did it in Japan, different things.
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He was really great and he said that the thing that interested him was how he had to work
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through the bureaucracy to get the permits.
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It wasn't just the art, it was about the process of producing the art.
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So I like to think when I get depressed that I have to call too many people on the phone,
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when I do my own projects, I like to think idealistically that you're really in the world.
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You're finding out how things work.
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You're relating to people, you're talking to secretaries, you're talking to heads of
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opera, opera America, you've got to be personable.
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You want to work together with them and enter these other worlds that are a little more
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cut and dry.
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So it's a challenge but it's an interesting challenge.
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You know ultimately if we can't operate in the world, no matter how high our ideals,
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it's very important to be able to operate in the world in a way that's consistent with
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your values, not to sell out but as an act of connection and even being generous to yourself.
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You want to feel that you're connected and you have a meaningful way of interacting with
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colleagues, with your bosses.
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All these things are really important and I do think that, and maybe I get this a little
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bit from Gil Kalish because Gil Kalish was like super, super mensch, super great guy.
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He was a musician but everyone said, oh Gil, he's like a regular guy.
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But he was very, you could tell that he paid a lot of attention to people and that was
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the main thing he taught us.
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It's not just about you and your piano playing, it's about more than that and your life and
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that's a really important thing.
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No matter who you are, no matter where your gift placed you, you want to have a good life
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and generally it makes it easier to communicate something so precious if you have, if your
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environment is fulfilled in a way, full.
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Absolutely and then you're really living the beautiful life surrounded by people and then
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surrounded by beautiful art and now, do you plan to do this project with the painter,
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00:27:13,960 --> 00:27:14,960
Karen, soon?
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00:27:14,960 --> 00:27:19,200
I think we might be done with the paintings actually.
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Now I'm looking for, maybe you know somebody, I'm looking for actors to recite poetry and
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00:27:27,800 --> 00:27:32,640
probably I'll bring it all together but I, you know, this is one of my things is what
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I was talking about, about dance is that I think when there's another medium that's set
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against music, it helps the audience.
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00:27:40,240 --> 00:27:45,120
You know I'm very frustrated because I like some very esoteric music like Beethoven and
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stuff but I want the audience to get it.
390
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I want them to enjoy it.
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I don't want them to go, oh that sounds really complicated.
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00:27:54,400 --> 00:28:00,640
And so when they have a painting or like in the Copeland or in the Beethoven, they have
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00:28:00,640 --> 00:28:08,560
this painting of what I think is a picture of a kind of feminist message actually of
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disturbance.
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00:28:20,560 --> 00:28:24,120
You know it's somehow, it helps the audience.
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00:28:24,120 --> 00:28:27,360
They connect, oh this is disturbing.
397
00:28:27,360 --> 00:28:36,880
It's not beautiful, it's beautiful in its disturbingness.
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00:28:36,880 --> 00:28:43,640
You know and so they see a painting, in other art forms people understand that but sometimes
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00:28:43,640 --> 00:28:46,520
people they just want everything to be beautiful.
400
00:28:46,520 --> 00:28:48,600
Yeah everything to be pretty, right?
401
00:28:48,600 --> 00:28:49,600
Pretty.
402
00:28:49,600 --> 00:28:52,280
Yeah pretty, yes.
403
00:28:52,280 --> 00:28:54,040
We want to stay away from prettiness.
404
00:28:54,040 --> 00:29:02,760
Well a little prettiness is okay, you know like foray has a lot of prettiness but on
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00:29:02,760 --> 00:29:03,960
a high level.
406
00:29:03,960 --> 00:29:06,920
But sometimes we need grotesque in beauty, right?
407
00:29:06,920 --> 00:29:09,600
Absolutely, otherwise nothing means anything.
408
00:29:09,600 --> 00:29:14,000
Otherwise there is no beauty.
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00:29:14,000 --> 00:29:18,360
And that's what's great about collaborating with other art forms, so you get it.
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00:29:18,360 --> 00:29:24,120
And it's just such a damn relief too because it's like you know you just you want to play
411
00:29:24,120 --> 00:29:31,640
these solo pieces but you know you're not, most of us are not famous pianists you know
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00:29:31,640 --> 00:29:33,400
who get to play them many many times.
413
00:29:33,400 --> 00:29:40,160
You want to make it special for yourself and you want to make it an event for your audience.
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00:29:40,160 --> 00:29:42,640
Otherwise it's just it's not fun.
415
00:29:42,640 --> 00:29:45,520
It's just yeah yeah absolutely.
416
00:29:45,520 --> 00:29:48,320
Thank you for really sharing your wisdom.
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00:29:48,320 --> 00:29:53,640
So I want to promote New York City Ballet and is there anything that you want to say
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00:29:53,640 --> 00:29:56,520
about upcoming events or program?
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00:29:56,520 --> 00:30:03,800
Well we're having the spring season coming up that starts in April, late April.
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00:30:03,800 --> 00:30:09,080
The great thing about New York City Ballet now is we have gotten Alexey Ratmansky as
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our artist in residence.
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00:30:12,600 --> 00:30:17,120
Alexey is you know along with Justin Peck who's really amazing.
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00:30:17,120 --> 00:30:19,720
He actually did the new West Side Story movie.
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He was a choreographer.
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00:30:21,960 --> 00:30:31,840
But Alexey is arguably the greatest choreographer of our time in my opinion and in a lot of
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00:30:31,840 --> 00:30:34,080
people think that he is so great.
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00:30:34,080 --> 00:30:40,560
He is just so great and he also choreographs really great music to really like Shostakovich
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concertos and things.
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And we are just so fortunate to have him coming here.
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00:30:47,840 --> 00:30:56,040
You know this is the company of Balanchine and Robbins and Alexey is a really and Justin
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00:30:56,040 --> 00:31:01,960
too but Alexey is I mean getting him is just a wonderful thing for everyone.
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00:31:01,960 --> 00:31:08,040
The dancers in particular they love working with great choreographers like Justin and
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00:31:08,040 --> 00:31:09,040
Alexey.
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They just love it.
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00:31:10,560 --> 00:31:15,720
You know it's like when you worked with your greatest piano teacher ever you know like
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00:31:15,720 --> 00:31:20,880
Leanne Fleischer or whoever you played for you know like that's the way they feel when
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00:31:20,880 --> 00:31:24,600
they're in the studio with Alexey.
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00:31:24,600 --> 00:31:26,680
And that's what you want them to have.
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00:31:26,680 --> 00:31:28,920
You want that for them.
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00:31:28,920 --> 00:31:39,960
So for those who are listening and watching please visit www.nycballet.com to learn more
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00:31:39,960 --> 00:31:46,560
about New York City Ballet and their programs and their new season coming up in late April.
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00:31:46,560 --> 00:31:52,720
So this has been really fun and inspiring conversation Alan and I unfortunately I have
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to let you go very soon because your rehearsal is coming up.
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00:31:56,520 --> 00:32:00,340
But before I let you go we have one more thing to do.
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It's called the piano part rapid fire questions.
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I didn't warn you but this is part of the show where I get to ask fun questions to each
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00:32:07,240 --> 00:32:08,240
guest.
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00:32:08,240 --> 00:32:12,760
Here's a little warning as silly as these questions may sound your answers may reveal
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who you truly are.
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00:32:14,440 --> 00:32:18,760
So yes I'm good at hiding that.
451
00:32:18,760 --> 00:32:19,760
Okay good.
452
00:32:19,760 --> 00:32:27,960
So please answer them with the shortest responses as possible and no yes no explanation needed
453
00:32:27,960 --> 00:32:28,960
okay.
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00:32:28,960 --> 00:32:29,960
Oh God.
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00:32:29,960 --> 00:32:30,960
All right.
456
00:32:30,960 --> 00:32:33,520
So question number one what is your comfort food.
457
00:32:33,520 --> 00:32:43,400
The restaurant across the way from us it's a kind of African influenced restaurant in
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00:32:43,400 --> 00:32:46,880
the new renovated David Geth mall.
459
00:32:46,880 --> 00:32:49,440
Anything they have there is my comfort food.
460
00:32:49,440 --> 00:32:52,160
Great I need to try I need to try that.
461
00:32:52,160 --> 00:32:54,780
Now how do you like your coffee.
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00:32:54,780 --> 00:32:57,040
With half and half and no sugar.
463
00:32:57,040 --> 00:32:58,040
Sounds great.
464
00:32:58,040 --> 00:33:04,480
Or in Starbucks what do they say a light splash.
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00:33:04,480 --> 00:33:05,480
Cats or dogs.
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00:33:05,480 --> 00:33:06,480
Both.
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00:33:06,480 --> 00:33:09,080
What is your word or words to live by.
468
00:33:09,080 --> 00:33:10,080
Freedom.
469
00:33:10,080 --> 00:33:15,000
What is the most important quality you look for in other people.
470
00:33:15,000 --> 00:33:17,000
Understanding.
471
00:33:17,000 --> 00:33:19,720
Name three people who inspire you living or dead.
472
00:33:19,720 --> 00:33:23,640
Abraham Lincoln Schubert Rappmansky.
473
00:33:23,640 --> 00:33:26,200
Sounds good.
474
00:33:26,200 --> 00:33:29,920
Name one piece in your current playlist.
475
00:33:29,920 --> 00:33:32,640
Or a Silver Song for my father.
476
00:33:32,640 --> 00:33:34,160
It's a jazz.
477
00:33:34,160 --> 00:33:36,800
So last question fill in the blank.
478
00:33:36,800 --> 00:33:39,440
Music is blank.
479
00:33:39,440 --> 00:33:40,440
Fulfillment.
480
00:33:40,440 --> 00:33:43,360
Yay ding ding ding you won.
481
00:33:43,360 --> 00:33:46,280
Thank you so much Alan for really joining here today.
482
00:33:46,280 --> 00:33:47,280
Thank you.
483
00:33:47,280 --> 00:33:51,960
You keep me I really appreciate the opportunity to share these things with you and and I hope
484
00:33:51,960 --> 00:34:01,000
that you know everyone will find a good path for themselves either as professional musicians
485
00:34:01,000 --> 00:34:05,720
or transforming that dream into something beautiful.
486
00:34:05,720 --> 00:34:06,720
Well said.
487
00:34:06,720 --> 00:34:09,420
So this concludes the episode of the piano part.
488
00:34:09,420 --> 00:34:13,320
Thank you once again Alan for joining my show today and sharing your stories and insights
489
00:34:13,320 --> 00:34:17,920
and expertise and you can find more information about New York City Ballet.
490
00:34:17,920 --> 00:34:20,640
Please visit NYC Ballet dot com.
491
00:34:20,640 --> 00:34:23,120
Thank you to my wonderful audience and fans for tuning in.
492
00:34:23,120 --> 00:34:27,280
If you enjoyed today's episode please rate and review it on whatever podcasting platform
493
00:34:27,280 --> 00:34:28,280
you use.
494
00:34:28,280 --> 00:34:31,920
If you are watching us on YouTube remember to hit the thumbs up button and subscribe
495
00:34:31,920 --> 00:34:32,920
to my channel.
496
00:34:32,920 --> 00:34:36,680
You can also find my show on Facebook Twitter Instagram and LinkedIn.
497
00:34:36,680 --> 00:34:39,040
The links are listed in the show notes.
498
00:34:39,040 --> 00:34:42,280
I will see you for the next episode of the piano part.
499
00:34:42,280 --> 00:34:49,040
Bye everyone and thank you Alan.