Tag Archives: female pianist

Meet the Artist……Joanna Macgregor, pianist

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

I played all kinds of instruments when I was young, but the piano is like a universe. You can use it to compose and to perform – it represents so many different styles of music from early French keyboard music and Bach, to Beethoven and John Cage, jazz and blues. I’ve always loved the piano, and loved listening to other pianists.
I’m devoted to practicing and studying music, mainly. It’s the physical and intellectual stamina it requires that I still find so exciting; I really enjoy talking a pencil and marking the score, and spending hours with a work. It’s allowed me to travel all over the world, which I never expected, as a performer. I love teaching, and collaborating with other artists and composers.

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

My mother had me when she was young, and I was her first piano student. She was very imaginative in her musical tastes: together we played Bach, Mozart, Dave Brubeck’s Take Five, Beatles songs, and gospel music. Being taken on by YCAT (Young Concert Artist Trust) in my twenties was a fantastic apprenticeship; I built up a big repertoire, and learnt to communicate with audiences.

David Sigall was also undoubtedly a major influence. He was my manager until he retired last year. He taught me to see the long game, and encouraged me to be a curator and artistic director. He seemed totally unfazed by anything I got up to, whether it was starting a record label, conducting or collaborating with world musicians.

I’ve also been heavily influenced by jazz musicians; the way they collaborate, make things happen, hang out together, and support each other’s gigs.

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

I’ve always loved playing at the BBC Proms – my first one was nearly thirty years ago! And broadcasting live is tough – you have to be on top of everything.
My most treasured memory is working with Pierre Boulez, twice; first on a European tour with the Philharmonia and later with the Chicago Symphony Orchestra. He was witty, warm, elegant, gossipy and just a gorgeous musician to be with, both on and offstage.

Which recordings are you most proud of?

Impossible to say, as they’re all flawed to my ears, of course. But for different reasons, Messiaen’s Vingt Regards; Deep River with the saxophonist Andy Sheppard, which explored music of the Deep South; and my most recent recording, the complete Chopin Mazurkas.

Very early on in my career I recorded Charles Ives’ First Sonata, an absolute epic, at Snape Maltings. I still love his music very deeply.

Which particular works do you think you perform best?

I seem to gravitate towards intense miniatures – Gubaidulina’s Musical Toys, Chopin Mazurkas – or huge cycles – Messiaen, Beethoven, Bach’s Well-Tempered Clavier. I like architecture; on the other hand I also like playing in the moment. I find so much music is a mixture of structure, and unfolding, like following a fork in the road.

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

It depends on the venues, and what I’d like to add to my repertoire. I still learn new pieces – this year it was Schubert’s last sonata in B flat, coupled with some late Liszt and Ligeti. I’m not at all rigid about the number of recital programmes or concertos I’ll carry around in any one season. It depends on all the other collaborations and new work I’m doing; I always seem to be working on new projects with poets or artists, as well as other musicians.

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

Many favourites – the Mozarteum in Salzburg, the Bimhuis in Amsterdam; the Wigmore Hall, the medieval hall at Dartington. Something to do with intense atmosphere and audiences.

Favourite pieces to perform?

I always love Bach and Beethoven; I love practising them. I’m heavily into Chopin’s fifty-eight mazurkas at the moment, played chronologically; rather like reading someone’s personal diary.

Who are your favourite musicians?

So many. The pianists I listen most to (at the moment) are Edwin Fischer, Rubinstein and Maria João Pires. I adore spending time with Alfred Brendel; I admire great improvisers and slip into their concerts all the time.

What is your most memorable concert experience?

Probably playing Shostakovich First Piano Concerto at the Last Night of the Proms – memorable for all kinds of reasons, including the controlled hysteria backstage. Being invited to play the Goldberg Variations at the Albert Hall by John Eliot Gardiner was pretty exciting for me.

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

Individuality, fearless talent, creativity, and the ability to design opportunities – fundamental to building a long career. The piano students at the Royal Academy of Music (as Head of Piano there I mentor them all) come with a very high degree of technical skill and musicianship. But I encourage them to develop other skills—curating, improvising, working with multimedia, commissioning composers, conducting from the keyboard, having a working knowledge of early keyboards—that will help them flourish at the beginning of their careers. Every summer we run a Piano Festival, which is largely curated now by the students themselves, and it’s a testament to their imagination and unstoppable energy.

 

Joanna MacGregor is one of the world’s most innovative musicians, appearing as a concert pianist, curator and collaborator. Head of Piano at the Royal Academy of Music and Professor of the University of London, Joanna MacGregor is also the Artistic Director of Dartington International Summer School & Festival.

As a solo artist Joanna has performed in over eighty countries and appeared with many eminent conductors – Pierre Boulez, Sir Colin Davis, Valery Gergiev, Sir Simon Rattle and Michael Tilson Thomas amongst them – and orchestras, including London Symphony and Sydney Symphony orchestras, Chicago, Melbourne and Oslo Philharmonic orchestras, the Berlin Symphony and Salzburg Camerata. She has premiered many landmark compositions, ranging from Sir Harrison Birtwistle and Django Bates to John Adams and James MacMillan. She performs regularly at major venues throughout the world, including Wigmore Hall, Southbank Centre and the Barbican in London, Sydney Opera House, Leipzig Gewandhaus, the Concertgebouw in Amsterdam and the Mozarteum in Salzburg.

 

Meet the Artist……Tamara Stefanovich, pianist

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

My parents couldn’t afford a babysitter, so I was attending concerts at the Belgrade Philharmonic from the ripe age of three months with a milk bottle – thus food became an important part of my musical life later on.

My older brother and sister already played violin and cello respectively, but it was in one of the concerts that I heard the Prokofiev Third Piano Concerto (as you see, a certain modernity was always a necessity for me) and I decided I was going to be a pianist, to the utter dismay of our neighbours who then had to endure the practicing of three instruments.

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

Bach, Beethoven, Brahms, Boulez, Thomas Mann, Rembrandt, all sharing a strength of disciplined thought and lack of self-indulgence.

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

My country (former Yugoslavia) was in multiple wars in the 1990´s. Having moved from the Curtis Institute of Music in Philadelphia to Cologne, I lost all concert bookings, the opportunity to travel freely and, most importantly, all financial help in the form of scholarships. Everything was annulled as sanctions were imposed on Serbia. My life subsisted on a couple of hundred Deutschmarks a month, working strange jobs, having not more then handful of concerts in almost a decade, eating once a day for prolonged moments of studying and traveling with considerable difficulties due to visa issues.I have never practiced as much as in those years.

But the question of changing the profession was a daily one. I worked but my work was not used – and for me not being useful is close to a sin.

Some years later I was offered series of concerts with Pierre Boulez’s Second Piano Sonata, which I had to learn, and it became my inspiration, the re-start of a career and a source of energy for now more then 15 years – the mix of courageous, revolting, poetic and young energy in this piece transformed me and gave me the hope that my talent could be useful.

Which performance/recordings are you most proud of?

Playing all Boulez piano works in a series of recitals in the USA, and traveling with my husband and 6 month-old baby was a tour de force like none other. Performing all 6 Bach Partitas in one evening in Germany, or Messiaen’s Turangalila Symphonie 10 times on 10 consecutive days are high on my list of excitements. Seeing Maestro Brendel giving me a standing ovation in London still gives me shivers. Accompanying Matthias Goerne were experiences with an intensity and beauty that is unmatchable.

My CD of Bach/Bartok (available online) is where I have produced the truest portrait so far of what is close and true to me as an artist.

Which particular works do you think you perform best?

The unpretentious ones that have a considerable complexity on all levels – emotional, structural, aural – and that represent a huge amount of challenge as well as surprise.

Bach, Boulez, Stockhausen, Ives, Szymanowski for the moment.

How do you make your repertoire choices from season to season?
In constant dialogue with organisers as it shouldn’t be about me, but teamwork between my given curiosity, possibilities of the instrument, hall, timing of the season and openness of the public for a given evening. Thankfully I have a wise agent who after 17 different programmes does ask if it is not just maybe a little bit too much of repertoire for one season.

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

Kolarac in Belgrade, loved by Richter as well.

Who are your favourite musicians?

The uncompromising ones – John Eliott Gardiner, Harnoncourt, Boulez, Richter, Oistrakh, Annie Fischer, Rosalyn Tureck, Matthias Goerne, Salonen.

What is your most memorable concert experience?

Hopefully the next one…..but recently having Maestro Pollini come to my recital in La Scala.

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

Think about what the role of a musician is today and how you can be at best useful for today’s society – for me certainly not playing only older repertoire, but thinking how to link music of all times and span it to extraordinary creations of today. Challenge yourself by not copying someone else’s path, and be more open to creation of today then re-creating old career structures. In short, less image more substance.

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

Admiring my, then, teenage son, finishing a literature degree and gaining a driver’s licence, completing all ashtanga yoga series.

What is your idea of perfect happiness?

Health

What is your most treasured possession?

My son

What is your present state of mind?

Gratefulness

Known for captivating interpretations of a wide repertoire, Tamara Stefanovich performs at the world’s major concert venues including Carnegie Hall New York, Berlin Philharmonie, Suntory Hall Tokyo and London’s Royal Albert and Wigmore Halls. She features in international festivals such as Lucerne, La Roque d’Antheron, Ravenna, Aldeburgh, Salzburger Festspiele, Styriarte Graz, Klavier-Festival Ruhr and Beethovenfest Bonn.

Highlights of the current season include her return to the Philharmonia Orchestra with Esa-Pekka Salonen, performances of Szymanowski’s Symphonie concertante on tour with the National Youth Orchestra Great Britain and the presentation of Quasi una fantasia and the Double concerto with the Ensemble Asko|Schönberg and Reinbert de Leeuw at Amsterdam’s Muziekgebouw as part of ECM’S complete recording of Kurtág’s works. She will give recitals at International Piano Series London, Musikfest Berlin, Milano Musica, Vienna’s Konzerthaus and Antwerp’s De Singel performing Stockhausen’s Mantra with Pierre-Laurent Aimard.

Tamara is cofounder and curator of the newly created festival “The Clearing” at Portland International Piano Series that will see her perform in recitals and work with young pianists and composers. Her appearance at the festival will be surrounded by recitals in Ithaca and Bellingham.

Recent engagements have included Tamara’s debut with the Sarasota Orchestra and performances with the Symphonieorchester des Bayerischen Rundfunks, MDR Symphonieorchester Leipzig, WDR Symphonieorchester Köln, Chamber Orchestra of Europe and Iceland Symphony Orchestra as well as an extensive US recital tour marking the 90th birthday of Pierre Boulez garnering exultant reviews such as that of The New York Times: “Ms. Stefanovich’s performance of Boulez’ second piano sonata was staggeringly brilliant”.

Stefanovich has appeared with orchestras including The Cleveland and Chicago Symphonies, London Symphony, London Philharmonic, Bamberger Symphoniker, Britten Sinfonia, Deutsche Kammerphilharmonie Bremen, Swedish Chamber Orchestra and London Sinfonietta.

Tamara Stefanovich has collaborated with conductors such as Vladimir Ashkenazy, Pierre Boulez, Osmo Vänskä, Susanna Mälkki, Vladimir Jurowski as well as leading composers including Peter Eötvös and György Kurtág. She regularly leads educational projects at London’s Barbican Centre, Philharmonie Köln and at Klavier-Festival Ruhr such as innovative online project of interactive pedagogical analyses of Boulez’ Notations: www.explorethescore.org

Her discography includes the Grammy-nominated recording of Bartók’s Concerto for Two Pianos, Percussion and Orchestra with Pierre-Laurent Aimard, Pierre Boulez and the London Symphony Orchestra for Deutsche Grammophon. Stefanovich has also recorded for the AVI and harmonia mundi labels, featuring new piano solo works by Thomas Larcher. Her latest recording of Hans Abrahamsen’s concerto for piano and orchestra and 10 studies for piano with WDR Symphonieorchester Köln released by Winter & Winter. In 2015 she recorded Kurtág’s ‘Quasi una Fantasia’ and the Double Concerto with Asko | Schönberg Ensemble and Reinbert de Leeuw for ECM.

Taught by Lili Petrović, Tamara Stefanovich became the youngest student at the University of Belgrade at the age of 13. As well as music, her broad university education encompassed several other disciplines – psychology, education. She also studied at the Curtis Institute with Claude Frank, and subsequently with Pierre-Laurent Aimard at the Hochschule Köln.

(Photo: Marco Borggreve)

Meet the Artist…..Ivana Gavric, pianist

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

I have been surrounded by music since birth. My mother is a pianist and teacher and I spent my childhood listening to her practice and being taken to concerts, the opera and ballet. I was particularly fascinated to hear and see ‘magic’ on stage, and then meet the artists afterwards, with their ‘mask’ off. I started attending the Sarajevo Junior Music School before I started main school. I do remember wanting to be an opera singer initially, but the piano somehow won, and I am very happy that it did! Although I loved being immersed in music, later, if anything, I almost tried to avoid it as a career.

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

My long-term teachers, Niel Immelman and Peter Bithell. Working with singers while I was a student – they taught me how to breathe, phrase and tell a story. Dmitry Bashkirov who taught me to listen and colour every note in a way I didn’t think possible before. Steven Kovacevich for instilling discipline in me!

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

Learning to say no.

Which performance/recordings are you most proud of?

My debut disc ‘In the mists’, because it had humble beginnings as an intended demo CD: As a coincidence, shortly after I recorded a few pieces at Champs Hill, Champs Hill Records was set up. They took my disc on, it was launched at my first Wigmore recital in 2010 and suddenly it started to receive wonderful reviews worldwide culminating in the Newcomer of the Year award from the BBC Music Magazine.

Which particular works do you think you play best?

Usually what I’m playing at the time, especially if I am revisiting a work after some time away from it.

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

Mostly, there is a thread to my programming, a story. I try to bind together works I am drawn to play, and sometimes ones I have been asked to play, into a well-structured and balanced programme.

I have realised, somewhat retrospectively, that I have been especially drawn to composers who have sought to develop a sense of a national voice through their music. It all begun with my intrigue of the Russian Mighty Five while I was still at Cambridge. I then immersed myself in Janacek’s oeuvre, and afterwards in Grieg’s. More recently, I have loved spending time with Chopin Mazurkas. Although they are very stylised and sophisticated works, some, especially the early ones, are rather rustic and jagged, and I find this quite charming.

I’m also excited and honoured that one of the most interesting living composers, Cheryl Frances-Hoad, will be writing a Piano Concerto for me next year, in homage to the Haydn D major Concerto. It’s been long-in-planning but we’re very happy to make it happen. I wish promoters were not so afraid of commissioning new works.

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

The Wigmore Hall, of course! It’s a beautiful and intimate venue.

Favourite pieces to perform? Listen to?

Favourite pieces to perform: in short, piano concertos. There is no greater feeling to me, than the thrill of playing concerti, and especially when it feels like you and the orchestra are making chamber music together, on a large scale. With listening, I usually go back to the same pieces: Bach’s Brandenburg Concerti, Rachmaninov Songs and anything written for the Ballets Russes. I’m also very fond of Ivor Cutler’ quirky recordings. Most of the time though, I just love putting the radio on.

Who are your favourite musicians?

Martha Argerich, Benno Moiseiwitsch, Annie Fischer, Ivan Fischer, Bernard Haitink, Teodor Currentzis.

What is your most memorable concert experience?

Every concert experience is memorable in some way. Performing concerts is such an intense and intimate experience, and yet over in an instant, that nothing else I know comes close.

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

Grab every opportunity. Remember that we spend our days with beautiful things.

What do you enjoy doing most?

Dancing!

Ivana Gavric will be performing at the Wigmore Hall on Sunday 23rd April at 1130am, as part of the Coffee Concerts Series. Further information here

Her new album ‘Chopin’ will be released on Edition Classics on Friday 21st April and is available for pre-order now

British pianist Ivana Gavric created a sensation with her debut disc In the mists, winning BBC Music Magazine Newcomer of the Year for ‘playing of an altogether extraordinary calibre’. Her third disc of works by Grieg, also on Champs Hill Records, was selected as Editor’s Choice in Gramophone and noted for ‘an electrifying performance’ (BBC Music Magazine). The Grieg Society has voted the CD as its ‘Recording of the Year’. Ivana has performed with the Royal Philharmonic Orchestra, Royal Stockholm Philharmonic, the Trondheim Soloists, Aurora Orchestra and South Denmark Philharmonie. She has collaborated with conductors including Rafael Payare, Nicholas Collon, Christian Kluxen and Ben Gernon.

Following her US solo debut, the Washington Post described Ivana’s playing as ‘impressive, insightful… a ravishing performance’. Ivana has been heard on the major concert platforms including The Wigmore Hall, the Barbican, Royal Albert Hall, Royal Festival Hall, KKL Lucerne, Gilmore Festival Rising Star Series, as well as across China, in Canada and Japan. Attracting considerable praise for her interpretations of Janacek’s music in particular, Ivana has curated festivals dedicated to the composer’s solo and chamber works. Also a dedicated chamber musician, Ivana performed with violinist Maxim Vengerov as part of Live Music Now, the outreach scheme established by the late Lord Menuhin.


She has partnered colleagues on the concert platform in festivals in the UK and Europe, taken part in the IMS Prussia Cove Open Chamber Music Sessions and is an alumna of the Britten-Pears Young Artist Programme. Outside the concert hall she is featured playing Chopin and Beethoven in BBC2’s adaptation of The Line of Beauty, and Bach in Anthony Minghella’s film Breaking and Entering.

Born into a musical family in Sarajevo, and raised in the UK, Ivana studied at the University of Cambridge and at the Royal College of Music. Her teachers include Niel Immelman, Peter Bithell and James Gibb. Additionally, Ivana has had the opportunity to study with esteemed musicians such as Menahem Pressler, Ferenc Rados, Dmitry Bashkirov, Boris Berman, Stephen Kovacevich and Leif Ove Andsnes. Ivana is indebted to the support of many trusts, including the Frankopan Fund (Sainsbury Family Charitable Trusts), the MBF, The Solti Foundation, The Nicholas Boas Trust, The Richard Carne Trust and the RVW Trust. Ivana is proud to be an Ambassador for the charity ‘Music Action International’.

www.ivanagavric.com

Meet the Artist……Renée Reznek, pianist

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

When I was four years old, my parents went away on a long European holiday, leaving me and my younger brother in the care of our grandmother and a much loved adopted “auntie”, a retired piano teacher. To keep her happy, they rented a piano which she played every day. One evening, Auntie Bessie played Schumann’s Arabesque Opus 18 and I vividly remember the overwhelming emotions which resulted in floods of tears! She responded by teaching me to play; by the time my parents returned I could perform simple pieces. It is my belief that from that time, music became an essential resource for me, filling the hole left by the absence of my parents. I didn’t envisage a performing career; that developed later on, but I knew there was no other path for me but to study music.

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

I grew up in South Africa where very little 20th century music was performed. However, when I was a B. Mus. student at the University of Cape Town, my Harmony and Counterpoint lecturer, now Professor Emeritus James May, asked me to play Schoenberg’s Suite Opus 25 and Webern’s Variations Opus 27 in a concert. Despite not knowing these pieces at all and initially finding them incomprehensible, I was determined to honour my commitment and in the process became “hooked”. What fascinated me in the Suite for instance,was recognising the phrasing of a Gavotte or Minuet despite the unfamiliarity of the serial language.This felt exhilarating, like learning a new language. So thanks to James May, this was the start of my journey into 20th century and new music.

The teachers who influenced me most for very different reasons were Gyorgy Sandor at the University of Michigan, Ann Arbor, and Susan Bradshaw in London. Sandor changed my piano technique with advice on arm weight and a flexible wrist; he was a pragmatic teacher, a problem solver. Lessons on the music of Bartok, who was his teacher, were revelatory, but his interest in 20th century music stopped there.

Susan Bradshaw was the perfect guide to performing 20th century classics and new repertoire. Her incisive intelligence simplified complex textures. She taught me how to articulate phrasing in unfamiliar contexts and to make new repertoire as accessible as possible at a first hearing. She introduced me to composers such as Robert Saxton who wrote a Sonata for me, which led to my giving my first London premiere in the Purcell Room. The experience of working together with a composer like Robert to produce a first performance was life changing.

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

I could say that performing the complete solo works of Schoenberg, Berg and Webern from memory in the Wigmore Hall was one of my most challenging concerts.

However the real challenge for me was returning to performing after a long break following the birth of our two children.

Which performance/recordings are you most proud of?

I am proud of my new CD of recent South African piano music which I hope will introduce some fantastic composers to those unfamiliar with South African contemporary music: Kevin Volans, Michael Blake, Rob Fokkens, Neo Muyanga, David Earl, Peter Klatzow, Hendrik Hofmeyr and David Kosviner. The majority of the pieces on the CD are rooted in traditional South African music though some are European in origin; this is diverse repertoire which reflects a rich and varied culture. With one exception, these works have never been recorded and many have been dedicated to me.

Which particular works do you think you perform best?

Schoenberg’s piano music occupied me for years so thank goodness I am told I play it well! I treasure the review from Peter Stadlen, a pupil of Webern, who liked my performance of Schoenberg’s Suite Opus 25 : “Schoenberg has come of age” he wrote; thank you Peter Stadlen!

However, maybe what I do best is what I enjoy the most, which is trying to communicate unfamiliar music in as clear a way as possible.

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

Sometimes one is free to choose, or a festival or concert series may stipulate a particular work or composer. On the whole I have been able to perform the music I want to play. I enjoy creating programmes which are cohesive in some way, not merely a collection of disparate pieces.

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

It is the audience who create the atmosphere in a concert and an enthusiastic audience can transform any venue into somewhere special.

However, recently, I loved performing at the Turner Sims in Southampton; fabulous piano and intimate hall. I will be recording there again soon on the Fazioli.

Who are your favourite musicians?

I admire musicians who engage with the music of their own time as well as performing traditional repertoire. Maurizio Pollini comes to mind or Stephen Hough who is that rare musician in today’s world, a composer-performer. Both Pollini and Hough bring an illuminating intelligence to whatever they play. Having said that, I will go anywhere to hear Angela Hewitt play Bach

What is your most memorable concert experience?

At the Johannesburg International Mozart Festival in 2015, I gave the first South African performance of Neo Muyanga’s Hade Tata (Sorry Father) composed in tribute to Nelson Mandela. That was a very special occasion for me.

One of the most memorable experiences was taking part in the Park Lane Group’s 25th Anniversary celebrations in the Queen Elizabeth Hall; 25 pianists playing 25 Steinway grand pianos on raked stages, conducted by Sir Colin Davis!

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

When I am asked to talk to young musicians, I advise them not to choose a career in music if they think it will make them rich or famous but only if music is their reason for getting out of bed in the morning! This is a difficult and unstable profession.

Being a professional musician requires hard work, humility, curiosity, passion and stubborn persistence! It requires an ability to “bounce back” from rejections.

Keeping fit and well in order to deal with the rigours of practice, performance and travel is vital; regular exercise, meditation and control of the breath also aid relaxation.

In practice, it is important to work from the inside out, from the notation, not outside in, imitating a favourite recording; it is essential to understand how the music is put together. Every performance should sound like a first performance even if the repertoire is very familiar.

I encourage young musicians to remember that while there is a vast legacy of repertoire from the past, we are living in the 21st century and there is a wealth of music being created right now which deserves some of their attention!

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

I hope I will still be excited about playing new music.

What is your most treasured possession?

Peace of mind.

Renée Reznek’s new disc ‘From My Beloved Country’, new piano music from South Africa is released on 31st March on the Prima Facie label
Renée Reznek was born in South Africa. As a child she studied with Adolf Hallis, who was a pupil of Tobias Mattay. She graduated with distinction from the University of Cape Town with a Bachelor of Music degree. During these years Lamar Crowson was her teacher.
Read Renée’s full biography here

Meet the Artist…… Olga Jegunova, pianist

© Gerard Uferas Olga Jegunova 12_02_15

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

My grandfather who had a natural musical talent and could not imagine his life without his violin. He was played it passionately at every family gathering. He also bought our piano. Later, my mother taught me how to play a C major scale. Since then, I am still learning how to play it….

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

Musically, it is J.S.Bach. He has always moved me, paralyzed any fear or disbelief. Later, recordings of great Rubinstein, Horowitz, Gilels, Gould, Richter, Michelangeli, Karajan, Callas, Oistrakh, Rostropovich. Then live concerts of Zacharias, Zimerman, Schiff, Argerich, Perahia, Maazel, Bartoli, Rattle and many others. They all form my musical taste and repertoire.

As per career, I should be influenced by the PR company of Lang Lang but sadly I am not!

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

To actually have a career.

Which performance/recordings are you most proud of?

Ibert – Le petit ane (avalable on YouTube) when I was 10 years old because it made my mum proud.

Which particular works do you think you perform best?

4’33” by John Cage.

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

Concert promoters always want a Moonlight sonata but I try to spice it up with some Bach & Ligeti (this season).

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

There are so many of them. I am not so obsessed with venue what worries me is no audience, empty hall or just a few people with ringing mobile phones.

Favourite pieces to perform? Listen to?

It is great to share great music with good audience. Yet the most non-judgemental experience was when I was playing “Peter and the wolf” to the 5-year old kids.

I like to listen to all sorts of music, I have my Ramstein moments, yet I listen to a lot of classical music, often jazz and some good pop/rock.

Who are your favourite musicians?

Elvis

What is your most memorable concert experience?

My very first concert at the age of 5 or 6 – very scary but I loved the applause.

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

Being a musician is a life-long service. It is hard, non-profitable and lonely. But it is a very important input into people’s minds and hearts. It gives another dimension to our being. And without this dimension it would be too miserable and too technical.

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

At the piano, safe, warm and loved.

What is your idea of perfect happiness?

See above.

What do you enjoy doing most?

Being happily quiet.

Olga Jegunova’s disc ‘Poetic Piano Sonatas’ is available now

www.olgajegunova.com

(photo © Gerard Uferas)

Meet the Artist……Harriet Stubbs


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

I honestly don’t remember the moment that I decided to start playing because I was about two and a half years old, but I do remember my mother teaching the piano for long hours and music always playing in the car. Even now, I hear pieces of music that I didn’t realise that I knew and know them back to front from childhood without knowing what it was!

The decision to pursue music as a career was really made when I was about four; my life already at that point was entirely scheduled around the piano. During my teenage years I made that decision again as a young adult. I rediscovered music on my own terms and realised that there was no way that I could live without music.

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

Well this one is easy! In terms of my technique, personal standards, and foundation to becoming a musician my first serious teacher, Jimmy Gibb was invaluable. Douglas Finch has had and continues to have an enormous impact on my musical wellbeing and continues to inspire me. My humanities teacher in New York; John Pagano who teaches at Columbia and Manhattan School of Music in his “Genius and Madness” elective as well as “The Fantastic Imagination” shaped and reinvigorated my belief in the arts. Finally Russ Titelman, the producer of my album about to be released by Sony. His vision, deep understanding, knowledge and love of art is extremely special and I am honoured to have and be continuing to work with him.

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

The greatest challenges have by their very nature been my times of growth and from which I have learnt the most. Rediscovering why I wanted to do music in my teenage years of my own accord and the bridge from child to adult artist was challenging certainly. Believing and rebelieving in one’s own ability and voice is something that I think we all go through. The classical music world is full of exciting and vibrant people at the moment and I think that there is huge potential and hope for a revolution of the whole industry! Being a female has also presented its own challenges throughout my career; I am proud to identify as a feminist.

Which performance/recordings are you most proud of? 

I personally am very fond of the live recording in the finals of the Trinity Soloists’s Competition because it is Prokofiev 3rd piano concerto, probably my favourite piece of music, played with nothing other than pure conviction. Sure, there are flaws, it’s not the world’s best piano, and it’s unedited, but it’s real. Other than that, the album that I have just completed for Sony which is my first commercial album and representative of where I want to go as an artist and where I want to take my audience: Through the doors of perception.

Which particular works do you think you perform best?

I’m very comfortable and happy in the 20th Century. That’s a huge spectrum but I love playing Prokofiev, Shostakovich, Stravinsky, Ligeti, Lutoslawski etc.

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

I’d say a combination of instinct, demand, and what opportunities present themselves to me. It’s generally a balance of things booked long in advance because someone has heard you play a particular piece and would like to hear it again in two year’s time, or sometimes there’s a composer’s anniversary which ties into a theme. Other times I’ve been waiting for a really long to time to have the right programme to fit a piece that I really want to play and then that programme happens naturally and that’s wonderful!

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

I have had many wonderful venue experiences but really it’s down to the audience as to what a place feels like at any given time. A generous audience anywhere makes that the best venue!

Who are your favourite musicians?

I love so many I could go on forever but Martha Argerich for her organic relationship with the piano, Jack White for his innovation and talent, David Bowie for being the master of many faces and never frightened to push a boundary. Jim Morrison for his poetry and reawakening of William Blake, my favourite poet.

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

To listen to and read as much as humanly possible across the genres, and to be truthful to the reasons that you pursued it in the first place. I am a founding member of the HoneyB Corps, an international civil society comprising skilled practitioners who volunteer their time to rehabilitate communities’ developmental needs like food, water, shelter, and health, and skilled artists who volunteer their time to rehabilitate communities’ formative needs: socially/relationally/artistically/therapeutically/spiritually. The HoneyB Corps is an exceptionally multifaceted and multi-dimensional community that supports and nurtures civil artists, but also deploys them across the world to touch lives, “cross-pollinate” ideas and creativity, and influence genuine conviviality through the cosmic force of art.

What is your present state of mind?

At the moment I am the happiest that i have ever been in my life. People spoke about 27 being a wonderful age and it really has been. Musically I am developing and growing and, most importantly, I am challenged and inspired by those around me.

Harriet’s debut album is due to be released in Spring 2017

Harriet Stubbs began piano studies at the age of three, performing in public a year later. At the age of five she was awarded a full scholarship to the Guildhall School of Music and Drama given by the Elsie and Leonard Cross Memorial Foundation.  She studied with James Gibb, Guildhall’s Emeritus Professor and Ronan O’Hora, Head of Keyboard and Advanced Performance Studies. At the age of seven she had passed all eight piano exams with distinction. 

Read more about Harriet here

 

Meet the Artist……Alexandra Dariescu, pianist

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

My mother was the one to introduce me to the wonderful world of music. I grew up in communist Romania, where kids didn’t have piano lessons as an after school thing but my Mum saved up lots of money and bought a beautiful mahogany upright. I got into the specialist music school in Iasi age 7 and had my debut with an orchestra 2 years later with Mozart D major concerto. I remember walking on stage, surrounded by adults, tripping over, conductor panicking, music stands falling, scores flying all over the place. My mum freezing in the first row. But I stood up, smiling and loved every single second of that performance. I came out and said “I want to become a concert pianist!”. I feel blessed to have had very encouraging people in my life, who believed in me and gave me a chance. I learnt from a very early age that hard work will always take you a long way. I don’t come from a musical family, therefore I didn’t have any expectation on how things should go. I didn’t set myself a target, I simply followed my intuition, learning from every situation and felt grateful for every opportunity that came my way. And the same as my falling, I learnt I can always stand back up and keep going.

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

My teachers have had the greatest influence on me, starting with my high-school teachers in Romania, to the late Mark Ray, Nelson Goerner, Alexander Melnikov, Dina Parakhina, Ronan O’Hora, Andras Schiff and Imogen Cooper. I have been incredibly privileged to study with fantastic musicians, who taught me not just about music, but enriched my life through advice on staying true to myself and always discovering new things. The thirst of knowledge and curiosity is one of the most beautiful things in life.

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

I believe we all find ourselves at crossroads at some point in our lives. The greatest challenge is to take the right path for you. I usually analyse and over-analyse and once I have taken a decision, that’s it! I try to never look back and believe in the power of instinct- after a lot of research has been done!

Which performance/recordings are you most proud of?

Every recording I have ever made is the result of hard work, a long time planning, creating a vision and sticking to a plan.This year saw the release of my concerto debut disc- Tchaikovsky Piano Concerto 1 with the Royal Philharmonic Orchestra on Signum Records coupled with the ‘Nutcracker Suite’ arranged by Pletnev. The joy of having my first concerto disc out is not easily put into words- honestly, a dream come true!

Which particular works do you think you play best?

I try to identify myself with whatever piece I am playing. I like reading about the story behind the music, I like to find out about the political situation of that time, where the composer was at the point in his life, what were his fears, his joys. The notes on the page are just the start of the journey.

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

I think long term. I like creating projects and putting programmes together that make sense. I am working on my Trilogy of Preludes at the moment, a project supported by the wonderful team at Champs Hill Records, who have very enthusiastically welcomed 3 CDs of complete preludes: vol I Chopin and Dutilleux, vol II Szymanowski and Shostakovich (both released) and vol III Fauré and Messiaen coming out next year. I enjoy introducing my audiences to new pieces, I like to challenge them with something they might not know they would love.

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

Every venue has its own personality, the same as pianos do. As a pianist, one has to adapt very quickly – I simply cannot describe how thrilling it is to step into a hall where so many of the great legends have played. There’s a huge pressure but in the same time there’s something humbling and magical about it.

Favourite pieces to perform? Listen to?

I love performing the Nutcracker Suite. I feel the versatility of the piano makes it possible to recreate the orchestral sound and it allows me to imagine all the magical world the story tells in a very intimate setting. I love listening to everything, from jazz to folk, pop to classical.

What is your most memorable concert experience?

Goodness me, where should I start?! Every concert is memorable, from a little hall in the middle of nowhere to the big giants. My first time at Carnegie Hall will always be the icing on the cake (and lots of the readers will know I love cake!). Getting a standing ovation at the Concertgebouw was quite something. My Buenos Aires concert in front of a packed 5000 seat hall (at lunchtime!) had me on my toes (I was told Beyoncé performed there the night before- make of that what you will!). Performing with youth orchestras is always truly rewarding- we all learn from each other and I always feel happy amongst them.

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

Always be true to yourself. Never give up. Always follow your dream- patience and perseverance will get you a long way. Never stop learning, from anyone and from every situation!

What is your idea of perfect happiness?

Being able to enjoy each moment as it comes, living in the present. Making a difference, standing up for what I believe in. Change lives through music!

What is your most treasured possession?

My piano.

What do you enjoy doing most?

Play my piano, communicate, bake, cycling with hubby, being with people.

What is your present state of mind?

I am truly grateful for everyone and everything I have around me. I feel blessed to be able to follow my dream.

 

From London’s Royal Albert Hall to Carnegie Hall in New York, the young Romanian pianist Alexandra Dariescu, recently named as one of 30 pianists under 30 destined for a spectacular career (International Piano Magazine), dazzles audiences worldwide with her effortless musicality and captivating stage presence.

Read more about Alexandra Dariescu here

Meet the Artist……Natalie Burch

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

It was my mother who first took me off to piano lessons age five although I can’t really say it was a particular calling at that age – I’m fairly sure I was going to be Prime Minister. It was not until I was a bit older and not really practising enough that my mum made me sign a contract promising that I would practise every day or the piano and the lessons would be gone! It was only then that I began to realise just what an important part of my life music was and became determined to dedicate myself to it further. Actually pursuing a career in music was never a particular ambition, however, until age 16 I was on the Chetham’s Piano Summer School and one of the professors simply said ‘why are you not here?’. Well, I didn’t have an answer so the next year I enrolled as a student and haven’t looked back since!

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

I’ve been so lucky with my piano teachers over the years and they have all been hugely influential, but the person who really believed in my abilities as a pianist and really challenged me to be the best I could be, was John Railton. John was an astonishing man – with only one arm he managed to have a successful career as a pianist and conductor, recording for the BBC, conducting at the major concert halls and being the central point of many different communities music making. He had a total disregard for potential obstacles and just believed firmly that I would be a pianist – I really wouldn’t be here without him!

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

The biggest challenge for me is performance anxiety – I wouldn’t say I get crippling nerves but I have found it frustrating sometimes when I can’t achieve the same focus on the music because my mind is worrying about being worried! The challenge is to find techniques to control any anxiety and transform it from something destructive into a positive energy. As an accompanist I have also had to become very time efficient. Our job often involves learning lots of repertoire in very short periods of time and the ability to practise efficiently without getting injured is paramount.

Which performance/recordings are you most proud of?  

I recently launched the Devon Song Festival and I was so pleased with our inaugural concert. There was an unusual amount of pressure in organising the event, trying to keep the audience happy and performing but it went brilliantly and our reception was so enthusiastic. I’m so thrilled it was success and we can expand the festival next year.

Which particular works do you think you play best? 

I definitely feel most at home in the song repertoire, specifically German lieder and English song though I also love the sound world of cello and piano sonatas and am beginning to explore this further. I love playing with singers because I am able to find a deeper connection to the music when text is set. I rarely perform as a solo pianist these days but when I do it’s nearly always Russian: Rachmaninoff and Prokofiev being particular favourites!

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

Last year I played at the Wigmore Hall for the first time and I absolutely loved it. It’s such an intimate space and from the piano it feels perfect as a hall for song. There is incredible clarity in the acoustic and you can really challenge yourself as to how quiet you can play and what extremes of articulation you can reach. It of course helps that the piano is absolutely beautiful too!

Favourite pieces to perform? Listen to? 

This year I’ve been working on Stephen Hough’s ‘Other Love Songs’ (for a performance at Wigmore in May 2016) and it is just the most brilliant cycle. It was written as a companion piece for the Brahms Liebeslieder waltzes and really cleverly picks up on themes from the original work but set to a wonderful selection of texts covering all forms of love and emotions from the heart-breaking to the comic. My personal highlight in the performance comes near the end where the pianists get to join in singing and my part is mostly just hitting the piano!

Who are your favourite musicians? 

I’m lucky enough to be taught by one of my favourite musicians, Eugene Asti. I have huge admiration for his attention to detail and respect for the score and the history of every work he plays. Importantly it is not only theoretical but you can really hear all that detail in his playing and it brings the music to life amazingly. Another is Iain Burnside, his playing is so robust and clear and I find his recordings of English song especially moving in their simplicity.

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

I suppose as I’m still a student I would consider myself to be still aspiring! But I definitely think all young musicians need to think about more than just practise and performing. I’ve been working with Alisdair Hogarth recently and he has shown me the importance of being savvy when it comes to self-promotion and the commercial side of music making. He suggested that we should be spending as much time promoting performances and developing our career as we do practising. Whilst I can’t quite bring myself to do that just yet, I can see that when I leave music college, working hard to find performances and creating appealing programmes will be just as important as working on technique!

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

In ten years’ time I would like to be living in London enjoying a fledgling career as a song accompanist and working as a broadcaster for Radio 3. Basically, I would like to follow in the footsteps of Iain Burnside!

Originally from Devon, Natalie Burch initially studied with John Railton before moving to Manchester to study solo piano with Peter Lawson at Chetham’s School of Music. In 2014 she graduated with first class honors from King’s College London where she studied musicology and took lessons at the Royal Academy of Music with Daniel-Ben Pienaar and Andrew West.  Natalie is currently studying for a masters in accompaniment at the Guildhall School of Music & Drama under the tutelage of Eugene Asti and Andrew West.

Recent and future highlights include performing at the Wigmore Hall alongside Alisdair Hogarth and the Prince Consort, a new commission for the Leeds Lieder festival, rehearsal pianist for Tchaikowsky ‘Rococo Variations’ with Guy Johnston, a recital for the Elgar Society and a number of concerts and masterclasses as resident pianist for Opera Prelude.

Read more about Natalie here

 

 

Meet the Artist……Alice Sara Ott, pianist

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

My parents took me a to piano recital when I was three because they couldn’t find a babysitter that night. I don’t remember the pieces the pianist played but I was fascinated by the power of music that made the audience quiet for nearly two hours. I thought that if I learned this “language” people would also listen to what I want to say and so I went to my mother after the recital and told her that I wanted to become a pianist. She wasn’t happy about this and so it took me a year to convince her.

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

Definitely my teachers, but also each and every collaboration with an orchestra and a conductor has given me the opportunity to learn something new and develop myself.

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

Learning to say no and finding out my limits.

Which performance/recordings are you most proud of? 

All of my performances and recordings are fingerprints of certain stages in my life so far, but my recent album ‘Wonderland’ means a great deal to me. There is a lot of my heart’s blood in it.

Which particular works do you think you play best?

None in particular. Of course there are days when I feel very comfortable with a work and think that I finally understand and own it – until the next day when I suddenly realise that I am still very green

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

There are so many wonderful works I want to play and programme, so I usually pick one bigger work and try to build a story around it. It also depends on what the programme of my next album is. I also of course ask colleagues and people around me for advice.

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

There are too many wonderful halls out there, so I can’t name just one or two. It’s not so much a matter of the country or hall I play in, it’s about the interaction between the audience and me. So wherever music unites me with the audience,  I feel “home”.

Favourite pieces to perform? Listen to?

Always the ones I am playing at that moment.

When I am off, I don’t listen so much to classical music. I love Tom Waits, Pink Floyd, Led Zeppelin.

Who are your favourite musicians?

Those who are honest and take risks in the music.

What is your most memorable concert experience?

Once I played a concert in Rio de Janeiro and there was a couple sitting in the first row, eating popcorn while listening to my performance. I LOVED that.

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

To know what happiness means to you. As long as one is not happy, he/she can not make others happy.

What is your idea of perfect happiness?

To appreciate the small things in life.

What is your most treasured possession?

I don’t own them, but I would say my family and my friends are the most essential things in my life. And I actually have quite a nice whisky collection that keeps growing

What is your present state of mind?

I just got out of a two month break. That was a wonderful thing and I am incredibly grateful to my friends who gave me so much energy and joy in this time. Now I am recharged and can’t wait to go back to work.

German-Japanese pianist Alice Sara Ott has gained critical acclaim for her performances at major concert halls worldwide and has established herself as one of the most exciting musical talents of today. The Guardian, commenting on her recent performance with the London Symphony Orchestra, said that she “gave the kind of gawp-inducing bravura performance of which legends are made”.

Alice has worked with the world’s leading conductors, including Lorin Maazel, Paavo Järvi, Neeme Järvi, James Gaffigan, Sakari Oramo, Osmo Vänskä, Vasily Petrenko, Myung-Whun Chung, Hannu Lintu and Robin Ticciati.

More about Alice Sara Ott

Meet the Artist……Marianna Prjevalskaya, pianist

marianna-photoWho or what inspired you to take up the piano, and pursue a career in music? 

I was born into a musical family and was surrounded by music all the time when I was growing up. Both of my parents are musicians, therefore it was assumed I would follow the same path. They only asked me if I wanted to play piano or violin, and I picked piano. Honestly, I never regretted my choice. I started my piano lessons under my mother´s guidance, and continued until I was 17 years old, when I began my education at the Royal College of Music in London, studying with wonderful Irina Zaritskaya.

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

When I moved to Spain with my family, I met the pianist Krystian Zimerman, and was inspired by his interpretations of Chopin’s Ballades and Concertos, and Liszt Sonata. I also had a chance to hear him live several times in my hometown in Spain performing with orchestra. He introduced me to music I had never heard before, and I was so stunned by its beauty that I was desperate to get those scores out and start learning. I think I sight-read everything we had at home, and it got to the point that my mother had to hide music from me, as I did not want to practice works she assigned. That was probably the time when I realized I wanted to devote my life to music. I always felt that knowing that pianist at that age was crucial for my development. Later, as I grew up, my attention shifted to other musicians. I admire Grigory Sokolov. I should not dare to say he is my influence, but he is the type of musician whose artistry resonates with me most. He fills each note with meaning when he plays, each silence has a meaning, and each note has its beginning and its end! Every single phrase is preciously delineated, well thought and deeply felt. His musicianship is so powerful that he takes control over you and is capable of hypnotizing you. He neither tries to impress, but remains authentic. I think his performances are transcendental experiences, at least for me, and he is an artist who speaks from his truest self.

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

I think everybody has to go through some challenges, but personally I tend to be quite private about difficulties I go through. What I can share, perhaps, is that I learned how to remain true to myself no matter what others think of me and expect from me. I found it quite challenging because I am a vulnerable person. When you are surrounded by many musicians and participating in competitions, the pressure grows even greater. Very often your thoughts can be scattered around in your mind about other contestants, and whether the impression you left on the jury was positive or negative. With a bit of experience I realized that all these thoughts are very distracting, they separate you from who you are, and don’t let you express yourself authentically. Eventually, during my competition performances, I was able to attain the freedom I feel when I perform any public recital.

Which performance/recordings are you most proud of?  

I am not sure the word “proud” is the most appropriate; I am a perfectionist and always feel I can do better. However, I would probably say that I am happy with my most recent album dedicated to Rachmaninoff.

Tell us more about your new recording…

The album features Variations on themes by Chopin and Corelli. I was dreaming about this project because Rachmaninoff is a composer whose music I find very close to my heart and my soul. I have to say that I had an absolutely awesome team: I was lucky to work with an amazing producer Elaine Martone, who was extremely supportive, encouraging and inspiring during the recording sessions. Chelsea VandeDrink is a fantastic recording engineer who did her work fabulously, and Anilda Carrasquillo created a booklet I could only dream about. I felt that it was a very strong team, and it was an excellent experience to work with these people, with whom I created a strong bond and most importantly, a lasting friendship. This CD was possible thanks to the Cincinnati World Piano Competition, which I won in 2013.

What is the particular appeal of these works by Rachmaninoff for you? 

I have always felt a close relationship with this composer, and considered recording some of his compositions a long time ago, but then in my twenties discovered his Variations on a Theme of Chopin Op.22, a work that unfortunately is not often performed. I was fascinated by the incredible variety of moods and emotions Rachmaninoff reveals in this music, as well as by the way he transforms the theme throughout the composition, making it barely recognizable. It is a work with endless possibilities for a pianist to display his or her mastery.

I often think that composition’s fate grows from the roots. What I mean in this case is that the work had a very moderate reception when Rachmaninoff premiered it in 1903 in Moscow. The preludes Op.23, written during the same summer, enjoyed a bigger success, and his other major hits, like his second sonata, or the second concerto, for example, completely overshadowed this composition. Even though nowadays you may find a few recordings, I feel pianists are afraid of its length and that it might not be an easy piece for the audience. This set of variations lasts about half an hour, but isn’t the Liszt Sonata thirty minutes long? Any late Schubert sonata would be even longer! When I performed this work in the semifinals of Seoul International Piano Competition in 2008, one jury member asked me at the end of the competition why I chose this piece and told me that it is inappropriate for a competition, and that instead I should have played the second sonata. I made to the finals anyway, but am still puzzled why this composition is not appreciated. It is an actual gem in the piano repertoire!

Regarding the Variations on a Theme of Corelli I have to say that at the time I was making my decision what else would go together with Chopin variations, it happened I was working on Corelli variations, and thought both sets would work greatly together. Thirty years separate both pieces and they are incredibly different. The Corelli Variations exhibit a stylistic growth and some kind of a structural compactness: he expresses his ideas in a more concise way, somewhat similar to a mature person who prefers to speak less, but whose choice of vocabulary is very accurate. I do love this composition, but in a different way.

Which particular works do you think you play best? 

Works that speak to me emotionally. But not necessarily has to be from the same period. I played Scarlatti sonatas that were very precious to me. I felt a particular affinity with Haydn Andante and Variations in F minor that I recorded for NAXOS a few years ago, for example. My attention usually shifts to different composers at different periods of my life. There were years when I felt too attached to Chopin, but thought I would never understand Schumann for his crazy and hectic romanticism. A few years later I felt I only wanted to play Schumann, and it was never enough of him. To name a few that deeply belong to my heart: Schubert Sonatas D.845 and D.959, Schumann F sharp minor Sonata Op.11, Brahms Intermezzi Op.117, Liszt Sonata, Debussy Preludes Book II, obviously Rachmaninoff, including the second Sonata, Prokofiev Sonata No.8 Op.84, among many others.

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

I feel that every time I go through a difficult internal process before I make my repertoire choices. I always play what I want, what I like most and what I feel is right for me at this moment. What it means is that for some reason, on some kind of subconscious level, a particular piece rings my doorbell. It happens when I constantly hear this music in my head, and it does not cease until I take the score and start learning it. It is as though the piece was being chosen by itself, asking to be played. I find it very interesting. And what is even more surprising is that I usually never misunderstand the signal. If I feel the need to play a particular composition, it means I feel something very special for it, a very strong emotional connection. I should probably say I am lucky, because I usually build my own recital programs, however I wish I had the same freedom to choose concerti I want to play with orchestras.

I have also had other experiences. I forced myself to play something that did not seem the right choice, and all of a sudden, when the work began, I realized that I made a huge discovery, a work that I never thought I would enjoy became one of my favourites.

My former teacher Boris Berman told me one day: “Try to learn to love a piece you do not like.” At that time I did not understand how that was possible, I neither wanted to try. I guess now I know what he meant.

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

I can name several venues where I felt particularly good. A concert hall in Malaga, Sala Maria Cristina was a very special venue where I played all Schumann recital. I loved their Steinway, and the decoration of the hall and its acoustic were very inspiring. I enjoyed immensely performing at Weill Hall in New York, as well as remember wonderful experiences performing at the Mozarteum in Salzburg and Minato Mirai Hall in Yokohama.

Favourite pieces to perform? Listen to? 

This questions is partially related to my choice of repertoire. I prefer to perform works that are emotionally intense and that speak to me most. Compositions I choose to play become my favourite pieces to perform. I do like listening to music, in fact I only listen to classical music, and I should probably feel ashamed that I do not listen to anything else. It all depends on my mood. One day I might want to hear a Baroque ensemble, another evening I want to listen to Schubert’s Lieder or Brahms, or may be Haydn’s symphonies.

Who are your favourite musicians? 

If we talk about living pianists, I would name Grigory Sokolov, Murray Perahia, Mitsuko Uchida, Radu Lupu, Evgeny Kissin, András Schiff.

What is your most memorable concert experience? 

I have several. I will never forget my experience performing Brahms d minor piano concerto with Kazufumi Yamashita and Sendai Philharmonic Orchestra in the final round of Sendai International Piano Competition in 2010. It is an exceptionally rare experience when you feel that the orchestra, conductor and yourself blend into one organic whole, and music drives you with its force somewhere beyond reality. And I give thanks to this conductor for making me feel that way. A similar experience occurred performing Chopin e minor concerto with Stamatia Karampini, she made me to forget that I was not playing alone, and with Chopin that is really dangerous, because the conductor and the orchestra have to be constantly alert, Chopin´s rubato is unpredictable and too fragile to foresee. I have also enjoyed tremendously performing with Roberto Trevino and Cincinnati Symphony, and with Carlos Prieto and David Danzmayr and Louisiana Philharmonic. My solo memorable experience was probably my Weill Hall debut and a recital I performed in Baltimore with Schubert A major Sonata D.959, a work I have a very intimate connection with; in fact all Schubert occupies a very special place in my heart. I am not sure what happened that evening, but I was watching my hands and thought I am witnessing my own playing. My intensions were shaping phrases with no effort, and music was being created in the moment. That state of mind is not something you can experience every time you go to play on stage.

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

I think the most important advice I would give is to stay true to yourself, avoid being influenced by others and do not give up.

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

I am not sure I can answer this question. I like the idea of not knowing what is ahead in my life. I have learned not to rush things, and that everything comes at its right time. I try to enjoy living in the present moment.

What is your idea of perfect happiness? 

To feel internal harmony and see my family healthy and happy. 

What is your most treasured possession? 

The ability to feel and understand music.

What do you enjoy doing most? 

Playing the piano.

What is your present state of mind? 

I feel pretty balanced and in peace with myself.

cincinnati_disk_230Marianna Prjevalskaya’s all-Rachmaninoff CD is available now. The recording features two works for solo piano: Variations on a Theme of Chopin, Op.22, and Variations on a Theme of Corelli, Op.42. (Fanfare Cincinnati FC-008) Marianna Prjevalskaya plays Rachmaninoff

Born to a musical family, Marianna benefited from early lessons with her mother from age six, her principal mentor for more than eleven years. She continued her studies at the Royal College of Music in London with Irina Zaritskaya and Kevin Kenner. In 2003 Marianna moved to the United States where she joined the Toradze Piano Studio at Indiana University. She also holds an Artist Diploma and Master of Music from Yale School of Music, where she studied with Boris Berman. Currently Marianna is a doctoral candidate at Peabody Conservatory of Music where she studied with Boris Slutsky. At diverse festivals, she has studied with renowned pianists such as Liliya Zilbernstein, Emmanuel Ax, John O’Conor, Leon Fleisher, Choong-Mo Kang, Richard Goode, Peter Frankl and Piotr Paleczny, among others.

www.prjevalskaya.com