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Reflections

Known for his musical versatility, New York native Marvin Hamlisch (Pre-College Division, 1960s) is a prolific composer of musicals, songs, and film scores. In 1974, he won three Academy Awards, two for the film The Way We Were (best original dramatic score and best title song) and one for the soundtrack to The Sting. He composed the music for the Pulitzer Prize-winning musical A Chorus Line, which also won the 1976 Tony Award for best score. When he's not composing, Hamlisch can be found on the podium; he holds the position of principal pops conductor with the National and Pittsburgh Symphony Orchestras.

Marvin Hamlisch (Photo by Shel Secunda)

What was behind your choice to attend Juilliard?

My father Max was an immigrant from Vienna, who happened to be a musician, and who observed that his 6-year-old son seemed to be musically talented. So, he went from person to person, whether he knew them or not, asking, "What is the best music school for my son?" He kept hearing the same answer from everyone he asked: "The Juilliard School of Music."

What do you remember of your first days as a Juilliard student?

When you're about 7 years old, and you are musically talented, you soar above the other kids in your neighborhood. Of course, they may be more proficient at baseball, basketball, mathematics, or spelling, but in the musical part of your neighborhood, you are on a pedestal. When I entered the classroom of Juilliard's Prep Division, where all the students also had soared above the other kids in their neighborhoods, I was quickly made aware that my status as number one was in jeopardy.

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What Juilliard teacher made the largest impact on you, and what was that impact?

His name was Edgar Roberts. And he knew, rather early on, I'm sure, that I was not going to be the next Horowitz. Indeed, my love for music seemed to be largely for show and pop music, even writing my own. Even without me telling him, Mr. Roberts knew all this. And he realized how important playing the piano would be in my career—if I were to demonstrate one of my own works, I needed to play it well.

So Mr. Roberts kept teaching me Bach and Beethoven, knowing full well that eventually I would use what I learned to play Rodgers, Porter, Berlin, and even Hamlisch. My teacher made it possible for me to have the career I have had. For that, Mr. Roberts, I am very grateful.

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