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

I started to play the piano at a very early age (I was 4 years old). I can’t remember exact details but my parents were telling me that every time I saw a piano, I always wanted to play on it. It was even hard to pull me out of it once I started playing. Then they decided to buy me a real piano at home. My father was a professional musician, a teacher and a child prodigy. His name was Georgi Stavrev. He played the violin, the guitar and his big dream later was to be a symphony conductor but he got very sick. I remember listening to classical music at home all the time (especially Brahms, Beethoven, Bach) and always playing the piano. Sometimes my dad would play The Beatles, Queen, Aretha Franklin and jazz but it was mostly classical music that I was surrounded by at home and at school. Music was just a part of my life and I was born at the right musical family where I was lucky to have my parents support to pursue music as a career from early age. There was music at home, music at school, I was going all the time to the school’s concerts, the festivals concerts and the local Symphony concerts. I was in an intensive professional music program for children since the age of 4. When my parents moved to Plovdiv two years later, I started working with the renowned pedagogue Mrs. Rositsa Ivancheva at the National Music School “Dobrin Petkov”. She is a major influence and she was my piano teacher for 13 years. During my last 3-4 years of music school, I started lessons also with Prof. Krassimir Gatev at the National Conservatory in Sofia (while studying in Plovdiv with Mrs. Ivancheva). I miss both of these incredible teachers because they left the world just few years ago…

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

Important influences from the past: growing up I was very inspired to listen to the interpretations of Horowitz, Richter, Gilels, Pogorelich, Van Cliburn, and Rubinstein. They all have influenced my musical life for years and here is an example how: after hearing Scriabin’s 3rd Sonata (performed by Horowitz) I immediately got inspired to learn it. I had big success with it at concerts and competitions. Later Horowitz inspired me to learn also Vers la Flamme and the Barber Sonata (my recordings of these works are all on YouTube).

New influences: 1) working with new composers (Mason Bates, Gil Shohat, Vasil Kazandjiev, Carl Vine, Penka Kouneva, Nikolai Kapustin etc.) – what is amazing about this, is that there are not that many recordings of these composers’ works. Often, there are even no recordings at all – which means that I have to learn the work on my own (can’t listen to another pianist to get inspired). This is a direction I would like to continue – to create from my inner self rather than get inspired by somebody else’s interpretation. 2) Contemporary pianists: I’ve had the pleasure to work with and share musical ideas with pianists such as Daniel Pollack and Frederick Chiu, whose unique program “Deeper Performance Studies” is a major influence on my musical life and career.

Acting: It might sound strange but acting had an important influence on me too. During my time in Bulgaria I also had 5 years of private acting training. I couldn’t do both – theater school and music school so I was taking acting lessons only privately and secretly (my parents didn’t allow me to study acting but I decided to do it anyway lol). Acting opened a special door in me as an artist and it helped me even further with music – being able to perform with imagination, to “speak”/connect to the audience, to transform into a different character depending on which composer/piece I am working on. These are classes musicians don’t learn at music conservatories and they help very much with interpretation and stage presence. In Bulgaria I was trained by the Stanislavski’s system and I am a similar performer when it comes to my piano works – I get very emotionally involved in the content. I feel that all the arts are connected within each other. They are like different languages we would like to learn or explore but only one is our mother language and in my case it is music.

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

Finances. When I first moved to the USA it was very difficult learning how to support myself, to rely on myself, to take care of myself all by myself. I was only 18 or 19 years old. I didn’t know anybody when I first moved to Boston, I wasn’t used to the language too. I had $20 cash in my pocket, two suitcases, a full scholarship and lots of dreams. The full scholarship covered my tuition and school fees but I had to work the max hours possible in order to pay by myself for rent/dorm, living expenses, etc. There was a law that freshman must live on campus during the 1st year. I wasn’t informed about it while in Bulgaria. I found out about it when I arrived. International students on a student visa F-1 were allowed to work only on campus, no more than 20h per week for only $8h. Imagine if this is really enough to pay $1500 per month for dorm required by the school (basically 3 girls in one room) without living expenses and if that would allow the needed time to focus on practice, studies, go to classes, etc. The stress was incredible! To keep long story short – my college years were some of the most difficult times ever in my life where I faced some serious challenges.

Which performance/recordings are you most proud of?  

Recordings: My upcoming debut album titled “Rhythmic Movement” to be released this coming fall, depending on finances. It features music by Bulgarian composers Pancho and Alexander Vladigerov, Mason Bates, Ginastera, Kapustin and I composed 2 works as well. A lot of the pieces on the program for July 25th at the 1901 Arts Club are also on the album.

Performances: it’s hard to point just one. I would say probably my Carnegie Hall/Weil debut. Harris Goldsmith was one of the critics reviewing the concert and this debut basically was the start of a real career. Another performance I will never forget was a multimedia at a modern space in NYC featuring music, live body painting and photography. I like to experiment with the idea of synesthesia and connect my art to other artists work.

Which particular works do you think you perform best? 

The ones that I practice the most! Also the ones that I’m spiritually connected to and the ones I have something meaningful and something special to say. I also believe that music (art in general) is a reflection on personal life and that’s one of the reasons my programs are very unique. The program on July 25th features works that are very close to my hearth. Each piece is very special and very meaningful to me.

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

My repertoire ranges from Baroque to Contemporary. Sometimes concert presenters would ask me to play anything I would like to put on a program but sometimes they would specify if they have any specific preferences. For example when I performed at the French Cultural Center, the entire program had to focus on featuring French and French influenced composers. When I performed at the Bulgarian Center in New England, I performed works by all Bulgarian classical composers. New music concert series require all contemporary composers programs and other presenters prefer more traditional (Bach, Beethoven, Chopin) type of programs and more well-known composers.

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

In New York: I just recently performed at the Tenri Cultural Institute in New York – a beautiful and intimate concert venue and a gallery in West Village. I love the area (West Village in Manhattan), I also love art (the fact that it is a gallery) and that the setting is intimate (it allows a closer connection with the audience). There is a very good energy about the space and location and I just feel excited and comfortable performing there.

In Bulgaria: I was born in Sofia but my hometown is Plovdiv. There is a very unique amphitheater from Roman times in the center of the city that in the summer features film nights, concerts, dance performances, operas, etc. This would be a very magical place to perform – under the starts! The view from there is amazing too. I’ve never seen a piano on that stage but maybe one day soon… I started dreaming already

Favourite pieces to perform? Listen to? 

To perform: Right now I’m really into Schumann, I’m working on the piano concerto. Last month I was into Vladigerov. My current favorite pieces are the ones on the program for July 25th at the 1901 Arts Club but I assure you that I’m going to have more new favorites soon since I keep searching for new inspirations all the time 🙂

To listen to: I love “Gaspard de la nuit” (performed by Pogorelich), Scriabin’s 5th sonata (performed by Horiwitz), Beethoven – “Appasionata” (performed by Richter), Brahms – the 1st Piano Concerto (performed by Claudio Arrau), Prokofiev – the 2nd and 3rd Piano Concertos, works by Bach (especially when Glenn Gould performs them), Sonata for Violin and Piano (by composer Milcho Leviev). I love listening to orchestral music too: Daphne’s Cloe, Stravinsky – Firebird, Mason Bates – Alrernative energy. I also enjoy listening to jazz (Bill Evans, Miles Davis), some rock (a lot of British bands)

Who are your favourite musicians? 

Deceased favorite musicians: Bach, Richter, Horowitz, Gilels, Claudio Abbado, Evgeny Mravinsky, Rubinstein, Ginastera, Beethoven, Leonard Bernstein, Anton Dikov, Krassimir Gatev, Maria Callas, Freddie Mercury,

Living/contemporary favorite musicians: Joshua Bell, Keith Lockhart, Ricardo Mutti, Mason Bates, Vasil Kazandjiev, Yo-Yo Ma, Frederic Chiu, Daniel Pollack, Evgeny Kissin, Martha Argerich, Penka Kuneva, Will Calhoun, Matthew Bellamy,

What is your most memorable concert experience? 

Concert Hall: the Grammy Museum Auditorium (Clive Davis Theater) – I was a part of a great mix of artists and musical genres. I loved the red curtains at the back and the lightning.

Rock club: probably when I opened for Amanda Palmer at the Webster Hall in NYC. This is memorable since I got to play Ginastra in a rock club introducing the composer and a movement from his 1st sonata to several hundred fans of Amanda’s that never knew that classical music could sound like that. 😀 A lot of my friends from school were telling me that I was crazy and that this could affect my good reputation. It was fun. It’s a different type of energy on such stage. I like making classical music more accessible to untraditional audiences as well. Did you know that the British band ELP arranged the “Toccata” from the piano concerto by Ginastera and played it for Ginastera? He loved it and he said that this is how his music should be played

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

To be present in life and also when they perform on stage, to be very strong, not to be afraid to take risks and experiment with new ideas, to take a good care of themselves (eat well, sleep well, exercise, meditate, stay healthy), to know what they want and from there to know what they give and why, to perform live as much as possible, to stay always inspired and motivated, to never give up, even when they face difficulties.

Where would you like to be in 10 years?

To travel the world while living in the present moment

What is your idea of perfect happiness?

Being present. You can tell that I am into meditation. Often the things we want are not the things that make us happy, even when we get what we want. There is something called “the wanting mind” that will never stop wanting no matter what we get. I feel happy the most when I do something to make somebody feel happy. I get happiness when I give happiness. Actually, when I give, sometimes I get even more than I expected.

What is your most treasured possession?

We don’t owe anything forever. We temporarily have things and people. We are even temporarily in our bodies. Greatest values in my life are my dearest friends, being surrounded by people who care about me and love me and people who made a difference in my life. But I don’t owe them, I’m just lucky to have them in my life…

What do you enjoy doing most?

Being on stage, collaborating with amazing artists, musicians, creating and sharing

Tania Stavreva performs in London at the 1901 Arts Club, 7 Exton Street, London SE1, on Saturday 25th July. The concert includes the UK premiere of her ‘Rhythmic Movement in 7/8’ as well as premieres of works by other composers. Further details and tickets here

More information about Tania here

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

My mother studied piano at the Royal Academy of Music in London and my dad loves classical music so they really wanted me to learn the violin. Sadly I was hoping for tap dancing lessons at six years old so I think the first few weeks with my violin were quite disappointing for me. I have had the last laugh though as I just started private tap tuition in January fulfilling my life long dream! Let’s just say I don’t think I was destined for Broadway but amazingly I’m still on good terms with my neighbours.

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

I had three amazing teachers who all worked in top orchestras which I think drew me to that area of music, Beryl Auty who taught me until I was 15 and sadly passed away last year. Belinda Bunt-Broughton who regaled many tales of life in London orchestras and the session world and then Erich Gruenberg at the Royal Academy who at one time led the LSO. But I would say meeting Iona Brown when she directed National Youth Chamber Orchestra was a turning point. She heard me lead the NYO in Mahler 3 at the Proms and invited me to tour with the Norwegian Chamber Orchestra the following month in the USA. I missed the first five weeks as a student at the RAM but this invaluable opportunity shaped my love of orchestras, from the playing side, and just as importantly, the camaraderie. I really would say hand on heart that those experiences of music making as a teenager have stayed with me today. 

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

Working hard for my LSO audition. I had been playing in the orchestra firstly as part of their student string experience scheme, then as an extra player and I loved it so much but there was no vacancy. I freelanced for a couple of years until a job became available and of course by then I desperately wanted it so I really had to make the hard work and audition count. I can honestly say I was terrified. Working for auditions is such a tough thing, it’s an unreal situation hence I was really happy to write a post for the Strad magazine last year.  http://www.thestrad.com/cpt-latests/how-to-be-successful-in-an-orchestral-audition/

and last month I gave a talk with a colleague in the Barbican concert hall as part of the LSO’s international violin festival about how to prepare and get through auditions without a feeling of dread! http://www.thestrad.com/cpt-latests/strad-panel-discussion-surviving-orchestral-auditions/

Which performance/recordings are you most proud of? 

Three years ago the LSO asked me to perform a duo recital at LSO St Luke’s as they wanted to stream the concert live online having not used that technology before. That was immense fun performing with my friend and colleague Rhys Watkins and I was proud to think they trusted tutti players to do a good job. When you are playing full time in an orchestra, solo and chamber opportunities don’t come round very often and you do feel somewhat exposed in these situations. You can’t help but think, “where are the other 90 people I’m supposed to share the stage with?!” But I do like to challenge myself when I can to keep things ticking over. I have another opportunity on 26th June at LSO St Luke’s, this time with another LSO player Philip Nolte who will perform on violin and viola. The recital will also be streamed live over the internet so hopefully it’ll be a success.

Which particular works do you think you perform best?

I was always a big fan of virtuoso music as a student which means in the orchestra I prefer playing romantic and twentieth century music with fantastic violin writing such a Mahler, Richard Strauss and Prokofiev. I guess I always liked to show off and that has stayed with me! I also love playing film music, I think the orchestra sounds fantastic recording and performing big soundtracks which is good as in my time in the orchestra we’ve recorded at least fifty at Abbey Road and Air studios. 

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

Being in an orchestra that area is all taken care of! I look in the schedule which stretches a couple of years in advance and I play what’s asked to the best of my ability, sometimes with great joy and sometimes I make a note to take off a particular piece next time it comes round if I haven’t enjoyed it so much.. 

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

Suntory hall In Tokyo is one of my favourite touring venues for various reasons including proximity to the hotel, backstage facilities (free wifi!), the hall itself, the warmth of the audiences and the fact that I love Japan. HK is always special as I have so many family members there. Closer to home I love the Royal Albert Hall during the Proms season. That is so special although very nerve-wracking too with such a line up of world class orchestras night after night. The Proms’ atmosphere is unlike any other I’ve experienced.

Favourite pieces to perform? Listen to?

I don’t really listen to classical music on my down time. I don’t find it so relaxing as I find it hard to detach from the feeling of performing. My iPod is an eclectic collection of musicals, film soundtracks, pop and old Gershwin numbers I imagine myself tap dancing to. Mahler is hands down my favourite composer to perform. There is so much fantastic writing for the violins and I just find his music so incredibly moving, I love all his symphonies. Most people would groan when a Mahler cycle comes round but I’m like “bring it on!”

Who are your favourite musicians?

I admire so many soloists who come into the LSO to perform, especially ones who I have grown up idolising. I can’t help but be drawn to the violinists, Janine Jansen, James Ehnes, Nikolaij Znaider to list a few. On a personal level Sarah Chang is my best friend and I’m always in awe at how much work goes on behind the scenes at that level of performance and the endless travel. I’m a big fan of my friend Ray Chen too who is not only a stunning violinist but has really broken so many barriers between musicians and audience with his hilarious social media postings and humorous videos poking fun at the profession. I can’t wait for him to come and play with the LSO! 

What is your most memorable concert experience?

I felt pretty awed at the LSO centenary concert, realising I was a part of something so historic was special. The yearly open air Trafalgar Square concerts are also very memorable. I’m amazed 10,000 people can sit/stand so quietly through music (minus the car horns honking!) that is never obvious (Stravinsky and Shostakovich for example).

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

I’m a big fan of the “Quora” app and am always astounded how many people write questions such as, “How long does it take to become a virtuoso on the violin?” Or “If I start the violin at 16 will I get to be a concert soloist?’ If I reply I generally always say the same thing, you don’t get anywhere in life without hard work and a healthy dose of reality. I truly believe that working hard coupled with the right attitude can really take you far in life if you are realistic. A sprinkling of luck helps too!

What do you enjoy doing most?

Tough call between shopping and eating out! I will go with the latter, as so many of my happy memories are with friends and family around a table devouring wonderful food. Often when we are off on tour or reminiscing it’s not the concert hall we can instantly recall but the restaurants!

Maxine Kwok-Adams performs with Philip Nolte on Friday 26th June at Jerwood Hall, LSO St Luke’s. Further information here

As a teenager Maxine Kwok-Adams, ARAM, was heard by violinist Iona Brown leading the National Youth Orchestra of Great Britain performing Mahler’s 3rd Symphony at the Royal Albert Hall “Proms” concert and was promptly invited to tour the USA with the Norwegian Chamber Orchestra the following month. Later in the year she took up her scholarship place as a student at the Royal Academy of Music but carried on touring with orchestras such as the Academy-of-St-Martin-in-the-Fields.

Before graduating with an Honours degree, Maxine was awarded a place on the London Symphony Orchestra’s coveted String experience scheme, and in 2001 achieved her dream by becoming a full-time member of the 1st violins. As a strong supporter of opportunities that give youngsters a chance to experience performing in professional concerts, Maxine nowauditions and mentors the violins of the LSO String experience scheme.

At the forefront of the LSO’s online presence, in 2010 Maxine was asked to play a duo recital for the orchestra which was streamed live over the internet, the first time the LSO used this technology. She can be seen on YouTube as the LSO violin representative for the series of master classes designed to help violinists prepare for the YouTube Symphony Orchestra auditions. She is currently preparing to host the LSO’s first “google-hangout” chat about life in the orchestra which will be streamed live through YouTube.

Playing in the LSO has taken Maxine regularly into Abbey  Road studios where she has participated in over 40 film recordings since joining the LSO, including soundtracks to Star Wars, Harry Potter and The Queen. The LSO records with artists as diverse as Paul McCartney and Jennifer Lopez to Joe Hisiashi and Lang Lang.In 2010 Maxine was invited to contribute a chapter to the book, “Soundtrack Nation” by Tom Hoover, which focuses on professionals in the film music recording industry

 

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christina2bmcmaster

Who or what inspired you to take up piano, and make it your career?

I am the youngest of three girls and I always wanted to do everything my sisters did including piano – which I think they found quite annoying! I begged my Mum to allow me to have lessons too, and when I was finally allowed there was no stopping me! A few years on I remember listening to Ashkenazy play Beethoven’s ‘The Tempest’ Sonata in the car and feeling so excited about this fantastic piece and thinking how amazing it would be if I could play it one day. Forging a career as a pianist is not something I really thought about until I went to the Purcell School. Being surrounded by musicians already performing on the International circuit was slightly intimidating, but it motivated me to strive for a career as a performer.

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

There have been so many. More recently my mentor Joanna MacGregor has been an immensely important figure for me. Whilst at the Royal Academy of Music she taught me so much about programming, presentation, life skills, all in addition to playing the piano!  My parents have also been influential. They have been very supportive in a non-pushy way which has allowed me to find my own path and have a genuine passion and drive for what I do.

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

Maintaining balance and focus between my many musical projects, overcoming the post-concert come downs and performing Birtwistle’s Harrison’s Clocks in front of the composer!

Which performance/recordings are you most proud of? 

I have just recorded my debut album Pinks & Blues which will be released later this year. It’s a mix of classical and contemporary to jazz and blues and includes music by György Ligeti, Bill Evans, Gerswhin, Rzweski, Ravel as well as two new commissions. It took me a long time to decide on the content and order but am proud of it because as well as being my first album I think it takes the listeners on an excursion of familiar and unfamiliar sounds which I hope they’ll enjoy discovering!

Which particular works do you think you play best?

I feel a strong affinity to American Music of the 20th Century. The American ‘can do’ attitude resonates strongly with me. I love a challenge and that is what is often presented by these composers. Charles Ives’s music can often be extremely complex – 13 note chords for example! Ives, Henry Cowell, John Cage and others pushed boundaries, proving that we are not limited by the piano or traditional techniques.

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

My concerts are often curated and informed by my interests – I like to keep adding new repertoire or presenting the old in new ways. For my next performance at St John’s Smith Square (June 25) I have programmed the Debussy Preludes interspersed with the lesser-known Ruth Crawford-Seeger Preludes for a new perspective. Other concerts coming up include an American programme with violinist Lizzie Ball, a two week residency at Dartington International Summer School performing Poulenc’s La Voix Humaine with fantastic soprano Sarah Gabriel and a Film and Piano programme – so I like to keep it varied!

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

This year I performed at the Holders Season in Barbados; it was a grand outdoor venue and a beautiful place – I would definitely like to return there! I also recently performed in a private house concert in Holland Park; I loved the freedom of playing in this relaxed and intimate atmosphere, with some people sitting on the floor, others standing. Here I felt a real involvement and concentration from the audience.

Favourite pieces to perform? Listen to?

This changes all the time and depending on the season or even what time of day. I go through phases: recently I had a Mozart Sonata period, listening repeatedly to the complete recordings by Maria João Pires – this is good before noon and it helps to clarify my thoughts. The Britten/Pears recordings of Schubert’s Winterreise are another favourite – I would love to work with a singer on this work. I also spend a lot of time of Spotify exploring new pieces and for when I go running I definitely need something with a beat!

Who are your favourite musicians?

I have so many, but to name one of them: Radu Lupu. I adore his deep and warm sound and in particular his Schumann and Brahms recordings.

What is your most memorable concert experience?

Martha Argerich at the Royal Festival Hall. I was just a few seats back from the front row watching her play Prokofiev’s 3rd Piano Concerto and I could hear, feel and see everything – WOW!

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

Well, I am still learning myself, but I would say enjoy challenges, avoid imitation and explore other interests. There never seems enough time to practise at music college, but developing your character and having substance is absolutely crucial.

What do you enjoy doing most?

Practising (with a good coffee and high quality chocolate). When I first left Music College I found I had to do so much aside from practising in order to progress in my career. It was a basic yet incredible discovery for me that I am only happy if I have practised at least several hours a day. Without this I definitely notice a feeling of incompleteness and I’m probably not very pleasant to be around!

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

New York. It’s a city I’ve always been drawn to – it’s a City for dreamers and big ambitions – I love that it never stops – a bit like me and I guess that’s why I am so attracted to it!

Christina is a highly innovative pianist and curator with a continually growing reputation for bold and vivacious performances.  Christina has performed extensively in major venues including at the Southbank Centre, Kings Place, Aldeburgh Festival and The Holders Season, Barbados. She has won numerous prizes including the Jacob Barnes Award, The Royal Academy Christian Carpenter Prize, The CAVATINA Chamber music trust prize and audience prize, and the audience prize in the Jacques Samuels Intercollegiate Competition.  

Christina attended the specialist music school Purcell School and achieved a first from the Royal Academy of Music in 2013, where she studied with her mentor Joanna MacGregor. Christina has continued her education and exploration of 20th Century French Music taking masterclasses with Maestro Bernard Flavigny who has a direct lineage to Debussy.

She has collaborated with a diverse mix of genres and arts, recently working with the Brodowski Quartet, violinist Lizzie Ball, rapper Tor Cesay, Director Richard Williams, actors from Central Saint Martin’s and a number of designers for London Fashion week. Christina is a strong supporter of diversity within and outside of the arts and recently founded Ensemble WOW – an organisation dedicated to promoting equality through unique and imaginative programming.  

Christina is a dedicated performer and discoverer of new music working with established composers including Sir Harrison Birtwistle, Sir Peter Maxwell Davies, Tansy Davies and Stephen Montague as well as emerging composers – collaborating most recently with Freya Waley-Cohen and Richard Bullen.

Christina McMaster is a 2016/17 St John’s Smith Square Young Artist