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organ

The splendid venue that is St John’s Smith Square, a beautiful eighteenth century church nestled amongst government offices and ministries in the heart of Westminster, is fast becoming one of my favourite London concert spaces – not just for piano music but also chamber, orchestral and choral music. I’ve even performed there myself, albeit a mere “15 minutes of fame” as part of St John’s 24-hour Music Marathon! And since September, I’ve been attending the monthly lunchtime organ recitals through which I’ve discovered a real liking for organ music. This is in part down to a friend of mine who adores Bach’s magnificent Passacaglia in C minor, BWV582 (which we heard in November, performed by Peter Stevens), but who would probably never go to an organ concert without my instigation.

The organ at St John’s is not original, though the main organ case, built by Jordan, Byfield and Bridges in 1734 acquired from St George’s church in Great Yarmouth, compliments the wonderful Baroque interior. It was installed in St John’s in 1972, and a new, larger organ case was built to accommodate the new instrument, built by Orgelbau Klais Bonn, which offers an enormous range of musical colour and versatility, suitable for repertoire from the German Baroque to high romanticism and contemporary repertoire.

There’s something really special about hearing an organ being played in the grandeur of a ecclesiastical building such as St John’s Smith Square. Whatever one’s religious, or otherwise leanings, one cannot help but be uplifted and awestruck by the volume, range and variety of sounds, the way those deep base notes swell and vibrate in the pit of the stomach, and the soaring sounds of the upper registers.

The organ series at St John’s Smith Square, now in its fifth edition, offers a broad range of performers and music, including organ favourites such as Bach’s ‘Ein Feste Burg’ and works by the leading composers for organ, Louis Vierne and Olivier Messiaen. In fact, it was the concerts featuring works by Messiaen which first drew me to this series, and David Titterington’s profound, vibrant and intensely absorbing performance of ‘La Nativité du Seigneur’ on 15 December was an example of the exceptional quality of these concerts (David has also recorded this work for Hyperion). Earlier in the season, we enjoyed a wonderfully mixed programme of music by Mendelssohn, Bach, Wesley and Messiaen by Jennifer Bate (a world authority on the organ music of Messiaen). The concert also included a work by Jennifer Bate herself, her ‘Variations on a Gregorian Theme’.

Seating is unreserved in St John’s for these concerts so one can choose to sit almost beneath the instrument if one so desires. A camera in the organ loft projects onto a screen on the stage, offering a fascinating glimpse of the organist at work (I had no idea it was so energetic, with hands and feet engaged for much of the time!). From the point of view of the pianist’s technique, I found it particularly interesting to see how the organist achieves legato effects, given the technical demands and mechanics of the instrument. And the sheer physical sound of the instrument, its richness, textural variety and surprising delicacy, has been quite unexpected, and something I look forward to exploring further at future concerts.

Monthly lunchtime organ recitals continue at St John’s Smith Square until June. Full details here

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

My mother was the one to introduce me to the wonderful world of music. I grew up in communist Romania, where kids didn’t have piano lessons as an after school thing but my Mum saved up lots of money and bought a beautiful mahogany upright. I got into the specialist music school in Iasi age 7 and had my debut with an orchestra 2 years later with Mozart D major concerto. I remember walking on stage, surrounded by adults, tripping over, conductor panicking, music stands falling, scores flying all over the place. My mum freezing in the first row. But I stood up, smiling and loved every single second of that performance. I came out and said “I want to become a concert pianist!”. I feel blessed to have had very encouraging people in my life, who believed in me and gave me a chance. I learnt from a very early age that hard work will always take you a long way. I don’t come from a musical family, therefore I didn’t have any expectation on how things should go. I didn’t set myself a target, I simply followed my intuition, learning from every situation and felt grateful for every opportunity that came my way. And the same as my falling, I learnt I can always stand back up and keep going.

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

My teachers have had the greatest influence on me, starting with my high-school teachers in Romania, to the late Mark Ray, Nelson Goerner, Alexander Melnikov, Dina Parakhina, Ronan O’Hora, Andras Schiff and Imogen Cooper. I have been incredibly privileged to study with fantastic musicians, who taught me not just about music, but enriched my life through advice on staying true to myself and always discovering new things. The thirst of knowledge and curiosity is one of the most beautiful things in life.

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

I believe we all find ourselves at crossroads at some point in our lives. The greatest challenge is to take the right path for you. I usually analyse and over-analyse and once I have taken a decision, that’s it! I try to never look back and believe in the power of instinct- after a lot of research has been done!

Which performance/recordings are you most proud of?

Every recording I have ever made is the result of hard work, a long time planning, creating a vision and sticking to a plan.This year saw the release of my concerto debut disc- Tchaikovsky Piano Concerto 1 with the Royal Philharmonic Orchestra on Signum Records coupled with the ‘Nutcracker Suite’ arranged by Pletnev. The joy of having my first concerto disc out is not easily put into words- honestly, a dream come true!

Which particular works do you think you play best?

I try to identify myself with whatever piece I am playing. I like reading about the story behind the music, I like to find out about the political situation of that time, where the composer was at the point in his life, what were his fears, his joys. The notes on the page are just the start of the journey.

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

I think long term. I like creating projects and putting programmes together that make sense. I am working on my Trilogy of Preludes at the moment, a project supported by the wonderful team at Champs Hill Records, who have very enthusiastically welcomed 3 CDs of complete preludes: vol I Chopin and Dutilleux, vol II Szymanowski and Shostakovich (both released) and vol III Fauré and Messiaen coming out next year. I enjoy introducing my audiences to new pieces, I like to challenge them with something they might not know they would love.

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

Every venue has its own personality, the same as pianos do. As a pianist, one has to adapt very quickly – I simply cannot describe how thrilling it is to step into a hall where so many of the great legends have played. There’s a huge pressure but in the same time there’s something humbling and magical about it.

Favourite pieces to perform? Listen to?

I love performing the Nutcracker Suite. I feel the versatility of the piano makes it possible to recreate the orchestral sound and it allows me to imagine all the magical world the story tells in a very intimate setting. I love listening to everything, from jazz to folk, pop to classical.

What is your most memorable concert experience?

Goodness me, where should I start?! Every concert is memorable, from a little hall in the middle of nowhere to the big giants. My first time at Carnegie Hall will always be the icing on the cake (and lots of the readers will know I love cake!). Getting a standing ovation at the Concertgebouw was quite something. My Buenos Aires concert in front of a packed 5000 seat hall (at lunchtime!) had me on my toes (I was told Beyoncé performed there the night before- make of that what you will!). Performing with youth orchestras is always truly rewarding- we all learn from each other and I always feel happy amongst them.

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

Always be true to yourself. Never give up. Always follow your dream- patience and perseverance will get you a long way. Never stop learning, from anyone and from every situation!

What is your idea of perfect happiness?

Being able to enjoy each moment as it comes, living in the present. Making a difference, standing up for what I believe in. Change lives through music!

What is your most treasured possession?

My piano.

What do you enjoy doing most?

Play my piano, communicate, bake, cycling with hubby, being with people.

What is your present state of mind?

I am truly grateful for everyone and everything I have around me. I feel blessed to be able to follow my dream.

 

From London’s Royal Albert Hall to Carnegie Hall in New York, the young Romanian pianist Alexandra Dariescu, recently named as one of 30 pianists under 30 destined for a spectacular career (International Piano Magazine), dazzles audiences worldwide with her effortless musicality and captivating stage presence.

Read more about Alexandra Dariescu here

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MusicHolidayItaly (MHI) was created by Gil Jetley, a pianist/teacher with a lifetime experience in music as a second career. (In 2012 he won First Prize at the prestigious International Chopin Competition for amateurs in Warsaw which takes place every three years.). I recently met up with Gil to talk about his piano courses, pianists, repertoire and the pleasures and challenges of playing the piano……

Piano courses and summers schools seem to be more popular than ever now, and MHI is coming up to its third year of summer masterclasses for amateur pianists. What makes yours different from other courses and summer schools?

Well, first, no-one else is doing this in Italy, and secondly, we run not just one masterclass a year but several from Easter to the end of October. We offer both traditional group masterclasses and our unique One-on-One courses which have the added flexibility of participants being able to choose their own dates. Another aspect that makes us different is that we think in terms of “guests” rather than “students” or “participants”. We’re focussed on music coaching of course, but as well as a valuable musical experience we aim to give guests a truly authentic Italian experience.

You mention One-on-One courses – what is a One-on-One course?

It’s a unique concept as far as I know, and ideal if you are shy about performing to a group. A minimum of four hours personal coaching every day, unlimited practise time, and pampered attention from dawn to dusk. We even chauffeur you to and from the airport. It’s a stress-free way to learn a lot in a short time. Actually, our One-on-Ones are more in demand than the more common group masterclasses, possibly because there’s nothing else quite like them.

Who are the tutors?

The main tutor is Course Director Gil Jetley, a pianist/teacher with a lifetime experience in music as a second career. Guest tutors for 2017 still to be confirmed include Martin Roscoe and for 2018 we anticpate having Noriko Ogawa.

What’s new for 2017?

Teacher Symposiums: a chance for piano teachers to meet and learn from colleagues, contribute their own teaching  experiences, and support each other in a relaxed inspirational setting.  Learn what repertoire others use, review piano methods, discuss how to teach adults, see how your colleagues deal with technique, how they teach theory, prepare students for exams, and which syllabuses they favour. Further information here

For a week in July we are offering a special dedicated course for adult amateur pianists with arthiritis – further details here

You mention you aim to give truly authentic Italian experience. What do you mean by that?

Local cuisine is of course central to any Italian experience. On both group masterclasses and One-on-Ones, we wine and dine guests each evening at locally renowned restaurants. If there’s a piano on hand our guests are welcome to give an impromptu cabaret – the locals love it, and it makes for a great social evening out.

Equally important is our location in the very heart of the Sibilini National Park. Even Italians consider this one of the most beautiful, unspoilt parts of Italy. After the morning masterclass is over we encourage guests to spend at least one afternoon sampling local life through a range of ‘add-ons’ we can arrange.

What kind of ‘add-ons’?

Italian cooking lessons at a local restaurant are very popular, as are guided wine trails. Also visits to the countless mediaeval hilltop towns, many with priceless art in their museums, galleries and churches. For the energetic we can take you on lakeside walks, through forest trails, or up mountain scrambles, all impossibly photogenic with a chance to snap a golden eagle, porcupine, wild boar or even a loan wolf! For a highlight to the week, how about opera under the stars in a Roman amphitheatre? There are so many attractions, often guests follow up a week of music with a few extra days holiday experiencing life the Italian way.

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What about the accommodation?

As well as ensuite bedrooms at Montemuse (where the masterclasses take place) there is an organic farm with a restored farmhouse, family chalets and pool just five minutes away. So the whole family can come along on holiday too.

When is the best time to enrol?

Now! It’s really important to enrol early, ideally before Christmas, before the holiday booking season gets into gear. Remember the Sibilini Park is considered one of the most beautiful, unspoilt parts of Italy, and even though it’s far away from the tourist crowds, this region quickly gets booked solid for the summer. We’ve even had to cancel a scheduled course because all nearby accommodation was snapped up. So the earlier you enrol, the sooner we can reserve (and guarantee) your accommodation.

A word from previous participants?

We justly proud of the comments from our guests. You can check out more reviews on our website but here’s a sample from both our groups masterclasses and the One-on-Ones.

“Stunning, peaceful and inspirational”

“Great Director, made me feel incredible happy”

“Great teacher, patient, full of good energy, formidable”

“Perfect organisation”

“Lovely piano”

“Awesome meals, every evening a feast”

“Very, very enjoyable”

“Excellent value, both teaching and food!”

“Very satisfied, a fantastic musical experience”

And a final word from you, Gil?

There’s plenty of information and photos on our website so do take a look and explore the site. Especially do browse the reviews which should give you a good idea what to expect!

For further information about and booking please visit the musicholidayitaly website

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beyond-the-page-letter-wThe Well-Rounded Pianist

In a recent article, violinist Nigel Kennedy bemoans the “narrow” approach of the conservatoire system and its focus on technique over individuality. He also cites Yehudi Menuhin (who paid Kennedy’s fees at the Purcell School) as a major influence in encouraging him to explore other genres of music, including jazz.

I do not believe music should be studied in a vacuum, separate from other arts or life-experience, but in our desire to seek perfection in what we do, to practise so that we never play a wrong note, I think there is a danger of losing sight of where the music we play comes from. It is not just thickets of notes on a page, but the expression of emotions, hopes and desires, of another sentient human being – the composer.

And so in order to transmit the composer’s intentions to our audience, I believe we should take a well-rounded approach to our music making. Cutting oneself off from normal life by spending hours and hours in the practise room is not healthy. Aside from the law of diminishing returns (after about 3 hours you stop taking in information and are simply “typing” the music), it is important to remember that the composers whose music we love and revere were normal people too – they too had love affairs, went out drinking with mates, and enjoyed a good meal with friends and colleagues – and we can connect better to them and their music if we go out and live life, just as they did. Having a social life, meeting friends, going out together, eating and drinking, going to the theatre, the cinema, art exhibitions, reading trashy novels, falling in love, falling out of love: all this feeds into our cultural and creative landscape to nourish, inspire and inform our music-making.

Of course, being a well-rounded pianist or musician is much more than this. It is about technique, for sure, but it is also about getting to the heart of the music to understand the context of its creation, why it is special. In order to do this, we need to study social and historical context, “listen around” the music to better appreciate that composer’s unique soundworld, compose, analyse and understand the philosophy of music. We should explore literature, art, poetry, go to concerts, play in ensembles, listen to music from other genres, and always – always – remain open-minded and curious. We also need to accept that there is no “right way”, to trust our musical instincts, have the courage of our convictions and not constantly compare ourselves to nor compete with others. When all these things combine, I believe we can truly be well-rounded musicians.