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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

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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.

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)

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© 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)

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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