Exclusive Interview with James Adler: InterContinental Music Awards Winner and Visionary Composer

We’re beyond excited to bring you an exclusive interview with James Adler, the award-winning pianist , composer, and recipient of the prestigious InterContinental Music Awards  in the Pangea Classical Category for his stunning album, That Star in the Picture. Known for his extraordinary ability to “create whatever type of music he wants at the keyboard” ( Chicago Sun-Times), Adler has captivated audiences worldwide  with his versatile performances and imaginative compositions.

In this interview, James Adler opens up about his inspiring journey, his recent achievements in global music contests , and his vision for the future of classical and contemporary music. From his celebrated albums like Reflections  to his contributions as a juror and mentor at prestigious competitions like Sound Espressivo , Adler continues to leave an indelible mark on the music world.

Don’t miss this opportunity to discover the stories behind his music, his creative process, and his advice for aspiring musicians competing in international music contests. Prepare to be inspired by this maestro’s  passion and artistry!

Let’s dive right into the interview summary and tap into James’s vast knowledge and experience. The full interview is available on Instagram – click here to check it out.

James, it’s a pleasure to have you with us. For those who are just joining, can you share a bit about yourself and your recent projects?

Thank you! I’m a pianist, composer, and professor at Saint Peter’s University, where I’ve been teaching for 38 years. Recently, I’ve had two albums released within a year of each other, which I don’t recommend unless you’re ready for little sleep! But I’m thrilled and honored because my album That Star in the Picture won two awards in the Classical Pangea category at the InterContinental Music Awards. One of my earlier works, My Beautiful Garden, also received recognition.

While I’m primarily classical, I’ve also worked in theater, and I’m gearing up for an exciting performance in March, where I’ll be playing Gershwin’s Rhapsody in Blue with the Queer Urban Orchestra of New York. Additionally, on December 8th, I’m premiering New Beginnings, a commissioned piece for mixed chorus and chamber orchestra through Saint Peter’s University. It’s a new arrangement of A Christmas Carol, and I’m excited to bring it to life.

That’s so exciting! Now, let’s dive into your journey with the Chicago Symphony Orchestra. Can you share the story behind your debut and how it shaped your career?

Sure! That debut was a turning point in my career. It’s a great example of perseverance. I had auditioned for the Chicago Symphony Orchestra twice before, at ages 14 and 15, but wasn’t quite ready. The judges were kind, but I didn’t make it. When I was 16, I auditioned with the Paganini Rhapsody, which was a piece I felt ready to tackle.

That year, I won the Chicago Symphony prize, and they invited me to perform with them. I had two solo performances on one day and another the following day, so I had three chances to play with the orchestra. This really kickstarted my career. After that, I was invited to perform at Grant Park and Ravinia Festival, and even performed Liszt’s E-flat Piano Concerto with the Chicago Symphony at Ravinia as a farewell before heading off to Curtis Institute of Music.

That experience taught me a valuable lesson in perseverance and the importance of trusting the process. I had a tour planned and a national award win, but my teacher, Rudolph Serkin, told me I needed to focus on being a student at Curtis. I was heartbroken, but he insisted that I cancel the tour and dedicate myself to my studies. It was hard at the time, but I’ve since realized that opportunities like that don’t come often, and if they do, you shouldn’t hesitate. If you get the chance, take it—studies will always be there.

James, what inspired you to pursue both performing and composing music? Do you see these two roles as complementary?

I always believed performing and composing complemented each other, but at times, they clashed. In 1980, after writing my first piano concerto, my manager introduced me to John Green, then head of MGM Studios. While he praised my work, he posed a tough question: Are you a pianist or a composer? He warned that choosing both could make it harder to gain recognition in places like the Hollywood Bowl.

A few years later, Stephen Sondheim invited me to his home, where we spent hours discussing my music. He asked the same question, and when I responded, Can’t it be both? he compared me to a young Leonard Bernstein—but not as a compliment. He warned that balancing both would make it difficult to be taken seriously, calling it having many mistresses but no wives. His words were daunting, but they forced me to think deeply about how to integrate both roles.

Ultimately, composing my own piano concerto helped bridge the gap. I performed it with orchestras like Grace Village Orchestra and the Queer Urban Orchestra, proving that I could do both. My Chicago Symphony recital debut was another turning point. Initially planning a short piece, my manager urged me to write something new in just three months. The result, dedicated to John Edwards of the Chicago Symphony, earned high praise from the Chicago Tribune, solidifying my identity as both a pianist and composer.

Despite early challenges, I’ve found that these roles can absolutely coexist. As my Curtis composition teacher once advised, When you’re not playing piano, that’s when you write. I’ve followed that wisdom for nearly 60 years—and it has served me well.

James, can you tell us what inspired your composition Memento Mori and what was the process of bringing it to life?

Thank you for asking about Memento Mori. This piece is deeply personal, born from my grief over losing many friends in the industry. As a composer, music is my way of processing emotions, and I felt compelled to create something in their honor.

Getting it commissioned was a challenge. Since it was for a Men’s Chorus, options were limited. After approaching several directors, Jeffrey from the Atlanta Gay Men’s Chorus felt it was the right time for such a work. They commissioned it, and I took a semester off from teaching to compose the 72-minute orchestral piece.

I made Memento Mori deeply personal by incorporating the Yor Elohim prayer in Hebrew, followed by an English translation sung by the chorus. Keeping the orchestration minimal—flute, double bass, and piano—ensured the words remained the focus. I also included a poem by Quentin Crisp, who, despite famously stating, “Music is a mistake,” entrusted me with his poetry. His piece Now I am dead fit seamlessly into the Requiem movement, adding an emotional layer.

One of the most moving sections is Pie Jesu, scored for mezzo-soprano. I knew my longtime friend, Victoria Livingood of the Metropolitan Opera, was the perfect fit. When she first heard it, she said, It’s as if you wrote it for me. I smiled and told her, I did.

In 2023, I arranged a chamber version of Pie Jesu for Victoria, which is featured on my latest album. It won two awards, including Best Classical Composition, and we’re thrilled with how it has been received.

James, can you tell us how you first heard about the Intercontinental Music Awards and what your experience was like?

Absolutely! The experience with the Intercontinental Music Awards was absolutely fantastic. I had heard about the ICMA before, but it was actually a creative consultant of mine, Grammy Award-winning producer Lonnie Park, who really introduced me to it. I asked him about music competitions, wondering if he thought they were a good idea. Without hesitation, he said, Yes, definitely—go for this one. And that’s how I came to learn about the ICMA. I wrote my submission, sent it in, and the rest is history!

The whole process was amazing. Being part of the ICMA family has been such an honor, and I truly couldn’t be happier with how everything turned out.

James, you’ve performed in some of the most iconic venues in the world, from the Royal Albert Hall to Carnegie Hall. Which performances stand out as the most memorable for you and why?

That’s a tough question, because each performance feels like a child—you love each one in its own unique way. But if I had to pick, my performance at Carnegie Hall is one I will never forget. In 1984, My Carol Splendor was commissioned, and hearing my own music performed there was truly special. It’s one of those moments that stays with you forever.

Another unforgettable performance took place at Lincoln Center. At the time, I was living quietly in Philadelphia, and the conductor of the New York City Gay Men’s Chorus reached out to me. He asked if I had something for a men’s chorus, and, like many composers, I didn’t have anything on hand—but I knew I could create something for them. I adapted a piece I had written for a lady who played the lute and sang, based on William Blake’s Songs of Innocence and Experience. I turned it into a piece for men’s chorus and piano.

Next thing I knew, I was performing the piece with the choir at Lincoln Center in 1984. It was an incredible experience, and it changed the course of my life—I said goodbye to Philadelphia, sold my furniture, and within two weeks, I had moved to New York. That summer of 1984 marked the beginning of my life as a New Yorker.

You were on stage at Weill Recital Hall at Carnegie Hall announcing the James Adler Audience Music Award. Can you tell us more about that experience and what it means to you?

It’s true! I was on stage at  Weill Recital Hall at Carnegie Hall, announcing the James Adler Audience Music Award for the virtual concert halls and progressive musicians’ gala. I’m now on the board for this incredible event, where we give financial support to talented young musicians.

Some of these kids are truly remarkable—there’s a 10- or 11-year-old playing a piano concerto, a 12-year-old performing the Sasson Piano Concerto, and a violinist who blew everyone away. It’s so inspiring to witness their talent.

What makes the James Adler Audience Award special is that the audience gets to decide the winners. I don’t vote, which helps me remain neutral and unbiased. If I could, I would give every performer an award because each one deserves recognition. It’s been an honor to see these young musicians come into their own, and this year, we’re planning to give out three awards! It’s truly a full-circle moment for me, having gone from being the performer to now supporting the next generation of musicians.

What do you think about the role music plays in addressing social issues? Do you believe music can influence or address these matters?

Music is a powerful form of expression, but I believe it should stand on its own, not be used for political purposes. While some politicians try to appropriate artists’ music for their own agendas, many artists refuse, wanting their work to remain separate from politics. For example, Wagner’s music was once banned in Israel due to his anti-Semitic views, yet I believe his music should be judged by its artistic value, not the creator’s beliefs.

Ultimately, music should be respected for its merits and not reduced to a political tool. Just like I maintain a professional image when performing, I believe music should be presented in the best light possible, free from political manipulation.

Do you have any advice for young musicians who are just starting their journey?

Absolutely! First and foremost, support from parents is crucial. If a child loves music, they’ll naturally spend time with their instrument, so there’s no need to push them to practice for hours if they don’t want to. My mother never forced me to practice, and I started playing the piano at nearly 10 years old. It evolved naturally from there.

For musicians just beginning their careers, my advice is to focus on networking. Talent is important, but making connections is key. If you’re in a conservatory and hear a talented performer, offer to write something for them. Over time, these connections can lead to bigger projects, and before you know it, your music is being performed worldwide.

For singers, be open to collaborating with contemporary composers and don’t hesitate to work with someone just because they don’t have a big budget—many successful collaborations start this way.

I started as an orchestrator and arranger, and I encourage musicians to be open to taking on different roles. Whether it’s arranging a piece for a new ensemble or collaborating with other musicians, every experience helps you grow.

James, it has been such an incredible honor having you on our Star Spot. Is there anything else you would like to share with your fans?

Thank you so much! The honor is truly mine. I am incredibly grateful to be part of the Intercontinental Music Awards (ICMA). It’s been such an exciting experience, and it has opened many doors for me!

 

James Adler Contact Info:

• Website: http://www.adleroaksmusic.com
• Instagram: https://www.instagram.com/jadlermusic

 

Click here to watch James Adler‘s  full interview on Instagram 

InterContinental Music Awards Team

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