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rt2020130925_fr_s15_0003Who or what inspired you to take up the piano nd pursue a career in music? 

I don’t recall myself the beginnings of my musical studies, but it was my parents who made the decision. They loved Classical Piano, and specifically my father, who was exposed to the rigors of Classical Piano training through his sister. She had studied seriously in NY, and turned to teaching because of a hand injury.

Playing piano was part of the process of growing up and getting education – which also included school, sports, cub scouts, etc.

The idea of pursuing a career in piano evolved steadily and slowly, but unconsciously, on my part and on the part of my parents. It wasn’t until I was in my mid-20’s that I consciously made that decision. By then, of course, I had already attended two of the greatest music schools in the world (Indiana University and Juilliard), played around the world, made recordings and had management! I realized that I could pursue a number of different careers, but that, given my training, playing the piano was the most interesting and rewarding path. From that point, I doubled down on my commitments and focus. And it hasn’t stopped since!

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

Having Classical music playing 24/7 in my parents’ house since before I was born made a huge difference. I still play some of those recordings virtually in my head. My brother (a 1st violinist in the Chicago Symphony) and I lived within music, not realizing how unusual it was to have that kind of upbringing. 

Each of my teachers brought me an essential element at the right time. I think about their teaching regularly as I continue down my path.

In terms of icons, I was most influenced by 3 pianists: Horowitz, who taught me what the piano can do, through his amazing recordings. Richter, who taught me how to position yourself relative to the music when performing. And Glenn Gould, who taught me why one should explore music and performance.

Later, when I was in Paris, I discovered Alfred Cortot, who embodies all of that. His words about music (and I feel grateful to have learned French, if only to be able to understand Cortot in his mother tongue) are able to describe music in a way that I have not found anywhere else.

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

Balancing career building with other aspects of life – family, health, friends, other interests. I often leave piano playing to the end, which is both a plus and a minus. A Minus because sometimes I don’t spend the time I truly should, when I truly should, focusing on career development, piano development, etc. It’s a Plus because, coming at the end of a long to do list, my playing really becomes a receptacle for all of the thoughts and ideas that the other activities inspired. It’s where I’ve always processed all of my thoughts and feelings, and I think it has become richer for that.

Which performance/recordings are you most proud of?  

That’s like – “Which of your children are you most proud of.”!! I can say something about every album that has come out!

Transcriptions: part of the leading edge of the acceptance of Transcriptions in the repertoire.

Complete Prokofiev Sonatas: Wow, I actually recorded this!

Mendelssohn Sonatas: So happy this is one of my best-selling albums – the music is amazing, confident, historically significant AND people recognized this.

Rossini Sins of Old Age: I learned how to produce an album (under dire circumstances!) through this fun, virtuosic recording.

Chopin Etudes Opus 10 and Rondeaux: A complete change in my approach to Chopin, plus doing the 2-piano recording, playing with technology!

Liszt Annees de Pelerinage: My first big concert in Paris was playing this cycle. So moving to get to put it down for posterity.

Schubert/Liszt Schwanengesang: Intermingling one of the greatest achievements of Liszt with some of the most important personal relationships in my life.

Reflections – Ravel, Decaux, Schoenberg: I consider this my greatest contribution to the part of programming – discovering Decaux and using those pieces to bridge the chasm between impressionism and expressionism.

Chopin Complete Mazurkas: Chopin possibly used every iteration of ¾ time available somewhere in this genre. I wanted to create a CD that could be compelling but also play in the background, and I think I succeeded.

Chopin Etudes Opus 25 and late works: Making a link between works of Chopin that have not been associated before. And being able to record the great late Chopin works.

Brahms Violin Sonatas (with Pierre Amoyal): Brahms Sonatas, what more need I say?

Grieg Violin Sonatas (with Pierre Amoyal): beautiful, unrecognized pieces. Pierre and I both entered into a world of discovery with this recording and bonded in a wonderful way.

Prokofiev Romeo and Juliet: My favorite recording of my own to listen to. The rhythms and melodies are endlessly fascinating and compelling, no matter how many times I listen.

Prokofiev Volume 5, early works: Fugitive Visions and Sarcasms – love the contrast between these two early works.

Prokofiev Volume 6: middle works: Obscure sets that are never played, but which illuminate an important time of Prokofiev’s life. It’s impossible to understand his music without knowing these works.

Prokofiev Volume 7: children theme: I have always loved music for/about children, and Prokofiev has a special connection to this theme as well.

Prokofiev Volume 8: a kind of wrap-up of the complete set, but includes the Choses en soi, which exemplify the turmoil within Prokofiev that eventually led him to return to the Soviet Union.

Prokofiev Volume 9: transcriptions: Includes my complete Lt Kije Suite, as well as the Divertissement – never played and beautifully complex.

Prokofiev Volume 10: Violin Sonatas: an important annex to the three “war sonatas” that tell an important part of the Prokofiev life journey in music.

Beethoven Symphony V – My first independently produced album, working with the great Judy Sherman. I felt great putting this together from A to Z.

Saint-Saens Carnival of the Animals – so wonderfully fun working with David Gonzalez, story-teller.

Distant Voices – truly a revolutionary recording, using Disklavier technology to be able to produce a great audio CD AND an incredible video DVD and DisklavierTV show. This is the future!

Hymns & Dervishes: A successful Kickstarter project, this recording has been maturing in my mind for over 15 years, and will finally be out in 2016. The fundraising and recording processes have brought incredible depth and richness to the project, and to me in general.

Which particular works do you think you perform best? 

I love Prokofiev, and feel I’ve aptly demonstrated how diverse and richly nuanced his music actually is, compared to the cliches that surround him and his work. In particular, perhaps the Toccata, Fugitive Visions, Sixth Sonata and Seventh Sonatas have most benefited from that. I would love to present the 4th Concerto more often. It’s not just a work for left-handed or Russian pianists!

I love Mendelssohn’s Opus 6 Sonata, and no one plays it, for some reason.

I love transcriptions, and hope I bring a special attention and passion for them in concert. I’m especially proud of my Lt Kije transcriptions.

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

I have some recurring themes and ideas – Prokofiev, Classical Smackdown, French impressionists, Transcriptions, unusual collaborations. I have the luxury of following my sense of where I am and where the world is. From the time I decided to forgo the competition circuit, the freedom of exploring and presenting repertoire has been wonderfully inspiring. That inspiration has continued to this day (almost 30 years). My choices almost always come from taking the perspective of the open but untrained listener, willing to take a chance with a new musical experience. This has a huge influence on my choice of repertoire and the structure of the programs that I put together.

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

My nostalgic favorite is the Salle Cortot, in the Ecole Normale of Paris 17th. I played there the first time in Paris, and have since played there over 20 times. It is a beautiful wooden hall that seats 440, designed by the same architect who went on to build the Theatre des Champs Elysées.

Favourite pieces to perform? Listen to? 

I love to listen to jazz and Middle Eastern music. Things with a strong rhythmic element and an improvisational aspect. I relate to rhythm deeply, and I am terrible at improvising, so that is kind of aspirational to me! It puts together my best and my worst qualities in playing!

Who are your favourite musicians? 

My favorite musicians today? I think that I’m not that inspired by musicians in general. I feel much more like a conduit of other kinds of perspectives and thinking, and channeling them into my own music-making as a communication tool. I’m not a big concert-goer, but when I do go, it’s usually for friends, and I’m totally connected with them and the music-making experience.

If I had to name names, I would include Valery Gergiev.

What is your most memorable concert experience?

One striking memory is my first exposure to Horowitz at Carnegie Hall. It was the premier screening of “The Last Romantic,” a concert filmed in his NY apartment, and a prelude to (one of) his return to the stage the following year. I remember the visual experience resonating with the sonic experience to make something so compelling, so hallucinating. It was my first time in Carnegie Hall. Everything came together that evening.

Soon after, I bought the soundtrack, and realized that, without the visual element, the performance was actually quite lacking in some ways. It was a ground-breaking discovery on my part. 

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

Be sure of your vision first, and then be open to others’ ideas. Bring your vision to others, but be ready to interact with their ideas. Not having your own values and vision means you have no convictions, an unclear profile. Not being open others’ ideas means you are just barrelling through life and not relevant.

Where would you like to be in 10 years’ time? 

Moving around the world, doing residencies that allow building musical relationships and programs with roots.

What is your idea of perfect happiness? 

Being with my wife with a group of friends.

What is your most treasured possession? 

None. I could see giving up anything as long as I’m healthy.

What do you enjoy doing most? 

Reading and thinking.

What is your present state of mind?

Curious, fascinated.

Frederic Chiu’s intriguing piano-playing and teaching springs from a diverse set of experiences and interests: his Asian/American/European background, his musical training, and an early and ongoing exploration of artificial intelligence and human psychology, especially the body-mind-heart connection.

Find out more here

 

 

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Quietude

Here I am alone with silence. I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me.

– Arvo Pärt

0e9a4e9b60bf60fa96f5a0a69bf97e1dWhy pick ‘quietude’ rather than simple ‘quietness’? Principally because I think the word has more resonance, more depth: it has a physical component, as well as one of simple silence. It is almost meditative. It is the deep breath (exemplified by Jessye Norman, perhaps) before the opening notes; and – if you’re fortunate – that precious, eternal, ethereal stillness between the final lifting of the fingers from the keys, the release of the sustaining pedal, and the subsequent applause. In both cases – even in a minimal amount of time – there is (can be, or perhaps should be) reflection, absorption, of the music in between.

Sometimes, music itself contains quietude (the most logical culmination of this being John Cage’s 4′ 33″) – although this may not necessarily mean indicated rests or pauses. Before I began to lose my hearing (which, for me, was not the descent into silence that some may expect – as Cage said, “what we hear is mostly noise”: and I experience almost constant tinnitus and occasional “musical hallucinations”), I was obsessed with a short piece, Secret Song No.6, by Peter Maxwell Davies: which, initially, appeared to begin with just a random selection of slow, sustained, intensifying, single tones. Even sitting on the settee, simply staring at that page for long periods of time – in all-consuming stillness, apart from the melody weaving through my mind – trying to understand its implications, its meaning, how one could possibly interpret it – was liable to drive me crazy. It was only a sudden realization (an emergence) that “the silence between the notes is where the magic lies” which led me to some sort of comprehension, and the confidence to return to the piano, to let the music sing for itself. (Technically, it is not a difficult piece. Emotionally, I found it extremely challenging – if only because of the self-examination it provoked. (Which one could argue is the purpose of all art…. Discuss.))

Q is also for Quakers, of course; and, although I am by no means religious (except perhaps in my addiction to creativity), one of their most inspiring qualities (even for me: someone whose tastes evolved in large, echoey gothic buildings resonating with Byrd, Tallis, Howells…) is the silent worship – listening for that “still small voice”. Sitting in true peace – whether alone, or with others – can be a truly overwhelming experience. It is therefore not for everyone.

The voice of the hidden waterfall

And the children in the apple-tree

Not known, because not looked for

But heard, half-heard, in the stillness

Between two waves of the sea.

– TS Eliot: Little Gidding (Four Quartets)

Reading this back, I appreciate that some may find hints of mindfulness. To me, though, quietude is almost its antithesis – a momentary letting go; an untethering – although not ‘mindlessness’, per se. It is an absence of intrusion of both internal and external forces. It is a caesura – but one that you may only recognize when immersed in its fragility, its transiency, its elusiveness. What follows must be sound. The rest is silence.

Stephen Ward, Writer in Residence for the Orchestra of the Swan, and blogger at The Bard of Tysoe

Quasi – As if…..

Perhaps the most famous work for piano which utilises the word “Quasi” is Beethoven’s piano sonata Opus 27 No. 2, the “Moonlight”. The first edition of the score is headed Sonata quasi una fantasia, a title the work shares with its companion piece, Opus 27, No. 1.

This is extraordinary music, this “Sonata like a fantasy”, with its first movement of delicately veiled sounds, hushed melodic fragments, those peaceful, certain triplets, the slight hesitancy in the dotted figure in the right hand, the suggestion throughout of improvisation, the pedal markings, senza sordini, indicating that the dampers should be lifted only fractionally away from the strings to allow a slight blurring between the new harmony and the old. A twilight first movement, shimmering, shifting, hinting at the tension between the forward pull of Beethoven’s revolutionary vision, and the solidity and simplicity of the classical ideal, the use of thematic material and texture beautifully demonstrated in the construction of the initial melody. A prophetic theme built on a single note, G-sharp, this the composer’s core idea. A single note, repeated six times, proceeds to A, then returns. A single note, reharmonized on its return, not by the initial C-sharp minor chord, but with luminous E-major. A single note forms a single theme; there is no second subject in the first movement, only that the triplet accompaniment assumes a more melodic role, only that tension rises as new harmonies are initiated. A single note, a single theme, now heard for the first time in the left hand in the coda. A single note, foreshadowed in the opening measures, recollected at the close. A single note, a simple triplet accompaniment, a crescendo and decrescendo first in the right hand, then in the left. The movement ends as quietly as it began…..

Frances Wilson

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‘The Single Petal of A Rose’ – Duke Ellington

Another troubled, turbulent week – at home and abroad – but on Friday evening, at an informal performance platform/social event for members of Piano Network UK, a 1500+ strong Facebook group of pianists, composers, piano teachers, and piano lovers, I discovered via one of the performers, jazz pianist Rick Simpson, this piece by Duke Ellington. As Rick said when he introduced the piece, it’s Ellington’s hommage to Debussy and Ravel, and there’s more than a hint of Claire de Lune in it with its sensuous harmonies, repeated melodic fragments and softly undulating rhythms.



This rendition is by Marian McPartland from her album ‘The Single Petal of A Rose: The Essence of Duke Ellington’.

The piece comes from ‘The Queen Suite’, written by Ellington in honour of Queen Elizabeth II in 1958 after he met her at a reception in Leeds. The six-movement suite had remained hidden in the Smithsonian Institute, Washington DC, since the composer’s death in 1998 before it was played at the Marlborough International Jazz Festival as part of the Queen’s Diamond Jubilee celebrations in 2012.

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(photo: Nikolaj Lund)
Who or what inspired you to take up violin and pursue a career in music?

This was an easy choice, everybody in my family was playing the violin. It was almost a “Mother language”. I HAD to talk this language if I wanted to be understood, or understand what was around.

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

In my early life, as I said, my parents and my family, but then, later on, the absolute love of the music and the need to create sounds!

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

All the competitions that I have done were a great challenge till today. But I understand now, that the biggest challenge ever happens each time I come to play a concert for an audience who expects to hear something special, something they will remember; this is  very challenging!

Which performance/recordings are you most proud of?

I unfortunately don’t remember so well which concerts went well, but I remember very well the bad ones. I always try to recall what actually made an experience not so good, so that I know what to do for the next time. The greatest concert was probably a recital, where I felt the biggest connection with my partner. That was incredible.

Which particular works do you think you play best?

Probably the ones that I believe in the most. Meaning, when I study the piece in its context and the main idea, touches me. When the music, or its purpose doesn’t really touch me, I am afraid I can’t be sure of giving my best in it…

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

I of course look into the big repertoire pieces that I haven’t played yet, and then try to combine them with maybe lesser-known pieces that fit well with the mood, character, and again touch me enough to be able to transmit it to the audience.

I always try to keep something that I’ve already played, so that not always everything is new!

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

I’ve discovered a lot of dry, beautiful and great sounding concert venues! Every concert hall for me has a very personal history: I simply try to remember every concert, and all the circumstances of each hall where I performed.

I enjoyed very much the Philharmonie in Cologne, because of the shape of the hall and its unbelievable acoustic.

Favourite pieces to perform? Listen to?

Well, probably the one I love to play the most is J S Bach, no surprises there. Simply because I always find new harmonies to underline, or listen to. The writing is perfect, so evident and clear, one always discovers more and more complexity in his music.

I would say my problem is that I sometimes want to show my “personal discoveries” too much, and then it becomes a personal fight:

What I want to show as personal intention / what needs to be kept natural and be played in a more “hidden” way. For this reason, I also love playing Ysaye’s music, where a lot is happening and there is rather more room for personal interpretation.

Who are your favourite musicians?

From the ones I have been listening to lately: L. Kavakos, C. Eschenbach, M. Goerne, V. Gergiev, M. Pressler, S. Edelman…

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

I believe that today it is becoming more and more difficult to hold on to the principles of “great culture”.  We are the people who have the chance to be part of it, we have a great but very difficult mission – we have to keep it alive. I really think that a great part of our humanity is kept in the Art, as much in the “understanding” of it, as in its “producing”. This is why new and young artists have to hold on to something that maybe doesn’t bring that much success, or money, or fame. They have to bring something much more powerful (and not to themselves) – feelings, happiness, support, unity, and thousands of images.

All those elements are the true benefits of the music that we are sharing.

You’ve just been announced as the new London Music Masters Award Holder, tell us more about this?

It is a very new episode of my life starting, and I am really looking forward to the fresh new contact with Great Britain! Passionate people, passionate musicians!

I will be given the opportunity to introduce my concepts of instrumental playing and music making to the growing new generation of people/audiences in schools, for example. I really hope that my English will be good enough for the people to understand some of my twisted notions!

What are you most looking forward to about working with London Music Masters?

Meeting different people, and learning from them!

Where would you like to be in 10 years‘ time?

In a place where there would be unlimited space for love, friendship, and where I could be in a good enough shape to make music on a very high level

What is your idea of perfect happiness?

To be surrounded by truly honest and loving people.

What is your most treasured possession

Hum… Material possession..? Nothing… (Yet?)

What is your present state of mind?

In a very good mood.

Marc Bouchkov was born 1991 into a family of musicians. He received his first lessons at the age of five from his grandfather, Mattis Vaitsner. His first public appearance was just one year later. In 2001, he joined Claire Bernard’s studio at the Lyon Conservatoire National Supérieur de Musique; he transferred to the Paris Conservatoire National Supérieur de Musique (CNSM) in 2007. There, he began studies with Boris Garlitzky, who has been his mentor ever since, and offers him invaluable guidance for honing his craft. The following years saw participation in master classes and invitations to festivals in Moulin d‘Ande, Troyes, and Bordeaux (France), Viterbo (Italy) and New Hampshire (USA).

Marc Bouchkov is the recent recipient of a London Music Masters award

Marc Bouchkov’s website