Tag Archives: female pianist

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. 

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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)

Meet the Artist……Samantha Ward, pianist

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

My mother was the first major influence in my pianistic life as she saw me fiddling away on our terrible upright piano at home (which had actually been sitting in flood water in a freezing cold garage!) and decided to take me to lessons.  Her idea of taking piano lessons for a term to see how I would take to it was something I wasn’t all that enthralled about and I was convinced I wanted to learn the ‘cello instead.  The rest is history!  Later on, I was inspired by such artists as Martha Argerich, Daniel Barenboim, Emil Gilels and many others.

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

I was lucky enough to have fantastic teachers throughout my early years in particular (Leslie Riskowitz who started me off on the piano and Polish pianist AlicjaFiderkiewicz at Chetham’s.  I then went onto study with Joan Havill at the Guildhall).  The people I work with are also wonderful influences, in both chamber music groups and those who I have met and played to in masterclasses.  Stephen Kovacevich and Boris Berman both inspired me immensely.

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

Balancing everything in life and finding enough time to be with the instrument as well as remaining resilient against the odds a lot of the time.  A pianist’s life is a tough but rewarding one and simply managing to find the necessary time to practise enough whilst financing life in London and building a career is a real challenge.

What are the particular challenges/excitements of working with an orchestra/ensemble? 

I find it extremely rewarding to work with orchestras and ensembles and as a pianist, there are so many wonderful concerti and chamber music works out there.  It is a truly great feeling to make music with someone else and to share the whole experience together on stage.  This is something which solo pianists can sometimes miss out on a little, generally needing to spend a lot of time alone in practice rooms to learn all those notes!

Which performances/recordings are you most proud of? 

I was lucky enough to give my solo debut recital at the Wigmore Hall in 2007 and this was a truly wonderful experience.  Last year, I performed Dora Bright’s piano concerto with Charles Peebles and the Morley Chamber Orchestra, which was the first performance since the nineteenth century as well as the first ever recording of the work.  The same will be true of the ‘Variations for Piano and Orchestra’ which we are going to be recording later this year.  I was also proud to be asked to record Rory Freckleton’s piano works recently and am looking forward to the CD being ready.

How do you make repertoire choices from season to season? 

Specific concerti are usually requested by orchestras but in terms of solo repertoire, I tend to play to my strengths as much as possible, whilst trying to create a balanced and varied programme.  At the current stage in my career, I am also trying to learn and perform as much new repertoire as possible, so that I come back to it having already learnt it rather than starting it afresh when I am older.

What repertoire do you think you play best? 

I feel most at home with the Germans!  I particularly enjoy playing Brahms and love the bigger works such as the F minor Sonata and the two concerti.  I also think Beethoven, Schumann, Schubert, Gershwin and Ireland suit me quite well.

Do you have a favourite concert venue? 

The Wigmore Hall would have to be my favourite!  I also very much enjoy performing at Edinburgh’s Reid Concert Hall, the De Montfort Hall in Leicester and at St John’s Smith Square in London.

Who are your favourite musicians? 

Well this is a very hard one to answer as there are so many!  To name but a few, I would have to say Mischa Maisky, Martha Argerich, David Oistrakh, Emil Gilels, Sviatoslav Richter, Vladimir Ashkenazy, Emma Kirkby and Daniel Barenboim.    On a more personal level, there are also many musicians with whom I have had the pleasure of working over the years.

What is your most memorable concert experience? 

It would have to be playing at the Wigmore Hall. I also loved playing on the Greek island of Paros.  I played the inaugural recital in the new piano festival which was launched there a few years ago.  It was amazing to perform in such an idyllic setting in the most beautiful surroundings to people who had rarely been exposed to live classical music concerts.

What is your favourite music to play? To listen to? 

I love playing Brahms and Beethoven in particular and also have fun playing Gershwin.  In terms of listening to music, unless I am going to a concert, I tend not to listen to all that much classical music.  I love jazz and could listen to Oscar Peterson all day.

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

Practise like mad when you are studying as there is never the time to do so later on.  I would also suggest learning all the major works of the repertoire and get first performances done as soon as possible, as this helps greatly when returning to them in the future.

What are you working on at the moment? 

Rachmaninoff’s 2nd and Mendelssohn’s 1st for forthcoming performances.  Then a solo recording in September.  Also, I am working at duo repertoire for a recital with the wonderful ‘cellist Brian O’Kane and at trio repertoire for a concert again with Brian and Fenella Humphreys with whom I love performing.

What is your idea of perfect happiness? 

Having good health, a busy life as a concert pianist and having a flat on the Greek island of Paros with my partner, Maciej.  The island, despite being small, has an airport so travelling to concerts wouldn’t be a problem and the food, weather and people are wonderful there!

You are artistic director of Piano Week, launched in 2013. Tell us more about Piano Week…. 

Piano Week is my new festival and summer school for pianists of all ages and abilities which takes place this year at Bangor University in North Wales from 10th-15th August 2014.  I wanted to create something new in the piano world and to build an international concert platform for pianists from around the world.  I decided to launch it in North Wales as I grew up there and hadn’t heard of a pianistic venture such as this in the area before, so I decided to make it happen!  We have an international faculty lined up to give recitals and master classes throughout the 2014 festival and we are lucky enough to be supported by Blüthner who are lending us a brand new concert grand for the duration of the festival this year.  Pianist magazine recently included an article about the festival in their April/May issue and Schott Music publishers will once again be presenting a showcase at Piano Week 2014.  Please go to www.pianoweek.com for more information on the summer school and how to apply.

British pianist Samantha Ward has performed extensively around the UK and in Europe and has appeared on British television and radio several times.  In October 2007, she gave her solo debut recital at London’s Wigmore Hall and has given solo recitals in such venues as St Martin in the Fields, St John’s Smith Square, St David’s Hall Cardiff and Manchester’s Bridgewater Hall, as well as in concert halls around Europe.  Most recently, in February 2013, Samantha was invited to become a Bluthner Artist and was installed as a Freeman of the Worshipful Company of Musicians. 

Samantha Ward is also the artistic director of Piano Week, a festival and summer school at the University of Bangor, north Wales. Full details here  

Samantha Ward’s full biography 

www.samanthaward.org

www.pianoweek.com

 

Valentina Lisitsa at Wigmore Hall

(photo: Gilbert Francois)

Ukrainian-born pianist Valentina Lisitsa first performed at London’s Wigmore Hall in late 2007. Since then, she has gone on to achieve an almost cult following on YouTube, due in no small part to her selfless posting of videos of her practice sessions, usually the most private and personal preserve of the musician’s working life.  I suspect that these glimpses into her daily musical routines have endeared her to her followers, proving that she, like the rest of us, has to work hard for her art. Clearly adept at harnessing the relatively new medium of YouTube and its associated social networking applications, she has enjoyed a cool 70 million clicks on her videos together with concerts at The Yellow Lounge, a neat concept established in Berlin in 2006 to bring classical music to a much younger audience by holding concerts in nightclubs.

I admit to being slightly wary of anything or anyone that is labelled “a sensation” or “must see/hear” (ditto “iconic” – a word which should probably be banned from all publicity material and reviews of musicians, books and art exhibitions!). However, I was curious to hear Valentina Lisitsa in concert as I had read largely positive things about her live performances, so I went to hear her at Wigmore Hall on Monday lunchtime with ears and mind very much open and receptive.

Ms Lisitsa is tall and slender, with long blonde hair, her lissome frame accentuated by a simple black gown and spindly stiletto sandals. Her stage presence is modest, demure almost: there are no flamboyant gestures or crowd-pleasing piano pyrotechnics beyond those technical theatrics necessarily for the music and when she plays she seems entirely focussed on the task in hand. For her lunchtime programme she presented two very well-known and highly dramatic sonatas – Beethoven’s ‘Tempest’ and the craggy, Herculean Liszt B-minor, serious fare indeed.

The opening arpeggio of the Beethoven seemed unnecessarily elongated, so that its natural drama threatened to veer into the realms of cliché. However, taken with the explosive agitated first subject, when this motif reappeared, once again over-stretched, the effect was mysterious and convincing. A slow movement of beguiling warmth and tenderness prefaced an elegantly-turned finale, its tempo sufficiently reined in to allow us to enjoy Beethoven’s expression and inventiveness. I heard Maurizio Pollini play the same Sonata at the Royal Festival Hall a fortnight ago, and while the Italian maestro may have offered a more probing account born of many years spent living with this music, there was much to admire in Ms Lisitsa’s performance and there was no doubting her commitment, meticulous preparation, technical fluency and attention to detail. This proved a highly engaging reading of one of Beethoven’s best-loved Sonatas.

Liszt’s B-minor Sonata is a strange creature: heard on disc it can sound sprawling and disparate, but heard live and done well, it is a staggering music edifice. (Liszt scholar Alan Walker described it as “arguably one of the greatest keyboard works … of the nineteenth century”.) It takes an intelligent and daring pianist to pull all the elements together to create a whole. Divided into defined sections, demarcated by different tempo and expression markings – in effect, “movements” – these sections flow into one another, creating a single movement of non-stop music, lasting about 30 minutes.

Ms Lisitsa’s account had the requisite power and darkness in the opening statements, the famous theme which returns throughout the work. Her transitions between the sections were sensitively nuanced, creating a continuous, coherent narrative. There were moments of great transparency of sound, lyrical cantabile playing and delicate pianissimos. Her foot may have strayed to the una corda pedal a little too often in these passages, but overall her account was authoritative, at times thrillingly precipitous in the allegro and presto sections.

Checking with Sara Mohr Pietsch, the BBC Radio Three presenter for the concert, that an encore would be “allowed”, Ms Lisitsa gave a serene performance of Liszt’s transcription of Schubert’s Ave Maria. This was followed by a coruscating Chopin Etude (Op 10, No. 12), proving that she is very much a “real pianist” and one who, by her own admission on Twitter in the hours following the concert, “here to stay”.

 

Meet the Artist……Ingrid Fuzjko Hemming, pianist

Ingrid Fuzjko Hemming

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

It was my pianist mother who wanted me to be a piano teacher and in a way, she forced me to learn the piano. She initially taught me, and as I continued my studies in Europe, I began developing a busy concert schedule.

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

Leonard Bernstein while I was studying in Europe, and my pet cats, dogs and birds who have been there throughout my life and career.

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

Just when I was launching my career and I was about to perform with Leonard Bernstein in Vienna, I contracted a really high fever and I ended up losing much of my hearing, much of which is lost still today. My search for medical treatment took me to Stockholm though, and I ended up broadcasting on the Swedish and German radio there, so the positive in me sees the opportunity it brought for me.

However, I would not really say that I think of that as my greatest musical challenge – every collaboration with other musicians and orchestras is a challenge in its own way. One of the greatest recent challenges was the Chopin piano concerto I played with Prague Radio Symphony Orchestra last year. The conductor as well as the whole orchestra were impressed with my performance and I was incredibly honoured to be asked to play with them again.

Which performance/recordings are you most proud of?  

I am my worst enemy and have never been happy with any of my performances!

Which particular works do you think you play best? 

I think quite a few by Debussy, Chopin and Ravel.

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

I always try to decide my repertoire with the concert and tour audience in mind, to ensure they enjoy listening; after all, they are the ones who are buying the tickets. I would never choose my repertoire to please the critics.

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

I like venues with a retro feel to them, particularly ones in Paris. I do not remember the name but love the castle in Manheim, Germany where Mozart played just once. It is not famous at all…

Favourite pieces to perform? Listen to? 

I love playing pieces by Debussy, Ravel and Chopin, and listening to recordings by the Moscow Philharmonic and Royal Philharmonic.

Who are your favourite musicians? 

Sergei Rachmaninoff and Georges Cziffra for the piano, and Maria Callas and Luciano Pavarotti.

What is your most memorable concert experience? 

I do not think I have one – since I am always dissatisfied with my performance, I try to forget about it every time I finish playing!

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

To be artistic and not to care too much about technique. I think the music schools nowadays tend to teach their students only technique. The teachers are not artistic enough and focus too much on the technique which is sad.

What are you working on at the moment? 

I am doing a lot of concerts in Europe and Japan this year. I am about to tour in Germany will be performing in London at Cadogan Hall on 23 March 2014.

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

I am planning to be retired by then, surrounded by my cats and dogs under a big tree and peacefully listening to the music such as Debussy’s “La Mer” and praying to God.

What is your idea of perfect happiness? 

Believing in God and God’s promises.

What is your most treasured possession? 

My pet cats and dogs.

What do you enjoy doing most? 

Listening to music while sewing.

What is your present state of mind? 

I feel life needs patience.

Ingrid Fuzjko Hemming performs works by Chopin, Liszt, Beethoven, Brahms and Sukegawa with violinist Vasko Vassilev at London’s Cadogan Hall on 23rd March. Full details here

Born in Berlin to a Japanese pianist mother and a Russian-Swedish architect father, Fuzjko relocated to Tokyo at the age of five to be raised only by her mother, and also received piano lessons under her guidance. At the age of ten, Leonid Kreutzer, a Russian-born German pianist and her father’s longtime friend, started giving her piano lessons. At this point, he had predicted Fuzjko’s international success as a pianist. At 17, Fuzjko made her concert debut while still a high school student, and later won various prizes in major domestic competitions, such as the NHK Mainichi Music Contest and the Bunka Radio Broadcasting Co. Music Prize. She then began her professional career by collaborating with the Japan Philharmonic Orchestra and other Japanese Orchestras. Samson François who had just happened to be visiting Japan, heard her play and praised her musicianship and interpretation of Chopin and Liszt.

Fuzjko’s full biography

Interview date: 4th March 2014