Finchcocks in Kent has only been up and running as a venue for luxury piano courses for a year but has already established itself as something rather special. It was set up to provide world-class tuition in the enchanting setting of the 300 year old grade 1 listed Finchcocks manor house, after the closure of the world-famous piano museum that had occupied the building for the past half century.

Rather than providing the bare minimum of creature comforts, Finchcocks has really gone to town with sensitively restored bedrooms, each with a spacious en-suite bathroom, and breathtaking views of the surrounding Kentish countryside.

And then there is the food. Finchcocks has its own private chef, creating the most delicious meals from local produce, with homemade cakes and tea every afternoon.

It doesn’t stop with luxury rooms and grand pianos – fine dining is also part of the experience at Finchcocks

– The Spectator

But what really sets Finchcocks apart is its superb facilities. The piano courses are deliberately kept small, with a maximum of 8 participants per course. Everyone gets their own grand piano for the duration of the course and plenty of contact time with the tutor. The chance to play such a variety of beautifully-maintained grand pianos is, of its own accord, worth making the trip for: there’s a Bösendorfer, Blüthner, Bechstein and Steinweg as well as a concert-ready Yamaha.

I depart revitalised, with renewed enthusiasm for this enduring hobby

– The Sunday Times

The tutors are a blend of young and up-and-coming and well-established teachers. David Hall, described by the Sunday Times as “a musical powerhouse”, is a young and incredibly talented specialist in improvisation and harmony. Graham Fitch, who has made his name with his Practising the Piano blog and e-book and YouTube channel, is a regular tutor. And Warren Mailley-Smith, a concert pianist who earned himself a world record by memorising Chopin’s entire piano works for a series of concerts in London, runs composer-specific weekends on Chopin, Debussy and Rachmaninov.

Paradise for pianists

– BBC Music Magazine

Participants are welcome to bring non-playing partners, who can enjoy the surrounding countryside whilst the tuition takes place, and join in for the delicious food and the magical Saturday evening recital over a glass of wine. Private courses are also available for groups of 5 or more piano playing friends.

Courses are available for pianists of all levels. Lower intermediate courses are aimed at people playing repertoire that is between grades 3 and grade 5. Upper intermediate courses cater for those between grades 5 and 7, and advanced courses are for those who play at grade 8 level or above. Players who are keen to return to the piano after a gap of a decade or more are also very welcome.

Upcoming courses with good availability are:

5 – 7 April: Beginner weekend with David Hall

31 May – 2 June: Lower intermediate weekend with David Hall

7 – 9 June: Advanced weekend course with Andrew Dunlop

14 – 16 June: Intermediate weekend course with Melanie Spanswick

29 July – 2 August: 5 day summer school for advanced players with Graham Fitch

To find out more, email jenny@finchcocks.com, call 01580 428080 or have a look at the Finchcocks website which has a full list of forthcoming piano courses.


 


This is a sponsored post. All information and images are supplied by Finchcocks.
Disclaimer: The Cross-Eyed Pianist does not necessarily endorse organisations that provide sponsored posts which link to external websites, and does not endorse products or services that such organisations may offer. In addition, The Cross-Eyed Pianist does not control or guarantee the currency, accuracy, relevance, or completeness of information found on linked, external websites. However, every effort is made to ensure such information contained on this site is accurate at the time of publication.

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

As a young child there was a lot of music around the house and I listened to Jacqueline du Pré play Bach’s Cello Suites every night before bed. I am not sure how attentive a listener I was – I believe the aim was for me to drop off to sleep! – but I refused to accept any other interpretation of that music! As for my decision to make cello my career, I became accustomed to the life of a touring artist on a series of cruises starting when I was five years old, during which I had fantastic experiences performing amongst top professionals, signing autographs and even being interviewed by Richard Baker before rushing back to the swimming pool!

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

I grew up attending my father’s concerts with cellist Alexander Baillie and listening through the door to their rehearsals at home. Musicians were often guests at our house and I remember discussing the finer points of ‘Lord of the Rings’ with Dame Emma Kirkby, whose individual approach to singing has always seemed the most natural to me. Lately, I have been influenced more by ideas and principles of making music than by specific performers: I am not aiming to emulate any cellist in particular but to reach my own personal sound in ways I am discovering myself. There are cellists whom I greatly admire such as Mstislav Rostropovich and János Starker, but I have been more often inspired by musicians in other fields such as the conductors Claudio Abbado and Carlos Kleiber, the violinist Julia Fischer and pianists Claudio Arrau and Arthur Rubinstein.

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

The greatest challenges have been projects that I embarked upon with a view to expanding the repertoire of the cello. In 2014 I performed Jan Vriend’s ‘Anatomy of Passion’, a 30 minute work for cello and piano composed in 2004. It was a formidable challenge, not only because of great technical demands and complex rhythms to coordinate with the piano, but also because I decided to perform the piece from memory which I believe made my performance more convincing. More recently, I arranged and performed Bach’s iconic ‘Ciaccona’ from the Violin Partita No. 2 in venues including London’s Wigmore Hall and King’s College Chapel. This was an enormous statement, to take a piece which means so much to people and adapt it to another instrument which made it essential for me to transcend the substantial technical difficulties of performing this on the cello and create a performance which was musically worthwhile and not just an impressive show of technique.

Which performances/recordings are you most proud of?

I try to make every performance better than the last, but rather than pride, I experience enjoyment when I play. My performances of the two pieces mentioned above have been some of the most rewarding concert experiences of my life. I am also happy that the recording I made at nineteen years old of the Chopin Cello Sonata still seems relevant to me despite the six years of development I have had since then.

Which particular works do you think you play/conduct best?

I play a wide range of repertoire, from Bach through to brand new pieces and I try to approach every type of music with the same philosophy – to take a fresh look at the score and try to interpret what that particular composer means in their notation. I then put one hundred percent of myself into every moment of the music, no matter what the style. Having said that, I think music by Benjamin Britten, Prokofiev and Shostakovich suits me well and I find the technical challenges of music from the 20th and 21st centuries to be the most fascinating. In terms of conducting my repertoire is smaller, but I have most enjoyed conducting 19th and 20th century music. In particular, I conducted Strauss’ Metamorphosen with the Seraphin Chamber Orchestra in 2017 and since I felt a particular affinity with the piece I found it very natural to memorise and perform.

How do you make your repertoire choices from season to season as a performer and also as conductor?

My repertoire choices are often taken in collaboration with musicians I am working with and I am very lucky to perform regularly with my father, pianist James Lisney. We both enjoy crafting programmes with a unifying theme and have toured several of these ‘project’ concerts with titles such as the Beethoven Grand Tour (the five Cello Sonatas), Cello Song and Russian Connections. I enjoy playing contemporary music so I make a particular effort to fit some new music into most of my recital programmes. As for concerti and chamber music that is often a little more out of my control but I am eager to play all sorts of music!

You are also a composer and conductor. How do these disciplines impact on your performing career and vice versa?

My work as a composer impacts directly on my cello career as I often perform my own music. My conducting contributes less obviously to the rest of my career (though I have conducted my own music) but I believe that the experience of leading an orchestra through various types of music has improved my concerto playing and opened my eyes to particular considerations in composition. My experiences as a cellist are central to everything I do and it is almost impossible to separate it out. Of course, the technical knowledge is crucial to composing for string instruments but also the experience of performing gives me a certain empathy with musicians I am writing for; I take great care to ensure that the music I compose is rewarding both to perform and to hear.

As a composer, how would you describe your compositional language?

This is a question we composers are asked very regularly and I am still struggling for an answer! The aspects of my music which might constitute a style or language are by nature the ones that recur in many of my pieces and as such, they are the very elements it is difficult to identify in one’s own music. My orchestration is often detailed and delicate, but I am not averse to thicker symphonic textures. I do not write in a strictly tonal idiom but I think it is clear to listeners that I have a background in western classical music, and tonal direction is central to my music. I am very motivically-led and this is often the focus of my compositional process. I begin with one or two ideas which I develop, combine and transform in the same way Beethoven, Wagner and so many others have done before.

How do you work, as a composer?

Since I have never had my own piano I have become accustomed to working in silence at a desk. I tend to start out on manuscript paper and when I begin writing I usually have a significant portion of the piece mostly if not fully composed in my head. At some point in the process I will ‘run out’ of music and at that point I look back at what I have written so far and examine the possibilities. Later on I type everything into Sibelius [music notation software] but I do not use the playback function except for checking mistakes – I am much more likely to hear a typo than see one!

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

I find it very rewarding to write specifically for certain players or ensembles. For example, in 2017 I composed ‘Thread of the Infinite’ for the Cambridge University Chamber Orchestra in the knowledge that they would perform this piece unconducted, directed from the violin by Thomas Gould. In this case I made sure that the coordination between parts was clear enough not to require a visual cue from a conductor and inserted several soaring violin solos for the Leader. I have recently written a piece ‘Spiralen’ for Ensemble Recherche, who specialise in the highly complex music of composers such as Brian Ferneyhough and Helmut Lachenmann. My music is far removed from this idiom but I found it very rewarding to work out what new things these musicians were capable of and how I could absorb this into my own style.

What, for you, is the most challenging part of being a conductor? And the most fulfilling?

Many of the most challenging aspects of being a conductor are administrative! At this stage in my career I am running my own orchestra which involves a lot of non-musical tasks such as organising parts, venues and marketing. This means however that I have autonomy over the artistic direction the orchestra takes which I find very exciting. I love rehearsing with musicians and find it very interesting to think about how different musicians respond to words and visual cues. I often have to say something in two or three different ways to get all the players in a section to respond in one way. If I want a particular quiet sound, for example, some of the violinists might pick that up from my beat, others would benefit from some metaphorical suggestion and the final group might respond best to a specific technical instruction such as bow position and speed of vibrato.

How exactly do you see your role? Inspiring the players? Conveying the vision of the composer?

I see my role as a facilitator with a interpretative opinion… I wish to give the players both the framework and the freedom to perform, which involves bringing everyone together to a unified vision of the music. I hope that in a concert situation I can help inspire the players to find something magical and then very often as a conductor our work is done – less is more.

Is there one work which you would love to conduct?

There are many works I would love to conduct, particularly some works by George Benjamin such as ‘At First Light’. Mahler’s Ninth Symphony totally captivated me and has filled my head since I first heard it. I am very excited that this dream is shortly to be fulfilled in a concert at West Road Concert Hall in Cambridge on 3rd March 2019.

As a musician, what is your definition of success?

I feel entirely free when I am performing and my main motivation in pursuing a career in music is to get the opportunities to show people the music that I love and believe in.

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

What I have learnt so far is to approach every work with humility and love; look at every work from a composer’s perspective, put one hundred per cent of yourself into it and value that input. I have also learnt that your understanding of something you take the time to discover by yourself is so much deeper than something given to you fully-formed. The journey is essential.

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

10 years sounds an unimaginably long time and I cannot immediately see where my current trajectory will take me. I suppose that my ultimate goal is to be able to perform the music I want to perform to a willing audience(!) and I hope that I can combine the three strands of my career – cello, composition and conducting – to have a fulfilling musical life.


Joy Lisney is one of the most exciting young musicians to emerge in recent years. Her early promise as a cellist was highlighted by Carlton Television when they chose her, at the age of six, as a possible high achiever of the twenty first century.

She has since fulfilled expectations with a distinguished international career, launched by a debut series of two concerts at the Amsterdam Concertgebouw in 2012.

Joy has enjoyed collaborations with artists including Dame Emma Kirkby, Alexander Baillie, Howard Williams, Huw Watkins, the Allegri Quartet and the Wihan Quartet and also performs regularly in duo with her father James Lisney. Venues for duo recitals have included Amsterdam’s Concertgebouw, Queen’s Hall Edinburgh, St. George’s Bristol, the Leipzig Gewandhaus and St. John’s Smith Square. In 2014 she performed all five Beethoven cello sonatas in a single concert in a tour concluding with a sold-out performance at London’s Southbank Centre. Projects in 2017 have included a Schubert Quintet Tour with the Allegri Quartet, concerto performances by Prokofiev, Haydn and Turnage and the Cello Song recital tour.

As a passionate advocate of new music Joy has commissioned two new works from the Dutch composer Jan Vriend, the first of which she recorded on her debut CD in 2012. In 2014 she performed as a London Sinfonietta Emerging Artist at the BBC Proms in a concert broadcast on Radio 3 to celebrate the 80th birthday of Sir Peter Maxwell-Davies. In April 2017 Joy performed on the opening night of the Park Lane Group Recital Series at St. John’s Smith Square, giving a solo recital including two premieres, one of which was her own composition ScordaturA. Joy has also given European premieres of works by Judith Weir and Cecilia McDowall.

As a composer, Joy has won the Ralph Vaughan Williams and Sir Arthur Bliss Prizes and she was also Composer in Residence at Cambridge University Music Society for 2016-17. Joy is in the second year of her PhD in Composition at King’s College, Cambridge, supported by the AHRC, and is Honorary King’s College Vice-Chancellor’s Scholar. Her first string quartet was premiered by the Arditti Quartet and she has since had music performed at the King’s Lynn and Aldeburgh Festivals and the Park Lane Group Series.

Forthcoming performances this season include the Elgar Cello Concerto and the Brahms Double Concerto (with Emma Lisney), the premiere of her new work for chamber ensemble, and concerts at Temple Music Foundation, West Road Concert Hall in Cambridge, St George’s Bristol, the Purcell Room, and St John’s Smith Square.

Joy is also the founder and conductor of the Seraphin Chamber Orchestra, a string orchestra which combines the best players of Cambridge University with young professionals from the South of England.

joylisney.com

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

My father was a huge inspiration for me. He was a fine pianist and played piano the Charles Kinz stride piano style. Along with my mother, they had a concert party after the way and with the other members of the “Wakeans”, as they were called, used to re-live the shows in our tiny front room in Northolt on a Sunday evening. Around 1953, when I was four, I can recall climbing out of bed and sneaking down the stairs to listen before getting caught and being sent back to bed.

I just wanted to play the piano so badly, and aged five I was sent off to piano lessons with Dorothy Symes, and indeed stayed with her throughout my grades before going to the Royal College of Music.

My father encouraged me to listen to as many different kind of music as possible and to play as many different styles as possible. I owe him so much.

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

There are so many – Dorothy Symes was such an inspirational teacher; being taken to see Swan Lake aged about nine and the same year seeing Lonnie Donegan (who in later years became a great friend and fellow Water Rat).

I loved Trad Jazz and especially Kenny Ball, who I also got to meet in later life. My father introduced me to Prokofiev’s ‘Peter and the Wolf’, which mesmerised me. Here was a story being told in music – that was really the moment when I knew that’s what I wanted to do: tell stories in music.

What have been the greatest challenges and pleasures of your career? 

The biggest challenge has always been people saying “You can’t do that“, which makes me all the more determined to do it, regardless of the consequences. I was told doing King Arthur on Ice was doomed to failure, and it is still the most talked about show I’ve ever put on!

Likewise, I was told it was ridiculous to take a symphony orchestra and choir on tour in America – red rag to a bull! I did it and it was fantastic! Every day brings new challenges and if you manage to overcome and solve them, that’s where the pleasure comes in.

Which performances/recordings are you most proud of? 

I would probably give different answers on different days, but these are the ones that come to mind today:

‘The Six Wives of Henry VIII’ as that was the first solo album and was hated by the record company who kept asking when I was going to put the vocals on!

Also ‘Journey to the Centre of the Earth’ and ‘King Arthur’ from the early seventies as well.

With my band, ‘Out There’ (originally released 2003) springs to mind as a very complex album where those around me really understood what I was trying to achieve.

The remakes of both ‘Journey…. ‘ and ‘King Arthur’ are very important to me as it now means there are records of the music to be remembered. Both of there were limited to the amount you could get onto a vinyl recording, so to do the full length versions was very important to me. I did the same with ‘The Six Wives of Henry VIII’ and added the three missing pieces to a live recording made at Hampton Court.

In recent years Piano Portraits has meant a lot tome for many reasons, not lease that it was my way of celebrating the genius and friendship of David Bowie. This has led to my brand new album for Sony Classical, Piano Odyssey, which ventures a stage further with piano variations of the music I love, with a string section and choir. A lot of time was spent getting this album absolutely as I wanted it and so has a special place in my “recording heart”.

Tell us more about your ‘Piano Odyssey’ album….. 

When I recorded ‘Piano Portraits’, it was purely solo piano versions of pieces I loved or had a connection to that had great melodies, and I rewrote variations on themes for all. I was really pleased with the outcome and the album did extremely well, making the top 10 for more than eleven weeks. I had decided against a second volume; however, because whilst there were a lot of other wonderful pieces of music that I wanted to do, none of them would work with just piano in the way I envisaged them.

However, it was ‘Bohemian Rhapsody’ that started it all off again. Now working with the team at Sony Classical, I had wanted to do this originally but just couldn’t get it to work on piano alone in the way I could hear it. I kept hearing a string section and choir, and had a Eureka! moment one day when I realised this was indeed the answer – an album of piano variations of great music but with the addition of a small string section and choir.

I prepared a short-list of 40 pieces and eventually whittled it down to the 12 I really knew would work – and that included Bohemian Rhapsody, which I sent to my dear friend Brian May. He not only gave it his seal of approval but added a cameo performance of beautiful acoustic guitar.

‘Piano Odyssey’ is everything I set out to achieve and indeed has even gone a stage further than I thought possible.

What motivated your selection of the music featured on this album? 

Simple answer – melody. There has to be a great melody that allows variations without taking away from the original. There are pieces from The Beatles, David Bowie, Paul Simon, Liszt, Handel, Dvorak, yes and even me! There are also two original tracks that I wrote in memory of two wonderful moon bears which were saved from horrific bear bile farms, and as an Ambassador for Animals Asia, I am proud that we have save so many of these wonderful bears and celebrate them here. Both the bears – Rocky and Cyril Wolverine – sadly passe away. Cyril was my own bear and the loss was devastating for all of us who knew him. I wrote both these pieces surrounded by their photos.

Were there any special challenges in arranging the songs? 

To be honest, no. I have been doing this for many years, although never recording them like this. I also have a good team around me with the Orion Strings and English Chamber Choir, who know where I’m coming from musically.

Do you feel that progressive rock is a way to bring some classical sophistication to the pop world and, if so, are your achievements in some way striving towards leading an innovative, “parallel-classical” career? 

When I started in the late 1960s after leaving the Royal College of Music, there were real divisions within all music types, whether jazz, classical, pop, rock, folk, country, you name it. They all had their own identities and seldom met! I deliberately set out to fuse as much as possible and at first hit a lot of brick walls, but slowly started getting the message across, and today there are no taboos which is great.

With there being a Prog-revival of sorts, does you think there is potential crossover for youth audiences between the two genres? 

There already is and vinyl has a lot to do with it. Younger people are discovering vinyl and album covers and the information contained on them. Music is tactile and vinyl is bringing that back. Music now no longer has a date stamped on it. You either like it or you don’t. There is no specific age thing any more either – that side of things is very healthy.

Would you ever consider making a fully classical album? 

I have been asked to and the answer would have to be no. Although I occasionally turn to Mozart and Beethoven sonatas or plough through the Bach “48” for fun, it’s not what I would want to do, if I’m honest.

As a musician, what is your definition of success? 

Success is sadly always thought of in commercial terms, but for me it probably only comes after you have departed this mortal coil. In other words, if in 100 years’ time somebody on radio plays a piece of my music, then I guess I can say I was successful to a degree…

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

Believe in yourself. Don’t be frightened of opinions and criticism from others, as long as they are qualified to give it (which 99% of them aren’t!). Most people who try and tell you what you should be doing do so because they can’t do it themselves (many don’t know a crotchet from a hatchet!), but occasionally the odd word of wisdom does get through: you just have to be able to spot it.

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

Alive please – and still able to play, composing and having music adventures.

What is your idea of perfect happiness? 

To be worry-free – so there’s no perfect happiness for any human being, I’m afraid!

What is your most treasured possession? 

My father’s upright Bechstein piano on which I learned to play and inherited when he died in 1980.

What is your present state of mind?

Jumbled! It always is – too much going on!

Rick Wakeman’s new album ‘Piano Odyssey’ is released on 12 October 2018 on the Sony Classical label. The album feature reworkings of material from his solo career along with Yes songs and covers of tracks by artists including the Beatles, David Bowie and Queen. 

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

At the time, I really didn’t think about it much. My family are scientists and doctors who love music and played LPs in the house most of the time. So I grew up surrounded by music, but never imagining that it could be such a big part of my life. My curiosity led me to find a piano teacher, and eventually my parents saw I was serious and supported me to take lessons in piano and solfege. The curiosity grew and I was improvising soon after I could play. So, the desire to create has been there all along, and I was surrounded by a supportive family.

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

I consider my surroundings very important to what I do. I write music which I’d like to share with my family and people I feel close to. it’s more than a profession, it’s part of my personality, part of my life. The fact that I grew up around non-musicians makes me appreciate the natural, life-long relationship which can develop between people and music, when one might not necessarily be part of a musical family. Having said that, if it were not for the music I listened to as a child, I might not have been inspired to make this my life, so Bach, Schubert, Brahms, are very important, eternal inspirations, as well as all the performers who I’ve worked, particularly those I’ve known since my student days – Maxim Rysanov, Kristina Blaumane, Roman Mints.

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

One of the aspects of this profession, which I’m constantly having to learn about, is the way you pace yourself. I need to find a peaceful state of concentration in order to create, it takes some time to slowly shut the world off and begin to work. Once the music is written, there is the complete opposite – talking to musicians, explaining your work, communicating what you’ve been working on for months in a few minutes during the tight rehearsal time. It’s a complete gear shift, and each time it takes some effort to be in either gear.

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

There’s nothing like a deadline to help the creative process! The possibilities are so endless that having some guidelines, like instrumentation and duration, help some of the decision making. But I also really enjoy the research part of the project, so for example I chose to compile the text for my Immortal Shakespeare cantata. The research into the plays and choosing the right text which would fit the structure of the work took a considerable amount of time, which I enjoyed.

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

For me, the best thing about working with musicians who you know and even more importantly, who have played your music, is that you don’t have to explain as much. There is only so much you can achieve with notation, one composer’s articulations (or lack of) might be interpreted differently to another. For example, much of my string music is played ‘on the string’ and to a musician who hasn’t played it before they might first read it and play off the string and not give it a second thought. Long phrases, nuances of dynamics, trusting the music to do what is there and not asserting too much on it- are all qualities which I value in musicians who I have worked with repeatedly.

Of which works are you most proud?

There is a story to each piece, and like many composers I feel there is a reason for each work and these works can take on almost human characteristics (like Mozart’s ‘Haydn’ quartets, for example, which he famously called his ‘children’). So, I wouldn’t wish to have favourites, but I know which were difficult to create and took longer than I had planned. My double piano concerto ‘Together Remember to Dance’ is one such work. Just when I thought I had finished the first draft, I had a total change of direction for this work and had to start all over again, with just months before the musicians were due to get the parts. Instead of sticking with my first idea, I jumped straight into a new direction and I was extremely happy I did that. I feel it’s a powerful and uplifting work, and that’s what I needed to write and the soloists – Arthur and Lucas Jussen completely inhabited this idea and communicated and performed the work perfectly.

How would you characterise your compositional language?

I would like for my compositions to communicate, to be accessible, but also make you think. Music with a mind and heart, I hope!

How do you work?

Slowly.

Who are your favourite musicians/composers?

This is, unsurprisingly, a long list which keeps growing and is often affected by who I’m working with or listening to at that moment. Certainly the composers I grew up listening to-  Bach, Schubert, later Ligeti, Britten and Messiaen… I get real pleasure from playing Rameau’s harpsichord works for myself (on the piano, though I’d love to one day have the space and chance to buy a harpsichord). Phrasing and timbre, nuance are performance aspects that my ear is always drawn to and there are just so many exceptional musicians. Some I have been lucky to work with, as I already mentioned, I’d add Janine Jansen and some very fine choirs too! Currently I’m enjoying (re-)listening to my recordings of Bill Evans, Andras Schiff, Nina Simone, Ibrahim Maalouf, Laura Marling…

As a musician, what is your definition of success?

Success for me is to have the freedom to create what you wish, and be able to make a living.

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

Even if it means having a small circle of devoted friends who you talk to about your music, try to communicate and share your passion. It’s a difficult profession, so we need support from people around us, and finding those ambassadors will absolutely make life easier. Also, be kind- in choosing this life we often develop high levels of self criticism. Try to be kind to yourself and to those around you, as perfection is not art.

What do you enjoy doing most?

There are two moments which I adore: the moment when I know how the piece I’m working on will be shaped and it’s just a matter of writing it down; and sitting on the train/plane before travelling to a premiere/concert. And there’s everything in between…

What is your idea of perfect happiness?

Every situation can be perceived as complete happiness, I think in order to really savour that happiness you have to feel inner contentment and feel you are where you need to be. Then, even eating an apple on the sofa can be perfect happiness.

What is your present state of mind?

I have two deadlines at the moment, so my state of mind is far from ‘zen’.

Dobrinka Tabakova’s Concerto for 2 pianos, percussion and strings, ‘Together Remember to Dance’,  receives its UK premiere on 10 October with pianists Arthur and Lucas Jussen and the BBC Concert Orchestra, conducted by Bramwell Tovey at Watford Colosseum. More information and tickets

The intense juxtaposition of the piano arpeggios and string clusters plunge us into the opening of this dramatic concerto. How to consolidate dissonance and harmony, passion and direction? Just like trying to exist alongside each other in society, the first movement presents layers made up of different ideas, which strive to find their place and ultimately reach a resolve. The second movement ‘Remember’ is a spiralling waltz, where we are never quite rooted, but instead float through harmonic modulations. Each time the theme appears it is in a new tonality and seen from another angle, as if trying to remember the past and each time finding something new in our memory. The final movement is a kaleidoscopic perpetuum mobile in constantly changing time signatures. The infectious pulse drives through some unexpected sparks and delivers a breathless finale.

The concerto was commissioned by Amsterdam Sinfonietta / Muziekgebouw aan ’t IJ (supported by the AMMODO Foundation) and co-commissioned by the Istanbul Music Festival, Norwegian Chamber Orchestra, Orchestre de Picardie and BBC Concert Orchestra.


Born in the historic town of Plovdiv, Bulgaria to a music-loving family of doctors and scientists, Dobrinka Tabakova moved to London in 1991, where she has lived since. Here she studied at Alleyn’s School and the Royal Academy of Music Junior Department, specialising in composition, piano and conducting. Early on, the composer John Adams praised her music as being “extremely original and rare”. She attended summer courses at the renowned Centre Acanthes in France, as well as the Prague and Milan Conservatoire summer compositions courses, alongside her composition degree studies at the Guildhall School of Music & Drama (GSMD) in London. On graduating with distinction BMus and MMus at the GSMD, Dobrinka was appointed Composition Fellow there, where she continued her activities as President of the Contemporary Music Society. In 2007 she was awarded a doctorate in composition from King’s College London (KCL). Her composition teachers have included Simon Bainbridge, Diana Burrell, Robert Keeley and Andrew Schultz as well as masterclasses with John Adams, Louis Andriessen, Alexander Goehr, Marek Kopelent, Philippe Manoury, Alessandro Solbiati, Olav Anton Thommessen and Iannis Xenakis.

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More than a quarter of a century ago a family of piano enthusiasts in Swansea had a simple dream – to establish a local specialist business for pianists looking for something truly special. It all started in an unassuming 250 year old coach house with fantastic local historical charm with room for just 23 pianos. However, for the aptly-named Coach House Pianos, it was the perfect place for starting building a business that was set up to give pianists simply the best instruments for a variety of different players from the keen amateur to teachers and fully-fledged professional pianists.

The company has always focussed on nothing less than excellence, stocking renowned piano marques from Steinway to Bösendorfer, Yamaha to Schimmel. By building its reputation over the course of over thirty years, Coach House has housed everything from brand new Kawai baby grands to genuinely antique, century-old Steinways.

“Today, little has changed, apart from the size of our establishment!”

The company was forced to move its premises from the small converted coach house into something more practical and now occupies a pleasant, purpose-built two-storey showroom on the edge of Swansea, not far from the M4.

Every pianist will agree that when it comes to meticulously-crafted pianos, like Steinways and Yamahas, there’s an air of uniqueness and personality around each individual instrument. They all carry a story; have their own distinctive sound and tonal qualities; and offer a playing experience that’s different for each pianist.

Coach-House-Pianos--Swansea

These instruments are more than just ‘buying a product’ but help start a journey towards unique musical experiences. Alongside this, Coach House offer a very personal customer service, giving potential buyers valuable advice and the opportunity to spend as much time as they need to choose the right instrument. In addition, after sales support ensures that the piano is moved safely into its new home, with a tuning once it has settled in.

I can attest to the quality of Coach House Pianos’ customer service: in 2015, the company loaned myself and a pianist colleague a beautiful Steinway Model D for a charity concert we organised in central London, and earlier this year I visited the Swansea showroom for the first time to help the same colleague choose a new Yamaha C3X. The staff at Coach House were very friendly and helpful, with not a hint of the “hard sell”. We were able to play as many pianos as we liked, for as long as we liked, and were plied with regular cups of tea throughout the day. It made the buying experience enjoyable and stress-free.

Today a slickly-designed website ensures your first point of contact with Coach House couldn’t be easier: you can browse the current stock of new and used instruments (the UK’s largest range of grand and upright pianos from Steinway, Yamaha, Bosendorfer and Kawai), ask questions and make an appointment to visit the showroom.

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