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

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

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

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

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

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

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

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

Which performance/recordings are you most proud of?  

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

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

Which particular works do you think you perform best? 

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

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

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

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

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

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

Favourite pieces to perform? Listen to? 

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

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

Who are your favourite musicians? 

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

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

What is your most memorable concert experience? 

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

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

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

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

Where would you like to be in 10 years?

To travel the world while living in the present moment

What is your idea of perfect happiness?

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

What is your most treasured possession?

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

What do you enjoy doing most?

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

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

More information about Tania here

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

I have never pursued a career in music, it ended up like this. Ok, let me tell you backwards. All I wanted in my life was to compose my own music, whatever it may be to other people. The end result of my compositions are often categorised as “contemporary classical music” (which was also not my choice; I thought of my music is as easy listening top of the chart pop music, but I guess a lot of people don’t feel that way, sadly), and I always want to compose.

Like a lot of people, one needs to earn money to live, as I am from normal working class family; in other words, if I breathe, I need to earn (like everyone else, I guess), and I don’t want to spend time doing things other than composing. So naturally I had to think how can I compose music so that I can also eat. Then it became profession.

If I won the lottery tomorrow, I would be doing the same thing, composing-wise. My life hasn’t really changed since I was an 8 year old composing every day. I guess I don’t have to go to school as I am 37, so I can spend more time composing, not just after school hours and weekends.

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

If I can speak about inspiration (before I get to the influence), I think I would say everyday life. I really think the inspirations are everywhere. Most significantly, by watching my wife being pregnant, going through each day until the birth, then my daughter growing and changing every day (she is now 3). The one and only good thing about being a composer is that you get to stay home and work, so you will not miss any of these magical times. I have written many works inspired by the specific parts of these situations, from early pregnancy to 2-day-old baby, movement of 2 week old cheeks, learning to walk, etc etc. All separate works.

Now, speaking of influences, I will mention these 4 people: Pierre Boulez, Peter Eötvös, Ryuichi Sakamoto, David Sylvian.

I am incredibly lucky, not just to know these people, or just shake hands once, but to actually work with these people, whom I grew up listening to when I was early teens. Sakamoto and Sylvian were my everyday play list, and Boulez and Eötvös were my everyday play list from when I was at music college student to today.

To be honest, I feel I’ve met everyone (my heroes) I wanted to meet in my life; everyone else, however many “famous” people are standing there in front of me now, I wouldn’t feel star struck.

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

Hmmmm, maybe writing my first opera SOLARIS.

It’s 90min, music for 5 singers, ensemble and live-processing electronics (I worked for months in IRCAM in Paris).

I must say I was a little worried before I started working on this opera, how would I feel about writing an opera. But from bar 1, until the final bar, I felt great. I have never had such a wonderful experience writing it, making drama, telling the story, controlling the pace, mood, atmosphere of the drama. At no point did I feel “I didn’t know what to do next” while composing SOLARIS.

I was sorry after 1.5 year I reached the final bar of SOLARIS, that I had to leave this world in which I lived for a year and a half composing.

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

Not every commission, but some commissions come with some “request”. I quite like this.

From when I was small, I always love studying. I loved school, I always studied (not because I wanted good grades, but I just wanted to know more things) something in my life, including unnecessary things!

For instance, I wrote a piece for Lucerne Festival, which was for anniversary of the oldest and biggest insurance company, Swiss RE. They requested me to write music about “risk management”, a term which I had not even heard of until then. Soon I found out one of my close friend’s partner whom I knew for years, is a professional Risk Manager! I knew that he wears a suit every day to go to work, unlike floating around everyday like a jobless person like me. So it was fascinating for me to study this totally unknown area.

Another was the anniversary for Kierkegaard. I knew the name, but never really knew about him. It was a great excuse to study and research him.

So it is not a challenge, it is an excuse for me to know more, a good reason to do research.

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

I wouldn’t say “challenges”, but I always think about the musicians who will perform (for the first time) the work I am writing. It may be hard to believe for some, but I really do. If it is an orchestra then I think about the conductor (especially if I know the conductor very well); if it is a solo or concerto works, I would have lengthy face to face or skype sessions with the musicians I am writing for. It is so important that I have these musicians in mind when I am composing.

But it is strange, quite often I compose music like that, then they premiere the work, they say nice things, but they never play the work again. A few years later, someone totally different from whom I imagined when I was writing the piece contacts me and then plays the work obsessively many times, as if the work was written especially for him/her.

I can never really control this, it’s a chemistry, I think. But it is nice, for me to try to seek the “reason of the work’s birth”. Once he/she is born, they walk their own life….

Which works are you most proud of?

Can’t answer that….though my old works, I feel are quite distant, a bit like someone else’s compositions with lots of bits I feel comfortable with, or like or am familiar with. I feel more possessive about recent works.

What is your most memorable concert experience?

“Daphnis and Chloe” BBC Symphony Orchestra at the Barbican, conducted by Pierre Boulez. It was amazing to me that I literary could hear every single note which was played, and the pacing of it. The piece started, and finished as if in one breath. Really clean, like the most smooth single malt whisky.

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

Why do you play these particular works in this exact time and for whom, and why those instruments. When I feel this clearly as an audience, I will most likely to like the concert.

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

I would like to be writing larger scale works only, like operas. Hmmm….. maybe some little pieces in between for people I like.

What is your idea of perfect happiness?

Composing – and when my daughter is lying on me on the sofa, watching tv or reading books (preferably the latter).

Although Dai Fujikura was born in Osaka, Japan, he has now spent more than 20 years in the UK where he studied composition with Edwin Roxburgh, Daryl Runswick and George Benjamin. During the last decade he has been the recipient of numerous prizes, including the Huddersfield Festival Young Composers Award and a Royal Philharmonic Society Award in UK, Internationaler Wiener Composition Prize, the Paul Hindemith Prize in Austria and Germany respectively and both the OTAKA and Akutagawa awards in 2009.


A quick glance at his list of commissions and performances reveals he is fast becoming a truly international composer. His music is not only performed in the country of his birth or his adopted home, but is now performed in venues as geographically diverse as Caracas and Oslo, Venice and Schleswig-Holstein, Lucerne and Paris.

Full biography here

www.daifujikura.com