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

I must say, I don’t know… My parents, although not musicians, are very musical. My father composed some songs for my mother to sing with his guitar accompaniment. There was always much music in the house, mostly classical and what in Russia is called ‘bard song’.

There also was an upright piano and I well remember I was fascinated, enchanted by the sound of major third.

But in the end it all might be even simpler and a bit embarrassing. I was about 6 years old and I went to a symphonic concert to hear a violinist playing. She was wearing a purple velvet dress, a rather unbelievable hue of purple. I thought I’d never seen a colour more sumptuous…and I decided I wanted to play violin. That’s how my path in music started – I am afraid, because of a velvet dress!

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

I am easily influenced in the sense that I am easily fascinated, easily enthused about things. In a way, this can be a disruptive quality sometimes – one needs, perhaps, some distance with the subject to get to the core of it. Inevitably, the list of musicians who left their imprint on my playing is long and eclectic.

My first great musical idol was Sviatoslav Richter. Of course, I heard his recordings very early on, but I “discovered” him in my teens. I then first understood what a word “musician” means, or should mean. A few years later I was struck by Theodor Currentzis who came to my home town in 2004 to start Musica Aeterna. I never knew before how hard one can work and how far one can go in carving ideas and reaching one’s vision. Yet later on I subsequently worshipped Mikhail Pletnev, Dietrich Fischer-Dieskau, then Maria João Pires with whom I studied, and Graham Johnson. During my years at the Moscow Conservatory I was very much under the spell of one of my mentors, Pavel Nersessian, a formidable personality and a very unique musician. Lately, however, I feel more and more that I am influenced, inspired or fuelled by things outside music, be it painting, photography, dance or fashion.

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

The challenge which perhaps is quite specific for the time we live in is to pace oneself and allow the music enough space and time to grow naturally. It is extremely important, but it takes quite some effort to avoid temptations and sometimes work hard against the flow.

Yet a greater challenge is to always try and see – artistically – things as they are, not what you expect them to be. It’s hard work overcoming your own knowledge and experience. It is a paradoxical but, I believe, a necessary task for any artist at some point.

Which performance/recordings are you most proud of?

Perhaps, the Louis Couperin disc was altogether the most ambitious and challenging recording project to date. In Russian we say: “To push a camel through an eye of a needle”. That’s what it was.

Which particular works do you think you play best?

The ones that I am deeply in love with at the given moment.

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

The repertoire choices are painful…. I have big appetite for repertoire, but a pianist has to set the priorities clear early enough as Alfred Brendel once said to me. You learn to live with the thought that you won’t be able to play everything you want, in a lifetime.

Usually, there emerges a certain theme, or a composer, or a piece which attracts me. I then start searching for a concept that would be strong enough to construct a program around it. It is curious that at a certain point there is always an element of surprise, a moment of spontaneity when you suddenly see the possibilities that you didn’t expect at all at first. It’s important not to miss that moment.

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

Perhaps I enjoy the most playing at places that are not regular concert venues. When they sound good, of course.

Who are your favourite musicians?

My most favourite musicians are those that are fearless, selfless and inquisitive.

What is your most memorable concert experience?

When I was 16 years old I went to a music festival in Casalmaggiore. At one point with few friends we went on a day trip to Venice. As we were walking past La Fenice a friend from St Petersburg noticed that Grigory Sokolov was playing that very night. We went in and bought last tickets. I had not a slightest idea who he was. He went on stage and the instant before he started playing I knew I was about to hear something I’d never forget.

As a musician, what is your definition of success?

Success is like food: the quantity and quality of it shapes you in a certain way over the time, whether you want it or not. Have too little or too much of it – and you will die, metaphorically speaking of course.

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

Funnily, my deep conviction is that no idea or concept of true artistic importance can be imparted or transferred. The real things are those that you grow yourself in your own garden, without anyone overseeing. In that sense art is the land of absolute sole responsibility. There is nothing that cannot be challenged, but in fact there is nothing that has to be challenged at all – quite simply, there really is nothing that is impossible, unless you’ve decided so.

Since becoming Prize Laureate of the Honens Prize for Piano in 2012, Pavel Kolesnikov has performed around the world.  Significant recital and festival appearances include Zankel Hall at Carnegie Hall, Berlin’s Konzerthaus, the Louvre (Paris), Vancouver Recital Society, La Jolla Music Society, Spoleto Festival USA, Canada’s Ottawa ChamberFest and Banff Summer Festival, Plush Music Festival, and the BBC Proms.  Recent and upcoming orchestral appearances include London Philharmonic, Philharmonia Orchestra, Russia’s National Philharmonic, Orquestra Sinfônica Brasileira and Toronto Symphony Orchestra. Pavel is also a member of BBC Radio 3’s New Generation Artists for 2014 to 2016 and RCM Benjamin Britten Piano Fellow for 2015 to 2016.

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(artist photo: Eva Vermandel)

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Some years ago, when I was preparing for one of my performance diplomas, I received some mentoring from a concert pianist acquaintance. On placing my copy of Liszt’s Sonnetto del Petrarca no. 123 on the music desk of the piano, he commented that there was “an awful lot of writing on it” and that it might be better if I worked from a clean score. I replied that I found the notes, annotations and personal doodles helpful; he then told me an anecdote about A Very Famous Pianist who would work from a photocopy or second copy of the score and put the original away in a drawer. It was only when I was working towards my Fellowship diploma, for which Schubert’s Sonata D959 was the main work in the programme, that I recalled this anecdote and I invested in several copies of the Henle edition of the sonata – one was my “working score”, the other a clean score (I also had a Barenreiter edition of the score because I found the introductory notes useful). As you can see from the photo, the working score of the Schubert is really quite messy – and I suspect my concert pianist acquaintance would be appalled by the number of annotations scrawled upon it.

Original working score
Newer score

I recently revisited the Liszt Sonetto and was genuinely horrified by the mess I’d made of the score – so many annotations, directions to myself (such as “Head up!” to remind me not to dip my head into the keyboard to give the impression of profound emotion!) and sundry other scribblings, many of which I now found illegible or incomprehensible. I wanted to play the piece but the annotations were simply too distracting. And because it’s an inexpensive score, to rub out all the markings would make a mess of the paper….  A clean score would mark a clean start.

At the most practical level, annotations can help us find our way around the music. Fingerings in particular need to be marked up and are invaluable when returning to a previously-learnt piece, enabling one to (re-)negotiate tricky passages. But a clean score of a previously-learnt work can be very liberating – as I found when I returned to the Schubert sonata with a view to reviving it. With a brand-new score, I noticed new details in the music, so much so that at times I felt I was learning a different piece – and then the anecdote about the concert pianist who put his clean scores in a drawer really made sense to me. If you have spent weeks and months – years even – with the same score, the same familiar pages, now dog-eared and friable from so much use, you stop seeing all the notes and personal markings. A clean score is a useful wake-up and a chance to refresh the music.

Students may be reluctant to write on their scores, perhaps seeing the text as something inviolable. As a teacher, I encourage students to mark up their scores: the act of writing a note is an important part of the learning process, and besides, notes made in pencil can be rubbed out when no longer needed. Also, some editorial markings in scores, especially in exam pieces, can be confusing – fingerings may need to be changed or a bar or section might require some additional clarification. Because teaching is about respect (or at least it should be), I never write on a student’s score without their permission (though I have witnessed other less respectful teachers scrawling bossy notes across a student’s score without asking first).

Annotations and the other writings on our scores are also incredibly personal and significant and represent our own special relationship with the text, and a specific time in our musical development. Our notes and markings may be intimate and private, and, almost diary-like, chronicle an evolving relationship with the music.

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(Header image: part of Glenn Gould’s Goldberg variations score)

music.

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

I always loved to sing; in fact, I can’t imagine a life without being allowed to sing.

Singing makes me feel free, and what is a life without freedom? I suppose there are many ways of expressing oneself, but for me, the most natural is to sing. I like the fact that my body is my instrument, and that I can use it to communicate with an audience. It’s such a direct transfer of emotion from my heart to other hearts. I never thought there would be another path for me. That’s my path.

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

My music teacher in high school, Tim Bruneau, had a big impact on the way I listen to and think about music. He taught the chamber choir at the girls’ school I attended in Los Angeles, and we rehearsed every day. He always shared the latest recordings with us. We listened to incredible singers (mostly women) every day: Jessye Norman, Kiri Te Kanawa, Frederica von Stade, Cecilia Bartoli, Barbara Bonney… He taught us to listen for colour and tone, for style, to study how the singers used their breath – those were very formative years. I know my love for lieder and art song began then. In terms of career, the best advice I ever received was from my friend Frederic Alden, who is a businessman. He told me to “look at what everyone else is doing and do something different.”

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

Producing my brand-new album ‘The Wild Song’ on my own has been particularly challenging. Several people told me to give the recording to a label and let them produce it, but I had invested so much of myself in its creation that I thought it would be better to produce the album myself. I wanted to make a very beautiful object, and I knew that record labels didn’t do that anymore. I’m thrilled the album has been so well received.

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Which performance/recordings are you most proud of?

I’m very proud of ‘The Wild Song’. I set out to make a recording that was very different from anything I had ever heard. I wanted to mix classical art song with spoken poetry and electronic music. Although I feared that an album like ‘The Wild Song’, which is rather non-traditional, would be rejected by the classical community, I have been delighted by the classical community’s embrace of it. To me, that means our community is evolving, which I think is very necessary in our intensely connected and computerised world. The biggest musical challenge in the project was ensuring the transitions between the different genres felt organic, and I think Mychael Danna’s electronic interludes work very effectively as bridges between Britten’s songs and W B Yeats’ poems.

Which particular works do you think you play best?

I have been a champion of women composers for a very long time, far before it was fashionable. Historically, there are so many who have not been given the attention they rightly deserve. I particularly love to sing Mel Bonis’ mélodies and Barbara Strozzi’s vocal music. However, Clara Schumann composed my favourite lieder, and I would say my favourite song of all is Liebst du um Schönheit. I love Rückert’s poem about loving for love’s sake. When it comes down to it, the only thing that truly matters, is love.

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

I love words. My repertoire choices are always made based on the poetry. If I can’t relate to the words or the poem, I can’t sing the song. Music always has to come from the heart, so I have to be able to relate to the poetry.

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

My dream is to perform ‘The Wild Song’ at the Disney Hall in Los Angeles. Somehow it would be going full circle— taking a dream I created in Europe back home with me.

Who are your favourite musicians?

My favourite living singers are Barbara Bonney and Thomas Hampson. I absolutely adore Barbara Bonney’s voice, both for its purity and force, and I find it very sad that she is not performing anymore. What fascinates me with Thomas Hampson is that he is able to create a very strong connection with the audience from the moment he sings the first note of a recital. I’ve never seen anyone else do that. It usually takes other singers an entire song or two. He is truly a master recitalist. As for singers ‘of old,’ I am a huge fan of Rita Streich. I don’t think there has ever been a more fabulous Zerbinetta. As for pianists of the “new generation,” I love listening to Víkingur Ólafsson. I’m also a big fan of Igor Levit.

What is your most memorable concert experience?

I once gave a recital in the Royal Chapel in the Château de Versailles. It was such a glorious place to sing. Not only were acoustics incredible but the chapel itself is so incredibly beautiful. I very much like to sing in places with centuries of history; I like the idea of being part of that history.

As a musician, what is your definition of success?

Success is being able to do the next project that is blossoming in my imagination.

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

I think the main thing is to never give up. That’s obviously challenging on a hard day, or during a hard year, but it’s really important. My yogi friends often use a hashtag that says #practiceandalliscoming. We musicians should use the same hashtag. Practice. Don’t give up. Trust your instinct.

What is your idea of perfect happiness?

I think we all carry perfect happiness inside ourselves all of the time. The challenge is being able to tap into it. Unfortunately, I believe most people never learn to tap into their true selves and never experience this. My yoga practice has taught me that peace and happiness are always available to us. I have a deep sense of contentment.

The Wild Song is available now

Review of The Wild Song

American by birth and Parisian by inclination, Marci Meth has been celebrated for her performances “imbued with charm and elegance” (Classica magazine). Nominated for the most promising recording by a young classical singer at the Orphées d’Or in Paris in 2009, her performances have been lauded by audiences at the Château de Versailles, St. Martin-in-the-Fields, St. James Piccadilly, as well as at venues in Paris, Stockholm, Brussels, Tokyo and Osaka. 

The creation of The Wild Song has occupied Marci for the past three years and has included the creation of a new record label, Modern Poetics. The Wild Song brings together Marci’s interests in poetry, music and film and is her vision of what the 19th century song recital looks and sounds like in the 21st century. 

Marci Meth earned her Postgraduate Diploma at the Royal College of Music in London and was awarded the Century Fund Prize for Early Music. She has studied singing with Ryland Davies, Jennifer Smith, Christine Barbaux and Marie-Claude Solanet. She received her Bachelor’s degree in Art History from Stanford University. 

marcimeth.com

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Who or what inspired you to take up composing, and pursue a career in music?

At the age of 5, having heard classical music on the radio and piano lessons at my mother’s school, I asked my parents if I could have piano lessons. After piano lessons started I decided I wanted to be a concert pianist and a few years later I began writing pieces for myself.

Who or what were the most significant influences on your musical life and career as a composer?

Contemporary dance. People, songs, dance and the landscapes of my native Jamaica. The music of Bela Bartok. Later also the music of J S Bach, Birtwistle, Stravinsky, Messiaen, Schoenberg, Robert Cohan.

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

Two things: issues of race and gender in as much as they have defined me in the minds of others.

Not having had what is considered a thorough and proper university education as a composer.

What are the special challenges/pleasures of working on a commissioned piece?

Deadlines; they are as energising as they are terrifying.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Finding out and knowing about the special strengths of particular soloists or groups. I found that working with, for instance, Mary Plazas whilst writing my opera was a big influence in how that role was shaped. Ditto writing my first violin concerto for my violinist husband, Thomas Bowes.

Of which works are you most proud?

‘Snow White’ as it was my first piece for that size of orchestra. Far from being intimidated I felt instantly at home.

My three String Quartets I can now look back on with great pride. I managed three quite substantial pieces I feel, and that they are all very different from each other pleases me especially now that they have been recorded.

The Opera ‘Letters of a Love Betrayed’ because it so clearly moved people when they saw and heard it.

I was also proud of ‘Arise, Athena!’ which I wrote for the last night of the BBC Proms.

How would you characterise your compositional language?

I have a language which ranges from things clearly derived from my Jamaican childhood and heritage through to the sort of sounds people more often associate with modernism. There always seems to be a sliding scale of the proportions of these two extremities. This has been a problem for some people – even me – at times. But I’m now quite relaxed about this. I write to be me.

Who are your favourite musicians/composers?

There are those I’ve admired from afar; composers Schoenberg, Berg, Bartok, Stravinsky, Shostakovich, Messiaen, JS Bach; pianists Martha Agerich, Sviatoslav Richter, conductors Kleiber and Furtwangler amongst others.

And then those who I’ve actually had the pleasure of hearing or getting to know or working with – Jeremy Huw Williams, Mary Plazas, Thomas Bowes, Joseph Swensen, Joanna MacGregor, Peter Ash, Harrison Birtwistle to name a few.

As a musician, what is your definition of success?

Sensing an audience has been moved or thrilled or for whom one senses time has stood still during a performance. All three at once is good.

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

Be serious about what you are doing. Be persistent, dedicated, disciplined and passionate. Be yourself – that’s the tricky bit.

What is your most treasured possession?

My home.

What do you enjoy doing most?

Composing, playing. Relaxing with my hubby and friends.

 

London’s premiere youth orchestra, the London Schools Symphony Orchestra, will mark Eleanor Alberga’s 70th birthday with a performance of her musical adaptation of Roald Dahl’s Snow White and the Seven Dwarfs at London’s Barbican Hall on 23 September. More information

With her 2015 Last Night of the Proms opener ARISE ATHENA! Eleanor Alberga cemented a reputation as a composer of international stature.  Performed by the BBC Symphony Orchestra, BBC Chorus and conducted by Marin Alsop, the work was heard and seen by millions.

Her music is not easy to pigeon-hole.  The musical language of her opera LETTERS OF A LOVE BETRAYED (2009), premiered at the Royal Opera House’s Linbury stage, has drawn comparisons with Berg’s Wozzeck and Debussy’s Pelleas, while her lighter works draw more obviously on her Jamaican heritage and time as a singer with the Jamaican Folk Singers and as a member of an African Dance company.  But the emotional range of her language, her structural clarity and a fabulously assured technique as an orchestrator have always drawn high praise.

Born in Kingston, Jamaica, Alberga decided at the age of five to be a concert pianist, though five years later she was already composing works for the piano.

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eleanoralberga.com