Franz Liszt divides opinion. For some he is regarded as one of the greatest pianist-composers of the Romantic era; for others, he is a showman and a charlatan who wrote vulgar, showy music. 3D rendering of Franz Liszt by Hadi Karimi In fact, he was a remarkable musician and human being. Sure, as a performer he could be flamboyant and extravagant in his gestures, but he helped shape the modern solo piano concert as we know it today and he also brought a great deal of music to the public realm through his transcriptions (he transcribed Beethoven’s symphonies for solo piano, thus making this repertoire accessible to both concert artists and amateur pianists to play at home). He was an advocate of new music and up-and-coming composers and lent his generous support to people like Richard Wagner (who married Liszt’s daughter Cosima). His piano music combines technical virtuosity and emotional depth. It’s true that some of his output is showy – all virtuosic flourishes for the sake of virtuosity – but his suites such as the Années de Pèlerinage or the Transcendental Etudes, and his transcriptions of Schubert songs demonstrate the absolute apogee of art, poetry, and beauty combined. Martha Argerich Martha Argerich brings fire and fluency to her interpretations, underpinned by a remarkable technical assuredness. Her 1972 recording of the B-minor Sonata and Hungarian Rhapsody No. 6 is regarded as “legendary”. Leslie Howard Australian Leslie Howard is the only pianist to have recorded the solo piano music of Liszt, a project which includes some 300 premiere recordings, and he is rightly regarded as a specialist of this repertoire who has brought much of Liszt’s lesser-known music to the fore. Lazar Berman Berman’s 1977 recording of the Années de Pèlerinage remains the benchmark recording of this repertoire for many. Berman brings sensibility and grandeur, warm-heartedness, and mastery to this remarkable set of pieces.
Alim Beisembayev Winner of the 2021 Leeds International Piano Competition, the young Armenian pianist Alim Beisembayev’s debut recording of the complete Transcendental Etudes is remarkable for its spellbinding polish, precision, and musical maturity, all supported by superb technique.
Yuja Wang Yuja Wang has been praised for her breath-taking interpretations of Liszt’s First Piano Concerto which combine force and filigree, emotional depth, and technical mastery to create thrilling and insightful performances. Other noted Liszt pianists include Georges Cziffra, Jorge Bolet, Krystian Zimerman, Lang Lang, Daniil Trifonov, Sviatoslav Richter, Marc-André Hamelin, Nelson Freire, Claudio Arrau, and Vladimir Horowitz.
(image credit: 3D rendering of Franz Liszt by Hadi Karimi)

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A Vast Obscurity celebrates a number of notable anniversaries in the creative arts, including the bicentenary of Lord Byron’s death, the 460th anniversary of Shakespeare’s birth, as well as the centenary of the death of Song Easel’s featured composer, Gabriel Fauré. The work of poets plays a central role in this year’s series, with ‘obscurity’ a collective noun for a group of poets.

Audiences can look forward to some of the genre’s most incredible music, including Gerald Finzi’s Let us Garlands Bring (Francesca Chiejina, 16 June), and various depictions of the classic Wanderer figure (Mark Padmore CBE, 21 June). A vibrant new take on Don Juan (Ella Taylor, 31 May) features a new commission for the bicentenary of Byron’s death from Dr Joe Spence and Emily Hazrati, as well as a veritable feast of Gabriel Fauré across his centenary weekend (11-12 May), with highlights of Fauré’s Requiem Op.48, starring Elin Manahan Thomas, followed by a complete performance of his mélodies the following day – not to be missed! 

Song Easel is thrilled to share an unforgettable collection of recitals in a variety of venues in South East London where performances promise to transport audiences to new dimensions. To quote the vision of Song Easel’s esteemed launch artist Roderick Williams OBE, “words are no longer just words, and music is no longer just music.” 

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About Song Easel

SongEasel is an Arts and Education charity operating in South East London.

Our annual song series features some of the world’s leading exponents of song, whilst our vibrant community engagement and education programmes bring live music of an international standard to new listeners, building audiences for the genre in innovative and creative ways.

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The pursuit of musical excellence is a journey that many musicians embark upon with a fervent desire to achieve perfection. We strive for flawless performances, impeccable technique, and unwavering precision. As an advanced amateur pianist, these are goals to which I too aspire.

But the constant pursuit for perfection and an ongoing desire for perfectionism in one’s music making can be a double-edged sword for musicians. The relentless pursuit of flawlessness can lead to a never-ending, often negative cycle of self-criticism and anxiety. Musicians who set impossibly high standards for themselves may find it difficult to ever feel satisfied with their performances, leading to a constant state of stress and self-doubt. Some may ask themselves, “will I ever be good enough?”

The pursuit of musical mastery is admirable, and indeed the striving for mastery is a major driver of motivation and commitment. However, it is also essential to recognise the significance of know when and accepting that you are “good enough” as a musician. Perfection can be an unattainable goal; acknowledging you are “good enough” is not only perfectly acceptable but can also be liberating and personally fulfilling. It can help musicians to break free from the paralysing grip of perfectionism, allowing them to enjoy the process of making music and to develop as artists and individuals.

My own personal acceptance that I am “good enough” came after I had spent nearly ten years studying for professional performance diplomas, having returned to the piano seriously after a gap of nearly 25 years. Having secured two diplomas with distinction in relatively quick succession, my ego led me to believe that the final, Fellowship diploma was well within my grasp. Unfortuntely, I failed this diploma; the deep disappointment I felt on receiving the news gave me an opportunity to reflect on what I really wanted from my music. I knew I would never be a professional musician, despite playing at an advanced level and receiving external validation from teachers, mentors, peers and audiences, and I knew I was a good pianist. But taking lessons, and attending courses and piano meetup events, where there was a tendency to constantly compare oneself to others of a similar ability, made me question my own abilities in a way which made practicing and music making feel like a chore rather than a pleasure. (And ultimately, as a amateur musician, pleasure should be at the foundation of one’s musical pursuits.)

You don’t need to go on courses to know you’re good” my ultra-sensible, pragmatic and honest husband told me one day. And he was right. So I learnt to trust my own musical instincts, to recognise the value of what I had to say and to measure it against the music rather than other people – to, as Schumann said, “…converse more with scores than with virtuosi” – to recognise my own autonomy as a musician, and accept that I am “good enough”.

The result has been liberating. I no longer care what other people are playing, at what level they play at, or what repertoire they are working on. I play the music I want to play, and I’ve stopped beating myself up if I don’t practice every day (another joy of being an amateur is not feeling beholden to one’s instrument and muse every single day).

So why should you, as a musician, accept that you are “good enough?”. Here are some thoughts on the subject:

Embracing Individuality

Every musician possesses a unique set of skills, experiences, and perspectives. Embracing the idea that you are “good enough” means recognising and celebrating your individuality as an artist. It allows you to focus on your strengths, develop your style, and create a distinctive musical identity. While aspiring to reach new heights and improve is essential, acknowledging your current level of skill and artistry is a valuable step toward authentic self-expression.

Redefining Success

Success in music should not solely be measured by technical perfection or the approval of critics, peers, teachers or audiences. By accepting that you are “good enough,” you redefine what success means to you personally. It can encompass the joy of playing, collaboration with colleagues, the connection with your audience, and the sense of accomplishment from personal growth. This shift in perspective encourages a more holistic and fulfilling musical journey.

Reducing Performance Anxiety

The fear of making mistakes and the pressure to be flawless on stage are very common triggers for performance anxiety in musicians. Accepting that you are “good enough” can significantly alleviate this anxiety. When you recognize that making mistakes is a natural part of the learning process and that it does not diminish your worth as a musician, you can perform with greater confidence, freedom and enjoyment.

Sustainable Motivation

Constantly striving for perfection can lead to burnout. On the other hand, acknowledging that you are “good enough” can provide you with a sustainable source of motivation. The satisfaction derived from setting achievable goals, making incremental but noticeable progress, and celebrating small victories can keep you inspired and committed to your musical journey over the long term.

In conclusion, accepting that you are “good enough” is not a sign of complacency nor mediocrity. It is a testament to self-compassion, personal growth, and a healthier perspective on the art of making music. Embracing your current level of skill and artistry while still aspiring to improve can lead to a more fulfilling, enjoyable, and sustainable musical journey.


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(Photo credit Katrina Wright on Unsplash)

Award-winning British composer Thomas Hewitt Jones has written a brand new hymn especially for the Royal School of Church Music’s Big Hymn Sing for Music Sunday. With words by Dr Gordon Giles, Canon Chancellor of Rochester Cathedral, Sing to the Lord, a new song of creation is a wonderfully rousing hymn in five verses, with a soaring descant in the final verse.

Thomas Hewitt Jones says, “Gordon Giles and I have had enormous fun writing this new hymn for the RSCM’s Music Sunday. It celebrates in words and music the joy of singing together in a spiritual context – one of the most uplifting things that any of us can do. I’ve written tune in E-flat major, which is a very warm key, and there are one or two harmonic surprises which I hope reward both singer and listener alongside Gordon’s beautiful text. Here’s to us all lifting our voices together for the fantastic cause of encouraging and protecting the value of singing together – and thinking beyond ourselves – both now and in the future.”

Gordon Giles says, “With this hymn specially written for music Sunday, inspired by Thomas’ magnificent tune, I wanted to write a set of words which ebbed and flowed, rose and fell with the arc of the tune, and which not only drew on scripture but enabled us to sing about singing and its purpose in worship – to praise God. Drawing on the theology of Dietrich Bonhoeffer (who was an accomplished pianist) and Paul Tillich, I wanted to reference the idea of God not just as ground of our being, but ground bass – the metaphorically musical foundation of all the spiritual counterpoint that our lives weave above and around the fundamental concept of God as creator, saviour and inspirer of everything, including faith, hope and love.

There is also something essentially trinitarian about the harmony of earth and heaven, expressed in the triad – the three-in-one chord, which is both the basic structure and harmonic variation of music with endless and eternal possibilities.  The harmonies we make and sing with our God-given voices are expressions of both divine and musical trinities of melody, harmony and counterpoint all working together yet sounding as one.”

Music Sunday, which this year takes place on Sunday 9th June, is an annual event presented by the Royal School of Church Music (RSCM) to celebrate and give thanks for the music and musicians that enhance worship in such a meaningful and powerful way. Participating churches in 2023 included Winchester Cathedral, Llandaff Cathedral, Peterborough Cathedral, Dulwich College Chapel Choir, and St Michael and All Angels in Colombo, Sri Lanka.

This year the RSCM is encouraging churches to put on a Big Hymn Sing For Music Sunday and it has created resource pack which can be downloaded from the RSCM’s website. Churches are encouraged to do something special – it might be their own Big Hymn Sing for Music Sunday, holding a special service, using special prayers, putting on a concert or having a social event. Above all, Music Sunday is about celebrating church music and the work of all church musicians.

The other hymns in the RSCM’s Music Sunday Big Hymn Sing resource pack were selected following a public vote and include well-known, much-loved hymns such as Dear Lord and Father of Mankind, Guide Me, O Thou Great Redeemer and Love Divine, All Loves Excelling.

Full details of the Big Hymn Sing for Music Sunday, including the downloadable hymn pack and a toolkit to help plan and advertise events, can be found here: https://www.rscm.org.uk/whats-on/music-sunday/

In a transformed landscape in the aftermath of Covid, the RSCM is reaching out with a vision to involve churches and communities nationwide, as well as overseas, to celebrate the role of church music in worship and the dedication of all church musicians. The RSCM, as an educational charity, supports the church and church musicians to make the best of music in worship, and RSCM Music Sunday is a powerful way to provide a positive solution for everyone to come together to celebrate. From extended services to afternoon teas; from recitals to cake sales; from sponsored hymns to small churches joining together, there are so many ways to join in.  


The Royal School of Church Music

The Royal School of Church Music (RSCM) is the Salisbury-based, national, independent charity enabling the flourishing of church music. As the central ‘home’ of church music, RSCM provides relevant education, training and resources to its membership, the wider church, and beyond. It is committed to encouraging the best of music in worship, and to advocating music as a tool for growth of the church.

The RSCM supports thousands of member churches across the UK and worldwide through its international partners. In addition, it also supports many schools and Individual members, and its work is sustained by thousands of Friends, Regular Givers and other donors.

The RSCM is an open, life-long learning organisation, offering face-to-face and distance education and training through its programmes, published resources, courses and activities.

Founded by Sir Sydney Nicholson in 1927, the RSCM’s original emphases were English and choral. Now, in a diverse international context, the RSCM’s work is far broader and more diverse, and aims to make all its work ecumenical in purpose, nature and content.

Her Majesty Queen Elizabeth was RSCM’S Royal Patron from 1952 until her death in 2022, and its president is The Most Revd and Rt Hon The Lord Archbishop of Canterbury. The organisation celebrates its centenary in 2027.

www.rscm.org.uk

Registered charity no: 312828