Pianist Watts presents the classics at Ham Hall

Marilyn LaRocque

Friday, April 25, 2003 | 8:55 a.m.

Who: Pianist Andre Watts.

When: 4 p.m. Sunday.

Where: UNLV's Artemus Ham Hall.

Tickets: $29, $45, and $59.

Information: (702) 895-2787.

At age 16, pianist Andre Watts catapulted onto a pinnacle in the classical music world which many soloists don't reach until well into their careers -- if ever.

He performed with legendary maestro Leonard Bernstein and the New York Philharmonic in its "Young People's Concerts" on CBS. Two weeks later Watts replaced an ailing Glenn Gould in the Liszt E-flat Concerto with the Philharmonic.

That happened 40 years ago, and launched an international superstar's career -- including acclaimed concerts with the "who's who" of professional orchestras, recitals, TV appearances, albums, awards and honorary doctorate degrees -- which continues today.

Watts will play a recital Sunday at Artemus Ham Hall at the University of Nevada, Las Vegas. The event marks the end of the UNLV Charles Vanda Master Series and completes the "Hot Ticket" season.

Watts' program will include works by Franz Schubert, Frederic Chopin, Claude Debussy and Maurice Ravel.

How important was this early success in building his career?

"Beyond important," Watts replied. "In the most simplistic terms, it was handing you a career full blown. What you did with the rest of your career was, of course, up to you. But you would have to play very badly for quite a while to kill that type of beginning."

"There was also a newspaper strike when I played for Glenn," Watts added. "So, what happened was the bigger periodicals -- Time, Life, Ebony -- sent people to cover it. That got much more press and made an enormous difference. It was an incredible piece of luck."

Watts was asked if being black has affected his career. (He is the son of a black father and a Hungarian mother.)

"It didn't," he answered. "Bernstein even mentioned it -- my racial makeup, straight on in 1962, which was unheard of at that time. He remarked that very often gifted intelligent people come from an international marriage. I've always felt that people who believed everything Bernstein said thought I was great, and those who didn't, didn't.

"There were situations where issues of race opened doors, others that closed them. I tried in the early years to sidestep those issues and just play."

What was it like to work with Bernstein?

"It was a great music-making time in his life," Watts said. "I don't think I realized it at that moment. However, later on, when I played with him, and then played the same concerto with others, I realized it was not the same. He had the great ability to draw people up to play at the top of their form. He was very inspirational.

"He recognized how to make big music in a natural, not convoluted, way." In addition to Bernstein, who else, or what else, in his career stands out in Watts' mind?

He cited diverse experiences.

After naming people of historical importance, now dead -- Prince Constantine of Greece, the Shah of Iran, Indira Gandhi, Watts described an around-the-world tour with the Los Angeles Philharmonic.

"There were 41 concerts in 53 days," Watts said. "I played about 36, 37. The plane would land. We'd play that night. It was gigantic."

Then he mentioned Etzel Willhoit, conductor of the New Britain (Conn.) Symphony.

"He was from the Ozarks," Watts said, "and was the last pupil of Pierre Monteaux (celebrated maestro of the San Francisco Symphony, 1936-1961). I played many concerts with him, and he became one of my mentors. He was never famous, but he taught me many things about interpreting the music. Those kinds of relationships are important."

Shifting perspective again, Watts recalled taping a "Mr. Rogers' Neighborhood" show with the late Fred Rogers.

"I've rarely met, in or out of music, someone as naturally good, without one smidgen of sanctimoniousness," he commented. "It was astonishing to find exactly the same person in person and performing. I'm not gullible. I meet external politesse and manners constantly.

"With Fred Rogers, I knew, within seconds, what you saw was what you got, the deepest persona. It was pretty special."

Since 2000 Watts has been Artist in Residence at the University of Maryland. When his extensive concert schedule permits, he teaches other people's students in private lessons and also conducts a public master class.

Watts acknowledged the impact of current "difficult times" in the classical music world. "The reality of the music world is it's a financial world," he observed. "Orchestras are caving. Even some that seemed phenomenally solvent are now in trouble. This cuts down opportunities for performers, especially those who are young or who don't have marquee value. When there are fewer concerts available, artists who have something to say at the fifth level won't get heard."

"However, I feel reasonably sanguine about the future of classical music," he said. "I'm more worried about music education in schools, the demise of young people's concerts, including those on television.

"I believe arts and music are good for children. We should give classical cassettes to newborns."