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(photo: Jean-Baptiste-Millot)

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

I first heard the sound of the piano in my grandmother’s house. She had taken up piano studies late in life, with real devotion. I remember looking at the scores and asking her lots of questions… Later on, my sister began to take lessons – I was fascinated. The dream of a career came much later, when I was a teenager and had had the chance to listen to some great artists in the flesh and on recordings; I naturally wanted to play like them! One of the most inspiring souvenirs from those early years are the Chopin Nocturnes, recorded by Artur Rubinstein – truly unforgettable.

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

First of all my teachers: Jorge Garrubba, Juan Carlos Arabian, Carmen Scalcione, Maria Tipo. Very different personalities, but all true musicians whose advice have never left me. Their aim was to make you a musician with your own voice, to help give you the means to express what you have inside you and to avoid many of the traps every young aspiring musician encounters. Something I try to do myself when I teach…

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

One of the greatest challenges has been to leave my family and come to live alone in Europe when I was eighteen. It was not easy, but I grew as a person and as an artist. The second big challenge came after winning the Geneva Competition (1990). Concert engagements did not arrive immediately, and when finally things started to happen, I realised that I was only at the beginning of a lifelong process of searching inside myself and the music I play – which I consider the greatest possible challenge.

Which performance/recordings are you most proud of?

I enjoyed listening to a live recording of Brahms 2nd Concerto I played a few years ago with the NHK Symphony Orchestra at Suntory Hall, and also enjoyed some of the many performances I gave at the Chopin and His Europe Festival in Warsaw – one of my favourite festivals. But I seldom listen to my old recordings: there is actually something almost terrifying when we do so. We evolve, and to face earlier performances is not easy! On the other hand, it can sometimes be refreshing. Maybe one had less experience at that time, less knowledge and so on, but a fresh, perhaps more intuitive look at the music.

Which particular works do you think you play best?

I probably have most affinity with the Romantic repertoire: Chopin, Brahms, Liszt, Schumann…but I have never tried to be an specialist. For instance, I believe that if you play Mozart well. you will play Chopin well too, so important is the classical element in the big Polish master’s music. I don’t believe in ‘closed compartments’ in music.

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

I simply choose the pieces that I really need to play in that particular moment of my life – that’s the key thing. Pieces I’ve been living with for a while until I feel I might have something to say, and that conviction – modest but strong at the same time – guides me. Apart from that, a programme must have an inner logic and contrasts, too: it sometimes takes me many months to decide.

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

Teatro Colon in Buenos Aires is undoubtedly one of my favourites: in this great hall, one has also the feeling of intimacy you get in a chamber hall, and the sound is so warm! I also love the big hall of the Liszt Academy in Budapest – one of the best you can dream of – and Suntory Hall in Tokyo. Both are very special venues.

Favourite pieces to perform? Listen to?

Last season I was performing Beethoven’s ‘Hammerklavier’ Sonata very often. When I play the work, there is nothing on my horizon that I could find greater, more fulfilling. The same is true of every great piece of music: for a performer, the favourite piece should be the one you are playing at that moment, as if your life depends on it.

Who are your favourite musicians?

Among pianists, the great ones from the past: Rachmaninoff, Cortot, Schnabel, Lipatti, Artur Rubinstein, Vladimir Horowitz. You can easily recognise them after hearing any of them play just one phrase: their sound was so individual, so special. And, among those from today: Radu Lupu, Grigory Sokolov, Martha Argerich, to name but a few…

What is your most memorable concert experience?

If I had to choose one, I would choose when I played Rachmaninoff’s Third Concerto at the final stage of the Geneva Competition: I managed to forget I was in a contest and evaluated by a jury. So the music started to flow, even though I was playing the piece in public for the first time. Later I happened to listen to the recording of that evening with pleasure.

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

For an aspiring musician, the essential thing is to remain true to oneself. It is increasingly difficult to achieve; the striving to make a career can easily push a young musician to be swallowed up by the concept of ‘profile’ and marketing. And that can be dangerous: it may stop the development of a true personality. One needs lots of patience, to think of the long term, and believe in what one has to say.

You are on the jury of the Chopin Competition and performing at the opening concert. What are you looking forward to about your time in Poland?

The prestige of the Chopin Competition will naturally attract fascinating young artists and I am of course eager to discover them. It is so inspiring to hear so much talent, with their fresh ideas, and to guess their projection in the future.  I hope I will accomplish my duty as a juror – it’s a very tough one. We are all subjective and respond more easily to someone who has a picture of a particular piece that is somehow close to yours. I will try not to fall into that trap!

What do you enjoy doing most?

I could not imagine myself doing something different! I just wish I have the inner strength to serve music the best I can for many more years to come. And never to stop developing…

The grand finale of the 17th International Chopin Competition takes place in Warsaw from 18-20 October. Further information here

Nelson Goerner’s new disc of complete Chopin Preludes is released in December 2015 (Alpha Classics) and his Beethoven Hammerklavier Sonata & 6 Bagatelles Op.126 will be released in March 2016 (Alpha Classics)

Nelson Goerner has performed with many of the major orchestras including the Philharmonia Orchestra under Claus Peter Flor, the Deutsche Symphonie Orchestra of Berlin under Andrew Davis, the London Philharmonic Orchestra under Emmanuel Krivine, the Hallé Orchestra under Mark Elder, the Suisse Romande with Neemi Jarvi and Raphael Fruhbeck de Burgos, the Orchestra of the 18th Century with Frans Bruggen, the Deutsche Kammerphilharmonie with Ivor Bolton, and the NHK Symphony Orchestra of Tokyo under Fabio Luisi.

His festival appearances include the Salzburg Festival, La Roque d’Anthéron, La Grange de Meslay, Edinburgh, Schleswig-Holstein and Verbier, as well as the BBC Proms.

In the 2013-14 season, Nelson Goerner was the subject of the Artist Portrait series at the Wigmore Hall in London, where he gave four recitals exploring such diverse repertoire as Bach, Mozart, Beethoven, Brahms, Schumann, Chopin, Debussy and Bartok.

A keen chamber musician, Nelson Goerner has collaborated with artists such as Martha Argerich (in repertoire for two pianos), Janine Jansen, Steven Isserlis and Gary Hoffman.

Nelson Goerner has a strong connection with the Mozarteum Argentino in Buenos Aires, and a student scholarship has since led to many performances. Mr Goerner also enjoys a long association with the Chopin Institute in Warsaw, where he is a member of the artistic advisory committee. With the Institute, he recently explored the interpretation of Chopin on contemporary pianos by Pleyel and Erard dating from 1848 and 1849. These performances were recorded for the Chopin Institute’s own label, with the recording of the Ballades and Nocturnes winning a Diapason d’Or.

Mr Goerner is very active in the recording studio and his discography includes recordings of Chopin, Rachmaninov, Liszt and Busoni, and a DVD of repertoire by Beethoven and Chopin in a live performance from the Verbier Festival. His Chopin recording on the Wigmore Hall Live label was instrumental Choice of the Month in BBC Music Magazine, and his recording of Debussy for the Outhere/ZigZag Territoires label was awarded the Diapason d’Or of the Year 2013. Nelson Goerner’s most recent recording of repertoire by Schumann was BBC Music Magazine’s Recording of the Month in March 2015. His next recording project will feature repertoire by Beethoven.

Born in San Pedro, Argentina, in 1969, Nelson Goerner has established himself as one of the foremost pianists of his generation. After studying in Argentina with Jorge Garrubba, Juan Carlos Arabian and Carmen Scalcione, he was awarded First Prize in the Franz Liszt Competition in Buenos Aires in 1986. This led to a scholarship to work with Maria Tipo at the Geneva Conservatoire, and in 1990 Nelson Goerner won the First Prize at the Geneva Competition.

www.nelsongoerner.com

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Geoffrey Saba

Two concerts in as many days, both in beautiful deconsecrated churches and both featuring the piano music of Franz Schubert. The first concert was at St John’s Smith Square, a church in the heart of Westminster regarded as one of the finest examples of English Baroque architecture. The venue also offers one of the finest acoustics for piano music in London, performed on this occasion by pianist Geoffrey Saba.

The programme opened with Schubert’s Sonata in B D575. Written when the composer was twenty and cast in four movements, it is suffused with sunshine and joy and Schubert’s special gemütlich, elegantly nuanced by Saba who played with a genial tone and acute sense of Schubert’s intimacy. The Four Impromptus D935 followed, and again we were treated to playing which was sensitively shaded and tastefully voiced, from the plaintive duetting fragments of the first Impromptu, through the long-spun theme and variations of the third to the sprightly and folksy flavours of the fourth. After the interval came the Sonata in A, D959, Schubert’s penultimate piano sonata, composed in the last year of his life. Much has been written and debated about Schubert’s last three sonatas, in particular their length, the cyclic and motivic elements which they share, and, with regard to the A major Sonata, the extraordinary Andantino second movement, which is quite unlike anything else Schubert wrote.

For those who assert that this is Schubert’s “most serious” sonata I would highlight Mr Saba’s keen sense of the work’s life-affirming qualities, particularly in the final movement which unfolded with warmth and wit. In the opening movement there was a clear sense of the contrasting architecture and fastidious attention to articulation, while the Scherzo’s arpeggiated chords sparkled, contrasting with the more pastoral elements of this movement. Mr Saba observed all the Da Capo repeats (which many pianists choose to omit), lending a greater sense of significance to this movement and creating balance across the entire work. The slow movement opens with a melancholy barcarolle or folksong. Spare pedalling allowed us to appreciate the profound simplicity of this section before the “acute emotional disturbance” (Alfred Brendel) of the middle section. This was refined playing, always alert to Schubert’s lyricism, combined with a willingness to allow the music to speak for itself.

Geoffrey Saba will feature in a future Meet the Artist interview

www.geoffreysaba.com

Alan Schiller

On Sunday afternoon more Schubert at St Mary’s Perivale, a tiny 12th-century former chapel in west London. This venue is home to a lively and varied series of concerts, and attracts fine artists, both established and younger musicians. On this occasion we were treated to music for piano 4-hands by the Schiller-Humphreys Duo (Allan Schiller and John Humphreys). Both acclaimed in their own right as soloists, Schiller and Humphreys have been playing as a duo for over thirty years – and it shows in their relaxed yet perfectly synchronised style and evident enjoyment of the music they play. I page-turned for John and Allan at a concert at Steinway Hall in June 2015 and was afforded a rare and at times entertaining insight in to the “special relationship” of the piano duo.

John Humphreys

Sunday’s programme featured what is arguably the greatest work for piano duo, Schubert’s Fantasie in f minor, D940, to which John and Allan brought a keen sense of the narrative of the work while also highlighting the special characteristics of each movement. The rest of the concert featured music for piano 4-hands by Mozart (at his most profound and reflective in the Sonata K521 and rather more lighthearted and witty in the Andante and Variations K501), Hindemith’s Sonata for Piano duet which contained interesting echoes of the Schubert in its first movement, Ravel’s ever-popular Mother Goose suite and three Hungarian Dances by Brahms. The pianists, through their relaxed and friendly manner, created a convivial atmosphere, helped in no small part by tea and cakes after the concert, giving audience members a chance to mingle and meet the artists. An entirely satisfying and civilised way to spend a Sunday afternoon.

More on St Mary’s Perivale here

At the Piano with John Humphreys (interview)

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

On my fifth birthday, my parents surprised me with a cute tiny violin as my birthday present, it was like love at first sight. I remember I always took it everywhere with me and tried to play music on that toy instrument. Over 20 years later, I can honestly say that my passion is still the same and very much alive. I fall more in love with music every day because it allows me to experience deep emotions, express indescribable feelings and in my mind, it’s the most raw and spiritual connection you can have with people.

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

When I was about 10 years old, I watched a masterclass documentary “Playing by heart” on TV about violinist Maxim Vengerov in which he was teaching violin in a way I’d never seen before. The violin under his chin and the music under study was so vivid and enjoyable: he was the first to show me that music can be used to communicate a story or a scene. Suffice to say, I started to enjoy practicing right after that day. Two years ago during my study at the Royal Academy of Music I had a masterclass with Vengerov and that was like a childhood dream come true. I still remember the excitement that he inspired me, and I continue to use it to motivate me in my playing.

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

Finding and embracing my own musical voice. Music is a very personal thing, so when I was growing up, I found it hard sometimes to let myself completely go to that vulnerable place. As I grow more mature, I’m more capable of thinking musically, which helps me communicate my ideas to my audiences. Also, I had my first arm injury earlier this year and I had to rest for a few month without daily physical practice routine. During my recuperation, I did a lot of visualising techniques and mental practise to learn new repertoire. It was very efficient and I never felt better when I picked up my violin again learning a new piece.

Which performance/recordings are you most proud of? 

Performance: A charity concert series I did in China called “Under the Same Sky”, staging concerts in support of underprivileged youths. Since 2012, more than 200 students have benefited from this charity and have been able to continue their education.

Recording: My upcoming debut album “Tango Embrace”. The disc is a collection of classic tango pieces by Astor Piazzolla, the renowned Argentinian tango composer.

Which particular works do you think you play best?

I personally enjoy works from the Late Romantic era the most, but music from all different periods offers the opportunity for personal musical exploration and growth. I also enjoy playing my own arrangements and compositions.

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

I always choose repertoire that I am willing to perform. I think of the audience first, then the venue of the concert. For a recital, I try to combine classical repertoire with lesser-known contemporary works, as well as with works from various cultures, such as traditional Chinese music. For a recording project, I try to choose the pieces that I feel well connected with which can be very personal choices, such as my upcoming “Tango Embrace” album, I have wanted to record it for a few years.

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

I’ve been fortunate enough to have played in many amazing concert halls all around the world, but Carnegie Hall is, and will always be, a special place for me. The lights, the acoustic, the feeling I got from that hall is not something I think I will ever be able to describe – simply surreal.

Favourite pieces to perform? Listen to?

I like to perform and listen to things that combine many musical elements. An initial connection is important for me because if I can’t connect to the work, I can’t deliver a convincing performance.

Who are your favourite musicians?

Henryk Szeryng, Itzhak Perlman, Maxim Vengerov, YoYo Ma

What is your most memorable concert experience?

A multi-cultural concert at Sydney Opera House where I was playing with musicians from all around the world. The collaboration was very moving for me because of this cultural bridge. It was a wonderful experience to be able to share music no matter what countries we are from, what languages we speak; music brought us together.

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

I think it is really important for a 21st century classical musician to embrace different musical elements, and be open to exploration. I learnt from my mentors and those great musicians that it’s crucial to be honest with your musical intentions, and be present so that you get to enjoy the performance.

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

Ideally I would like my music to be recognised by wider audiences, at the same time I would like to be a more influential musician and strengthen the bridge between Asian and European culture. I would also like to continue more charity works to help people in need.

Yijia Zhang’s debut album, Tango Embrace, is released on 10 October 2015.

www.yijiazhang.com

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A guest post by the creator of Throwcase blog

Journalists worldwide have been swept off their feet by a flurry of idioms bursting upon the scene. Unwilling to tackle the problem like a rugby player or box of fishing equipment, they have instead long-grassed it, much like the process of photosynthesis that leads inexorably to the growth of grass. As a result of their cloudy-sky thinking and light-switch-behind-the-bed methodology, they have effectively kicked this cup-of-tea problem for six, opening a Pandora’s box of speech figurines.

Police everywhere are asking the public to stay calm. “We’ve blue-skied this as an actionable problem event, and hope to resume going forward as soon as we can. Whatever you do, don’t dimension this, not even a little bit.” Ripping Babushkin, famous music critic and concert promoter, was disturbed by the outbreak. “It is all we can do to keep these horrible expressions contained. Where are the bums on seats? What is a new audience, exactly? How do you curate a creativity hub to dialogue with communities? These are the sorts of things I interrogate, like a detective.”

John Man, journalist and cleaner of think-tanks, has been collaborating inwardly on solving the problem. “This is the iconic problem of our age,” he said, “and I mean ‘iconic’ in the sense of a small Russian painting of religious significance unadorned with the illusion of three-dimensional perspective but rather infused with the direct embodiment of the Light of Tabor. We must deliver a vision, or something.”

Now that these phrases are running amok, we can expect to see a lot more men in tweed jackets strolling across fields intoning the word “flourished” while discussing some shit like poetry in the middle ages or Flemish steel-craft. “It’s a diarisable phenomenon for the collective for sure,” said Sally McNally, as she drank her latest edition of totemic, artisanal coffee. “Things like this give us many learnings.”

Police are urging people to approach the idioms cautiously, if it all. “There are just so many dangerous pleonasms out there,” said Sergeant McGruff. “We urge people not to be caught where the hand of man shouldn’t set feet with its mouth.”

Read more like this at Throwcase