Spokane Symphony opens season with guest pianist Cecile Licad

After a long, dry summer, the Spokane Symphony finally makes its return to the Fox Theater this weekend. Its 70th season launches with “Russian Adventures,” which features a solo by celebrated pianist Cecile Licad.

Licad was born in the Philippines and became a respected pianist at a young age, debuting with the Philippine Harmonic Orchestra when she was only 7. She later became the youngest person to win the gold medal at the prestigious Leventritt piano competition. She has played with the Spokane Symphony before – in 1998 and 2007 – and she returns this weekend to perform Bela Bartok’s Piano Concerto No. 1, under the direction of conductor Eckart Preu.

We spoke to Licad from her home in New York City about her musical origins, the upcoming concert and her feelings about the Bartok concerto – which has the potential to throw the player off balance.

SR: I understand that you got your musical start fairly early.

Licad: Yes, I was kind of a prodigy. I played in an audition for the first time when I was 7.

SR: What was it like being a musician at such a young age?

Licad: To tell you the truth, piano was very natural to me. I started at 5 years old. My mother was a piano teacher, and I grew up with her teaching a lot of talented students. I was always at the piano, always hanging out and listening. … If there was a day when I didn’t play the piano, it was abnormal.

SR: It sounds like you picked it up almost instinctually.

Licad: I think so. I can’t even remember when I picked it up. It was all so natural.

SR: Do you travel a lot? Is most of your playing now in a live setting?

Licad: I do a lot of live concerts, a lot of recitals. But recently I’ve just been learning new things. I’m really excited to play the Bartok there.

SR: Let’s talk about the Bartok piece. Was this one you chose to play?

Licad: They approached me to do it. Eckart actually made me choose from two concertos, either Tchaikovsky or Bartok, and I suggested that I play this one, even though it’s very difficult for a pianist. It’s not done so often, this piece. It’s really a very interesting piece. … It’s just amazing rhythmically, and the accents are like the vibrations of life.

SR: You mentioned the piece was difficult. What are the challenges it presents?

Licad: I find that this piece is a fasten-your-seat-belt kind of piece. … Your ears will be smoking after listening to this piece. You can’t space out for one minute or you fall right off the cliff. It’s larger than life. I watch Miles Davis on YouTube with my son sometimes, and it reminds me of that. It’s just far, far out.

SR: Why do you think you leaned toward the Bartok piece over the Tchaikovsky?

Licad: The Tchaikovsky I’d already played before. I’d sort of learned (the Bartok) before, but it’s a super exciting piece. … I’m totally fascinated by the writing. Bartok was a great pianist, and he probably had huge hands. It’s all over the place, from the base of the piano to the top of the piano. So if you lose balance – and I’m talking physical balance – you can fall off of the piano if you’re not careful.