Choral Heritage and Community at Leith Hill Music Festival 2026
Bringing "the joy of singing" to the heart of Surrey
233 medical appointments later: My five-year fight to return to the piano
Guest post by Martin Mayer
It took nearly 30 years to get here: the tail-end of another successful 20-city concert tour across China’s top performance halls, thousands of eager fans embracing a cross-cultural meeting through music. And for all the lessons, the endless gigs, and the gambles I took to start my career – all of it nearly ended in less than 30 seconds.
It was just another post-tour early wakeup call. The two-hour show had ended at 10 pm, with multiple standing ovations – the audience wouldn’t let me go. To be on a stage speaking only through music has always been my dream.
That night, I signed every autograph and took every selfie requested for as long as the fans were there. As I write this now, I hold onto that joy – because in a matter of hours, my world would be turned upside down.
It was nearly 2:00 am when I got to my hotel room – too much adrenaline to sleep. I packed and braced for a 5:30 am wakeup: a flight to Guangzhou for a layover, then the long-haul home to Vancouver.
Once in Guangzhou, an airport shuttle picked me up for a nearby hotel where I’d catch a few hours of sleep.
I never made it to that hotel room.
As the shuttle pulled away, the driver slammed on the brakes – a pedestrian had darted across the road. No seatbelts. I flew straight into my luggage, hands stretched out to brace myself. Natural human reaction. For a pianist, an absolute nightmare.
Within seconds: immense agony. Left hand – dislocated 5th finger jutting outward at a 90° angle. Right hand – sprained 4th finger.
At the hotel, at least 20 staff were waiting, alerted by radio. Three cars stood by to rush me to priority ER. I had to fight – in a language I didn’t speak – to stop the doctor from reinserting the bone without X-rays. My tour manager had flown back to Beijing, so I called him in a panic. He tried to explain my profession. They didn’t quite get it. Writhing in pain, I pulled out my phone and held up a tour poster. I’ve never seen people look so shocked. The nurse called out and seven additional people filled the room.
What followed: X-rays, local anaesthesia in both hands, warm compresses, injections, a rush of documents – because I had seven hours before an international flight and two more airports to navigate. Nothing touched the pain or the anxiety. I was alone and vulnerable, in a place where only the hotel staff spoke English. I made both flights, collapsed into my lay-flat seat, and awoke what felt like five minutes later in Vancouver.
Getting off that plane was the start of a five-year journey: 233 medical appointments, a major surgery, a traumatic incident involving a doctor charged with my care, and a rotating door of specialists trying to piece together what had really happened. My family doctor of 16 years wrote it off – no imaging for six months, just pain medication that did nothing. Like handing someone Tylenol for a broken leg. I fired him. My new family doctor actually saw me through to the other side.
It took nearly 4 years to get the diagnosis: the impact had compressed the thoracic outlet – the space between my first rib and collarbone where veins, arteries, and nerves travel into the arms and hands. Surgery to remove the rib was the only fix.
What nobody tells you about an odyssey like this is just how much it impacts your mental health and sense of self and worth. More than once, I was ready to walk away from everything. Music, which had defined me for nearly three decades, became something I couldn’t even listen to. Too painful a reminder of what I might never get back. Over those five years, I questioned everything about who I was as an artist – and there were times I wasn’t sure that person was coming back. Or whether I even wanted to. This broke me more than anything before, because it was who I had been for my entire life up until then. My partner carried me through the darkest of it – certain of my return when I no longer was. The doctors, family and friends who refused to let me disappear mattered more than they’ll ever know.
I learned a great deal – some of it I wish I’d found far earlier:
Treat your body as an elite athlete would. Because when you consider how we use our bodies to make music, that’s exactly what we are.
Practicing alone is not enough. Take care of the rest of your body, too.
Warm up before you play – every time. Stretch, warmup, stretch, warmup, repeat.
After a long break, start lower than you left off. A runner who finished a marathon three weeks ago doesn’t restart at race pace. Neither should you.
If it hurts, stop. Stretch, rest, ease back in – don’t push through it.
Most doctors don’t understand what musicians go through. Call yourself an elite athlete. They’ll understand a tennis player tearing their ACL far sooner than a pianist with nerve entrapment in their elbow.
Find specialists who work with musicians – a hand therapist, physiotherapist, and hand surgeon. They should be part of your team.
Be your own best advocate, and don’t give up.
I went from not being able to hold a teacup after my accident, to 5 years of doubting whether I’d ever be able to play. And I am playing again. Did it come easy? Definitely not. Do I play better because of adjusting my technique and how I hold my body better? Absolutely!
What you do now will keep you stronger and healthier in the long run. We’re always taught how to practice and how to play – what’s been missing is how to take care of the parts of us that make it all possible: our body and our mind.
In the music industry, there is a stigma that once you are broken, you can never heal or get back to what you were doing. I am proof that is not the case. And the more we raise our voices when we overcome the impossible, the more we can squash that stigma.
Martin Mayer is a Canadian pianist and composer.
Read an interview with Martin here
Resources for musicians:
Nicholas Scott-Burt’s 24 Preludes for Piano acknowledge the rich tradition of the genre
24 Preludes for Piano by Nicholas Scott-Burt
Da-Hee Kim piano
Premiere recording
Listen to the opening measures of the sixth Prelude from Nicholas Scott-Burt’s 24 Preludes for Piano, and you might be forgiven for thinking this is actually by J S Bach, with its combination of rigour and elegance, counterpoint and Baroque flourishes.
The ghost of Bach is also present in the very first Prelude of the set, redolent of the C major Prelude from Book 1 of the WTC in its processional momentum, its rhythm, and expression. Played by pianist Da-Hee Kim with a luminous glow and clear articulation, it’s a wonderful opening to this intriguing new release of contemporary piano music, drawing you into a composer’s soundworld that is richly coloured, texturally diverse, witty, and at times quite beautiful.
British composer Nicholas Scott-Burt composed his 24 Preludes during 2019 and 2020. Following a tradition established by J S Bach and continued by, among others, Chopin, Debussy, and Shostakovich, Scott-Burt’s cycle reimagines the prelude as both a brief musical statement and a means for expressive variety. Each piece acts as a standalone miniature whilst also contributing to the overall narrative of the complete set: the Preludes are organised into four ‘Books’, which can be performed as an integrated sequence, ‘pausing for longer at the end of each book, as one might pause between the movements of a sonata or symphony’ (Nicholas Scott-Burt).
Each book has its own distinct character: Book 1 is neat and neo-classical; Book 2 is more extravagant and romantic; Book 3 is somewhat more introspective; and Book 4 is bright and sunny, though not without some darker moments.
The composer was kind enough to allow me to see the score, and it’s clear that he draws on a wide range of pianistic textures, rhythmic gestures, and harmonic languages in his writing. Some preludes evoke lyrical introspection, others have driving rhythmic energy or contrapuntal interplay. There’s a powerful array of dynamics from hushed delicacy to declamatory chords, and many of the preludes experiment with colouristic sonorities that brilliantly celebrate the piano’s resonance, sonic variety and expressive range.
With their imaginative harmonic progressions, rhythmic variety and shifting tonal perspectives, each prelude embodies its own character and atmosphere. The result is a sequence that invites both performer and listener to explore a wide range of moods – from reflective calm to virtuosic brilliance – within the intimate scope of the piano miniature.
While rooted in the tradition of the prelude cycle, Scott-Burt’s collection has a distinctly modern voice, with his musical influences clearly evident. It echoes composers such as Bach, Chopin, Shostakovich, as well as Handel, Purcell, Schumann, Liszt, Prokofiev, Bartók, Messiaen, and jazz. Scott-Burt skillfully integrates all the colours of his own compositional language to craft music that is individual and contemporary, while acknowledging the rich traditions from which it emerges.
Award-winning Korean pianist Da-Hee Kim performs the preludes on this premiere recording, bringing both sensitivity and virtuosity to the music, always alert to its shifting colours and textures. She delivers pristine articulation, supple phrasing, some impressive pedal technique, a luminosity of tone, and wonderfully weightless playing, when required, highlighting the individual character of each prelude, and ‘musical personality’ of each Book.
In addition to the 24 Preludes for Piano, this album includes two further works by Scott-Burt, his Minimalis I, ‘a self-imposed experimental exercise in structuring’, and Love Song, a contemporary on the tradition of the piano ‘Love Song’ by composers such as Mendelssohn, Schubert, Schumann, and Liszt.
This is a wonderful addition to the contemporary piano literature, and I truly hope the composer can find a publisher for his 24 Preludes, so that more pianists, both professional and amateur, can explore and enjoy it.
24 Preludes for Piano is released on the Divine Art label on CD and streaming.
Read Meet the Artist interviews with Da-Hee Kim and Nicholas Scott-Burt
Maximize Your Music Room: Join the PianoMe Community
Guest post
PianoMe: The Smart Way to Share Rehearsal Spaces and Earn Money with Your Music Room
What can you do when rehearsal rooms and instruments stand empty for hours or even days?
The answer is simple: share them through www.piano.me/en and turn unused space into income.
PianoMe is a growing online platform that enables musicians, music schools, studios, churches, and private hosts to rent out rehearsal spaces with instruments by the hour. At the same time, musicians can book affordable practice rooms exactly when they need them—no long-term contracts, no unnecessary costs.
Rehearsal Spaces Sharing Community – Built by Musicians for Musicians
PianoMe was created by musicians who experienced the same problem many artists face: finding a suitable place to practice is often difficult, expensive, and inflexible.
The idea behind the platform is based on the sharing economy: if a room and an instrument are not in use, they can be shared with others.
This creates a classic win-win situation:
- Hosts generate additional income from otherwise idle rooms
- Musicians pay only for the time they actually use
- Cities benefit from a reduction in rehearsal room shortages
Traveling musicians, in particular, appreciate being able to book a nearby practice room within minutes, whether for an audition, an exam, or a recording session.
Monetize Your Empty Rehearsal Room
If you own a rehearsal room or a studio that is not used 24/7, PianoMe offers an easy and secure way to earn money.
Creating a listing takes only a few minutes:
- Upload photos
- Set your availability
- Define your own rental rules and cancellation terms
- Start receiving bookings
All processes—from request to payment—are fully digital and automated, which means no paperwork and minimal administrative effort.
A Lifeline for Music Schools
Music schools are facing increasing financial pressure due to rising costs and reduced public funding. PianoMe helps them:
- Generate additional revenue from unused rooms during off-peak hours
- Digitize and automate their rental processes
- Reach new target groups such as freelance teachers, ensembles, and choirs
For some institutions, hourly room sharing has already become a second financial pillar that helps stabilize operations.
Flexible Solutions for Music Teachers
Freelance music teachers benefit from a highly flexible, on-demand room model:
- No long-term rental contracts
- No deposits
- Hourly bookings based on actual teaching needs
- Easy cancellations within the respective host’s policy
This supports the growing agency model in music education, where teachers operate independently and require adaptable teaching spaces.
Growing Demand and a Diverse Rehearsal Space Marketplace
The response on social media has been overwhelmingly positive. The general consensus is clear: without PianoMe, many rehearsal rooms would remain unused for hours or even days, generating costs instead of value. With PianoMe, this situation is reversed. As one private host wrote in a Google review, their grand piano used to be played only on weekends, but thanks to the platform, both the instrument and the room are now actively used during the week as well.
As the PianoMe network continues to expand, the range of available spaces is becoming increasingly diverse. Today, the platform offers far more than single piano practice rooms. Musicians can find studios equipped with drum kits, electric guitars, or even full recording setups. Room sizes vary widely—from small attic spaces and basement studios to full concert halls and modern event venues with stage and seating.
Browsing PianoMe feels like discovering the hidden musical infrastructure of a city. Many users are surprised by how many rehearsal rooms and instrument-equipped venues exist behind the scenes—places they would never have found without the platform.
Despite this wide selection, choosing the right room remains simple. User reviews provide real insights into the quality of the space and the instruments. In addition, each listing includes detailed information such as available equipment, room size, hourly price, capacity, concert suitability, rental conditions, and real-time availability.
The platform is used not only by professional musicians but also by hobbyists. And it is no longer limited to pianists—singers, amateur bands, choirs, violinists, composers, and many others are now part of the growing PianoMe community.
Free Music Event Promotion and Digital Tools for Musicians
Every musician wants to perform live—and ideally to a full audience. PianoMe makes this easier by allowing users to promote their music events completely free of charge. The platform’s event promotion page, together with its integrated event QR code feature, has recently been expanded with additional functions. Event announcements can now be created on any device within minutes and shared directly across social media channels.
For those who prefer physical promotion, PianoMe also offers a one-click poster generator. Users can design, download, print, and display posters without needing external design tools. Concert programs can be distributed digitally via QR codes, enabling audiences to access them instantly on their smartphones—saving both printing costs and large amounts of paper.
By combining rehearsal spaces with digital promotion and content sharing, PianoMe goes far beyond room booking. It creates a connected ecosystem where musicians support each other, exchange ideas, and present their work.
Read PianoMe’s interview with Frances Wilson (The Cross-Eyed Pianist)
Audience needed, no experience required
I hate to say it, but classical music still suffers from an image problem; an image crisis in fact. Despite the best efforts of performers, promoters, venues and music lovers, the artform is perceived by many as elitist and only accessible to the few, not the many. It wasn’t always like this: when I was growing up in the UK in the 1960s and 70s, there seemed to be classical music everywhere – on the radio and tv (including live broadcasts of orchestral concerts and wonderful programmes presented by André Previn), in tv adverts and in shops.
Now if you mention you are a fan of classical music, people may look at you slightly askance. Or, as has happened to me on several occasions, ask, “did you come to like classical music as you got older?” – because, yes, the demographic for classical music is generally in the over 50 bracket. (I’ve always liked classical music, ever since I was a little girl.)
Yet venues and promoters obsess about capturing that elusive (and often not especially interested) “younger/youth audience”, at the risk of alienating their core audience/demographic. One particularly depressing current example of this is London’s Southbank Centre, which is “leaning more heavily on describing classical music with a different language. Well-meant pieces to camera demystify the genre for this untapped, cynical and supposedly disinterested audience, the word ‘bangers’ used to describe popular works and sundry other nerve-jangling scores.” (Thoroughly Good blog). Alongside this, the venue has launched a classical music podcast for which “you don’t need a PhD to listen to”.
It has never been necessary to hold a PhD to enjoy classical music – or indeed any genre of music (though I might make an exception for jazz, which I find far more esoteric, exclusive and mystifying than classical music – but that’s just me!). Which is why I am drawn to this phrase “audience needed – no experience necessary” (borrowed from this image):
The phrase “audience needed – no experience required” reframes classical music from something exclusive and intimidating into something open, welcoming, and participatory. It signals that listeners don’t need prior knowledge, training, or cultural “credentials” to belong – only curiosity and willingness to listen. Added to that, it doesn’t patronise or use “trendy” language. It tells newcomers that their lack of expertise isn’t a disadvantage but rather an asset, a starting point for discovery.
Musicians can use the message to bridge the gap between performer and audience. It frames them not as distant experts, but as fellow explorers eager to share something beautiful and immediate.
And instead of focusing on technicalities (composers, historical context, musical analysis), this kind of marketing can tap into the emotional and sensory appeal of live performance – the sound, the atmosphere, the shared moment. The phrase evokes a sense of adventure and discovery.
It also connects with modern cultural values. Today’s audiences respond to inclusivity, authenticity, and accessibility. “No experience required” aligns with those values, suggesting classical music is for everyone – not a rarefied art form, but a living, breathing experience.
This site is free to access and advert-free, and takes many hours each month to compile and edit. If you find value and joy in this site, please consider making a donation to support its continuance:
The Cross-Eyed Pianist 