What inspired you to take up piano and pursue a career in music?

In an odd way, music itself. I was eleven, still at primary school, when I wanted to explore some extra-curricular interests, something to call my own, and I was drawn to the piano in the corner of the assembly hall that one of the teachers used to play to lead us in songs. In addition, a couple of my close friends took piano lessons, so it felt like a natural course for me to take. I asked my mum if I could start piano lessons at school, but she reluctantly said no, having just been made redundant from her job as a result of the financial crisis.

I decided to get creative, so I drew a keyboard onto some pieces of paper, and I began to follow music theory lessons online; I started cross-referencing the sounds of notes, scales, and chords with the visual patterns on my paper, until I could begin to her those sounds in my head, when I could then pick out some easy pieces. I found the internet was an invaluable resource when it came to understanding how music worked, but it was also my first introduction to classical music. I didn’t come from a musical family at all, and the only classical music I heard was the odd offering from an advert, so when I discovered such a vast selection of music, across Bach, Debussy, and Rachmaninov to name some of my favourites at the time, I resolved then to play those pieces myself; I’m proud that I’ve ticked off a few, but I’m still working my way through the list!

I worked like this on my own for six months, until my mum managed to raise enough money from friends to pay for my first piano lessons at school. I would pass my Grade 1 exam with Distinction after only four hours of tuition, practising at home still on my paper keyboard; the excitement of performing, even if only to the examiner, encouraged me never to look back. I have tried to retain that childlike curiosity and delight as I continue to work through my repertoire now.

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

I came quite late to the piano, so there was a lot of catching up I needed to do if I were to realise my ambitions of a career in performance. I spent the much of my teens scrambling for opportunities to practise on real pianos. I would wake up at 5:30 in the morning to ensure I got to school by 7am, when the gates opened, as the Head of Music there allowed me to practise on the school’s grand piano whenever it was not in use. I would fit in about an hour and a half’s worth of practice in the morning, followed by the total time of another hour of my mid-morning break and lunch, and another long stretch after school, normally until the caretaker kicked me out. I would get home for dinner, but I would rarely get to sleep before 1am, due to work I had to do for both my school commitments and mental practice… and added to all this, I was continually bullied by my father, who refused to support my musical efforts. I don’t think I’ve been pushed quite so physically or mentally since the three years I followed that daily routine.

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

I have had a news article about Lucas Debargue on my wall for several years, whose story renews my spirits when things get tough. I am grateful for the encouragement and advice of my piano teachers, particularly Soojin Kim, who encouraged me as I first turned my attention towards a career in music, and Charles Owen, my current piano teacher at the Guildhall School of Music and Drama, who inspires me every week. I must also thank the Head of Music at my secondary school, Johanna Martin, and William Fong and Mary-Kate Gill at the Purcell School, for all their guidance and support. I am forever thankful, though, for my mum, whose love and belief in me has helped me every step of the way.

Which performance are you most proud of?

I was awarded the opportunity in my second and final year at the Purcell School to perform at the Milton Court Concert Hall at Guildhall, where I performed Berg’s Sonata Op 1. I relished the musical, mental, and emotional challenges of such an incredible piece — I had to learn to look at music in very different ways — and it felt like a culmination of everything I achieved there. I’ve enjoyed more performances of the work since, and I think back to that concert every time I play it.

Which particular works do you think you play best?

I doubt I’ll ever figure that one out, but I’m happy to spend my life trying.

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

I always look for something that will push me towards greater playing; after all, what is a musician without the curiosity to learn? I like to include a mix of repertoire favourites with less familiar works, which I hope leaves the audience with two interesting experiences: hearing the classics in new and different contexts, and discovering music within the wider history of the musical catalogue. I like to incorporate a single unifying thread into my recital programmes too, although I don’t always share exactly what that is!

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

Milton Court, St John’s Smith Square, and the Fazioli Concert Hall in Italy are among my favourites — have you tried those pianos?! I’ve had some really lovely experiences at several other venues, however, simply because the people there were so caring and welcoming, which makes all the difference as the nerves begin to set in.

Who are your favourite musicians?

Aaaah, there are far too many! I’ll have to mention Alfred Brendel, Martha Argerich, Robert Levin, Pierre-Laurent Aimard, Claudio Abbado, Mariss Jansons, Dame Janet Baker, Diana Damrau… I’m afraid this list could go on quite a bit longer!

What is your most memorable concert experience?

I was once asked to play a short recital as part of an outdoor arts festival. I took to the stage, and as I sat down to play Bach, a young boy at the front shouted “Beethoven!”, so I played Beethoven for him instead. I ended up taking requests from the audience for the whole recital as they shouted out the names of different composers after each piece. I never got to play any Bach, but I did get a taste of the ‘rock star’ life, or at least as close as I can expect to get!

As a musician, what is your definition of success?

As a human, to be happy. As a musician, to be human.

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

Listen, in every sense; I can’t begin to explain how important that is.

I’ve found you can’t just wait to be inspired, rather you need to find inspiration from within, and that comes from the love of music; if you find new ways to love music, you’ll find new ways to be inspired.

Finally, another item from my bedroom wall:

“I was obliged to be industrious. Whoever is equally industrious will succeed equally well…”

— Johann Sebastian Bach

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

If all goes well, at the piano.

What is your most treasured possession?

My Yamaha b1 SG2.

What is your present state of mind?

Excited. Inspired. Happy.


Andrew Garrido began learning the piano at the age of eleven, in 2010; lacking funds to afford lessons or an instrument, he drew a keyboard onto paper and learnt from YouTube for six months before his first piano lesson. He began study with Danielle Salamon upon his entrance to the prestigious Purcell School only five years later in September 2015, where he was awarded the Senior Piano Prize and Senior Academic Music Prize in 2017; Andrew obtained a Licentiate Diploma from Trinity College London (LTCL) that August.

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Andrew Garrido also hosts a podcast series Scores and More

 

 

(Photo Paul Cochrane)

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

The reason I started playing the guitar was John Denver. I loved his songs from the age of five and that put the idea of learning the guitar into my head. I started having lessons when I was seven. From my mid-teens I was set on studying music at university and then heading abroad for further study and to hopefully establish a career. I always loved making music both as a guitarist and on my second study instrument – percussion. I never seriously considered doing anything else.

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

My teachers John Casey (at home in Perth, Western Australia) and Gordon Crosskey (at the Royal Northern College of Music). John Williams and Julian Bream were the two guitarists I listened to the most when I was growing up. Many of my colleagues have been influential and inspirational as well: Paul Tanner (percussionist from Perth), David Juritz (violin), Roger Bigley (viola) and many more.

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

Just establishing a career is extremely challenging and involves some degree of luck. Capitalising on those moments of good fortune is an important skill too! Getting a foothold at the beginning of your career can be very difficult. I was very lucky to be offered a recording for Nimbus Records circuitously via Michael Tippett early in my career and that gave me a strong start.

Which performances/recordings are you most proud of?

Recording concertos is a huge privilege and was an opportunity I appreciated greatly. For Chandos Records I recorded all three solo Rodrigo guitar concertos with the BBC Phil and on another disc, three English concertos (Arnold, Berkeley and Walton) with Richard Hickox and the Northern Sinfonia. Recording with the very lovely, late Alison Stephens (mandolin) was a joy. I was proud of coming up with the idea behind the Chandos Records CD ‘Music from the Novels of Louis de Bernieres’ which sold really well when it came out in October 1999 at the height of the popularity of ‘Captain Corelli’s Mandolin’.

Which particular works do you think you perform best?

I really don’t know how to answer that! I try to do my best with all of the repertoire that I play. I love playing Bach in particular but I enjoy all of the music, chamber, concerto and solo that I perform. The only piece I would absolutely avoid playing again is Kurze Schatten II by Brian Ferneyhough.

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

My solo repertoire evolves over time but I am always learning new chamber music. Having played percussion for many years as a second study, I really love playing with other people in groups of all sizes. I have regularly performed with strings, voices, percussion, mandolin, accordion, saxophone and flute over the years and have had shorter associations with the kanun (Middle-Eastern lap harp type of thing!) and other styles of guitar (metal, lap-slide). My repertoire choices are partially influenced by projects on the go or in development while my solo recital repertoire also develops depending on requirements of certain promoters, commissions and my own areas of interest.

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

The best and most rewarding venues to play in on the guitar tend to be small, resonant spaces such as small churches. I’ve played in exquisite college chapels in Cambridge and Oxford, comparable churches all over the UK and then of course stunning venues such as the Wigmore Hall. My favourite type of venue would be any beautiful space with a lovely, resonant acoustic, with absolute silence all around.

What is your most memorable concert experience?

It’s tricky to single out one but playing in the Royal Albert Hall would have to be up there, performing Rodrigo’s famous Concierto de Aranjuez.

As a musician, what is your definition of success?

Being well prepared and giving something close to your best performance.

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

There are many different elements that go in to building a successful career. How to practice, thinking positively, relaxing while playing, the importance of pulse both in terms of shaping interpretations and also as the key tool in communicating with other musicians. Other issues include working effectively with colleagues, developing relationships with promoters, being imaginative and innovative with programme development and collaborative projects. Most of all, remembering to love what you are doing and to savour every moment.

What is your most treasured possession?

If I am thinking in terms of what to leave when I’m gone, it would have to be my 2011 Greg Smallman guitar. I was extremely fortunate to win my first Smallman in 1993 in Darwin, Australia and the current one is my third. They are beautiful, lyrical instruments. At a more personal level I absolutely treasure photos I have of my kids, and also photos of surfing holidays with some of my friends from Perth. Although I haven’t lived in Australia since 1990, some of my friends from school and university are my closest friends and the photos of our time together are some of the most precious things I have.

As part of the London Mozart Player’s “At home with LMP” series, Craig Ogden will launch the first of LMP’s ‘Saturday Sessions’ live-streamed from his home via the LMP’s Facebook page at 7pm on Saturday 28th March.  Ogden will bring the soothing sounds of the classical guitar right to your living room with a relaxing performance of much-loved classics from the guitar repertoire, including Scarlatti’s Sonata in E major and excerpts from Rodrigo’s Concierto de Aranjuez: www.londonmozartplayers.com/athome

 


Australian born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. In 2004, he became the youngest instrumentalist to receive a Fellowship Award from the Royal Northern College of Music in Manchester.

One of the UK’s most recorded guitarists, his recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim.

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

My career in music has been an organic process of embracing a variety of opportunities that have unfolded as a result of my training as a multi-instrumentalist/ composer and following my intuition. The turning point in pursuing my musical career in particular happened during my years studying composition at Trinity Laban Conservatoire of Music and Dance, where I met a wide range of musicians and had several professional opportunities that opened the door to a continuous flow of experiences to date.

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

My Mum (who decided I should start piano lessons at 4 years old), Sweet Honey In The Rock, David Smith (my principal piano teacher), Sue Sutherly & David Kennedy (my cello teachers), Stevie Wonder, Trinity Laban, Bach, Courtney Pine, Nitin Sawhney and Anoushka Shankar.

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

Moments of my own self-imposed limited thinking.

Which performances/recordings are you most proud of?

My debut album Road Runner

Which particular works do you think you perform best?

Roxanne

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

Every show is unique. I consider the venue, audience, music I have in my repertoire, whether it’s a solo or band show and then shape the performance accordingly.

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

King’s Place, London. It’s a beautiful venue in my hometown with great sound, two versatile rooms that are able to accommodate the range of my musical styles and the capacity is just right for me (intimate but big enough). I’ve had so many incredible pivotal performances there across my career and memories to last a lifetime.

What is your most memorable concert experience?

Performing my song ‘Ain’t I A Woman?’ at the Apollo Theater in Harlem, NYC, becoming the only non-American to win an entire season of Amateur Night Live.

As a musician, what is your definition of success?

A stream of exciting musical opportunities that facilitate artistic growth and truly enjoying the music you’re creating and sharing.

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

  • Hearing your own inner voice, following your intuition as an artist.
  • Creative discipline – having a practice to enable development and excellence.
  • Recording your output so you can reflect and move forward with confidence.

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

In 10 years time, I see myself engaging in a portfolio of amazing creative experiences including:

  • Creating an extraordinary multi-disciplinary live show and touring the world with
    my band, dancers and crew.
  • Composing music for theatre, dance and film.
  • Running a record label that supports release of music by other artists as well as
    my own.
  • Curating several music festivals worldwide.
  • Collaborating with some of my musical heroes including Sting, Anita Baker,
    Erykah Badu, Bjork and Take Six.
  • Composing for and performing with several orchestras including the London
    Symphony Orchestra, Chineke!, BBC Symphony Orchestra and Metropole Orkest

What is your idea of perfect happiness?

Internal and external peace and fulfilment in all aspects of life in the present moment.

What is your most treasured possession?

Reuben, my cello.

What is your present state of mind?

Calm.


Singer, songwriter, cellist Ayanna Witter-Johnson is a rare exception to the rule that classical and alternative r&b music cannot successfully coexist.

Graduating with a first from both Trinity Laban Conservatoire of Music and Dance and the Manhattan School of Music, Ayanna was a participant in the London Symphony Orchestra’s Panufnik Young Composers Scheme and become an Emerging Artist in Residence at London’s Southbank Centre. She was a featured artist with Courtney Pine’s Afropeans: Jazz Warriors and became the only non-American to win Amateur Night Live at the legendary Apollo Theatre in Harlem, NYC.

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

I was always a musical child; I used to sing a lot in choirs before playing the violin; this has had a big influence on my playing.  I’m not sure what made me want to play the violin, but I remember that it was something I nagged my parents to do for about a year before I finally started aged eight. Once I had my hands on one, I knew that I would be able to play the thing!  Once it became clear that I had something special, the choice of career was made for me!

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

I had a wonderful friendship and working relationship with my one and only teacher Mateja Marinkovic. I was very lucky to find a teacher at that top-level from the first lesson, so violinistically he was my biggest influence. Since then it has been making wonderful collaborations with other like-minded musicians.  I have always had a very strong musical instinct; later on in my career though teaching at the Royal Academy of Music I have had to unpick why I feel things in this strong way in order to explain it to others!

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

Learning to play the violin to a world-class level is undoubtedly the most challenging thing I have ever experienced! We have to sacrifice so much as youngsters to get there, missing out on childish fun and shedding a lot of blood, sweat and tears.  Still, it was worth it in the long run.

It’s 25 years since I made my debut with the Hallé Orchestra, and another significant challenge is to continually evolve and develop yourself over time so as not to become stale. For me, that has meant pushing myself to try new things and taking risks with repertoire that other players shy away from.

I have always challenged myself to be the best I can and in order to evolve I have also had to be creative, from the founding of my Music, Science and Arts Festival in Oxford (www.OxfordMayMusic.co.uk) to recently being given the role as Artistic Director for the Australian Festival of Chamber Music (www.afcm.com.au). These roles take me out of being a just a player into a whole new creative world.

Which performances/recordings are you most proud of?

I am very proud of the three recordings I made for Hyperion of the complete Bruch works for violin and orchestra with the BBC Symphony Orchestra and Martyn Brabbins. In particular, the recording of Bruch Violin Concerto no. 2 is very close to my heart.  I’m also very excited by my latest recording of the Schoenberg and Brahms violin concertos (Orchid Classics). The Schoenberg was an incredible adventure to learn and get to grips with.  I have made some lovely movie soundtracks, and as I imagine music in terms of storytelling, the imagery and music make such a powerful combination; the soundtrack to Jane Eyre written by Dario Marianelli still makes me cry!

Which particular works do you think you perform best?

I have probably enjoyed performing Brahms Violin Sonatas with my regular collaborator Katya Apekisheva the most out of any of the smaller scale repertoire. In terms of concertos, I adore Mendelssohn Concerto, and I could play it over and over again without tiring of it. I love Brahms and Dvorak Concertos too. I have also had a great time performing more contemporary concertos like those by Magnus Lindberg (no 1) and Brett Dean.

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

This happens kind of organically. Some things are requests from promoters (for instance an unusual concerto), others more ideas that come together because of a particular theme.  I am happy to juggle lots of repertoire, so sometimes there is no rhyme or reason!

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

In London I would say the Wigmore Hall is the most special – you can hear a pin drop!  Out of London where the best halls in the UK are, I particularly love Symphony Hall in Birmingham and Usher Hall in Edinburgh. The hall becomes an extension of the instrument, so the best halls allow the violin to fully vibrate and give a warmth to the sound, and the hall gives feedback to the musicians.

What is your most memorable concert experience?

I have always said that as a British soloist, you haven’t made it until you have played a Prom concert. This happened for me in 2015 when I played Paganini’s La Campanella with the BBC Concert Orchestra, and I’m looking forward to the next one!

Performing in Leipzig Gewandhaus with MDR Orchestra a few years ago was magical. My father’s side of the family came from Germany but fled the Nazis, and I could feel my (long dead) grandfather in the room; he would have been so proud!

As a musician, what is your definition of success?

See above re the Prom!

But, also I think longevity is a sign of success in the musical world, continuing to evolve and perform into your middle age (I’m getting there!) and then later is a real sign of success and stamina…

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

For me, integrity as a musician is the most important asset.  We are the voice of the composer, the notes didn’t accidentally land up on the page, so we have to justify every sound we make. No notes left behind!

What is your most treasured possession?

I have two; one is my incredible Guadagnini violin, a life partner that I have played for over twenty years. The other is my dog Mollie – although sometimes I think I am her possession.

Jack Liebeck’s new recording of the Schoenberg and Brahms violin concertos is available now on the Orchid Classics label.


Violinist, director and festival director Jack Liebeck, possesses “flawless technical mastery” and a “beguiling silvery tone” (BBC Music Magazine). Jack has been named as the Royal Academy of Music’s first Émile Sauret Professor of Violin and as the new Artistic Director of the Australian Festival of Chamber Music from 2021. Jack’s playing embraces the worlds of elegant chamber-chic Mozart through to the impassioned mastery required to frame Brett Dean The Lost Art of Letter Writing. His fascination with all things scientific has included performing the world premiere of Dario Marianelli’s Voyager Violin Concerto and led to his most recent collaboration, A Brief History of Time, with Professor Brian Cox and Benjamin Northey. This new violin concerto was commissioned for Jack by Melbourne Symphony Orchestra from regular collaborator and composer Paul Dean, and is written in commemoration of Professor Stephen Hawking; A Brief History of Time received its world premiere in November 2019.

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Image credit: Kaupo Kikkas

Wu Qian is an internationally acclaimed pianist and Co-Founder of Investec International Music Festival, which takes place from 26 March to 16 May 2020.

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

It was more like an accident; my parents took me to a friend’s house when I was 6 years old and they had a piano. As a child I have never seen anything like it before and immediately asked my parents if I could have one – they agreed thinking that it was proven how piano playing helps children developing both sides of the brain! After the first lesson, the teacher told my parents I was very talented so my mother had secretly hoped that I might make something out of piano and has pushed me ever since! There were times when I almost resented the amount of practise I had to do, but fortunately later on, I really started to appreciate music and it enlightened my life. That is what drove me to pursue a career in music.

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

I was very fortunate that I had wonderful teachers from different backgrounds. I feel it’s the combination of all these incredible musicians and mentors who influenced my musical path.

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

I think challenges are everywhere, but thankfully music makes me forget them!

Which performances/recordings are you most proud of?

I am never that content with my own performances. I could perhaps pick out a few sections here and there to say “ah that was quite nice!”, but it is difficult for me to be completely satisfied.

Which particular works do you think you perform best?

When I listen back my performances and recordings, I feel Schubert, Schumann suit me well.

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

I always like to add a few new works that I would like to learn or challenge myself, then there are always plenty of promoters requesting more of their wishes! So then it becomes a balancing act; trying t develop your repertoire while having a programme ready to perform.

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

We are lucky these days as there are many beautiful venues with good acoustics, so it is very difficult to pick one, but I do think it’s the combination of the space we perform in, the quality of the piano, the audience, the ambience and the performer’s mood and energy at the very moment of the performance which create a unique feeling.

What is your most memorable concert experience?

I am lucky that I have been to quite a few concerts and even lectures that I was very moved by. I can’t always explain what it was but when a performance touches you, it is unforgettable.

As a musician, what is your definition of success?

For me, it’s knowledge of the entire music history, and I am sad to admit I feel there isn’t enough time in one’s lifetime to find out everything, but I try my best!

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

Love the music you are making, work hard but never forget to enjoy it! We are all so lucky to be able to work on incredible repertoire, created by these titans of history; I really can’t think of something as exciting and rewarding as working in the arts.

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

Too many possibilities that I honestly can’t choose, but I can’t imagine doing something in life that doesn’t involve music.


Wu Qian was born in Shanghai, where she received her early training before being invited to study at the Yehudi Menuhin School. At fifteen she performed Mozart’s E flat Major concerto (K449) in the Queen Elizabeth Hall and again at the Menuhin Festival in Switzerland. She also played the Saint-Saens Concerto No.2 with the Philharmonia Orchestra in St. John’s Smith Square. She made her debut recital at the South Bank Purcell Room in 2000 and has since played there again on several occasions, including a recital broadcast by BBC Radio 3.

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

It might sound weird, but music itself guided me to become a professional musician. As a child and teenager, I lived in my own world and spending time playing and listening to music was my favourite activity. It was much later – around my 15th or 16th birthday – when I realized pursuing a different career would equal spending less time with music and that was no option for me. You could say I was naÏve enough to think you could just choose a life. With time I learned that you have to make your way first.

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

Without doubt the people I love – my parents, my sister and my wife. They supported me from early on and without them I would not have had the luxury of mainly focusing on music. As a musician, I’m convinced it’s impossible to fully seperate the professional from the private parts of life. It’s interwoven and therefore I don’t like to call a vocation a career.

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

I’ve always believed in doing what I love and avoiding the things I don’t like as much as possible. Music has become such a big part of myself; therefore certain elements such as competitions never fit with my perspective on it.

The greatest challenge is, consequently, to stay true to yourself and to keep in touch with your instinct, especially in our noisy, stressful and competitive world. 

Which performances/recordings are you most proud of?

This is impossible to define, because my assessment constantly changes. When I record I have the exact version in mind and I want to believe it is set in stone and made for eternity. However I have learned that even after a few months my concept has evolved and the recording is not up to date any more. The same applies to live recordings or performances. At first it frightened me, but thinking about it now, isn’t change the only true certainty we know?

Which particular works do you think you perform best?

That I can’t decide. All I know is that my interest and passion are generated by the works I play or record. It’s hard to choose favourites, because music is too diverse and too dependent on mood and many other parameters.

I feel a strong affinity for Alexander Scriabin and also Franz Liszt, but that doesn’t mean I don’t equally enjoy Scarlatti, Ravel, Yun or Brahms. 

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

I love compiling recital programmes, creating  a proper ‘menu for the ears’. Proportion, variation, dimension and relations in between the works chosen make such a big difference. Sometimes promoters engage me for certain works desired and some other times they like my suggestions. It’s very much a fluctuating thing.

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

I love the Wigmore Hall, like so many other musicians do. Venues with a rich history usually fascinate me, but there is a few, partly modern concert halls I enjoy very much, such as the Philharmonie Luxembourg, the Maison Symphonique in Montréal or the wonderful Concertgebouw Amsterdam.

A great venue is more than just good acoustics – it’s atmosphere, surroundings, spirit and architecture.

What is your most memorable concert experience?

There are many memorable experiences on stage. Alongside the highlights, such as sharing the stage with close friends or living legends such as Yannick Nézet-Séguin there is a series of exceptional incidents I encountered so far: Medical emergencies on or off stage, pets smuggled into concert halls or drunk promoters involuntarily popping up live on stage…

As a musician, what is your definition of success?

Success is when you achieve separating your self-worth as a person from the satisfaction with your performance. I strongly believe you can only remain independent and free if you don’t allow your personal approach on music to be commercialized.

It’s a lot harder to achieve than it sounds.


Joseph Moog’s ability to combine exquisite technical skill with a mature and intelligent musicality set him apart as a pianist of exceptional diversity. A champion of the well-known masterworks as well as a true advocate of rare and forgotten repertoire paired with his quality to compose and arrange, Joseph was awarded the accolade of Gramophone Young Artist of the Year 2015 and was also nominated for the GRAMMY in 2016.

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(artist photo: Askonas Holt)