Tag Archives: female pianist

Meet the Artist…… Natalie Bleicher, pianist and composer

Who or what inspired you to take up the piano and composing, and pursue a career in music?

I grew up in a musical household as my mother was a piano teacher. She taught me piano and I also played viola and violin, and for as long as I can remember I knew wanted a career in music. I think I first started composing because improvising new melodies and harmonies made practising my scales more interesting!

Who or what were the most important influences on your musical life and career?

Many and varied. I was fortunate enough to have an excellent musical education with many good teachers, starting with my mother. My secondary school, Dame Alice Owen’s, had a very strong music department and I attended Trinity College of Music, Junior Department on Saturdays. I also played the viola in Hertfordshire County Youth Orchestra. I then went on to study music at Oxford and composition at King’s College, London.

More recently, I joined CoMA (Contemporary Music for All) in 2005, playing the piano in CoMA London Ensemble which is a contemporary music group open to all instruments and all abilities. Initially I thought that CoMA would be a good way to provide composing opportunities, but I enjoyed playing the piano in the ensemble so much that I started to realise that I had more of a passion for playing than composing, particularly the excitement of playing contemporary music. CoMA has taught me more about contemporary music than my master’s degree in composition and I have discovered many wonderful composers and explored their solo piano music, including Paul Burnell, Joanna Lee and Dave Smith whose works appear on my latest CD.

What have been the greatest challenges of your career so far?

The greatest challenge for me has been working out how to find my niche as a musician in the first place. I always knew I wanted a career in music and after graduating I worked for several years in music organisations alongside some composing and teaching. However I always felt that I wanted to spend more time making music myself. When I had the opportunity to switch to part time hours in my administrative work I was able to think seriously about what career I really wanted and how to get there, and that’s when I realised that I wanted to focus on piano.

While I had always taken piano seriously I knew that converting this into a full-time career would require a concentrated period of study and that’s when I got in touch with my teacher Thalia Myers. Under her guidance I threw myself into getting my playing up to a standard where I could forge a career as a pianist.

Embarking on a career as a professional pianist in ones thirties rather than twenties has its challenges, but I believe that a richness of musical and life experiences informs my playing, providing me with something a little different to offer audiences.

Which performance/recordings are you most proud of? 

My first CD, Dream Rotation, which I recorded in November 2013 and which has recently come out. Dream Rotation is a collection of six contemporary works by composers I know. Four of the works were in fact written for me to play, two of which are dedicated to me. Five are premiere recordings.

I had at the back of my mind that I would like to record some of the repertoire I had been working on. I decided to go for it in 2013 when I discovered I was expecting a baby in early 2014 and I knew that my practising time would be reduced afterwards. I recorded the six works in one day in November 2013 at the Jacqueline du Pré music building in Oxford with the excellent recording engineer Adaq Khan. In the run-up to the day I had to put a lot of work into learning the works to a standard I was happy with and I had three other concerts during that two-week period. All while being seven months pregnant! The recording day itself was enormous fun and went more smoothly than I could have hoped for, then all the editing and admin that goes into bringing a CD out was done during 2014 in bits of time snatched in between looking after my little boy.

Which particular works do you think you play best?

As I am always learning new things and developing as a player it tends to be whatever I’ve performed most recently. I love playing contemporary music and I actually find standard repertoire quite daunting because there are so many interpretations already out there. I also love playing in ensembles and orchestras and regard this aspect of my playing as just as important as my solo playing.

How do you make your repertoire choices from season to season?

In a variety of ways. Depending on what concerts are coming up I may look for a piece for a particular occasion or others might make a specific request. In addition, composers often send me their works, which I welcome although I also warn them that their pieces will go on to a large pile on my piano and there’s no guarantee of a performance! I have discovered that male composers are much less shy about sending pieces to performers than female composers. Women take note!

As a composer, who are the major influences on your work?

A tough question! Every piece is different and I have sometimes noticed that each piece has something of whatever I’ve been listening to and playing at the time. In recent years this means CoMA repertoire, particularly the use of aleotoric notation such as indefinite pitches and rhythms and generally thinking outside the box. Composers such as Howard Cheesman, Joanna Lee, Stephen Montague and Dave Smith all think creatively about what the performers are required to do and how to express that in a notation which will be understood.

Do you find your composing informs your performing and vice versa?

Absolutely! In terms of playing it is useful to think about what kind of sound the composer was aiming for in any particular texture and to imagine each passage as if it were written for voice, and as if it were written for orchestra, as well as how it is actually written for piano. Understanding the structure of a piece and how the material develops is essential in planning a performance.

It is imperative for composers to understand their music from the point of view of a performer because it is only the performer who can actually bring the music to life. Since I have been playing contemporary music I have thought much more carefully about writing music for the instruments playing it and notating from the performer’s point of view. I think the music I have written as a result of this has greater clarity and I have been much more careful about how things are notated.

You have a special interest in contemporary repertoire and new music. What are the special pleasures and challenges of working with this repertoire?

Bringing a piece to life for the very first time is a wonderful experience. I love the feeling of discovering a piece I didn’t know before and with a brand new piece there is the added feeling of being the first to discover it. Think of your favourite piece of music and imagine being the first person to hear it!

Performers who concentrate on mainstream repertoire rely on a filtering process by which the best works survived and the less successful ones didn’t, whereas performing contemporary music involves being part of this filtering process. I find this exciting and rewarding but it does require patience because one has to engage with the less successful pieces as well as the gems. Patience is also required when working on a piece for the first time because there are invariably teething problems requiring a dialogue with the composer. Again, I enjoy this but it does require patience.

Do you have a favourite concert venue to perform in and why?

I have given several recitals at the Schott recital room in central London. I like the intimacy of this venue which enables the performer to engage with the audience. So many concerts are in churches and other large venues where the audience can hide at the back. Having said that, I am very much looking forward to performing at St. Cuthbert’s Church NW6 on 27 September. It is a modern building with a wooden interior and is beautifully proportioned inside. The concert is to celebrate the arrival of a new piano and launch of their concert series and I think it is going to turn out to be a popular chamber music venue.

Favourite pieces to perform? Listen to?

I have a few pieces which I come back to regularly because they work so well in performance. Gabriel Jackson Angelorum is one I have performed many times as it is so satisfying to communicate to the audience, whether they are regular listeners of contemporary music or completely new to it. The pieces on my CD, particularly Joanna Lee Atta and Hopper and Paul Burnell 3 Plain Pieces fall in to the same category. Another piece I loved performing and hope to perform again is Patrick Nunn Music of the Spheres which includes electronic sounds taken from data from Voyager spacecraft as it flew past the planets. Great fun!

To listen to, I have several favourite composers including Bartok, Messiaen, Ravel and Schumann but really I love all classical music from Bach to Birtwistle.

Who are your favourite musicians?

Goodness, how long have we got? I think I’m just going to pick out a few musicians who have inspired me somehow for various reasons.

The pianist Mary Dullea is quite special. I have heard her and taken masterclasses with her at CoMA summer schools and her playing displays a really sensitive and intelligent musicianship as well as formidable technique. I am also a fan of the pianist Nicholas Hodges whose mastery of counterpoint makes sense of the most complex of Birtwistle’s piano works.

There are a number of living composers who I count amongst my favourites. Aside from the composers I have previously mentioned, I love the music of Phil Cashian. He has written a number of pieces for CoMA which work really well and he always uses fresh textures and has a wonderful ear for harmony. Julian Anderson and George Benjamin are also favourite composers of mine.

What is your most memorable concert experience?

My first recital at the Schott recital room in September 2011 was very special as it was my first recital after I started studying piano seriously again. I played a set of twelve waltzes by Schubert, a short piece by Phil Cashian called Slow Air, Gabriel Jackson’s Angelorum and Schumann Kinderszenen. Unfortunately the event was tinged with sadness because, having taught me to play the piano in the first place and provided so much support over the years, my mother was not there to hear it as she had died earlier that year.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

General musicianship is so important. Develop a good sense of rhythm, pitch and harmony and everything else will be much easier. Taking part in a variety of musical activities, particular singing in a choir but also playing in an orchestra, accompanying, composing, arranging and improvising all helps to build a rounded musician.

Where would you like to be in 10 years’ time?

I would like to be able to play a scale in thirds with one hand and for it to sound beautifully smooth.

What is your idea of perfect happiness?

The things around me here at home: my lovely piano, wonderful husband, brilliant son and Maestro the cat. Not necessarily in that order!

What is your most treasured possession?

It would have to be the piano. What else? It is my first real piano. Until five years ago I only had a digital piano which is no replacement for the real thing. When I got married my in-laws gave us a proper piano as a wedding present. It was the best possible thing anyone could have given me. We chose a Boston upright UP132. When it arrived I realised that all I wanted to do was play the piano and I followed the course which has led me to where I am today.

What do you enjoy doing most?

Playing the piano, spending time with the people I love, eating and sleeping. Not necessarily in that order!

What is your present state of mind?

My mind is in many places at once nowadays as I try to get so much done in so little free time.

 

Launch of ‘Between Heaven & the Clouds: Messiaen 2015′

This week I was delighted to attend the launch of an exciting new project celebrating the piano music of Olivier Messiaen, in particular his monumental and extraordinary Vingt Regards sur l’enfant Jesus (Twenty Contemplations of the Infant Jesus). The event was held at the beautiful Knightsbridge home of Lord and Lady Vernon Ellis, committed and active patrons of music and the arts. I was there as a guest of the pianist and director of the project, Cordelia Williams.

Olivier Messiaen

Messiaen’s music has a special appeal and fascination for many musicians, musicologists, scholars and listeners. He composed the Vingt Regards in 1944 when Paris was still under Nazi occupation, yet his music is suffused with love, wonder, awe, joy, colour, quiet contemplation, passion and, above all, faith.  Messiaen drew inspiration from many sources (including many non-musical sources): colour, paintings by Durer, Michelangelo and the Surrealist artist de Chirico, birdsong, religious tracts, Buddhist philosophy, physics and the ancient rhythms of Hindu and Greek music and poetry. Yet, despite these complex and often profound inspirations, his music is accessible, full of variety and often incredibly beautiful and sensitive.

Between Heaven and the Clouds is a special collaboration between pianist Cordelia Williams, artist Sophie Hacker and poet Michael Symmons Roberts. Three of Sophie’s paintings made in response to the three movements of the Vingt Regards which Cordelia performed, were on display on the stage around the piano, and the artist introduced the paintings, explaining her personal responses to the music. Michael Symmons Roberts introduced his poetry and talked about the extraordinary effect hearing Messiaen’s Quartet for the End of Time had had on him. His poems are a response to the music but also explore ideas of the birth of an exceptional infant in a city under occupation.

In the short concert, Cordelia performed three movements from the Vingt Regards – Première communion de la Vierge (“The Virgin’s first communion”), Noël (“Christmas”), and Regard de l’Esprit de joie (“Contemplation of the joyful Spirit”) – and Michael Symmons Roberts read his poems which related to these movements. Cordelia’s playing displayed a deep affinity for the music – at once vibrant and sensitive, subtly nuanced to highlight the rich harmonic palette which Messiaen uses to highlight particular colours and timbres in chords. The Regard de l’Esprit de joie was an energetic expression of joy, with distinct hints of Gershwin’s ‘I Got Rhythm’.

Cordelia Williams

‘Between Heaven & the Clouds: Messiaen 2015′ is not just a series of concerts. As Cordelia explained in her introduction, the music will be explored through performances, art and poetry, as well as through talks, a study day and other events “to encourage cross-discipline collaboration between artists and academics”. The project will explore Messiaen’s compositional style, his historical and musical contexts, and his rich variety of inspiration. For those who love Messiaen’s music, this will be a rare treat. And for those who have yet to discover his music, it will be a wonderful introduction.

More about the project here

Cordelia Williams will feature in a future ‘Meet the Artist’ interview

Making Sense of Messiaen – an earlier blog post on the Vingt Regards

Meet the Artist…… Jenna Sung, pianist

Who or what inspired you to take up piano and make it your career?

When I was 8 years old, I had a chance to play for a renowned pianist in Korea and I was very nervous for a whole week. One day before meeting her, I had a nightmare that she told me not to play piano and I cried a lot. That was the point when I realised that I want to play piano my whole life, no matter what. In fact, she was very lovely in person.

Who or what were the most important influences on your musical life and career?

My piano teacher for 5 years from age 10. She was a very active performer and I went to her every concert. From the moment when she would enter the stage with the conductor until the end of concert, the audience was enchanted by her. She was my absolute idol. She always told me that your music starts when you enter the stage and at her concerts she demonstrated to me what she meant. She was magnificent and it was my dream to be a pianist like her.

I am grateful that I have met so many wonderful musicians who are a big influence in my life and not just in music: especially Leon McCawley, Deniz Gelenbe, Gabriele Baldocci, Pascal Roge, Karl-Heinz Kämmerling, Ola Karlsson and Peter Grote.

What have been the greatest challenges of your career so far?

For a long time I played piano for someone else. One day I lost that person and I was really lost for a year. Slowly I learnt to love music again and play piano for myself. Now I will always have a reason to play my music because it is finally truly who I am.

Which performance are you most proud of?

I am fortunate to have played at prestigious concert venues all around the world. I enjoy playing at big halls, and was surprised when I had a life-changing experience at a lower standard hall. After the recital an elderly lady came to me crying. She was speaking Spanish, which I could not understand, but I could feel how happy she was. I was really touched and proud that I could make people happy, or happier, with my music. After that point I was reminded of the origin of music and my purpose in being musician.

Which particular works do you think you play best?

The music that means something to me.

How do you make your repertoire choices from season to season?

I aim to have a mixed repertoire so that there is something for me and for the audience.

Do you have a favourite concert venue to perform in and why?

Wigmore Hall in London, Palau de la Musica in Valencia and the Berlin Philharmonic are amazing and at the top of my favourites list.

On one occasion I played a solo recital on a big stage (the stage itself has a capacity of 500 people) in Korea. It was interesting for me as it was hard to control the acoustic. It was very challenging but gave me joy.

Favourite pieces to listen to?

I love listening to Chopin piano concerto recordings. Every pianists has a different interpretation.

Who are your favourite musicians?

Alfred Cortot and Jacqueline du Pre

What is your most memorable concert experience?

Performing the Prokofiev Piano Concerto no.3 for Alzheimer’s patients and a solo recital at an army base. I never had such a concentrated and enthusiastic audience.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Know yourself. Physically and psychologically.

What are you working on at the moment?

I am preparing two world premieres for a Wigmore Hall recital this month, by Stephen Montague and Gwyn Pritchard. These works were commissioned as part of my project to commemorate lives lost at sea – an idea that came to be after the tragic disaster of the Korean ferry MV Sewol on the 16 April 2014. I sometimes forget the many different sides of nature and tend to label it based on what is visible on the surface. For the second part of my recital I have selected pieces related to this idea, including the two premiered pieces.

What is your most treasured possession?

My Spotify subscription and Edwin Fischer’s recording of Bach’s Well-Tempered Clavier.

Identified by Gramophone as the ‘talent of tomorrow – today’, Jenna Sung gives her debut Wigmore Hall recital on 16th November 2014 as a prize for the 2013 Jaques Samuel Pianos Competition. The programme includes works by Haydn, Skryabin, Chopin and Ravel, together with the premiere of new works by Stephen Montague and Gwyn Pritchard. Further information and tickets here

Jenna Sung’s biography

Meet the Artist…… Vanessa Benelli Mosell, pianist

(photo: Roberto Masotti)

Who or what inspired you to take up the piano and pursue a career in music? 

I was inspired by the music and my never-ending desire to be part of such a unique art form, be absorbed by it, forgetting everything around me and becoming the music itself by bringing it to life under my fingers. Only then, being able to communicate it to others.

Who or what were the most important influences on your musical life and career? 

Musicians and artists around me, such as the countless performances, concerts, operas, ballets, expositions I was enriched with since I was a child and now. Also, my teachers, contemporary music and the art and the beauty I was surrounded by in my native Tuscany.

What have been the greatest challenges of your career so far? 

Playing Stockhausen for Stockhausen. I was really nervous, and being very young I wasn’t sure at all if what I had carefully prepared by myself was simply “right”.

Which performance/recordings are you most proud of?  

My next recording, which will be out soon.  It focuses on the evolution of Stravinsky’s music, starting from his folk roots, his native Russia and traditional folk tunes and themes featured in Petrushka. Stravinsky is then inspired by returning to music of ancient Classicism also following his refusal of the new revolutionary Russian ideals, and it is what we call now his “neoclassicist” period. Here I linked it with the Suite for piano or harpsichord by living French composer Karol Beffa. It features at the same time Stravinsky’s concept of “non descriptive” music as “the music expresses it-self”. It is followed by his serial period: Stockhausen and Stravinsky influencing each other. Stockhausen was influenced in his youth by listening to the Rite of Spring. Less obvious is the influence of Stockhausen’s serial groups music on Stravinsky’s later production.

Which particular works do you think you play best? 

Everything I love.

How do you make your repertoire choices from season to season?

Ideally every recital I play would feature one new piece and a juxtaposition of music picked from my repertoire. I always follow my wishes when choosing new repertoire.

Do you have a favourite concert venue to perform in and why? 

I love to perform at the Wigmore Hall: the projection of sound is very clear and transparent yet rich and warm.

Favourite pieces to perform? 

I have many, and these have been changing over years. At this particular moment I would say Chopin Piano Concerto n. 1, the 4 Chopin Ballades, Petruska by Stravinsky, and Brahms Paganini Variations among others.

Listen to? 

The Rite of Spring

Who are your favourite musicians?

Igor Stravinsky, Sviatoslav Richter, Natalia Gutman.

What is your most memorable concert experience? 

One of them was performing Liszt Piano Concerto n.1 at the Berliner Philharmonie: just before walking on stage the conductor I was playing with said to me the following words: “just think about music”. I will remember that forever, and it gave me huge confidence. Only after the closing chord of the Concerto performance I realized I was surrounded by thousands of people in this amazing artistic architecture.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

We do it to make people’s lives better.

What are you working on at the moment? 

On my next recitals: chamber music programmes, concertos and recitals including Schumann’s Adagio and Allegro, 5 Pieces in Folktunes, Janacek Pohadka, Tsintsadze 5 Pieces, Rachmaninov cello and piano Sonata, Chopin Polonaise Brillante for cello and piano, Bartok Romanian Dances, Beethoven Spring Sonata, Franck Sonata, Chopin Ballades, Rachmaninov 2nd Concerto, Arensky and Shostakovich 1st Trios, C.M. Weber and Nino Rota and Tchaikovsky Trios and a solo recital programme featuring Mozart and Liszt, up to December 2014.

Where would you like to be in 10 years’ time?

Around the world performing every day.

What is your idea of perfect happiness?

See above plus my and my dears’ health.

What is your most treasured possession?

Hand written notes.

What do you enjoy doing most?

Being surrounded by friends, reading, travelling.

What is your present state of mind?

In constant pursuit of perfection.

 

Vanessa Benelli Mosell is a rising star on the international music scene. She is continuously praised for her virtuosity, her technical brilliance and the sensitivity of her musical insight, which have been shaped significantly in mentorships with Karlheinz Stockhausen and Yuri Bashmet.

Benelli Mosell gave her debut appearance at eleven years old with pianist Pascal Rogé, who described her as “the most natural musical talent I have encountered in my entire life”. She has since performed with orchestras such as the Münchner Symphoniker, Berliner Symphoniker, the Zurich Chamber Orchestra and Orchestra del Teatro Comunale di Bologna.She also performed with the Moscow Soloists, replacing Martha Argerich in 2012. In the same year, Vanessa gave her celebrated debut at Londonʼs Wigmore Hall. Last year was one of new encounters including a tour to South America, concerts with the Jerusalem Symphony Orchestra and the Orchestre Philharmonique de Strasbourg, as well as a sell-­out solo recital at Hamburgʼs Laeiszhalle.

Vanessa Benelli Mosell began her comprehensive musical studies when she was exceptionally admitted at the International Piano Academy in Imola at seven years old, where she studied with Franco Scala. In 2007 she was invited to the Moscow Tchaikovsky Conservatory to study with Mikhail Voskresensky. Vanessa entered the Royal College of Music in London in 2007, where she graduated in 2012 studying with Dmitri Alexeev, generously supported by the Russell Gander Award.

Full biography

www.vanessabenellimosell.com

Meet the Artist……Inesa Sinkevych, pianist

Who or what inspired you to take up the piano, and make it your career? 

When I was 4, my parents bought a piano from a friend.  No one in my family plays an instrument, so it happened by chance.  Soon after, my musical abilities were discovered – I had perfect pitch and good musical memory, and I started taking piano lessons and other musical classes at the music school in my hometown, Dnepropetrovsk, Ukraine.  Another turning point was when I was accepted at the age of 13 to study at the Special Music School for gifted students in Kharkov, Ukraine.  Somehow, I never questioned my desire and intended to become a musician after that.

Who or what were the most important influences on your playing? 

My piano teachers – Victor Makarov in Ukraine, probably one of “the most wanted” teachers in the country at that time, whose knowledge, musicianship and energy still inspires me; Alexander Volkov in Israel, who taught me to better hear and convey beauty of music; and Solomon Mikowsky, who helped me to refind my musicianship and find my own voice.

What have been the greatest challenges of your career so far? 

To find the true meaning of every piece I work on, and to match my inner image to what comes out my fingers.  Also, to find fresh view on the pieces I’ve performed many times.

Which recordings are you most proud of? 

My all-Schubert CD

Do you have a favourite concert venue to perform in? 

Palau de la Musica Catalana in Barcelona; Preston Bradley Hall at the Chicago Cultural Center, Tel Aviv Museum of Art

Favourite pieces to perform? Anything by Schubert; Schumann Humoreske

Listen to?  Mozart Symphonies, anything by Bach.  Also, recently – music for Soviet cartoons (I discovered that those are masterpieces! Listening together with my now 11 month old daughter)

Who are your favourite pianists? 

Sviatoslav Richter, Emile Gilels, Vladimir Horovitz, Arthur Rubinstein

What is your most memorable concert experience? 

Performing in a two-piano encemble with a blind pianist, Carlos Ibay in a concert dedicated to 60th birthday of Israel in Jerusalem in 2008.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

Stay true to yourself.  Do not try to copy anyone, or “please” anybody.  Try to find your own, unique calling in music.

What is your idea of perfect happiness? 

To be busy working on many interesting projects alone or with inspiring musicians (this may happen!), and to have an adequate time to spend on those projects, family, and rest (this may never happen!)

Inesa Sinkevych is a Ukrainian born Israeli concert pianist, currently living in New York. Her recent CD, ‘Schubert Piano Works’ was released in 2012. She has performed as a soloist with the Israeli Philharmonic, Minnesota Symphony, Gulbenkian Symphony, Gran Canaria Philharmonic Orchestras, as well as solo recitals in such venues as the Purcell Room at the Queen Elizabeth Hall in London, Palau de la Musica Catalana in Barcelona, and Merkin Hall in New York. She was awarded top and special prizes at the Arthur Rubinstein International Master Piano Competition in Tel Aviv, Piano-e-Competition in Minneapolis, Vianna da Motta International Piano Competition in Portugal, among others. She received her DMA from the Manhattan School of Music.

inesasinkevych.wordpress.com

Meet the Artist……Penelope Thwaites

 

(photo credit: Rory Isserow)
(photo credit: Rory Isserow)

Who or what inspired you to take up the piano, and make it your career? 

I don’t remember not playing the piano! But as a career – the London-based Swiss pianist, Albert Ferber, with whom I was studying, encouraged me to make my debut at Wigmore Hall in 1974.

Who or what were the most important influences on your musical life and career? 

All my teachers in different ways; musical members of the family; friends and colleagues who believed in me. The composer William L Reed was a marvellous mentor and facilitator. Perhaps most important of all, a passion for the music I had found and a powerful desire to communicate it.

What have been the greatest challenges of your career so far? 

To focus on priorities.

Which performance/recordings are you most proud of?  

The ones where there has been that special communication with listeners – whether in the concert hall or in feed-back from far-flung corners of the world. I do not wish to be solely defined by the many Grainger ones, but they have presented much repertoire that is new, fresh, entrancing, life-enhancing – hard work, but what a joy!

Which particular works do you think you play best? 

The particular ones for which I feel a gut instinct, whether by Bach, Beethoven, Schumann, Brahms, Chopin, Ravel, Debussy, Rachmaninov …. the list goes on.

How do you make your repertoire choices from season to season?

That is dictated by the projects I am undertaking.

Do you have a favourite concert venue to perform in and why? 

I have enjoyed different venues for different reasons – the Melbourne Recital Centre is lovely, but so too is London’s Kings Place for its vibrant sense of enterprise (and very fine hall), and St John’s, Smith Square for its beauty. I have often relished the pin-point acoustics of Wigmore Hall, and the warm atmosphere of the Purcell Room. It was a thrill to play on the stage at Covent Garden for a gala Australia Day concert and at the Royal Festival Hall in Grainger’s ‘The Warriors’. By contrast, a good piano in a large music room can be perfect for a recital where one introduces the music.

Favourite pieces to perform? Listen to? 

Most recently Bach transcriptions and originals for a Bach CD on LIR Classics. And see above……

Who are your favourite musicians? 

To hear: I so loved the Pollini Beethoven cycle, and in different sonatas, Brendel (the last three) and, unexpectedly, Barenboim in some of the early ones. Of course, that force of nature, Argerich!  On disc – Dinu Lipatti, Solomon and Richter.

For many years I played two piano programmes with my friend and colleague, John Lavender. We gradually developed a way of creating one texture from two pianos. We recorded much new Grainger repertoire on three discs and John also made some splendid two piano versions of such works as Tchaikovsky’s ‘Romeo and Juliet’ overture as part of an all-Russian programme.

I have been lucky to work with so many fine artists – in earlier days, the mezzo Muriel Smith, more recently, certain outstanding singers – Stephen Varcoe, Martyn Hill, James Gilchrist and Della Jones, in the Chandos Grainger recordings and in concert. Wayne Marshall was a memorable colleague both as pianist and conductor. It has been a great pleasure to work with the cellist, Rohan de Saram, who has recently returned to the standard repertoire along with his extraordinary abilities and achievements in the field of contemporary music. Earlier women pianists who inspired me in concert included

Lili Kraus, Alicia de Larrocha and Rosalind Tureck. Also Hephizibah Menuhin, whom I knew and admired as a friend.

These are but a few names amongst many others…

What is your most memorable concert experience? 

Too many memorable experiences to choose one – but playing in 1980 in the Beijing Conservatoire and to a radio audience they told me averaged 50 million – was certainly the largest audience ever!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Be yourself. Find your unique path. Work hard. Know that beyond failure there is always the next step. Cherish your friends and the wonderful opportunities we have to share our music.

What are you working on at the moment? 

A concert at King’s Place, London, to mark 40 years since my London debut.

It will be a programme filled with melody and shared with some good friends, the Fitzwilliam String Quartet and a group of gifted young professionals, as we shall be premiering a piano concerto movement written by Grainger when he was just 13 years old.

I’ll start with mighty Bach arr. Liszt and progress through Grieg (lovely Grieg) by way of Grainger to the Dvorak Piano Quintet Op 81 – what an utterly gorgeous work.  

What is your present state of mind? 

Expectant.

 

Penelope Thwaites’ 40th Anniversary Concert takes place at London’s King’s Place Hall One on Wednesday 8th October. She is joined by the Fitzwilliam Quartet and outstanding young professional artists in a programme of music by Bach arr. Liszt, Grieg, Grainger and Dvorak. Further details here

 

London-based pianist and composer Penelope Thwaites has performed and broadcast in over thirty countries on five continents. Since her Wigmore Hall debut in 1974, she has appeared regularly as recitalist in major concert halls, and in a wide repertoire she has built a reputation as an intensely communicative artist. As concerto soloist she has appeared with the Philharmonia, the London Philharmonic Orchestra, City of London Sinfonia and the BBC Concert Orchestra, and with leading orchestras in Australia, Europe and America.

Meet the Artist……Beth Levin, pianist

Who or what inspired you to take up the piano, and make it your career? 

We owned an old Lester upright in the basement and I went to it very early on – played the music in the piano bench, composed a bit – it was a magical spot. My first teacher had come over from Europe to study at Curtis Institute and she gave me wise first steps at the piano. I didn’t think of it as a career then, but it was already at the center of my life.

Who or what were the most important influences on your musical life and career? 

My father always played the recordings of Richter and even in car rides would test me on the music and the artists emanating from the radio. He had a great ear and such a warm spirit.

My teachers – Maryan Filar, Rudolf Serkin, Leonard Shure and Dorothy Taubman – were perhaps the most important influences on me as a musician and also as a human being.

What have been the greatest challenges of your career so far?

Some of the greatest challenges have been learning and performing the Goldberg Variations, the final three Beethoven Piano Sonatas and the Brahms D minor and Chopin E minor Concerti to name a few. This repertoire demands and allows the performer to go deep, to grow and be changed forever.

Which performance/recordings are you most proud of?  

I like the most recent –  Beethoven Op. 109-111 Sonatas on Parma Recordings.

And I’m also proud of the Bach Goldberg Variations on Centaur Recordings.

Which particular works do you think you play best? 

I probably play the Romantic repertoire the best. But I like to think I can handle music of any time.

How do you make your repertoire choices from season to season? 

I’m very influenced by friends – one recently suggested I learn Kreisleriana of Schumann and the big Schubert C minor Sonata. Having just played the late Beethoven program, this sits well with me. And I adore Schumann and Schubert.

Do you have a favourite concert venue to perform in and why? 

I may be happiest in intimate spaces such as Bargemusic in New York – but  any stage is a happy challenge if one feels at home.

Favourite pieces to perform? Listen to? 

I love playing chamber music-(I’ll perform a cello/piano program tomorrow). A Brahms trio is heaven for me, or any of the great piano quintets…..
I adore and appreciate listening to singers – often from the past – and to strings.  One phrase of Casals’ Bach can be life-changing.

What is your most memorable concert experience? 

Hearing Stokowski live in Philadelphia and hearing Leonard Shure play a recital in Boston come to mind as outstanding memories.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

Love for the music…….and of course titanic rhythm, deep phrasing and respect for the score.

What are you working on at the moment? 

I’m working on a modern work of Andrew Rudin – his Piano Sonata. And Schumann’s Kreisleriana. Also the Barber cello Sonata, Beethoven’s ‘Kreutzer’ Sonata and the Brahms G minor Piano Quartet. I played the ‘Emperor Concerto’ recently and that is still with me.

What is your present state of mind? 

Because I play tomorrow I’m in a calm state of mind but ready to boil over at the right time.

Interview date: 8th March 2014

Beth Levin’s artistry invokes an uncanny sense of hearing for the first time
works long thought familiar, as though the pianist herself were discovering a piece in the playing of it. Such a style of refreshment and renewal can be traced back to Levin’s unique artistic lineage. As a child prodigy, she made her debut with the Philadelphia Orchestra at age 12.

She was subsequently taught and guided by legendary pianists such as Rudolf Serkin, Leonard Shure, Dorothy Taubman and Paul Badura-Skoda (who praised her as “a pianist of rare qualities and the highest professional caliber”). Her deep well of experience allows Levin to reach back through the golden age of the Romantic composers and connect to the sources of the great pianistic traditions, to Bach, to Mozart, to Beethoven.

Levin has appeared as a concerto soloist with numerous symphony orchestras, including the Philadelphia Orchestra, the Boston Pops Orchestra, the Boston Civic Symphony and the Seattle Symphony Orchestra. She has worked with noted conductors such as Arthur Fiedler, Tonu Kalam, Milton Katims, Joseph Silverstein and Benjamin Zander. Chamber music festival collaborations have brought her to the Marlboro Festival, Casals Festival, Harvard, the Edinburgh Fringe Festival, the Ankara Music Festival and the Blue Hill Festival, collaborating with such groups such as the Gramercy Trio (founding member), the Audubon Quartet, the Vermeer Quartet and the Trio Borealis, with which she has toured extensively.

Beth’s full biography can be found on her website

www.bethlevinpiano.com

Meet the Artist……Alicja Fiderkiewicz, pianist

Who or what inspired you to take up the piano, and make it your career?

I really do not know, perhaps my older sister’s lessons which I liked to listen to from the age of 3. She was not doing very well, in fact she hated practising the piano ( although she always loved the music but not the work involved) ,but I was learning a lot behind closed doors. We had a lovely grand piano and the piano & me were inseparable, very strange for a child of that age. I was also constantly glued to the radio, in those days in Poland, all you heard was either classical music or propaganda programmes. I chose music!!

Who or what were the most important influences on your musical life and career?

My Russian teacher Professor Tatjana Kestner in Moscow, Professor Wanda Losakiewicz, Professor Zbigniew Drzewiecki in Poland and my last teacher, Professor Ryszard Bakst at The RNCM in the UK.

What have been the greatest challenges of your career so far?

Challanges? In a musician’s life there are always plenty of challenges. You have to challenge yourself all the time otherwise your standards will drop. As I have had a long break from the piano for various reasons, my biggest challenge is to re-establish myself again on the concert platform.

Which performance/recordings are you most proud of?

I am very proud of my recital performance I gave few years ago at Chethams School of Music during their annual International Summer School Festival for Pianists in Manchester (where I am a frequent member of the Piano faculty) just few weeks after my beloved sister Eliżbieta lost her long battle with cancer. It was a very difficult recital for me to play, in fact I was not sure if I could get through it. I have dedicated that performance and a CD which was recorded live during that recital to her memory. It was a very memorable and moving experience, and I received a standing ovation…

Which particular works do you think you play best?

I love playing Bach, Brahms, Beethoven, most romantic composers – and Chopin of course.

How do you make your repertoire choices from season to season?

It depends what I am asked for. I find that very often I will be asked to give all-Chopin recital. But I like to mix my programmes and deliver a variety of styles: it makes it so much more interesting and demanding, as you can show the different sounds and colours of the piano, especially when playing Debussy and  Ravel.

I still like to add new works to my repertoire, and I enjoy learning new pieces although it is not quite as straightforward as it used to be!!

Do you have a favourite concert venue to perform in and why?

I think the most fantastic venue I ever performed in was La Scala Theatre in Milan. The atmosphere on the stage and backstage was incredible. To think of all those wonderful singers like Caruso, Pavarotti, Callas, Frenni and so many others using the same dressing rooms: unbelievable!! (By the way, dressing rooms were not all that grand!!) Sheer beauty of both, recital room and the main hall, is something I will never forget and will treasure for ever. Wigmore Hall is another wonderful place. And of course very close to my heart is Chopin’s birth place, Żelazowa Wola, and Lazienki Park in Warsaw where you perform in the open air underneath Chopin’s monument. Sometimes you think he is going to say something to you – a bit scary!!

Favourite pieces to perform? Listen to?

Chopin’s 4th Ballade and 1st Piano concerto, Schubert’s B-flat major Sonata D960 and Franck’s Prelude, Chorale & Fugue all feature very highly as my favourites but….. There are just so many pieces I love playing and fugues are amongst my favourites, in any style. Give me a fugue and I can spend hours poring over it!

Who are your favourite musicians?

Rubinstein, Richte, Gilels, Argerich to name just a few….

What is your most memorable concert experience?

There are a few, but most probably the most intense and memorable because of where it was – Mozart’s Piano Concerto KV 466 in La Scala ,Milan.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

It is very important to play to others, especially if it involves a new piece never performed before. Play with a second piano if performing a concerto, and make sure that you study the orchestral score well so when it comes to first rehearsal you are not put off by some new tune you have not heard when playing with second piano! Also learn to take criticism and benefit from it. It is not always right, but there is always some truth in it, so do not be put off, and persevere .

What are you working on at the moment?

Works by Chopin including the Polonaise-Fantasie, Szymanowski Masques and Bacewicz Sonata no. 2. I am also learning a new work recently written for piano and orchestra but cannot disclose any details yet!!

What is your idea of perfect happiness?

Very happy to be on the beach in Villajoyosa in Spain or walking around Old Town in Warsaw.

What is your most treasured possession?
My piano and my cat Pudding.

What is your present state of mind?

Feeling hopeful that some of my wishes connected with stage comeback will come true.

Alicja Fiderkiewicz’s discs of music by Chopin, Schumann, Franck and Hindemith have been re-released. Further information and purchase CDs here

Details of Alicja’s forthcoming concerts

Alicja Fiderkiewicz was born in Warsaw, Poland and began to learn the piano at the age of seven. Her studies continued at the Central School of Music in the Moscow Conservatoire, Warsaw School of Music and finally at The Royal Northern College of Music in Manchester where she was a student of Professor Ryszard Bakst.

Alicja Fiderkiewicz began to fulfill regular professional engagements when she was 15 years old.

She has been awarded a Chopin Scholarship in Poland for 4 consecutive years. She is a winner and prize winner of several national and international piano competitions including Dudley International Piano Competition and Premio Dino Ciani International Piano Competition in La Scala,Milan, and she is also a recipient of Calouste Gulbenkian Music Fellowship.

Alicja has performed extensively in Poland, Russia, Italy, Switzerland, Israel, Spain, Japan, Cyprus and the UK at prestigious venues such as Wigmore Hall and St. John’s Smith’s Square, and in many other venues in the UK. She has performed as a soloist with Manchester Camerata, Da Camera, Polish Radio and TV Symphony Orchestra, Warsaw Philharmonic, La Scala Theatre Orchestra, Halle Orchestra and many others.

Alicja has released 4 CD’s under Dunelm and Divine Art labels. She has appeared on BBC Radio 3 and BBC TV.

Alicja also has quite a busy teaching career. She has given masterclasses in the UK, Japan, Spain, Cyprus and was for many years a member of teaching faculty at Chethams School of Music in Manchester. She is also a frequent performer and tutor at the International Piano Summer School at Chethams-Manchester.

Her repertoire ranges from early baroque up to late 20th century works. 

Meet the Artist…….Siwan Rhys, pianist

Who or what inspired you to take up the piano, and make it your career?

One of my early piano teachers, Christopher Vale. He is one of those amazingly enthusiastic musicians and teachers who couldn’t fail to inspire anyone. His passion for music was contagious at a very crucial time in my life.

Who or what were the most important influences on your musical life and career?

My conservatoire teachers: Richard Ormrod, Alexandre Léger, and Rolf Hind. And Nelly Ben-Or and Chris Cullen for an inspiring and timely introduction to both the Alexander Technique and to mindfulness. And I really appreciate the time I spent away studying in France.

What have been the greatest challenges of your career so far?

The realisation that what I’ve decided to do with my life will be hard and likely not bring much certainty or security, but that somehow I have to do it regardless.

Which particular works do you think you play best?

Messiaen Cantéyodjayâ, Bartók Out of Doors, Ives ‘Concord’ Sonata

How do you make your repertoire choices from season to season?

I pick things that I like – that excite me – and that I want people to hear. And I play new works, which is exciting in itself as I don’t always know what I’m going to get.

Favourite pieces to perform? Listen to?

Listen to: Bartók Piano Concerto no. 2. Watch: Globokar Corporel. Play: Reich Sextet.

Who are your favourite musicians?

Bartók, Ligeti, Kate Bush.

What is your most memorable concert experience?

Playing Feldman’s For Philip Guston (a four-and-a-half-hour-long trio) during which the venue’s heating stopped working (in February). Both musicians and (most) audience members powered through the cold to the end.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Keep at it – something is bound to happen.

What are you working on at the moment?

Ives ‘Concord’ Sonata and Stockhausen Kontakte.

What do you enjoy doing most?

Watching birds and doing a jigsaw.

 

Siwan Rhys is performing Charles Ives’ ‘Concord’ Sonata at Occupy the Pianos at St John’s Smith Square on 1st June – http://www.sjss.org.uk/filter-series/occupy-pianos and 4 world premieres in Sounds of the New on 10th June at The Forge, Camden – http://www.newdots.org.uk/events  

Siwan Rhys is a Welsh pianist based in London. She currently holds the position of Artist Fellow at the Guildhall School of Music and Drama, specialising in contemporary piano music, and also teaches piano at City University, London. Recent concert engagements include performances of Stockhausen’s Kontakte and of Feldman’s four-hour work For Philip Guston

Meet the Artist……Angela Brownridge, pianist

 

Who or what inspired you to take up the piano and make it your career?

I was inspired by my much older cousin Geoffrey who was at the Royal College of Music in London playing the piano when he and his parents came to us for Christmas. We had a good upright piano at home.

Who or what were the most important influences on your musical life and career?

Ruth Railton of the National Youth orchestra and teachers Dorothy Hesse and Maria Curcio.

What have been the greatest challenges of your career so far?

The greatest challenges have been getting to the top venues in the world.

Which performance/recordings are you most proud of?

A performance in Carnegie Hall New York, after which I was signed up by a big agent.

Which particular works do you think you play best?

Beethoven, most of the Romantic composers and Debussy.

How do you make your repertoire choices from season to season?

It depends whether I’m preparing for a recording and include that repertoire, and playing works which didn’t feature in the previous season. Also learning something new.

Do you have a favourite concert venue to perform in and why?

The Wigmore Hall since I played there when I was twelve and it was the most exciting place in the world to me then. I love the warm intimate atmosphere.

Favourite pieces to perform? Listen to?

Beethoven Op. 2 no. 3, the ‘Appassionata’, Debussy’s Estampes and the Chopin 4th. Ballade. I love listening to Martha Argerich playing Gaspard de la Nuit.

Who are your favourite musicians?

Schnabel, Lipatti, Julius Katchen, Vlado Perlemuter Rubenstein and Argerich.

What is your most memorable concert experience?

First time in the Royal festival Hall with Tchaikovsky 1 and the RPO.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

To play through repertoire to people prior to a performance, and a concerto with someone accompanying on another piano, and to feel absolutely prepared for a performance. Also to learn how to look good, to walk and bow, and not to be put off if things don’t go well. Go back to the drawing board and try your best to put things right.

What are you working on at the moment?

The Chopin B flat minor Sonata & the 4th Ballade and the Schumann and Gershwin concertos.

Where would you like to be in 10 years’ time?

In 10 years’ time I would like to have gained greater recognition and have become a name synonymous with the top pianists in the world.

What is your idea of perfect happiness?

Either being on a horse or on a beach in the Bahamas.

What is your most treasured possession?

My cats and my grand piano.

What do you enjoy doing most?

Practising, and parties after concerts that have gone really well.

What is your present state of mind?

Optimistic.

Angela Brownridge performs Beethoven’s Piano Sonata in F minor, Op 57 as part of the third St Barnabas Beethoven Piano Sonatas Festival, 17-18 May 2014. Full details here

Angela’s playing restores spontaneity, character, and beauty of sound to the platform… Hailed as a major star in classical music Angela Brownridge has been compared with such pianists as the legendary Solomon, Rachmaninov, Cherkassy, and Bolet. She began her life in an atmosphere of freedom and individualism virtually impossible to find today. Under the guidance of Maria Curcio, who had been a pupil of Schnabel for many years, she absorbed the ability to produce every nuance of the piano, and to present music flexibly and persuasively instead of concentrating on a single method of technique or continual displays of brilliance, learning to deal with the differing requirements of a varied range of composers which recalls Cortot in his prime. Indeed, by realising that many pianists of a bygone age played with far more individuality, magic, and inspiration than has become the fashion, she was able to develop her own unique personality. In an age which has become over-fascinated with mere technique, and which seeks the degree of ‘perfection’ offered by over-edited CDs, Angela’s playing restores spontaneity, character, and beauty of sound to the platform.

A child prodigy, equally talented in composition, extemporisation, and technically brilliant, Angela first performed in public at the age of seven, and a year later had several pieces published. By the age of ten she had given her first concerto performance, and in her early teens was appearing regularly as a recitalist and concerto performer throughout Great Britain and abroad. She later won a piano scholarship to Edinburgh University, and after graduating B. Mus. was awarded a further scholarship for a two-year period of study in Rome with Guido Agosti. As the winner of several competitions she was able to continue her studies with Maria Curcio in London, where she now lives. Since then Angela has appeared in all the major London concert halls, and has visited Eastern and Western Europe, the USA, Canada, and the Far East, as well as performing extensively in the UK. She has been a soloist with many leading orchestras and conductors, and Festival engagements include Bath, Edinburgh, Warwick, Newport Rhode Island, Bratislava, Brno, Hong Kong, and Maastricht.

Her recorded repertoire is very varied, including some first ever collections of the complete piano music of Barber and Gershwin. Her recordings have received worldwide critical acclaim, several being voted “Critics’ Choice” by Hi-Fi News. She has also appeared on BBC TV in programmes which have involved her in discussion about the music she has performed. She often gives lecture recitals and master classes, and maintains her love of improvisation which has led her on occasions into the world of jazz. In 2004 Angela recorded the complete piano works of Kenneth Leighton who was her professor in harmony, counterpoint, and composition at Edinburgh University where she was on a piano scholarship. Leighton, who died in 1988 has been described as “the most important British composer of piano music of the twentieth century”. The three CD set is available on the Delphian label: DCD 34301. (Source: Mary Kaptein Management)