Violinist Chloë Hanslip is Principal Artist at this year’s Hertfordshire Festival of Music. Here she shares her musical insights and inspirations, and reminds us that being a musician is not just about practicing……


Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

I grew up in a very musical household – my mother had been a ballet teacher, my sister was a pianist studying at RAM when I was born, and my Grandmother, who lived with us, was a piano teacher so music was everywhere! As I grew older my teachers obviously had a huge influence on my playing, as did having the opportunity to play for, and work with, incredible musicians such as Mariss Jansons and Ida Haendel.

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

Although there have been some challenges and the change from being perceived as a prodigy to being accepted as a whole musician is notoriously complicated, I think that I have been quite lucky. I have also always tried to focus on the positives and to grow, use and learn from any of the less pleasant aspects!

Which performances/recordings are you most proud of? 

Well, I am my own harshest critic (I think most musicians are!) and I’m always finding things that I would like to do differently…. that being said, the Beethoven cycle that Danny Driver and I performed and recorded a few years ago is something that I am so happy to have been able to do.

Which particular works do you think you perform best?

When I was younger my heart was with Romantic music and I loved playing hugely virtuosic works. I still really enjoy performing those works but have been glad to expand my horizons over the years to include everything from Baroque to Contemporary! I love having the opportunity to bounce from one genre to the next in quick succession and think each one helps to inform the others, so hopefully it is a never ending circle of all works getting better each time I perform them.

What do you do off stage that provides inspiration on stage?

I go hiking and walking in nature and the mountains as much as possible! Also, now that I have a one year old, the reminder to look at things with fresh eyes definitely also inspires.

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

For works with orchestras it’s largely based on what I’m invited to perform! For recitals Danny and I will discuss what works we haven’t done that we would like to add to our repertoire and then we choose contrasting pieces to land on programmes that have interest and flow to them.

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

My favourite concert venue is whichever one I’m performing in at that moment! Seriously though, there is something very special about Wigmore Hall.

What do you feel needs to be done to grow classical music audiences/listeners?

There are so many wonderful initiatives out there that I’m not sure I can add to them, but I think exposure to and demystifying the classical music world is key. 

What is your most memorable concert experience?

I’ve been so lucky to have many wonderful experiences, but performing at the Proms for the first time is definitely up there at the top!

As a musician, what is your definition of success?

Oh gosh, without wanting to sound self-aggrandising, if I can give just one person joy with my playing then that’s success to me.

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

Stay true to yourself! And don’t just practice – go for walks, to museums, to shops….and listen to everything. There has to be balance, and life informs the way we approach music as much as music informs the way we approach life.

Chloë Hanslip performs at this year’s Hertfordshire Festival Music, with Hertfordshire Festival Orchestra and conductor Tom Hammond, and in recital with pianist Danny Driver. She will also be giving masterclasses at Queenswood School, Hatfield, as part of the Festival. Full details here


Chloë Hanslip (b. 1987) has already established herself as an artist of distinction on the international stage. Prodigiously talented, she made her BBC Proms debut at fourteen and her US concerto debut at fifteen and has performed at major venues in the UK (Royal Festival Hall, Wigmore Hall), Europe (Vienna Musikverein, Hamburg Laeiszhalle, Paris Louvre and Salle Gaveau, St Petersburg Hermitage) as well as Carnegie Hall, Metropolitan Arts Space in Tokyo and the Seoul Arts Centre.

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157_elan_katharina_2011_crop_highresElan Sicroff is one of the leading interpreters of Thomas de Hartmann’s music and his extensive recording project with the Nimbus label brings de Hartmann’s chamber and solo piano music to a wider audience. Here he talks about the project as well as his own influences and inspirations and the experience of recording and performing de Hartmann’s music.


Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

There were two people who influenced my decision to become a professional musician:

I met J.G. Bennett in December 1972. He directed an academy in Gloucestershire modelled after the Institute for the Harmonious Development of Man, founded by George Gurdjieff, a spiritual teacher and polymath. At the time I was ambivalent about my path as a musician, and he said to me “If you have talent, it is a gift. It doesn’t belong to you, and you have an obligation to share it.”

Bennett was particularly interested in Beethoven’s music, and we worked together on the late sonatas Op. 110 and 111. During this time I also came across the music of Thomas de Hartmann, beginning my lifelong involvement with his music.

A second important influence is the guitarist Robert Fripp. In 1985 he produced my CD Journey to Inaccessible Places – the music of Gurdjieff and de Hartmann. Since 2006 he has helped me with a 21-year effort to bring de Hartmann’s classical music back to public awareness. In 2010 he introduced me to Gert-Jan Blom, Artistic Producer for the Metropole Orchestra in the Netherlands. We embarked on a five year recording project in 2011, resulting in six hours of music for solo piano, voice and chamber ensemble, now being released by Nimbus Alliance Records.

I would like to mention one other, overwhelmingly important influence on my pianistic and musical development. This was Jeaneane Dowis. When I first met her in 1964 when she was 32 years old: elegant, beautiful, and brilliant. In her early 20s she had become assistant to Rosina Lhevinne, on the strength of her ground-breaking discoveries in piano technique. Rosina had taught Van Cliburn, winner of the Tchaikovsky Competition in Russia in 1958, and students flocked from around the world to study with her. She sent those with technical problems to Jeaneane, and soon she was teaching 70 hours a week. I was 14 years old at the time, and she agreed to teach me if I was accepted by the Juilliard Preparatory School. The four years I spent with her were consistently exhilarating. She had astonishing insights, not only in technique but also in musicianship and interpretation. I went back to her again in the 1980s for further study, and her teaching had moved to another level: her remarkable discoveries about ease of movement, related to skeletal anatomy and visualization, deserve to be more widely known.

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

After nearly 40 years teaching piano, I was thrust into the world of professional musicians in 2011, due to the needs of the Thomas de Hartmann Project. The recordings in the Netherlands that began in 2011 presented many firsts for me.

The repertoire was very demanding. Many of the pieces contained technical difficulties, and once those were surmounted the task of turning them into music could be challenging. This was especially true for the later works, like the Commentaries on Ulysses Op. 71 and Musique pour la fête de la patronne Op. 77.

Accompanying vocal music was something I had never done before. Working with musicians of the calibre of Claron McFadden – a celebrated soprano in the Netherlands; and Nina Lejderman, a talented young opera singer, was quite a stretch.

Recording is an uncomfortable process and presents its own challenges. I have had to overcome my self-consciousness, which was magnified whenever the engineer said “You’re On!” After five years in the studio I have learned to trust the process. I now find myself looking forward to it: the birth pains are unavoidable, but the result is worth it.

Which performances/recordings are you most proud of?

In 2016 the Thomas de Hartmann Project gave two memorable performances at Splendor in Amsterdam. The venue is quite special, founded in 2010 by a group of musicians, composers, and artists who needed a place to experiment and perform as they saw fit. When the de Hartmann recording project in Hilversum came to an end, many participants offered their services, pro bono, for the recitals. Music for saxophones, a trio for flute, violin and piano; sonatas for violin and cello, works for solo piano as well as de Hartmann’s songs were among the works featured. The response was very positive, confirming our belief that the listening audience was becoming ready to embrace de Hartmann’s music, after many years of neglect.

As for recordings: I have made 3 CDs of the Gurdjieff/de Hartmann music. I like all of them, but my favourite is Laudamus…, released in 2010.

That said, the Thomas de Hartmann Project CDs, now being released by Nimbus, occupy a special place for me. They represent the first commercial recordings of Thomas de Hartmann’s work, ever. I am so happy that this music is now available for the public to enjoy, and also to play. The contributions of Gert-Jan Blom, producer extraordinaire, and Guido Tichelman, one of the leading recording engineers in Europe, cannot be overstated. Gert-Jan brought his wide-ranging knowledge and enthusiasm to the project, and the sound quality that Guido captured is of the highest order.

Which particular works do you think you perform best?

I find myself attracted to composers who are able express deeper meaning in their music. In May 1970 I sang in a performance of Mozart’s Requiem at the National Cathedral in Washington, presented by the Oberlin Conservatory, as an act of protest against the Vietnam War. I was strongly affected by how Mozart expressed the meaning of the words through his music. It was a seminal moment, which lead me to look for more works by Mozart and other composers that had this power.

Beethoven’s struggles with deafness are well known – he even contemplated suicide in his thirties as a result, but decided to continue and compose for the benefit of mankind. His compositions became a chronicle of his inner life. The same can be said for Schubert – contracting syphilis was a death sentence, and his music often reflects his inner struggles, sometimes leading to defiance, at others to acceptance.

Thomas de Hartmann attempted to express psychological ideas that he encountered through his work with Kandinsky and Gurdjieff, in addition to wide-ranging literary influences. Along with the colour, vibrancy and beauty of his music, his attempts to insert meaning in his music continue to fascinate me.

What do you do off stage that provides inspiration on stage?

I find that physical work of various kinds is essential to my feeling of well-being. These days I walk and have a vegetable garden. I also practice yoga and the Alexander Technique, which help to tune the whole body, before sitting down to the instrument.

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

Since 2011, there has been a flow that has made choices for repertoire fairly easy. The aim to present a body of representative works by de Hartmann for the public, resulted in our recording a substantial portion of his output for piano solo, voice, and chamber ensemble…though to be accurate, we’ve only scratched the surface of his vocal output.

A group of musicians has now come together to form the Thomas de Hartmann Consort. The aim for our programming has been to integrate de Hartmann’s work into the rest of the classical canon. The programming possibilities are almost endless:

— Music by de Hartmann’s composition teachers, Anton Arensky and Sergei Tanaieff.

— The music by Debussy and Ravel, to compare and contrast de Hartmann’s own work with Impressionism.

— Music that relates to de Hartmann’s quest for meaning: Beethoven and Schubert.

— De Hartmann’ Bach transcriptions for Pablo Casals provide the opportunity to perform them next to the originals.

— Music by contemporaneous Russian composers, from Rachmaninoff to Scriabin, Prokofiev, etc.

— Music by Bartok and Kodaly, delving into early attempts to bring World Music to the West.

As for recording, the Piano Concerto Op. 61 is next on the agenda, scheduled for this autumn. There are also a few solo piano pieces that need to be recorded, including a 25 page sonata written when de Hartmann was 17, and some very late works from the 1950s.

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

Most of my performances have taken place in small halls that seat several hundred people. I particularly like Carnegie (Weill) Recital Hall for its intimacy and acoustic. I’ve played at many universities and conservatories, including the University of Anchorage, Alaska, UCLA and UC Berkeley in California, and the Longy Conservatory in Boston. I always enjoy the energy and enthusiasm of these audiences. Young musicians represent the future, and if de Hartmann’s music is going to be established, it will be those people who will give it voice.

What do you feel needs to be done to grow classical music audiences/listeners?

Quality education is the highest priority. Very young children should hear top-notch recordings and performances to develop an ear for music. This means that parents need to get involved. It also helps when elementary and high schools have good music programs: Zoltán Kodály brought solfège to the Hungarian school system, and Japanese schools also have a quality music program. Dr. Shinichi Suzuki revolutionized violin teaching when he developed the “mother-tongue approach,” in which young children learn to play an instrument in the same way they learn to speak. He has been a major force in bringing youngsters to classical music.

What is your most memorable concert experience?

Following are two answers to this question, from opposite perspectives: first as performer, secondly as audience participant:

In 1975 Mme. de Hartmann had organized a recital of her husband’s music at McGill University in Montreal. I had been asked to play the Two Nocturnes Op. 84, written in de Hartmann’s late classical style.

This was my first meeting with her. Madame may have been diminutive in size, but she was truly a force of nature. She had been a member of the Russian aristocracy, close to the Tsarina before the Russian Revolution, and had strong ideas that sometimes ran contrary to the relaxed attitudes of young people in the later years of the hippy era. She didn’t approve of women wearing jeans, of young men with beards, or grand pianos on movable platforms being used in performances of her husband’s music. She told me to ignore the audience and play only for her, to look up at the ceiling before playing ‘the Music of the Stars,’ and that a musician must rest on the afternoon of a performance to conserve energy for the event. I was still impressionable at the age of 25, and took it all in.

When my performance was a success, it began a relationship that lasted for 4 years until her death in 1979. It opened the door for further recitals under her tutelage, as well as instruction in de Hartmann’s music.

One of the most memorable performances I ever saw took place in London in the mid 1970s, when I heard the cellist Paul Tortelier give a solo recital. I had not heard his name before, and had no idea what to expect. He came onto the stage, an elderly man, thin, with a shock of white hair. He seemed to float over the cello when he played. The first piece, a Boccherini sonata had 3 movements, but he was so pleased with himself after the first two that he stood up, took a bow and moved onto a Bach cello suite! Then he stopped, began speaking in French, and changed to English: “If you want to cough while I play, please leave the room!” The audience was noticeably taken aback.

In the second half he played the Franck Sonata and (if I remember correctly) also the Debussy cello sonata. By the end he had won the audience over, and began playing encores – without leaving the stage, he continued for another 45 minutes, even including the entire Kodály Unaccompanied Cello Sonata. By this time the audience was in a frenzy, with some people standing to watch him in amazement. Finally he stood up, closed the lid of the piano, and walked off the stage, not turning back….

In the programme notes I noticed that he had studied with Gerard Hekking. De Hartmann had dedicated his cello sonata to him, so I went backstage to ask Tortelier if he knew of the piece. “Yes,” he said, “it has a beautiful second movement, but the rest is not for the masses.”

I walked out of the hall feeling that I had witnessed an event that was a throwback to the Romantic Age, reminiscent of stories I’d read about Liszt and Paganini in performance.

As a musician, what is your definition of success?

I view my work in music as a process, with different stages, and it is necessary for some form of success to enter into each of them. First there is the functional work of learning the notes, understanding the structure, and overcoming technical challenges. Then another level comes: the music must begin to speak. In some ways it is the opposite of the functional work – activity ends and receptivity begins: one must listen, be still, be open, questioning. This stage is sometimes quite agonizing: the piece still is not music, and one cannot “make it happen.” When one completes this stage and is prepared, the final stage comes with performance. Here the audience becomes a participant, adding its listening to the music. There are then three aspects: the performer, the audience and the music. Occasionally there is an “event,” where something new and memorable occurs. Success!

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

In 1972 I went to see Nadia Boulanger in Paris, to inquire about becoming her student. One of the most memorable things she said to me was “If you can live without Music, do!”

This statement has resonated with me over the years. It covers a lot. Anyone considering a career in music should have an all-consuming love for it. If one is fortunate enough to realize that there is nothing one would rather do than make music, then there really isn’t a choice…!

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

Seven years remain until the end of the 21-year Thomas de Hartmann Project. For a long time I’ve an image of what completion would look like: I will be standing in front of Carnegie Hall, looking at the billboard announcing the performance of Beethoven’s Seventh Symphony and Thomas de Hartmann’s Symphonie-Poème. This would indicate that de Hartmann has finally “arrived.”

I’d be happy to substitute specific works in this visualization – it might be another symphony or concerto by Thomas de Hartmann. Another orchestral work by Beethoven might also be acceptable….!

What is your idea of perfect happiness?

I would say that true happiness results from a life well lived, in which one manages to achieve one’s goals. As a working musician, I find that self-satisfaction comes from overcoming obstacles in learning the repertoire that I value, and performing it well. Each time this occurs, it gives a taste of happiness.

On 2 April, Nimbus release three volumes of the Music of Thomas de Hartmann. More information here.


Elan Sicroff is known as an interpreter of the music written by Thomas de Hartmann, both the classical works as well as the music from the East composed in collaboration with Gurdjieff . In the 1960s he studied with Jeaneane Dowis, protégée and assistant to Rosina Lhevinne at the Juilliard School. From 1973-75 he attended the International Academy for Continuous Education at Sherborne, in Gloucestershire, England, as a student and later Director of Music. The Academy was directed by J. G. Bennett, a leading exponent of Gurdjieff’s teachings.  It was here that Elan was introduced to the music of Thomas de Hartmann. Between 1975 and 1979 he studied with Mme. Olga de Hartmann, widow of the composer, focusing on the music which de Hartmann composed in the classical idiom.  He performed many recitals under her auspices, and in 1982 toured the United States.

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(video credit: Victor McSurely )

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

For me, my earliest memories of listening to various great works for the first time was the biggest catalyst for me wanting to learn the piano. There was never really an exact point in which I decided this would be my career, but I guess I always pretty much had a one-track mind in wanting music to be my life. Partly a reason for this is that I don’t think I was good at anything else! My first piano teacher Dorothy she, who recently just passed away, was certainly an extremely instrumental figure in my life. She was the one who taught me everything from the beginning. All of my teachers each played a very important role in my development, from my professors in my early teenage years, A. Ramon Rivera and Alexander Korsantia, to the teachers that really molded my development from the age of 15 onwards up until today: Robert McDonald, Dang Thai Son, and Jonathan Biss. Aesthetically, I would say that the pianists whose musical language and careers have inspired me the most are Radu Lupu, Grigory Sokolov, and Mitsuko Uchida.

What do you do off stage that provides inspiration on stage?

I listen to a lot of recordings of various works frequently. Whether it be a Bach Cantata, Schubert Lieder, or Mozart Piano Concerto, etc. I always want to have music in my ears, and somewhat subconsciously and consciously get deeper into the musical and emotional worlds of these great composers. Further, when I’m listening to a great piece of music whilst enjoying a beautiful part of nature, this inspires me the most.

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

This process varies all the time, but I would say first and foremost I would choose pieces I really want to play. The burning desire must be there for me to have to play this work at this time. Then, the decisions come where a programme must make sense musically, and also I have to imagine how it would work and sound to an audience. I don’t like programmes that are random, and are more of a showcase of all the different types of pieces a musician can play. I much prefer a programme that has cohesion and relation in its aesthetic, and the musical worlds of certain composers. This would apply mostly to the music within one half of a recital programme. After an intermission it can either be completely different, or continue on a common thread.

What is your most memorable concert experience?

There really have been so many very memorable concert experiences, and in a way, all of them have been, because of how unique each experience is, and you never know what will happen on stage. However, one that has stood out very much so far was my BBC Proms debut. This was a concert that I had prepared a lot of time for, and there was nothing quite like that experience of walking out on stage to this ocean of people at the Albert Hall. I really did feel this unique and electric energy, and general warmth coming from the public that day.

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

I would hope that I can continue to have the chance to play music for people in all corners of the globe. I think despite all its unique challenges, and immense stress, our profession as a performing musician is a very lucky one. What an opportunity it is to be able to travel the world, see so many different countries and cultures, whilst doing what you love. Music is a very active and living thing. So much of this music left to us by these transcendent geniuses is so unbelievably great. However, without it being brought to life and played, it’s simply notes on a page. I just feel very lucky to be able to have a part in this wonderful process of bringing these works to more people.


Eric Lu won First Prize at The Leeds International Piano Competition in 2018, the first American to win the prestigious prize since Murray Perahia. He made his BBC Proms debut the following summer, and is currently a member of the BBC New Generation Artist scheme. Eric is a recipient of the 2021 Avery Fisher Career Grant, and is an exclusive Warner Classics recording artist.

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Pianist Peter Jablonski first appeared in the Meet the Artist series on this site back in 2016. In this updated interview, he reflects on his musical influences and inspirations, his new release for Ondine, and what the experience of lockdown has taught him, as a musician. 

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

My first musical experiences were with jazz music, and I started learning jazz percussion at a young age. But piano came into my life very soon after, and it became obvious that it should be my main instrument when I started studying at the Malmö Music Academy, where I studied both percussion and piano performance. Everything in life can have an influence on a musician, big or small, and I count among those my performances at the Village Vanguard in New York when I was nine; meeting and playing to Miles Davis, playing with Buddy Rich and Thad Jones; playing to Claudio Abbado; working with Vladimir Ashkenazy; my first teacher in Malmö, Michał Wesołowski, who was so adept at describing music in colours, scents, feelings, and images; travelling the world as much as I have; reading Bertrand Russel, Pessoa, Oscar Wilde, Sabahattin Ali, Christopher Hitchens, Stefan Zweig, Dostoyevsky; learning my first Chopin mazurka; the realisation every time I play a concert that my profession is unique—one creates in a moment in time something that people can never hold in their hands, but something that they hopefully can carry in their memory for days, months, maybe years; my partner’s infuriating knowledge of obscure composers she continues to throw at me, and whose music often serves as a sad reminder of how unfairly many of them are forgotten. There are so many things that an artist can list as having been influential—it is the beauty of not only being an artist, but being a human.

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

Overcoming an injury just before Covid-19 struck and wreaked global havoc. I was diagnosed with a condition called frozen shoulder, which took many months to heal, only to then migrate to the other shoulder. In a way, I can say that I experienced Covid-like restrictions imposed on my work two years before Covid appeared, and with it, a shock of suddenly not being able to practice, play, and even travel, and wondering if it would ever get better.

Of which performances/recordings are you most proud?

It is very difficult to listen to yourself, and many musicians would probably agree that it is often painful to hear one’s old recordings. These are just snapshots of those moments in time, and one has a tendency to always find room for improvement. But if I do look back, I would have to name my performances of the first piano concerto by Shostakovich, with Ashkenazy and the RPO and my recording of the Scriabin piano concerto with Ashkenazy and the DSOB.  Tchaikovsky 2 with Dutoit and the Philharmonia isn’t too bad either, considering I had to learn the piece especially for the recording!  Grieg’s Ballade and lyric pieces on Exton released in 2012 have been very dear to me, as I feel very close to Grieg’s intimate side in a Nordic kind of way.

I am also in a very different stage of my career now, where I am much less dictated to in the choices of my repertoire, and can really explore the long-neglected corners and all sorts of repertoire that I simply didn’t have time for until now. My collaboration with Ondine began last year, with the recording of Scriabin’s complete mazurkas, and continues with the upcoming release of piano works by Stanchinsky. These two composers are connected by their historical period, the city they lived in, and the professors they studied with. They knew each other, and were shaped by many of the same events that unfolded in the political and cultural life of Russia. I am absolutely delighted that in collaboration with Ondine, whose work I hugely admire, I have found a perfect mix of freedom to discover for myself the composers and works I long dreamt of knowing, and an impeccable quality control when it comes to all sorts of details and technicalities that I simply couldn’t think of myself.

Which particular works do you think you perform best?

This question can be answered differently depending on when it is asked. When I was a 17-year old pianist with a new Decca contract, I capitalised on my rigorous training in percussion and found particular enjoyment in performances of muscular, rhythmical, acrobatic works such as Prokofiev or Tchaikovsky piano concerti (I recorded all three for Decca), of performing and recording works by Gershwin and Ravel, and spending much of my time with Russian romantics and American 20th-century composers. But I am 50% Polish, so Polish composers always loomed large in my life, from Chopin to living Polish composers, and I am so glad I got to work on Lutosławski’s piano concerto with the composer himself, whose encouragement and guidance meant a lot. It was also an honour to have a concerto written for me by Wocjiech Kilar; to premiere works by Zygmunt Krause, Romuald Twardowski, and of course to always have in my repertoire works by Szymanowski, Maciejewski, and many others.   Now I am very intrigued by the works by Grażyna Bacewicz, which I hope also to record for Ondine. So, I guess, to answer this question in another way: I like to think that I give my heart and soul to make sure every composer whose music I perform will get my best.

What do you do off stage that provides inspiration on stage?

Life is my inspiration. To wake up every day and to see outside my window how nature changes its colours and patterns in the most minute yet steady way is to be constantly inspired. No matter what, the spirit of nature continues its march towards each season, serving as a reminder to us humans, that we too should continue our pursuits with the same steadfastness, and always have time to stop and notice something wonderful and wondrous. You might say that being close to nature reminds me to try and bring this wonder to every concert.

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

It varies greatly. A season might be dedicated to celebrating a particular composer, or one might happen to want to explore particular repertoire in a given year. Right now, for me, my choices are, of course, influenced by what recording I might be working on. For example, I can already say that 2022/23 season will be heavily focused on the music by Grażyna Bacewicz, which I am due to record for Ondine and which I will perform.

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

It is almost impossible to pick one, there have been so many. Suntory Hall in Tokyo has been a special place for me for many years—it is a large venue, and yet there is an intimacy one feels on stage during a recital that almost defies explanation.

What do you feel needs to be done to grow classical music audiences/listeners?

An eternal question! There are many elements to this answer: diverse programming, daring choices, fresh ideas that show people that there is a huge amount of interesting, worthy music out there that is still waiting to be heard. Hopefully, I will show this with my forthcoming release of piano works by Alexey Stanchinsky. But audiences do not grow just because we want them to—it starts in early childhood, at home, at school. Every child must have an opportunity to learn an instrument, to be exposed to great musical works just as they have to learn maths or learn how to read and write. Music should be embedded in education from the beginning—so many studies and experiments show the healing power of music, the effect it has on brain development, and on concentration, which is particularly suffering in our post-modern, social-media saturated, digital age.

What is your most memorable concert experience?

Again, an almost impossible question but certainly one of the most unusual was my first performance in Seoul, South Korea. It would have been around 1995 and I was due to perform Rachmaninoff’s Paganini Rhapsody with Myung-Whun Chung conducting the Philharmonia.

There was a public holiday in Korea that day so the orchestra bus was heavily delayed on its way to the concert venue. The concert was relayed live on Korean TV and the orchestra was not there at the time of the start, so I was asked if I could play something while we waited for the orchestra. I was still wearing jeans and a T-shirt, but it came to pass that Mo. Chung (who is a great pianist) and I had to take turns in giving an impromptu recital live on TV while the orchestra made its way through the Seoul traffic! Every time I play in Korea someone always comes up to me and reminds me of that day.

Of course I have to mention also the one when the cannon for the 1812 Overture (which was the next item in the programme) accidentally went off during a particularly peaceful moment in the slow movement of Tchaikovsky 1 in my debut with the Philadelphia Orchestra!

As a musician, what is your definition of success?

To be in a place that allows you to create at the piano, to be in the moment, for every performance to be an artistic experience and experiment, not just another concert. To be happy with the fact that the process of becoming an artist, a musician, a human being is ongoing and that there is no arrival point, only the journey full of ups and downs, possibilities, gains and losses, and most of all, continuous learning.

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

Learn how to know yourself, commit to a life-long process of discovering your artistic personality, be adventurous in life and in work, and most of all, do not to give up when things don’t work out straight away, and to keep a positive outlook even in the darkest of times. Remember the ancient Eastern proverb—‘Even after the darkest winter, spring will always follow’.

What has lockdown taught you as a musician?

To appreciate the space it has created around me, to appreciate the slower pace of life, and to find beauty in the smallest everyday things. To take a walk and to marvel at the beauty of nature, and of its indifference to us, humans, in a good way. It is obvious that without us, nature would do quite well, but we without nature—well, that’s a different story. The space, the quiet, the slowing down all help to restart the creative process, to recharge, and to find new energy for new projects.

Where would you like to be in 10 years?

Here in Sweden, still discovering new repertoire, as well as playing what I will forever love of Chopin, Beethoven, and so many others, and remaining open to what life brings.

What is your idea of perfect happiness?

Does it exist? To me, perfect happiness is perfect for a limited time only: if there is no strife, no challenges, no adversity of some kind, life has the danger of becoming boring. But waking up on a sunny morning and having a cup of coffee outside, listening to a spring song of a bird and being in that moment viscerally comes pretty close!

What is your most treasured possession?

My music scores.

What is your present state of mind?

Calm.

Peter Jablonski’s album of piano works by Alexey Stanchinsky (1888–1914), one of the most talented Russian composers of the early 20th Century, is released on 5 March on the Ondine label. Stanchinsky was not only a talent but a genuine innovator who,  despite his early death, had a profound influence on the generation of composers to follow.

The album will be released one year after lockdown began.  During these difficult and uncertain months, many people may have experienced poor mental health at times, just as Stanchinsky did during his lifetime.  In honour of Stanchinsky’s memory, Peter Jablonski has partnered with Samaritans and will make a personal donation to assist their work.   The official message from Samaritans is: When life is difficult, Samaritans are here – day or night, 365 days a year. You can call them for free on 116 123, email them at jo@samaritans.org, or visit www.samaritans.org.


Peter Jablonski is an internationally acclaimed Swedish pianist.  Discovered by Claudio Abbado and Vladimir Ashkenazy and signed by Decca at the age of 17, he went on to perform, collaborate and record with over 150 of the world’s leading orchestras and conductors, including the Philharmonia, Royal Philharmonic Orchestra, Leipzig Gewandhaus, Mariinsky, La Scala Philharmonic, Tonhalle Zurich, Orchestre Nationale de France, NHK Tokyo, DSO Berlin, Warsaw Philharmonic, Los Angeles Philharmonic, Philadelphia and Cleveland Orchestras and worked with such acclaimed conductors as Vladimir Ashkenazy, Valery Gergiev, Kurt Sanderling, Esa-Pekka Salonen, Riccardo Chailly, Daniele Gatti, and Myung-Whun Chung, to name a few.  He has performed and recorded the complete piano concertos by Beethoven, Tchaikovsky, Rachmaninoff, and Bartók and all of the piano sonatas by Prokofiev.  During his three-decade-long career, he worked closely with composers Witold Lutosławski and Arvo Pärt.  Jablonski’s extensive discography includes several award-winning recordings.

Peter Jablonski’s website

To coincide with the release of ‘Regards sur l’Infini’, with soprano Katharine Dain, pianist Sam Armstrong shares insights into his influences and inspirations, significant teachers and the music he’d like to perform in concert in the future.


Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

My parents are not musicians but my strong will to play the piano emerged quite clearly early on (at the age of 4 or 5). My first serious introduction to classical music was through the Great Composers LP series (I remember Beethoven Sonata recordings of Wilhelm Kempff and a Grieg Concerto by Stephen Kovacevich). I was also quite bowled over at a young age by the passionate music-making of Jacqueline du Pré in a TV documentary about her life.

The most important influences have been my two main piano teachers, Helen Krizos and Richard Goode. Helen was my teacher from the age of 12 and I stayed with her for a decade. I owe her everything in terms of learning to play the piano. She really ‘rescued’ me and helped me rebuild my technique with a much less tension and more ease and was wonderfully thorough and present every step of the way for the entire time I studied with her. She was demanding and exacting yet at the same time extremely supportive and warm. The very important things she instilled in me were the importance of beauty of sound, a deep sense of musical integrity and the necessity to adjust to whichever instrument I am playing on.

Studying with Richard Goode at Mannes College of Music in New York for four years blew open the ceiling for me in terms of sounds I thought it was possible to make on a piano, in terms of learning how to decipher a score with a combination of intelligence and instinct, the importance of getting to the emotional heart of a work and the necessity of specificity in communicating that. Also, very luckily the year I began studying with him he was featured artist in Carnegie Hall’s Perspectives series. I was able to hear him across 12 (I think!) concerts performing a huge range of repertoire from Mozart and Beethoven Concerti to Schoenberg’s Book of the Hanging Gardens, Janacek’s the Diary of One Who Vanished, Brahms Piano Quartets, Bartok’s Third Concerto and Schubert Lieder amongst other things. Hearing those outstanding concerts and witnessing his artistic range was an education in itself.

More indirectly I have been influenced by many others: masterclasses I had with Leon Fleisher and Pierre-Laurent Aimard were particularly illuminating.

As a listener, I have been hugely inspired by the conducting of Antonio Pappano being an avid fan and regular attendee Royal Opera House performances. Also the artistry and boundary-less repertoire of soprano Sonya Yoncheva is very special indeed. I will never forget solo recitals I heard from pianists Earl Wild and Aldo Ciccolini as well as a truly heartbreaking rendition of Schumann’s Dichterliebe with Christoph Eschenbach at the piano at the Ravinia Festival in Chicago.

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

I think the one of the greatest challenges has been to maintain internal self-belief through the inevitable peaks and troughs of a career in music. In particular, to avoid feeling that how busy one is or not at a given moment is not necessarily reflective of how your career is going overall. It is important to acknowledge the role of circumstance and timing as well as work you have put in to constructing projects and laying the groundwork for things to happen. Also, it has been a challenge to learn not to expect a particular external result from a performance that you feel very happy with or hoped might take you forward in terms of career.

Which performances/recordings are you most proud of?

This is NOT because it has just been released, but my album ‘Regards sur l’Infini’ with soprano Katharine Dain is something I am proud of as we had a very unusual situation in terms of preparation because of the pandemic. We chose to quarantine together starting in March and we ended up having months to fully prepare the rather complicated programme with no limits on how much we rehearsed. Normally rehearsal time is very short in professional life, so this felt like a real luxury to be able to explore the songs and poems so deeply, change our minds and give the music space to settle and breathe. Also, to prepare Messiaen’s Poèmes pour Mi (the main work on the album) with Pierre-Laurent Aimard was a huge privilege and totally game-changing in terms of understanding the codes to this complex music.

In terms of a performance I am proud of, my second Wigmore solo recital in 2012 is a performance I felt quite close to happy with – particularly in Schubert’s B flat sonata – a piece that is so vulnerable and hard to grasp and so much already in another world.

Which particular works do you think you perform best?

I’m not sure that musicians are very objective at judging themselves, but I am told by others that I have a strong connection with Schubert and Brahms (composers whose music I love deeply).

What do you do off stage that provides inspiration on stage?

Listening to inspiring performances, long discussions with friends and colleagues and reading (I just finished a wonderful biography of Debussy by Stephen Walsh). Also, time in nature.

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

I found the Kleine Zaal (small hall) of the Concertgebouw in Amsterdam to be particularly magical. Perfect piano, perfect acoustic, presented with flowers by the hall as a matter of course. It doesn’t get better than that.

What do you feel needs to be done to grow classical music audiences/listeners?

I think that a growing conversation between performers and public about composers as the vivid, colourful flawed humans they were/are rather than dusty abstract figures is going to be necessary to engage and grow audiences. Also that classical music is a beautiful mirror of all of the emotions and experiences of life.

What is your most memorable concert experience?

My most memorable concert experience was my solo debut recital in New York at Weill Hall in Carnegie Hall. It was one of the very few concerts where circumstances meant that a large number of friends and supportive colleagues were able to turn out in force.

As a musician, what is your definition of success?

I think my definition of success as a musician is to maintain the will to get better, to improve and to get closer to get to the heart of this extraordinary music we are all lucky to play. On the other side, I think another type of success is to avoid becoming jaded by certain non-musical aspects of the music industry. Above all though is to keep searching for truth and equally to stay open to changing your mind and to other points of view.

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

That you never arrive. That we are always chasing something elusive. Also to learn to enjoy the process, as music will present new (and sometimes the same!) challenges every time you begin a new piece.

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

I hope still to be playing the piano for a living. I would like to have more autonomy over certain programming choices and to have the ability to convince promoters to get larger numbers of people together for certain repertoire (Janacek The Diary of One Who Vanished, Schoenberg Pierrot Lunaire, Ravel Trois Poemes de Stephane Mallarmé or the Chausson Concert for example). Also budgets that would to make it possible to bring people from different countries for fantasy football style chamber collaborations (which feels even more decadent and luxurious in these pandemic times) would be wonderful.

What is your idea of perfect happiness?

A small house on the Greek island of Hydra with a good piano and a excellent espresso machine.

What is your most treasured possession?

My hearing.

 

‘Regards sur l’Infini’ was released on 27 November 2020 on the 7 Mountain Records label. With this album of French songs centred around Olivier Messiaen’s Poèmes pour Mi, American-Dutch soprano Katharine Dain and British pianist Sam Armstrong have constructed a meditative programme that also includes Claude Debussy’s complete Proses lyriques as well as individual songs by Henri Dutilleux, Kaija Saariaho, and the little-known Claire Delbos, a violinist and composer and the first wife of Messiaen. More information


Hailed as ‘a major new talent’ International Piano and a ‘pianist of splendid individuality’ Arts Desk English pianist Sam Armstrong has made solo recital debuts at the Concertgebouw Amsterdam, Carnegie Hall’s Weill Recital Hall in New York as well as at the Wigmore Hall in London, and as concerto soloist with the National Symphony of Ecuador.

Read more

 

Ahead of the release of ‘Regards sur l’Infini’, with pianist Sam Armstrong, soprano Katharine Dain shares her influences and inspirations, and the experience of creating this album while in quarantine


Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

My decision to try singing professionally came relatively late – at the end of my university studies. But certain encounters before then were crucial, even if I didn’t know it at the time. I had a passionate and encouraging high school choir director and an unusually gifted first voice teacher. I was borderline obsessed with Ella Fitzgerald, Joni Mitchell, and a scratched LP of Britten’s Ceremony of Carols. As a teenager, I heard, incredibly, one of Leontyne Price’s last recitals in my North Carolina hometown. In college, performances of the St Matthew Passion and Così fan tutte were utterly formative. (Fiordiligi was my first opera role—good thing I had no idea how tough it was when that plan was hatched in a practice room with the friend who conducted the shows!)

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

My instrument is my body, so it is always in flux, and my identity as a singer has gone through many transformations as a result. Think of the hugely different expectations (and stereotypes) of people who sing early consort music, or virtuosic operatic roles in staged productions, or avant-garde repertoire full of extended techniques, or intimate songs with piano. I’ve done all of these professionally. Each comes with its own physicality, jargon, social codes, areas of assumed knowledge, and musical and performative habits; shifts in my repertoire always seem to trigger a corresponding identity crisis. Also, singing is affected hugely by illness, grief, stress, travel. It’s tough not to equate your whole sense of self-worth and value with what your body is producing at any given moment. Repertoire, health, physicality – it all feels terribly personal, and I’ve had some difficult years when nothing seemed to be working and I didn’t know whether I would ever sort it out.

Which performances/recordings are you most proud of?

I’m exceptionally proud of the CD I am releasing this month, Regards sur l’Infini, a collection of French songs by Messiaen, Delbos, Dutilleux, Saariaho, and Debussy recorded with pianist and long-time friend Sam Armstrong. I’ve had the programme in mind for a long time, but our decision to quarantine together at the beginning of the pandemic lockdown gave us an unprecedented opportunity to rehearse and assimilate the music together over a long period.

One of my favourite live projects last year was singing Donna Anna with the Orchestra of the 18th Century in the Netherlands and Belgium. I’ve known and loved the music for so long, but with a period orchestra and a deeply sympathetic conductor in Kenneth Montgomery, the shapes and shifts in that extraordinary score were as transparent and arresting as I’ve ever managed.

Which particular works do you think you perform best?

I am endlessly fascinated by the explosion of idiosyncratic expression in vocal music from the first half of the 20th century – Schoenberg, Strauss, Messiaen, Britten, Barber, Stravinsky, Poulenc – and in more contemporary scores. But I also find that Handel and (especially) Mozart feel utterly like home to me, and more so with every passing year.

What do you do off stage that provides inspiration on stage?

I write, I read, I cook, I knit, I walk, I make friends with strangers, and I ask too many questions!

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

I get strongly possessed by certain composers and styles. When that happens, I’ll expend a huge amount of energy (for years at a time, if I have to) seeking out ways of singing the music. Sometimes the game has to be very long indeed – I knew that there were certain roles that I would be perfectly suited to eventually (Konstanze, Donna Anna), but it took a decade to sing them how I wanted and to find the right opportunities. In the meantime, repertoire also finds me. I learn quickly, so I’m often called for jump-ins on scores I’ve never learned. I’ve discovered some incredible pieces this way: jewel-like Lieder of Marx and Korngold; an oratorio by Luigi Nono that is devastatingly powerful; perfectly balanced songs with chamber ensemble of Ravel and Zemlinsky and John Tavener. Other times, trusted colleagues recommend me for repertoire I wouldn’t necessarily choose, but their confidence makes me braver and the resulting work makes me stronger. This has happened in recent seasons with Berlioz, Strauss, and Wagner.

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

One of my favourites is the Concertgebouw in Nijmegen, a glorious hall with a stunningly warm acoustic in the east of the Netherlands. I performed there as soloist with orchestra twice in the 2019-20 season before the pandemic shut everything down. This summer, while the hall stood empty, Sam and I recorded our album there over three days. After months of practicing in the boxy acoustic of my living room, it was a pleasure to lean into the generosity of the space. I was reminded just how much the venue contributes to the artistic and musical result; our CD feels like an equal collaboration between singer, pianist, producer, and the atmosphere of the hall.

What do you feel needs to be done to grow classical music audiences/listeners?

I’ve performed a lot of concerts throughout the United States for an outreach organization called the Piatigorsky Foundation, including many concerts for school-age kids. That work has convinced me that any conversation about increasing classical music’s visibility must start with prioritizing education. Kids are the most open-minded audiences of all, if the music is presented in a thoughtful and charismatic way. The slashing of school culture budgets has done more harm to this art form than anything else, and I think any effort to improve the situation has to be focused there first.

What is your most memorable concert experience?

There was that time I performed in a bar in Wyoming, and we were literally taping the upright piano back together until minutes before the performance began. I think a pencil and some rubber bands were involved.

As a musician, what is your definition of success?

Many years ago, an unusually wise teacher pitched this question out to an opera scenes class. Every student had to answer individually; most said they wanted to be working in top-level opera houses or represented by a prestigious management agency. When my turn came, I said, a bit hesitantly, that I wanted to be making great music with good and smart people. The teacher gave me a shrewd look and said: that’s achievable; you’ll do it. He was right. My understanding of that goal – making music at a high level, with people I like and respect – has become more nuanced over the years, but it’s still the guiding principle in how I make decisions about what work to accept or pursue, and it’s still how I know if I’m satisfied with the job I’m doing or not. It can be achieved in many situations and at many levels of development, so there have been moments all along when I’ve known I was getting what I wanted, whether the external markers of success (fancy contracts and management) were happening for me or not.

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

Patience; curiosity. The process of becoming a professional musician (whatever that means to you) will likely be long, vulnerable, and full of rejection. Your curiosity and love for the music is sometimes the only thing keeping you moving forward. If you lose that, you’ve lost the most precious thing you have, so keep that flame alive. Keep listening. Keep exploring. Keep your heart and mind open and vulnerable. Keep caring for yourself.

At the beginning of the Covid-19 lockdown in mid-March 2020, Katharine Dain and Sam Armstrong, long-time friends and collaborators, decided to quarantine together. The period of lockdown lasted much longer than anyone anticipated, and the enforced months of isolation at home allowed for unusually deep and slow exploration of repertoire for voice and piano.

‘Regards sur l’Infini’ is released on 27 November 2020 on the 7 Mountain Records label. With this album of French songs centred around Olivier Messiaen’s Poèmes pour Mi, American-Dutch soprano Katharine Dain and British pianist Sam Armstrong have constructed a meditative programme that also includes Claude Debussy’s complete Proses lyriques as well as individual songs by Henri Dutilleux, Kaija Saariaho, and the little-known Claire Delbos, a violinist and composer and the first wife of Messiaen. More information here


American-Dutch soprano Katharine Dain is a musician of insatiable curiosity, active in opera, orchestral repertoire, oratorio, and chamber music in Europe and North America. After taking the top prize in the Clermont-Ferrand Competition (in which Diapason called her a “revelation”), Dain debuted as Konstanze in a production of Mozart’s Die Entführung aus dem Serail at the opera houses of Clermont-Ferrand, Avignon, Rouen, Massy, and Reims. Other recent highlights include Mozart’s Donna Anna with the Orchestra of the 18th Century under Kenneth Montgomery, orchestral song cycles of Dutilleux and Berlioz with the BBC Scottish Symphony Orchestra under Ryan Bancroft, Brahms Requiem with Cappella Amsterdam under Daniel Reuss, Mahler’s Fourth Symphony with LUDWIG, and songs of Berg and Zemlinsky with Het Collectief under Reinbert de Leeuw at Austria’s Osterfestival. A passionate promoter of chamber music and song, she is a co-founder of Damask Vocal Quartet, whose 2018 debut album “O schöne Nacht” won France’s Choc de Classica award and universal acclaim in the press. Dain holds degrees from Harvard University (Boston), Guildhall (London), and Mannes (New York), and she currently lives in the Netherlands.

katharinedain.com