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

My family loves music, although none of them are professional musicians. But they enjoy having friends over, having fun playing accordion and singing songs together, so I grew up in a music loving atmosphere. When I was four, my mother bought me a piano as she thought musical training would be beneficial for me. I was a quiet girl and could easily sit in front of the piano for a long period of time, definitely longer than the other kids could I suppose! I guess I was quite attracted to the sound of piano without knowing what it would mean to my life. Later, I won first prize at a number of piano competitions held in my home city Chongqing when I was between the ages of six to nine. My parents were encouraged by the professors from the best conservatory in China, and decided to send me for professional music study. So, I moved to Beijing at the age of ten, and “officially” started to pursue a professional career at the Central Conservatory of Music. Once I started to understand music and gradually build up a genuine connection with it along the path, I became more certain about choosing a career in music.

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

My piano teachers. I wouldn’t have gone this far without them. I’ve always been lucky to work with teachers who have helped me tremendously in different stages of my career. Professor Huiqiao Bao was my teacher for twelve years in the Central Conservatory of Music in Beijing. She laid a solid foundation for my career, as a respectable female musician, she is most certainly my role model. Her lessons have extended beyond the scope of music and spilled over into my life, learning better how to navigate through difficult periods. I studied with Professor Alexander Korsantia during my time in New England Conservatory in Boston; his passionate attitude to music and bold approach to life constantly encourage me to step out of my comfort zone and break my limits. My current teacher at the Royal College of Music in London, Professor Norma Fisher, is bringing my understanding of music to another level. These teachers have always been by my side and have guided me to be a better pianist. Their attitude towards music has inspired me to pursue the ultimate goal to become a better artist.

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

The greatest challenge I have faced was to hold on to the passion and belief in the music I perform, regardless of any dilemma and obstacles that came my way. I believe all the greatest artists have experienced the same challenges and overcame them.

Which performance/recordings are you most proud of?

All of the performances I have given were meaningful for me; I keep learning from every performance, also getting to understand the pieces and myself better. Thus, I would say I am proud of every step I have taken.

Which particular works do you think you play best?

It depends on the time being. However, it would definitely be the pieces that I feel connected to the most at that time. Lately, I feel a deep connection with the music of Scriabin and Rachmaninov.

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

I think it’s important for young artists, including me, to try to add variety into their repertoire. I would not want to limit myself to a certain style, or certain composers. Instead, I love challenging myself by selecting pieces that cover a wide range of styles, and pushing myself to play pieces that I don’t feel most comfortable with.

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

It’s really hard for me to pinpoint a favourite because I’ve enjoyed playing in different ones. Some are grand concert halls, some are intimate salon venues. I think each venue has a unique character and my adjusting to it can certainly be a fun part of the performance.

Who are your favourite musicians?

There are many extraordinary musicians I’d like to mention, but Radu Lupu and Martha Argerich are the two living musicians I admire the most. Radu Lupu’s playing always flowed with the genuineness and the simplicity which held deep thoughts behind the musical language; his interpretation of the works by Schubert simply blows me away. Martha Argerich is a female musician who has a strong character; her boldness and fearlessness makes her music so unique and effective.

What is your most memorable concert experience?

I was attending a music festival in Kiev Ukraine in February 2014, and was scheduled to play Tchaikovsky Piano Concerto No.1 in a concert. At this time the Ukrainian Revolution broke out, there was violence involving riot police, shooters, and protesters in Independence Square. I was very frightened being in the city. However, the concert went on as planned, and I was deeply touched when I saw so many people in the audience At that moment, there was no doubt that music can heal great divisions. It was the most unique concert experience in my career so far, and it reminds me the meaning that music can bring to everyone.

As a musician, what is your definition of success?

Despite all the obstacles, keep playing, pursuing and sharing music for a lifetime!

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

Always be genuine to the music and the composers, learn the background and history of the music and composer, try to understand the true meaning that the composers wanted to convey and interpret their works with your own voice. To build up a career as a musician, our persistence and love for music are always the backbone to support our dreams.

What is your idea of perfect happiness?

Doing the things I love to do for life and could have others benefit from it.

Born in 1992, Chinese pianist Siqian Li started her musical education at the age of four. She studied with Madame Huiqiao Bao, received her Bachelor of Music Degree at the Central Conservatory of Music (Beijing) and became the first pianist to be awarded the “Best of the Best – Top and Innovative Talent” diploma and scholarship from China’s Ministry of Culture. As a student of Professor Alexander Korsantia, she obtained a Master of Music Degree with Academic Honors and a Graduate Diploma at the New England Conservatory (Boston). She continues to pursue an Artist Diploma at the Royal College of Music (London) under the tutelage of Professor Norma Fisher.

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Wu Qian is an internationally acclaimed pianist and Co-Founder of Investec International Music Festival, which takes place from 26 March to 16 May 2020.

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

It was more like an accident; my parents took me to a friend’s house when I was 6 years old and they had a piano. As a child I have never seen anything like it before and immediately asked my parents if I could have one – they agreed thinking that it was proven how piano playing helps children developing both sides of the brain! After the first lesson, the teacher told my parents I was very talented so my mother had secretly hoped that I might make something out of piano and has pushed me ever since! There were times when I almost resented the amount of practise I had to do, but fortunately later on, I really started to appreciate music and it enlightened my life. That is what drove me to pursue a career in music.

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

I was very fortunate that I had wonderful teachers from different backgrounds. I feel it’s the combination of all these incredible musicians and mentors who influenced my musical path.

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

I think challenges are everywhere, but thankfully music makes me forget them!

Which performances/recordings are you most proud of?

I am never that content with my own performances. I could perhaps pick out a few sections here and there to say “ah that was quite nice!”, but it is difficult for me to be completely satisfied.

Which particular works do you think you perform best?

When I listen back my performances and recordings, I feel Schubert, Schumann suit me well.

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

I always like to add a few new works that I would like to learn or challenge myself, then there are always plenty of promoters requesting more of their wishes! So then it becomes a balancing act; trying t develop your repertoire while having a programme ready to perform.

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

We are lucky these days as there are many beautiful venues with good acoustics, so it is very difficult to pick one, but I do think it’s the combination of the space we perform in, the quality of the piano, the audience, the ambience and the performer’s mood and energy at the very moment of the performance which create a unique feeling.

What is your most memorable concert experience?

I am lucky that I have been to quite a few concerts and even lectures that I was very moved by. I can’t always explain what it was but when a performance touches you, it is unforgettable.

As a musician, what is your definition of success?

For me, it’s knowledge of the entire music history, and I am sad to admit I feel there isn’t enough time in one’s lifetime to find out everything, but I try my best!

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

Love the music you are making, work hard but never forget to enjoy it! We are all so lucky to be able to work on incredible repertoire, created by these titans of history; I really can’t think of something as exciting and rewarding as working in the arts.

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

Too many possibilities that I honestly can’t choose, but I can’t imagine doing something in life that doesn’t involve music.

Wu Qian was born in Shanghai, where she received her early training before being invited to study at the Yehudi Menuhin School. At fifteen she performed Mozart’s E flat Major concerto (K449) in the Queen Elizabeth Hall and again at the Menuhin Festival in Switzerland. She also played the Saint-Saens Concerto No.2 with the Philharmonia Orchestra in St. John’s Smith Square. She made her debut recital at the South Bank Purcell Room in 2000 and has since played there again on several occasions, including a recital broadcast by BBC Radio 3.

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

My first piano was my uncle’s wedding gift to my aunt. At the time he was moving houses and the piano was ‘temporarily’ housed in my home, where it stayed for another 6 years! My first piano teacher (a small ballet company’s piano accompanist) was the person who really pushed me and my parents to think that it was really possible to consider a career path in Western classical music, a very new concept in China at that time. You must remember that this was merely only five years after the end of the Cultural Revolution!

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

The support of my mother throughout my life, and how she let me pursue what I loved to do, regardless of any social or financial consideration.

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

Juggling being a ‘hands-on’ mother of two young children and pursuing a performing career!

Which performances/recordings are you most proud of?

There are some gems which I recorded for Pianist Magazine that turned out unexpectedly well. I have now recorded a large number of CDs for the magazine and I am very proud of issue 100, both for its significance and the music in it.

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

Not really. I would say perhaps the audience play a more important part in influencing my performance on the day rather than the venue itself.

Who are your favourite musicians?

I am not what you call a loyal listener, I go through phases. However, the old masters seem to always make me stop and pay attention whenever I hear them: Guido Agosti, Shura Cherkassky, Vladimir Sofronitsky, Pablo Casals, Alfred Cortot, Benjamin Britten, Louis Kentner… the list will go on and on.

What is your most memorable concert experience?

Collaborating with James Loughran and the Aarhus Symphony Orchestra on Mozart’s Piano Concerto K.488. Also a small recital I gave in the Scottish border when the front leg of the old Bechstein piano suddenly broke during the final movement of Beethoven’s ‘Les Adieux’ Sonata; in happiness I hope!

As a musician, what is your definition of success?

Great question! Without sounding a cliché and being corny, all I want is just to play to people. My definition of success is being able to make that special bond with the audience – even if it is just to one single person on the night – in a short magic moment music can touch special places deep within.

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

To be forever inquisitive – one always finds answers if one keeps asking questions.

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

Pretty much the same as I am now, but perhaps travelling further afield to play more concerts, as the children will be more grownup. Also, dare I hope for much better gardening skills?!

What is your idea of perfect happiness?

Waking around with my family the day after a good concert.

What is your most treasured possession?

I am a very laid back Buddhist; I think that one of the main ideas of Buddhist teaching is to try not to hold on to many earthly possessions.

Chenyin Li performs two piano sonatas by Beethoven, Stravinsky’s Petrushka Suite and three Chinese transcriptions as part of the Bluthner Piano Series at St John’s Smith Square on 23 May. Further information and tickets here

www.bluthner.co.uk

The Chinese pianist Chenyin Li is internationally acknowledged as one of the most exciting and sought-after musicians of her generation. Her career was launched after winning the 6th Scottish International Piano Competition in Glasgow, as well as being the first prizewinner of the Campillos International Piano Competition, Dudley International Piano Competition and the European Beethoven Gold Medal. She has been described as a “gritty, fiery and athletic pianist, backed by a strong technique arsenal” (The Daily Telegraph), and “a player of remarkable subtlety” (The Scottish Herald), who “understands the original intentions of the composers as well as bringing her own individual interpretation which invests the music with a new life” (National Business Review). Read more

www.chenyinli.com

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

It was my parents who encouraged me to play the piano when I was a kid. Although they were not professional musicians, they had the great passion for classical music since their youth – my father can play the trumpet, and my mother is an amateur violinist and guitarist. Therefore, my relationship with the instrument started as early as I was about to walk and speak. As things developed naturally, I was quite successful in several local and national piano competitions, but my parents never forced me to pursue an early career as a “prodigy”. On the contrary, they encouraged me to explore other interests in arts, literature, maths, astrology, history, etc. So, although I was clear with myself that I would work in creative environments, I didn’t particularly expect to be a professional musician until the age of 13. At that time, I took part in an international piano competition (my very first international piano competition) in New York City. I won the first prize as well as several recital engagements in the USA including a debut at Carnegie Hall in New York. It was my first time touring overseas, too, so the whole experience opened up my eyes and my mind. Of course, I was quite nervous before my Carnegie Hall debut with repertoire ranging from Liszt’s La Campanella to Schumann’s Symphonic Etudes, etc., but thankfully I was well prepared and the resonances from both the audience and the media were very encouraging. Interestingly, I haven’t really encountered any more stage fright since then and I have felt quite natural performing on stage ever since, so I suppose it was truly the turning point in my early musical life.

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

Many great people have lightened my musical life, and many critical turning points have shaped my career. First of all, I was fortunate enough to have studied with some of the most renowned piano professors I could ever have dreamed to study with, such as Christopher Elton who first discovered me playing Bach’s Goldberg Variations in Germany in 2006. Thereafter I spent the most crucial, fruitful and fascinating years of my undergraduate and postgraduate study with him at the Royal Academy of Music in London, with the generous support from foundations and individuals including the Tabor Foundation, the David Cohen Trust, Sir. David Tang and the Hattori Foundation, to name but a few. Also, I studied with Bashkirov in Madrid before my move to London. I was among his youngest students at that time and his rigorous teaching and the Russian School heritage built a strong foundation for my profound love of Russian repertoire and beyond. Of course, I am ever grateful to my professors in China, where my fingers and technique were trained professionally and solidly at a young age which allowed me to develop my musical understanding and horizons to the next levels during those early years. Also, my fruitful collaboration with Classic FM and the mentorship I have received from various musicians and organisations since my graduation together with my part-time PhD project at King’s College London have all helped to further nurture my playing and my perspective to music-making to an even more comprehensive degree.

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

As a performer, I profoundly believe that it is the musician’s excellent playing (to play the right repertoire in the right way at the right time) that makes the musician’s career. So, I see challenges through the music and I set new goals in the ways I programme my concerts and how I play those programmes. One interesting fact about the eternal nature of classical music is the countless possibilities for performing one single piece, if one can be creative and humble enough. It is important to have the confidence and the ability to express oneself openly and sincerely through music which is, in itself, a big challenge. Also, musicians are human beings like everyone else and we have to deal with everyday issues such as coping with jet-lag during our international tours and to deal with stress, etc. So, to think about music and beyond, to keep the awareness of listening, to have the patience of managing silence and to have the courage to say no sometimes are all important to me.

Which performance/recordings are you most proud of?

Having just answered the topic about “challenge”, this is indeed a challenging question! Thinking about the most recent one, if I were allowed, I would put my new album “Fire and Water” in the list. In the preparation of this album, I was drawing the Chinese philosophical idea of “Wu Xing” to the programme, showcasing piano music written around the transition between the late 19th century and the beginning of the 20th century, such as Scriabin’s 2nd Piano Sonata, Debussy’s Preludes and Stravinsky/Agosti’s Firebird Suite. It is a project that I have been working on over past year and it well represents my artistic and musical aesthetic in many ways.

Regarding some notable performances, many other facts than the playing itself could add extra excitement, as I recall. For example, one of my most memorable recitals was at the Bristol Proms where the concert was staged by theatre director Tom Morris and programmed with John Cage’s 4:33 and Bach’s Goldberg Variations together. So, I am still proud of presenting the Goldbergs in such radical and controversial way yet of staging it convincingly. Also, I played one of Schubert’s rarely performed but utterly beautiful sonatas D.571 (unfinished) together with piano works by Rzewski and Scriabin at some of my recitals, including the recent one at the Verbier Festival last year. The process of discovering and re-discovering unusual pieces through creative programming is something that I find extremely meaningful and something which helps me communicate with an audience. My recent debut with the Bournemouth Symphony Orchestra at the Royal Albert Hall and giving the world-premiere of Einaudi’s Piano Concerto with Royal Liverpool Philharmonic also always make me smile when I think about them, too.

Which particular works do you think you play best?

I don’t really pigeonhole myself to one particular genre or one type of work – and I am always curious and seek out new repertoire to learn. However, from what I have experienced over recent years and looking to the future from an objective perspective, I would very much like to explore more works in which I could further enhance my creativity in programming and the way I present them in live performances. The direction of this journey would start with the work of composers from the French Baroque such as Rameau and Couperin, as well as works by my musical hero, Schubert, through the reflection of more impressionism to the modern music of our time.

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

No, I don’t throw the dice and decide… Balance, creativity, unity and uniqueness are always the keywords when talking about repertoire. I think one has to make things clear in the mind between dream and reality, creativity and practicality. I am quite down to earth and honest with what my current musical strengths are as well as where my practical limits are each season, so the choice of the repertoire is a combination of my almost scientific and cool-minded analysis and my long-term artistic vision and passion.

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

I think the great performance makes the perfect concert venue. The participation of the audience also makes certain vibration and atmosphere in the hall which could turn around the acoustic completely. Some places might suit particular repertoires better than the others. So, I think the majority of my own thoughts on concert venues is very subjective. Over these past years though, I have thoroughly enjoyed playing not only in the big halls such as the Royal Albert Hall and the Royal Festival Hall in which I actually enjoy the acoustic by performing the Goldbergs as well as Beethoven’s 4th piano concerto, but also in some more intimate spaces around the country including some exquisite churches and concert society venues. Wigmore Hall falls perfectly into this category where it seems that it would be hard for anyone not to sound beautiful!

Who are your favourite musicians?

I could possibly still be answering this questions in several days! Overall, the musicians and the recordings of the first decades of the 20th century always give me a lot of pleasure, both to listen to them and to learn from them. As I have noted about my album “Fire and Water”, the recording was my homage to both the golden age of piano playing as well as to the music-making (in every sense) of that period and it is also very much a tribute to some of the pianists I admire the most, from Rachmaninov and Sofronitsky to Horowitz, Michelangeli and Argerich, to name but a few. Thanks to the technology of our age, we can now get access to endless sources of recordings on-line, so there will always be something great and fabulous to be heard and from which to learn.

What is your most memorable concert experience?

There are some memorable concerts I have attended that still cause quite a stir inside my mind. I think one of the most extraordinary concerts that I ever attended was hearing Beethoven’s 5th Symphony conducted by Christopher von Dohnanyi at the Verbier Festival when I was 15. Also in the same year, I heard Stravinsky’s Firebird Suite conducted by Gustavo Dudamel, and that performance opened up my ongoing interest in both Stravinsky’s music and contemporary music. Also, Andras Schiff’s performance of the last movement of Beethoven’s Sonata Op.111 as an encore after the Diabelli Variations at the Wigmore Hall was one of the most enlightening spiritual journeys I have ever been on. I clapped too hard that evening and had to have a day off from my practise session the next day to recover!

As a musician, what is your definition of success?

Along with the growth of age and experience etc., the definition of success also means something different. Personally, I don’t think music-making – which is what we actually do as a musician – should be measured or defined by “success”. But if one has to put it this way, in my opinion, the success of the musician is as simple as having the discipline to work hard, the energy to perform well, the dream to develop further, friends with whom to make music and curiosity and ambition for lifelong learning.

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

To learn all the rules is most critical and essential, but then to follow one’s intuition is something that one should also take account when aspiring to make great music. Also, one should always keep in mind that why we make music – is it all about winning a competition or securing a successful career, or is it something far beyond these instant outcomes? I think the longevity and creativity are the qualities that would definitely help to make a much healthier and more thriving musical journey.

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

I hope I will still sit in front of some gorgeous music and play faithfully every day – this applies not only to the next 10 years, but also the next 50 years.

What is your idea of perfect happiness?

In Chinese, there is a saying called 乐极生悲 which translated into English as “Joy surfeited turns to sorrow”. Music inspires and teaches me to see through things in many different ways and aspects. Nevertheless, if one had to categorise and grade the level of happiness, I assume that to be able to focus on the things in which one believes and to be able to live it with great enthusiasm, would be perfect happiness – which in my case, is to be a musician in every sense.

What is your most treasured possession?

I would say my family, mentors, friends, and all the wonderful people who have been and will be with me on my musical journey.

What is your present state of mind?

Peaceful and thriving at the same time!

 

Ji Liu’s new album Fire and Water is available now on the ClassicFM label. More information

Ji Liu (born 1990) is a Chinese-born concert pianist, recording artist and composer, currently based in London.

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(Photo: ClassicFM)

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An episode from Alan Yentob’s ‘Imagine’ series for the BBC, in which Yentob traces the meteoric rise of Chinese poster-boy pianist Lang Lang from child prodigy to international superstar.

Despite my dislike of Lang Lang (his playing and his manner in general), this is an interesting programme, if only for the dreadful pushiness of Lang Lang’s father – a lesson, perhaps, for all over-ambitious parents of talented children.

In an interesting piece of parallel programming, the film ‘Shine’, biopic about Australian pianist David Helfgott, whose downward spiral into mental illness has been attributed to his father’s attitude, was broadcast after the feature on Lang Lang. A moving and insightful film.

‘Do – or Die: Lang Lang’s Story’ on the BBC iPlayer

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Image credit: Yuja Wang © Felix Broede / Deutsche Grammophon

It’s hard to ignore Chinese pianist Yuja Wang, and sometimes for the wrong reasons (remember all the fuss last summer about That Dress?). So it was that I went to hear her in the Southbank Centre’s excellent international Concert Series with a mixture of curiosity and trepidation. The programme was an ambitious mix of music which showed off more than just her technical prowess….. Read my full review here