Known for stretching the boundaries of classical music, Kennedy espouses the need to take on new technical challenges -- "If you're playing within your capability, what's the point?" he asks. "If you're not pushing your own technique to its own limits with the risk that it might just crumble at any moment, then you're not really doing your job."
He also considers it part of his job to take risks musically. "Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time," he says. "Jimi's music is all about that, I think -- you know, he was out on the edge a lot of the time. When he was playing, he was taking it and stretching it."
The result of all this technical and creative stretching? A sound that at least one critic has said has "shattering intensity," and as an added bonus, some simple pride in his work. "Maybe it's egocentric or whatever," he says, "but when I'm playing Beethoven, Bach, Hendrix, or whoever it is, in the end, it just feels like my own music and I'm making it up as I'm going along."
CSO is with him all the way!
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