Tag Archives: interviews with musicians

Meet the Artist……Stephen Upshaw

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

Growing up, I was often the slightly withdrawn aesthete picking up beautifully coloured leaves on the football pitch rather than playing the game, so in a way I think I was just waiting to find the right creative outlet. The moment came when, aged 10, I decided to play the viola in my school orchestra. It became clear immediately that I had found the medium and instrument that sparked my imagination. Unusually, I never played the violin or indeed any other instrument before the viola – my first read notes of music were in the dreaded alto clef! It seemed that EVERYONE else wanted to play the violin, and my lanky limbs and desire to be different made the sultry viola a natural choice. My parents are not musicians but are great appreciators of music of all styles and so I always loved listening to (and dancing around to) music from an early age so was thrilled to finally be able to make it myself.

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

Throughout my musical development I have had a number of inspiring teachers and mentors. I grew up in Atlanta, Georgia, home of Marilyn Seelman, violist and pedagogue extraordinaire, and she completely changed the course of my musical life (and the flexibility of my bow hold), seeing a future brighter and bigger than I had ever envisioned for myself. I then went on to the New England Conservatory of Music in Boston where Carol Rodland taught me all about co-ordination, tension-free playing and musical abandon, Martha Katz guided me in the great art of chamber music playing and how to search for the perfect and most creative sound at any given moment, and Katarina Miljkovic opened my ears to and sparked my passion for the vast array of music written since 1950. I then finished my studies in London with the great David Takeno whose irrepressible enthusiasm about music and unbelievable work ethic continue to be a daily inspiration.

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

Confidently forging my own musical path, trusting my instincts and not being afraid to take musical and career-related risks.

You’ve recently joined the board of The Riot Ensemble, tell us about your work with them?

The Riot Ensemble is a wonderful group of virtuoso musicians from across Europe who I was excited to discover upon my arrival to London. Their focus on the newest and most exciting music from across the globe was an immediate draw and after playing a few projects with them over the years, I was thrilled to be invited to join as an artistic board member and regular player. We produce and commission new work across the UK and abroad from a diverse selection of composers and aim to present a wide array of musical styles in contexts both traditional an unusual. We’ve just selected 7 composers from our 279 Call for Scores applications and are always on the lookout for new and interesting compositional voices – it’s always so inspiring to see the wonderfully wide range of work that’s being created!

Which particular works do you think you play best?

I particularly relate to anything which showcases the extreme, beautiful and huge emotional/ sonic range of the viola.

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

Often these choices are made based on a number of logistical factors such as commission schedules, artist availability, etc., but one strategy I love to employ is to construct a programme around a single work that is particularly special to me. For example, the recital I have coming up in June, centred around Debussy’s Sonata for flute, viola and harp (with the wonderful Gabriella Dall’Olio and Anna Noakes). The Debussy has long been one of my favourite pieces of music and I’m particularly interested in placing canonical works of the past in dialogue with music of our time, in this case Saariaho’s stunning ‘Vent Nocturne’ for solo viola and electronics, Garth Knox’s duos with viola powerhouse and fellow Atlantan Jennifer Stumm and a new work for solo viola and sampled sounds by a student composer from Trinity Laban.

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

I’ve played in a wide variety of venues in recent years, from celebrated concert halls to clubs, basements and living rooms, and it would be hard to pick a favourite. Generally, I love playing anywhere with an excited and attentive audience. In terms of enthusiasm and energy, I remember being blown away by the audiences in Japan and Korea and for full houses of seasoned concert goers up for the most challenging of new music night after night, Vienna’s Konzerthaus.

Favourite pieces to perform? Listen to?

To perform: I love the quicksilver energy, vitality and youthful fearlessness of Mendelssohn’s chamber music, the beauty and power of Jonathan Harvey’s ensemble works and the primal pyrotechnics of Luciano Berio’s viola music (I’m looking at you, Sequenza!).

To listen to: Beethoven symphonies and violin concerto, Brahms chamber music (early Cleveland Quartet recordings particularly), Mozart Requiem

Who are your favourite musicians?

Gidon Kremer, Kim Kashkashian, Joseph Szigeti, Helmut Lachenmann, Whitney Houston, Little Dragon, Beyoncé Giselle Knowles-Carter

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

Try to understand why you are making music, what you want to say in your interpretations and to whom you want to say it. Without getting too fluffy, I really do think it’s also important to always remember what a privilege it is to make art professionally and to never take it for granted – the world needs more gratitude and we can start with being grateful for the enlightening task we as musicians have been set!

 

Stephen Upshaw and The Riot Ensemble present liturgical themed concert at Blackheath Concert Hall on Wednesday 3 May with premieres by Augusta Read Thomas and Scott Lygate as well as Jonathan Harvey’s rarely-performed Jubilus

Meet the Artist……John Joubert, composer

A special Meet the Artist interview on the occasion of the 90th birthday of composer John Joubert

 

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

As far back as I can remember I’ve always wanted to do something creative. At first it was painting. I got quite far in this, partly because we had a marvellous art teacher at my preparatory school but also because my father was an accomplished draughtsman. In my early teens music began to take a more central part in my life largely because my mother, who had studied piano in London with Harriet Cohen, saw to it that music was integral to our domestic and educational background.

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

Two names occur to me – W.H. Bell and Claude Brown. Bell was a distinguished composer who had emigrated to South Africa in 1912 to become Head of the newly-formed Faculty of Music in the University of Cape Town. Having played an influential role in South Africa’s musical life he was living in retirement when I was first introduced to him by my mother. She had taken it upon herself to show him some of my first juvenile attempts at composition. What he saw in them I can’t imagine, but he must have recognised some potential as he offered there and then to take me on as a pupil. For the next three or four years until his sad death in 1946 we would meet as and when we could. During that time he gave me a thorough grounding in compositional technique which was to stand me in good stead as a basis for further development towards my then fixed goal to become a professional composer.

Claude Brown, my other main musical influence was the music master at my school. He came from an Anglican Cathedral background, having previously been Sir Ivor Atkins’s assistant at Worcester. The school had a strong musical tradition and it was here that I absorbed the influence of both Elgar and the the Anglican musical repertoire which Brown had experienced in England. Here again my mother played a part, as during a period of ‘straightened circumstances’ in our family, she insisted on keeping my brother and me at school despite strong pressure from other family sources for us to leave and get jobs to ease our financial situation.

Following my entry to the Royal Academy of Music in 1946 my ‘significant influences’ became the three composers I studied with there, namely Theodore Holland, Howard Ferguson and Alan Bush. Each had their own contribution to make on my development as a composer.

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

A big challenge was getting acclimatised to a new country (the terrible winter of 1947 was my first winter in England). I had no English relatives to turn to and for a long time my closest social contacts were the fellow South African students I had travelled over with on my 3-week voyage aboard the Winchester Castle (then still in its war-time adaptation as a troopship).

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

The pleasure of receiving a commission is having the sign that somebody out there likes your music and wants more of it. The pressure of meeting a deadline is of course a challenge, but challenges can be a stimulus that keeps you on your toes.

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

As a practising musician my principal activity apart from composing has been conducting whether choral or instrumental, professional or amateur. One of my most congenial tasks as a University Lecturer was to conduct the University of Birmingham Motet Choir. With such a group one could tackle quite demanding music, and we quite frequently did so, including some of my own.

Of which works are you most proud?

It is difficult from a catalogue of over 180 works to pick personal favourites but I think I would have to include the following: my Octet, the opera ‘Jane Eyr’e, song-cycle ‘Six Poems of Emily Bronte’, oratorio ‘The Raising of Lazarus’, Second Symphony, Sonata No 2 for piano, Pro Pace motets, String Quartet No 2, Temps Perdu (string orchestra), ‘South of the Line’, Piano Trio, ‘Landscapes’ (song cycle), oratorio ‘Wings of Faith’, ‘An English Requiem’, St Mark Passion and Concerto for Cello and Chamber Orchestra.

How would you characterise your compositional language?

I try to achieve a personal voice based on traditional classical principles and carrying as lucidly as possible a strong emotional message.

How do you work?

Most mornings I am at my desk – which doesn’t mean I compose only in the mornings. I compose most of the time away from my desk whether consciously or unconsciously. I don’t compose at the piano, but I need a piano in order to try out different ways of seeking the clarity of expression I always strive for.

Who are your favourite musicians/composers?

I love all the great classics up to and including Wagner. After him I love Mahler, Strauss and Elgar and after them, Stravinsky, Bartok, Walton, Britten and Shostakovich.

What is your most memorable concert experience?

Seeing (and hearing) Richard Strauss conducting his Sinfonia Domestica (a greatly underrated work) at the Albert Hall during the Strauss Festival of 1947.

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

I think it was Eliot who advised aspiring writers to ‘work out your salvation with diligence’. I reckon the same goes for composers too!

www.johnjoubert.org.uk

 

John Joubert was born in Cape Town in 1927. Aged 19 he won a scholarship to study at the Royal Academy of Music in London and has lived and worked in England ever since. Joubert’s long composing career encompasses all genres from symphonic, operatic and chamber works to the ever-popular choral miniatures, Torches and There is no rose. The two Symphonies, three String Quartets, Oboe Concerto and Cello Concerto are recent additions to a growing catalogue of recordings from across his work list. Commissions of the last few years include An English Requiem for the 2010 Three Choirs Festival and Concerto for Cello and Chamber Orchestra for Raphael Wallfisch as part of the 2012 Cultural Olympiad. Joubert was featured composer at the new music wells 73-13 festival in June 2013 which included a new mass setting and anthem for the choir of Wells Cathedral. 2016 saw two major premieres: Joubert’s substantial St Mark Passion at Wells Cathedral and his opera ‘Jane Eyre’ – recorded live for Somm as one of several new releases to mark his 90th birthday in 2017.

 

 

Meet the Artist……Julia Morneweg, cellist

trio34

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

Genetic predisposition! My dad was a cellist in the WDR Symphony Orchestra in Cologne. I didn’t however start playing the cello until I was 12 years old. When I was younger I always had a natural interest in the piano and at about 7 or 8 we got an electronic keyboard which quickly became my favourite toy. However for some reason still unbeknown to me, my parents never arranged formal piano lessons for me so I was almost entirely self-taught and didn’t have a proper piano lesson until I got to the RCM, by which time I was playing Beethoven Sonatas and all sorts of repertoire with far more enthusiasm than proper training!

At around 10 or 11 my parents suggested I should take up another instrument and I distinctly remember not thinking very much at all of the idea at the time (I just wanted to play the piano!), so I didn’t really get going on the cello for quite some time. Gradually the interest grew, but it wasn’t really until I started having lessons with Raphael Wallfisch at 15 that something clicked and I decided that this was what I wanted to do. Of course by that point I was so far behind everyone else that I had to do what other people would do in 10 years in 2! I worked incredibly hard and got into music college at 17, first in Hannover and then in London at the RCM.

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

I think my time at the RCM was hugely influential in terms of opening my eyes to the huge range of possibilities one has as a musician. Growing up and studying in Germany that wasn’t high on the agenda – you were expected to get an orchestral job and that was certainly the done thing in my own family! (My dad worked in the same orchestra for 43 years!) I think I am temperamentally wholly unsuited to knowing my schedule 12 months in advance, so discovering that your career can encompass many different aspects of performing and teaching was great and I ran with it. There is certainly no lack of diversity in my career now and I rarely know my full schedule even one week in advance!

As a cellist I think I always have soaked up influences not only from my teachers but also from many fantastic players (of all instruments) I have had the privilege of working with and that’s very much an ongoing process. I think it’s hugely important to be able to look at any piece of music you play not just through the prism of your own instrument, but to have a much wider base of knowledge and inspiration to drawn upon.

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

At the moment my greatest challenge is trying to find the perfect cello. This is hugely complicated by the fact that I am quite tall, but have absolutely tiny hands! Trying to find an instrument with the right proportions that also has the power and the quality to project in a large hall and keep up with the amazing instruments I am regularly surrounded by, is like trying to find a needle in a haystack. So far I found one perfect match – regrettably about £200,000 above budget!

Apart from that, the never-ending challenge is trying to keep on top of all my commitments (concerts, rehearsals, practice, travelling, students, managing a concert series etc…) and still have some sort of home life and down-time. Especially when your partner leads exactly the same life, trying to arrange going out for lunch or dinner, let alone a proper holiday, becomes a major logistical task! (And the laundry basket is constantly overflowing…)

Which performance/recordings are you most proud of?

Hmmm…tricky! I think playing Shostakovich’s second Piano Trio at the Purcell Room a few years ago would have to be up there. It’s such a scary piece for any cellist, so to do it well in a very pressurised environment was a huge relief.

Which particular works do you think you play best?

I think whatever I really get my teeth into, but very often that happens to be 20th century music.

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

Unfortunately I have found the choice to be less and less mine! In more than 10 years of touring the UK chamber music scene with my trio I found that, no matter what pieces we offered – and there were many, what promoters asked for remained largely unchanged. The repertoire favourites, sure to bring in a capacity audience, with only occasional forays into anything more adventurous.

So last year I took matters into my own hands and founded ChamberMusicBox, a London concert series where people only find out what’s on the programme as the concert unfolds! This year we have a pool of 25 fantastic players and each and every concert is a completely mixed bag of music for strings, woodwind, piano and occasionally even voice. I have had to learn phenomenal amounts of notes since the series began, but it is so satisfying!

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

I have been fortunate to perform in so many fantastic halls around the world, including some amazing brand new ones in Asia, but I think one of my favourite halls to play in would have to be Zurich’s Tonhalle. Both the small as well as the large hall have wonderful acoustics.

Favourite pieces to perform? Listen to?

One piece I never get tired of playing is Schnittke’s Piano Trio. It was actually the first trio I played at the RCM, and what was supposed to be a one-off concert actually started off my chamber music career path. We were incredibly fortunate to work on the piece with the late Alexander Ivashkin, Schnittke’s close friend and biographer, who brought the story behind the piece to live so vividly that it has ever since remained one of my very favourite works to perform. Sadly Sasha Ivashkin died three years ago, but everything he shared with us goes on stage with me every time I get to play it. It’s the most emotionally draining piece, but I just love it.

As a listener I am absolutely addicted to opera and singing in general.

Who are your favourite musicians?

Again, singers feature very heavily in that list: Placido Domingo, Jessye Norman, the great Italian bass Ferruccio Furlanetto, and many great singers of the 20th century such as Mirella Freni.

As a cellist growing up I have always had huge admiration for Leonard Rose. His playing was everything cello playing should be. But there are so many other players I love, too many to mention.

What is your most memorable concert experience?

I think I would have to go with the most comical one of my career to date here! Several years ago I played at a festival in Sussex on a hot July day. At the time I was (yet again!) trying out a very nice Italian cello which I considered buying and this cello happened to be fitted with a certain type of mechanical metal pegs (they have largely gone out of fashion – thankfully!) which really didn’t seem to like going from a hot car into a cold church. Less than an hour before the concert the first peg started to slip. And the next. And another. No amount of tuning, pushing or shoving would keep these pegs in place and half an hour before the concert I had to admit my predicament to the organiser. He calmly told me not to worry and that he’d quickly nip home to fetch a cello he had. Fifteen minutes later he returned with a cello rather peculiar in colour and even more peculiar in sound. I had no choice but to play the concert on this cello. Only afterwards was I told its history: bought for £2 in an antique shop in Plymouth, it was completely stripped of its original varnish and repainted in a different colour – with fence paint!

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

Being a great player isn’t enough to guarantee you a great career! Today’s music profession demands so much more of those who enter it and I think as teachers we have a responsibility to be very open and honest about that. I would encourage aspiring musicians to be incredibly proactive and open-minded as to where their career path as performers may lead as, quite frequently, it will be somewhere totally different from where you thought it would lead when you entered college. Of course the reality is that, especially in London, you are eventually likely to be combining numerous different types of work, from chamber music to sessions, orchestral freelancing, teaching etc… You need to be extremely adaptable.

What do you enjoy doing most?

Cooking for those around me! I can regularly be found in the kitchen late at night after a concert cooking for whoever happens to be sat around our dining table at the time.

 

Since graduating with honours from the Royal College of Music in 2007, Julia Morneweg has quickly established a remarkably versatile career as a soloist, chamber musician and orchestral player.

The recipient of an EMI Music Foundation Award, she made her London concerto debut in 2006 performing the Elgar Concerto at St John’s Smith Square which immediately led to further engagements including a performance of Haydn’s C major Concerto with the International Mahler Orchestra at the same venue as well as Elgar with the Ternopol Philharmonic Orchestra in the Ukraine. Other concerto performances have included Lalo in London and Vivaldi in Cologne. As a recitalist she has appeared around the UK, Belgium, Italy, Germany and at venues such as the Purcell Room, Oxford’s Holywell Music Rooms, Trieste Opera House, St. Martin in the Fields, the National Gallery, the Victoria and Albert Museum as well as the 2007 Charterhouse Festival (by invitation of renowned flautist Susan Milan) and the Tacoma International Music Festival, USA when she was only 16. Most recent festival appearances have included the Leamington, Lower Machen, Uckfield and Shipley Arts Festivals. Julia has collaborated with many renowned artists including Shlomo Mintz, Anna Kandinskaya, Mikhail Bereznitsky, Joan Enric Lluna, Sergei Podobedov, Kathron Sturrock, and Oleg Poliansky to name a few.

Julia Morneweg’s full biography

Meet the Artist……Kirill Gerstein, pianist

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

I think for me, music and the piano emerged from the fog of my earliest memories because the piano was always in the house for as long as I can remember. My mother was teaching in a music college but also at home, so in that sense the piano, and especially music, were always there. It started as a sort of game with my mother: that was the trigger.

As for this whole music “career” business, I didn’t know until I was about 10 or 11 that I adored the piano. I loved music more than the instrument to begin with and then the love of the instrument came at a later stage. So I knew I wanted to do something with music but not whether I would or could be a concert pianist. But from about the age of 10, I switched to a better teacher and all of a sudden I had this tremendous interest in the instrument. Then I won a children’s competition in Poland and one thing led to another…

I can’t point to an earth-shattering moment when I knew “this is what I want to do” – it was more of a gradual, organic process.

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

The most significant teachers (and this is not to do any disservice to other people from whom I received advice) and musical influences would be Dmitri Bashkirov with whom I studied in Madrid, and Ferenc Rados, who I studied with in Budapest, and wherever else we would meet. Those two are really the most significant musically speaking. But then I have received a lot of inspiration and ideas from Andras Schiff, for example, and Alexis Weissenberg, who, when he was still alive, gave me some very important impulses. Then there are conductors, like Semyon Bychkov, who have given me a lot of inspiration and advice, so I must say I feel very fortunate. It’s always been purposeful, because I seek out these people to learn something from them and that has been incredibly fruitful and stimulating. But when thinking about music and playing music, Bashkirov and Rados have been the most significant.

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

Well let’s start with the fact that music is difficult and the piano is a bloody difficult instrument to play! On the one hand it’s challenging, but on the other hand, it’s what keeps it so incredibly interesting and vital to continue, otherwise life would be terribly boring. Playing music on an instrument with one’s body is an extremely challenging occupation. Then there’s the fact that as an instrumentalist, you are forced to reflect on everything inside yourself – psychological limitations, fears, advantages, disadvantages. So staring at your reflection day in day out with such great intimacy and with the purpose of self-improving is also a challenge but is one that I nevertheless love and think is a great way of reaching a better understanding of oneself.

Other challenges include not allowing oneself to be distracted by the so-called “business” of a musical career and everything that that entails, to maintain a good level of mental and spiritual energy, trying to improve every day, learning new repertoire, getting better, and so on.

I think this balancing act is quite hard. And as everybody knows, the so-called “music business” is challenging because it comes with a lot of hurdles, but at the end of the day, it’s not the most significant thing in the world. To keep the soul in balance is a challenge, but generally balance is difficult to find in life! And what is important to know is that this balance is ever-changing.

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

Eclectically (!) which I think is important and also in some ways purposeful. It has to start with something that deeply interests me: for example, the Transcendental Études are an interesting challenge for myself but one that I hope I can make interesting for audiences too because it’s not just for me.

It also comes from particular personal interests. I hate programming that looks like “Oh here’s another piece I learnt so let me play that for you”, so eventually there needs to be some kind of coherence or connection or inner logic which isn’t necessarily musicological or historical. This then influences what I choose, what goes well with what, a bit like making a menu… Alexis Weissenberg once said to me, “nothing betrays the personality of the pianist better than the way he puts together his recital programmes and the height of his stool at the instrument” and I think there is some witty wisdom in that comment. Especially in the case of concertos, less so with recital repertoire, I’ve been quite open to external impulses or suggestions from a conductor. There are a number of concertos I would not necessarily have thought of learning but then you fall in love or become intimately associated with the piece. So I enjoy external influences in that sense. But essentially I don’t agree to do anything that I don’t like or can’t believe in.

What is the special fascination of Liszt’s Transcendental Études for you?

It’s multi-faceted: I think Liszt is a great fascination because as modern pianists we owe the majority of our musical and pianistic lives to him in the sense that he has shaped our hands through the pianistic advice he has created, and he influenced the majority of what is played since his time. Everything that came later – Busoni, Rachmaninov, Debussy, Prokofiev – is the result of everything that Liszt came up with during the 20-25 years he was occupied with the Transcendental Études in their various incarnations. So the Transcendental Études are the Everest of piano literature, but also a distillation of Liszt as a pianistic experience. But obviously we owe him far more than the pianistic experience: there are the musical inventions, without which we would not have Wagner, Strauss, Mahler, Debussy, Busoni etc. There’s also the whole business of performing recitals as a soloist which we owe largely to Liszt – as Busoni said, “Liszt is the tree and we are all branches of that tree.”

It’s also a personal project. I wanted to take the “Transcendental Études journey” in order to self-improve through working on it and pursuing it as a cycle as I don’t think it is a random collection of 12 studies. It’s also of course so much more than a technical journey. Arthur Friedheim, an important student of Liszt, said something like “I had the privilege and honour of walking in the footsteps of the great” and I think the sentiment relates to Liszt, and essentially all the other great composers that we play. We get to follow in the “finger steps” of these great minds and spirits that have walked the keyboard, and in that sense it’s really a tremendous experience to be in touch with history in this way. But it’s not just a question of digging archaeologically; it’s about making the music, and therefore history, alive again so it can be felt in the air until it dissipates. This is one of the great privileges of being a performer. When playing Liszt, it’s the most amazing experience when you let him take over your hands, body and mind.

Having said that though, this wasn’t the intended outcome. When I started studying the Transcendental Études a year before I recorded them, I wasn’t certain whether I would be able to play them let alone very well. Everything began to emerge as I went further along the journey.

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

There are very divergent styles of concert venues – old concert halls, such as the Musikverein, are incredible. Boston Symphony Hall is also of this kind. Those two could easily be named as favourites. Then there are the great American halls of the turn of 20th-century and the 1920s – Carnegie, Severance Hall (Cleveland), Orchestra Hall (Chicago). There are also some really excellent new venues, but they are hard to compare to the old ones because of the different mentality towards sound.

Symphony Hall in Birmingham is also wonderful, and I quite like the hall in Copenhagen and the KKL in Luzern … but it would be hard to say if I prefer a particular hall. They are all different animals and it’s wonderful to have the variety.

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

Generally, at the risk of sounding condescending, I do feel it’s important to share one’s experiences because they may resonate with a person who is on an earlier but similar path to yourself – and this is one of the reasons why I started teaching relatively early at the age of 26. I am not sure whether it’s possible to “impart” curiosity but it’s important to stimulate it along with a love of what we do. Love and curiosity are almost one and the same thing or at least are closely related.

The curiosity about the big and small aspects of we do – how your index finger may depress that one key, curiosity about the repertoire, the culture, what role music and art can play in our lives – these are all a big part of that. If someone is not curious, you cannot impart curiosity. But when someone is curious, I think it is our responsibility to nourish and stimulate it.

Kirill Gerstein performs Liszt’s Trancendental Etudes, together with music by Brahms and Bach on Sunday 12th February at St George’s Hall Concert Room in Liverpool. Further details here

The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music’s highest ranks.  With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and styles, he has proven to be one of today’s most intriguing and versatile musicians. His early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing.

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, with additional commissions scheduled for future seasons. Mr. Gerstein was awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant.

Kirill Gerstein’s full biography

 

(photo: Marco Borggreve)

Meet the Artist…… Olga Jegunova, pianist

© Gerard Uferas Olga Jegunova 12_02_15

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

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

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

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

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

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

To actually have a career.

Which performance/recordings are you most proud of?

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

Which particular works do you think you perform best?

4’33” by John Cage.

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

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

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

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

Favourite pieces to perform? Listen to?

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

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

Who are your favourite musicians?

Elvis

What is your most memorable concert experience?

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

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

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

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

At the piano, safe, warm and loved.

What is your idea of perfect happiness?

See above.

What do you enjoy doing most?

Being happily quiet.

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

www.olgajegunova.com

(photo © Gerard Uferas)

Meet the Artist……Bernard Hughes, composer

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

I started composing of my own accord at about the age of 8, without anyone particularly inspiring me or suggesting I do it. I just started writing things down on bits of manuscript paper lying around the house. I remember once making up a key signature which combined sharps and flats and showing it to my father, who said there was no such key signature. I didn’t understand why that was, or why I wasn’t allowed to make up my own key signature. As to making a career from music, that was never intended. Most people who write music stop at some point, and I just never stopped.

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

I had an influential music teacher called Gwynne Lewis when I was about 10. He didn’t especially inspire me to compose, but he communicated a love of music and the joy of being involved in music. I have had a number of excellent teachers along the way, but the inspiration above all has been Igor Stravinsky. I didn’t discover his music until the shockingly late age of 16 or 17, but once I heard the Rite of Spring I never looked back in my devotion to his music. First hearing the Symphony of Psalms was an unforgettable experience.

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

As with all composers, the challenge is to have your music heard. In this I have been pretty lucky, but every composer wants more and higher profile performances and commissions.

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

Having a particular occasion or performed in mind can really help to shape a piece. I had a commission that got more and more precise; in the end it had to be a wordless choral work based on a visual work of art by an artist I knew. And the piece turned out to be quite unusual as a result.

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

I’ve been lucky to work quite often with the BBC Singers. When you have a piece sung by them you can be confident they will get it right – working with children as I do much of the time, there is always the possibility for a collapse. But technical expertise is only half the battle; it is particularly fun to work with groups and individuals who enjoy the challenge of new music.

How would you describe your compositional language?

A question composers tend to dread. First, I would certainly say that my language is different from piece to piece, depending on the circumstances and context. Next, I would say that I am interested in using tonal materials in a non-tonal way, if tonality is interpreted narrowly as meaning music that has a sense of home key and a hierarchy of other keys, and that modulates away from and back to the home key. Under this narrow definition, Steve Reich’s music, for example, is not tonal, although it uses diatonic chords. This is a fertile ground for me (although my music sounds nothing like Reich). For example, my choral pieces often use diatonic chords, but I am rarely able to write a perfect cadence. I am also interested in the use of modes, such as the octatonic collection, or invented modes. In summary, my musical language tends to be a bit ‘safe’ for those who like hardcore modern music, and a little bit tricky for those who like straightforward ‘classical’ music.

How do you work?

I use a mixture of pen and paper and computer. I am at the tail-end of the generation trained pre-computer notation – I first got Sibelius in my 20s, when it was a new (and by today’s standards, primitive) software. I now don’t know how I ever managed without a computer. First thoughts for a piece usually come on my feet, either walking round the block or in the shower. Notes will often first come at the piano, sketched onto manuscript. I also often print out music at an intermediate stage and write onto the printout with amendments. I think it is so useful to have visible drafts – one of the downsides of a computer is that once you change a note, the original is gone. But the main use of the computer is for checking the pacing of a piece – which is, for me, the ultimate challenge. Do the events of the piece happen at the right psychological moment?

Which works are you most proud of?

It would have to be the two large-scale pieces I have written for the BBC Singers. ‘The Death of Balder’ in particular, is an original conception – a ‘radio opera’ for choir on a Norse myth – and I am happy with how it turned out, after a great deal of uncertainty while composing it.

Who are your favourite musicians/composers?

As mentioned above, I am a huge Stravinsky fan, and always will be. Of contemporary composers, I really love Judith Weir’s music (she is also an extremely kind and generous person), Magnus Lindberg, Thomas Adès, Julian Anderson and a French composer called Guillaume Connesson, who I only discovered through reviewing a CD.

What is your most memorable concert experience?

I was lucky enough, as a child living in Berlin in the 1980s, to be taken to hear the Berlin Philharmonic a few times. The two occasions I particularly remember were hearing Mendelssohn’s Violin Concerto and – the first time I went – Mozart’s Piano Concerto no 21. I was about 10 and both completely blew me away, just the sound of the orchestra, and I still love both pieces. I also remember, at one of those concerts, the second half being a Shostakovich symphony, which I hated; Shostakovich symphonies still don’t do it for me.

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

I think it is a responsibility of composers to listen widely, and to music that is not necessarily instantly amenable. I think too many people, young people in particular, are too narrow in their range of listening. In one sense there is no excuse for not listening widely – my excuse as a youngster was that it was difficult to access music, apart from Radio 3 and my local library’s tape collection. But the flip side is that there is so much music available now that it can be difficult to wade through it all. But it is important for composers to have open ears.

‘I Am The Song – Choral music by Bernard Hughes’ was released in April 2016 on the Signum Classics label. More information

‘The Knight Who Took All Day’ from the book by James Mayhew with music by Bernard Hughes will be performed on Sunday 29th January 2017 at Hertford Theatre, Hertford, conducted by Tom Hammond. More information

Bernard Hughes studied Music at St Catherine’s College, Oxford, graduating with a first-class degree. He subsequently studied composition at Goldsmiths College, London under Peter Dickinson, and privately with Param Vir. Bernard Hughes was awarded a PhD in Composition from Royal Holloway College, London, studying with Philip Cashian. Bernard Hughes is Composer-in-Residence at St Paul’s Girls’ School in London.

Bernard Hughes’s music has been broadcast on Radio 3 and King FM in Seattle, and he appeared as a conductor on the Channel 4 series Howard Goodall’s Twentieth Century Greats. Bernard writes regularly for theartsdesk cultural review website.

More about Bernard Hughes here

Meet the Artist……Harriet Stubbs


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

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

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

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

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

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

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

Which performance/recordings are you most proud of? 

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

Which particular works do you think you perform best?

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

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

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

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

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

Who are your favourite musicians?

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

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

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

What is your present state of mind?

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

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

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

Read more about Harriet here

 

Meet the Artist……Miriam Kitchener, percussionist

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

I was introduced to music at a very early age and so it was instilled in me right from the start. I began with piano lessons, however at the age of 9 I decided that the drum kit was my true calling, and the rest is history!

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

I have had many inspirational teachers throughout my education who have nurtured my musical learning in many different ways and have all influenced me in my musical life and career.

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

The greatest challenge for me is becoming accomplished on as many different percussion instruments as I can – there are so many to choose from!

Which performance/recordings are you most proud of?

As part of a percussion quartet, we spent a day recording three pieces in November 2016 in preparation for a competition in May. We encountered many unusual setbacks in the lead up to the recording and on the recording day itself including a power cut, despite this I feel that we did a really great job and I’m really looking forward to hearing the results.

Which particular works do you think you play best?

I really enjoy the performance aspect of being a soloist and find that the more unusual the piece of the music, the more I enjoy it and therefore the better I play it! At the moment, I’m working on a piece for body percussion and mime called Ceci n’est pas une Balle. It’s a really energetic piece that requires a lot of audience interaction and is really exciting to perform.

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

I choose repertoire based on what I appreciate listening to and what I feel will work best with my musical personality. Above all, I choose pieces that I know I will enjoy playing and performing to an audience.

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

For orchestral playing, I really enjoy the atmosphere of Birmingham’s Symphony Hall, the vast space is thrilling to perform in. Small solo venues can also have the same thrilling effect, with much more intimacy between performer and audience.

Favourite pieces to perform? Listen to?

I’ve recently been introduced to an array of traditional Irish folk music and am enjoying both listening to and playing along to (with the aid of my bodhran) some awesome tunes. There are lots of great bands/artists on the Irish scene who mix traditional tunes with contemporary beats, some great ones to listen to are: Donal Lunny, Flook, Kila, and Planxty.

Who are your favourite musicians?

My favourite musicians are the percussionists and educators who I have had the chance to meet and work with during my education. These are the people who I can consolidate about my career and who will give honest and accountable opinions. They are the musicians who work tirelessly day in day out to make a success of their own careers, they are exceptional players and can give some of the best advice a fellow musician could ask for.

What is your most memorable concert experience?

This would probably have to be my very first visit to the proms when I was a younger. The vastness of The Royal Albert Hall was mesmerising and I can remember being particularly in awe when the orchestra played The Storm from Britten’s Four Sea Interludes.

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

Make yourself as versatile a musician as you possibly can. There are so many opportunities out there for musicians to take, not just as a performer. Immerse yourself in all aspects of music, from community work to concert organising, from being a session musician to creating your own folk band. Do as much as you can and experience as much as you can, while you can. Above all, make sure that you continue to enjoy all that you do!

What do you enjoy doing most?

Aside from all things musical, I enjoy going rock climbing and bouldering as often as I can. It’s great fun and important to occasionally take myself away from the musical world.
Miriam graduated from Birmingham Conservatoire in June 2016 with a First Class Honours degree in Music Performance; she is now studying for her Master’s degree at the same establishment. Miriam has worked with many percussion teachers and educators from around the world including Adrian Spillett, Alexej Gerassimez, Ney Rosauro and Colin Currie to name but a few. Miriam is a versatile percussionist with interests stretching from the Irish Bodhrán to the music of Latin America; from orchestral playing to solo repertoire. Miriam also has keen interests in learning and participation projects within the wider community and the arts management that surrounds them.

 

Meet the Artist……Jonathan Woolgar, composer

1f-xbxgwWho or what inspired you to take up composing, and pursue a career in music?

I started composing as soon as I started learning the piano. Going to the theatre as a child was an important inspiration – I wanted to write theatre music, and still do. Serious composition started when I went to Chetham’s School of Music in Manchester for 6th form and I suppose I have never looked back.

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

Influences have come and gone over the years, but Stravinsky and Wagner have loomed large – somewhat disparate figures but as with most music there are connections under the skin. The early Stravinsky ballets naturally had a huge influence on me as a teenager, though now I would take Symphony of Psalms any day. Wagner came later. There is nothing like the sense of immersion you get from being in the middle of Tristan or Parsifal. In terms of teachers, each has had an important impact on me in different ways, although I’m especially grateful to Giles Swayne for teaching me to cut the crap – he is that rare thing, a composer completely without bullshit.

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

While I can’t think of anything specific, the sense that a piece hasn’t lived up to what I wanted it to be is always agonising. On the other hand, that’s what leads me to write the next one. They’re all steps along a road and I have no idea where it leads.

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

The greatest challenge and the greatest pleasure is that there is a deadline. The piece would never get finished without it.

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

More pleasures than challenges – knowing who or where I am writing for provides a focal point.

Of which works are you most proud?

I feel the work which has come closest to what I wanted it to be was a piece I wrote for a very good friend of mine, pianist Philip Sharp, called ‘Five Anatomical Sketches’. The music is unusually austere for me, but I felt that I was able to boil the material down to its expressive essence, and Phil performed it superbly.

How would you characterise your compositional language?

Communicative without compromise.

How do you work?

I compose whenever I can, I have no special routine. Time and space always yield better results. I also take frequent long walks to work ideas through. Many compositional breakthroughs have come on those long walks.

Who are your favourite musicians/composers?

I’ve already mentioned Stravinsky and Wagner as influences, and other musical loves include Chopin, Mahler, Adès, Beethoven, Adams, Britten, Monteverdi, and so on, and so on… In terms of performers, while I don’t have any particular favourites, I have recently been enjoying Boulez’s Mahler symphony recordings and also luxuriating in the voice of Iestyn Davies.

What is your most memorable concert experience?

As a performer, it was singing in the chorus for Walton’s ‘Belshazzar’s Feast’ at the Royal Festival Hall with the Chetham’s Symphony Orchestra, conducted by David Hill – who brought along the Bach Choir too. It is a silly piece in many ways, and yet it works so incredibly well and the ending is wonderfully ecstatic. As a listener, I will always remember my first Prom fondly, which was the BBC Scottish Symphony Orchestra conducted by Donald Runnicles performing Adams, Mozart and Strauss. I was swept away by the wonderful atmosphere and the wonderful repertoire.

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

I don’t like the phrase “be yourself” – I would rather say “do what you must do”. Have something to say and discover the best way in which to say it – that is the communicative impulse. I don’t mean communication in the lowest-common-denominator sense, I mean the sharing of music between humans on any scale. Writing and performing music is a way of saying “HERE I AM” and “HERE WE ARE”, nothing more and nothing less.

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

Writing music.

What is your idea of perfect happiness?

Companionship.

What do you enjoy doing most?

Hearing great music with great people in great places.

What is your present state of mind?

Existentially drowning.

Jonathan Woolgar is the joint Cambridge University Musical Society Composer in Residence for 2016-17. This includes writing a piece for the Cambridge University New Music Ensemble, which will be premiered on 2nd February 2017 and conducted by Patrick Bailey

Composer Jonathan Woolgar is particularly interested in music as drama and music for the stage, and his work draws from a wide range of musical experience, aiming to engage every kind of listener.

Jonathan has had works performed at the Bridgewater Hall and the Royal Albert Hall by ensembles such as Manchester Camerata, Onyx Brass, Aurora Orchestra and the Helsingborg Symphony Orchestra, as well as broadcast on BBC Radio 3. In 2010 he won the BBC Proms Young Composers’ Competition. His music has been recorded for commercial release by the choir of Fitzwilliam College, Cambridge, and he also enjoys close associations with contemporary music ensembles The Hermes Experiment and Khymerikal. Jonathan is Composer in Residence at Eton College for 2015-17, and will be Composer in Residence for the Cambridge University Musical Society in 2016-17. His one-woman opera, Scenes from the End, ran in London and Edinburgh this summer, while future projects include performances at St Mark’s Basilica, Venice and St John’s Smith Square.

Whilst currently based near London, Jonathan originally hails from Pontefract in West Yorkshire. He attended Chetham’s School of Music, Manchester from 2008-10, studying composition and conducting with Jeremy Pike and Gavin Wayte. From 2010-13 he read music at Fitzwilliam College, Cambridge where he graduated with First Class Honours and studied composition with Giles Swayne, going on to study with David Sawer at the Royal Academy of Music.

jonathanwoolgar.com

Meet the Artist……Alexandra Dariescu, pianist

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

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

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

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

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

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

Which performance/recordings are you most proud of?

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

Which particular works do you think you play best?

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

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

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

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

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

Favourite pieces to perform? Listen to?

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

What is your most memorable concert experience?

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

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

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

What is your idea of perfect happiness?

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

What is your most treasured possession?

My piano.

What do you enjoy doing most?

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

What is your present state of mind?

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

 

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

Read more about Alexandra Dariescu here