Who or what inspired you to take up the piano and pursue a career in music?
My first love was accordion which was brought to my attention in a very spontaneous way by my father when I was around 4 years old. The accordion is used in Macedonia mostly for folk music, although there are many talented people who can play classical music on it as well. I grew up playing folk music on it and I believe that being part of that tradition helped me a lot from the rhythmic point of view, as well as developing a natural musicality especially in terms of lyricism. At the time when I was entering the primary music school there was no accordion to study as a subject, so it seemed more natural to take up on piano.
Who or what have been the most important influences on your musical life and career?
I certainly had a great influence and great schooling from my Russian teachers, the Romanovs, who taught me the greatest things from the good old Russian tradition and understanding of the music in general. Than I listened to many of the pianistic legends who have inspired me in many different ways. During my concert career I have met many people from different fields around the world who have inspired me to share the musical views and the depths with music lovers. One learns each day and has many different experiences which are part of personal life and interpretation as well.
What have been the greatest challenges of your career so far?
The music is a challenge by itself. In a good way of course – because it enriches the soul and makes life much more beautiful, especially in these crazy times. It is a challenge to keep such a high level of understanding and sophisticated taste on the music circuit and in the music scene nowadays, especially due to the very commercialized world. I am a person who likes purity and embraces life and tries to share that in the most natural way with the colleagues and audiences.
Which performance/recordings are you most proud of?
Oh that is a very difficult question! Each concert or recording is a special in its own way. One concert differs from the other but the truth is that a professional and truly dedicated artist always gives his/her best to each performance. If I really have to give one example, then my very first CD for EMI with the Scriabin and Prokofiev Sonatas as well as Pletnev’s Nutcracker arrangement and Stravinsky’s Petrushka is a special one for me for many reasons. Certainly, I am looking forward to the recording that was done at the beginning of this year of my new folk project “Makedonissimo”, with transcriptions of Macedonian folk music, which will hopefully be released in the near future.
Which particular works do you think you play best?
It would be unfair to my understanding of the music and my total dedication that I have towards all the different styles to answer this question. I think it is good to leave it to the listeners to judge that.
How do you make your repertoire choices from season to season?
I try to have a variety first of all due to the fact that I want to have a more interesting life rather than staying mostly with the same repertoire. Then, I always try to accommodate to the promoters’ wishes and at the end we come to the mutual agreement. I do try to broaden the repertoire carefully each season.
You’re performing the Tchaikovsky Piano Concerto No. 1 with Kirill Karabits and the Bournemouth Symphony Orchestra in May. Tell us more about this?
I’m glad I was invited to play this piece with the BSO on tour to Dublin as well. I remember that I played this piece with the orchestra several years ago with Kees Bakels and as always with this group, I have really wonderful memories. I am also very happy to rejoin Kirill in this old warhorse which always brings an immense joy in performance, but we must not forget that it brings a great sense of responsibility due to the fact that it is one of the most popular pieces in the piano repertoire. That is why I always have a very serious approach to the “well known played notes” and I am looking forward to this collaboration again.
Do you have a favourite concert venue to perform in and why?
There are certainly great halls around that I have played in, especially in the UK. One really feels nice at the Wigmore Hall, the Light House, Liverpool Philharmonic Hall, Birmingham Symphony Hall, Edinburgh and Perth and Dundee halls for example. But I also like playing in churches which give some majestic feeling. In any case I feel privileged.
Who are your favourite musicians?
The ones who show really natural musicianship and are very natural and simple people. No need to be cautious nor careful. Everything goes smoothly.
What is your most memorable concert experience?
There are really several ones. The first are certainly strong ones. It is not easy. If I have to give one or few, I will mention my debut with the Macedonian Philharmonic as well as my Wigmore Hall debut. I certainly remember my recital at the Light House in Poole which brings back wonderful memories.
As a musician, what is your definition of success?
Being truly dedicated to what you do, pure and unpressured, and share that in the most natural way without any “external” needs. That should help you to be at one with the music, and that can be felt by the audiences. Keeping the feet strongly on the ground and not “flying in the clouds” artificially. That way you can certainly sleep calm during the nights. And fulfilled.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
To be true to themselves after following the most natural guidance of the composers – written in the scores. Keep the logic and nature in the music. Do not try to pretend just for the sake of being different in an unnatural way. It gives the opposite effect.
Where would you like to be in 10 years’ time?
Hopefully in a “safe” place both privately and professionally. Most importantly, to be healthy and with a peace in the soul and mind.
What is your idea of perfect happiness?
To see my family happy.
What is your most treasured possession?
Simon Trpčeski performs Tchaikovsky’s Piano Concerto No. 1, conducted by Kirill Karabits, with the Bournemouth Symphony Orchestra on 9 and 10 May in Poole (Lighthouse) and Dublin (National Concert Hall).
Macedonian pianist Simon Trpčeski performs with the world’s foremost orchestras including London Symphony Orchestra, Royal Concertgebouw, Russian National Orchestra, NDR Elbphilharmonie Orchester, WDR Sinfonieorchester Cologne, Helsinki Philharmonic, Oslo Philharmonic, Orchestre National de France, Real Filharmonía de Galicia, New York and Los Angeles Philharmonics, New Japan Philharmonic, China Philharmonic and Melbourne Symphony Orchestra. He regularly gives solo recitals in such cultural capitals as New York, London, Paris, Munich, Prague and Tokyo, and performs chamber music at festivals such as Verbier, Aspen Music Festival, Bergen International Festival, the Baltic Sea Festival and the BBC Proms.
Conductors he regularly collaborates with include Marin Alsop, Lionel Bringuier, Thomas Dausgaard, Gustavo Dudamel, Jakob Hrůša, Vladimir Jurowski, Susanna Mälkki, Andris Nelsons, Gianandrea Noseda, Sakari Oramo, Antonio Pappano, Vasily Petrenko, Jukka-Pekka Saraste, Lahav Shani, Dima Slobodeniouk, Robin Ticciati and Krzysztof Urbański.
During the 2017/18 season Trpčeski will reunite with the San Francisco Symphony, St. Louis Symphony, City of Birmingham Symphony Orchestra, Philharmonia Orchestra, New Zealand Symphony Orchestra and the Tonhalle-Orchester Zürich on tour, as well as joining Stavanger Symphony Orchestra, Orchestra del Teatro di San Carlo, BBC Scottish Symphony Orchestra, Tasmanian Symphony Orchestra, Ulster Orchestra and Slovenian Philharmonic, amongst others. Autumn 2017 marks the beginning of a string of diverse performances at London’s Wigmore Hall as an Artist in Residence, featuring his regular duo partnership with the cellist Daniel Müller-Schott, as well as including the UK debut of the self-made folk-based project, “Makedonissimo”, celebrating the music, culture and people of his native Macedonia.
Trpčeski has recorded prolifically to widespread acclaim. His first recording (EMI, 2002) received both the “Editor’s Choice” and “Debut Album” awards at the Gramophone Awards. In 2010 and 2011, his interpretations of Rachmaninov’s four piano concertos with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra were recognized with Classic FM, Gramophone “Editor’s Choice,” and Diapason d’Or accolades. Trpčeski’s March 2012 recital at the Wigmore Hall, released on “Wigmore Hall Live”, was immediately hailed by The Telegraph as “Classical CD of the Week.” His most recent recording for Onyx Classics features Prokofiev’s Piano Concertos No. 1 and 3, and again won him the Diapason d’Or in September 2017.
With the special support of KulturOp — Macedonia’s leading cultural and arts organization — and the Ministry of Culture of the Republic of Macedonia, Trpčeski works regularly with young musicians in Macedonia in order to cultivate the talent of the country’s next generation of artists.
Born in the Republic of Macedonia in 1979, Simon Trpčeski is a graduate of the School of Music in Skopje, where he studied with Boris Romanov. He was previously a BBC New Generation Artist, and was honoured with the Royal Philharmonic Society Young Artist Award in 2003.