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You would not expect a person of my father’s cultural heritage—steeped
in the Russian musical tradition, trained in its premier conservatory—to
be attracted to “modern” music. He had everything to gain from the old
musical regime: he was educated in it, he performed it brilliantly, and it
was prevalent, offering the opportunity for a successful career. Piano was
his instrument, taught by his formidable Aunt Isabelle Vengerova from
childhood. His rich education in the theory and practice of music could
also have suited him for composing or conducting, a purveyor of the classical
tradition at its highest level.
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