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Who or what inspired you to take up the piano and make it your career? 

My mother was the first major influence in my pianistic life as she saw me fiddling away on our terrible upright piano at home (which had actually been sitting in flood water in a freezing cold garage!) and decided to take me to lessons.  Her idea of taking piano lessons for a term to see how I would take to it was something I wasn’t all that enthralled about and I was convinced I wanted to learn the ‘cello instead.  The rest is history!  Later on, I was inspired by such artists as Martha Argerich, Daniel Barenboim, Emil Gilels and many others.

Who or what are the most important influences on your playing? 

I was lucky enough to have fantastic teachers throughout my early years in particular (Leslie Riskowitz who started me off on the piano and Polish pianist AlicjaFiderkiewicz at Chetham’s.  I then went onto study with Joan Havill at the Guildhall).  The people I work with are also wonderful influences, in both chamber music groups and those who I have met and played to in masterclasses.  Stephen Kovacevich and Boris Berman both inspired me immensely.

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

Balancing everything in life and finding enough time to be with the instrument as well as remaining resilient against the odds a lot of the time.  A pianist’s life is a tough but rewarding one and simply managing to find the necessary time to practise enough whilst financing life in London and building a career is a real challenge.

What are the particular challenges/excitements of working with an orchestra/ensemble? 

I find it extremely rewarding to work with orchestras and ensembles and as a pianist, there are so many wonderful concerti and chamber music works out there.  It is a truly great feeling to make music with someone else and to share the whole experience together on stage.  This is something which solo pianists can sometimes miss out on a little, generally needing to spend a lot of time alone in practice rooms to learn all those notes!

Which performances/recordings are you most proud of? 

I was lucky enough to give my solo debut recital at the Wigmore Hall in 2007 and this was a truly wonderful experience.  Last year, I performed Dora Bright’s piano concerto with Charles Peebles and the Morley Chamber Orchestra, which was the first performance since the nineteenth century as well as the first ever recording of the work.  The same will be true of the ‘Variations for Piano and Orchestra’ which we are going to be recording later this year.  I was also proud to be asked to record Rory Freckleton’s piano works recently and am looking forward to the CD being ready.

How do you make repertoire choices from season to season? 

Specific concerti are usually requested by orchestras but in terms of solo repertoire, I tend to play to my strengths as much as possible, whilst trying to create a balanced and varied programme.  At the current stage in my career, I am also trying to learn and perform as much new repertoire as possible, so that I come back to it having already learnt it rather than starting it afresh when I am older.

What repertoire do you think you play best? 

I feel most at home with the Germans!  I particularly enjoy playing Brahms and love the bigger works such as the F minor Sonata and the two concerti.  I also think Beethoven, Schumann, Schubert, Gershwin and Ireland suit me quite well.

Do you have a favourite concert venue? 

The Wigmore Hall would have to be my favourite!  I also very much enjoy performing at Edinburgh’s Reid Concert Hall, the De Montfort Hall in Leicester and at St John’s Smith Square in London.

Who are your favourite musicians? 

Well this is a very hard one to answer as there are so many!  To name but a few, I would have to say Mischa Maisky, Martha Argerich, David Oistrakh, Emil Gilels, Sviatoslav Richter, Vladimir Ashkenazy, Emma Kirkby and Daniel Barenboim.    On a more personal level, there are also many musicians with whom I have had the pleasure of working over the years.

What is your most memorable concert experience? 

It would have to be playing at the Wigmore Hall. I also loved playing on the Greek island of Paros.  I played the inaugural recital in the new piano festival which was launched there a few years ago.  It was amazing to perform in such an idyllic setting in the most beautiful surroundings to people who had rarely been exposed to live classical music concerts.

What is your favourite music to play? To listen to? 

I love playing Brahms and Beethoven in particular and also have fun playing Gershwin.  In terms of listening to music, unless I am going to a concert, I tend not to listen to all that much classical music.  I love jazz and could listen to Oscar Peterson all day.

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

Practise like mad when you are studying as there is never the time to do so later on.  I would also suggest learning all the major works of the repertoire and get first performances done as soon as possible, as this helps greatly when returning to them in the future.

What are you working on at the moment? 

Rachmaninoff’s 2nd and Mendelssohn’s 1st for forthcoming performances.  Then a solo recording in September.  Also, I am working at duo repertoire for a recital with the wonderful ‘cellist Brian O’Kane and at trio repertoire for a concert again with Brian and Fenella Humphreys with whom I love performing.

What is your idea of perfect happiness? 

Having good health, a busy life as a concert pianist and having a flat on the Greek island of Paros with my partner, Maciej.  The island, despite being small, has an airport so travelling to concerts wouldn’t be a problem and the food, weather and people are wonderful there!

You are artistic director of Piano Week, launched in 2013. Tell us more about Piano Week…. 

Piano Week is my new festival and summer school for pianists of all ages and abilities which takes place this year at Bangor University in North Wales from 10th-15th August 2014.  I wanted to create something new in the piano world and to build an international concert platform for pianists from around the world.  I decided to launch it in North Wales as I grew up there and hadn’t heard of a pianistic venture such as this in the area before, so I decided to make it happen!  We have an international faculty lined up to give recitals and master classes throughout the 2014 festival and we are lucky enough to be supported by Blüthner who are lending us a brand new concert grand for the duration of the festival this year.  Pianist magazine recently included an article about the festival in their April/May issue and Schott Music publishers will once again be presenting a showcase at Piano Week 2014.  Please go to www.pianoweek.com for more information on the summer school and how to apply.

British pianist Samantha Ward has performed extensively around the UK and in Europe and has appeared on British television and radio several times.  In October 2007, she gave her solo debut recital at London’s Wigmore Hall and has given solo recitals in such venues as St Martin in the Fields, St John’s Smith Square, St David’s Hall Cardiff and Manchester’s Bridgewater Hall, as well as in concert halls around Europe.  Most recently, in February 2013, Samantha was invited to become a Bluthner Artist and was installed as a Freeman of the Worshipful Company of Musicians. 

Samantha Ward is also the artistic director of Piano Week, a festival and summer school at the University of Bangor, north Wales. Full details here  

Samantha Ward’s full biography 

www.samanthaward.org

www.pianoweek.com

 

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(photo: Gilbert Francois)

Ukrainian-born pianist Valentina Lisitsa first performed at London’s Wigmore Hall in late 2007. Since then, she has gone on to achieve an almost cult following on YouTube, due in no small part to her selfless posting of videos of her practice sessions, usually the most private and personal preserve of the musician’s working life.  I suspect that these glimpses into her daily musical routines have endeared her to her followers, proving that she, like the rest of us, has to work hard for her art. Clearly adept at harnessing the relatively new medium of YouTube and its associated social networking applications, she has enjoyed a cool 70 million clicks on her videos together with concerts at The Yellow Lounge, a neat concept established in Berlin in 2006 to bring classical music to a much younger audience by holding concerts in nightclubs.

I admit to being slightly wary of anything or anyone that is labelled “a sensation” or “must see/hear” (ditto “iconic” – a word which should probably be banned from all publicity material and reviews of musicians, books and art exhibitions!). However, I was curious to hear Valentina Lisitsa in concert as I had read largely positive things about her live performances, so I went to hear her at Wigmore Hall on Monday lunchtime with ears and mind very much open and receptive.

Ms Lisitsa is tall and slender, with long blonde hair, her lissome frame accentuated by a simple black gown and spindly stiletto sandals. Her stage presence is modest, demure almost: there are no flamboyant gestures or crowd-pleasing piano pyrotechnics beyond those technical theatrics necessarily for the music and when she plays she seems entirely focussed on the task in hand. For her lunchtime programme she presented two very well-known and highly dramatic sonatas – Beethoven’s ‘Tempest’ and the craggy, Herculean Liszt B-minor, serious fare indeed.

The opening arpeggio of the Beethoven seemed unnecessarily elongated, so that its natural drama threatened to veer into the realms of cliché. However, taken with the explosive agitated first subject, when this motif reappeared, once again over-stretched, the effect was mysterious and convincing. A slow movement of beguiling warmth and tenderness prefaced an elegantly-turned finale, its tempo sufficiently reined in to allow us to enjoy Beethoven’s expression and inventiveness. I heard Maurizio Pollini play the same Sonata at the Royal Festival Hall a fortnight ago, and while the Italian maestro may have offered a more probing account born of many years spent living with this music, there was much to admire in Ms Lisitsa’s performance and there was no doubting her commitment, meticulous preparation, technical fluency and attention to detail. This proved a highly engaging reading of one of Beethoven’s best-loved Sonatas.

Liszt’s B-minor Sonata is a strange creature: heard on disc it can sound sprawling and disparate, but heard live and done well, it is a staggering music edifice. (Liszt scholar Alan Walker described it as “arguably one of the greatest keyboard works … of the nineteenth century”.) It takes an intelligent and daring pianist to pull all the elements together to create a whole. Divided into defined sections, demarcated by different tempo and expression markings – in effect, “movements” – these sections flow into one another, creating a single movement of non-stop music, lasting about 30 minutes.

Ms Lisitsa’s account had the requisite power and darkness in the opening statements, the famous theme which returns throughout the work. Her transitions between the sections were sensitively nuanced, creating a continuous, coherent narrative. There were moments of great transparency of sound, lyrical cantabile playing and delicate pianissimos. Her foot may have strayed to the una corda pedal a little too often in these passages, but overall her account was authoritative, at times thrillingly precipitous in the allegro and presto sections.

Checking with Sara Mohr Pietsch, the BBC Radio Three presenter for the concert, that an encore would be “allowed”, Ms Lisitsa gave a serene performance of Liszt’s transcription of Schubert’s Ave Maria. This was followed by a coruscating Chopin Etude (Op 10, No. 12), proving that she is very much a “real pianist” and one who, by her own admission on Twitter in the hours following the concert, “here to stay”.

 

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Ingrid Fuzjko Hemming

Who or what inspired you to take up the piano, and make it your career? 

It was my pianist mother who wanted me to be a piano teacher and in a way, she forced me to learn the piano. She initially taught me, and as I continued my studies in Europe, I began developing a busy concert schedule.

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

Leonard Bernstein while I was studying in Europe, and my pet cats, dogs and birds who have been there throughout my life and career.

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

Just when I was launching my career and I was about to perform with Leonard Bernstein in Vienna, I contracted a really high fever and I ended up losing much of my hearing, much of which is lost still today. My search for medical treatment took me to Stockholm though, and I ended up broadcasting on the Swedish and German radio there, so the positive in me sees the opportunity it brought for me.

However, I would not really say that I think of that as my greatest musical challenge – every collaboration with other musicians and orchestras is a challenge in its own way. One of the greatest recent challenges was the Chopin piano concerto I played with Prague Radio Symphony Orchestra last year. The conductor as well as the whole orchestra were impressed with my performance and I was incredibly honoured to be asked to play with them again.

Which performance/recordings are you most proud of?  

I am my worst enemy and have never been happy with any of my performances!

Which particular works do you think you play best? 

I think quite a few by Debussy, Chopin and Ravel.

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

I always try to decide my repertoire with the concert and tour audience in mind, to ensure they enjoy listening; after all, they are the ones who are buying the tickets. I would never choose my repertoire to please the critics.

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

I like venues with a retro feel to them, particularly ones in Paris. I do not remember the name but love the castle in Manheim, Germany where Mozart played just once. It is not famous at all…

Favourite pieces to perform? Listen to? 

I love playing pieces by Debussy, Ravel and Chopin, and listening to recordings by the Moscow Philharmonic and Royal Philharmonic.

Who are your favourite musicians? 

Sergei Rachmaninoff and Georges Cziffra for the piano, and Maria Callas and Luciano Pavarotti.

What is your most memorable concert experience? 

I do not think I have one – since I am always dissatisfied with my performance, I try to forget about it every time I finish playing!

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

To be artistic and not to care too much about technique. I think the music schools nowadays tend to teach their students only technique. The teachers are not artistic enough and focus too much on the technique which is sad.

What are you working on at the moment? 

I am doing a lot of concerts in Europe and Japan this year. I am about to tour in Germany will be performing in London at Cadogan Hall on 23 March 2014.

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

I am planning to be retired by then, surrounded by my cats and dogs under a big tree and peacefully listening to the music such as Debussy’s “La Mer” and praying to God.

What is your idea of perfect happiness? 

Believing in God and God’s promises.

What is your most treasured possession? 

My pet cats and dogs.

What do you enjoy doing most? 

Listening to music while sewing.

What is your present state of mind? 

I feel life needs patience.

Ingrid Fuzjko Hemming performs works by Chopin, Liszt, Beethoven, Brahms and Sukegawa with violinist Vasko Vassilev at London’s Cadogan Hall on 23rd March. Full details here

Born in Berlin to a Japanese pianist mother and a Russian-Swedish architect father, Fuzjko relocated to Tokyo at the age of five to be raised only by her mother, and also received piano lessons under her guidance. At the age of ten, Leonid Kreutzer, a Russian-born German pianist and her father’s longtime friend, started giving her piano lessons. At this point, he had predicted Fuzjko’s international success as a pianist. At 17, Fuzjko made her concert debut while still a high school student, and later won various prizes in major domestic competitions, such as the NHK Mainichi Music Contest and the Bunka Radio Broadcasting Co. Music Prize. She then began her professional career by collaborating with the Japan Philharmonic Orchestra and other Japanese Orchestras. Samson François who had just happened to be visiting Japan, heard her play and praised her musicianship and interpretation of Chopin and Liszt.

Fuzjko’s full biography

Interview date: 4th March 2014

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pianist Lucy Parham (© Sven Arnstein)

Who or what inspired you to take up the piano and make it your career? 

Originally, my Mum inspired me to play. She was a keen amateur pianist and there was always music in the house. One of my earliest memories is of her practising for her diplomas and strains of beautiful Chopin and Beethoven sending me off to sleep at night.

I always wanted to be a musician, or, more to the point, I could never have imagined not having music in my life. When I was 18 I was the Piano Winner of the BBC Young Musician of the Year and things just progressed gradually from there. I was at the Guildhall but I began to do a lot of professional engagements.

Who or what were the most important influences on your playing? 

Since I was a child I had a profound love for the music of Robert Schumann. Looking back, he seems an unlikely candidate for an eight year old but I felt something spoke to me. As if it was a voice I understood. And I still feel that – although who knows whether my instincts are right, of course! It’s not just the piano music – it is his entire output. I only have to hear the opening of the 4th Symphony and I’m off! Brahms has a pretty similar effect on me.

Pianistically, I have always been inspired by Richard Goode and Mitsuko Uchida. I heard Richard Goode at the Wigmore Hall in June playing the last three Beethoven sonatas. It was a revelatory concert and something I shall always remember.

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

I think everything is a challenge. Performing in itself is the greatest challenge. But all the organising of concerts, learning repertoire, writing scripts, practising, travelling. It all takes it out of you, emotionally.

Which performances/compositions/recordings are you most proud of?  

My recent performance of Rêverie (with actor Henry Goodman) at the Wigmore Hall was a very happy occasion, as was touring the USA with the Schumann Concerto, conductor Barry Wordsworth and the BBC Concert Orchestra. And last year, playing the Clara Schumann Concerto at the RFH with Jane Glover was rather special evening for me. Generally though, I’m pretty self critical and rarely feel that happy with myself. It’s the same with CDs, I think. All my recordings were the best I could do on that day. I don’t like listening back to them – I think they are snapshots of how you were in a particular moment. You always want to re-record them a year later!

Do you have a favourite concert venue to perform in? 

London’s Wigmore Hall

Favourite pieces to perform? Listen to? 

Brahms’ First Piano Concerto is a particular favourite to perform. But I think these things chop and change depending on your mood and what is happening in your life. There are far too many favourites to name. And I have obsessions about Jerome Kern, all Tchaikovsky’s ballet music and about many jazz musicians like Stacey Kent, Jim Tomlinson and Miles Davis. The John Wilson Orchestra is extraordinary. I have been to all their Proms, which are my idea of heaven. John and I have worked together too (with the Philharmonia) and he is a really exceptional musician.

Who are your favourite musicians? 

Where to start..?!

Dinu Lipatti, Daniel Barenboim, Richard Goode, Andras Schiff, Bryn Terfel, Yo Yo Ma, Itzak Perlman, Mitsuko Uchida, Sarah Connolly, Paul Lewis, Natalie Clein, Sir Colin Davis. I could go on and on, but…..

What is your most memorable concert experience? 

There are too many to list – but playing the Ravel Concerto in Moscow with the Moscow State Symphony Orchestra, with a formidable female conductor called Veronica Dudarova, must rank among them! Being on stage with the most extraordinary actors in my words and music evenings makes my feel very lucky, too. Performing “Nocturne” at the Almeida with Juliet Stevenson and Henry Goodman on the very same stage I had seen them perform “Duet For One” was memorable for me. I learn a lot from them too and it has opened up a whole new world for me.

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

My own highly inspirational teacher was Joan Havill. She was (and is) quite extraordinary in so many ways and I owe so much of what I do now to her original belief in me and her dedication. I try to pass that on to my pupils but whether I succeed with that who knows?!

I feel that humility as a performer, and as a teacher, is crucial. We really are just the servant of the music. Trying to get to the heart of what the composer wanted and not about you as the performer should always come first.

What are you working on at the moment? 

I am learning the Schumann Humoreske Op.20. It has taken me a long time to tackle this piece – and I’m not sure why I never learnt it before. It is a masterpiece and hugely underrated. I am also learning Brahms’ Op.116 which is pure heaven for me.

What is your idea of perfect happiness? 

Perfect happiness is being at peace with yourself and being good and kind to those around you. It would also be owning my own private swimming pool – but sadly that isn’t ever going to happen!

Launched in December 2013, Lucy Parham’s King’s Place Sunday Coffee Concerts (Word/Play) continues throughout 2014. All details can be found here: 

2014 sees the launch of her new Sheaffer Sunday Matinee Series at St John’s Smith Square, featuring all four of her words and music concerts. Actors will be: Henry Goodman, Martin Jarvis, Joanna David, Alex Jennings, Juliet Stevenson, Harriet Walter and Simon Russell Beale. There will be a Q and A session after each performance. The first concert ‘Beloved Clara’ is on Sunday 19th January 2014. Further details can be found here: 

Lucy Parham first came to public attention as the Piano Winner of the 1984 BBC TV Young Musician of the Year. Having made her Royal Festival Hall concerto debut at 16, she has since appeared regularly at all the major concert venues in London and around the UK. Conductors with whom she collaborated include Barry Wordsworth, Sir Charles Groves, Bryden Thompson, Jane Glover, En Shao, Richard Hickox, Antoni Wit, Owain Arwel Hughes, Yoav Talmi, Veronika Dudarova, Martyn Brabbins, Sian Edwards, John Wilson and Jean-Claude Cassadesus. Festival appearances include, in the UK, Brighton, City of London, Perth, Leeds Castle, Rye, Bury St Edmunds, Three Choirs, Newbury, Victor Hugo, Guernsey, Canterbury, Cambridge, Winchester, Harrogate, BBC Proms, Welsh and Scottish Proms, Chelsea, Cardiff, North Norfolk and Oxford, and abroad, Bergen, Istanbul and Mexico City.

Full biography and more on Lucy’s website

www.lucyparham.com