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

I remember being fascinated by the piano in my grandmother’s house, and this led to my mother teaching me to read music at the age of three. I do not remember, as a child, hearing much music, none of my friends played an instrument, but I remember my grandmother played by ear, and sang music-hall songs to me, which I loved. They must have embedded themselves deep in my memory, as I still remember many of these, including all the words!

One strange memory stands out. My mother, before her marriage, had worked in the office of a local chemist, a Mr. Lester, of whom she spoke occasionally, with the greatest respect and admiration. I had never met this gentleman before, but on one memorable occasion I was taken, by my mother, to visit him at his home. He possessed a fine gramophone, and played me some of his precious 78rpm records. I was about 6 years old at the time. Two recordings stand out in my memory. One was the Grieg piano concerto, which I was hearing for the first time. It made a tremendous impression on me, and I determined that I would one day perform it,(which I did.) The second recording was an odd choice to play to a child, but I was overwhelmed. It was Kirsten Flagstad singing Sibelius songs, and it was one of the most powerful musical experiences of my life. I had never heard anything like it, the powerful intensity of this magnificent voice, and the vivid colours of this unfamiliar music made a huge impression on me. I never saw Mr. Lester again, but he brought magic into my life.

And when I gave my first public performance, at the age of seven, the feeling of engaging with an audience, and sharing this magical world of music was so exhilarating, that I knew, without a doubt, that I wanted to be a pianist.

Further motivation and inspiration came from my repeated reading of ‘Prelude’,a book based on the early life of Eileen Joyce, who was arguably the most famous concert pianist at that time in Britain. I was captivated by this highly romanticised account of a child from a very ordinary background being swept into the extraordinary and exciting world of music. I devoured the stories of her inspiring lessons with eminent European teachers, and the manic regimes of practising, which all culminated in a dazzling career. It was heady stuff, and I became even more determined to enter this fascinating world myself one day.

I was taken to hear Eileen Joyce play on one  occasion by a family friend, who took me backstage afterwards to meet this glamorous superstar of the classical music world. I remember her gorgeous frocks, and, in marked contrast, her workmanlike hands. As she shook my hand, I remember being struck by their immense power.

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

The first time I heard a great pianist in recital was in my early teens, when I I attended a Sunday afternoon concert given by Artur Rubinstein at the Royal Festival Hall. I was mesmerised by the sheer joy and freedom of his playing. This represented the ideal of piano playing that I would, from then on, aspire to.

At the age of seventeen I began my studies at the Royal Academy of Music, where my teacher was Vivian Langrish, who had been a student of Tobias Mattay, alongside Myra Hess. He taught me the importance of sound quality and variety of colour, and greatly expanded my tonal range. Also, while a student, I played for many singers, and was hugely influenced by the great singing teacher, Flora Nielsen, who first revealed the wonders of French song to me, opening the door to the exquisite music of Debussy and Faure in particular.

But I think the greatest inspiration and influence on my playing came from two violinists, the remarkable Hungarian violin professor, Bela Katona, and the legendary violinist Nathan Milstein.

Bela had the most extraordinary ability to reveal the inner life and structure of the music, while at the same time demanding a meticulous attention to detail.

One of the greatest experiences of my life was playing with Nathan Milstein. Every rehearsal was a lesson with a great master. He would demonstrate on the violin what he wanted me to do on the piano. I learnt so much just trying to develop my touch to match his attack on the string, and the freedom of his bow arm to make the gestures of the music. It was awe-inspiring. And throughout, there was always his insistence on the vital importance of the bass line. I learned to focus my attention on a fully independent and fully present and vital bass line, which underpins everything.

Finally, I must acknowledge the influence of jazz, in particular, great jazz pianists, most notably Oscar Peterson Bill Evans and Erroll Garner. From first hearing jazz in my early teens, I knew that I wanted to play classical music with the freedom, spontaneity and immediacy of these artists. This is still my ideal.

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

One’s life as a musician is a continuous, never-ending series of challenges, and it is in meeting these challenges that one develops. But two huge personal challenges stand out for me.

The first was a very serious illness at the age of 28, when , quite suddenly, all my joints, right down to fingers and toes, seized up, and I became completely immobilised. I spent some weeks in hospital, where the doctors were completely baffled, and considered that I would never walk again, and certainly never play the piano. Eventually, however, slowly and painfully, movement returned, curiously, one joint at a time. The fingers were the last to return, taking several months. I gradually eased back into playing again, finding my way back gently into professional work by doing a little accompanying, and then duo playing and chamber music, as my strength returned. I did not return to solo playing in public, as, due to my illness, I had developed severe anxiety about performing from memory. I was now teaching at the Royal Academy of Music, and was also invited to teach at Trinity College, and to establish an ensemble class there. Thus I found myself enjoying a thriving and fulfilling career, performing and teaching, which continued over the following three decades.

And then, shortly after my 60th birthday, came my second huge challenge, when I lost most of my sight, due to haemorages behind the retinas of both eyes. It was extraordinary timing, as, just four years earlier, I had begun training in NLP, ( Neuro-Linguistic-Programming), during which, using one of the very powerful processes we were being taught, I succeeded in eliminating my memory anxiety. I had been looking forward to performing solo again when this new catastrophe struck. Recitals had already been booked, and these, of course, now had to be postponed, while I adjusted to a new, and frightening reality, but I knew that, although I had to give up all ensemble playing due to my severely impaired sight, I would be able to perform solo, from memory. Now there were new challenges, but my desire to continue to play carried me through, and again, I rebuilt my strength and my career, with the support of my wonderful husband Ian, and an amazingly loyal and devoted group of ex-students, who had become wonderful friends over the years.

Which performances/recordings are you most proud of?

My last CD , of solo piano music by Fauré, and the previously-released disc of music by Saint-Saens.

Which particular works do you think you play best?

I think that is for others to express their opinions. During the past few years I have felt a particular affinity with the music of Chopin, Fauré, Debussy and Ravel.

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

I allow ideas, or the desire to play particular works, to come to me, and then I play around with them, experimenting, until they come together to form programmes. It’s a creative process.

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

The Holywell Music Room, Oxford. It has special personal memories for me, and I love its intimacy and unique history.

Who are your favourite musicians?

Gyorgy Cziffra, Dinu Lipatti, Clara Haskil, Vladimir Horowitz, Claudio Arrau, Emil Gilels, Artur Rubinstein, Martha Argerich, Nathan Milstein, the Beaux Arts Trio.

Jazz pianists: Erroll Garner, Oscar Peterson, Bill Evans.

What is your most memorable concert experience?

My most memorable concert experience was when I performed in the Memorial concert for John Bingham in 2005, at Blackheath Halls in London. John was a wonderful pianist and a very special colleague and friend. We had met at Harold Craxton’s studio when we were both 16 years old, and entered the Royal Academy of Music together the following year as scholarship students. We resumed our friendship later when we were both teaching at Trinity College of Music.

At the same time as John was suffering his final illness, leading to his tragic and untimely death, I also had been ill, and had lost most of my sight. Despite my extreme physical weakness at that time, I felt compelled to volunteer to play at John’s memorial concert, such was the bond between us. I knew exactly what I should play— the Fourth Ballade of Chopin, a work which had been special to both of us since our student days.

This would be a momentous experience for me for another reason. As I have related earlier, I had not performed solo in public since a previous illness three decades earlier had left me unable to perform from memory in public. I also described how I had cured this anxiety, and was able to resume performing solo again. This performance at John’ s concert was to be my first solo appearance for more than thirty years. As the date for the concert drew near,  I became apprehensive, thinking how crazy I had been to volunteer, when I knew that, not only would I be performing alongside some very eminent musicians, but that the hall would be packed with many distinguished pianists and other highly respected members of the music profession.

The little sight I had left was also highly distorted at that time, so, on the day, before the concert, I practised finding my way to the piano, which, fortunately, was at ground level, with no treacherous stairs to negotiate.

When the time came for my entrance, the doors opened, and then the most extraordinary thing happened. As I tentatively began to walk forward, I found myself following the figure of a woman, who I instinctively knew was another version of myself. She was taller than me, with hair much darker and longer than mine, but I had no doubts as to her identity. And I suddenly felt quite confident, knowing that she would lead me safely to the piano. As I sat down on the stool, I sensed her sitting down by my side, ( although there was no actual chair there.) I felt entirely at ease, and as I played the opening bars I felt her gradually drift away. I felt inspired, with a sense that all was well, and the music seemed to play itself. Afterwards I received a wonderful ovation from the audience, and I knew that this  was a turning point in my life. I have no explanation to offer, but assumed that my mysterious guide must have been a kind of doppelgänger.

As a musician, what is hour definition of success?

For me, success is when I experience the sense of being ‘in the flow’ in a performance, truly in the moment, being at one with myself, with the music and the audience, in a kind of ‘magic loop’. The music seems to play itself. One cannot make this happen. One can only prepare meticulously, and in a way which creates the greatest potential for this to happen. Then, miraculously, sometimes the gods will smile on us!

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

Be curious, allow yourself to experiment.

Ask the question How?

Be kind to yourself.

Embrace uncertainty.

Do not strive for perfection, but follow your dreams, and move step by step towards your goals. Enjoy the journey. Remember that we ‘play’ a musical instrument!

What is your most treasured possession?

I have two. My beloved Steinway piano, and my beautiful Cornish Rex cat, Leo.

What is your present state of mind?

Curious.
Christine Croshaw’s recording of piano music by Gabriel Fauré is available now


Christine Croshaw has enjoyed a long and successful career as a solo pianist, accompanist and chamber music player.

Her concert engagements have taken her to most major venues around the U.K., including many appearances at the Wigmore Hall, Queen Elizabeth Hall and Purcell Room.

She has performed across the Continent in France, Germany, Austria, Spain, Portugal, Italy, Malta, Norway and Denmark, Finland, Poland and Switzerland, and also in North America. Festival appearances include Cheltenham, Lichfield, Kensington and Chelsea, Ludlow, Chichester, Lisbon, Bermuda and Taomina.

Read more

La and Leo – Christine’s Croshaw’s blog

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

I fell in love with music and the piano at about 4 years old when I first heard it played by a teacher at my kindergarten. I still remember that magical moment.

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

When I was about 12, I had a brief period of study with a concert pianist in Hong Kong who inspired me to see music as a vocation. I have been very fortunate to have studied with some wonderful teachers and mentors, including Joan Havill and Robert Silverman. The writings of Schumann, and letters of Brahms have also been a huge influence on me. Launching MusicArt  in 2015 was a crucial step in my career which opened up many new opportunities to collaborate with, and commission works from, contemporary visual artists, choreographers, and poets, who shape my current work in music.

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

It was a great challenge to combine performing with pursuing my doctoral research on the musical aesthetics of Schumann and Brahms at the Guildhall School/City University of London. Another challenge was launching MusicArt to collaborate for the first time with a painter, composer, and an art gallery. I learned from these two experiences to never give up and that challenges often lead to good things!

Which performance/recordings are you most proud of?

It was unforgettable to do a live broadcast for Classic FM from my own living room to commemorate Mozart’s 225th anniversary in 2016. It was very intimate yet reached out to so many people at the same time.

With my ensemble Minerva Piano Trio, I am proud of our year-long residency at St John’s Smith Square 2016/17. We joined forces to commission a new arrangement and dance choreography of scenes from Ravel’s Daphnis and Chloe for piano trio and dance. Our revival of the rarely performed Brahms’ Piano Trio in B major, Op. 8 (original version) was also one of the highlights for me during this residency.

Minerva Trio © Anthony Dawton

Which particular works do you think you play best?

I tend to choose pieces that speak to me on a personal level. Dinu Lipatti once said that it’s not enough to like the piece you play, but the piece must also like you! I play a wide range of repertoire but have a soft spot for Schumann, Brahms, and Ravel.  As long as I can make a connection with the sound world of a particular piece, then I feel inspired to share it.

It is thrilling to premiere a new work as there is a sense of freedom in communicating a piece for the first time. I love the collaborative aspect of working together with a composer, which is very creative and exciting.  That connection I mentioned before then extends to a kind of real affinity with the composer.  At the moment I am working with Hong Kong-born British composer Raymond Yiu.

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

I build on my core repertoire every season. In the past, I would tend to be more composer-focused. If I started to play one piece by Schumann, I would then aim to cover his entire output in order to gain a better understanding of the composer’s language. These days I am interested in finding ways to create dialogues between different works in a programme.

While I love my core repertoire for concert programmes (for example, I will be playing Beethoven, Schumann, and Ravel at St Martin-in-the Fields in December), I am also constantly looking for new stimulants for something adventurous.  For my next MusicArt concert I will present a world premiere concert-installation ‘Conceptual Concert in Three Acts’, inspired by the collaboration between Robert Rauschenberg and John Cage and performed within an exhibition of their works at Galerie Thaddaeus Ropac.  It will involve the music of John Cage, an installation of sound and spoken dialogue, and a new musical work created in collaboration with composer Raymond Yiu and poet Kayo Chingonyi.

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

I had a fantastic experience playing Arvo Pärt’s Fratres at an open space outside Central St Martins for a fashion show in London with a few hundred people in the audience. Since then I am happy to play anywhere as long as it is aesthetically pleasing or stimulating to the senses in some way, not just acoustically.

Who are your favourite musicians?

I have huge admiration for Leonard Bernstein, especially since I discovered his Eliot Norton lecture series, The Unanswered Question. He said, ‘The best way to know a thing is in the context of another discipline.’ Like other great musicians, he reminds one that music and humanity are inseparable.

What is your most memorable concert experience?

For me, playing Beethoven’s Emperor Concerto at LSO St. Luke’s in London was as special and memorable as playing John Cage’s 4’33” while silently reading a poem at an art gallery. I don’t think I can choose between the conventional and creative approach to playing concerts, as I love both.

As a musician, what is your definition of success?

Success is constantly achieving what I set out to do. It’s important to me to generate creative ideas on a regular basis, work with people whom I admire, and create unique experiences for the audience. When I can do these things continuously at a high level, then I am happy.

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

Treat music as an art form that demands the utmost dedication and discipline. Career is by no means guaranteed. After you finish training and studying at the conservatoire or college, your colleagues and collaborators become, in a way, your teachers. Learn to listen through playing with others.

What is your most treasured possession?

The Yamaha C3 grand piano that I have had since I was 12. It has travelled with me from Hong Kong to Vancouver to London. I had wanted a grand piano from the very beginning, and my mother promised if I reached Grade 8 she would buy me one. It turned out she started saving for it from the day she promised, so she could afford it, just in case! That was a great motivation and I made sure to get it as quickly as possible.

Video links:

Debussy  – https://www.youtube.com/watch?v=epJymUc2rDY

Brahms: Intermezzo in A major, Op. 118, No. 2 https://www.youtube.com/watch?v=OImMONM78TI

Music by Arvo Pärt – Für Alina

Poem by Zaffar Kunial – Sunlight

https://www.youtube.com/watch?v=iG-g7bfLpec

ERDEM
London Fashion Week SS14

Annie Yim, pianist
Richard Birchall, cellist

https://www.youtube.com/watch?v=4rTeQ8Iaqnc

John Cage the Lover and Poet (audio)

https://vimeo.com/193910760

OR

John Cage Dream (1947)

https://www.youtube.com/watch?v=PEknsWJLp-o

Scenes from Daphnis and Chloe (2017)
Minerva Piano Trio
Thomasin Gülgeç, dancer
Estela Merlos, dancer

https://www.youtube.com/watch?v=PdsMBr1JfBw

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

Nobody has forced me or suggested me to become a musician. My parents had many recordings as they were classical music lover. So I often listened to classical music since when I was a child and I liked it very much. That’s how I started to become close to and to love classical music.

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

I would say meeting with many great musicians have been the most important influences on my musical life, people like Myung-Whun Chung, Radu Lupu, Krystian Zimerman, Mikhail Pletnev, Alfred Brendel, Murray Perahia and many others…..I learned a lot even while having a conversation with them.

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

Maybe participating some competitions….. I wanted to play for audiences across the world and I thought winning the competition was the easiest way to reach that goal. And it was true, the Chopin Competition gave me a lot of opportunities, but I’m still against competitions. Many great musicians like Arcadi Volodos or Piotr Anderszewski didn’t win any competitions.  The competition kills the musical idea, imagination and freedom. I felt so free after I won the Chopin competition because I realized that I don’t have to do this kind of thing anymore.

Which performances/recordings are you most proud of?

Brahms Quartet in g minor from the Rubinstein competition in 2014. It was the only performance which I enjoyed during that competition.

Which particular works do you think you play best?

I have no idea…

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

These days I simply play the pieces that I want to play. A few years ago, I wanted to show or express many sides of my musicality. But not anymore. I always feel comfortable when I play the music I love.

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

So many places where they have a good piano, good acoustic and good audience. Like Carnegie hall in New York, the Concertgebouw in Amsterdam, Paris and Berlin’s Philharmonie, KKL in Luzern, Elbphilharmonie in Hamburg, Suntory hall in Tokyo…..

Who are your favourite musicians?

Radu Lupu, Krystian Zimerman, Mikhail Pletnev, Alfred Cortot, Edwin Fischer, Arcadi Volodos, Grigory Sokolov, Carlos Kleiber, Myung Whun Chung any many others

What is your most memorable concert experience?

My debut recital in Korea in 2005 when I was 11. After the performance, I realized that I really loved sharing my music with the audience.

As a musician, what is your definition of success?

Actually I still don’t know what being successful as a musician is and I don’t want to think about it. My goal is play better than yesterday and to be satisfied with my performance more often. I’m rarely happy with my performance…

What advice would you give to young or aspiring musicians?

Don’t expect the compensation after you decide to become a pianist or musician

What is your idea of perfect happiness?

I love to be in a place where there no noise. I love silence. And having good food and drink with my family or friends.

 

Seong-Jin Cho’s new recording of Mozart Piano Concerto No. 20 in D Minor, K. 466, Piano Sonatas K. 281, k.332 (Deutsche Grammophon, CD 0289 483 5522 8) is available now
Seong-Jin Cho was brought to the world’s attention in 2015 when he won the First Prize at the Chopin International Competition in Warsaw. This same competition launched the careers of world-class artists such as ‎Martha Argerich, ‎Maurizio Pollini, or ‎Krystian Zimerman.

In January 2016, Seong-Jin signed an exclusive contract with Deutsche Grammophon. The first recording was released in November 2016 featuring Chopin’s First Concerto with the London Symphony Orchestra and Gianandrea Noseda and the Four Ballades. A solo Debussy recording was then released in November 2017. Both albums won impressive critical acclaim worldwide. In 2018 he will record a Mozart program with sonatas and the D minor concerto with the Chamber Orchestra of Europe and Yannick-Nézet-Seguin.

An active recitalist, he performs in many of the world’s most prestigious concert halls. In the 2018/19 season, he will return to the main stage of Carnegie Hall as part of the Keyboard Virtuoso series where he had sold out in 2017. He will also return to Amsterdam’s Concertgebouw in the Master Pianists series and will play recitals at the Berlin Philharmonie Kammermusiksaal (Berliner Philharmonic concert series), Frankfurt’s Alte Oper, Los Angeles’ Walt Disney Hall (Los Angeles Philharmonic recital series), Zurich’s Tonhalle-Maag, Stockholm’s Konserthuset, Munich’s Prinzregententheater, Chicago’s Mandel Hall, Lyon’s Auditorium, La Roque d’Anthéron Festival, Verbier Festival, Gstaad Menuhin Festival, Rheingau Festival among several other venues.

During the next two seasons, he will play with the London Symphony Orchestra and Gianandrea Noseda, at the Barbican Centre, Radio France Philharmonic Orchestra and Myung-Whun Chung at the Paris Philharmonie, Gewandhaus Orchestra with Antonio Pappano, Hong Kong Philharmonic with Jaap van Zweden, Pittsburgh Symphony Orchestra with Manfred Honeck, Finnish Radio Orchestra and Hannu Lintu, Philadelphia Orchestra and Yannick-Nézet-Seguin, Orchestra della Scala with Myung-Whun Chung. He will also tour with the European Union Youth Orchestra and Gianandrea Noseda in venues like Amsterdam’s Concertgebouw, Royal Albert Hall, Berlin Konzerthaus, the London Philharmonic Orchestra and Robin Ticciati in Germany, the WDR Sinfonieorchester and Marek Janowski in Germany and Japan, and with the Santa Cecilia Orchestra and Antonio Pappano in Asia.

He collaborates with conductors at the highest level such as Sir Simon Rattle, Valery Gergiev, Esa-Pekka Salonen, Vladimir Ashkenazy, Yuri Temirkanov, Krzysztof Urbanski, Fabien Gabel, Marek Janowski, Vasily Petrenko, Jakub Hrusa, Leonard Slatkin or Mikhail Pletnev.

In November 2017, Seong-Jin stepped in for Lang Lang with the Berlin Philharmonic Orchestra for concerts in Berlin, Frankfurt, Hong-Kong and Seoul. Other major orchestral appearances include the Royal Concertgebouw Orchestra, Orchestre de Paris, Mariinsky Orchestra, Munich Philharmonic Orchestra, Rundfunk-Sinfonieorchester Berlin, Royal Liverpool Philharmonic Orchestra, NHK Symphony Orchestra, Philharmonia Orchestra, Seoul Philharmonic Orchestra, Czech Philharmonic Orchestra, Budapest Festival Orchestra, Danish National Symphony Orchestra, Russian National Orchestra, Detroit Symphony Orchestra, NDR Elbphilharmonie Orchester, RAI Symphony Orchestra, Hessischer Rundfunk Sinfonieorchester.

Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at 6 and gave his first public recital at age 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third prize at the Tchaikovsky Competition in Moscow at the age of 17. In 2012, he moved to Paris to study with Michel Béroff at the Paris Conservatoire National Supérieur de Musique where he graduated in 2015. He is now based in Berlin.

seongjin-cho.com

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

When I was really young my brother, who is older than me, played violin. I thought that looked like a lot of fun so I also started playing too. That is what got me interested in music to start with. In our home we had a very old upright piano, I think it cost £100. It was really terrible, almost untune-able. My brother and I would play around on it, making a terrible noise until my mum got so fed up with it that she found a local piano teacher to help tame us! I found that I enjoyed playing piano and would spend hours practising and trying out new things. My parents are not at all musical so they didn’t really know what to do with me when I began to become more and more interested in playing.

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

 I think that my first piano teacher, Claire Swainsbury, had a huge effect on me. She showed me how much fun I could have playing piano and introduced me to some beautiful pieces of music. Then later on Vladimir Ashkenazy has been a big influence along with the conductor Alexander Sladkovsky.

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

I think that in the UK Classical Music is sometimes difficult for people to understand, whereas in many other countries, Russia especially, it is more a part of everyday life. The education system in the UK doesn’t really help either. So I guess that is a pretty big challenge… for everyone involved in classical music in the UK.

Which performance/recordings are you most proud of? 

That would have to be Rachmaninov Piano Concerto No.2 with Alexander Sladkovsky in Kazan.

Which particular works do you think you play best? 

I enjoy performing a wide range of work but I do have my favourites, like Beethoven, Tchaikovsky and Liszt. I think that if you enjoy performing a piece of music you will usually play it well. I’ve always been fond of performing the great Russian romantic composers, although I’m never sure if I play these pieces the best. But I do know that I really enjoy this kind of repertoire.

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

I always have a list of pieces that I want to perform, I choose the ones that fit with the way I am feeling at the time when I am ready to begin a new piece.

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

I love performing in Russia and of course the Great Hall of the Moscow Conservatory has to be my favourite. Mainly because of the acoustics but also because of the long history behind this amazing concert hall and the many legendary artists who have performed there.

Who are your favourite musicians? 

I think my all time favourite would have to be Horowitz, who, when he first started performing, was paid in butter and chocolate… sounds good to me!

What is your most memorable concert experience?

Performing with Valery Gergiev and having a ten minute rehearsal for an entire concerto which ended five minutes before going on stage. That was interesting.

As a musician, what is your definition of success? 

For me success in music isn’t something that you can ever really achieve or reach. Certainly I try to improve my understanding of a piece of music, but I am not sure if I will ever succeed in doing so completely.

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

Always remember that music is an art form, not a science. It comes from the heart. So be yourself when you perform no matter what the people around you are telling you.


Born in Hackney in the UK, British pianist George Harliono was invited to make his first one hour long, solo recital at the age of nine. Since then he has performed in numerous locations both in the UK, USA, Europe and Asia, appearing at venues such as Wigmore Hall, The Royal Festival Hall, The Royal Albert Hall and Chicago Symphony Centre.

In 2013 he was invited to record Beethoven’s Piano Sonata Op.2 No.1 at the Southbank Centre in London. In 2016 his performance of Tchaikovsky Piano Concerto No.1 at the Great Hall of The Moscow Conservatory was broadcast live on Russian national TV and streamed live on Medici TV.

Since his concerto debut at the age of 12 he has been a regular performer with orchestras including the Moscow State Symphony Orchestra, The Mariinsky Orchestra, Tatarstan National Symphony Orchestra, New Millennium Orchestra of Chicago and Tyumen Philharmonic Orchestra. George also regularly performs alongside eminent artists such as Lang Lang and Denis Matsuev and has worked with many renowned conductors including Valery Gergiev, Alexander Sladkovsky, Evgeny Shestakov and Francesco Milioto

George has been awarded prizes in numerous competitions throughout the world including The Grand Piano Competition in Moscow, Royal Overseas League Music Competition in London, Gina Bachauer Piano Competition in Utah and Dinu Lipatti Piano Competition in Bucharest

Most recently he performed with The Mariinsky Orchestra in Vladivostok, Russia under the baton of Valery Gergiev and was also invited to perform a recital as part of the Scherzo Young Series in Madrid. Scherzo is the most important piano series in Madrid and has previously featured artists such as Yuja Wang and Mitsuko Uchida.

He studies with Professor Vanessa Latarche (Chair of International Keyboard Studies and Head of Keyboard, Royal College of Music in London) and travels to Switzerland to work with his mentor, renowned pianist professor Vovka Ashkenazy and also his father Vladimir Ashkenazy. He has taken masterclasses with Dmitri Bashkirov, Lang Lang and Vladimir Ovchinikov among others. George also works closely with Alexander Sladkovsky who has taken a personal interest in his development as an artist.

George began studying at The Royal College of Music for a BMUS Degree on a full four year scholarship in September of last year. He is one of the youngest students ever to be accepted onto this course.

Upcoming engagements for this year include performances with the Tchaikovsky Symphony Orchestra conducted by Vladimir Fedoseyev and Orquesta Sinfónica Provincial de Santa Fe conducted by Walter Hilgers. George will also be giving a concerto performance at the Berliner Philharmonie as well as a recital at the Minato Mirai Hall in Yokohama, Japan.

georgeharliono.net

(Photo: Alexander Von Busch and Kir Simakov)

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

My father was a huge inspiration for me. He was a fine pianist and played piano the Charles Kinz stride piano style. Along with my mother, they had a concert party after the way and with the other members of the “Wakeans”, as they were called, used to re-live the shows in our tiny front room in Northolt on a Sunday evening. Around 1953, when I was four, I can recall climbing out of bed and sneaking down the stairs to listen before getting caught and being sent back to bed.

I just wanted to play the piano so badly, and aged five I was sent off to piano lessons with Dorothy Symes, and indeed stayed with her throughout my grades before going to the Royal College of Music.

My father encouraged me to listen to as many different kind of music as possible and to play as many different styles as possible. I owe him so much.

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

There are so many – Dorothy Symes was such an inspirational teacher; being taken to see Swan Lake aged about nine and the same year seeing Lonnie Donegan (who in later years became a great friend and fellow Water Rat).

I loved Trad Jazz and especially Kenny Ball, who I also got to meet in later life. My father introduced me to Prokofiev’s ‘Peter and the Wolf’, which mesmerised me. Here was a story being told in music – that was really the moment when I knew that’s what I wanted to do: tell stories in music.

What have been the greatest challenges and pleasures of your career? 

The biggest challenge has always been people saying “You can’t do that“, which makes me all the more determined to do it, regardless of the consequences. I was told doing King Arthur on Ice was doomed to failure, and it is still the most talked about show I’ve ever put on!

Likewise, I was told it was ridiculous to take a symphony orchestra and choir on tour in America – red rag to a bull! I did it and it was fantastic! Every day brings new challenges and if you manage to overcome and solve them, that’s where the pleasure comes in.

Which performances/recordings are you most proud of? 

I would probably give different answers on different days, but these are the ones that come to mind today:

‘The Six Wives of Henry VIII’ as that was the first solo album and was hated by the record company who kept asking when I was going to put the vocals on!

Also ‘Journey to the Centre of the Earth’ and ‘King Arthur’ from the early seventies as well.

With my band, ‘Out There’ (originally released 2003) springs to mind as a very complex album where those around me really understood what I was trying to achieve.

The remakes of both ‘Journey…. ‘ and ‘King Arthur’ are very important to me as it now means there are records of the music to be remembered. Both of there were limited to the amount you could get onto a vinyl recording, so to do the full length versions was very important to me. I did the same with ‘The Six Wives of Henry VIII’ and added the three missing pieces to a live recording made at Hampton Court.

In recent years Piano Portraits has meant a lot tome for many reasons, not lease that it was my way of celebrating the genius and friendship of David Bowie. This has led to my brand new album for Sony Classical, Piano Odyssey, which ventures a stage further with piano variations of the music I love, with a string section and choir. A lot of time was spent getting this album absolutely as I wanted it and so has a special place in my “recording heart”.

Tell us more about your ‘Piano Odyssey’ album….. 

When I recorded ‘Piano Portraits’, it was purely solo piano versions of pieces I loved or had a connection to that had great melodies, and I rewrote variations on themes for all. I was really pleased with the outcome and the album did extremely well, making the top 10 for more than eleven weeks. I had decided against a second volume; however, because whilst there were a lot of other wonderful pieces of music that I wanted to do, none of them would work with just piano in the way I envisaged them.

However, it was ‘Bohemian Rhapsody’ that started it all off again. Now working with the team at Sony Classical, I had wanted to do this originally but just couldn’t get it to work on piano alone in the way I could hear it. I kept hearing a string section and choir, and had a Eureka! moment one day when I realised this was indeed the answer – an album of piano variations of great music but with the addition of a small string section and choir.

I prepared a short-list of 40 pieces and eventually whittled it down to the 12 I really knew would work – and that included Bohemian Rhapsody, which I sent to my dear friend Brian May. He not only gave it his seal of approval but added a cameo performance of beautiful acoustic guitar.

‘Piano Odyssey’ is everything I set out to achieve and indeed has even gone a stage further than I thought possible.

What motivated your selection of the music featured on this album? 

Simple answer – melody. There has to be a great melody that allows variations without taking away from the original. There are pieces from The Beatles, David Bowie, Paul Simon, Liszt, Handel, Dvorak, yes and even me! There are also two original tracks that I wrote in memory of two wonderful moon bears which were saved from horrific bear bile farms, and as an Ambassador for Animals Asia, I am proud that we have save so many of these wonderful bears and celebrate them here. Both the bears – Rocky and Cyril Wolverine – sadly passe away. Cyril was my own bear and the loss was devastating for all of us who knew him. I wrote both these pieces surrounded by their photos.

Were there any special challenges in arranging the songs? 

To be honest, no. I have been doing this for many years, although never recording them like this. I also have a good team around me with the Orion Strings and English Chamber Choir, who know where I’m coming from musically.

Do you feel that progressive rock is a way to bring some classical sophistication to the pop world and, if so, are your achievements in some way striving towards leading an innovative, “parallel-classical” career? 

When I started in the late 1960s after leaving the Royal College of Music, there were real divisions within all music types, whether jazz, classical, pop, rock, folk, country, you name it. They all had their own identities and seldom met! I deliberately set out to fuse as much as possible and at first hit a lot of brick walls, but slowly started getting the message across, and today there are no taboos which is great.

With there being a Prog-revival of sorts, does you think there is potential crossover for youth audiences between the two genres? 

There already is and vinyl has a lot to do with it. Younger people are discovering vinyl and album covers and the information contained on them. Music is tactile and vinyl is bringing that back. Music now no longer has a date stamped on it. You either like it or you don’t. There is no specific age thing any more either – that side of things is very healthy.

Would you ever consider making a fully classical album? 

I have been asked to and the answer would have to be no. Although I occasionally turn to Mozart and Beethoven sonatas or plough through the Bach “48” for fun, it’s not what I would want to do, if I’m honest.

As a musician, what is your definition of success? 

Success is sadly always thought of in commercial terms, but for me it probably only comes after you have departed this mortal coil. In other words, if in 100 years’ time somebody on radio plays a piece of my music, then I guess I can say I was successful to a degree…

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

Believe in yourself. Don’t be frightened of opinions and criticism from others, as long as they are qualified to give it (which 99% of them aren’t!). Most people who try and tell you what you should be doing do so because they can’t do it themselves (many don’t know a crotchet from a hatchet!), but occasionally the odd word of wisdom does get through: you just have to be able to spot it.

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

Alive please – and still able to play, composing and having music adventures.

What is your idea of perfect happiness? 

To be worry-free – so there’s no perfect happiness for any human being, I’m afraid!

What is your most treasured possession? 

My father’s upright Bechstein piano on which I learned to play and inherited when he died in 1980.

What is your present state of mind?

Jumbled! It always is – too much going on!

Rick Wakeman’s new album ‘Piano Odyssey’ is released on 12 October 2018 on the Sony Classical label. The album feature reworkings of material from his solo career along with Yes songs and covers of tracks by artists including the Beatles, David Bowie and Queen. 

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

I come from a musical family. All of my siblings learned an instrument when we were growing up, although I was the only one mad enough to have taken it up as a career. Myth also has it that my paternal grandfather (whom I never met) had a wonderful tenor voice, but he was too poor to have it trained. I was lucky in that from a very early age my parents took me along to all the concerts at our local music club. It happened to be one of the best in the country, which meant I regularly heard artists such as the Amadeus Quartet, the Beaux Arts Trio, Barenboim, du Pré, Brendel, Lupu, Menuhin, Perlman, Fischer-Dieskau, de los Angeles. The list goes on and on – I even heard Arthur Rubinstein a couple of times. How could I not want to be able to make music like these musicians?! It was subsequently one of my proudest moments when I stepped out onto that very same stage years later to do a recital myself.

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

I think that all of my teachers in turn helped to make me into the musician and person I am today – Cyril Smith, Angus Morrison, Vlado Perlemuter, Leon Fleisher. Even my very first teacher, a retired professor from the Royal Academy of Music, whom I remember as being quite strict and rather grumpy, but he ensured that I knew all the basics of harmony and counterpoint so that by the time I went to the RCM I already had almost half of Bach’s ’48’ under my belt. And I even managed to survive a few lessons from the legendary Adele Marcus (legendary for all the wrong reasons!), long enough to learn how to draw a beautiful cantabile out of the instrument. A massive inspiration for me was meeting and playing with Leonard Sorkin, the leader of the original Fine Arts Quartet in the USA. It was a formative time in my career when I was still in my early 20s, and I learned so much from working and performing with Leonard – he literally spoke from the heart through his playing, and his phrasing and articulation were so utterly natural and so ‘conversational’. I have always since tried to emulate that.

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

Combining motherhood with a performing career was definitely challenging as they are both so emotionally all-consuming. Undoubtedly though, the greatest difficulty for me was the decade I spent dealing with a seemingly endless succession of career-threatening physical problems. They were all apparently due to something my specialist told me was ‘dysautonomia’, a malfunctioning autonomic nervous system. I won’t go into the medical details here (otherwise it would be guaranteed to make my readers instantly click onto another page!), but I had to have operations on my shoulder and hand, as well as numerous cortisone injections in both arms. Thankfully that is now all several years behind me, and I am back playing again.

Which performance/recordings are you most proud of?

I remain particularly proud of the very first time I played at the Royal Festival Hall – Grieg Concerto with the Young Musicians Symphony Orchestra, and recorded by the BBC. I remember walking off the stage thinking: “Yes, I can do this!”.

I was also very proud of the live radio broadcast I did with Leonard Sorkin for WFMT Chicago. As I mentioned previously, I was at the beginning of my career while he was in the twilight of his. I remember the producer being visibly moved after we played the Brahms G major, saying it had reminded him of Bush/Serkin. As far as my recordings go, maybe they are are bit like children (or students) in that you’re not supposed to admit to any favourites! But if pushed, I do harbour a particular fondness my recording of the Russian Mighty Handful, such attractive repertoire and much of it still seldom played.

Which particular works do you think you play best?

That feels a bit like asking someone what they like/dislike most about their appearance, so I couldn’t possibly comment! My listeners might have their own views…

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

Obviously concerto repertoire gets discussed with orchestras/promoters – you have to fit in with their season. Solo recitals give one much more freedom of choice, and I have always loved to explore highways and byways, or to come up with some sort of theme or connecting thread in my programmes. I have always believed that you need to offer audiences something they wouldn’t normally just get listening at home.

You are performing in the London Piano Festival – tell us more about this?

I have known Charles Owen for a number of years and he has become a very dear friend. We used to live in the same neighbourhood and would meet each other for lunch or a walk in the woods and have a good old natter about life and the universe and all things music. So when he asked if I would like to take part in the two-piano gala at this year’s festival, the answer was of course a resounding yes!

Given my association with the music of Arnold Bax, it seemed obvious that we should choose something from the wealth of two-piano repertoire he wrote. We’ve picked two fabulous pieces: ‘The Poisoned Fountain’ which has a totally spooky atmosphere, and ‘Hardanger’, which is a light-hearted and infectious tribute to Grieg. I’m also playing a group of Poulenc pieces with Katya Apeshikeva which are sheer riotous fun!

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

My favourite concert hall is anywhere with a warm, supportive acoustic and a feeling of connection to the audience. Somewhere like the Wigmore Hall fits the bill perfectly, plus I have an extra fondness for the place as it was where my husband-to-be came into my life when he turned up backstage there a few years ago!

Who are your favourite musicians?

Where do I start? – it’s a long, long list! Pianists past include Rubinstein, Cortot, Lipatti, Curzon, Gilels, de Larrocha, Annie Fischer. Pianists present include Lupu, Perahia, Goode, Schiff, Kovacevich, Fleisher, Peter Frankel. And that’s just the pianists…

What is your most memorable concert experience?

My most memorable concert experience has to be the super-glam concert of film music I took part in at the Royal Albert Hall. The LSO was conducted by John (Star Wars) Williams and the evening was compered by Sir Richard Attenborough. I got to perform some wonderful pieces, and Michel Legrand had even made a special arrangement for me of his music from “The Go-Between”. There was a great deal of razzmatazz about the whole concert, although I have to say it did take me by surprise when they changed the colour of the lighting each time the music changed key!

As a musician, what is your definition of success?

The definition of success for me is when I manage to meet my own exacting standards – it could be a single phrase, or a movement, or maybe (but rarely!) even a whole concert.

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

When I was starting out, a friend of my parents who had been a professional violinist very helpfully advised me that if I loved music I shouldn’t take it up as a career! Of course I ignored his advice but, joking aside, his provocative words did make me realise how important it is never to lose sight of why we have chosen to do music in the first place. There will inevitably be times of struggle and disenchantment which could severely test one’s love of music. Whatever happens, we must try to keep our passion for music intact whether we are performing or teaching. On a practical level, in an over-saturated market, it is vital to be creative and flexible in the way one manages ones career. If we are still going to persuade people to come and hear live music, we have to find ways to make that experience more meaningful and relevant, be it collaborating with other genres such as dance, the visual arts or theatre, or working with living composers, or simply being able to talk to your audiences in an engaging manner.

Where would you like to be in 10 years time?

Still playing and teaching, please.

What is your present state of mind?

If we are talking about the way the world is heading, I am very worried. But if it’s on a personal level, then I am happy and contented, being surrounded as I am by a warm, loving family and many wonderful friends. On a professional level I am feeling really excited as I have a major recital project happening next year. It is based on an idea that is very close to my heart. As it is still in the process of being organised, I can’t talk about it just yet except to say: watch this space!

Margaret performs in the London Piano Festival’s Two-Piano Marathon on Saturday 6 October. Further information and tickets


Margaret Fingerhut is regarded as one of the UK’s most distinguished and poetic pianists, renowned for her exploration of the highways and byways of the repertoire. As a concerto soloist she has appeared with the London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, BBC Philharmonic, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra and the London Mozart Players, in major venues such as the Royal Festival Hall, Royal Albert Hall and the Barbican. She is often heard on BBC Radio 3 and Classic FM and many radio stations worldwide.

Her extensive and eclectic discography on the Chandos label has received worldwide critical acclaim and won many accolades. Her numerous discs reflect her long-standing fascination with exploring lesser-known repertoire, including works by Bax, Berkeley, Bloch, Dukas, Falla, Grieg, Howells, Leighton, Novák, Stanford and Suk as well as several pioneering collections of 19th century Russian and early 20th century French piano music. She was the soloist in the première recording of Elgar’s sketches for his Piano Concerto slow movement, arranged by Percy Young. Other première recordings include Edgar Bainton’s Concerto Fantasia, Bax’s Octet and works by Howells, Leighton, Lennox Berkeley and Michael Berkeley. “Margaret Fingerhut deserves our most heartfelt admiration for her championship of the byways of the British repertoire twentieth century piano repertory.” (MusicWeb International). Margaret also made the first recording of a student piece by Rachmaninoff, as well as two solo piano pieces by Sergey Taneyev.

Two of her Bax recordings – the Octet with the Academy of St. Martin-in-the-Fields Chamber Ensemble and the Concertante for Piano Left Hand and Orchestra with Vernon Handley and the BBC Philharmonic – were short-listed for Gramophone awards. Her disc of solo piano music by the Polish/French composer Alexandre Tansman was awarded the accolade of “Diapason D’Or” in France and received high praise: “A triumph of piano playing” (Pianist). Her recent CD of encores, “Endless Song”, was Featured Album of the Week on Classic FM and was selected as “Editor’s Choice” in Pianist magazine as well as being awarded an “Outstanding” accolade in International Record Review.

Margaret also maintains a keen interest in working with contemporary composers and she has commissioned and performed works by Paul Spicer, James Francis Brown, Peter Copley and Tony Bridgewater, in venues such as the Wigmore Hall, Purcell Room and at the Three Choirs Festival.

Margaret is a Professor of Piano at Trinity Laban Conservatoire and a Visiting Tutor at Birmingham Conservatoire where she was recently awarded an Honorary Fellowship. She is a regular guest at summer schools such as Chetham’s, Jackdaws and Dartington. Her teaching at Dartington was described by The Spectator magazine as demonstrating “enormous skill and sympathy”. She has given masterclasses in the USA, Canada, China, and Japan, and she has also been on the jury for many competitions including the BBC Young Musician of the Year.

Born in London of Polish, Ukrainian and Irish ancestry, Margaret went to the Royal College of Music where she studied with Cyril Smith and Angus Morrison. She subsequently studied with Vlado Perlemuter in Paris and Leon Fleisher at the Peabody Conservatory of Music, Baltimore. Margaret lives in London and East Sussex.

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