Meet the Artist – Mark Viner, pianist

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

I don’t think I can give a definite answer but I remember an immediate fascination with the piano though it wasn’t really something I seriously pursued until the age of about 11. Having said this, I don’t think one really chooses to pursue music but, rather, that it is a calling.

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

I suppose, repertoire-wise, Marc-André Hamelin was the biggest influence – his recordings really opened the door to me as to what there was off the beaten track. Opera has also been quite important to me in recent years. Aside from these more obvious things, art and literature (contemporaneous to whichever music I’m studying) are generally of huge importance when it comes to cultivating an understanding of the music.

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

I think most musicians, if they’re honest, will answer that earning a living is up there. In connection to this is the aspect of striking a healthy balance between teaching and playing together with whatever else we have to do.

Which performance/recordings are you most proud of?

There are some tracks I’m very proud of. I think all CD recordings I’ve made I’m proud of in different ways but, for me, I also think it’s more a sense of what each CD represents; what was going on in my life at the time and the memories connected with learning the works.

Which particular works do you think you play best?

At the moment I am especially drawn to the nineteenth century. I feel I have a particular flare for operatic fantasies but if you had told me that ten years ago I would have laughed in utter disbelief!

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

At the moment, it tends to revolve around what I’m doing recording-wise but not exclusively so. There are also certain things I imagine I would like to play at certain times of the year – not quite sure why that is but the seasons do influence this.

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

I can’t say I do though there are places I enjoy playing and I do sometimes programme works specifically for the space and instrument if I feel it might be particularly gratifying.

Who are your favourite musicians?

Marc-André Hamelin, Myra Hess, Georges Cziffra, Raymond Lewenthal, Maria Callas and Richard Bonynge to mention but a few.

What is your most memorable concert experience?

Probably giving the Hellenic première of the Liszt Hexaméron in Athens, 2012.

As a musician, what is your definition of success?

Earning a living – the rest is an added bonus.

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

I think a sense of what our purpose is. It’s something so obvious it’s overlooked. The world will always need music – it comforts, enlightens and, above all, unites us. Sharing it I regard as a solemn duty and one of grave importance in these fractured and distorted times.

Mark Viner is recognized as one of the most exciting British concert pianists of his generation and is becoming increasingly well known for his bold championing of unfamiliar pianistic terrain. He studied at the Purcell School of Music and the Royal College where his principal teachers included Tessa Nicholson and Niel Immelman. Having won first prize at the C.V. Alkan – P. J. G. Zimmerman International Piano Competition in Athens in 2012, his international engagements have flourished, he has been broadcast on German Radio and been invited to the Oxford Lieder Festival, Cheltenham Music Festival, ProPiano Hamburg and Husum Rarities of Piano Music in Germany. Last year he was invited to play for the Prince of Wales’s visit to his hometown of Oxford. Due to his close association with unjustly neglected areas of the piano literature, he was recently elected Chairman of the Alkan Society.

His recent recording of Aklan’s 12 Études in the major keys Op. 35 was praised for ‘turning Alkan’s forbidding torrents of notes into real music’.