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

My parents introduced me to several activities when I was very young; there was ballet and sports (I reached competition level in swimming). Music was already present in the house – my father was a surrealistic painter and always worked while listening to music in his studio. But it wasn’t until we visited a friend who owned a piano that the idea cthat I could start taking lessons came about.

Later on, growing up, I started making a selection, making my own choices. First, I decided to stop ballet in order to learn the violin. I was already leaning more towards music. But soon I realized that the piano was closer to my heart and my abilities, and at age 12 I told my parents I wanted to pursue music seriously.

Since then, and despite the many ‘detours’ and experiences I had – undergoing an academic course and taking a two-and-a-half-year break from music in my mid twenties –  an inner calling has always led me back to the piano and that motivated me to pursue a career in music. Intuitively, I understood that this professional path would satisfy the needs of my body, mind and soul at the same time. It is a balance of intellectual and manual work. Indeed, I perceive “art” in its full meaning, crystallized by the Ancient Greeks in the word τέχνη (technè), which gave our modern word “technique”, but, depending of the context, could signify both craft-like knowledge, skill and “art” – that is to say, the capacity to express emotions. Another ancient concept that I find particularly interesting to describe a musical career comes from Dionysius from Halicarnassus that talks about introducing “diversity into homogeneity”. What we do is every day the same,  it is never the same. The possibility to reinvent oneself daily and the freedom that it implies in music is something that I very soon understood I couldn’t live without.

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

I have always been in search of a mentor, and wasn’t fortunate enough to find one during my studies. Until recently I have been looking for someone to fit the role, and fate made me meet Jorge Luis Prats, who inspired me for years as a musician, and the polished the artist I wanted to be.

On a personal level, my father’s paintings, work ethic and dedication to art and beauty have been a huge influence in my approach to music. My mother’s sensibility and at the same time practicality helps me to look at the bigger picture whenever I tend to get stuck in small things and details, since I am an eternal perfectionist.

On a larger level, I want to stress that the other art forms have always been an influence on my musical life, and they help to nourish it. Amongst them, poetry – I write poetry myself in Italian, French and English – and dance, everything that has to do with the body’s movement, as for me music is movement, flow.

Nature too, as much as it inspired composers, is something I have to feel close to in order to create.

In the end, I was blessed by my father’s surrealistic philosophy and imagination, by the way he taught me to look at everything that surrounds me with a new and personal perspective, as a potential inspiration, to make it my own. And to take time. To be an observer and a listener. This are crucial components for me in order to be a good musician.

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

Having access to a piano. Having access to a good piano. Nothing is more frustrating than when you want to play or have to practice and you can’t.

Evolving in a very conventional and constrained world – especially in today’s music education system – when you are different and your approach is unconventional. So a real challenge was and is to make my path and my vision accepted and not to be judged for not having done or doing things that are “expected”. Being a free spirit in a way is a challenge in the “business”.

Accepting where you are, being patient in achieving your fullest potential and enjoying the process!

Which performance/recordings are you most proud of?

I can honestly say that I am never satisfied with a performance or recording. The ones that I am most proud would have to be the ones that involve the highest degree of challenge as this is a factor that helps me push my limits. As an example, a recent and improvised recording of 3 contemporary pieces by French composer Jean-Luc Gillet, during an artistic residency with him, done on an old 1984 Steinway that had a very uneven keyboard and piercing sound in the higher register and that hadn’t been played for 15 years. But at the same time that piano had a wonderful soul and sound signature. When I manage to reach new levels of interpretation on challenging instruments, that’s when I am most satisfied.

Which particular works do you think you play best?

It tends to change, as it is deeply connected with one’s maturity and knowledge of certain pieces. But in general, the repertoire that explores the sound possibilities of the piano. I have more a sonic approach to the piano than a technical one. That’s why the virtuoso repertoire doesn’t speak to me as much. I can’t really speak of particular composers or eras, rather a way of writing music. When I see a score, I know instantly if it is music that I will play well. And this goes from Rameau, Scarlatti and Bach, through Brahms, Rachmaninov to contemporary music. Piano is an instrument-orchestra, and I like to play the composers that best keep that in mind.

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

My father always used to tell me that he had more ideas than he would ever have time during his life to paint them all. And he kept lists of all of them so he didn’t forget them and could come back to them later when he has the time or inspiration to accomplish them.

I feel the same about the pieces I want to perform. So I keep a list of composers and pieces that I discover year after year. And by looking at the list, I start creating connections. Sometimes it is between composers and then I would do some meticulous research to find the right pieces to put together. Sometimes, it is precisely while researching on a certain piece that I create connections with others I know or I read about those connections in the literature I am reading.

I particularly like to put unknown or forgotten pieces in my repertoire, and I love to collaborate with contemporary composers and premiere their works.

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

If I had the ideal concert venue, I know I wouldn’t feel the same in it twice. Acoustics are a very subtle matter. They can significantly change between a rehearsal when the hall is empty and the actual performance, where the filling of the hall with members of the audience can sometimes drastically modify your perceptions. For me it is also a matter of having or creating the right energy. Some venues have better “energies” than others, but the audience’s energy is equally important, no matter where you perform. In the end, because these are all factors that you can’t control, I’d like to think that the best concert venue has to be in the musician’s mind, in a process that is close to what Glenn Gould described in the way that you have to recreate a “good piano” conditions in your mind when you have to play on a not so good instrument.

Who are your favourite musicians?

Those who are passionate and have a “signature sound”. But in order to keep an interpretative authenticity, I don’t listen to classical pianists too much. I am fascinated by some conductors – Kurt Masur, Seiji Ozawa, Herbert von Karajan, Zubin Mehta, Lorin Maazel…

Outside the classical world, amongst the ones that I keep going back to and that have emerged as inspirational figures, I would like to mention: Aziza Mustafa Zadeh, jazz pianist, Estrella Morente, flamenco singer, Hayley Marie, lead vocalist of Australian indie rock band “The Jezabels”, the rock band “Dream Theater”, Lisa Gerrard, Rodrigo Costa Felix, fado singer, and many others…

What is your most memorable concert experience?

One where I came out of my body and was able to watch myself perform from the outside, as if I was a spectator.

As a musician, what is your definition of success?

Not just as a musician, but as an artist, the greatest success is when you make the audience feel something, when you surprise them, touch them, and maybe, through your art, make them discover something about themselves; when they walk out of the concert hall and they are a new person; when your art has an impact on someone’s life and is able to bring hope.

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

Humbleness. To be aware that everything has already been created, and the only approach possible to art is by being true to yourself and authentic.

And to not be afraid to question yourself and not always find the answers. And to take time. Even time off, if needed. Sometimes taking a break will make you evolve much faster afterwards.

Of course, as in all classical disciplines, an almost sacred devotion to music is necessary in order to do it justice (from work ethic and rigour, to the life sacrifices that a musical career involves, to achieving a mind, body and spirit balance…)

And to be smart. You are who you are without all the expectation and pressure or the perspective of what people think of you. Taking all that aside and really homing in on who you are and embellishing it with your craft is the way to go.

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

I live in the moment, and try to be as “present” as possible. I live from day to day and can’t see myself a week from now, let alone 10 years in the future!

What is your idea of perfect happiness?

To be at peace with oneself. Live life to its fullest without having any regrets.

What is your most treasured possession?

My parents’ handwritten notes.

What is your present state of mind?

I am constantly in a meditative state of mind, with a flow of different thoughts in it.

 

 

Ida Pellicioli’s website

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

My childhood dream was to become an astronaut. The infinite, remote worlds, the unknown, mysteries, everything that has to do with indeterminate intrigued my imagination. Than, playing and discovering the nature of sound itself, the same infinity unfolded in music…..

This child’s desire to become an astronaut was also a yearning for contact, the desire to meet a different Other. That longing has evolved into a deep encounter while performing, while being at one with the music that reaches out to the others and creates the moment of grace, the ultimate, most intimate yet transpersonal union.

Having heard for the first time the Allegretto of Beethoven’s 7th I shivered. The tragic and grandeur of human expression left an indelible mark forever. My childhood fascination with Beethoven’s personality made of him einen fernen Geliebten (a “distant beloved”) and his oeuvre has become that place of encounter; love, belonging, togetherness and utopia.

My first instrument was my voice. In my early childhood I often sang the solo part in children’s choirs.

Than one day, standing in front of the shopwindow with my mother in Belgrade, I was mesmerised by the blissful black August Foerster upright piano – it looked exactly as my toy piano yet huge and gleaming. Mom bought it and I raved about that jewel that had a marvellous singing tone. No one ever forced me to practice. I stayed the long hours wrapped up in playing my huge toy. Later in my adolescent years, mom used to say ”do not play so much, go out and meet the boys….

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

Singing voice, the astonding beauty of voices and songs …songs my (grand)mother taught me……

In my music education the most impressive encounter was with Tatjana Nikolaeva. It was the deftness of her touch, that ineffable legato that I was trying to reproduce by listening to her and her recordings on Melodiya. It was Nikolaeva’s otherworldly Bach that influenced me the most. That’s how my piano epiphany commenced.

I always wanted the piano to sing in a velvet tone as if the hammers do not really touch the strings. Later I read that Debussy expressed the same about the art of touch.

Rudolf Kehrer, whom I met in Weimar, was a fascinating personality who inspired me a lot. When I settled in Paris I was lucky to work with amazing Eugen Indjic who has incredible gift for teaching; one feels confident and masters the instrument like an absolute wizard!

However – I hope it does not sound pretentious – what formed me as musician was discovering and understanding the language of music by myself alone.

The one thing that really matters is to have a personalised sound.

Now in the time of revival of the music of my grandfather, Czech-born composer and conductor Jan Urban ( 1875-1952) who passed away before I was born, everyone considers that he and his music influenced me the most in the bosom of family. It was not so. The story is less idylic, rather heavy. As my parents divorced when I was three years old, I was separated from my father and the paternal Urban side was covered by silence.

But the silence is inhabited.

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

Paradoxically – to avoid “career”….

Schnabel said ”Safety last.” Taking a risk on the podium has been the most challenging issue for me. The intensity of human expression dwells in intuition, to play at the very edge of control to deliver the music most spontaneusly, directly, to be totally wrapped up in the very moment of the execution. I recall Thomas Bernhard citating Glenn Gould ”you enter the music or you don’t.” The price to pay might be less perfection.

Further, I refused to participate the competitions. I dare say that competitiveness is not the way of dealing with music. Deciding not to compet has probably cost me a wider popularity.

Which performance/recordings are you most proud of?

I am very proud of my recordings of the complete piano legacy of the Czech composer Jan Vaclav Hugo Vorišek – three CDss on Grand Piano record label.

One perfomance at the Orlando Festival in the Netherlands is very dear to me. I shared the stage with the great Menahem Pressler who put me at ease with his wise remarks and divine lightness.

Invitation to perform in the jubilee year of the renowned American Philip Lorenz International Keybord Series was an honour. The series presents exclusievly the world’s greatest pianists, such as Emanuel Ax, Garrick Ohlssohn, Trifonov, etc.

Which particular works do you think you play best?

Difficult question. There are two forces in human nature – Apollonian and Dionysian.

I feel at home with sonatas of Beethoven. Through him I can structure, form, build and forge. The affirmative experience of enlightenment prevails the tragic and reaches the Apollonian shor . Through his music one conquers the state of pain and humiliation and reaches dignity – a cathartic experience.

The other part of me dwells in the sensuality of Debussy’s works. Seeking for deepest sensors to catch the immediate, the instantaneous is in essence an erotic experience….. The hands are touching the nude nerve of the instrument.

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

This question reveals for me an other issue related to it.

I feel the larger music works of my repertoire as if they were human beings. Most of them I have known and lived with for a long time. There is an alive interaction between me and an oeuvre in the subconcious. That’s why the choice of programme is very spontaneous and comes from the bottom of soul. Giving the programme sp far in advance, as it has to be in today’s concert planning, is very frustrating.

Whenever possible I choose to perform the gems of lesser known and undeservedly neglected composers.

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

No – yet I dream about Viennese Musikverein for its Boesendorfer and its acoustics.

Who are your favourite musicians?

To mention a few – Alfred Cortot, Tatiana Nikolaeva, Alexander Jocheles, Arthur Schnabel, Claudio Arrau, Radu Lupu, Carlos Kleiber, Gregor Piatigorsky, Georg Prêtre, also Jacques Brel, Léo Ferré, Leonard Cohen….

What is your most memorable concert experience?

A long time ago, a concert in the Jeanine Rose series in Paris with Argerich and Hirschorn…..

As a musician, what is your definition of success?

I am a sort of ‘anti diva’. Music making is about touching souls. In that ability lies the success.

I feel succesful when I open my music studio and I recognize in me that ebullient child that was in love with that black Foerster piano and the feeling of gratitude fills my heart. If I finish may days with such a feelings, I will consider I’ve had an amazingly successful life.

Of course the recognition is very important but the glory is infirm……….

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

Highly idealistic – to be free from the dictats of entrenched values or prevailing musical tastes. To be free from competitivness and the industry of competitions. Sharing, loyalty, solidarity, mutual support, imagination and truth – everything that musicians aspire to give to and create in the world should be cultivated more between musicians themselves.


Biljana Urban comes from a family with a rich musical tradition. Her Czech-born grandfather, Jan Urban (1875–1952), was a composer and conductor. Biljana Urban received her Ph.D. in Music (Piano Performance) summa cum laude from the Academy of Music in Zagreb. In her native country she received the most prestigious awards. She also studied at the Ecole Normale de Musique de Paris – Alfred Cortot and settled in Paris in 1985. Her musicianship has been strongly influenced by Elisso Virsaladze, Tatiana Nikolayeva, and Eugene Indjic. Since 1991 she has been based in Amsterdam and has Dutch nationality. Urban has performed in the most renowned international concert halls, including the Fresno Concert Hall, California, for the Philip Lorentz Memorial concert series. She has taken part in international music festivals, including the Dubrovnik Summer Festival, the Festival of Flanders and the Orlando Festival in The Netherlands. As a chamber musician she has performed with soloists of the Royal Concertgebouw Orchestra, the Monnaie Orchestra, Brussels, and the Prague Philharmonic Orchestra. Her recitals and recordings have been broadcast by BBC Radio 3, Radio France Musique, Radio 4 in The Netherlands, Radio Klara in Belgium, by radio and television companies in Croatia and Slovenia, and by Valley Public Radio in the United States. Urban is a commited teacher, having her own piano school in Amsterdam and giving masterclasses and lectures world wide. In Paris she has taught at the École Supérieure César Franck and the Conservatoire de Neuilly. In 2012 she was artist-in-residence at California State University in Fresno. In 2010 Biljana Urban released an acclaimed recording on Naxos [9.70120] of the piano works of her grandfather Jan Urban. Her first album of Voríšek’s Complete Works for Piano, released on Grand Piano, was recognised as one of the best albums of the year by Culture Catch.

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

There are no musicians in my family. My parents enrolled me in a music school when I was five and there I started discovering this world from scratch. I chose the piano from the beginning because it was a magnificent instrument with a huge range of registers and possibilities.

Over the years, my interest for music kept growing and I started expanding my skills. I began playing the drums in a band, I learned how to play the guitar, I became an active member in several choirs and I composed. Although I was still pursuing my main musical studies in piano, all these new experiences enriched my relationship with music and allowed me to gain new perspectives that probably I wouldn’t have had if I had solely focused on a ‘keyboard’ approach.

Nevertheless, when I started my Bachelor’s degree in Mathematics I had to prioritise and I eventually ended up focusing on the piano. During my undergraduate and postgraduate studies at the Catalonia College of Music (ESMUC) and the Royal College of Music (RCM) in London, my personal commitment to performing became even stronger and determined my pursuit for a career as a pianist. However, if I have to say what really inspired me, I think that is becoming addicted to the excitement of creating a live performance on stage that is different every single time.

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

My musical taste has changed a lot and I have admired and worshiped artists and bands from all sorts of musical genres: rock, punk, pop, indie, funk, jazz, and of course, classical music. Playing different instruments and styles also allowed me to experience those genres from inside, and that significantly made a difference for me. With time, classical music became the main influence, but I have remained open-minded.

Glenn Gould’s distinctive recordings was one of the earliest and more determinant musical influences for me. I found it tremendously compelling that he could play so rationally, while being extremely creative and artistic. A model that pushed me to find my own voice between mathematics and music. I truly admired his originality of thought and his conviction to build a controversial but unique sound world. Another was Friedrich Gulda, and his incredible range both as a classical and jazz pianist.

However, probably the most distinctive revelation for me was to discover the masterpieces from the 20th and 21st centuries, too often neglected by the conservatoire’s tradition. A repertoire that I felt artistically closer to and that stimulated my curiosity to work and premiere new music by living composers. Each collaboration challenged and transformed my understanding of music, especially for the core repertoire.

Probably the musician that has influenced me the most and the one I’ve been studying the longest with is my piano professor at ESMUC, Jean-François Dichamp. He taught me a very solid technique and an extraordinary musicality which significantly transformed me as a performer. While studying with him, I fell in love with the music of Messiaen and Dutilleux, and, as a consequence, I started exploring further the more recent French repertoire to which I dedicated my first album ‘The French Reverie’.

My piano professors Jordi Vilaprinyó and Stanislav Pochekin were also a determinant influence and, along with Jean-François Dichamp, have been my mentors over the years.

During my Master’s at the Royal College of Music I specialised in contemporary repertoire with Andrew Zolinsky, where I had a wide range of performing opportunities that allowed me to reinforce my experience with new music. I also became acquainted with Crumb’s, Stockhausen’s and Lang’s piano music which became an important influence for me.

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

There have been many, but probably one of the craziest ones was to combine simultaneously a Bachelor’s degree in piano performance and a Bachelor’s degree in mathematics at two different universities.

Which performance/recordings are you most proud of?

My first milestone as a professional musician has been without doubt the recording of my debut album ‘The French Reverie’, featuring works by Messiaen, Dutilleux, Manoury, Escaich, Ben-Amots, Järventausta and Djambazov. It has been a risky project because I chose non-standard repertoire by mostly alive composers. However, before I recorded it, I visited and played for all of them, and precisely for this it has become an exceptional and unprecedented experience.

In addition of recording, I have also been the producer and the fundraiser of the album, which was generously supported by 208 patrons from 28 countries across the five continents! Although at the beginning it was scary, it allowed me to gain a lot of insight on the music industry and which strategies work to engage an audience and the press to promote your project.

At the moment, I’m currently planning a concert tour of the countries of the composers involved: France, Finland, Bulgaria, Israel and USA, along with Spain and the UK.

Which particular works do you think you play best?

I think that what I play best is the Contemporary Classical Repertoire, especially because it is what I enjoy the most to perform. Also, Debussy, Ravel, Falla, Brahms and Bach.

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

I have a huge predilection for rhythmical pieces, so I always try to include some in my repertoire. Above all, I focus on finding or selecting works that I’m looking forward to play and try to arrange them in terms of a story or a concept. I also try to link major works from the core repertoire with masterpieces from the 20th and 21st centuries.

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

I like to play in venues in which architecture has a strong artistic component. I think it adds an additional layer of spirituality to the performance. However, any venue with good acoustics, an enjoyable piano and a receptive audience is equally special.

Who are your favourite musicians?

Miles Davis, Hayk Melikyan, Alicia de Larrocha, Vladimir Ashkenazy, Maika Makovski, Martha Argerich, Glenn Gould, Pierre-Laurent Aimard, Grigory Sokolov, Daniil Trifonov, Ivo Pogorelich, Elliott Smith, Zoltan Kocsis, Malena Ernman, Valentina Lisitsa, Sviatoslav Richter, András Schiff, Bill Evans, Maria Callas, Evgeny Kissin, Belle and Sebastian, Cecilia Bartoli, Friedrich Gulda, Art Tatum, Jean-Guihen Queyras, Lennie Tristano, Arcadi Volodos, Hole, NOFX, Art Blakey, Murray Perahia, Pearl Jam, Muse, Ella Fitzgerald, Duke Ellington, Leonard Slatkin, William Bolcom, Pierre Boulez, Daniel Barenboim, Anna Netrebko, Renée Fleming, Simon Rattle, Joshua Bell and Isabelle Faust.

What is your most memorable concert experience?

It is really difficult to choose a single performance because each one has something special. However, maybe one of the most distinct and unforgettable experiences I had is when I performed George Crumb’s Makrokosmos I. This is a set of twelve pieces, each one dedicated to a different sign of the zodiac, meaning that you have to portray a different character in every single one. With this work you cross all possible boundaries as a performer and you create an outstanding sound world. It literally transforms you into someone else and you discover that you’re capable of leading and communicating with the audience in ways you never suspected.

As a musician, what is your definition of success?

I think that you can consider yourself successful when you don’t need to compromise your artistic aspirations to make a living. When you are doing exactly what you want, and you get a positive response. For me, success is not about money or becoming famous. It is essentially feeling self-accomplished and to have the necessary public recognition to develop your own projects.

It is also having the certainty that with your job you’re making a difference in your field in something that you feel passionate about. To be able to communicate that to others.

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

I think it is extremely important to think about why you want to become a professional musician and what could be your contribution. In other words, to be creative, to question general assumptions in your field and to find your own voice. And above all, to be patient, proactive, persistent and determined to work hard.

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

Hopefully having an established career as a musician and with lots of ideas and projects in mind. Ideally, being able to travel and to work with inspiring people.

What is your idea of perfect happiness?

I tend to agree with Zygmunt Bauman when he states that happiness is the result of fighting and overcoming difficulties. Personally, I like challenges and absolutely love the feeling of accomplishment when I have been able to achieve my goals. Probably that’s why I have such a predilection for complex repertoire too. I think that perfect happiness is the result of having an enthusiastic and healthy ambition.

What is your most treasured possession?

Although it is not strictly a possession, I would say time. You can achieve anything with it and is something that money can’t buy. Everything I’m proud of and every unforgettable experience I have is a consequence of having had the time for it.

 

Laura Farré Rozada’s debut album The French Reverie is available now. Further information

 


Laura Farré Rozada is an award-winning pianist and mathematician specialised in contemporary music. She is currently based in London, where she recently completed her Master of Music degree with Andrew Zolinsky as an RCM Patrons’ Award Holder. She previously graduated with Distinction from her Bachelor and Master piano studies with Jean-François Dichamp at ESMUC (Catalonia College of Music), and from her Bachelor’s degree in Mathematics at UPC (Polytechnic University of Catalonia). She obtained several Distinction Awards in all her studies.

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

I remember being fascinated by the piano in my grandmother’s house, and this led to my mother teaching me to read music at the age of three.I do not remember,as a child, hearing much music, none of my friends played an instrument, but I remember my grandmother played by ear, and sang music-hall songs to me, which I loved. They must have embedded themselves deep in my memory, as I still remember many of these, including all the words!

One strange memory stands out. My mother, before her marriage, had worked in the office of a local chemist, a Mr. Lester, of whom she spoke occasionally, with the greatest respect and admiration. I had never met this gentleman before, but on one memorable occasion I was taken, by my mother, to visit him at his home. He possessed a fine gramophone, and played me some of his precious 78rpm records. I was about 6 years old at the time. Two recordings stand out in my memory. One was the Grieg piano concerto, which I was hearing for the first time. It made a tremendous impression on me, and I determined that I would one day perform it,(which I did.) The second recording was an odd choice to play to a child, but I was overwhelmed. It was Kirsten Flagstad singing Sibelius songs, and it was one of the most powerful musical experiences of my life. I had never heard anything like it, the powerful intensity of this magnificent voice, and the vivid colours of this unfamiliar music made a huge impression on me. I never saw Mr. Lester again, but he brought magic into my life.

And when I gave my first public performance, at the age of seven, the feeling of engaging with an audience , and sharing  this magical world of music was so exhilarating,that I knew, without a doubt, that I wanted to be a pianist.

Further motivation and inspiration came from my repeated reading of ‘Prelude’,a book based on the early life of Eileen Joyce, who was arguably the most famous concert pianist at that time in Britain. I was captivated by this highly romanticised account of a child from a very ordinary background being swept into the extraordinary and exciting world of music. I devoured the stories of her inspiring lessons with eminent European teachers, and the manic regimes of practising, which all culminated in a dazzling career. It was heady stuff, and I became even more determined to enter this fascinating world myself one day.

I was taken to hear Eileen Joyce play on one  occasion by a family friend, who took me backstage afterwards to meet this glamorous superstar of the classical music world. I remember her gorgeous frocks, and, in marked contrast, her workmanlike hands. As she shook my hand, I remember being struck by their immense power.

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

The first time I heard a great pianist in recital was in my early teens, when I I attended a Sunday afternoon concert given by Artur Rubinstein at the Royal Festival Hall. I was mesmerised by the sheer joy and freedom of his playing. This represented the ideal of piano playing that I would, from then on, aspire to.

At the age of seventeen I began my studies at the Royal Academy of Music, where my teacher was Vivian Langrish, who had been a student of Tobias Mattay, alongside Myra Hess. He taught me the importance of sound quality and variety of colour, and greatly expanded my tonal range. Also, while a student, I played for many singers, and was hugely influenced by the great singing teacher, Flora Nielsen, who first revealed the wonders of French song to me, opening the door to the exquisite music of Debussy and Faure in particular.

But I think the greatest inspiration and influence on my playing came from two violinists, the remarkable Hungarian violin professor, Bela Katona, and the legendary violinist Nathan Milstein.

Bela had the most extraordinary ability to reveal the inner life and structure of the music, while at the same time demanding a meticulous attention to detail.

One of the greatest experiences of my life was playing with Nathan Milstein. Every rehearsal was a lesson with a great master. He would demonstrate on the violin what he wanted me to do on the piano. I learnt so much just trying to develop my touch to match his attack on the string, and the freedom of his bow arm to make the gestures of the music. It was awe-inspiring. And throughout, there was always his insistence on the vital importance of the bass line. I learned to focus my attention on a fully independent and fully present and vital bass line, which underpins everything.

Finally, I must acknowledge the influence of jazz, in particular, great jazz pianists, most notably Oscar Peterson Bill Evans and Erroll Garner. From first hearing jazz in my early teens, I knew that I wanted to play classical music with the freedom, spontaneity and immediacy of these artists. This is still my ideal.

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

One’s life as a musician is a continuous, never-ending series of challenges, and it is in meeting these challenges that one develops. But two huge personal challenges stand out for me.

The first was a very serious illness at the age of 28, when , quite suddenly, all my joints, right down to fingers and toes, seized up, and I became completely immobilised. I spent some weeks in hospital, where the doctors were completely baffled, and considered that I would never walk again, and certainly never play the piano. Eventually, however, slowly and painfully, movement returned, curiously, one joint at a time. The fingers were the last to return, taking several months. I gradually eased back into playing again, finding my way back gently into professional work by doing a little accompanying, and then duo playing and chamber music, as my strength returned. I did not return to solo playing in public, as, due to my illness, I had developed severe anxiety about performing from memory. I was now teaching at the Royal Academy of Music, and was also invited to teach at TrinityCollege, and to establish an ensemble class there. Thus I found myself enjoying a thriving and fulfilling career, performing and teaching, which continued over the following three decades.

And then, shortly after my 60th birthday, came my second huge challenge, when I lost most of my sight, due to haemorages behind the retinas of both eyes. It was extraordinary timing, as, just four years earlier, I had begun training in NLP, ( Neuro-Linguistic-Programming), during which, using one of the very powerful processes we were being taught, I succeeded in eliminating my memory anxiety. I had been looking forward to performing solo again when this new catastrophe struck. Recitals had already been booked, and these, of course, now had to be postponed, while I adjusted to a new, and frightening reality, but I knew that, although I had to give up all ensemble playing due to my severely impaired sight, I would be able to perform solo, from memory. Now there were new challenges, but my desire to continue to play carried me through, and again, I rebuilt my strength and my career, with the support of my wonderful husband Ian, and an amazingly loyal and devoted group of ex-students, who had become wonderful friends over the years.

Which performances/recordings are you most proud of?

My last CD , of solo piano music by Fauré, and the previously-released disc of music by Saint-Saens.

Which particular works do you think you play best?

I think that is for others to express their opinions. During the past few years I have felt a particular affinity with the music of Chopin, Fauré, Debussy and Ravel.

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

I allow ideas, or the desire to play particular works, to come to me, and then I play around with them, experimenting, until they come together to form programmes. It’s a creative process.

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

The Holywell Music Room, Oxford. It has special personal memories for me, and I love its intimacy and unique history.

Who are your favourite musicians?

Gyorgy Cziffra, Dinu Lipatti, Clara Haskil, Vladimir Horowitz, Claudio Arrau, Emil Gilles, Artur Rubinstein, Marta Argerich, Nathan Milstein, Beaux Arts Trio.

Jazz pianists, Erroll Garner, Oscar Peterson, Bill Evans.

What is your most memorable concert experience?

My most memorable concert experience was when I performed in the Memorial concert for John Bingham In 2005, at Blackheath Halls in London.

John was a wonderful pianist and a very special colleague and friend. We had met at Harold Craxton’s studio when we were both 16 years old, and entered the Royal Academy of Music together the following year as scholarship students. We resumed our friendship later when we were both teaching at Trinity College of Music.

At the same time as John was suffering his final illness, leading to his tragic and untimely death, I also had been ill, and had lost most of my sight. Despite my extreme physical weakness at that time, I felt compelled to volunteer to play at John’s memorial concert, such was the bond between us. I knew exactly what I should play— the Fourth Ballade of Chopin, a work which had been special to both of us since our student days.

This would be a momentous experience for me for another reason. As I have related earlier, I had not performed solo in public since a previous illness three decades earlier had left me unable to perform from memory in public. I also described how I had cured this anxiety, and was able to resume performing solo again. This performance at John’ s concert was to be my first solo appearance for more than thirty years. As the date for the concert drew near,  I became apprehensive, thinking how crazy I had been to volunteer, when I knew that, not only would I be performing alongside some very eminent musicians, but that the hall would be packed with many distinguished pianists and other highly respected members of the music profession.

The little sight I had left was also highly distorted at that time, so, on the day, before the concert, I practised finding my way to the piano, which, fortunately, was at ground level, with no treacherous stairs to negotiate.

When the time came for my entrance, the doors opened, and then the most extraordinary thing happened. As I tentatively began to walk forward, I found myself following the figure of a woman, who I instinctively knew was another version of myself. She was taller than me, with hair much darker and longer than mine, but I had no doubts as to her identity. And I suddenly felt quite confident, knowing that she would lead me safely to the piano. As I sat down on the stool, I sensed her sitting down by my side, ( although there was no actual chair there.) I felt entirely at ease, and as I played the opening bars I felt her gradually drift away. I felt inspired, with a sense that all was well, and the music seemed to play itself. Afterwards I received a wonderful ovation from the audience, and I knew that this  was a turning point in my life. I have no explanation to offer, but assumed that my mysterious guide must have been a kind of doppelgänger.

As a musician, what is hour definition of success?

For me, success is when I experience the sense of being ‘in the flow’ in a performance, truly in the moment, being at one with myself, with the music and the audience, in a kind of ‘magic loop’. The music seems to play itself. One cannot make this happen. One can only prepare meticulously, and in a way which creates the greatest potential for this to happen. Then, miraculously, sometimes the gods will smile on us!

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

Be curious, allow yourself to experiment.

Ask the question How?

Be kind to yourself.

Embrace uncertainty.

Do not strive for perfection, but follow your dreams, and move step by step towards your goals. Enjoy the journey. Remember that we ‘play’ a musical instrument!

What is your most treasured possession?

I have two. My beloved Steinway piano, and my beautiful Cornish Rex cat, Leo.

What is your present state of mind?

Curious.
Christine Croshaw’s recording of piano music by Gabriel Fauré is available now


Christine Croshaw has enjoyed a long and successful career as a solo pianist, accompanist and chamber music player.

Her concert engagements have taken her to most major venues around the U.K., including many appearances at the Wigmore Hall, Queen Elizabeth Hall and Purcell Room.

She has performed across the Continent in France, Germany, Austria, Spain, Portugal, Italy, Malta, Norway and Denmark, Finland, Poland and Switzerland, and also in North America. Festival appearances include Cheltenham, Lichfield, Kensington and Chelsea, Ludlow, Chichester, Lisbon, Bermuda and Taomina.

Read more

La and Leo – Christine’s Croshaw’s blog

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

I remember being fascinated by the piano in my grandmother’s house, and this led to my mother teaching me to read music at the age of three. I do not remember, as a child, hearing much music, none of my friends played an instrument, but I remember my grandmother played by ear, and sang music-hall songs to me, which I loved. They must have embedded themselves deep in my memory, as I still remember many of these, including all the words!

One strange memory stands out. My mother, before her marriage, had worked in the office of a local chemist, a Mr. Lester, of whom she spoke occasionally, with the greatest respect and admiration. I had never met this gentleman before, but on one memorable occasion I was taken, by my mother, to visit him at his home. He possessed a fine gramophone, and played me some of his precious 78rpm records. I was about 6 years old at the time. Two recordings stand out in my memory. One was the Grieg piano concerto, which I was hearing for the first time. It made a tremendous impression on me, and I determined that I would one day perform it,(which I did.) The second recording was an odd choice to play to a child, but I was overwhelmed. It was Kirsten Flagstad singing Sibelius songs, and it was one of the most powerful musical experiences of my life. I had never heard anything like it, the powerful intensity of this magnificent voice, and the vivid colours of this unfamiliar music made a huge impression on me. I never saw Mr. Lester again, but he brought magic into my life.

And when I gave my first public performance, at the age of seven, the feeling of engaging with an audience, and sharing this magical world of music was so exhilarating, that I knew, without a doubt, that I wanted to be a pianist.

Further motivation and inspiration came from my repeated reading of ‘Prelude’,a book based on the early life of Eileen Joyce, who was arguably the most famous concert pianist at that time in Britain. I was captivated by this highly romanticised account of a child from a very ordinary background being swept into the extraordinary and exciting world of music. I devoured the stories of her inspiring lessons with eminent European teachers, and the manic regimes of practising, which all culminated in a dazzling career. It was heady stuff, and I became even more determined to enter this fascinating world myself one day.

I was taken to hear Eileen Joyce play on one  occasion by a family friend, who took me backstage afterwards to meet this glamorous superstar of the classical music world. I remember her gorgeous frocks, and, in marked contrast, her workmanlike hands. As she shook my hand, I remember being struck by their immense power.

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

The first time I heard a great pianist in recital was in my early teens, when I I attended a Sunday afternoon concert given by Artur Rubinstein at the Royal Festival Hall. I was mesmerised by the sheer joy and freedom of his playing. This represented the ideal of piano playing that I would, from then on, aspire to.

At the age of seventeen I began my studies at the Royal Academy of Music, where my teacher was Vivian Langrish, who had been a student of Tobias Mattay, alongside Myra Hess. He taught me the importance of sound quality and variety of colour, and greatly expanded my tonal range. Also, while a student, I played for many singers, and was hugely influenced by the great singing teacher, Flora Nielsen, who first revealed the wonders of French song to me, opening the door to the exquisite music of Debussy and Faure in particular.

But I think the greatest inspiration and influence on my playing came from two violinists, the remarkable Hungarian violin professor, Bela Katona, and the legendary violinist Nathan Milstein.

Bela had the most extraordinary ability to reveal the inner life and structure of the music, while at the same time demanding a meticulous attention to detail.

One of the greatest experiences of my life was playing with Nathan Milstein. Every rehearsal was a lesson with a great master. He would demonstrate on the violin what he wanted me to do on the piano. I learnt so much just trying to develop my touch to match his attack on the string, and the freedom of his bow arm to make the gestures of the music. It was awe-inspiring. And throughout, there was always his insistence on the vital importance of the bass line. I learned to focus my attention on a fully independent and fully present and vital bass line, which underpins everything.

Finally, I must acknowledge the influence of jazz, in particular, great jazz pianists, most notably Oscar Peterson Bill Evans and Erroll Garner. From first hearing jazz in my early teens, I knew that I wanted to play classical music with the freedom, spontaneity and immediacy of these artists. This is still my ideal.

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

One’s life as a musician is a continuous, never-ending series of challenges, and it is in meeting these challenges that one develops. But two huge personal challenges stand out for me.

The first was a very serious illness at the age of 28, when , quite suddenly, all my joints, right down to fingers and toes, seized up, and I became completely immobilised. I spent some weeks in hospital, where the doctors were completely baffled, and considered that I would never walk again, and certainly never play the piano. Eventually, however, slowly and painfully, movement returned, curiously, one joint at a time. The fingers were the last to return, taking several months. I gradually eased back into playing again, finding my way back gently into professional work by doing a little accompanying, and then duo playing and chamber music, as my strength returned. I did not return to solo playing in public, as, due to my illness, I had developed severe anxiety about performing from memory. I was now teaching at the Royal Academy of Music, and was also invited to teach at Trinity College, and to establish an ensemble class there. Thus I found myself enjoying a thriving and fulfilling career, performing and teaching, which continued over the following three decades.

And then, shortly after my 60th birthday, came my second huge challenge, when I lost most of my sight, due to haemorages behind the retinas of both eyes. It was extraordinary timing, as, just four years earlier, I had begun training in NLP, ( Neuro-Linguistic-Programming), during which, using one of the very powerful processes we were being taught, I succeeded in eliminating my memory anxiety. I had been looking forward to performing solo again when this new catastrophe struck. Recitals had already been booked, and these, of course, now had to be postponed, while I adjusted to a new, and frightening reality, but I knew that, although I had to give up all ensemble playing due to my severely impaired sight, I would be able to perform solo, from memory. Now there were new challenges, but my desire to continue to play carried me through, and again, I rebuilt my strength and my career, with the support of my wonderful husband Ian, and an amazingly loyal and devoted group of ex-students, who had become wonderful friends over the years.

Which performances/recordings are you most proud of?

My last CD , of solo piano music by Fauré, and the previously-released disc of music by Saint-Saens.

Which particular works do you think you play best?

I think that is for others to express their opinions. During the past few years I have felt a particular affinity with the music of Chopin, Fauré, Debussy and Ravel.

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

I allow ideas, or the desire to play particular works, to come to me, and then I play around with them, experimenting, until they come together to form programmes. It’s a creative process.

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

The Holywell Music Room, Oxford. It has special personal memories for me, and I love its intimacy and unique history.

Who are your favourite musicians?

Gyorgy Cziffra, Dinu Lipatti, Clara Haskil, Vladimir Horowitz, Claudio Arrau, Emil Gilels, Artur Rubinstein, Martha Argerich, Nathan Milstein, the Beaux Arts Trio.

Jazz pianists: Erroll Garner, Oscar Peterson, Bill Evans.

What is your most memorable concert experience?

My most memorable concert experience was when I performed in the Memorial concert for John Bingham in 2005, at Blackheath Halls in London. John was a wonderful pianist and a very special colleague and friend. We had met at Harold Craxton’s studio when we were both 16 years old, and entered the Royal Academy of Music together the following year as scholarship students. We resumed our friendship later when we were both teaching at Trinity College of Music.

At the same time as John was suffering his final illness, leading to his tragic and untimely death, I also had been ill, and had lost most of my sight. Despite my extreme physical weakness at that time, I felt compelled to volunteer to play at John’s memorial concert, such was the bond between us. I knew exactly what I should play— the Fourth Ballade of Chopin, a work which had been special to both of us since our student days.

This would be a momentous experience for me for another reason. As I have related earlier, I had not performed solo in public since a previous illness three decades earlier had left me unable to perform from memory in public. I also described how I had cured this anxiety, and was able to resume performing solo again. This performance at John’ s concert was to be my first solo appearance for more than thirty years. As the date for the concert drew near,  I became apprehensive, thinking how crazy I had been to volunteer, when I knew that, not only would I be performing alongside some very eminent musicians, but that the hall would be packed with many distinguished pianists and other highly respected members of the music profession.

The little sight I had left was also highly distorted at that time, so, on the day, before the concert, I practised finding my way to the piano, which, fortunately, was at ground level, with no treacherous stairs to negotiate.

When the time came for my entrance, the doors opened, and then the most extraordinary thing happened. As I tentatively began to walk forward, I found myself following the figure of a woman, who I instinctively knew was another version of myself. She was taller than me, with hair much darker and longer than mine, but I had no doubts as to her identity. And I suddenly felt quite confident, knowing that she would lead me safely to the piano. As I sat down on the stool, I sensed her sitting down by my side, ( although there was no actual chair there.) I felt entirely at ease, and as I played the opening bars I felt her gradually drift away. I felt inspired, with a sense that all was well, and the music seemed to play itself. Afterwards I received a wonderful ovation from the audience, and I knew that this  was a turning point in my life. I have no explanation to offer, but assumed that my mysterious guide must have been a kind of doppelgänger.

As a musician, what is hour definition of success?

For me, success is when I experience the sense of being ‘in the flow’ in a performance, truly in the moment, being at one with myself, with the music and the audience, in a kind of ‘magic loop’. The music seems to play itself. One cannot make this happen. One can only prepare meticulously, and in a way which creates the greatest potential for this to happen. Then, miraculously, sometimes the gods will smile on us!

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

Be curious, allow yourself to experiment.

Ask the question How?

Be kind to yourself.

Embrace uncertainty.

Do not strive for perfection, but follow your dreams, and move step by step towards your goals. Enjoy the journey. Remember that we ‘play’ a musical instrument!

What is your most treasured possession?

I have two. My beloved Steinway piano, and my beautiful Cornish Rex cat, Leo.

What is your present state of mind?

Curious.
Christine Croshaw’s recording of piano music by Gabriel Fauré is available now


Christine Croshaw has enjoyed a long and successful career as a solo pianist, accompanist and chamber music player.

Her concert engagements have taken her to most major venues around the U.K., including many appearances at the Wigmore Hall, Queen Elizabeth Hall and Purcell Room.

She has performed across the Continent in France, Germany, Austria, Spain, Portugal, Italy, Malta, Norway and Denmark, Finland, Poland and Switzerland, and also in North America. Festival appearances include Cheltenham, Lichfield, Kensington and Chelsea, Ludlow, Chichester, Lisbon, Bermuda and Taomina.

Read more

La and Leo – Christine’s Croshaw’s blog

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

I fell in love with music and the piano at about 4 years old when I first heard it played by a teacher at my kindergarten. I still remember that magical moment.

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

When I was about 12, I had a brief period of study with a concert pianist in Hong Kong who inspired me to see music as a vocation. I have been very fortunate to have studied with some wonderful teachers and mentors, including Joan Havill and Robert Silverman. The writings of Schumann, and letters of Brahms have also been a huge influence on me. Launching MusicArt  in 2015 was a crucial step in my career which opened up many new opportunities to collaborate with, and commission works from, contemporary visual artists, choreographers, and poets, who shape my current work in music.

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

It was a great challenge to combine performing with pursuing my doctoral research on the musical aesthetics of Schumann and Brahms at the Guildhall School/City University of London. Another challenge was launching MusicArt to collaborate for the first time with a painter, composer, and an art gallery. I learned from these two experiences to never give up and that challenges often lead to good things!

Which performance/recordings are you most proud of?

It was unforgettable to do a live broadcast for Classic FM from my own living room to commemorate Mozart’s 225th anniversary in 2016. It was very intimate yet reached out to so many people at the same time.

With my ensemble Minerva Piano Trio, I am proud of our year-long residency at St John’s Smith Square 2016/17. We joined forces to commission a new arrangement and dance choreography of scenes from Ravel’s Daphnis and Chloe for piano trio and dance. Our revival of the rarely performed Brahms’ Piano Trio in B major, Op. 8 (original version) was also one of the highlights for me during this residency.

Minerva Trio © Anthony Dawton

Which particular works do you think you play best?

I tend to choose pieces that speak to me on a personal level. Dinu Lipatti once said that it’s not enough to like the piece you play, but the piece must also like you! I play a wide range of repertoire but have a soft spot for Schumann, Brahms, and Ravel.  As long as I can make a connection with the sound world of a particular piece, then I feel inspired to share it.

It is thrilling to premiere a new work as there is a sense of freedom in communicating a piece for the first time. I love the collaborative aspect of working together with a composer, which is very creative and exciting.  That connection I mentioned before then extends to a kind of real affinity with the composer.  At the moment I am working with Hong Kong-born British composer Raymond Yiu.

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

I build on my core repertoire every season. In the past, I would tend to be more composer-focused. If I started to play one piece by Schumann, I would then aim to cover his entire output in order to gain a better understanding of the composer’s language. These days I am interested in finding ways to create dialogues between different works in a programme.

While I love my core repertoire for concert programmes (for example, I will be playing Beethoven, Schumann, and Ravel at St Martin-in-the Fields in December), I am also constantly looking for new stimulants for something adventurous.  For my next MusicArt concert I will present a world premiere concert-installation ‘Conceptual Concert in Three Acts’, inspired by the collaboration between Robert Rauschenberg and John Cage and performed within an exhibition of their works at Galerie Thaddaeus Ropac.  It will involve the music of John Cage, an installation of sound and spoken dialogue, and a new musical work created in collaboration with composer Raymond Yiu and poet Kayo Chingonyi.

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

I had a fantastic experience playing Arvo Pärt’s Fratres at an open space outside Central St Martins for a fashion show in London with a few hundred people in the audience. Since then I am happy to play anywhere as long as it is aesthetically pleasing or stimulating to the senses in some way, not just acoustically.

Who are your favourite musicians?

I have huge admiration for Leonard Bernstein, especially since I discovered his Eliot Norton lecture series, The Unanswered Question. He said, ‘The best way to know a thing is in the context of another discipline.’ Like other great musicians, he reminds one that music and humanity are inseparable.

What is your most memorable concert experience?

For me, playing Beethoven’s Emperor Concerto at LSO St. Luke’s in London was as special and memorable as playing John Cage’s 4’33” while silently reading a poem at an art gallery. I don’t think I can choose between the conventional and creative approach to playing concerts, as I love both.

As a musician, what is your definition of success?

Success is constantly achieving what I set out to do. It’s important to me to generate creative ideas on a regular basis, work with people whom I admire, and create unique experiences for the audience. When I can do these things continuously at a high level, then I am happy.

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

Treat music as an art form that demands the utmost dedication and discipline. Career is by no means guaranteed. After you finish training and studying at the conservatoire or college, your colleagues and collaborators become, in a way, your teachers. Learn to listen through playing with others.

What is your most treasured possession?

The Yamaha C3 grand piano that I have had since I was 12. It has travelled with me from Hong Kong to Vancouver to London. I had wanted a grand piano from the very beginning, and my mother promised if I reached Grade 8 she would buy me one. It turned out she started saving for it from the day she promised, so she could afford it, just in case! That was a great motivation and I made sure to get it as quickly as possible.

Video links:

Debussy  – https://www.youtube.com/watch?v=epJymUc2rDY

Brahms: Intermezzo in A major, Op. 118, No. 2 https://www.youtube.com/watch?v=OImMONM78TI

Music by Arvo Pärt – Für Alina

Poem by Zaffar Kunial – Sunlight

https://www.youtube.com/watch?v=iG-g7bfLpec

ERDEM
London Fashion Week SS14

Annie Yim, pianist
Richard Birchall, cellist

https://www.youtube.com/watch?v=4rTeQ8Iaqnc

John Cage the Lover and Poet (audio)

https://vimeo.com/193910760

OR

John Cage Dream (1947)

https://www.youtube.com/watch?v=PEknsWJLp-o

Scenes from Daphnis and Chloe (2017)
Minerva Piano Trio
Thomasin Gülgeç, dancer
Estela Merlos, dancer

https://www.youtube.com/watch?v=PdsMBr1JfBw