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

We had an upright piano in the corner of the dining room, which one of my older sisters was learning on. Aged about 6 I used to sit at it, crashing about on the keys and flailing my arms around as I imagined concert pianists did –  maybe I saw one on the TV. I think my parents realised my enthusiasm needed channelling and took me to a teacher who reminded me of Cruela de Vil – brown hair on one side and blonde on the other! I had a wonderful teacher at secondary school, Elaine Hugh-Jones, who was very inspiring and supportive. For a long while I toyed with becoming a solo pianist, but turned down the opportunity to study piano at the RNCM in preference to taking up an instrumental scholarship at Oxford. Over time I began to realise that my musical temperament did not lean towards life as a soloist, and there were many other ways to pursue a performing career. The Guildhall School of Music and Drama (GSMD) held those answers for me.

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

A chance conversation with Roger Vignoles prevented me from giving up altogether…I needed a teacher who knew about accompanying-he suggested some lessons with Paul Hamburger, and, as well as with him, at the GSMD I had the chance to work intensively with Graham Johnson, Martin Isepp and Iain Burnside, who were all hugely inspirational to me in their different ways. Playing for masterclasses at Snape for wonderful singers/teachers such as Elly Ameling, Anthony Rolfe Johnson and Elizabeth Soderstrom were also fantastic learning opportunities. In latter years, especially after moving to Shropshire, I have Roddy (Roderick Williams) to thank for continuing to take me with him on his musical journey, whilst it may have seemed I disappeared off the musical world’s radar; and for his natural, intelligent, sublime interpretations. Oh, and his irrepressible sense of humour.

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

Trying to keep it going!! The move to Shropshire, having three children in close succession, and getting divorced made it particularly challenging to carry on playing at all.

Musically, I think some of the contemporary works I’ve performed have challenged me greatly, such as the four Songs by Torsten Rasch, commissioned for Gloucester Three Choirs Festival; and more recently getting out of my comfort zone and having to use an elbow in a new work called “The Rain is Coming” by Emily Levy.

Which performance/recordings are you most proud of?

Going way back, one which comes to mind is playing for Nathan Berg in the Gold Medal final at GSMD. He was singing Mahler’s Ruckert Lieder – trying to do these incredible songs justice for Nathan meant so much to me I was sick beforehand! Luckily it paid off – and he won. A recent performance of Die Schöne Mullerin with Roddy had a feeling of musical and emotional synchronicity – I was so glad to be part of that performance too. And I’m really proud to have been given the opportunity to record the new SOMM CD, songs that I have performed with Roddy many, many times over the years, all of which I adore.

Which particular works do you think you play best?

You may have to ask others about that!

Accompanists have to be like chameleons. It’s important to be able to feel comfortable in as many styles as possible. I like to think I can play best whatever I happen to be working on. Having said that, I have a particular penchant for the serious and intense, for example I think I can put across a pretty convincing “Ich bin der welt abhanden gekommen” (Mahler)… I also feel I now have a more confident approach to playing Schubert – Die Schöne Mullerin is a personal favourite; although tomorrow it may be Schwanengesang, and the day after, Winterreise.

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

As an accompanist with many other demands made on my time, these choices are frequently not mine. Quite often my job is to fall in love with whatever repertoire I am tasked with – I enjoy that challenge.

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

Roddy and I did a tour of Schwanengesang in 2016. One of the venues was the Sam Wanamaker Theatre at the Globe in London. It was a very special place to play. It is an utterly beautiful bijou Jacobean-style space for starters, and as the performers, we were cocooned by the audience above us and around us, all of us bathed in the most atmospheric candlelight – a truly memorable experience.

What is your most memorable concert experience?

A festival in 2013 – memorable for the wrong reasons! I was attempting to give my all in an exceptionally beautiful postlude of Richard Sisson’s “So Heavy Hangs the Sky”, when the city council rudely began to empty the huge glass-recycling bins outside the venue – the sound continued for a good ten seconds… The second half of the concert was accompanied by reversing vehicle noises, pretty much matching the pulse, but not the atmosphere of Britten’s “The Sunflower”. The audience were not happy!

As a musician, what is your definition of success?

The ability to be able to move an audience through musical communication.

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

Respect the composer’s intentions, whatever you perceive them to be; try to communicate the spirit of the piece; enjoy the practice journey; have fun. Respect and support your colleagues.

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

Back at the Wigmore Hall

What is your idea of perfect happiness?

The Beach House Goa Retreat

What is your most treasured possession?

My Steinway piano, given to me when I was 14

What do you enjoy doing most?

Walking the dog in the Shropshire hills with my kids

What is your present state of mind?

Busy!

 

Roderick Williams’ new CD, with Susie Allan, piano, ‘Celebrating English Song’ is available now on the SOMM label. Further information here

Susie Allan studied Music at Worcester College, Oxford, as a Hadow Instrumental Scholar, and Piano Accompaniment at the Guildhall School of Music and Drama. She won the GSMD Accompaniment Prize, the Gerald Moore Award, and a Geoffrey Parsons Memorial Award. Her teachers included Paul Hamburger, Graham Johnson and Iain Burnside. She has accompanied many masterclasses at the Britten-Pears School at Snape Maltings, Suffolk and elsewhere, and has been a Professor of Accompaniment at the RCM and the RWCMD.

 

 

 

Meredith Monk Ellis Island

Phillip Glass – Études Nos 9 and 2

Debussy Études Book 1

Christina McMaster, piano

My second trip to Wimbledon International Music Festival proved as rewarding and enjoyable as the first. As part of the Festival’s New Generation Artist Series, pianist Christina McMaster gave a lunchtime concert featuring music by living American composers Meredith Monk and Philip Glass, together with Études by Claude Debussy.

Christina studied with Joanna Macgregor at the Royal Academy of Music and I think the influence of her mentor shows in her imaginative and eclectic programmes and the clarity, panache and vivid colour of her playing. Monk’s ‘Ellis Island’ was written to accompany a short silent film of the same name, which celebrates the gateway to the USA for thousands of immigrants in search of a better future. The music, originally scored for two pianos (I assume the transcription for solo piano was arranged by Christina herself), has a lilting Gaelic flavour, a reminder that many people from Scotland and Ireland emigrated to America. The overall message of the music is hopeful and joyful, though a quieter section at the end suggests eagerness tinged with anxiety at what the future may hold. Christina created a lovely bright, crystalline sound with a great sense of energy throughout, though the music never felt relentless, but rather light and dancing.

Fellow New Yorker Philip Glass is regarded as the master of minimalism, but his piano music when played with sensitivity can feel almost romantic, and this was certainly Christina’s approach to the two Études by Glass in this programme, one frenetic and urgent, the other more reflective with its Schubertian long-spun motifs, spaciousness and unexpected harmonic shifts. Her sense of pacing, elegantly nuanced dynamics and tempo made these works the highlight of this excellent programme for me.

Debussy’s Études follow Chopin’s model – short pieces written to exercise and improve the pianist’s technique, and like Chopin’s Opp 10 and 25 Études, Debussy elevates the pieces from student exercises to exquisite concert miniatures. The first Étude of Book 1 is dedicated to “Monsieur Czerny” and is an amusing take on Carl Czerny’s rather tedious five-finger exercises which many young piano students have had to endure (I know I did!). Cheeky interjections from rogue fingers hint at the student’s frustration at having to remain in a five-finger position on the keyboard and the work grows more expansive and virtuosic towards the end. It was despatched with playfulness and wit. The other Études were played with similar character, their individual quirks and delights carefully delineated by Christina. There were so many moments to savour – great delicacy of touch, subtle shadings, natural rubato and rhythmic vitality, and the entire performance was vibrantly coloured and very stylishly presented. The encore, Debussy’s ‘Girl With the Flaxen Hair’, was played with equal poise and elegance. 
(Photo: Dominic Farlam)

 

lisa_smirnova_presspic2
Who or what inspired you to take up the piano and pursue a career in music?
It was an coincidence that I took up the piano. But later I chose independently to pursue a career as a musician, because I noticed that nothing other than making
music made me feel great.

Who or what were the most important influences on your musical life and career?
Practically, it was my teacher Karl Heinz Kaemmerling, and my wonderful colleague, the violinist Benjamin Schmid – both during my studies at Mozarteum in Salzburg. Exposure to Friedrich Gulda and Nikolaus Harnoncourt were turning
points and led to greater inspiration for my musical understanding.

You are performing in the London Piano Festival this October – tell us more about this?
I loved Katya and Charles’ idea of performing what one likes most, and immediately said “yes”. Repertoire from the baroque and classical periods is my best repertoire. My interests and performing style have nothing to do with the “Russian piano school”, and I am deeply convinced that the modern piano offers the widest range of possibilities to create the sound appropriate for these works.
So I chose three composers: Scarlatti – his sonatas, of which there are so many, are one better than the next and always perfect for a discovery. Mozart is simply my favourite composer – I feel very close not only to his music, but to his entire personality. And Handel’s Suite is part of my award winning recording project for ECM.

What have been the greatest challenges of your career so far?
To start up from absolute zero with no money whatsoever. And to realize later on, that it is not only the musicianship, but Marketing and PR that you have to put your efforts in – a very disappointing discovery.

Which performance/recordings are you most proud of?
The already mentioned Handel Suites for ECM, and the brand new Mozart Piano Concerti with my New Classic Ensemble Vienna – we just recorded and produced them for the Austrian Broadcasting Corporation.

Which particular works do you think you perform best?
Mozart Piano Concerti

How do you make your repertoire choices from season to season?
It is a mixture between requests from promoters and the works I would like to study or perform again – I try to find challenging combinations.

Do you have a favourite concert venue to perform in and why?
The Concertgebouw Amsterdam. Everything feels perfect to me: The size, the acoustics, they always had a wonderful piano when I played…. and the red carpet on the stairs when you come down on stage feels like Hollywood….

Who are your favourite musicians?
Glenn Gould, Maria Callas, Friedrich Gulda, Nikolaus Harnoncourt, Andras Schiff

What is your most memorable concert experience?
The one when my “plan” with a certain piece of music worked out, and fortunately there have been many.


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

To be honest, I don’t know, as I am still learning something new myself each day.

What is your idea of perfect happiness?
Happiness is the flow to be so entirely occupied with what you do at the moment that nothing else exists. Naturally this cannot last your whole life, but also happiness cannot.

What is your most treasured possession?
My time.

Lisa Smirnova performs in the 2017 London Piano Festival at Kings Place in two concerts on 7 October. Further information and tickets here


Austrian-Russian pianist Lisa Smirnova is an internationally recognized concert artist renowned for her interpretations of baroque and Classical repertoire. The Frankfurter Allgemeine Zeitung recently remarked that her “sense of style, use of phrasing and ornamentation and tempi, that make the piano an instrument of harmony of vibrating strings, gave her performance its transcendent and unmistakable character.”
(picture © Lisa Smirnova)

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.

 

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)

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