Category Archives: Meet the Artist

Meet the Artist……Marianna Prjevalskaya, pianist

marianna-photoWho or what inspired you to take up the piano, and pursue a career in music? 

I was born into a musical family and was surrounded by music all the time when I was growing up. Both of my parents are musicians, therefore it was assumed I would follow the same path. They only asked me if I wanted to play piano or violin, and I picked piano. Honestly, I never regretted my choice. I started my piano lessons under my mother´s guidance, and continued until I was 17 years old, when I began my education at the Royal College of Music in London, studying with wonderful Irina Zaritskaya.

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

When I moved to Spain with my family, I met the pianist Krystian Zimerman, and was inspired by his interpretations of Chopin’s Ballades and Concertos, and Liszt Sonata. I also had a chance to hear him live several times in my hometown in Spain performing with orchestra. He introduced me to music I had never heard before, and I was so stunned by its beauty that I was desperate to get those scores out and start learning. I think I sight-read everything we had at home, and it got to the point that my mother had to hide music from me, as I did not want to practice works she assigned. That was probably the time when I realized I wanted to devote my life to music. I always felt that knowing that pianist at that age was crucial for my development. Later, as I grew up, my attention shifted to other musicians. I admire Grigory Sokolov. I should not dare to say he is my influence, but he is the type of musician whose artistry resonates with me most. He fills each note with meaning when he plays, each silence has a meaning, and each note has its beginning and its end! Every single phrase is preciously delineated, well thought and deeply felt. His musicianship is so powerful that he takes control over you and is capable of hypnotizing you. He neither tries to impress, but remains authentic. I think his performances are transcendental experiences, at least for me, and he is an artist who speaks from his truest self.

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

I think everybody has to go through some challenges, but personally I tend to be quite private about difficulties I go through. What I can share, perhaps, is that I learned how to remain true to myself no matter what others think of me and expect from me. I found it quite challenging because I am a vulnerable person. When you are surrounded by many musicians and participating in competitions, the pressure grows even greater. Very often your thoughts can be scattered around in your mind about other contestants, and whether the impression you left on the jury was positive or negative. With a bit of experience I realized that all these thoughts are very distracting, they separate you from who you are, and don’t let you express yourself authentically. Eventually, during my competition performances, I was able to attain the freedom I feel when I perform any public recital.

Which performance/recordings are you most proud of?  

I am not sure the word “proud” is the most appropriate; I am a perfectionist and always feel I can do better. However, I would probably say that I am happy with my most recent album dedicated to Rachmaninoff.

Tell us more about your new recording…

The album features Variations on themes by Chopin and Corelli. I was dreaming about this project because Rachmaninoff is a composer whose music I find very close to my heart and my soul. I have to say that I had an absolutely awesome team: I was lucky to work with an amazing producer Elaine Martone, who was extremely supportive, encouraging and inspiring during the recording sessions. Chelsea VandeDrink is a fantastic recording engineer who did her work fabulously, and Anilda Carrasquillo created a booklet I could only dream about. I felt that it was a very strong team, and it was an excellent experience to work with these people, with whom I created a strong bond and most importantly, a lasting friendship. This CD was possible thanks to the Cincinnati World Piano Competition, which I won in 2013.

What is the particular appeal of these works by Rachmaninoff for you? 

I have always felt a close relationship with this composer, and considered recording some of his compositions a long time ago, but then in my twenties discovered his Variations on a Theme of Chopin Op.22, a work that unfortunately is not often performed. I was fascinated by the incredible variety of moods and emotions Rachmaninoff reveals in this music, as well as by the way he transforms the theme throughout the composition, making it barely recognizable. It is a work with endless possibilities for a pianist to display his or her mastery.

I often think that composition’s fate grows from the roots. What I mean in this case is that the work had a very moderate reception when Rachmaninoff premiered it in 1903 in Moscow. The preludes Op.23, written during the same summer, enjoyed a bigger success, and his other major hits, like his second sonata, or the second concerto, for example, completely overshadowed this composition. Even though nowadays you may find a few recordings, I feel pianists are afraid of its length and that it might not be an easy piece for the audience. This set of variations lasts about half an hour, but isn’t the Liszt Sonata thirty minutes long? Any late Schubert sonata would be even longer! When I performed this work in the semifinals of Seoul International Piano Competition in 2008, one jury member asked me at the end of the competition why I chose this piece and told me that it is inappropriate for a competition, and that instead I should have played the second sonata. I made to the finals anyway, but am still puzzled why this composition is not appreciated. It is an actual gem in the piano repertoire!

Regarding the Variations on a Theme of Corelli I have to say that at the time I was making my decision what else would go together with Chopin variations, it happened I was working on Corelli variations, and thought both sets would work greatly together. Thirty years separate both pieces and they are incredibly different. The Corelli Variations exhibit a stylistic growth and some kind of a structural compactness: he expresses his ideas in a more concise way, somewhat similar to a mature person who prefers to speak less, but whose choice of vocabulary is very accurate. I do love this composition, but in a different way.

Which particular works do you think you play best? 

Works that speak to me emotionally. But not necessarily has to be from the same period. I played Scarlatti sonatas that were very precious to me. I felt a particular affinity with Haydn Andante and Variations in F minor that I recorded for NAXOS a few years ago, for example. My attention usually shifts to different composers at different periods of my life. There were years when I felt too attached to Chopin, but thought I would never understand Schumann for his crazy and hectic romanticism. A few years later I felt I only wanted to play Schumann, and it was never enough of him. To name a few that deeply belong to my heart: Schubert Sonatas D.845 and D.959, Schumann F sharp minor Sonata Op.11, Brahms Intermezzi Op.117, Liszt Sonata, Debussy Preludes Book II, obviously Rachmaninoff, including the second Sonata, Prokofiev Sonata No.8 Op.84, among many others.

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

I feel that every time I go through a difficult internal process before I make my repertoire choices. I always play what I want, what I like most and what I feel is right for me at this moment. What it means is that for some reason, on some kind of subconscious level, a particular piece rings my doorbell. It happens when I constantly hear this music in my head, and it does not cease until I take the score and start learning it. It is as though the piece was being chosen by itself, asking to be played. I find it very interesting. And what is even more surprising is that I usually never misunderstand the signal. If I feel the need to play a particular composition, it means I feel something very special for it, a very strong emotional connection. I should probably say I am lucky, because I usually build my own recital programs, however I wish I had the same freedom to choose concerti I want to play with orchestras.

I have also had other experiences. I forced myself to play something that did not seem the right choice, and all of a sudden, when the work began, I realized that I made a huge discovery, a work that I never thought I would enjoy became one of my favourites.

My former teacher Boris Berman told me one day: “Try to learn to love a piece you do not like.” At that time I did not understand how that was possible, I neither wanted to try. I guess now I know what he meant.

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

I can name several venues where I felt particularly good. A concert hall in Malaga, Sala Maria Cristina was a very special venue where I played all Schumann recital. I loved their Steinway, and the decoration of the hall and its acoustic were very inspiring. I enjoyed immensely performing at Weill Hall in New York, as well as remember wonderful experiences performing at the Mozarteum in Salzburg and Minato Mirai Hall in Yokohama.

Favourite pieces to perform? Listen to? 

This questions is partially related to my choice of repertoire. I prefer to perform works that are emotionally intense and that speak to me most. Compositions I choose to play become my favourite pieces to perform. I do like listening to music, in fact I only listen to classical music, and I should probably feel ashamed that I do not listen to anything else. It all depends on my mood. One day I might want to hear a Baroque ensemble, another evening I want to listen to Schubert’s Lieder or Brahms, or may be Haydn’s symphonies.

Who are your favourite musicians? 

If we talk about living pianists, I would name Grigory Sokolov, Murray Perahia, Mitsuko Uchida, Radu Lupu, Evgeny Kissin, András Schiff.

What is your most memorable concert experience? 

I have several. I will never forget my experience performing Brahms d minor piano concerto with Kazufumi Yamashita and Sendai Philharmonic Orchestra in the final round of Sendai International Piano Competition in 2010. It is an exceptionally rare experience when you feel that the orchestra, conductor and yourself blend into one organic whole, and music drives you with its force somewhere beyond reality. And I give thanks to this conductor for making me feel that way. A similar experience occurred performing Chopin e minor concerto with Stamatia Karampini, she made me to forget that I was not playing alone, and with Chopin that is really dangerous, because the conductor and the orchestra have to be constantly alert, Chopin´s rubato is unpredictable and too fragile to foresee. I have also enjoyed tremendously performing with Roberto Trevino and Cincinnati Symphony, and with Carlos Prieto and David Danzmayr and Louisiana Philharmonic. My solo memorable experience was probably my Weill Hall debut and a recital I performed in Baltimore with Schubert A major Sonata D.959, a work I have a very intimate connection with; in fact all Schubert occupies a very special place in my heart. I am not sure what happened that evening, but I was watching my hands and thought I am witnessing my own playing. My intensions were shaping phrases with no effort, and music was being created in the moment. That state of mind is not something you can experience every time you go to play on stage.

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

I think the most important advice I would give is to stay true to yourself, avoid being influenced by others and do not give up.

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

I am not sure I can answer this question. I like the idea of not knowing what is ahead in my life. I have learned not to rush things, and that everything comes at its right time. I try to enjoy living in the present moment.

What is your idea of perfect happiness? 

To feel internal harmony and see my family healthy and happy. 

What is your most treasured possession? 

The ability to feel and understand music.

What do you enjoy doing most? 

Playing the piano.

What is your present state of mind? 

I feel pretty balanced and in peace with myself.

cincinnati_disk_230Marianna Prjevalskaya’s all-Rachmaninoff CD is available now. The recording features two works for solo piano: Variations on a Theme of Chopin, Op.22, and Variations on a Theme of Corelli, Op.42. (Fanfare Cincinnati FC-008) Marianna Prjevalskaya plays Rachmaninoff

Born to a musical family, Marianna benefited from early lessons with her mother from age six, her principal mentor for more than eleven years. She continued her studies at the Royal College of Music in London with Irina Zaritskaya and Kevin Kenner. In 2003 Marianna moved to the United States where she joined the Toradze Piano Studio at Indiana University. She also holds an Artist Diploma and Master of Music from Yale School of Music, where she studied with Boris Berman. Currently Marianna is a doctoral candidate at Peabody Conservatory of Music where she studied with Boris Slutsky. At diverse festivals, she has studied with renowned pianists such as Liliya Zilbernstein, Emmanuel Ax, John O’Conor, Leon Fleisher, Choong-Mo Kang, Richard Goode, Peter Frankl and Piotr Paleczny, among others.

‘One Before Zero’ – an oratorio for the Battle of the Somme

Benjamin Ellin, the award-winning and critically acclaimed British conductor and composer, has been commissioned to create a classical composition focusing on the concept of peace and this year’s centenary of the Battle of the Somme.  The resulting Oratorio One Before Zero is one movement for orchestra, solo baritone, solo mezzo soprano and boys’ choir.

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This large-scale musical narrative work is inspired by the moment before battle, before zero, zero hour, the time at which hostilities commence.  Benjamin Ellin explains: “It’s the time when all that is known can be turned upside down and where a world of emotions dominates the mind and soul of any soldier”.

The work is in English, French and German and aims to illustrate musically and linguistically how the race to war, the loss of life and the destruction of humanity affected all sides in this devastating war.

Benjamin explains the inspiration behind the new work: “The Imperial War Museum provided a great deal of the research materials that helped inform my understanding of the period and I used the archives of Royds Hall School in Huddersfield which was a military hospital during WW1.  I enlisted the talented writer Ben Maier to help me ensure the work flows as a  continuous and complete line. The work has a personal connection too. My great relative, Private Samuel Vincent Boot (No. 19463) was killed in WW1.  I used his army number to develop a lot of musical material and develop the narrative.”

The performance will take place on 11th November 2016 at the renowned Maison de la Culture in Amiens in Northern France which is located just behind where the front line was established in WW1.  A second performance is scheduled on 12th November 2016 in Beauvais, Maladrerie Saint-Lazare.


In this Meet the Artist interview, Benjamin discusses his musical influences, the challenges of his career as a composer, and the creation of ‘One Before Zero’.

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

I heard a performance of the Nutcracker at the Royal Ballet as a young boy – my mother took each of us (myself and my two older sisters) to see a ballet when we were young by way of a musical intro – and I was hooked. I persuaded her to buy me the tape recording in the shop and listened to it constantly. Whenever I hear a great piece of music, in whatever genre, I just want to write music or do something creative.

Who or what were the most significant influences on your musical life and career as a composer? 

There isn’t one single thing. My initial musical impulse often comes from the environment I am in or the world events of our time. I also love the sounds that are around us generally and how they often turn in to little musical ideas all by themselves. For instance, one of the tracks from the TAFAHUM album ‘Osmosis’ is inspired by the sound of the Victoria Line tube at Highbury and Islington; the piece is called Three Fishes Laughing.

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

Being pigeonholed really – or people trying to. For me, music is genuinely indivisible and once you try to put people in to boxes you are missing the point. Sadly it seems, at times, this obsession is a by-product of lazy elements of the ‘business’, but I have always believed that the most inspiring characters around do more than one thing and I genuinely just happen to love and feed off different musical arenas.

What are the special challenges/pleasures of working on a commissioned piece? 

The shape of a piece is very important. Once the overall structure is set in your mind, even if it changes slightly in the process of being realised, you can really start to write it out. For ‘One Before Zero’ that really was the main issue; deciding on the form and arch because after that a lot of decisions have been made for you. The challenge is knowing what to not use or not do and structure helps that process of illumination a lot. Pleasures? I love harmony and the juxtaposition of chords and the resonances they have; that and treating the audience to the theatrical elements of music so they are – hopefully – truly gripped and engaged.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras? 

If you have a relationship with a performer or a group then you can try and build the musical material around them in subtle ways; this is a joy. A challenge is to always respect the skill and talent of the musicians. They have to play your music and you hope that they actually want to. I don’t believe music is all about the composer in an egotistical way but always about the collective.

Of which works are you most proud? 

I am proud of my Violin Concerto which was premiered last year with the Philharmonia Orchestra, my Trombone Concerto for Joseph Alessi, my tracks on the TAFAHUM album ‘Osmosis’ and the works I have written in conjunction with Violist Rivka Golani and the people of the Siksika nation in Canada – amongst others…

How would you characterise your compositional language?

That is a difficult question – in fact, all these questions are! In short a mix of Stravinsky, Shostakovich, Britten, Vaughan Williams and the jazz world of Miles Davis and Count Basie amongst others. Jazz and blues were major influences growing up in that they were the main style of music that I heard and I still love them. In general, as a composer, I don’t seek to reinvent the wheel but I’ll always express myself as honestly and boldly as I can.

How do you work? 

It largely depends on the piece or the commission. Sometimes a solid idea for a gesture within a piece starts the process and other times I have to work relatively slowly. Waiting for inspiration is all well and good, but sometimes it doesn’t always flow and you have to then rely on your technique – however good it is – when a deadline is there! I also like to sow ideas in my mind and let my subconscious chew them over for a bit; they nearly always find a way of becoming a key part of the process.

Please tell us more about your new work ‘One Before Zero’, to be premiered on Remembrance Day. 

In short it is a large oratorio for orchestra, solo baritone, solo mezzo and SATB male choir to commemorate the Battle of the Somme.

Not so short, well, subconscious played a major part here too. I first worked in Amiens several seasons ago when I wrote two smaller pieces for a new festival there. As soon as I went on a research trip I was hooked on the area, the cathedral and the history of World War 1. I knew I wanted to write something about it and that was a good start for mental gestation! Then I had the chance to work with the orchestra in Picardie as both a composer (I wrote a new work for them) and also as a conductor in several performances. Therefore I got to know the players a little and I also got to work with their Music Director Arie. By the time the commission came I had soaked a lot up about the people, the area and so I could start from a decent place. The desired use of an all male SATB choir provided another set of options for the work as it was clear to me that the choir should be the soldiers and the baritone soloist is one of them whilst the mezzo represents the home front, picking up the pieces and trying to make sense of everything that was going on through the mirage of propaganda and misinformation through media…how things change!

Then, after lots of reading and textual research I decided on the structure of the piece. The soldier (baritone solo), drained, exhausted and battle-hardened from war stands at the front of the stage. Gazing out at the audience he begins to question who are the people across the stretch of no man’s land in front of him who he will shortly be ordered to attack, to kill, or indeed be killed by. Who are they? Are they anything like him? How did he get to this point where a mere order from a higher rank can result in him, a hitherto ordinary man, attacking with such aggression and ferociousness.

This awakening marks the start of the work. The title itself (ONE BEFORE ZERO)  underlines the importance of this moment before battle, before zero, zero hour  – the time at which hostilities commence – when all that is known can be turned upside down and where a world of emotions can surely fly through the mind and soul of any soldier.

The text is also a mixture of source letters, propaganda and diary entries from the time and also a number of commissioned texts by Ben Maier – a writer who I work with regularly. The new texts help knit everything together and I wanted to move away from using war poetry as it had already been done several times. The piece is in three languages, English, French and German as the aim of the piece is to underline the human cost on all sides of this conflict.

What is your most memorable concert experience? 

Again, there have been many for all sorts of reasons. I think my first concert as a conductor at the Philharmonic in St Petersburg was very special. I studied in St Petersburg and saw a concert there during my studies with the St Petersburg Philharmonic. Amazing. Then, years later when I used to do stage managing I stage managed a concert with the EUYO and Ashkenazy there. A few years after that I made my debut as  conductor and with one of my own pieces, WHITE CRUCIFIXION, so it was a powerful feeling of full cycle!

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

Be really honest with yourself about what you are trying to do, what you love and what you are doing. Lots of people will try and knock you down, directly or just through ignorance. If you genuinely love what you do, no matter what, then just keep going – however hard it gets. Take what you do seriously, but never take yourself seriously so that it becomes destructive – ego is the ugliest trait in people and especially in music.

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

Music Director of a Professional Orchestra, writing a small handful of film scores a year, touring and collaborating with Tafahum, guest conducting with a handful of organisations and carving out commissions that I am interested in.

What is your idea of perfect happiness?  

Now, as a father, a good afternoon picnic with my wife and children followed by prating around with them, and possibly some creative work in the garden with my daughter helping.

What is your most treasured possession?  

I would say my family, but they are not a possession, so, therefore, I don’t have one.

What do you enjoy doing most?  

Lots of things and as much as I can. I learn about other things from doing something seemingly different so I love variety in work and in life.

What is your present state of mind? 

A mixture of love, contentment, frustration at the world and hope in the many beautiful things that still manage to exist.

‘One Before Zero’, a new oratorio in one movement commissioned by l’Orchestre de Picardie for the Network ONE® – an Orchestra Network for Europe – to commemorate the centenary of the Battle of the Somme will be premiered in France on Remembrance Day, 11th November 2016. Further information and tickets

Award-winning and critically acclaimed British conductor and composer Benjamin Ellin is currently Music Director of Thursford Productions, Founder of the Contemporary Fusion ensemble Tafahum, Principal Conductor of the Slaithwaite Philharmonic Orchestra, Music Director of Focus Opera and President of Pembroke Academy of Music, London.

His belief in the positive power of music within society is reflected in the wide-ranging projects of which he is currently a major figurehead. From his own ensemble Tafahum, major projects and collaborations at London’s Southbank Centre, his own commissioned works with the First Nation communities of Alberta, Canada to his commitment to outreach and development work as well as appearing on stage with leading ensembles across the globe, Ellin’s belief in a musical world without boundaries is equalled by a tireless commitment as a guest artist and as a Music Director.

A new home for Meet the Artist

Established in 2012, the weekly Meet the Artist interview slot, in which musicians and composers reflect on various aspects of their creative lives, has gone from strength to strength and is now an integral and very popular part of The Cross-Eyed Pianist’s content. To celebrate this, Meet the Artist now has its own dedicated website.

Meet the Artist interviews will continue to appear on this site every Thursday, while the new site will act as a supplement with a growing catalogue of interviews with both well-known classical musicians and composers and young and up-and-coming artists. Do consider following the site in order to receive updates every time a new interview is released. In addition to interviews there will also be news, reviews and other articles relating to the artists featured on the site.

I feel very privileged to have the opportunity to share so many fascinating and often unexpected insights from such a wonderful range of musicians and composers, and I would like to take this opportunity to thank everyone who has taken part in the Meet the Artist project so far for their contributions to the series.




Meet the Artist……Helen Grime, composer

news-3412Who or what inspired you to take up composing and pursue a career in music?

I was surrounded by music from a young age and went to a music school (city of Edinburgh Music school, then St Mary’s Music School) where everyone was encouraged to compose. It’s difficult to put my finger on what exactly inspired me to pursue composing but I think it was this ethos combined with individuals such as the pianist, Peter Evans and ecat (Edinburgh Contemporary Arts Trust at the time)taking an interest and performing as well as commissioning me.

Who or what are the most significant influences on your musical life and career?

Coming to London and studying with Julian Anderson and Edwin Roxburgh made a real shift. They introduced me to so many composers as well as ideas and techniques, and this really instilled me with a desire to always be ambitious with he music I write. Studying in Tanglewood (2008) and working closely with composers Oliver Knussen, Augusta Read Thomas and others was also a very important time for me, not least because I was immersed in the music of Elliott Carter during their celebration of his centenary.

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

Having my son, in 2013, has been a real challenge, although not a frustration. I was used to devoting any or all my time to composing and this had to change, I’m much happier for it though!

What are the special challenges/pleasures of working on a commissioned piece? 

Each commission has its own challenges, this may be linked to a brief. It often feels like you have to learn composing anew for each piece and that’s tough. Another challenge can be the pressure you feel to produce your best work and not to let the commissioner/organiser/individual/performers down, this can be very daunting at the beginning of the composing process.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Working with musicians for the first time, whether soloists, singers or orchestras can be very exciting but also completely nerve racking. I want so much for them to respond well to what I’m doing and also enjoy learning and performing my music. My music (everyone tell me) is pretty difficult and detailed, even when I fell I’m doing something very simple. I know it takes a huge amount of energy and time to embrace a new sound world and am always incredibly grateful when musicians seem to get what I’m doing and really believe in it.

Which works are you most proud of?

It takes me a long time to feel really comfortable with a piece and it might take several years and different performances for me to let go and enjoy it. For this reason it’s a difficult question, also, how I feel about a piece can be linked to other people’s reactions at the time or the performance. I think I’m most proud of some chamber pieces such as Aviary Sketches for string trio and my Three Whistler Miniatures for Piano trio. I am proud of my Violin Concerto just now, but it’s not receiving its premiere until December so I will have to wait and see! Often I’ve had particular compositional challenges in these works but don’t feel I’ve had to compromise on my language or original vision for the piece.

How would you describe your compositional language?

My language is detailed and intricate. I am drawn to rich harmonies, initially influenced by Messiaen, Takemitsu and Boulez, and long expressive musical lines. I love to create different layers in my music and often slow music exists at the same time as fast music. Clarity and focus, as well as a dedication to always get exactly the right notes, are always paramount for me.

How do you work?

I work in a spare bedroom and spend a lot of time sketching on manuscript and using piano. Once I have developed and discarded a lot of material as well as discovered what I want to try to achieve in a piece, I start using Sibelius software alongside, always moving back and forth manuscript to rework and draft passage. This is usually pretty extensive.

Who are your favourite musicians/composers?

Difficult to say, but Ravel, Stravinsky, Janacek, Byrd, Bach,Ligeti, Knussen feature pretty highly- obviously there are many others, living and dead, but these are composers whose music I love in its entirety.

What is your most memorable concert experience?

Berg violin concerto with Christian Tetzlaff when I was an usher at the Usher Hall during the the Edinburgh International Festival.

What advice would you give to aspiring musicians and composers?

To always keep a core of self belief and never ever give up, even in really tough times. Keep an open mind but always be true to your musical identity and don’t compromise on that.

What is your idea of perfect happiness?

Snuggled by an open fire with a good glass of red and a good book on a winter day.

Helen Grime is Wigmore Hall’s first female Composer in Residence. Helen will compose three new pieces as part of the residency, beginning with a piano concerto for Huw Watkins and Birmingham Contemporary Music Group, and will also contribute to the hall’s Community and Education programme. The first event of the residency will take place on October 15 with a day of concerts devoted to the composer’s music and figures that have influenced her work. Further information here

Born in 1981, Helen studied oboe with John Anderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as all the major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas. Grime was a Legal and General Junior Fellow at the Royal College of Music from 2007 to 2009. She became a lecturer in composition at the Department of Music at Royal Holloway, University of London, in January 2010.
Helen has had works commissioned by some of the most established performers including London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center. Conductors who have performed her work include Daniel Harding, Pierre Boulez, Yan Pascal Tortelier and Sir Mark Elder. Her work Night Songs was commissioned by the BBC Proms in 2012 and premiered by the BBC Symphony Orchestra, conducted by Oliver Knussen. In 2011 she was appointed Associate Composer to the Hallé Orchestra for an initial tenure of three years. Her first commission for them, Near Midnight, was premiered on May 23, 2013 and a recording of her orchestral works performed by the Hallé was released as part of the NMC Debut Disc Series in 2014, which was awarded ‘Editors Choice’ by Gramophone Magazine. 

Meet the artist……Rick Simpson, jazz pianist & composer

Who or what inspired you to pursue a career in music?

Hmm…that’s hard to say. I think by the time I knew I wanted to music I hadn’t really met anyone or seen any concerts – I just knew that I loved playing the piano and making up little tunes. It wasn’t really until I found Jazz that I knew exactly what it was that I wanted to be doing. Before that I was quite unfocused and split my time between doing the grades and playing music from musicals and coming up with my own arrangements of them. My old piano teacher used to give me hell for not playing what was on the page, but I think that I’d always enjoyed playing around with music made the transition into Jazz piano at the age of fifteen more comfortable.

Who or what are the most significant influences on your musical life and career?

My classical piano teacher at Guildhall, Laura Roberts, has probably had the biggest influence on my musical life. She’s been a close friend and ally over the years and even though we rarely see each other now she still has a big influence over me. She pulled me out of so many bad habits at the piano – before I met her I really had very little idea of how to play the piano properly so she really turned my life around. I’m still trying to work on the simple ideas she presented me ten years ago.

For Jazz if I had to name one figure it would be Keith Jarrett. He was my first real love in music and the first pianist I ever heard. I’d never listened to any famous classical pianists before, or really even any piano music in general and when I first heard Jarrett it was mind-blowing and I devoured everything I could get my hands on. What can I say about Jarrett that hasn’t already been said! To me he’s the biggest musical genius of all time. 

Other than Jarrett there came a time in my life around the age of 21 where I felt like the African-American lineage of Jazz Piano had a greater pull for me. Before then I was quite into the Bill Evans – Brad Mehldau – ECM sound, and I still love that, but the Duke Ellington, Thelonious Monk, Wynton Kelly, Herbie Hancock lineage really took over at some point. Its all beautiful and it ultimately all comes from the same place but I always want to keep on working on what is a Black American art form. Even though my own music comes from a lot of influences outside of Jazz I won’t ever stop trying to get together what Charlie Parker and Bud Powell were doing in the 1940s.

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

I think anxiety has held me back massively. Its only been in the last two years where I’ve felt happy on stage. I used to be a nervous wreck and it showed. That’s really held me back and I feel like I need to make up for lost time but I’m generally a lot happier and settled than I was in my early and mid-twenties.

How would you characterise your compositional language?

I would say that the music I’ve written over the last four or five years has come from not thinking of tonality or chords. None of the music from my new record has any chord symbols in it. I wanted to get away from the sound that I felt that I’d heard too much of in the London Jazz scene – music which has been clearly written with a single melody line over a set of sometimes quite bleak chords. Kenny Wheeler has been a huge influence on a lot of people in London but I had to get as far away from that sound as I could. When I write music these days the composition is first and the improvising is second. At some point I’ll go back to writing very small compositions that serve as vehicles for improvising but right now with my band Klammer the music is about the compositions.

How do you work?

I work very slowly, which is of great annoyance to me. I know some people who can write several tunes in one sitting, but I don’t think that works for me. I’ll write a couple of bars and then I’ll forget about it for days on end, and then come back to it and add a few more. I’d like to get things out faster but sometimes I think leaving things can cause you to come back afresh and take the music somewhere else. 

Often I think its helpful to know what you want to write before you start. That’s worked well for me in the past where I’ve wanted to write the fast tune/the ballad/the straight 8’s odd time tune, but these days I just sit and see what comes out.

Who are your favourite musicians/bands/composers?

Modern musicians/bands that pose a huge influence on me these days are Jason Moran, Django Bates, Matt Mitchell, Steve Lehman, Steve Coleman, Radiohead, Animal Collective, Deerhoof, John Hollenbeck, Wayne Shorter, Steve Reich, Liam Noble, people like that. I love hip hop, techno, ambient, singer-songwriter music too and it all runs together.
And from the past – Thelonious Monk, Stravinsky, Ravel, Bach, Schubert, Billie Holiday, Mahler, Messiaen.

What is your most memorable concert experience?

Seeing the Wayne Shorter Quartet playing music from outer space in 2006 at the Barbican Centre. It was without doubt the most incredible music I’ve ever heard. People in the audience were screaming during the encore, it was so super-charged. There’s a recording of it out there somewhere…That band is on the farthest outer edge of what’s possible. No one is doing what they can.

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

Ronnie Scott’s. It took me a long time to make peace with the piano – that piano kicked my ass! I had to really learn how to play grand pianos and its only been in the last two years where I’ve felt comfortable playing one – but now I love playing there. The atmosphere and sound are perfect and I would play there every week if I could. I’ve had some great gigs there recently with Leo Richardson’s Quartet and it just feels like the perfect place for that music.

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

Be friendly. Get your social skills together. Never, ever rely on what you perceive to be as your talent, its not enough. When I was younger I didn’t feel confident in some social situations and used to hope that I could just get by on my playing. You can’t – you have to go out there and meet people and make friends.

For Jazz musicians I’d say get as much together as you can. Don’t just do one thing, get it ALL together. It’s all as equally important and the more you have in your tool box the more exciting your improvising will be. It’s not fun when you know how someone is always going to sound. Jazz should be the sound of surprise. Tape yourself. Play classical music too, its all in there.

Other than that just practice as much as you can, see as much of life as you can and don’t worry if things don’t happen straight away. Never get lazy or complacent. When I was younger I noticed that some older musicians who I used to worship had done so and I vowed I would never slack off. The only person who can help you get better is yourself.

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

Still practicing and trying to get better. I still feel like a beginner and I still don’t feel like I’ve achieved anything and I don’t really want that feeling to go away. It keeps you moving. That said, if I’m still doing what I’ve done over the last few years in ten years time I’ll be very happy. I’d just like to do more of it and eventually move into teaching at one of the music colleges. I love this life and I just want it to last a long, long time!

Rick Simpson’s new album with his band Klammer is available now on the Two Rivers Records label

Rick Simpson is based in London playing a wide variety of music, and leads his own group playing original jazz music. Rick is a regular performer at Ronnie Scott’s, the 606 Jazz Club, Pizza Express Dean Street, The Vortex, The Bull’s Head, and he has appeared at larger UK venues such as the Royal Festival Hall and the Purcell Room. In 2008 Rick won a Yamaha Scholarship Prize for Outstanding Jazz Musicians. A recording of Rick’s band was put on the front cover of Jazzwise Magazine.
Since graduating from the Guildhall School of Music and Drama in 2008 he has performed with musicians such as Christian Scott, Eric Harland, Joe Sanders, Michael Janisch, Ernesto Simpson, Martin Speake, Earl Burness Travis, Stan Sulzmann, Jeff Williams and Brandon Allen as well as younger musicians in London. Rick plays in the ensembles of Jay Phelps, Tim Thornton, Tommy Andrews, Leo Richardson, Paul Riley, and US Jazz Singer Hailey Tuck amongst others

Rick also teaches on the prestigious MEhr Clef courses alongside Stan Sulzmann, Steve Waterman, Alan Barnes, Malcolm Edmonstone Mark Hodgson, Lee Gibson, Ursula Malewski and Martin France.

Meet the Artist……Lucia Caruso, composer and pianist


Who or what inspired you to pursue a career in music? 

My father, Alberto Caruso, was a surgeon and the son of an Italian violinist, my grandfather Salvatore Caruso (both my paternal grandparents were Italians from Calabria). He took me to my first piano recital when I was four, then to my first opera, ‘Rigoletto’, when I was six. I grew up listening to classical music at home and going to concerts thanks to my father and my mother, who is also a doctor, and she enjoyed listening to Bach and Mozart while looking at the microscope. My parents told me that when I was a baby, they put me to sleep listening to Chopin Nocturnes. My grandfather used to play the violin for quite a lot when I was a child, and I listened to him for hours delighted. I inherited his violin, the most precious possession he took to Argentina, when he emigrated before World War II started.

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

As a pianist, I have always been very influenced by Martha Argerich, Maria João Pires, and Sviastoslav Richter. My first piano teacher was a big influence too, Gustavo Gatica, with whom I studied for about ten years until I moved to New York. Even now, I still think of everything he taught me when I practice or teach piano to others.

As a composer, my strongest influence has been Portuguese composer and guitarist Pedro Henriques da Silva, my husband. I had my first composition lessons with him when we were just friends, and he prepared me to audition for my masters in composition and film scoring at New York University, where he eventually became a member of the composition and film scoring faculty. I learned the most of composition, counterpoint and orchestration with him. Pedro, in his doctorate thesis, compiled more than two thousand modes and scales from all around the world, which I use a lot in my compositions. I learned a great amount of world music and how to compose including many unusual world instruments with their exotic tunings. Pedro has a collection of 25 plucked string instruments from different parts of the world, which certainly influenced my music. For example, I based a few of my compositions on the magical sound of the open strings of the Portuguese guitar (D-A-B-E-A-B), an instrument that is normally just used to play fado music from Portugal.

Film Composer Miklós Rózsa was a huge influence in the way I write my melodies, the modes I use with their modulations, and in the way I orchestrate. He is the film composer I admire the most, especially for his music for the biblical epics of the 50s and 60s. The scores to ‘Ben Hur’ and ‘King of Kings’ were the reason I decided that my life would be music and made me fall in love particularly with the idea of being a film composer. I even started dreaming then that I could be able to make my own films. I was 12 when I discovered Miklós Rózsa, and I feel he opened the door to the film world for me. Tchaikovsky is also a big melodic and orchestral influence in my compositions. Ravel and Liszt would be probably the strongest influence in my piano writing. Ravel is also my favourite orchestrator to learn from, especially for his brilliant orchestral special effects.

My film scoring teacher Ira Newborn during my masters at New York University was a very important influence in my scoring techniques. Ira wrote the scores to ‘Ace Ventura’, ‘Ferris Bueller’s Day Off’, and ‘Naked Gun’, among others.

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

Balancing being a composer and being a performer is always a challenge. But the biggest challenge of all has been how to describe the style of music Pedro and I compose. To classify it in a genre has always been a challenge. So, after many years of trying to fit our music into a style I came up with the idea that I needed: to create my own musical style: “Transclassical Music”. I coined this term to describe exactly the kind of music that my husband and I compose and mostly perform with the chamber orchestra that we founded together in New York: the Manhattan Camerata. Pedro and I work most of the time as a team, I am the Artistic Director and Pedro is the Music Director of the Manhattan Camerata, being both the founders of the ensemble. Transclassical Music, is music that is grounded on classical techniques of performance and composition with the influence of elements from different cultures from all around the world, including improvisation and world instruments. The Manhattan Camerata is the first chamber ensemble to perform Transclassical Music.

Which performance/recordings are you most proud of? 

I am very proud of the recording I did together with my husband of our orchestral music with the London Metropolitan Orchestra at the Abbey Road Studios in London 2012. Besides having our compositions recorded, we also played as soloists on our works for piano and orchestra, and Portuguese guitar and orchestra, respectively. These compositions were commissioned by the Ahae foundation.

Another recording I’m very proud of, is the one Pedro and I did together of two commissioned film scores for full orchestra and choir for two of Georges Méliès’s masterpieces: “Joan of Arc” and “Trip to the Moon”. We recorded the two film scores with an extended version of the Manhattan Camerata to make it a full orchestra, together with Voices of Ascension, one of the best choirs in New York City. We composed the scores together, however the score of “Joan of Arc” is a little more mine and “Trip to the Moon” is more Pedro’s. We recorded at one of the best studios in the U.S., the Dolan Studios at the New York University.  We have the mission to score as many films as we can from 1928 and earlier, because since they were silent films they did not have a score composed for them. We want to help to revive many lost, forgotten, undiscovered, or damaged masterpieces, through music. The idea is to bring old films back to life with newly composed scores, so they can be projected again in theatres. This is one of our main goals with the Manhattan Camerata. Maria H. Connor was the executive producer of this project and recording, with Pedro being the music producer.

I am very proud as well of our latest album of our Tango Fado Project with the Manhattan Camerata. We recorded it also at the New York University Dolan Recording Studios and it was executive produced by Maria H. Connor, and the music producer was Pedro. We had special guests artists: Nathalie Pires, one of the best fado singers of our generation; legendary Daniel Binelli, one of the best living Bandoneon players, who used to perform alongside Piazzolla and Aníbal Troilo, the great masters of Argentinean tango; and Polly Ferman, Uruguayan virtuoso pianist and musical ambassador of the Americas. Pedro and I also perform as soloists on the album, with him on Portuguese and classical guitars, and me on piano. The album was taken by the Sorel Classics label and by Naxos  for international distribution. We are extremely proud of this recording.

I am very proud of two performances at the Versailles Palace of our compositions with a string quartet formed by members of the Orchestre the Paris and the then assistant concertmaster of the London Symphony Orchestra, Tomo Keller, as first violin. The first one of these performances was on June 23rd 2013 and the second one on September 9th 2013. Another performance I am very proud of, is the one we performed of other works of ours with the same string quartet at the Louvre Museum in Paris on June 26th 2012. In most of these compositions, Pedro and I performed alongside the string quartet with me on piano and harpsichord and Pedro on Portuguese and classical guitars. Pedro and I also performed at the Kew Palace in London together with violinist Tomo Keller on August 25th 2011. Totally unexpectedly, they gave me a harpsichord instead of the piano I had asked. So the day of the concert I had to just think fast and rearrange the whole repertoire to be able to play what I could and I improvised solo harpsichord pieces and in duet with Pedro on the Portuguese guitar. Since that day I got new commissions to compose for the harpsichord and I started my studies of harpsichord with one of the most respected harpsichordist of America, Kenneth Hamrick.

Most of our compositions performed at all these concerts I just mentioned, were commissioned by the Ahae Foundation to accompany his photographic exhibit that took place in many countries in the world, including the Louvre Museum and Palace of Versailles in France, Kew Palace in London, Grand Central Terminal in New York City, and Magazzini del Sale in Venice.

I am also very happy to perform and donate my concerts as a fundraiser to the Breast Cancer Foundation “Fundafem”, in Mendoza, Argentina, whose president is Dr. Francisco Gago. The first concert for this foundation was at the Independencia Theatre, the most important theater in Mendoza, Argentina, on May 14th 2014.

Lastly, I am particularly happy about the two concerts we did with the Manhattan Camerata of our Tango Fado Project at Kennedy Center in Washington DC on March 13th 2015 and at Lincoln Center in New York City on August 3rd 2016.

Which particular works do you think you perform best?

I have a great affinity with Mozart, his piano concertos, especially No.13 K415 and No.20 K446. The same goes for Mozart sonatas such as the ones in G Major K.283 and C Major K. 330.

I would say that Debussy’s ‘Estampes’, Chopin ‘sBallade No 1, Ginastera Tres danzas argentinas, Grieg Piano Concerto, Beethoven Sonata No 6, are among the pieces I perform best.

But in the last several years, I have focused on performing my own compositions and Pedro’s, and those are the pieces that I always have ready in my fingers, and if you to ask what pieces I play best, I would have to say that it is our works.

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

I plan according to the concerts I have to play. I mostly perform my own works because of the limited time I have to learn new repertoire besides all the composition commitments I have.

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

Yes, I love performing at le Poisson Rouge and in Lincoln Center in New York City, and at the Monserrate Palace in Sintra, Portugal. Le Poisson Rouge has one of my favorite sound systems and a great piano. I also love the nature of the venue, which is quite creative and multicultural. It looks like a jazz bar or restaurant with tables where you can eat and drink while you enjoy the show, but you don’t necessarily listen to jazz or music that would suggest that kind of ambience. You can listen from classical to any other style of music there. This is for me one of the perfect ways to enjoy classical music: in a more relaxed and enjoyable environment than in a strictly serious one. I love to listen to classical music while enjoying a glass of wine, and not always sitting stiffly in a concert hall. When we perform there, the set up of the tables and the stage creates an intimacy that connects the audience with the performer in a very Close and warm way. It is also located in the heart of the West Village in Manhattan, one of the most alive neighborhoods of the city.

Lincoln Center is just one of the best venues I’ve ever performed in. Great acoustics, fantastic piano, great stage, huge, perfect for a big audience. Another special place where I love to perform is at the music room in the Monserrate Palace in the middle of the Sierra of Sintra (20 minutes from Lisbon) in Portugal. This last one is my favorite in terms of Magic. The room is round and has a gorgeous cupola with the most astonishing decoration, including busts of the nine muses and famous female poets all around it. The acoustics makes the sound go up and swirl around you and everything sounds even more beautiful. It is impossible not to get crazily inspired…This room has one of the best Steinway pianos I have ever played, which belongs to my dear British friend Emma Gilbert. Before Emma owned this piano, it previously belonged to Vianna da Motta, one of the most important Portuguese composers of the 19th century, and a disciple of Franz Liszt. It is a big honor for me to play on that piano. I feel it has a soul and has become one of my closest friends. I don’t only perform at the Monserrate Palace, but I also compose there most of the time when I’m in Portugal (my husband is Portuguese and I have also adopted the Portuguese nationality by marriage, that’s why I often visit). The fact that this palace is kind of hidden in the middle of the forest of the Sierra of Sintra, most of the time surrounded by a fantastical fog, typical of the sierras, it makes the whole experience absolutely magical. The Monserrate Palace is one of my favorite places to work in the world.

Favourite pieces to perform? Listen to?

From the standard classical repertoire I love to perform Mozart concertos, I would actually love to play all of them if I had the time. I also love to perform early Beethoven sonatas, Chopin Ballades No 1, 2, and 4; Schumann’s ‘Carnaval’ Op.9, Schumann ‘The Prophet Bird’ from Waldszenen op.84.

But lately I’ve been more focused on performing my works and Pedro’s works. We’ve been composing difficult music that requires all our focus, such as a piano concerto, other works for piano and orchestra, and chamber and solo pieces that often include difficult virtuosic writing. I love creating something that I will enjoy performing.

I love listening to Medieval and Renaissance music a great deal, some of my favourite pieces of the period being “Viderunt Omnes” and “Beata Viscera” by Pérotin; Cantigas de Santa Maria (12th C.), “Moro lasso al mio duolo” by Gesualdo; Dowland’s “Lachrymae”; Tallis’s “Spem in alium”; and I love everything by Josquin des Prez. My music is somewhat influenced by Medieval and Renaissance music in its colours, modes, and in instrumental timbre. Some of my music has a medieval flavour within the “modern” compositional techniques I use.

I am also a big lover of Celtic music. I am in love with the Celtic harp and bagpipes. I have a big collection of Celtic music from Ireland, Galicia, and Portugal, one of my favourite ensembles being “Strella do Dia” from Portugal.

The classical pieces I like to listen to the most are both of Liszt’s piano concertos; Brahms’s piano Concerto No.2; Tchaikovsky’s “Pathetique Symphony” (which in my opinion contains some of the most beautiful melodies ever written); Puccini’s “Turandot”; “El Amor Brujo” by Manuel De Falla; Wagner’s Ring Cycle; Ravel “Piano Concerto for the Left Hand”; Messiaen’s Turangalila Symphony, “Le banquet Celeste”; Benjamin Britten’s “War Requiem”, Ligeti’s “Lux Aeterna”.

In film music, my favourite scores are: Miklos Rozsa’s “Ben Hur”, “King of Kings” and “Quo Vadis”; Bernard Hermann’s “The Ghost and Mrs. Muir”, “Vertigo” and “Psycho”; Max Steiner’s “Gone with the Wind”; John Williams’s “The Prisoner of Azkaban”, “The Empire Strikes Back”; John Brion’s “Eternal Sunshine of the Spotless Mind”.

Pop Rock and other music I love listening to: Nils Frahm’s albums “Spaces” & “Felt”; Bjork’s albums “Vespertine”, “Post”, “Homogenic” and “Vulnicura”. I like some of the most unusual songs of the Beatles: “Blue Jay Way”, “Within Without You”, “Tomorrow Never Knows”, and also “Girl”, “Norwegian Wood”, and “Dear Prudence”. I am crazy about the song “Nobody Does it Better” by Marvin Hamlisch.

Who are your favourite musicians?

Pianists Martha Argerich, Maria João Pires, Radu Lupu, Daniel Barenboim; violinists Nathan Milstein, Itzhak Perlman, Gidon Kremer; conductors Georg Solti, Carlos Kleiber, Alondra de la Parra; bagpipe player Patricia Pato; guitarist Pablo Sainz Villégas; bandoneonist Daniel Binelli; cellist Sol Gabetta. I have the honor and privilege of being friends with the last five, and have collaborated with most of them.

What is your most memorable concert experience?

One of the most memorable and beautiful concert experiences Pedro and I had was at the Louvre Museum/Jardin des Tuileries with the Orchestre Lamoureux in Paris. We were commissioned the orchestral and chamber music for a big photography exhibit at the Louvre Museum and performed it live outdoors in two concerts at the Tuileries Garden in front of a crowd of thousands in beautiful Paris in summer. My husband and I both played as soloists with this orchestra: him on his Portuguese guitar and orchestra composition “Snow”, and I played as a soloist in my piano and orchestra piece “Clouds”. More orchestral works of ours were performed while beautiful photographs were shown on two giant screens on a huge stage that was built just for these concerts.

The other great experience in performance was the one we had last month at the Lincoln Center Out of Doors Festival in New York City. We performed our Tango Fado Project with our chamber orchestra, the Manhattan Camerata. We also had more than four thousand people in the audience – with a few dozens more standing – and had one of the most positive and effusive reactions from the crowd and the Lincoln Center authorities. An unforgettable evening!

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

As a composer, I think that the purpose of music is to touch people’s hearts and to be able to produce goosebumps as a symptom of emotional catharsis. This is more important than trying to be original or complex. As a performer, simply enjoy every musical line as if you are making love to your instrument.

Where would you like to be in 10 yearstime?

I want to keep doing what I am doing now, but more so. I want to have more concerts, more compositions and commissions and more recordings at Abbey Road, and more important concerts like the ones I have done at Carnegie Hall, Lincoln Center, Kennedy Center, Palace of Versailles, Louvre Museum, etc. I just want to write more pieces and complete my Portuguese opera and my novel about Sintra. I am at the happiest place I could possibly be right now. Of course I could always have more fame and money, but I am doing exactly what I love: composing and performing concertos and my own music, and I see myself doing the same but more so in ten years. But my greatest ambition is to be able to have a child and being able to continuing doing what I’m doing. I have talked to many artist mothers, and they just wrap their child and play piano, paint, write, and travel with the child to tours and everywhere.

I want to always live in New York, the city where all my dreams came true, but I also want to have a home in the countryside. I see myself in 10 years composing in my own studio or house either in the Catskill Mountains in Upstate NY, or in Rhode Island (US East coast) or somewhere in the countryside in England or in the south of Argentina, in Patagonia… It is crucial and vitally important for me to have a home in the countryside and in the middle of nature, so I can be fully creative.

What is your idea of perfect happiness?

Being able to be eternally in love with the loves of your life, such as romantic love, platonic love, special friends and family members. I love spending time with friends who are as close as family and with family members who are as close as friends. To fall in love with what you do as a profession, and being able to make a living or make that your everyday responsibility, has no price.

What is your most treasured possession?

My grandfather’s violin.

What do you enjoy doing most?

Besides making music, I love traveling around the world and learning as many languages as possible. I love being in the countryside and wilderness. I love riding my bike next to the ocean in Portugal with my father in law, Francisco H. da Silva. I love going to art museums with my mother, Lucia Morales, especially the Metropolitan Museum of Art in New York, and discuss art and painting for hours. I love spending time with my sister Carla, one of my closest friends and favourite people. I love being a Druid and praise nature constantly. I love climbing mountains, as I used to do since I was a child with my father and sister in the Andes Mountains. I love fencing, reading and writing. I love going to Burning Man. I love laying on the ground in the fields, mountains or on the beach to watch the millions of stars above me and look for shooting stars. I love doing wild things… I love being free…

What is your present state of mind?

Constantly in love…

Argentine-born pianist and composer Lucia, will demonstrate her technical and emotional mastery of a concerto premiered by Mozart himself, one of three designed to be accessible and a happy medium between the easy and the difficult, the brilliant and the pleasing, on Tuesday 11th October in ‘Mozart and Friends’ with the Orchestra of the Swan in Stratford-upon-Avon, details here, and further concerts in Birmingham and Cheltenham on 12th and 19th October.

Lucia Caruso’s website




Meet the Artist……Katya Apekisheva, pianist


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

I grew up in a family of musicians. Both my parents are pianists and repetiteurs in different Moscow opera houses and so I was always surrounded by music.  Many of my earliest memories are of the excitement of seeing my parents practicing and performing.  Music came to me very naturally. I was very lucky to have Ada Traub as my first piano teacher.  She was an extraordinary teacher and human being with a special ability to communicate with children and give them crucial skills and a love for music.  I then went on to Gnessin Music School and from there to the Jerusalem Academy and the Royal College of Music. It never really occurred to me to do anything else with my life – I am delighted to say that I still don’t regret it!

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

Each of my four teachers have been hugely significant, each in a different way.  I have already mentioned Ada Traub. My second teacher was Anna Kantor, much more formidable – in fact slightly terrifying to her students.  She had an amazing ear for detail, was very hard-working and a perfectionist.

Through her I met my fellow student Evgeny Kissin, one of the world’s most accomplished pianists. I was present at many of his lessons and went on a couple of tours with him.  His extraordinary talent made a massive impression on me. He inspired me to be a performer

In Jerusalem I was taught by Irina Berkovich. From her I learned much about analysis and structure. Irina Zaritskaya’s approach (at the Royal College in London) focussed on sound and colour. I had a very special bond with her; she was an amazingly caring teacher and herself a wonderful pianist with a sound from the golden age of piano greats.

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

These days musicians lives are crazy.  in order to be “on the scene” and in demand as a performer we often have to take up almost any invitations that come our way which often means learning a huge amount of solo and chamber music repertoire at very short notice.  I find that the most challenging: not only to learn new repertoire but to fill it with meaning and understanding in a very short time.  It can be thrilling but also daunting.  You have to live off adrenaline.  It must be very difficult for musicians who don’t learn fast to survive in today’s world.

What are you most looking forward to in the London Piano Festival?

Having spent a lot of time with Charles carefully deciding on the artists and repertoire for the festival, I really am looking forward to every event!  But for me the Two Piano Gala is probably the most exciting.  It has an unusual format – it is in three parts and the repertoire is really fantastic and diverse (from Busoni to Debussy, Rachmaninov, a new commissioned work by Nico Muhly and “party pieces” by Milhaud, Piazzolla and Grainger/Gershwin). Having seven fantastic pianists taking part in this event is really exciting.

Which performance/recordings you are most proud of?

There were many memorable performances in my life… ( for different reasons!)

One of my most memorable performances was playing complete Brahms piano quartets in Moscow with Boris Brovtsyn, Maxim Rysanov and Boris Andrianov. It was the combination of learning the three Brahms quartets, which I think are some of the very best chamber music works there are, and then performing these pieces with fantastic musicians whom I admire.

As for recordings, I guess my first solo recording of Grieg piano music is something that is very important for me. I visited Grieg’s house outside Bergen in Norway, and played there too. It was such a magical place and it made me want to record Grieg. But I don’t find listening to my own recordings easy: its so difficult to accept the finished product, I always want to change something ..

Which particular works do you think you play best?

So difficult to say… Hard to judge yourself. I guess romantic music suits me most but I think I can play a Haydn sonata decently too… !

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

There are many factors involved… It depends on how busy i am in that particular season and also often there are concerts/festivals for which I am asked to play certain pieces or concertos.

But I do try always to learn something new.  And I try to vary styles in my programs. I think its an art in itself to create a really interesting and exciting program. It can be crucial to the success of a concert.

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

I love the beautiful and very special atmosphere of Wigmore Hall and the unique sense of history pervading the Holywell Room in Oxford.  I generally prefer more intimate venues although I did recently play in the Unam University Hall in Mexico City, which is a very big hall indeed, but i loved the acoustics and felt really good playing there.There are quite a lot of lovely venues around the world, it is impossible to name them all.

Favourite pieces to perform/listen to?

I really can’t name favourite pieces to perform or listen to… I just love too many different things. If I name a couple of pieces, then immediately others will come to mind and so on…   Often I don’t feel like listening to classical music and I switch a nice jazz record on… Or even pop, dare I say.

Who are your favourite musicians?

From past generation – Rachmaninov, Kreisler, Rubinstein, Carlos Kleiber to name a few

Now – Grigory Sokolov, Martha Argerich, Maria Joao Pires, Radu Lupu, but there are quite a few others and not necessarily pianists.

What is your most memorable concert experience?

I will never forget playing in the finals of Leeds Piano Competition. I played Rachmaninov 2nd Piano Concerto and Sir Simon Rattle was the conductor. I never dreamt I would get into the final so I didn’t even bring the score with me… So when I found out I had got through to the final, I had to find the music urgently!  Also I didn’t know it so well… I had two days to revise it. It was a live broadcast on TV and radio and it was definitely the most terrifying experience on stage for me. Working with Sir Simon was really amazing though; he was so kind and encouraging.

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

We live in a very competitive world. Being proactive and ambitious is good but most important is to be true to music; music requires dedication and commitment – years of learning, studying, exploring, thinking – not just playing your instrument.  If you want to be a performer, you need to have something to say in music, and you need to develop as an individual, as a human being, in order to have something to say.

Where would you like to be in 10 years time?

Hopefully still here with my friends and loved ones near me!  And still enjoying playing the piano as much as I do now.

The inaugural London Piano Festival runs from 7-9 October 2016 at King’s Place. Full details here

Katya Apekisheva is one of Europe’s most renowned pianists, in demand internationally as both a soloist and as a chamber musician. Since becoming a prize-winner in the Leeds International and Scottish Piano Competitions and collating awards such as the London Philharmonic ‘Soloist of the Year’ and the Terence Judd Award she has been marked out as a pianist of exceptional gifts, performing with many of the world’s leading orchestras, including the London Philharmonic, The Philharmonia, the Halle Orchestra, the Moscow Philharmonic, the Jerusalem Symphony, the English Chamber Orchestra and the Royal Philharmonic Orchestra, working with conductors such as Sir Simon Rattle, David Shallon, Jan Latham-Koenig and Alexander Lazarev.

Read Katya’s full biography here








Meet the Artist……Jane Booth, clarinettist


Who or what inspired you to take up the clarinet and make it your career? 

My father used to take me to hear concerts at Middlesbrough Town Hall given by what was then called the Northern Sinfonia Orchestra. I loved the sound of the the clarinet in that orchestra and declared it my chosen instrument – apparently!

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

During my teenage years I loved making music in a variety of settings. The combined energies, harmonies, rhythms and colours from orchestras, wind bands, dance bands and pit bands gave me a  hunger for performing that has never left!  Chamber music, solo playing, orchestral playing now fill many of my days (and evenings), and the sense of fulfilment just gets stronger.

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

As a performer on historical instruments I find that I need to have many different instruments in good working order and ready for performance at any one time. Sometimes lining up 10 or 12 different clarinets, basset horns or chalumeaux in the run up to a range of concert programmes can be quite challenging – not to mention ensuring that I have good working reeds for all of them too! But each instrument has its own tonal colour, depth and dynamic range to explore and this also informs my music making so the down sides all have a really positive flip side to accompany them.

Which performance/recordings are you most proud of? 

I’m really excited about the new CD with one of my chamber groups ‘Ensemble DeNOTE’, an ensemble formed by my husband and fortepianist, John Irving. We often play historical arrangements of eighteenth and nineteenth century favourites, so this CD celebrates that repertoire with two Beethoven ‘selfies’ – his trio arrangement of the Septet (clarinet, cello, fortepiano) and a piano quartet version of the Op. 16 quintet for piano and wind. With the beautiful added decorations in the Op. 16 I’m enjoying the piano quartet version rather more than I ought to! With ensembleF2 I’ve recorded a second album of chamber music by Franz Danzi. Returning to his two wonderfully operatic sonatas (one for clarinet with fortepiano and the other for basset horn and fortepiano) with Steven Devine has been great fun, especially using the Fritz fortepiano at the Finchcocks museum and its very special percussion pedals!

Some years ago I was thrilled to take part in the first ‘historical instrument’ performances of Wagner Operas with two different orchestras and under two conductors.  Daniel Harding and Sir Simon Rattle each brought their own insights to this repertoire, the results were thrilling for players and audiences – such a privilege to be a part of this particular journey of rediscovery.

Which particular works do you think you perform best? 

Mozart ‘s Gran Partita, Requiem and of course Concerto really are enjoyable to perform and I’ve had plenty of opportunities to indulge myself in these works in recent times. Again, the instruments we use are so very special for these pieces and I’m lucky to have very well made (hand made) copies that are as close to the instruments that Anton Stadler played as I think it is possible to have. My basset clarinet was made by Peter van der Poel, it plays really well and is modelled on the picture of Stadler’s instrument from a Riga concert announcement.  My basset horn was a recent purchase from Guy Cowley whose instruments just get better and better – it sings so sweetly and is a joy to play.

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

A new bass chalumeau by Guy Cowley and a basson de chalumeau by Andreas Schöni have promoted me to explore a number of baroque composers recently leading to a new programme of music for chalumeaux, voice and continuo with works by Vivaldi, Bononcini, Graupner, Zelenka,  Telemann and others. The soprano chalumeau in particular blends so sweetly with a voice – and fits very conveniently into a coat pocket!

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

My favourite hall of the moment is The Anvil at Basingstoke. With the OAE (Orchestra of the Age of Enlightenment) we have played large symphonic programmes such as Berlioz Symphonie Fantastique as well as chamber performances of classical wind serenades. The sound in the hall is exceptional and it is so rewarding to perform in such a wonderfully warm and vibrant atmosphere. The people of Basingstoke and the surrounding region may not realise just how lucky they are!!

Favourite pieces to perform? Listen to? 

I love playing great choral works such as Mozart’s Requiem, Haydn’s Creation, Bach/Mendelssohn St. Matthew Passion and others. Performing the texts and sentiments of these great works is always inspiring and there are several great choral ensembles around these days that lift the music to incredible heights – I’m lucky to have the opportunity to work with some of them. Brahms Symphonies, Tippett’s A Child of our Time and Schubert’s Lieder would also be on my desert island disc list.

Who are your favourite musicians? 

Playing in TWO chamber groups on a regular basis affords me many wonderful opportunities to play with musicians whose playing I adore, who inspire and challenge me and with whom I can explore ideas and repertoire to my heart’s content.  Beyond the lives of those ensembles, I feel most inspired when I’m on stage with people who put the music and their enthusiasm first, leaving their egos outside the room…… A number of them work alongside me at the Guildhall School!

What is your most memorable concert experience? 

I’ve enjoyed many different performing settings but many concerts with Toronto’s Tafelmusik stand out for me as having incredible energy, consensus and excitement. Under Bruno Weil, Tafelmusik’s exploration of Beethoven Symphonies brought me immense pleasure and fulfilment – even through the recording sessions which so often in other settings can sap the joy out of the music.

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

Technique only has value if you can use it to convey something from your heart.

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

In 10 years’ time I’d like to be working one-to-one with more students and directing even more of my own musical projects.

 Jane peforms Mozart’s Clarinet Quintet K.581 on a period basset clarinet and Crusell Quartet Op.2 No. 1 in a concert on October 5th with Consone Quartet, St Leonard’s Church, Shoreditch, London E1 6JN. Free entry with retiring collection

Jane is a specialist in the early clarinet and chalumeau. In addition to her work as Head of Historical Performance at the Guildhall School of Music & Drama, London, regular masterclasses and international adjudicating, she has pursued a busy international career, playing all over the world with many renowned ensembles including the Orchestra of the Age of Enlightenment, Tafelmusik and The Academy of Ancient Music. Her repertoire is vast and extends from the works of Handel, Telemann and Vivaldi through to Wagner, Mahler and Debussy – all on historically appropriate instruments.

After some fifteen thrilling years as principal clarinet of the Orchestre des Champs-Elysees Jane turned her focus towards chamber music. She has performed in the UK, North America, Japan, Australia and Europe with Robert Levin, Ronald Brautigam, Eybler Quartet and Les Jacobins, and currently performs regularly with her Ensemble DeNOTE and Ensemble F2. Concerto performances include baroque concertos by Fasch, Telemann, Graupner, and Molter, Mozart’s Concerto for basset clarinet and Weber’s Concertos performed Europe-wide.

Jane has recorded for Analekta (Canada), ATMA (Canada) and sfz music (UK) performing Mozart’s Clarinet Quintet, solo repertoire for the Basset Horn, wind music by Gossec and Méhul, and a programme of Lieder by Schubert. A DVD documentary on Mozart’s Kegelstatt Trio with Ensemble DeNOTE (Optic Nerve) is complemented by a new recording of Beethoven’s Trio Op. 38 (Omnibus Classics). A second CD of the chamber music of Franz Danzi is in preparation with ensembleF2 on the Devine Music label.



Meet the Artist……Martin Roscoe

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

I started piano aged 6 and didn’t show much interest in the first few months but a family trip to London when I was just 7 included a night at the Proms, with Malcolm Sargent conducting the Berlioz Symphonie Fantastique which just blew me away. When I got back home they couldn’t get me off the piano ! As far as a career was concerned I really had no idea what was entailed … I just drifted into it…one thing led to another. 

Who or what have been the most important influences on your career as a musician?

My teachers to start with: Marjorie Clementi, who sorted out my technique when I went to her aged 13 and who taught me to listen to myself for the first time. Gordon Green, who taught me how to practise in so many imaginative ways, and whose infectious love and enthusiasm for music overall was very inspiring. He really was a great human being. When I was a student Alfred Brendel’s early recordings were a great inspiration, and also the playing of so many pianists… Richter, Rubinstein , Kempff and Curzon to name a few of the most important.

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

Recording all the major Schubert works for Radio3 in the 1980’s and more recently recording all the Beethoven Sonatas for Deux-Elles. Playing at the Proms was a great experience , but very challenging!

You’re performing in the inaugural London Piano Festival – tell us about your programmes

With Ronan O ‘Hora I’m playing the immense Busoni Fantasia Contrapunctistica, and with Kathryn Stott the Percy Grainger Fantasy on themes from Porgy and Bess. A tremendous contrast between the towering intellect and gravity of the Busoni and the great fun and panache of the Grainger.

Which performances/recordings are you most proud of?

My performance of Rachmaninov’s Second Concerto at the Proms in 1989, and my recordings of the Beethoven Sonatas

Which particular works/composers do you think you play best?

Beethoven and Schubert for sure. Mozart’s Concertos, Brahms, Dohnanyi, and Debussy.

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

I’ve started to play themed programmes in the last few seasons….The piano and nature for example this year including Beethoven’s Pastoral Sonata and shorter works by Liszt, Schumann, Dohnanyi Ireland and Debussy all inspired by nature. Next year The piano and Art …works by Liszt, Debussy and Granados culminating in Mussorgsky’s Pictures. Also a lot of all Beethoven programmes when recording the sonatas. Now all Schubert programmes in preparation for recording his works.

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

S0 many – but Manchester’s Bridgewater Hall for concertos…. The clarity and immediacy make it so exciting. For solo it’s difficult to beat Kings Place. For chamber the warmth of sound in the Wigmore is very special

Favourite pieces to perform? Listen to?

Too many to list….but for listening I’m still as obsessed by Wagner now as I was when I discovered his music as a teenager. Haydn Quartets are an endless treasure trove…..

Who are your favourite musicians?

Again, where to start ? Just recently I heard two stunning performances from very contrasting pianists whose work I love and admire…….Richard Goode and Martha Argerich

What is your most memorable concert experience?

Taking part in the final concert of Kathy Stott’s Piano 2000 festival at the Bridgewater Hall in Manchester…all the Rachmaninov Concertos in one evening. I played No.2

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

Fidelity to the score and the communication of the music without personal interference. Meaning is more important than style, yet a sound knowledge of style is also necessary. An interest in all the works of the major composers, not just the piano music.

What do you enjoy doing most?

Apart from playing Schubert and Beethoven, walking on the hills of Scotland and the Lake District, cooking, watching films, and listening to Wagner

With an extraordinary career spanning over 4 decades, Martin Roscoe is unarguably one of the UK’s best loved pianists. Renowned for his versatility at the keyboard, Martin is equally at home in concerto, recital and chamber performances. In an ever more distinguished career, his enduring popularity and the respect in which he is universally held are built on a deeply thoughtful musicianship allied to an easy rapport with audiences and fellow musicians alike.

Read more about Martin Roscoe here

Meet the Artist……Kathryn Stott, pianist

(photo Nikolaj Lund)

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

I’m not sure I was particularly inspired by anyone at the age of 5, but we had an upright piano in the house as my mother gave piano lessons to little ones after her day job. I don’t remember she pushed me to start but I was easily drawn to the instrument and picked up the basics pretty quickly. I had no wish to sit there for hours on end, so I think my saving grace was being able to read music quickly and get on with whizzing through my little book! I’ve never felt that I made a conscious decision to pursue a career in music. I went to the Yehudi Menuhin School at the age of 8 and it just naturally led to studies at the Royal College of Music – actually I never felt there was a choice NOT to continue!

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

Although my lessons were infrequent with Vlado Perlemuter, he did influence me a lot in the way he approached clarity and intensity of sound. Nadia Boulanger influenced my ears to be as wide open as is humanly possible but the teacher who actually had the most profound influence, was Kendall Taylor who I studied with for 4 years at the Royal College of Music. He basically put me together after I had become very fragmented and most important, was the first person who believed in me. I’ve known Yo-Yo Ma for all of my adult life (and worked with him for 31 years) and without doubt he has influenced me tremendously, both as a pianist and a person.

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

I’ve had a number of challenges along the way. Perhaps the greatest was balancing being a mother and trying to maintain a focus on having a career which often took me away from home. My other great challenge was to accept I didn’t really like performing from memory and just deal with the fact I prefer using the score. I’ve now been doing that for about 20 years. I remember a promoter told me the critics would shoot me after I gave my first full recital using the score. It appears I’m still here.

You’re performing in the inaugural London Piano Festival in October – tell us about your programme?

I initially thought it would be a good moment to perform the Dutilleux Sonata again – a piece I absolutely love. I performed it for a whole season 10 years ago but then it disappeared from my repertoire until I recorded it for BIS 2 years ago. Then of course comes the question of what to perform with it. Somehow I couldn’t escape the idea of F sharp and now here we are with music by Ravel, Messiaen and Fauré. I’m often fascinated by keys and why music sounds the way it does because a composer chose a particular key. I think it will be interesting to explore the contrasts of F-sharp for an hour. 

Which performance/recordings are you most proud of? 

I don’t particularly dwell on whether I’m proud of something or not so there are probably performances which went especially well which I’ve totally forgotten about. I think I’m proud of the fact that I performed Rachmaninov’s 4th Concerto for the first time only a few years ago. As I get older, adding works such as this seem a bigger mountain than when I was younger, but I would have been gutted to get to the end of the performing road and never have played it…what a piece! Recordings – I’d probably have to say my complete Fauré for Hyperion. Not because I think it’s better than anything else I’ve done but it was such a beautiful labour of love to learn the complete works. I know I would play everything differently now but that’s how these things go. I don’t listen to my recordings – that’s for other people to do.

Which particular works do you think you play best? 

I think there are certain pieces I perform better now simply because I’ve had some life experiences which have definitely affected how I express myself. For example I feel I now play the Britten Concerto in a way which makes much more sense than when I was younger – same with works by Shostakovich. I have no idea really – my interest in repertoire is vast so sometimes it’s good to explore even if I don’t think it’s for me.

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

It depends on the season and what is generally going on. I always have a lot of chamber music in my season, so as that repertoire is not necessarily determined by me, I might decide my own recital repertoire according to other things in place. Concertos I don’t play as often and it’s always been rare to dictate repertoire. Then of course, there are festivals where you might have a million things to play in a short space of time. I try to think how I’m going to be able to prepare everything time wise and so some choices are made on that. It goes without saying that I’ve programmed or hinted strongly I want to play a certain piece just simply because I have to play it!

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

I don’t have one favourite but on the list would be Teatro Colon in Buenos Aires for its beauty and history, the Concert Hall in Luzern for being contemporary but warm and Symphony Hall in Boston for its acoustic, relationship to audience and wood floor (stage) which tells a thousand stories. I generally dislike very high stages so even a great hall where I’m too far from the audience is not in my top ten.

Favourite pieces to perform? Listen to? 

No favourites – depends what day it is. I love silence more and more but I love listening to Symphonic Music, Opera, Lieder –rarely piano music just for pleasure

Who are your favourite musicians? 

I don’t have favourites but I’m currently enjoying listening to Philippe Jaroussky.

What is your most memorable concert experience? 

If you mean me performing then performing at the Hollywood Bowl with Yo-Yo and lots of lovely, wonderful Brazilian musicians. I remember we all held hands to take a bow and I said to guitarist Sergio Assad ‘remember where we are’. He knew what I meant. It was a happy evening for us all in an iconic venue. If the experience is me sitting in the audience – I’ve just been to my first Wagner Ring Cycle performed by Opera North. Truly memorable.

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

I always think it’s important for young musicians to find their own voice and I often discuss the concept of being true to ones self, to think about why they want to be part of the music profession and to try to balance the wishes of a composer with what they have to say as an individual. Learning to tell stories via their instruments is what I’m interested in and most important, I do like to stress we all mess up and performances are not ruined thanks to some wrong notes. In the end, I hope to help them be creative, independent, courageous and above all curious.

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

Anywhere where I feel to be alive and well

What is your idea of perfect happiness? 

I don’t think it exists

What is your most treasured possession? 

My photo albums – I’m very nostalgic

What do you enjoy doing most? 

Walking in the countryside with my dog, Archie

What is your present state of mind? 

Always lots going on!

Kathryn Stott performs music in F-sharp by Fauré, Ravel, Messiaen and Dutilleux as part of the inaugural London Piano Festival at Kings Place on Saturday 8 October.

Further information here