Tag Archives: interviews with pianists

Meet the Artist……Florian Uhlig

 

(photo: Marc Borggreve)

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

When I was young there was always music at home: my father was an amateur pianist and my parents used to play old records with all sorts of classical music: opera, lied, symphonic repertoire and piano music.

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

Studying with truly wonderful piano teachers: Peter Feuchtwanger, Bernard Roberts at the Royal College of Music and Hamish Milne at the Royal Academy of Music. But also the legendary German baritone Hermann Prey with whom I was fortunate to work in my early twenties.

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

Rachmaninov’s Piano Concerto no. 3, I guess.

Which performance/recordings are you most proud of?

I’d rather leave this for the critics to decide! But I am quite happy with my latest recording, Ravel’s complete works for piano solo.

Which particular works do you think you play best?

I have developed a very soft spot for Schumann since I started recording his entire piano oeuvre four years ago.

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

Generally, the concerto repertoire is decided by the orchestras and conductors. The choice of chamber music pieces, in turn, is a result of a dialogue with the chamber partners I love working with. For my solo recital repertoire I am almost 100% in the driving seat in terms of making the decisions. Often I try to programme pieces I am about to record during or just after a given season.

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

The Wigmore Hall in London and the Musikverein in Vienna – wonderful acoustics and atmosphere!

Favourite pieces to perform? Listen to?

Beethoven’s Piano Concertos

Who are your favourite musicians?

Martha Argerich, Leonard Bernstein, Chick Corea, Jacqueline du Pré – at least one for each letter of the alphabet…

What is your most memorable concert experience?

2007 in Caracas: performing Penderecki’s Piano Concerto under the baton of the composer with the Simon Bolivar Youth Orchestra of Venezuela.

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

True passion for what you do, hard work, patience, perseverance and a good sense of humour

Your new disc is the complete solo piano music of Maurice Ravel. What is the particular attraction of this composer’s music for you? And what are the special challenges of his piano music?

Ever since my childhood I have been in love with Ravel’s music: the colours, the atmosphere, the exotic beauty and inner lucidity of his writing. The special challenges: an enormously nuanced virtuosity, subtlety of hearing and colouring.

What is your idea of perfect happiness?

Being with my family.

What is your present state of mind?

Onwards and upwards!

 

Florian Uhlig’s new Ravel: Complete Solo Piano Works is available now on the Hänssler Classic label.

Born in Dusseldorf, pianist Florian Uhlig gave his first solo recital at the age of 12. He studied with Peter Feuchtwanger and continued his studies at the Royal College of Music and at the Royal Academy of Music in London where he now lives, as well as in Berlin.

Full biography on Florian’s website:

florian-uhlig.com

 

 

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……Nicolas Hodges, pianist

(photo Marco Borggreve)

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

I don’t remember not playing the piano. As my parents were also musicians, it was probably a rather obvious thing to do. I never thought of music as a career per se, but it was clear to me rather early (certainly before my teens) that music would consume my life.

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

So many people! Obviously my teachers, Sulamita Aronovsky and the late Susan Bradshaw, have both been crucial. I learnt very different things from each of them. In a way they were very contradictory, but I have never felt confused, rather enriched by having multiple views on so many issues. I am hugely grateful to them both. Beyond that, clearly the influences on a musician who is even slightly inquisitive will be very wide-ranging.

Several pianists have been personally very important to me, most obviously perhaps David Tudor – who helped me most generously in my early 20s, as I was preparing a major Cage project – and Maurizio Pollini, whose work was influential on me in many ways from an early age, and who in recent years I’ve come to know personally. He invited me to share a concert with him at Suntory Hall last season, which was a huge pleasure – I played a work of Manzoni in the first half, and he played Beethoven Sonatas in the second.

I have had the honour of working with many living composers over the years and have learnt many things from them. When that honour has been dubious, I have learnt what to avoid rather than what to embrace. But in the case of a composer like Birtwistle, whose “Variations from the Golden Mountain” I am premiering at the Wigmore Hall on Sunday 14th September, the relationship has been only fruitful and enjoyable (for me at least).

Conductors, studying works in other genres (string quartets, orchestral works), visual arts – everything goes into the artistic pot and influences the flavour like herbs in a stew.

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

Challenge in what sense? Every concert, every confrontation with a work of music, is a challenge. And practical life is a challenge. And bad conductors are a challenge.

Yes, that’s it: bad conductors are definitely the greatest challenge.

Which performance/recordings are you most proud of? 

A composer was once asked which piece he was most proud of, and said it’s always his most recent. I guess the same is true for me. I’m just seeing a disc of the concertos of Birtwistle through the press, and have also just finished a disc of the complete piano music of Brian Ferneyhough. So I guess they’re the ones I’m most proud of.

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

There are many things I think about for ages but don’t programme for many years, and on the other hand sometimes I decide quite quickly that I want to do a particular work. One of the joys of my situation is collaborating, and bouncing ideas off a trusted promoter can be extremely stimulating.

You are performing a new commission by Sir Harrison Birtwistle at your Wigmore Hall concert on 14th September. What is especially exciting about working on new music such as this?

Working with great composers personally is something that can only happen with contemporary music. All the others are dead. I can’t work with Beethoven or Debussy, but I’m overjoyed to have the opportunity to work with Birtwistle, for example. So much is made clear in our personal meetings and discussions; at the same time one understands the freedom available with more precision.

Do you have a favourite concert venue to perform in and why? What is your most memorable concert experience?

Well there are many remarkable acoustics around the world, and many halls with intelligent and searching programming. But what makes a concert really memorable is the situation – the programme, the audience, my mood, my collaborators (dead or alive). When everything aligns the experience is unforgettable.

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

The most important starting point for young musicians is the score. Students sometimes seem to view it more as a hint, rather than as the least indirect link to the composers intentions, which is what it is. Understanding notation in the deepest manner is one of the most important things which can be taught.

What are you working on at the moment?

After the Wigmore, I have to prepare a new piano concerto by Simon Steen-Andersen, and will also be working on Brahms 2nd Concerto for a concert in Finland in November. And many other smaller things in between!

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

No idea. I am sure though that I won’t be anywhere I could now guess.

What is your idea of perfect happiness?

I am still trying to work that out.

What is your most treasured possession?

My Steinway (which is beyond obvious).

What do you enjoy doing most?

Watching my children develop.

What is your present state of mind?

Expectant before the birth of a new work at the Wigmore tomorrow!

 

Nicolas Hodges performs music by Mozart/Busoni, Debussy and Sir Harrison Birtwistle in an 80th birthday tribute concert at London’s Wigmore Hall, Sunday 14th September. Further information here

 

Born and trained in London, and now based in Germany, where he is a professor at the Stuttgart Conservatory, Hodges approaches the works of Classical, Romantic, 20th century and contemporary composers with the same questing spirit, leading The Guardian to comment that: “Hodges’ recitals always boldly go where few other pianists dare … with an energy that sometimes defies belief.”

Full biography

 

Meet the Artist……Daniel Grimwood, pianist

Daniel Grimwood (photo: Ian Dingle)
Daniel Grimwood (photo: Ian Dingle)

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

I owe everything really to Charlie and Ciss Hammond, who were our next-door neighbours when I was a toddler in Kent; they had an upright piano on which I used to fiddle around. Although I don’t come from a musical background it must have been apparent to my family that I was musically inclined very early on. I was too young to remember much about it, but my guess is that it was exactly the same instinct which makes us learn language as children. I was extremely fortunate that my first teacher, Dr Jennie Coleman currently of Dunedin, was beyond excellent and gave me a very solid foundation at a very early age.

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

Originally I had intended to be a violinist. At that time Yehudi Menuhin was it! I think the experience of having been a good string player has shaped my way with the piano.

Later on I hero-worshipped (and still do) Sviatoslav Richter and I am lucky enough to have been one of the few of my generation to have heard him live outside of Russia, an experience I shall never forget. No recordings represent what I heard on those evenings.

As I get older two figures return to my work over and over again; if I face a thorny technical problem or one of those little niggles where the head contradicts the heart I will ask, “what would Graham Fitch or Peter Feuchtwanger recommend?”. I believe the advice of these two men will always be a guiding light.

Being a pianist is less about playing the piano than it is about being a human being. The numerous extra-musical things which have made me who I am have also made me the artist I am. A musician can only express what they are and what they know.

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

I am 37 and still a musician – that is challenge enough.

Which performance/recordings are you most proud of?  

Awaiting release, my complete Faure Nocturnes. I recorded it in tremendously difficult emotional conditions. My whole heart is in it and it is the recording I feel most accurately mirrors my inner being.

Although I move forward from past stuff quickly, I will always take pride in my Liszt and Erard project. The concert at the Wigmore was a definite high point in my career and I can still bear to listen to the CDs, which is unusual for me. (http://www.youtube.com/watch?v=h_wSsz-K8Cg)

Which particular works do you think you play best? 

Schubert

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

I am a Gemini and my mind is always jumping from place to place, this has given me a very large repertoire so my choices are more often than not subject to passing whim.

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

Give me a piano that works and people who want to listen and I will play.

Favourite pieces to perform? Listen to? 

This changes by the hour though I always seem to return to Schubert and Liszt who I think of as artistic brothers. Last year I subjected my home village of Brenchley to the entire first book of the Frescobaldi Toccatas, which I was in love with at the time – the following week I performed Liszt. I have a hungry mind and like not only to know the music posterity calls great, but the music around it.

Currently I am listening to and practising the Sonatas of CPE Bach whilst reading his treatise on keyboard playing. It should be mandatory reading for music students.

Mostly I listen to music other than piano. I love the Organ and wish I were clever enough to play it well. I listen to the Symphonic repertoire most and lately I have been much impressed by the Symphonies and Cantatas of Sergei Tanayev.

I listen to the Monteverdi Vespers every Christmas and I love them.

Who are your favourite musicians? 

I favour different artists for different qualities. Some because they resonate with my nature, others because they challenge my nature. For example, I have long loved Ignaz Friedman, and there is something in his improvisatory streak that I recognise in myself. On the other hand, Daniel Barenboim, a pianist who couldn’t sound more different from me in many ways, fascinates me. The tone production is extraordinarily concentrated. I can’t get enough of his late Beethoven at the moment. I have worn out Stephen Hough’s CDs of the Saint-Saëns Concertos and I’ve lately very much enjoyed listening to Maria Joao Pires play Chopin with unusual depth. I just bought a splendid recording of Bart van Oort playing Field and Chopin Nocturnes on original pianos with highly original extemporisations. I could carry on…there are so many of us! But what is amazing is that we all have something totally different to say.

I can’t not mention Ingrid Haebler – hardly anyone I know has heard her Schubert Sonatas yet it is some of the most cultivated music making I have ever heard.

What is your most memorable concert experience? 

One in a London hotel where a leg fell off the piano.

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

Follow your own instincts at all times. Arm yourself with as much knowledge as possible. Know your audience – all of them – and always remember that music is a birthright not a luxury. Never forget that we are the luckiest people alive; our job is our hobby – however difficult a life in music gets, and at times it really, really does – never lose sight of how much you love your art.

What are you working on at the moment? 

JS and CPE Bach for fortepiano and harpsichord, Mozart, Haydn and Ravel’s Gaspard. I recently performed the Adolf von Henselt Concerto in the composer’s birth town, Schwabach; I love the piece although I must confess it challenges me to the point of breaking out in language which would make a London cabby blush whenever I practise it!

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

In front of a piano

What is your idea of perfect happiness?

Dvorak in the bath by candlelight…

What is your most treasured possession?

My family

What do you enjoy doing most?

Outside of music, running

What is your present state of mind?

Contented

With a repertoire, which ranges from little heard Elizabethan Virginal music to composers of the modern day, Daniel Grimwood is one of the most original and insightful musicians of his generation. A pianist of rare versatility, his exceptional talent has been noted by many international music critics.

His musical interest started as a 3 year old playing next door’s piano and from the age of 7 he was performing in front of audiences in his home county of Kent. He continued with his training and was offered a scholarship to the Purcell School in 1987 studying piano with Graham Fitch. He also studied violin/viola and composition/counterpoint giving him a much broader appreciation of classical music. He later finished his pianistic training under the tutelage of Vladimir Ovchinnikov and Peter Feuchtwanger. Although primarily a pianist, he is frequently to be found performing on harpsichord, organ, viola or composing at his desk. Felix Aprahamian once wrote of him “probably the finest all‐round musician I have ever known”.

He has subsequently enjoyed a solo and chamber career, which has taken him across the globe, performing in many of the world’s most prestigious venues and festivals. Whilst he has been the recipient of several international awards, there is no glamorous list of competition wins as Grimwood considers them harmful to the musical community.

Grimwood has been a passionate exponent of the early piano from childhood and recently gave a recital at Hatchlands of Chopin’s Op 25 Etudes and 3rd Sonata on the composer’s own Pleyel piano.

As a solo recording artist his growing discography ranges from Scriabin, to Algernon Ashton (world premiere recording on Toccata Classics). His recent discs of Liszt and Chopin on an 1851 Erard on the SFZ label received a unanimous chorus of praise from the press: the Liszt was Daily Telegraph CD of the week and Editor’s Choice in Gramophone Magazine. Future releases include the complete Faure Nocturnes and the last three Schubert Sonatas. He is also the first European to have recorded for a Chinese record label.

http://www.danielgrimwood.co.uk/

Guest post: A conversation with Matthieu Idmtal

by Guy Rademaeker.

He is 25, lives in Brussels, and things are going well for pianist Matthieu Idmtal. He just organised the second edition of the ‘Brussels Chopin Day’, next month he goes to France and Switzerland to perform with his violin partner Maya Levy, and his concert agenda for the future looks full. “I try to find my way” he says almost laconic.

We sit in a bar in Ixelles, the town where he lives, and during our conversation he will order three coffees. Nevertheless, the calmness of this young man will never disappear.

How did you start playing the piano?
I always found that I walked a rather atypical path to arrive at where I am now. I don’t come from a musical family, and compared to many others I started relatively late with playing the piano. I never went to a music academy and so on.

I remember we had an old upright piano standing in our house to which I was always going as a child. On a good day my mother kind of decided that she maybe had to do something with the kid that was always plucking that piano, and she searched for a private teacher for me. I must have been 7 or 8 at that time. Thinking about it, I believe that she was a very good teacher: a Russian pedagogue who was able to give me a good foundation. She noticed a certain talent, but I had no clue at that point that playing piano could or would become my profession. Maybe the people around me noticed faster than myself my potential and my need to play music. I remember how I would walk to school, and midway just decide to walk back home because I considered playing the piano a much nicer way to spent my day than sitting in a classroom. The problem was that I took these decisions more and more often. And that is how I entered to the Kunsthumaniora Brussel, a high school in Brussels that offers, next to standard courses, music courses as well which prepare you for entering conservatoire. From that moment, there was no doubt anymore. Music took me every day more and more. Till now.

Who do you consider as your significant teachers?
Without doubt, I must mention Vitaly Samoshko. I could say that he taught me how to play the piano. Of course we’re all made out of our lived experiences, what we hear and see, how much we invest in our art….… but Samoshko is the one I refer to.

You’re not studying in conservatoire anymore. Do you still work with him or do you study on your own now?
We still see each other. Less often than before, but I regularly visit him as a kind of……touching base. It is true that I work much more on my own, but that is what we all will have to do. At a certain moment you must become your own teacher. And it makes you think a hundred times more about each note and decision you take. When, after a concert, someone comes to you and asks “why did you play that piece that way?”, you can’t answer “because my teacher wanted it so”. Everything I do now is my own decision. I follow my intuition.

You also teach yourself. What advice do you give your students?
To give you the best answer you should actually ask my students how I teach, but I believe that it is a mix of my own experiences as a student, together with my own personality and ideas that I formed myself during over the years. I see my role as a teacher a bit like a sounding board. I prefer to suggest than to oblige, and I like to see a lesson as a moment between two friends who try to work and search together for the best possible solution to play a certain piece. Of course, some things can be radically wrong and I will say them, and I have some general ideas. Never to imitate for example, search for your own way. I also encourage them to experiment, try something, to dare. If it’s wrong, it’s wrong and you will learn from it, but dare to do something wrong. Take a risk, surprise me and yourself..… and at the end of the trip, remember and take all the best of these experiments. Sometimes I will ask a student to exaggerate something, to make something more clear, or just to give it all a bigger dynamic range. I also notice that I speak a lot about pulsation in the lessons, or to see a piece in orchestral terms, or to imagine a singer. And of course, sound is crucial.

It goes with your last question. When teaching, you’re very much faced with questions that force you to think how to play a certain thing very concretely. That helps yourself tremendously. For example, in a recent lesson, some of my better students asked me how to position the fingers on the keyboard, flat or curled. Honestly, there is not one answer to me. Everything depends on the sound you want to create. When I play a Scarlatti sonata for example, I can imagine myself playing with curled fingers, but I would never do that which a Chopin Nocturne. It all depends on sound. Play with your nose if you wish, if it sounds fantastic, do it!

What about your chamber music collaborations? I noticed that you have two regular duos?
I do. I have a piano duo with Ukranian pianist Anastasia Kozhushko. We met years ago in the class of our teacher, and started playing together. We won some competitions, mostly in the Netherlands, and most of the time we perform there. We aim to include less familiar pieces and composers in our programs. In combination with the more known works we play works by Cui, Rosenblatt, Vilensky, Clementi, etc. Absolutely amazing music but unfortunately underplayed.

I have also formed a duo with violinist Maya Levy. I consider her one of the young upcoming violin talents. We’ve worked together for about a year now, and some nice projects are coming up.

Playing chamber music is a real joy to me. You know, being a pianist is a lonely profession most of the time, you sit for hours a day alone behind your instrument – something that other instrumentalists rarely do because they all need a pianist to play with them! – and so it is a very welcome change to collaborate with someone. To have some interaction, to search together and to find compromises. And the repertoire is also fantastic.

Do you have any favorite pianists?
This generation has amazing pianists, absolutely amazing. But for most of them, the individuality has rather disappeared. Before you could hear two bars of a piece, and nearly say: “ah, that is Gould playing!” or “no doubt, that’s Horowitz”.

To answer your question, the latter is absolutely one of my favorites. I generally like the old generation. I think of Cortot, of Friedman. No one plays Chopin Mazurkas like Friedman.

Do you have a particular system how for selecting and learning  the pieces that you play?
Good question because I wondered about it myself recently. More and more it seems that a work “chooses” me, and not the other way around. What very often happens is that a work is floating in the air for a very long time. The work attracts me, in a free moment I will open the scores and play it a little, I listen to it, it is present in my life but I don’t study it. That process can be very long, years even. And than, at an inexplicable moment, it’s like the work is calling me. And there is no way back, I just have to learn it. So I lock myself in my flat and study all day long that one and only piece. That happens very often to me. It’s a bit like a love story: when you fall in love with someone, there is nothing to do about it anymore, your whole being is focused on that one person.

Besides playing the piano, do you enjoy other kinds of music or activities?
In every genre you can find good music. But I must admit that I don’t often listen to non-classical music. I feel a big affection to the work of Jacques Brel, and I regularly listen to his music. And I enjoy jazz. In my younger years, there were periods when I listened more to Oscar Peterson than to anybody else.

Considering real activities, I’m afraid I must disappoint you. Music became my life, and my life music.

Recently I have enjoyed playing chess, or having a coffee on a terrace in the sun with some nice company, that’s a perfect activity to me.

What would you be doing in life if you weren’t a pianist?
[thinking] I don’t know. Maybe I would have been a writer. I enjoy writing, and I’ve always wondered what I would be able to do when fully engaged in writing a book, or poetry. But that’s not for now.
In my youth, like many children I guess, I thought of becoming a tennis player.

When I’m into something, I am quite fanatic. So also with tennis: when I had my period of playing tennis, it was the only thing I could think of, doing it from morning til evening. But I don’t think the music will ever stop. It’s a gift for life.

May I conclude that you consider music as the most beautiful thing in life?
No, that is love. But music is more faithful.

Meet the Artist……Zubin Kanga, pianist

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

In my teens, I had ambitions to be a composer, but gradually my creative energies were transferred into performing. My piano teacher through this period, Ransford Elsley was an inspiring advocate for contemporary music as well as being an extraordinary teacher who completely transformed my playing within a year of lessons. That rapid development continued through my undergraduate years, and at a certain point I decided that I could make a bigger contribution to music as a performer than as a composer and have been an active collaborator with composers ever since.

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

Rolf Hind, who I studied with while a Masters student at the Royal Academy of Music, was, and still is, one of my biggest influences. His vast experience working with many great composers provided invaluable insights into the many styles and strands of contemporary music and he also provided me with the technical and practice tools to tackle the most demanding scores. It’s been particularly inspiring to perform alongside him, as duel soloists with the London Sinfonietta (playing Beat Furrer’s Nuun for two pianos and orchestra) and more recently, as a piano duo at his Occupy the Pianos festival. Professor Neil Heyde, my PhD supervisor at the Royal Academy of Music, has also been an important influence on how I think and write about music, and particularly about my relationships with composers.

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

Management of time and workload is a constant challenge, as there are often mountains of new notes to learn as well as lots of organising to be done in setting up concerts and tours, editing CDs, writing funding grants, writing articles, meeting and having workshops with composers, marketing and PR, negotiating contracts… all this alongside studying, work and everything else in life. This is often not helped by composers who only give you the score a few days before the concert!

Which performance/recordings are you most proud of? 

I’ve got four CDs being prepared for release, and I’m proud of all of these: “Not Music Yet” is a recording of a massive graphic score piece by Australian composer, David Young, “Piano: Inside/Out” is a recording of a range of new Australian works that feature extended techniques, “Orfordness” is a recording of solo and chamber music by British composer, David Gorton and “Chiaroscuro” is a recording with New York-based soprano, Jane Sheldon of works by Crumb, Saariaho, Schoenberg, as well as some newly commissioned works.

Of recent performances, I’m most proud of my performances alongside Thomas Adès and the Melbourne Symphony Orchestra last year. Performing Tom’s Concerto Conciso under his baton was a great experience, but it was an even bigger thrill partnering him in his two-piano arrangements of two Studies for Player Piano by Conlon Nancarrow. They are fiendishly difficult, and made even trickier because they had to be synced up with accompanying video by Tal Rosner, so it was very satisfying to absolutely nail it.

Which particular works do you think you play best?

I particularly enjoy playing works that have either been written for me or where I’ve had input from the composer – if I had to point to any in particular, I’d say the several works by Michael Finnissy and George Benjamin are pieces I play well.

To pick a few other favourites: George Crumb’s Makrokosmos, Olivier Messiaen’s Canteyodjaya, Maurice Ravel’s Gaspard de la Nuit and Alban Berg’s Sonata No 1.

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

My solo programs are often centred around new works from composers and might focus around a particular theme, a particular country, style or school of composition or around particular approaches to the piano. Sometimes there might be interesting connections or lineages to bring out in a program between older and newer works, and sometimes it’s good to give the audience a lot of variety. I’m also interested in working with filmmakers, actors and dancers on interdisciplinary collaborative projects.

You have a particular interest in contemporary piano music. What is the special appeal and challenges of this kind of repertoire for you?

As mentioned earlier, I’ve loved contemporary music from an early age and my appreciation for collaboration with composers has only increased through the course of my recent PhD on the subject. There is something very special about co-parenting a new work with a composer and creating a little bit of history when you eventually walk on stage to premiere it. There’s also so much variety in contemporary music, so many styles and approaches that it’s always refreshing, surprising and stimulating. It can also be challenging, especially when composers want to push the limits of what’s possible for a piano (or a pianist) to do – but that’s the kind of creative challenge I love and I think it’s particularly rewarding when you discover a truly innovative approach to the piano or set a new benchmark for virtuosity. Importantly, playing contemporary music also gives you new insights and tools for interpreting works of the canon.

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

There are many venues with particularly aspects I really like. I enjoy the casual vibe of Café Oto, and I have also really enjoyed the atmosphere of performances at King’s Place as a performer and audience member. Like all pianists, I like playing on good instruments and I’ve played on excellent pianos in the Purcell Room and in the venues of the Royal Academy and Royal College. Playing big halls like Queen Elizabeth Hall or the Sydney Opera House Concert Hall are wonderful experiences that bring out your best as a performer. If I had to choose one: the Melbourne Recital Centre is a beautiful venue marrying excellent architecture, acoustics and pianos.

Favourite pieces to perform? Listen to?

I love playing or hearing Olivier Messiaen’s music – he was one of the first contemporary composers I really got hooked on and familiarity has not dulled my enthusiasm for the colours, rhythmic energy and ecstatic climaxes of his music.  Learning the complete Vingt Regards surl’Enfant Jesus is one of my projects for the next few years.

Who are your favourite musicians?

I like a lot of older pianists like Glenn Gould, David Tudor, Artur Schnabel, Alfred Cortot, Leon Fleischer, Ignaz Friedman and Dinu Lipatti. Some favourite composers include Olivier Messiaen, Iannis Xenakis, Gerard Grisey, George Crumb, Jonathan Harvey, Michael Finnissy, Belá Bartók, Maurice Ravel and Frederic Chopin. I’m a big jazz fan (and former jazz saxophonist) and I never tire of hearing Keith Jarrett, Chick Corea, Bill Evans, Miles Davis and Wayne Shorter. And there are many musicians I admire from other musical cultures, such as the extraordinary shakuhachi player, Riley Lee.

What is your most memorable concert experience?

As a performer:

Performing Steve Reich’s Music for 18 Musicians (alongside musicians from Ensemble Offspring, Synergy Percussion and Eighth Blackbird) at the Sydney Opera House was an extraordinary experience. It’s a work that requires complete dedication without any ego and a true spirit of egalitarian music making. During the performance, I could sense the whole ensemble enter a state of ‘flow’ where we started playing and breathing like a single organism. It was the biggest audience I’ve played for live (around 3000) and when it finished, the whole crowd rose to their feet with a tremendous roar, giving Steve (and us) a rock star reception.

As an audience member:

It’s been great seeing some of the big contemporary works performed live that I would have probably never had the chance to experience in Australia: in particular Gerard Grisey’sLes EspacesAcoustiques in 2008 and KarlheinzStockhausen’sGruppen in 2013 (both performed by the London Sinfonietta alongside musicians of the Royal Academy of Music). And as a pianist, I have to mention seeing one of my childhood idols, Keith Jarrett last year at the Festival Hall – I’ll never forget the luminosity and vibrant colours of his sound.

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

I always tell young pianists that they should find their métier, that something special and unique that they can contribute to music. I also encourage them to try out all the skills and diverse repertoire available to a pianist rather than sticking to a very narrow conception of the canon. And of course, this includes encouraging them to consider playing, or creating, new repertoire.

What are you working on at the moment?

I’m currently working on “Morphosis” a program of works I’ve commissioned over the last couple of years by British, Australian and Estonian composers. It features the premiere of Morphosis by Patrick Nunn, which uses live electronics controlled by 3D sensors attached to my hands – it really is very cool, in a nerdy sci-fi way.

What do you enjoy doing most?

Outside of music, I love movies, art galleries, books, cricket (as spectator) and the rare chances I get to go to the beach. But most of all, I love an evening of good food and good wine, shared with good friends.

Zubin Kanga performs at the Royal Academy of Music on Tuesday 17th June in a concert featuring the premiere of ‘Morphosis’ by Pat Nunn (with live electronics controlled by 3D hand sensors), UK premiere of ‘Not Music Yet’ by David Young and works by David Gorton, Elo Masing, Michael Finnissy and George Benjamin. Details here

London-based Australian pianist, Zubin Kanga has performed at the BBC Proms,  London 2012, Aldeburgh (UK), Occupy the Pianos (UK), ISCM World New Music Days (Australia) and Borealis (Norway) Festivals as well as appearing as soloist with the London Sinfonietta and the Melbourne Symphony Orchestra. He has commissioned dozens of new works, with a focus on the exploration of innovative approaches to the piano, and performed recitals across Australia, Europe and the USA. He is a member of Ensemble Offspring, one of Australia’s leading contemporary music ensembles, and has also performed with Halcyon, Synergy Percussion, Ensemble Plus-Minus, Endymion Ensemble and the Kreutzer Quartet, as well as performing piano duos with Rolf Hind and Thomas Adès.

In recent years, Zubin has been awarded the Michael Kieran Harvey Scholarship, the ABC Limelight Award for Best Newcomer and the NSW State Award (Performance of the Year) at the Australian Art Music Awards.

A Masters and PhD graduate of the Royal Academy of Music, London, he has collaborated with many of the world’s leading composers including Thomas Adès, Michael Finnissy, George Benjamin, Steve Reich, Beat Furrer, Howard Skempton, Liza Lim, Ross Edwards, Nigel Butterley and David Young.

(Photor: Bridget Elliot)

 

 

 

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……Stephen Hough, CBE

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

I think the piano was its own inspiration.  We had no classical music in my home at all but an aunt had a piano and it was love at first vamp.  I picked out tunes on its yellow keys and wanted to take lessons.  it was a short step (over a long time) for that to become my career.

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

Definitely my main piano teacher Gordon Green.  Also Derrick Wyndham (both taught at the RNCM) then later Robert Mann (former 1st violinist of the Juilliard Quartet) with whom I played and recorded all the Beethoven sonatas in the 1980s.  I was 23 and had everything to learn; he was a great partner and, indirectly, a teacher.  I would also cite Alfred Cortot and many other pianists from the first decades of the 20th century whose playing I got to know well through recordings.  They were always and remain my favourites.

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

Just doing it – day after day.  Specifically the extreme contrast between being as tough as a old boot offstage (travel, hotels, paperwork etc. etc.) and as sensitive as a bejewelled ballet shoe when at the piano.  It requires a unique kind of schizophrenia!

Which performance/recordings are you most proud of?

Ah tough to say!  The Hummel concerto record was the first one where I felt good in the studio, despite very little time.  We had less than six hours for each concerto, to rehearse from scratch (correcting parts along the way) and record.  it was seat of the pants but I still remember the exhilaration and excitement of playing those pieces and making the first complete recording of works which were absolutely central to the repertoire of Liszt, Chopin, Schumann etc.  Later Mompou was a joy to record and more recently my own 2nd piano sonata (on the CD ‘In the Night’).  Strange to record your own music!

Which particular works do you think you play best?

I really can’t say.  But I do feel able to slip into different roles.  I feel as involved and connected playing Mozart and Beethoven as I do playing Chopin and Liszt as I do playing Schoenberg and Webern.

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

Some of it ties in with recording plans, sometimes there are anniversaries, or specific requests.  With concertos it depends a lot on the programming being done by the conductor and management of the orchestras.

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

Not really.  Many famous halls are famous because they’re great – main stage of Carnegie New York or Concertgebouw Amsterdam or Musikverein Vienna.  The Wigmore of course is special.  I also love Severance Hall in Cleveland … too many to name though.

Favourite pieces to perform? Listen to?

Impossible to say!

Who are your favourite musicians?

Mainly those who died before I was born – Cortot, Rachmaninov, Friedman, Kreisler etc.  I’ve worked a lot with Steven Isserlis and he is one of my favourites, for personal as well as musical reasons.

What is your most memorable concert experience?

Probably my debut at the Hollywood Bowl when I raced over from Cheshire to replace Pogorelich at the last minute.  it was my first taste of the fast-lane, crazy side of having a career.  Paganini Rhapsody with Sir Charles Groves.

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

Study the score intensely then play as if you’re improvising.

What are you working on at the moment?

Always three sorts of work: refreshing pieces for upcoming concerts; revising works not played for a while; and learning new ones.  All the Beethoven concertos are around me at the moment and they fall into all three of these categories.

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

Same place but deeper.

What is your idea of perfect happiness?

Surprised by happiness when not looking for it – and sharing it with someone else.

What is your most treasured possession?

My sanity.

What do you enjoy doing most?

Many things.  To choose one would be to squeeze it dry of magic.

What is your present state of mind?

Content yet tired and a little anxious – but grateful for life and health and food and friends.

Named by ‘The Economist’ as one of 20 Living Polymaths, British pianist Stephen Hough is a rare renaissance man of our time. Over the course of a long and distinguished career as one of the world’s leading concert pianists, he has also excelled as a writer and composer. Mr. Hough combines an exceptional facility and tonal palette with a uniquely inquisitive musical personality, and his musical achievements have resulted in many awards and accolades for his concerts and a discography of more than fifty recordings.

Stephen Hough was made a CBE (Commander of the Order of the British Empire) in the 2014 New Year’s Honours List.

Stephen Hough’s full biography

www.stephenhough.com

 

Meet the Artist……Pascal Rogé

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

I was born in a musical family and there were 3 pianos at home, my mother was a pianist…my choice was obvious!

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

First my mother, she was my only teacher till the age of 9.Then my teachers at the Paris conservatory, Lucette Descaves, Louise Clavius Marius, Geneviève Joy, Pierre Pasquier, and above all Julius Katchen, whom I met when I was 16, more than a teacher, a mentor, an inspiration, I should also mention two great ladies…Marguerite Long and Nadia Boulanger.

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

Always being at the top of my musical abilities and being able to pass through my emotions and my love for music…and enjoy life!

Which performance/recordings are you most proud of?

Performances are not to be remembered…each of them is a “once in a lifetime” experience, but out of my +\- 300 performances of the Ravel G Major Concerto, I do remember the one in London with Mariss Jansons…something special happened on that day…

Recordings…I still enjoy many of them because I always made a point not allow the release of a recording I was not happy with…but if I need to keep some on a desert island – the St Saens Piano concerti with Charles Dutoit, the Fauré Piano Quintets with the Ysaye quartet and the first CD with my wife, “Wedding cake”

Which particular works do you think you play best?

The French repertoire in general but almost anything I play, since I would never perform a work which I don’t enjoy or I am not convinced I can bring something personal in it.

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

For the reasons I just mentioned…because I love the pieces I play and I can express myself with them.

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

Nearly all the concert halls in Japan…acoustics, design, installation, they arealways perfect…and filled with a fantastic audience.

Favourite pieces to perform? Listen to?

The French repertoire in general, with perhaps at the top, Ravel G Major Concerto and Debussy ‘La Mer’ (with my wife)
To listen to…very different and more “eclectic” music…Opera…Jazz…never piano music!

Who are your favourite musicians?

Glenn Gould, Carlos Kleiber, Oscar Peterson, Ella Fitzgerald…

What is your most memorable concert experience?

The creation of a new concerto for 2 pianos written for me and my wife by Australian composer Matthew Hindson, at the Sydney Opera House with Sydney symphony orchestra conducted by Vladimir Ashkenazy.

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

To be yourself, express something unique, think different, enjoy everything you do, and as Debussy said: “N’écoute que les conseils du vent qui passe…”

What are you working on at the moment?

Stravinsky’s ‘Rite of Spring’ in the 4 hands version.

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

Traveling the world…in good health…

What is your idea of perfect happiness?

My life at the moment..traveling the world with my wife, playing music and using Apple devices…!

What is your most treasured possession?

My iPad

What do you enjoy doing most?

Living the way I live! (See previous question!)

What is your present state of mind?

Extremely happy…!

Pascal Rogé gives a masterclass at the Institut français, South Kensington on Saturday 5 April, 6pm followed by a recital of music for four hands with his wife, Ami Rogé on Sunday 6 April, 6:30pm as part of It’s All About Piano!

Meet the Artist……Jean-Marc Luisada

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

My mother chose the piano for me. I was a small child. I was inspired by Furtwängler conducting Beethoven’s 9th symphony. The slow movement made me cry. I chose music so I could be moved throughout my life.

 

 

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

Denyse Rivière, Marcel Ciampi and Paul Badura-Skoda.

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

Every concert, every meeting with a great artist, is the greatest challenge for me.

Which performance/recordings are you most proud of?

None, except the one I had in my dream last night.

Which particular works do you think you play best?

None. Because at the end of one performance, I know exactly what not to do the next time.

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

I never plan. It’s a difficult question to answer. It’s just like a love story; you don’t know who you are going to fall in love with. Each season it’s a new surprise, a new love story.

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

Usually the most important concert is just the next one. There is no difference between a small village and Carnegie Hall.

Favourite pieces to perform? Listen to?

I listen like crazy to the music from the film The Umbrellas of Cherbourg by Michel Legrand.

Who are your favourite musicians?

Usually, the greatest dead ones because they are the most inspiring and they are no longer dangerous.

What is your most memorable concert experience?

In Kuala Lumpur. When I arrived on stage, there were no pedals on the piano.

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

To always be curious and inspired by the past. And I can say for myself that I love the past. It’s more relaxed than the present and much more secure than the future.

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

How can I answer this question, when I don’t know where I’ll be in the next ten hours?

What is your idea of perfect happiness?

To fly in love (not fall).

What do you enjoy doing most?

I watch movies all the time, for example, Umbrellas of Cherbourg by Jacques Temy, Le Charme discret de la Bourgeoisie by Louis Bunuel, and all Frederic Fellini’s movies. And occasionally I like to practice.

What is your present state of mind?

I feel totally out of my mind. Fauré and Schubert are depressing me. The music is so very sad.

Jean-Marc Luisada gives a recital of works by Fauré, Schubert and Chopin at the Institut français, South Kensington on Saturday 5 April, 4pm as part of It’s all About Piano!

www.jeanmarcluisada.com