Saturday 1 June 2024, 10am-4.45pm, Coach House Pianos SW6 4SQ

SPECIAL OFFER FOR READERS OF THIS SITE – DISCOUNTED OBSERVER PLACES

A one-day masterclass for advanced adult amateur pianists (Grade 8+) with pianist and pedagogue Dr Michael Low, hosted by Frances Wilson (The Cross-Eyed Pianist) at the sumptuous London showroom of Coach House Pianos. There is much to be gained from observing at a masterclass, including insights into technical and interpretative issues, practicing and performance, in addition to the opportunity to hear a variety of repertoire, including music by Schubert and Debussy.

Observer tickets £10 for the full day (save £5) – click on the image to book or scan the QR code to book


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The event will be friendly, supportive and inspiring, and a great opportunity to observe top class teaching in friendly setting, plus the chance to meet other pianists. There will be plenty of time for discussion, Q&As, and relaxed ‘piano chat’ too.

Coach House Pianos is located at 79-91 New Kings Rd, London SW6 4SQ (nearest stations: Fulham Broadway, Parsons Green & Imperial Wharf). Please arrive promptly. Michael and Frances will be at the front entrance of the showroom to greet you.


Praised for his innovative approach and passionate insight into piano playing, Dr Michael Low’s teaching career in Asia and Africa has spanned almost a quarter of a century. As a student, Michael studied piano with Richard Frostick (the current director of the BBC World Voice Programme) before enrolling as a member of London’s prestigious Centre For Young Musician where he studied piano with the international pedagogue Graham Fitch. He obtained his Honours at Surrey University under the tutelage of Clive Williamson before completing his Masters of Music whilst studying with Nils Franke and Niel Immelman. An International Scholarship brought Michael to Cape Town where he completed his Doctorate under the supervision of South African greatest living composer, Hendrik Hofmeyr. Michael has also worked with numerous eminent teachers and pianists including, Nina Svetlanova, Frank Heneghan, James Gibb, Phillip Fowke, Renna Kellaway, Carolina Oltsmann, Florian Uhlig, Gordon Fergus Thompson, Francois du Toit and Helena van Heerden.

Frances Wilson is an advanced amateur pianist and writer under the pen-name The Cross-Eyed Pianist. Established in 2010, The Cross-Eyed Pianist blog has become “an important voice in the piano world” (Peter Donohoe, international concert pianist) and enjoys a wide global readership with c25,000 visitors to the site per month. The Cross-Eyed Pianist is now one of the UK’s leading blogs on classical music, with a special focus on pianists and the piano.

Frances is an advanced amateur pianist who returned to the piano after a gap of some 25 years, achieving Licentiate and Associate Diplomas (both with Distinction) in Piano Performance in her late 40s. She has studied with a number of acclaimed teachers, including Penelope Roskell and Graham Fitch, and participated in masterclasses, workshops and courses with, amongst others, Stephen Savage, Murray McLachlan and Charlotte Tomlinson.

A passionate advocate of amateur pianism, Fran co-founded the London Piano Meetup Group in 2013, which, 10 years, remains hugely popular with adult pianists of all abilities.

Franz Liszt divides opinion. For some he is regarded as one of the greatest pianist-composers of the Romantic era; for others, he is a showman and a charlatan who wrote vulgar, showy music. 3D rendering of Franz Liszt by Hadi Karimi In fact, he was a remarkable musician and human being. Sure, as a performer he could be flamboyant and extravagant in his gestures, but he helped shape the modern solo piano concert as we know it today and he also brought a great deal of music to the public realm through his transcriptions (he transcribed Beethoven’s symphonies for solo piano, thus making this repertoire accessible to both concert artists and amateur pianists to play at home). He was an advocate of new music and up-and-coming composers and lent his generous support to people like Richard Wagner (who married Liszt’s daughter Cosima). His piano music combines technical virtuosity and emotional depth. It’s true that some of his output is showy – all virtuosic flourishes for the sake of virtuosity – but his suites such as the Années de Pèlerinage or the Transcendental Etudes, and his transcriptions of Schubert songs demonstrate the absolute apogee of art, poetry, and beauty combined. Martha Argerich Martha Argerich brings fire and fluency to her interpretations, underpinned by a remarkable technical assuredness. Her 1972 recording of the B-minor Sonata and Hungarian Rhapsody No. 6 is regarded as “legendary”. Leslie Howard Australian Leslie Howard is the only pianist to have recorded the solo piano music of Liszt, a project which includes some 300 premiere recordings, and he is rightly regarded as a specialist of this repertoire who has brought much of Liszt’s lesser-known music to the fore. Lazar Berman Berman’s 1977 recording of the Années de Pèlerinage remains the benchmark recording of this repertoire for many. Berman brings sensibility and grandeur, warm-heartedness, and mastery to this remarkable set of pieces.
Alim Beisembayev Winner of the 2021 Leeds International Piano Competition, the young Armenian pianist Alim Beisembayev’s debut recording of the complete Transcendental Etudes is remarkable for its spellbinding polish, precision, and musical maturity, all supported by superb technique.
Yuja Wang Yuja Wang has been praised for her breath-taking interpretations of Liszt’s First Piano Concerto which combine force and filigree, emotional depth, and technical mastery to create thrilling and insightful performances. Other noted Liszt pianists include Georges Cziffra, Jorge Bolet, Krystian Zimerman, Lang Lang, Daniil Trifonov, Sviatoslav Richter, Marc-André Hamelin, Nelson Freire, Claudio Arrau, and Vladimir Horowitz.
(image credit: 3D rendering of Franz Liszt by Hadi Karimi)

This site is free to access and ad-free, and takes many hours to research, write, and maintain. If you find joy and value in what I do, why not

A Vast Obscurity celebrates a number of notable anniversaries in the creative arts, including the bicentenary of Lord Byron’s death, the 460th anniversary of Shakespeare’s birth, as well as the centenary of the death of Song Easel’s featured composer, Gabriel Fauré. The work of poets plays a central role in this year’s series, with ‘obscurity’ a collective noun for a group of poets.

Audiences can look forward to some of the genre’s most incredible music, including Gerald Finzi’s Let us Garlands Bring (Francesca Chiejina, 16 June), and various depictions of the classic Wanderer figure (Mark Padmore CBE, 21 June). A vibrant new take on Don Juan (Ella Taylor, 31 May) features a new commission for the bicentenary of Byron’s death from Dr Joe Spence and Emily Hazrati, as well as a veritable feast of Gabriel Fauré across his centenary weekend (11-12 May), with highlights of Fauré’s Requiem Op.48, starring Elin Manahan Thomas, followed by a complete performance of his mélodies the following day – not to be missed! 

Song Easel is thrilled to share an unforgettable collection of recitals in a variety of venues in South East London where performances promise to transport audiences to new dimensions. To quote the vision of Song Easel’s esteemed launch artist Roderick Williams OBE, “words are no longer just words, and music is no longer just music.” 

Find out more / book tickets


About Song Easel

SongEasel is an Arts and Education charity operating in South East London.

Our annual song series features some of the world’s leading exponents of song, whilst our vibrant community engagement and education programmes bring live music of an international standard to new listeners, building audiences for the genre in innovative and creative ways.

Find out more

The pursuit of musical excellence is a journey that many musicians embark upon with a fervent desire to achieve perfection. We strive for flawless performances, impeccable technique, and unwavering precision. As an advanced amateur pianist, these are goals to which I too aspire.

But the constant pursuit for perfection and an ongoing desire for perfectionism in one’s music making can be a double-edged sword for musicians. The relentless pursuit of flawlessness can lead to a never-ending, often negative cycle of self-criticism and anxiety. Musicians who set impossibly high standards for themselves may find it difficult to ever feel satisfied with their performances, leading to a constant state of stress and self-doubt. Some may ask themselves, “will I ever be good enough?”

The pursuit of musical mastery is admirable, and indeed the striving for mastery is a major driver of motivation and commitment. However, it is also essential to recognise the significance of know when and accepting that you are “good enough” as a musician. Perfection can be an unattainable goal; acknowledging you are “good enough” is not only perfectly acceptable but can also be liberating and personally fulfilling. It can help musicians to break free from the paralysing grip of perfectionism, allowing them to enjoy the process of making music and to develop as artists and individuals.

My own personal acceptance that I am “good enough” came after I had spent nearly ten years studying for professional performance diplomas, having returned to the piano seriously after a gap of nearly 25 years. Having secured two diplomas with distinction in relatively quick succession, my ego led me to believe that the final, Fellowship diploma was well within my grasp. Unfortuntely, I failed this diploma; the deep disappointment I felt on receiving the news gave me an opportunity to reflect on what I really wanted from my music. I knew I would never be a professional musician, despite playing at an advanced level and receiving external validation from teachers, mentors, peers and audiences, and I knew I was a good pianist. But taking lessons, and attending courses and piano meetup events, where there was a tendency to constantly compare oneself to others of a similar ability, made me question my own abilities in a way which made practicing and music making feel like a chore rather than a pleasure. (And ultimately, as a amateur musician, pleasure should be at the foundation of one’s musical pursuits.)

You don’t need to go on courses to know you’re good” my ultra-sensible, pragmatic and honest husband told me one day. And he was right. So I learnt to trust my own musical instincts, to recognise the value of what I had to say and to measure it against the music rather than other people – to, as Schumann said, “…converse more with scores than with virtuosi” – to recognise my own autonomy as a musician, and accept that I am “good enough”.

The result has been liberating. I no longer care what other people are playing, at what level they play at, or what repertoire they are working on. I play the music I want to play, and I’ve stopped beating myself up if I don’t practice every day (another joy of being an amateur is not feeling beholden to one’s instrument and muse every single day).

So why should you, as a musician, accept that you are “good enough?”. Here are some thoughts on the subject:

Embracing Individuality

Every musician possesses a unique set of skills, experiences, and perspectives. Embracing the idea that you are “good enough” means recognising and celebrating your individuality as an artist. It allows you to focus on your strengths, develop your style, and create a distinctive musical identity. While aspiring to reach new heights and improve is essential, acknowledging your current level of skill and artistry is a valuable step toward authentic self-expression.

Redefining Success

Success in music should not solely be measured by technical perfection or the approval of critics, peers, teachers or audiences. By accepting that you are “good enough,” you redefine what success means to you personally. It can encompass the joy of playing, collaboration with colleagues, the connection with your audience, and the sense of accomplishment from personal growth. This shift in perspective encourages a more holistic and fulfilling musical journey.

Reducing Performance Anxiety

The fear of making mistakes and the pressure to be flawless on stage are very common triggers for performance anxiety in musicians. Accepting that you are “good enough” can significantly alleviate this anxiety. When you recognize that making mistakes is a natural part of the learning process and that it does not diminish your worth as a musician, you can perform with greater confidence, freedom and enjoyment.

Sustainable Motivation

Constantly striving for perfection can lead to burnout. On the other hand, acknowledging that you are “good enough” can provide you with a sustainable source of motivation. The satisfaction derived from setting achievable goals, making incremental but noticeable progress, and celebrating small victories can keep you inspired and committed to your musical journey over the long term.

In conclusion, accepting that you are “good enough” is not a sign of complacency nor mediocrity. It is a testament to self-compassion, personal growth, and a healthier perspective on the art of making music. Embracing your current level of skill and artistry while still aspiring to improve can lead to a more fulfilling, enjoyable, and sustainable musical journey.


This site is free to access and ad-free, and takes many hours to research, write, and maintain. If you find joy and value in what I do, why not

(Photo credit Katrina Wright on Unsplash)