‘Petits Concerts’ is a new series of recitals at the 1901 Arts Club, a salon style venue just a stone’s throw from Waterloo Station. Inspired by concerts given by Charles-Valentin Alkan at the Erard showroom in Paris in the 1870s, and hosted by concert pianist James Lisney, Petits Concerts brings musicians together in the spirit of “music with friends and amongst friends” in an intimate setting which harks back to the 19th-century European cultural salon. Proceeds from each concert will be donated to musical/education charities.

Petits Concerts III – Joy, Emma & James Lisney

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In addition, James Lisney will be giving piano lessons at the 1901 Arts Club from 2pm on the afternoon of each concert. Lessons cost £100 for 90 mins with proceeds going to charity. For further information or to book a lesson, contact James Lisney

 

 

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

My family owned an old upright piano that had belonged to my grandparents. It was brilliant to muck around on, and I remember trying to play some TV themes: I got quite good at Grange Hill. There was quite a lot of music at home, as my two older brothers also learned the piano and we all sang in the local church choir, along with my Dad. Although, I did find dressing up in a cassock quite funny. I had really good teachers who were disciplined, while letting me do my own thing. When I was 11, my state school put on Britten’s Noye’s Fludde, and that was an incredible experience, even though I was only a badly behaved squirrel. A few years later I heard a recording of Debussy’s Prelude a’apres-midi d’un faune, which opened my ears to how sensuous and sexy music could be, and sent my teenage hormones through the roof. I then devoured music at the piano, mostly borrowing scores from the library.

Who or what have been the most important influences on your musical life and career both as a performer and a composer?

There’s such a huge range of good music from across the centuries that I love, and nearly of it shares the same philosophy: that music’s essentials (melody, harmony, rhythm, texture, structure) can combine into something that reflects our lives. This shapes my work in what I play and compose/arrange. Making music should also be part of a community, and it can be linked with popular and folk styles while maintaining strength and depth. That’s one of the great legacies of people like Benjamin Britten and Percy Grainger, and their music is a big influence in different ways. Jazz has always had a big impact too, especially the composer/ arrangers like Duke Ellington, Gil Evans, Nelson Riddle, or Leonard Bernstein’s fusion of styles. It shows us that music can be dangerous, dirty, brash and raunchy as well.

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

Self-motivation: maintaining a belief that what you’re doing is worthwhile in a crazy and complicated world, especially during periods of depression. This seems to become harder the older I get.

Which performances/recordings/compositions are you most proud of?

There are so many things I’m lucky to have been involved with, as a performer, composer and arranger. Some of the orchestral pieces I’ve written for the BBC Proms are a highlight: ‘Wing It’ in 2012, ‘Gershwinicity’ in 2018. The ongoing Scary Fairy orchestral fairytale series is a lot of fun, with Craig Charles narrating his poetry. There’s also a concert of orchestral folk song arrangements with the singer Sam Lee, playing jazz songs with Jacqui Dankworth, recording Elgar’s 2nd Symphony on the piano, choral concerts, chamber music… too much to list. And I guess playing the piano at the London 2012 Olympics Opening Ceremony: my Mum died of cancer that morning and I managed to hold it together, even though I was in the middle of having a complete emotional breakdown.

As a performer, how do you make your repertoire choices from season to season?

When I do get the chance to choose, it’s always a very eclectic mixture of music, linked thematically in some way. I generally try and get in a new piece or arrangement of some kind, maybe something entertaining. After all, a concert can be fun too.

Do you have a favourite concert venue to perform in?

Although it’s a bonkers barn of a place, playing at the Royal Albert Hall in the Proms always feels like a bit of a party. Playing the organ there can be a ridiculous ego trip.

As a composer, how do you work?

I do get tunes or harmonies that pop into my head, often as I’m just about to fall asleep, which can sometimes be a nuisance. Normally I throw all the ideas together by improvising at the piano, singing along at the top of my voice. This is scribbled down on semi-legible manuscript, worked at and crossed out until I’ve got a full complete draft. Then I typeset it on Sibelius software, so that I can actually read it.

How would you describe your compositional style/language?

There’s often a lot of jazz styles in there: swing, funk, blues and others, mixed with classical structures and colourful tonal harmonies. Clear melodies and strong rhythms play a big part too. Most of the time, the music is about our life experiences and emotions: joy, sadness, love, loss.

Tell us more about your new piano series……

I’m putting on A Mahler Piano Series at the 1901 Arts Club in London, in eleven weekly concerts. It features a wide variety of musical styles that influenced Gustav Mahler, as well as the bulk of his symphonic music arranged for solo piano. He played his symphonies on the piano to friends and accompanied singers on the piano, so it’s a recreation of those experiences in an intimate salon venue from the period. It’s about putting his music in the context of the European musical melting pot of the late 19th and early 20th centuries, including folksongs, country dances, waltzes, klezmer, Jewish music, military marches, operetta, popular and salon music classical composers including Bach, Mozart, Beethoven and Wagner, a concert of works by female composers and the music of contemporaries such as Busoni and Schoenberg. I’m joined by some wonderful singers as well, so it will be a pretty epic adventure.

What is your most memorable concert experience?

As an audience member it was actually at the ballet, the first time I saw The Rite of Spring danced by English National Ballet. I was hyperventilating by the end.

As a musician, what is your definition of success?

In a way, any musician that can make a living as a performer is a success, especially while trying to raise a family. Beyond that, I think anyone that can find new and inspiring ways to connect with audiences is doing it right. Giving people life-enhancing experiences outside of the mainstream is vital, including going into schools, hospitals, prisons.

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

Be versatile, work hard and try to stay as positive as you can. We’re pretty lucky to be doing this, when you think about it.

What is your present state of mind?

Buzzing like a beehive.

‘A Mahler Piano Series’ is at the 1901 Arts Club, London from September 12th to November 21st 2018. Full details and tickets


Iain Farrington has an exceptionally busy and diverse career as a pianist, organist, composer and arranger. He studied at the Royal Academy of Music, London and at Cambridge University. He has made numerous recordings, and has broadcast on BBC Television, Classic FM and BBC Radio 3. Through his multi-faceted work as a musician, he aims to bring live music to as wide an audience as possible. Iain’s concert programmes often mix popular and jazz elements into the traditional Classical repertoire. His many chamber orchestral arrangements allow large-scale works to be presented on an affordable smaller scale, and his compositions range from virtuoso display pieces to small works for beginner instrumentalists.

As a solo pianist, accompanist, chamber musician and organist, Iain has performed at all the major UK venues and abroad in the USA, Japan, Mexico, South Africa, Malaysia, Hong Kong and all across Europe. He has worked with many of the country’s leading musicians, including Bryn Terfel, Sir Paul McCartney and Lesley Garrett. Iain played the piano at the opening ceremony of the London 2012 Olympics with Rowan Atkinson, the London Symphony Orchestra and Sir Simon Rattle, broadcast to a global audience of around a billion viewers. With Counterpoise he has worked with numerous singers and actors, including Sir John Tomlinson, Sir Willard White, Jacqui Dankworth and Eleanor Bron. As a session pianist, Iain has recorded numerous film and TV soundtracks for Hollywood, Disney and independent productions. His solo organ performance in the Proms 2007 on the Royal Albert Hall organ was critically acclaimed, and he performed his Animal Parade in 2015 at the Royal Festival Hall organ for a family concert. Iain was Organ Scholar at St John’s College, Cambridge University, and Organ Scholar at St George’s Chapel, Windsor Castle.

Iain is a prolific composer and arranger, and has made hundreds of arrangements ranging from operas to piano pieces. He has composed two 40 minute Scary Fairy orchestral works combining poems by Craig Charles with a continuous full score, first performed and broadcast on BBC Radio 2 ‘Friday Night is Music Night’ with the BBC Philharmonic. For the BBC Proms he composed an orchestral work Gershwinicity in 2018, A Shipshape Shindig in 2017, a jazz guide to the orchestra Wing It, and a Double Violin Concerto, in 2012 for the Wallace and Gromit Prom. Iain’s choral work The Burning Heavens was nominated for a British Composer Award in 2010. He has made arrangements in many styles, including traditional African songs, Berlin cabaret, folk, klezmer, jazz and pop. Iain is the Arranger in Residence for the Aurora Orchestra who have performed and recorded his compositions and arrangements, including all the songs for the Horrible Histories Prom in 2011. His organ arrangement of Elgar’s Pomp and Circumstance March No. 5 was performed at the 2011 Royal Wedding in Westminster Abbey.

iainfarrington.com

Another music-filled year, many hits, a few misses, some new discoveries – musicians, venues, repertoire and people – and a couple of memorable performances of my own, solo and with colleagues…..

January

Pavel Kolesnikov (Wigmore Hall) – What impressed me in Pavel Kolesnikov’s performance was his clarity, control, lightness of touch and musical understanding which revealed the hidden nuances and subtle embroideries in Debussy’s writing. His elegant, sensitive pianism created a concert which was highly engaging and deeply intimate. Review here

The Pink Singers (Cadogan Hall) – a gloriously uplifting evening of fine singing and the premiere of a piece for choir written by a colleague of mine.

Deyan Sudjic (Wigmore Hall) – This was the pianist who asked the Washington Post to remove what he felt was an unfavourable review, and I admit I was curious to hear this pianist after reading about this furore….. Review here

Warren Mailley-Smith (St John’s Smith Square) – A concert in Warren’s series exploring Chopin’s complete piano music.

February

Steven Osborne (St John’s Smith Square) – The first of two wonderful concerts by this exceptional pianist which I enjoyed in 2016. Review here

Piotr Anderszewski (Wigmore Hall) – Always a pleasure to hear this thoughtful and sensitive pianist – and an added pleasure was meeting him briefly after the concert. Review here

Nikolai Demidenko (Cadogan Hall) – Chopin Piano Concerto No. 1. Review here

Mark Swartzentruber (Kings Place) – music by Bach, Ravel and Schubert (D959- one of the may performances of this work which I have been studying)

Divine Fire – The Story of Chopin and Sand told in music and words, performed by Viv McLean (piano) and Susan Porrett (narrator). More about this 7 Star Arts mixed media concert here

Denis Kozhukin (Wigmore Hall) – “sweet sonorities and ravishingly spacious phrases, creating a sense of relaxed ecstasy” Review here

March

Akhenaten (ENO/Coliseum) – an enthralling new production of Philip Glass’s opera. Review here

Leif Ove Andsnes & Friends (Dulwich Picture Gallery) – an engaging and varied concert of music by Nordic composers to coincide with an exhibition of paintings by Nikolai Astrup. Review here

Francoise-Green Duo (St John’s Smith Square) – part of the FG Duo’s Viennese Salon residency, appropriately as I flew to Vienna the day after this concert. Review here

Pierre-Laurent Aimard (Vienna Konzerthaus) – I couldn’t go to Vienna and not go to a concert! A romantic and uplifting performance of Beethoven’s 5th Concerto by PLA.

Nazrin Rashidova (violin) & Daniel Grimwood (piano) (St James’s Piccadilly) – lovely mixed programme of music by Mozart and Poulenc, plus Daniel’s Nocturne, which was, for me, redolent of Liszt and Ravel. Beautiful colourful playing by Nazrin, sensitively accompanied by Daniel. I was lucky enough to hear this fine duo again in November in Wimbledon.

Peter Jablonski (Cadogan Square) – Ravel’s glorious G major Piano Concerto and Gershwin’s exuberant hommage to New York, Rhapsody in Blue, performed by a pianist whom I had the pleasure to meet and interview shortly before the concert.

Beethoven Choral Fantasy Op 80 & Brahms German Requiem – a wonderful performance of Beethoven’s Choral Fantasy by my friend Elspeth Wyllie, followed by an absorbing German Requiem, at St Luke’s Balham

St John Passion/Bach (SJSS) -Polyphony and the OAE, conducted by Stephen Layton. A stunning and very moving performance of Bach’s greatest Passion, on Good Friday.

April

Andras Schiff, The Final Sonatas (Wigmore Hall) – the penultimate piano sonatas of Haydn, Mozart, Beethoven & Schubert. My first encounter with Andras Schiff live in concert. Review here

Iphigénie en Tauride (Drayton Arms Theatre) – startling and immediate “opera in a pub”, by Euphonia Opera Co. Review here

St John Passion/Bach (SJSS) -Polyphony and the OAE, conducted by Stephen Layton. A stunning and very moving performance of Bach’s

Rolf Hind (Wigmore Hall) – unusual and sometimes challenging contemporary music for piano by the pianist with the deepest, most elegant bow in London 🙂

Pierre-Laurent Aimard/Vingt Regards (Milton Court) – my first visit to Milton Court at Guildhall. A remarkable concert in a fine acoustic. Review here

May

The Dark Mirror: Zender’s Winterreise with Ian Bostridge (Barbican Theatre) – a wonderfully quirky yet sensitive and highly atmospheric reworking of Schubert’s late great song cycle. Review here

Concert for North-West Music Trust (Altrincham) – me at the piano in this instance, playing music by Mendelssohn, Cheryl Frances-Hoad and Schubert (D959). My first “proper” concert of my fellowship diploma programme to a very friendly audience and lovely welcoming hosts.

BBC Young Musician Final – an inspiring and uplifting final to the 2016 BBC Young Musician Competition. Review here

Richard Goode – Schubert’s Last Three Sonatas (Royal Festival Hall) – a perfect evening of beautiful piano playing. The finest reading of the D959 for me….. More here

Steven Osborne/The Music of Silence (Milton Court) – back to Milton Court for music by George Crumb and Morton Feldman. Review here

June

The Threepenny Opera (National Theatre) – a delightfully dirty, louche, foul-mouthed and witty production with fine performances by Roy Kinnear and Haydn Gwynne

Piano 4-hands at Conchord Festival (St Mary’s Twickenham) – a new local music festival in Twickenham. Review here

July

Daniel Grimwood/Markson Pianos Series – Sonatas by Schubert, including the great G major, D894, performed on a magnificent Bosendorfer piano by a pianist who really understands this repertoire

August

Louis Lortie/Chamber Prom (Cadogan Hall) – my first live encounter with this pianist whose programme spoke of Italian holidays and sunshine. Review here

Scenes from the End (Camden Peoples Theatre) – one-woman opera with Heloise Werner. Review here

The Makropoulos Case/Proms

September

Proms in the Car Park – a very unusual concert experience: music by Steve Reich performed in a disused multi-storey carpark in Peckham. Review here

Music Marathon (St John’s SMith Square) – I was delighted to have the chance to perform at SJSS, albeit for 15 minutes (!) as part of the music marathon for London Open House weekend. Great to hear and meet other pianists and I made new friends too!

Nick van Bloss (Wigmore Hall) – intense and athletic Beethoven, and lovely to meet Nick in person afterwards

Igor Levit/Beethoven (Wigmore Hall) – the launch of Levit’s Beethoven sonatas cycle. Review here

October

Steven Isserlis & Olli Mustonen (Wigmore Hall) – a chance to catch up with a friend who used to be my most regular concert companion (now resident in Spain).

Liszt’s B minor Sonata – lecture & concert (Kings Place). An insightful and revealing talk by Alfred Brendel followed by a performance of a sonata which I have never liked! Review here

Two-Piano Extravaganza (Kings Place) – Part of the inaugural London Piano Festival, this concert was a feast of high-class pianism. Review here

Don Giovanni (ENO/Coliseum) – a splendidly raunchy production, made even better by our Secret Seats in the front row of the Dress Circle, plus interval champagne!

Quartet for the End of Time (SJSS) – a privilege to turn the pages for my friend the pianist Daniel Grimwood, and to enjoy the pianist’s perspective of this extraordinary work. Profound and moving.

Dina Duisen and Friends (1901 Arts Club) – music for piano and clarinet at my favourite small venue

The Prince Concert with Stephen Hough (Wigmore Hall) – atmospheric and varied songs by Stephen Hough, including the premiere of his ‘Dappled Things’. Review here

November

Steve Reich (Barbican Hall) – Electric Counterpoint amongst other minimalist wonders

Lulu (ENO) – a visually stunning new production by William Kentridge

Winterreise in English (Wigmore Hall) – revelatory performance by Roderick Williams and Christopher Glynn, the English translation bringing a startling immediacy to the narrative of Schubert’s song cycle.

December

Concert for SPIN/Specialists in Pain International (St John’s Waterloo) – I performed in a fundraising concert with a pianist colleague and soprano Anna Cavaliero. A really wonderful evening of shared music making (www.spiners.org)

Melvyn Tan at Spitalfields Music (St Leonard’s Spitalfields) – fine pianism and three premieres. Review here

Helen Burford (St Nicholas, Brighton) – a typically eclectic and imaginative concert of “global exotica” including a Tarantella for Toy Piano by Stephen Montague. Atmospheric,  quirky and elegantly presented

Russian Winter Weekend Concert (Dorich House, Kingston) – Russian music arranged for flute and harp with Alena Lugobvkina (flute) and Anne Denholm (harp) and a chance to explore the Art Deco home of artist Dora Gordine. A delightful evening

In addition, I have also enjoyed….

Discovering the organ at St John’s Smith Square (more here)

Some fine concerts at my local music society by performers including Ben Socrates, Joseph Tong, Peter Murdock Saint and Jennifer Heslop, Jelena Makarova, amongst many others

The Magic Flute (directed by Simon Burney) at ENO. Magical, quirky and beguiling.

Fine performances at London Piano Meetup Group events by people who are not professional musicians but for whom the piano is a passion, an obsession and more….

Brave (and occasionally tearful!) performances by adult amateur pianists at my workshop at the 1901 Arts Club on 3 December

Accompanying one of my students who played Massenet’s ‘Meditation’ from Thaïs in a special retirement mass for her headmistress, and accompanying a friend at her Grade 5 French Horn exam (which she passed with distinction!).

Making new friends via social media who are proving enjoyable and stimulating concert companions.

The launch of the Music into Words project which explores writing about classical music today – next event is on 12 February 2017 with a great line-up of speakers (book tickets)

And I am very much lo0king forward to 2017 when I will hear

Martha Argerich (for the first time)

Daniil Trifonov

Anna Tsybuleva (winner of the Leeds Piano Competition)

Boris Berezovsky

Pierre-Laurent Aimard

And no doubt much more besides…..

 

 

 

 

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

During a family holiday in Jersey in 1988, I heard a cocktail pianist at the Hotel de France.  I became transfixed with the piano sound, and each evening at the hotel restaurant would stand next to the artist and gaze (realising now how irritating it would have been for an eight year old in chinos and a gaudy shirt, to be peering and examining the artist’s fingers).  I also remember eating each course terribly slowly to maximise on the listening potential!

After much nagging (persistence usually pays off!), and against my late father’s intentions (S.A.S. fighting machine), Ma bought me my first piano for £50.00.  It was an Erard, and I adored it until I wore it out.  My world gradually became totally music and arts orientated, and I felt it was the only thing I excelled in; there was no option other than to forge a musical path.  Looking back, I had no idea what colourful and wonderful opportunities it would hand to me.

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

This is the easiest of the questions to answer.  Margaret Fingerhut, who believed in me at a time when I was having quite a major confidence wobble in my life, taught me at the RNCM, and on occasion privately afterwards.  I learned more in the short time I had with Margaret, than I did from any other principal study tutor I studied with during my degree course.

Before this, Arthur Williams taught me organ (I ended up covering five different church organist posts at the same time!), and piano encompassing everything I needed to know to set me up in moving forward with my career.  He took me on many trips to concerts and hands on playing events across the country, and in his will left me his entire sheet music and recordings collection.  It was one of the most harrowing days of my life having to play for his funeral, and listening to Elgar’s ‘Dream of Gerontius’ in its entirety looking at the 7 foot gentle giant lay in his coffin!  On a lighter note, I amusingly curse the huge collection Arthur left me, each time I have to move house, as do the friends that help me pack it up each time.

After Arthur had sadly passed away, Doctor Stephen Collisson took on the challenge of preparing me for conservatoire entry auditions, and had playing Bach English Suites, Brahms Ballades, Mozart Sonatas and Rachmaninoff Preludes in the short space between A levels and conservatoire entry.  He had time and patience and gave me extra time whenever I needed, or was having a mini-meltdown, and probably understood me more than I did at the time!

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

This has to be when I went across to the dark side, and organ was my principal study.  I was fortunate enough to land a position as Organ Scholar at Her Majesty’s Chapel Royal Hampton Court Palace when I was 17.  This involved learning up to an hour’s worth of new choral accompaniments per week, plus some taxing voluntaries.  My first service there, the setting for Evensong was Stanford in A (orchestral reduction); alone in the organ loft in such an auspicious setting, my heart was in my mouth, all trussed up in the royal livery.  That place was magical, most notably at Midnight Mass.

Which performances/recordings are you most proud of?

I have one recording available which was awarded a five star review, and demanded a second album.  Also a telling off from the reviewer who had never heard of me, and that my modesty and lack of online presence is holding me back.  The recording was done in whole takes only, and I insisted that the ‘inaccuracies’ were kept in as part of the performance.  Hidden on the album cover is my insignia “there are no mistakes, just happy accidents”, I also have this on a plaque next to my piano at home, as I feel it is vital for students to be aware of this, as well as me.  The recording is very special in another way I have never revealed until now, in that I was head-over-heels for the page-turner.  Shortly after he moved to the other side of the world.

In terms of performances, it has to be 2012 Manchester Pride Concert Series, promoting LGBT composers.  I was due to accompany the Poulenc Trio for piano, oboe and bassoon amongst other chamber works.  Sadly the oboist got stuck in another country the day before, and I had twelve hours to pull together a solo recital to be recorded live and aired on BBC Radio 3, BBC Manchester and Gaydio!  After dealing with a stroppy audience lady who screamed “WHAT, no oboe….I’m off” … Chaminade, Debussy, Hahn, d’Indy, Dukas, Ravel, Saint-Saens and Widor were played, and this recording kick-started my YouTube channel in an attempt to embrace technology and my reviewer’s advice!

Which particular works do you think you perform best? 

The pinnacle two works in my repertoire are unusual French sonatas.  Chaminade and Dukas!  The Chaminade I learned back in 1996, and the Dukas in 2003.  The Chaminade I use as a cornerstone in recitals a lot as it covers many forms; Fantasia, Fughetta, Nocturne, Toccata.

The Dukas has been allowed by programmers twice due to its need to be served with a good dose of happy pills and a course of counselling afterwards.  I also find it is quite an aerobic challenge, and gave it the nickname “French Hammerklavier”.

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

I am constantly on the discovery path, delving far too deep into the byways of the gargantuan repertoire available to us, sadly a vast amount now out of print I uncover from what seems another world.  Often, after playing through the unknown, one can see why it never caught on.  Other times, it makes no sense why it never made it past a first edition.

I leave the core repertoire to the high-masters.  I have far too much fun in the unknown, and tracing ancient scores whose printing plates were destroyed in the wars.  My most recent example of this is the Scharwenka Piano Sonata No. 1 in C sharp minor (first version), and works by Granville Bantock.  The piano works of the great French organists such as Dubois, Tournemire, Vierne and Widor are also an interesting route to follow.

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

I found myself puzzling over this question, then my answer came to me in my own living room.  The recital work I have enjoyed the most is in the salon setting, where people can discuss music, enjoy food, cake and wine, and follow a less formal protocol such as the concert halls.  I always enjoy socialising with people who have come to share the music.  To perform, hide in a dressing room, then retire to a hotel room would not make me happy at all.  Excitement is to be shared.

Favourite pieces to perform? Listen to? 

Although I have what I call phases of favourite pieces, I always end up hurtling back to Chaminade for her simple yet effective turn of melody and exotic harmonies, and of course her largest form of writing, her Piano Sonata, which even then, is totally accessible to anyone.  Many links, (albeit tenuous), can be made to other wonderful works as Chaminade’s brother-in-law and eminent pianist Moszkowski.  Even Stokowski wrote his first opus for Chaminade’s sister, Henriette Moszkowski née Chaminade!

In terms of listening, I adore the freshness of Rameau and the Couperins.  I have also recently discovered Lebegue thanks to a recent trip to Vienna with friends, and some harpsichordal geekyness.

Who are your favourite musicians?

I have found over recent years, my personal preferences lie in the hands of lady pianists and accompanists, too many to mention by name here; but, I am pleased to see this fairly recent surge after a male-saturated scene.

What is your most memorable concert experience? 

This was actually a ballet performance at a very young age, when Ma sneaked me to see Tchaikowsky’s Nutcracker and parked her car outside her place of work in case my father was checking up.  From there Ma’s boss at work drove us to the ballet.  I found the whole evening spell-binding and magical, although still confused as to the travel arrangements!

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

The most important thing I learned at conservatoire was how not to treat people and students.  The favouritism and bullying I witnessed and experienced shocked me to the core.  My impossible situation was such that had I made any more fuss, I’m pretty sure it would have ended my study and career.  I stood my ground, and tunnelled, surfacing into the light at the end with some scratches and bruises, but to the annoyance of some hierarchy, unscathed.

I tell students I work with about my experience, and that there are many wonderful people in the field, and as a minority career group, we should all support each other.  Sadly this is not the case, and I feel duty bound to give warning about the blockades and barriers (aka unpleasant people in powerful positions), students may face.

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

This is a taxing question at present, as I am currently caring full time for Ma.  I would like to say, “exactly what I am doing now”, but when the new start comes, my secret intention is to start again somewhere exiting and new, surrounded by my close network of wonderful friends, and lots of exposure to the arts.

What is your idea of perfect happiness? 

Perfect happiness for me, is spending time with friends, being creative, whether it be baking or what we call “danger concerts” …. all this without having to clock-watch.

What is your most treasured possession?

This has to be the autographed manuscript I am lucky enough to possess of Chaminade’s Piano Sonata.  When my number gets called in, my vast Chaminade collection will be available for borrowing, and viewing via the Cornulier family in France (Chaminade descendants).

What do you enjoy doing most? 

When I’m not working on a musical project, hunting library archives, or catching up with social networking gossip, I enjoy exploring all things Art Nouveau and French cinema.  Period dramas are a big favourite and practising concert harp.

You are performing Dukas’ Sonata in E-flat minor on 4th December. What is the special fascination of this sonata for you and how did you discover it in the first place?
 
I shall answer this question backwards if I may, as it is the Sonata that found me, a little like Bilbo and the ring in The Hobbit! “It came to me, my own, my precious”
 
Searching in the dimly lit archive wheelie-to-and-fro stacks within a French private collection left to Henry Watson Library, for some very early Chaminade; the moving of the casing on the tracks must have dislodged some scores and the Dukas came down like a feather from heaven (not a horn from hell as one colleague put it), and landed on the linoleum tiling infront of me. It is jolly good fun turning those wheels and watching several thousand books move gracefully, then reading the sign to check if anyone is inbetween cases, and having an ‘ah well too late now’ moment There are worse ways to go, other than being pressed between Chambonnieres and Vianna da Motta!
 
I had one of my ‘ooooooooh’ moments, picking the score up, and watching the cover-page waft away as it cracked off of its binding. It felt heavy, all 56 A3 pages of it printed on that wonderful French (latrine) paper of the day, that goes brittle at the edges, and eats itself inwards. Clefs are usually to go first, then the key signature…what I call the vitals first….then the dots. Leafing through I could see Dukas had been very busy with his ‘note pepperpot’, and there were some gloopy nutella like textures throughout all four movements. For the first time I abandoned poor Chaminade, I thought ‘challenge accepted’, and power-minced out of the stacks home to the piano. Again like Tolkien, it felt as though I had dug too deep, and released a demon from the ancient world, a shadow wreathed in flame! I could not get out from this music and the way was shut! … It is dark and brooding covering all forms, fantaisie and prologue, nocturne et chorale, toccata-scherzo et fugue, culminating in a rapsodie. Here Dukas tries to outdo Liszt in places where the line, “Go back to the shadow….you shall not pass” comes to mind, and after 40 minutes of forboding gloom and battle, and vagrant Balrog-like chromaticism; triumph wins, and we finally are released into the major tonality.
The special fascination for me is the emotion Dukas conveys and that the sonata carries. Tragedy, pity, defeat, surrender, plunder, gloom, tranquility, tyranny, heroism, peace, relentlessness, mysticism and nostalgia. It is exhausting to play physically and emotionally, with all these facets packed into 50 minutes and four movements, and preparing to perform it is what I imagine preparing for a hefty marathon would be like (those that know me, I am no sports icon). The only thing I can compare it to is my 22 mile charity bicycle ride across Sandringham with zero training on a beautiful bicycle that weighed 5 stone. (I was only meant to be on the finish line handing out Robinson’s squash and cake). I had a wonderful cyclist encouraging me forward with snackettes on a stick, and this person has transmogrified now into my page-turner (the parallels are amusing), for the ‘Dukas after Dark’ event.
It has had a few mini-outings to select ears, and the first question people ask is how long it took to learn. 18 months to learn the dots back in 2004, and since then it has been quietly stirring under my fingers like a languishing beast, for over a decade, ready for it’s first big outing on December 4th at 1901 Arts Club for South London Concert Series. Curious, as Dukas finished lavishing over the work in 1901, and I am extremely excited and thankful to be finally performing this keystone of the piano repertory. It has been one hell of a journey, nevermind about Hobbits!

 

Peter performs Paul Dukas’s Piano Sonata in E-flat minor in a special concert at the 1901 Arts Club, Waterloo, London on 4 December 2015. Further details and tickets here

Born in 1980, Peter embarked upon piano tuition aged 8 after hearing a cocktail pianist perform in the Hotel de France, Jersey and after much persistence was bought an Erard as his first instrument. Three years later he took up the church organ too, studying with Arthur Williams, Paul Hale and David Briggs. After numerous parish church organ scholarships in Birmingham, Olton, Solihull and Bickenhill, (including work on the famous Handel organ for Lord and Lady Guernsey and The Earl of Aylesford in their private estate chapel), he undertook organ scholarships at Solihull School for Boys and at Her Majesty’s Chapel Royal, Hampton Court Palace.

Having received a bursary from his L.E.A. Special Awards Committee, Peter entered the Birmingham Conservatoire Junior School where he performed Grieg’s Piano Concerto. He has also performed the piano concerti of Chaminade, Pierné, Boieldieu, Lalo, Massenet, Saint-Saens, Widor, Vierne, and Rubinstein. In 2004 he graduated with a BMus(Hons) from the Royal Northern College of Music after studying with Margaret Fingerhut. Since then he has established a busy career having taught for Manchester High School for Girls and Ashton-under-Lyne Sixth Form College, has a busy private practice, is an instrumental accompanist, and has a full time post specialising in French music at Forsyth Brothers Limited, Manchester.

Now specialising in only piano, Peter continues to seek professional coaching from Margaret Fingerhut (recording artist), and has had duo performance coaching with Peter Dixon (BBC Philharmonic). He is especially keen to champion unjustly neglected solo and chamber repertoire, particularly that of the French Romantic School, Dukas’ piano oeuvre and Cécile Chaminade for whom he gave a BBC Radio 3 interview in 2013. Peter has broadcast on BBC Radio 3, BBC Radio Manchester and Gaydio taking part in the Manchester Pride Chamber Concert Series performing Saint-Saens, Chaminade, Dukas, Ravel and Hahn. In March 2005 Peter recorded ‘A Gallery of Miniatures for Piano’, a full length disc of piano byways that received an acclaimed 4.5 star review.

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

John Ireland (1879-1962)

 

The splendidly intimate and elegant 1901 Arts Club played host to Steinberg Duo on Friday evening in a concert of music by John Ireland and Edward Elgar. Steinberg Duo, which comprises husband and wife Nicholas Burns and Louisa Stonehill, are regular performers at the 1901 Arts Club and curate a series of concerts there.

The music of John Ireland is, perhaps unfairly, rarely performed. The majority of his output was piano miniatures and songs. He studied with Charles Villiers Standford at the Royal College of Music (who also taught Vaughan Williams, Holst, Howells and Butterworth, amongst many others) and by the end of the First World War had emerged as a celebrated composer following the overnight success of his second Violin Sonata, of which more later.

The Steinberg Duo have been praised for their “warm musicality” and virtuosity and this was more than evident throughout their programme which opened with Ireland’s first violin sonata in which the influence of the French impressionist composers Debussy and Ravel was evident in its adventurous harmonic palette. The work is no gentile Edwardian drawing room piece and it was played with requisite muscularity and poise by Louisa on violin, with a nimble and sympathetic accompaniment by Nick on piano.

Ireland did in fact meet Edward Elgar and described the few hours in Elgar’s company as “the finest lesson I ever had”. To celebrate this meeting, Steinberg Duo performed a group of miniatures which represented the kind of salon music which was popular at the end of the nineteenth century and entirely appropriate for the small music salon at the 1901. These short but charming works were a pleasant and contrasting interlude between the sonatas by Ireland.

The second part of the concert was occupied by John Ireland’s second Violin Sonata, the work which made him famous. Since the composer was unfit for military service during the First World War, he was able to continue composing. The Violin Sonata No. 2 was premiered on 6 March 1917 by Albert Sammons and William Murdoch, who performed in uniform, and was an immediate success, so much so that the published Winthrop Rogers was on the composer’s doorstep before breakfast the following day. The first edition sold out before it was put on sale, and the work secured Ireland’s success and reputation.

By 1917, the British populace had developed a weary stoicism about the progress of the War. The work perfectly captured the mood of the period by avoiding sentimentality. Instead, it is imbued with pathos in its arresting themes, striking chromatic twists and turns and harmonic and rhythmic motifs redolent of Debussy’s Violin Sonata or Ravel’s Piano Trio. The middle movement is one of great poignancy with a simple song, on the violin, at its heart. Its expressive melancholy suggests a musical anthem for doomed youth, but also a requiem for a way of life destroyed by the War.

Speaking of his own music, Ireland said “Whatever I have to say is said in the music, and if this does not speak for itself, then I have failed”. This powerful and emotional work was given a passionate and involving account by Steinberg Duo who allowed the music to speak for itself.

Steinberg Duo

1901 Arts Club