The Legacy of Gershwin, Copland, and Bernstein: Continuing the Journey
When I sit down at the piano, I feel the weight of history pressing down on the keys—the echoes of Gershwin, Copland, Bernstein, and so many other trailblazing American composers who shaped not only our cultural fabric but also my own journey as an artist. Their music is more than just notes on a page; it’s a reflection of America’s soul—a vibrant, diverse, and ever-evolving story.
I remember vividly when my recording of Copland’s Sonata was compared to the work of William Kapell and Leo Smit. It was both humbling and energizing to know that my interpretation resonated with such a deep tradition. For me, this isn’t just about revisiting the past; it’s about ensuring that works like the Copland Sonata—pieces that are rarely performed—continue to speak to modern audiences. These works deserve to be heard, not as relics, but as vital expressions of who we are and where we’ve been.
John Wilson collaborating with Michael Tilson Thomas
One of the most transformative experiences in my career has been working closely with Michael Tilson Thomas (MTT). His mentorship has connected me to this legacy in a way I never imagined. As someone who worked directly with Copland and Bernstein, MTT has shared stories and insights that have completely redefined my approach to interpreting their works. It’s one thing to study a score; it’s something entirely different to hear about these composers’ intentions from someone who was guided by their own hands. This direct lineage feels almost sacred, as if I’m a part of a living chain that carries their music into the future.
But American music is more than its classical roots—it’s a melting pot of styles and stories. That diversity is something I try to embody in my performances and recordings. I’ve stepped onto jazz stages in San Francisco, collaborating with incredible musicians in their natural habitat. I’ve shared the spotlight with Broadway legends like Bernadette Peters, Audra McDonald, and Cynthia Erivo. And every time I immerse myself in these genres, I gain a deeper understanding of the influences that shaped our nation’s musical identity.
Each of these experiences has profoundly shaped my classical performances. Playing jazz in a club, for instance, teaches you about rhythm and phrasing in a way that no classical training can. The same goes for Broadway—its emphasis on storytelling through music is something I bring to my interpretations of Gershwin, Bernstein, and beyond. It’s a holistic approach to performance, one that blends authenticity with curiosity, and it’s at the heart of everything I do.
American music is a reflection of us—our triumphs, struggles, and stories. It carries the echoes of gospel and jazz, born out of a dark past, but also the joy and resilience of a nation that continues to redefine itself. It’s a melting pot of immigrant voices, including my own family’s journey from Italy, who brought their soul and traditions to this country. That diversity is what makes American music so powerful, and it’s what inspires me to dedicate my career to sharing it with audiences everywhere.
For me, this work isn’t just about performance—it’s about storytelling. It’s about giving voice to the composers who came before us and the cultural tapestry they wove together. It’s about creating moments of connection in a world that can often feel fragmented. Every note I play carries that legacy forward, and every performance is a chance to remind us all of the beauty and strength of our shared history.
As I reflect on my journey so far, I feel immense gratitude—for the mentors like MTT who’ve shaped my path, for the audiences who’ve embraced this music, and for the opportunity to play a part in keeping this incredible tradition alive. The legacy of Gershwin, Copland, and Bernstein is far from over, and I’m honored to continue their journey, one performance at a time.
John Wilson with Chamber Orchestra of New York at Carnegie Hall; Salvatore Di Vittorio, Music Director. Photo credit: Jennifer Taylor
