World Acclaimed Pianist Calls Greece His Love and Inspiration

28 Oct 2026, 05:27 by Kosta Papadopoulos · Greek City Times

Internationally acclaimed French-Canadian pianist Alain Lefèvre will perform works by George Gershwin and Leonard Bernstein with the Athens State Orchestra at the Athens Concert Hall on Sunday, 1 November, in a concert that brings together the energy of jazz and the richness of the symphonic tradition.

Under the baton of American symphonic music specialist Carl St. Clair, Lefèvre will perform Gershwin’s Piano Concerto in F and the legendary Rhapsody in Blue, followed by Bernstein’s Symphonic Dances from West Side Story.

In an interview with the Athens-Macedonian News Agency (AMNA) and journalist Giorgis-Vyron Davos, Lefèvre discusses his enduring love for Greece, his admiration for Greek composers, changes in the classical music industry and his concerns about artificial intelligence (AI) and the future of artistic creation.

Greece, a lifelong love

Lefèvre has developed a particularly close relationship with Greece, which has also inspired his own compositions. His connection with the country began when Thessaloniki served as European Capital of Culture.

“Greece is a long love story for me,” he says.

He recalls how Christos Lambrakis, an influential figure in classical music, heard him perform and immediately invited him to appear at the Athens Concert Hall. The performances attracted full audiences, and he later performed at the ancient theatre of Epidaurus.

“After these experiences, I realised that I was a happy person when I was in Greece,” he says.

His affection for the country extends beyond its natural beauty to its people, culture and historical heritage.

“Greece offers me, first of all, an exceptional culture. Many people will tell you, ‘Oh, I love Greece, it is a beautiful country.’ I will tell you something that may surprise you: I love the country, but I also love the Greek people.”

Lefèvre believes Greeks retain a powerful sense of freedom at a time when, in his view, that quality is disappearing around the world.

Although he recognises the difficulties many Greeks face, he believes the country’s historical legacy continues to shape its identity across generations.

He says his love for Greece has inspired at least 30 of his compositions, including Helios and Philotimo, the latter being his most recent work dedicated to the country.

“I have always admired Greek culture. I am always convinced that Greece must remain fundamentally free and that Greeks must never forget who they are and where they come from,” he says.

Asked whether he might perform one of his Greece-inspired compositions as an encore on 1 November, Lefèvre acknowledges that many people would welcome a recital devoted entirely to his own music. However, he believes the upcoming concert offers a particularly compelling programme.

Gershwin and Bernstein bridge jazz and classical music

Lefèvre considers Gershwin’s Piano Concerto in F one of the great works for piano and praises Rhapsody in Blue for its ability to communicate directly with audiences.

He also describes Bernstein’s West Side Story as a masterpiece that demonstrates the depth of American music beyond popular culture.

“When we look at what is happening musically, particularly in pop music, people often associate the United States with the pop side of music. Yet America has also produced very great composers,” he says.

Lefèvre argues that Gershwin incorporated jazz into his compositions with exceptional sophistication, making him a distinctive figure in the relationship between jazz and classical music.

He hopes audiences will embrace the programme’s combination of orchestral richness, rhythmic energy and melodic appeal.

Lefèvre praises Greek composers but criticises limited opportunitiesThe pianist also expresses admiration for Greek composers, particularly Manolis Kalomiris, whose work reflects a deep engagement with Richard Wagner, and Nestor Taylor.

“I am a Wagner lover, and what has always fascinated me is this great Greek composer, Kalomiris, who created almost a tetralogy as a tribute to Wagner,” he says.

However, Lefèvre laments the lack of opportunities for contemporary Greek composers working outside pop music.

“Unfortunately, very talented Greek composers who want to create music that is not pop music have absolutely no platform at the moment,” he says.

He argues that successive governments have failed to provide emerging composers with sufficient opportunities to have their work performed and heard.

Many talented young Greek musicians, he adds, dream simply of hearing their compositions played before an audience.

Lefèvre also criticises what he sees as an increasingly commercial classical music industry that rewards technical speed and volume over interpretative depth.

“The industry promotes various pianists who appear on stage, play fast, play loudly, but have absolutely nothing to say,” he says.

He contrasts this approach with performances that establish a profound intellectual and emotional connection between musicians and listeners.

He cites recordings of Johannes Brahms’s Ballades performed by Arturo Benedetti Michelangeli, as well as Dinu Lipatti’s performances and German conductor Hans Knappertsbusch’s interpretation of Wagner’s Parsifal at Bayreuth.

For Lefèvre, such performances demonstrate how music can communicate a deeper message that transcends technical excellence.

AI poses a growing threat to artistic creation

Lefèvre’s concerns about the loss of artistic depth also extend to artificial intelligence, which he believes poses a real threat to composers and other creators.

AI systems can now generate music that imitates the styles of celebrated composers, raising questions about originality, copyright and the future of creative work.

“We are already facing a real danger,” he warns, describing how record companies might use AI to generate music on demand.

He gives the example of a request to compose a second movement for a piano concerto in the style of Mozart.

The pianist also raises concerns about legal disputes involving the use of musical themes in advertisements and television productions without appropriate compensation for their creators.

“I don’t want to sound pessimistic on the phone, but I am not really optimistic about the direction our society is taking,” he says.

Culture, spirituality and the future of society

Beyond music, Lefèvre expresses concern about social tensions, young people’s frustration and what he sees as society’s growing emphasis on financial wealth at the expense of cultural and spiritual values.

He argues that spirituality plays an essential role in human survival and social progress, although he stresses that spirituality does not necessarily involve religion.

“Society has made a huge mistake: it has forgotten that humanity has a fundamental need for spirituality in order to survive,” he says.

He believes modern society increasingly measures people’s worth by their financial resources rather than their character, knowledge or contribution to the world.

Despite his concerns, Lefèvre hopes younger generations will restore education, artistic access and historical knowledge to the centre of public life.

“The future lies in the hands of a generation, and I hope it will realise that a person’s true value lies in education and in the ability to access art and history,” he says.

His album Consolation, like his own compositions, reflects his desire to reconnect audiences with deeper human values.

“There is a dangerous void in our humanity. Through my compositions and my album Consolation, I wanted, very humbly, to express the fact that there are two important values in life for me: love and tolerance,” he concludes.

(Source: AMNA)

Stay connected to Greek City Times for Free on Google News
Click NOW
Stay updated with the latest news from Greece and around the world on greekcitytimes.com.
Contact our newsroom to share your updates, stories, photos, or videos. Follow GCT on WhatsApp, Google News and Apple News.

Related coverage

Advertising