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Tucked down a narrow lane in Perivale, west London, a stone’s throw from the A4/Western Avenue, is St Mary’s Perivale, a beautiful 12th-century church. The tiny church became redundant in 1972, but has been transformed by the efforts of the Friends of St Mary’s Perivale into a fine music venue, serving west London.

Music events at the church (and also at sister venue St Barnabas, Ealing) are run by the indefatigable Hugh Mather, a retired doctor with a passion for the piano  and classical music in general. Hugh studied medicine at Cambridge, but was a chorister at Westminster Abbey and also played the piano and organ, achieving an FRCO while still at school. He subsequently completed the ARCM piano performer’s diploma. Throughout his medical training and career, he has continued to study the piano and gives many piano concert himself.

Inside the church

St Mary’s Perivale attracts an impressive roster of fine musicians, including pianists Viv McLean, Mei Yi Foo, Ivana Gavric, Karim Said and Rustem Hayroudinoff, and Leeds Piano Competition finalists Jayson Gillham and Andrejs Osokins. Concerts are free, with a retiring collection, and audience members can enjoy a free glass of wine and nibble, along with a distinctive “salon” feel thanks to the small size of the venue (it seats just 70 people). The church has a fine Yamaha piano, an excellent acoustic, and the audience can appreciate being closer to the musicians than in most other larger venues.

One of Hugh Mather’s main motivations for organising concerts at St Mary’s is to offer vital performing opportunities to young musicians, both those still at conservatoire and those just embarking on a professional career. The venue is also available for private hire and has proved a popular meeting place for the London Piano Meetup Group.

Full details of events at St Mary’s Perivale here

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This year my annual student concert was held at the 1901 Arts Club, a beautiful, intimate venue in a former schoolmaster’s house (built in 1901) close to London’s Waterloo Station. The venue boasts a lovely Steinway C grand piano and an informal, convivial atmosphere, thanks in no small part to the very welcoming personalities of the people who run it. I use the venue for the South London Concert Series, an innovative series of concerts which I organise and co-host with my friend and piano teaching colleague, Lorraine Liyanage. I felt the small size of the venue (it seats just 45 people in a gold and red salon redolent of a 19th-century European drawing room) would enable the young performers to feel less anxious and to relax into the special atmosphere of the place.

The music salon at the 1901 Arts Club
The music salon at the 1901 Arts Club

I cannot stress too highly the importance of performing, at whatever level one plays, and I have written extensively on this subject on this blog, my sister blog The Cross-Eyed Pianist, and in my column for Pianist magazine. Music was written to be shared – whether in the home or the salons of other people’s houses, or in recital rooms or concert halls. But on another more important level performing builds confidence, not just in the sphere of music but in many other walks of life, and equips people (of all ages) with an important life-skill.

When I was the age of my students (9-14) I had few opportunities to perform for others. My then piano teacher never organised concerts for her students, not even small-scale events in her home, and as a pianist at school I was always rather sidelined (a solo instrument being deemed the epitome of showing off!), so my only real performance experience was either in the orchestra (where I played the clarinet) or in the choir, both instances where one’s performance anxiety is tempered by performing with others. One of the many decisions I took about my piano teaching when I established my practice in 2006 was that I would give my students performance opportunities. And so from little house concerts (with obligatory tea parties!) to the event this week at the 1901 Arts Club, the annual student concert has become an integral part of my studio’s activities.

Preparations begin many months before the actual date – and I know from my own experience as someone who has come relatively late to performing (in my late 40s) that preparation is everything. Being well-prepared is one of the best insurance policies against nerves and will enable one to pull off a convincing, enjoyable and polished performance on the day. Good preparation, including practising performing in less stressful situations, also means that any slips or errors in the performance on the day can usually be skimmed over and will not upset the flow of the performance.

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Many of my students chose to perform exam pieces – music which they had already played in an exam situation and with which they were therefore very comfortable. It’s always interesting to play exam repertoire after one has put it before the critical ears of the examiner: when I revisit my Diploma pieces (as I am now, in preparation for a concert in January) I notice a distinct sense of relaxation in the music – and my students have commented on this about their own pieces too. Some selected new pieces, and we also had solo clarinet and saxophone performances (it is so gratifying that a number of my students play other instruments – saxophone, trumpet, clarinet and cello – or sing in school choirs).

I always perform at my students’ concerts as well. I think it is important for them to see their teacher performing and to understand that I do my practising and preparation just as they do; also that I am also engaged in ongoing learning of new repertoire or revising previously-learnt music.

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The event at the 1901 Arts Club was really lovely. The young performers all played beautifully (no visible nerves whatsoever, though a number did say to me afterwards that they were really nervous!) and we had a lovely range of music from Arvo Pärt and Einaudi to Bartok and ragtime. Despite knowing my students pretty well now (some have been learning with me almost as long as I have been teaching), I am always amazed at the way they step up to perform with such poise. I don’t know what I do, but maybe by assuring them that their performance will be wonderful, they learn to trust me and this gives them confidence. Each performance was greeted with much enthusiastic applause by family and friends, and at the end of the event another piano teaching friend, Rebecca Singerman-Knight, awarded prizes for Star Performer (Tom Driver) and Most Enjoyable Performance (Eli Hughes). The children were presented with boxes of chocolate grand pianos (which I doubt lasted the homeward journey!). I have had some lovely feedback, from students and parents, and I think the general consensus is that this was a really enjoyable and inspiring event. I certainly felt so!

More about the benefits of performing:

On performing

Performing in a safe circle

Going into the zone

Strategies for coping with performance anxiety

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

After beginning piano lessons at the age of eight, my initial interest in the accordion came from hearing Scottish traditional music and one day I just walked past the local music shop and decided that I would like to begin learning the accordion. A few years later I attended a concert given by the Russian accordionist Oleg Sharov who is professor of accordion at the Rimsky Korsakov Conservatoire in St. Petersburg. A whole new world of possibilities was opened to me as I realised that the accordion could also be a serious classical instrument.

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

My father was a professional violinist and so I was immersed in classical music whilst growing up – his well honed performance skills and immense knowledge of repertoire, both orchestral and solo motivated me to focus on music as a career. I was very lucky to study with the Serbian teacher Dr Djordje Gajic, one of the most accomplished and inspirational performers I have met.

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

The classical accordion is still a very unfamiliar concept to many people, who tend to think of the accordion as purely a folk instrument. I have worked hard to promote it’s diverse repertoire and bring it onto the concert platform as an equal with other instruments.

Which performance/recordings are you most proud of?

As an undergraduate at the Royal Conservatoire of Scotland, I gave a recital which won me the Governors Recital Prize for Keyboard – a competition which was completely dominated by pianists, and this helped to raise the profile of the accordion within the Conservatoire.

In February 2012 I performed what I believe was the first solo accordion recital in Manchester’s Bridgewater Hall, as part of the Manchester Mid-Day Concert Series which was a great privilege.

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

The Bridgewater Hall would have to be one of my favourite venues due to its wonderful acoustics which allow the sound of the instrument to fill the hall, but maintain pure clarity of tone. I have also greatly enjoyed performing in the beautiful setting of cathedrals such as Peterborough, Ripon and San Francisco.

Favourite pieces to perform? Listen to? 

I enjoy performing baroque works such as Bach and Scarlatti as they transcribe very nicely onto the free-bass accordion. ‘Romance’ by Franck Angelis is a contemporary work which allows the listener to descend into pure tranquility and is another of my favourite pieces to perform.

I listen to a wide range of music and have become fascinated with Tango – Astor Piazzolla took the genre from the dance halls to the concert stage and I am a founder member of the Scottish Tango Ensemble. Listening to the music being performed live by the Tango Orchestras on a visit to Buenos Aires in 2010 was an amazing experience.

Who are your favourite musicians?

There are so many to choose from, but I admire the playing of Alexander Skylarov and Mika Varynen and I very much enjoy listening to the recordings of Horowitz as his musical mastery shines through.

What is your most memorable concert experience? 

This would have to be attending a concert of the Halle Orchestra conducted by Sir Mark Elder in a performance of Berlioz’s ‘Symphonie Fantastique’ in Manchester. He brought it alive in a terrific way, conjuring up such vivid images with the music.

As a performer sometimes the more intimate venues can be some of the most rewarding, and when in California earlier this year I gave a concert in Santa Cruz public library. Almost all of the audience were completely new to the concept of classical music being played on the accordion and had no idea what to expect. I began with Bach’s famous Toccata & Fugue in D Minor, and they were completely engrossed. A huge number of the audience came to speak to me afterwards and were astounded by the repertoire and possibilities of the instrument and it was humbling to hear their kind comments.

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

Trying to understand what the composer is really trying to convey in his music so that we can interpret it, taking into account things such as their influences, religious beliefs, emotional state. Just as an actor would get into character, as musicians we must do the same in order to fully engage with music and convey its message to the audience. I believe that the use of mental imagery is a great tool as the associations it creates, help to shape the performance and project it to the audience.

Being focussed and efficient in practise is essential, as is an understanding of the business and promotional aspects of being a musician so that they come out of music college knowing how to actually find and make work for themselves.

What are you working on at the moment? 

I am currently working on some repertoire for a new CD to be released in July, which will include full transcription of Weber’s ‘Concertstuk’ as well as Piazzolla’s ‘Grand Tango’ for violin and accordion.

What is your idea of perfect happiness?

My idea of perfect happiness is being able to balance professional and personal life so that my practise time and performance schedule allow me to spend quality time with my wife and young daughter.

 

Paul Chamberlain’s new album ‘Accordion Sensations’ is released on 1st July. Further information and soundclips here

Paul Chamberlain was one of the first classical accordionists to graduate from the Royal Conservatoire of Scotland in Glasgow, where he studied with Djordje Gajic. He completed a BMus (Hons) degree and subsequently graduated from the conservatoire with a Master of Music Performance with Distinction.Whilst studying there he was awarded the acclaimed Governors Recital Prize for Keyboard, and was also one of the keyboard section finalists in the 2011 Royal Overseas League competition. Paul  is a highly accomplished player with appearances at international music festivals such as Baltica Harmonica in St. Petersburg – Russia, Sata-Häme Soi Accordion festival in Ikaalinen – Finland, and the world famous Edinburgh Fringe Festival, held annually in Scotland. He has also performed in France, Italy, Greece, Bahrain and the USA. In February 2013 he undertook a very successful tour of concerts around the UK and California which included his Bridgewater Hall debut with a solo recital as part of the long established Manchester Mid-Days concert series.In 2011, Paul released his debut solo album entitled “Classical Accordion” featuring a mixture of transcriptions of works by J.S. Bach, Rameau, Moszkowski and Khachaturian, as well as original works by Alexander Nagayev and Franck Angelis.He has also performed with the Paragon Ensemble as part of their “Travelling Home” concert celebrating their thirtieth anniversary, with the Scottish Opera Connect orchestra, and is a founder member of the Scottish Tango Ensemble.Paul has been featured on BBC Radio 3’s ‘In Tune’ programme with Sean Rafferty, performing live in the studio, BBC Radio Scotland’s ‘Classics Unwrapped’ and California’s KDFC Classical Music Radio Station in San Francisco.

Paul Chamberlain’s website

 

 

 

 

 

 

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What is your first memory of the piano? 

A dark black shiny upright in my parents living-room that I couldn’t stay away from. Never mind dolls and toys…..this became the most irresistible, exciting, time-consuming and total love of my earliest years

Who or what inspired you to start teaching?

I’ve always loved people and helping/ sharing: even as a child if I learned something myself – my joy was to share it with others, in order to derive complete enjoyment and satisfaction from it.

Who were your most memorable/significant teachers? 

I was lucky with my teachers throughout: firstly, my earliest teacher (an unknown German lady called Else Schumann) inspired me, through her belief in my talent (I was 10 or 11 years old) and her encouragement of my natural gifts. Then, the wonderful Sidney Harrison who selected me (from those auditioning for the Junior Department at GSMD) to study with him, from the age of 11, and who continued to boost my confidence with his encouragement and delight in my abilities. Finally, the significance and importance of the legendary Greek pianist, Gina Bachauer, my mentor and “musical mother” and my beloved Ilona Kabos (the distinguished Hungarian teacher to so many of the great pianists) from the age of 15, who changed my way of thinking, attitude, and started me on the “road to artistry”. I also spent a wonderful six months in Paris, concentrating on French music with another legendary figure, Jacques Fevrier. Altogether the strongest and best influences one could ever hope for.

Who or what are the most important influences on your teaching? 

I think my work with Ilona Kabos planted the seeds from which my own “methods and ideas” grew: the importance of sound, understanding the depths and possibilities, the keyboard has to offer and how vital is stylistic awareness.

Most memorable/significant teaching experiences?

All my teaching experiences have brought their own memorable and significant moments……but, I think (in terms of working with great young talent) the years of teaching for the Horowitz Foundation, in Kiev, Ukraine have been the most exciting and rewarding.

What are the most exciting/challenging aspects of teaching adults?

If you mean, late beginners……. I have not much experience in this area but, would be fascinated by the challenge of dealing with the physical problems that may hamper the speed of learning to “make music”!

What do you expect from your students? 

A huge sense of responsibility to serve the music, at all times.

What are your views on exams, festivals and competitions? 

Wonderful experience, if dealt with correctly………from an emotional/psychological standpoint.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students? 

I repeat, that all we do has to serve the music………i.e. that every technical problem, ceases to be that, if making sense of and finding the spirit of the music, is the goal. Obviously, with beginners an understanding of how the hands and keyboard connect, and the raison d’etre, is vital.

What are your thoughts on the link between performance and teaching? 

Again, vital! I do believe it is imperative to have an understanding of what it means to perform, at a certain level, before one can deal with the problems the would-be-performer has to face. Also, it is only when one has prepared oneself at the highest level can one understand how to help prepare another.

How do you approach the issue of performance anxiety/tension? 

Very difficult and requires much thought and understanding of the student’s mentality and personality. Everyone is different and these different problems have to be dealt with, accordingly.

Who are your favourite pianists/pianist-teachers and why? 

I adore Murray Perahia and, on the odd occasions, when I’ve heard him teach……..I adore his logic and humanity. I’m sure, my idol, Grigory Sokolov, would make a fantastic teacher (if he were to have the time and desire!) as his understanding of sound quality/ quantity, is second to none.

 

Norma Fisher will be teaching at London Master Classes 2014 Summer Master Course, July 8 -13 at the Royal Academy of Music and Purcell Room, Southbank Centre, July 8-13 www.londonmasterclasses.com, Accademia J.S.Bach, Sardinia, July 19-29 2014, and MusicFest Perugia, Italy, August 2014 

Norma Fisher is acclaimed internationally as one of the UK’s leading pianists and teachers.  As a child she was recognised as ‘a rare musical talent’ winning an exhibition, at the age of eleven, to study with Sidney Harrison at the Guildhall School of Music.  At the age of fourteen she came to the attention of the celebrated Greek pianist Gina Bachauer who became her mentor, introducing her to the distinguished Hungarian teacher IlonaKabos, with whom she subsequently studied. A period was also spent in Paris studying French music with Jacques Fevrier. 

Her many, highly acclaimed, early performances for the BBC led to an invitation by the German radio station RIAS, in Berlin, to make her debut with the Berlin Symphony Orchestra – which launched her career in Europe. Success in the Busoni International Piano Competition as a top prize-winner followed and in 1963, when she shared the much-coveted Piano Prize in the Harriet Cohen International Music Awards with Vladimir Ashkenazy, her international reputation was sealed.  That same year she made her debut at the Proms in the Royal Albert Hall and became a favourite soloist with leading British orchestras including the London Philharmonic, Philharmonia, London Symphony, Royal Philharmonic, BBC Symphony, Hallé, Bournemouth Symphony, and the City of Birmingham Symphony orchestras. 

Norma Fisher is known for her versatility as a performer, receiving recognition worldwide as one of Britain’s leading pianists. This versatility extends to chamber music, which she plays with leading musicians throughout the world.  Her early relationship with the Dartington, Allegri and Delme String Quartets led to a much sought-after partnership with the Stamic Quartet of Prague, both in the UK and the Czech Republic. She has also performed regularly with the International Chamber Ensemble of Rome, Carmina Quartet and Reykjavik Wind Quintet and partnered such well known soloists as Stephanie Gonley, Alan Hacker, Maurice Hasson, Emanuel Hurwitz, Ralph Kirshbaum, Steven Isserlis, Peter Lukas Graf, GyorgyPauk, Hu Kun, Sylvia Rosenberg, GrigoriZhislin, Yossi Zivoni and singers Benjamin Luxon, Sherrill Milnes, Nelly Miricioiu and Sir John Tomlinson. 

Her reputation as a teacher is widely established and many of her top prize-winning students are well known on the international concert circuit. She is aProfessor of Piano at the Royal College of Music and a Fellow of the Royal Northern College of Music.She is invited to give masterclasses throughout the world and has taught at the International Musician’s Seminar at Prussia Cove, UK, the International Summer Academy in Lenk, Switzerland and the Horowitz Foundation Summer Music Academy in Kiev, Ukraine, amongst many others. She is regularly invited on the Jury of leading international piano competitions including Gina Bachauer (USA), Horowitz (Kiev, Ukraine), Joanna Hodges (USA), Boston Grand Amateurs (USA), Newport (Wales), Sydney (Australia), Tbilisi (Georgia) and Virginia Waring (USA),  

She is the Artistic Director of London Master Classes (www.londonmasterclasses.com) whose courses attract major talent from around the world to work intensively with top performers/teachers in London. London Master Classes 2014 will celebrate 26 years of offering these prestigious events.