Worbey & Farrell are Steven Worbey and Kevin Farrell….

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

We’d both say it was really a natural ‘calling’. We’re both from musical families and had a piano in the house. We have similar stories of our parents having difficulty getting us away from the piano. At school neither of us ever went into the playground – we could always be found at a piano somewhere in the music department surrounded by fellow students. A career in music was a happy option. What could possibly be better than doing something you love and being paid for it?

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

We both come from families involved in many aspects of the arts. Kevin’s mother was at the Royal Ballet School and Steven’s grandfather was an accomplished Jazz pianist who toured with a famous dance band. We were both fortunate to be raised with wide a range of great music around us. Steven had inspiring teachers from an early age. Kevin’s college professor Peter Wallfisch was an excellent teacher and rather intimidating but looking back Kevin says he was the most inspiring of them all. Steven’s first Royal College professor was Phyllis Sellick who was wonderful teacher and enormously influential.  He then went on to study with Yonty Solomon and Peter Katin.

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

We’re always challenging ourselves with new arrangements. When we first launched our duo, to stand out we included a fair amount of musical comedy. We soon realised that our strengths were really in the music and arrangements so had to make the changes subtly making the emphasis on the music. This lead to more concert engagements.

Which performance/recordings are you most proud of?

We recently recorded and filmed our arrangements of Bach’s famous Toccata and Fugue in D minor and Gershwin’s Rhapsody in Blue. There are a couple of versions of the Bach arranged for four hands on one piano but we thought them too embellished and heavy with not enough colour and contrasting textures that the piece requires being composed for organ. We were inspired to arrange the Gershwin for four hands on one piano as we feel the versions available don’t quite use the piano to it’s full orchestral potential which can mean crossing hands a lot.

Which particular works do you think you play best?

We like to take orchestral works and try and create orchestral sounds on the piano. You could say we like to think of the piano as our very own symphony orchestra. We wouldn’t take a well written sacrosanct piano piece (i.e. Chopin) and arrange it for four hands as it would simply spoil it. With the use of four hands and some clever trickery, it’s amazing that you can make a piano sound like a lush string section, a muted trumpet or like triangles and Glockenspiels.

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

We’ve discovered that changing repertoire every season isn’t ideal as some of it can go to waste and not be heard by enough audiences. We now add and take away gradually throughout the year making sure that each work is performed to its best and also gets a good airing. We simply choose music that we love rather than trying to pander to our audiences. It wouldn’t be fun for us to play a work that we’ve chosen just because we think the audience may like it.

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

We tend to perform in concert venues and theatres. Concert venues often have wonderful acoustics for the piano but on the flipside they’re not ideal to talk to your audience as your voice gets lost. Conversely playing a piano in a theatre tends to sound very dry but is good for the voice. In those cases we sometimes add a little concert reverb to the piano. Our recent favourite venues were the Dora Soutzker Hall at the Royal Welsh College of Music and Drama, the Sejong Centre in Seoul, Korea and the Newbury Corn Exchange as part of the Newbury Spring Festival. This coming November we’ll be performing at Edinburgh’s Usher Hall which acoustically is wonderful.

What is your most memorable concert experience?

There are two – and we have to tell you about both! We were once performing our own Paganini Variations (which we called ‘Deviations on a Caprice’) and both had one of those wonderful and very rare moments of sheer bliss – where we completely lost ourselves in the music and nothing got in the mind’s way. It was what we all strive for. The other moment was when we were performing at the Grassington Festival and during a comedy moment a young boy on the front row burst into laughter and simply couldn’t stop. His father was holding his hand in front of his mouth and had to take him out. We later received an Email from the father thanking us for introducing his boy to music and fun. It was very moving for us.

As a musician, what is your definition of success?

There’s lots of talk of ‘making it’ and unfortunately musicians often compare their careers to others’ careers but as far as we’re concerned if you can make a career out of any aspect of music you’re definitely a success.

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

We’d say “be yourself”. If that means re-inventing the traditional recital do it. If you love to talk, be funny or tell stories then do it. When a performer enters the stage the audience doesn’t really know if they like you. Why not smile, say hello or chat first. Concerts don’t have to be so glum anymore. We’ve been to some amazing performances recently by world famous pianists that just look so unhappy. There’s no reason why they couldn’t enhance their stage technique a little.

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

If we’re still doing what we do now we’d be most happy. Making a good living out of something we love. Sometimes we spend so much time striving for more we forget to enjoy what we’ve got. We’ve come to realise that a moderate amount of ambition is fine.

What do you enjoy doing most?

Aside from the obvious music we enjoy socialising and cooking. We rarely have a night at home and watch very little television. There’s so much going on in the real world such as theatre, concerts, parties, restaurants etc

 

 

Worbey & Farrell are internationally acclaimed concert pianists with a wicked sense of humour. They have played with the world’s leading symphony orchestras, achieved over a million hits on YouTube, and entertained in over 150 countries around the globe with their barnstorming blend of sparky comedy and utterly sensational piano playing.

www.worbeyandfarrell.com

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

I used to listen to a lot of music (mainly vocal) when a young child and so my parents decided to buy a piano for me.

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

I’m largely self-taught as a pianist but have been inspired at different times by recordings of artists such as Richter, Gilels, Barenboim, Brendel and many others.

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

Performing all the Beethoven sonatas in two weeks during the 2011 Edinburgh Festival.

Which performance/recordings are you most proud of?

I have just finished recording most of the Beethoven solo piano music and I’m currently listening to the tapes to work out whether I can be proud of them or not.

Which particular works do you think you play best?

I think that’s probably for other people to decide.

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

I usually devise a large-scale project for the season such as a Beethoven or Schubert cycle but it’s also important to play as many different composers as I feel comfortable with. Inevitably I have to deal with requests from promoters which mean I always play more repertoire than is ideal each year.

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

The Concertgebouw in Amsterdam (both large and small halls) has amazing acoustics and I have fond memories of my Carnegie Hall debut.

What is your most memorable concert experience?

Possibly my debut at the Edinburgh International Festival in 2003 or returning there to play Charles Ives’ mind-bogglingly complicated Concord Sonata.

As a musician, what is your definition of success?

Being able to go to sleep after a concert and forget about it, not lying awake thinking that it wasn’t good enough.

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

The idea that music-making is not a circus and that we’re not necessarily interested in how fast you can play. Use imagination in choosing and exploring lesser-known parts of the repertoire as there is a risk that all young pianists now want to play the same pieces.

cc3a9dric-tiberghien-jbm-1086c2a9jean-baptiste-millot-e1489505730686

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

I saw a grand piano at the house of a friend of my parents. She was a piano teacher, she explained me the mechanism of the instrument, she played a bit… I fell in love. I was 2 and a half years old! I think I saw it as a huge toy, a gigantic noisy toy. Noisy but beautiful. So I immediately asked my parents if I could play the piano, but this teacher said “not before 5” so I had to wait. It was (apparently!) tough.

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

My first piano teacher, Michèle Perrier, with whom I started the piano. I think she gave me a fundamental quality, curiosity, as well as an aspect that is more important every day of my life: discipline. Two qualities you absolutely need to keep “walking”!

Then of course you meet lots of different people who give you advises, who can impress you. If I had to give one other name it would be my teacher in the Paris Conservatoire, Gérard Frémy, who himself studied with Heinrich Neuhaus in Moscow. His words resonate every single day in my head.

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

I could give you names of very difficult works I had to learn in a very short time like a Rachmaninoff third concerto at the same time as Bartok second concerto… but actually the main challenge today is to organize my personal work, when to work on what piece, how far in advance, to be sure I am ready for each concert. I play so much repertoire that I always work on several programmes at the same time, and this brings much more stress than actually performing.

Which performance/recordings are you most proud of?

Proud?…. Never really proud of a performance. Very happy, it happens. It’s more a question of repertoire. I will always remember some works, at some nights in some concert halls… Liszt sonata in Wigmore Hall in London last July, my first Sonatas and Interludes by John Cage in a friend’s Gallery, again in London… or the Ravel concerto at Carnegie Hall… it’s impossible to make a hierarchy.

For the recordings…. Impossible to say. Maybe the series of three Bartok as I was (and still am) deeply in love with his music. I think the result is a good “picture” of who I am now as a musician.

Which particular works do you think you play best?

The pieces I love the most! Works in which I really feel there is a story to tell. Actually, I don’t think there are works I play which I don’t love….

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

It’s following a mysterious logic, one programme makes me think of another. Playing the Berg sonata made me think of the Liszt sonata because of its key (B minor) and its contrast of length…. It can be suggestions from my recording company (Bartok). Or very simply musical “crushes”, works I forgot…. It always takes a long time to build a recital programme as each work in it must have its reason to be there, and must have a link with the other pieces. The way you organize a recital programme makes it alive (or not). For me, it’s a long (and sometimes painful ) process to find the perfect match or balance.

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

There are many. But Wigmore Hall will always be “my” musical home. It has a special energy, a special acoustic, a special history. I must have performed more than 40 concerts there so “my” history there makes it even more special.

What is your most memorable concert experience?

Impossible to say. I’m usually very happy to be on stage and it’s very often a powerful experience. I could name too many. There are special legend places where you think “wow…. I’m playing there”. Carnegie Hall in NY, Musikverein in Vienna, Royal Albert Hall for the Proms in London, Severance Hall in Cleveland or Chicago Symphony Hall… or the Paris Philharmonie

As a musician, what is your definition of success?

The possibility to play what you want. It’s when there is only happiness to perform. It’s a well-balanced life, without the necessity to play “more” concerts. It’s when you can say “no”. It’s when you work the people you want and love (especially Alina Ibragimova!)

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

Discipline, curiosity and communication. It should drive people’s personality inside and outside music. Curiosity keeps you alive. The desire to keep discovering, maybe change your ways to see new/different things. Meeting new people….

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

In my house with my family.

 

Cédric Tiberghien’s new recording of Chopin’s 24 Preludes, Piano Sonata No 2 & Scherzo No 2 is released on 27 October on the Hyperion label. Further information

Cédric Tiberghien’s flourishing international career sees him performing across five continents in some of the world’s most prestigious halls, including Carnegie Hall in New York, the Kennedy Center in Washington, the Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall and Barbican in London, the Salle Pleyel and the Théâtre des Champs-Élysées in Paris, Berlin’s Bechstein Hall, Salzburg’s Mozarteum, the Sydney Opera and Tokyo’s Bunka Kaikan and Asahi Halls.

Over the years, Cédric Tiberghien has established a strong reputation with a recital repertoire focusing on the music of Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Debussy, Ravel, Szymanowski, Bartók and Berg.

Cédric Tiberghien studied at the Paris Conservatoire with Frédéric Aguessy and Gérard Frémy and was awarded the Premier Prix in 1992, aged just seventeen. He was then a prize winner at several major international piano competitions (Bremen, Dublin, Tel Aviv, Geneva, Milan), culminating with the First Prize at the prestigious Long-Thibaud Competition in Paris in 1998, alongside five special awards, including the Audience Award and the Orchestra Award. This propelled his international career, leading to over 150 engagements worldwide, including visits to Japan and appearances throughout Europe.

With over sixty concertos in his repertoire, Cédric Tiberghien has appeared with some of the world’s finest orchestras and conductors. He is also a dedicated chamber musician, with regular partners including violinist Alina Ibragimova, soprano Sophie Karthäuser, baritone Stéphane Degout, violist Antoine Tamestit and cellist Pieter Wispelwey. His passion for chamber music is reflected in a number of recordings for Hyperion with Alina Ibragimova, including Ravel, Schubert, Szymanowski and the complete Mozart sonatas. He has also recorded piano concertos by Dubois, solo piano music by Karol Szymanowski, including Masques, Métopes and two sets of Études, and has undertaken a survey of Bartók’s piano music encompassing three albums.

 

 

(photo: Jean-Baptiste Millot)

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

Ultimately my parents! However that isn’t quite as simple as it sounds: they were both professionally trained pianists, and I never remember a time when I wasn’t absorbing beautiful music at home from my mother’s fingers, but I didn’t really get to know my father till I was 20. Nevertheless he was in the background guiding my musical training, so I owe my main inspiration to both of them though at different times and in different ways.

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

My fabulous teacher from 7 to 11 was Lamar Crowson. Without his thorough grounding I doubt if I would ever have become a pianist as I had a boyish rebellion at around 12 to 16 when I didn’t do any serious practice, at one point giving up playing completely. At that time non-classical pianists inspired me: McCoy Tyner, Thelonious Monk. I still love them.

Later on I was much inspired by some great string players, particularly Sandor Vegh, at Prussia Cove, who enormously influenced my thinking towards a more expressive, less literal and technical (and also less subjective) response. Also György Kurtág, perhaps the greatest musician I have ever encountered..

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

I don’t think anything came close to preparing the UK premiere of the first six Ligeti Études. In their early days they were only printed as a facsimile of Ligeti’s manuscript and I would pore over a single bar for hours just trying to work out what I was supposed to play, let alone play it. The three Beethoven Sonata marathons I did were a challenge, but at least I knew the music already!

Which recordings are you most proud of?

Hmmm – none particularly! Some I can live with – the Balakirev Sonata and other pieces, Weber 2nd Sonata, some chamber music recordings and some of the contemporary two-piano recordings I did with Andrew Ball 20 years ago or more. When I hear, for instance, John Casken’s “Salamandra”, the two-piano piece he wrote for us, I wonder what became of this furiously energetic young man! Though I keep going and still have recording plans, including with my current duo with Mariko Brown.

Which particular works do you think you perform best?

I think that if I stopped to think of it I would neither play those well nor anything else! I try to approach each piece and each performance as if it’s the first time I’ve played it. Nevertheless there have been some recurrent themes and composers I seem to feel more at home with: Beethoven and Debussy – perhaps two very different sides of me.

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

I try to play only music I love and feel I can say something to at a given moment. That can sometimes be a problem if a recital is booked a long time ahead though I usually find I can rekindle the love affair! I need enough variety, though sometimes reality puts a check on that – If you’re playing a Beethoven cycle you basically have to spend most of your time on Beethoven. Certain types of music become less interesting to me to play as I get older, for instance I don’t play much of the more abstract contemporary music any more. On the other hand I’m going to start playing Bach in my 70s.

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

A good concert leaves me on a high wherever it is. Having said which, I’ve only played a few times in the Albert Hall and it was fabulous. Just that unique, electric atmosphere.

Favourite pieces to perform?

Ravel G major Concerto. Oh for another chance to do that!

Who are your favourite musicians?

Fritz Kreisler. David Oistrakh. Arthur Rubinstein. Carlos Kleiber. Martha Argerich. Samson François. Yuja Wang.

What is your most memorable concert experience?

Playing in the garden of the British Ambassador’s residence in Riyadh with an air temperature of 36 degrees, and the Ambassador’s wife’s falcons solemnly listening.

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

Love, love, love. The more they love the music, and themselves playing it, the more they will want to communicate with their audiences, the more technique they will want to acquire (for the right reasons) and the more closely and accurately they will want to read the scores of these incredibly great musicians who have written their inexhaustible masterpieces for us.

Julian Jacobson celebrates his 70th birthday with a series of Sunday afternoon concerts at St John’s Smith Square, commencing on 22nd October. Full details and tickets here

One of Britain’s most creative and distinctive pianists, Julian Jacobson is acclaimed for the vitality, colour and insight he brings to his enormous repertoire ranging across all styles and periods.

Read more about Julian Jacobson

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

We had classical records at home. I loved to listen to them and dance around to them – it was a crucial growing up time for me, like a refuge And there was an old broken down spinet in the house and I loved to play on it. I had favourite albums growing up – the Saint-Saens organ concerto, Tchaikovsky Piano Concerto, oh and the Verdi love duet, that was one of my favourites, the one with Pavarotti. My parents were not musicians, though my father played the guitar, but they were music lovers.

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

György Sebők, the great Hungarian guru of the piano, whom I encountered at my last year at Oberlin Conservatory, sort of randomly when he gave a recital and a masterclass. He had a totally different value system and way of thinking about music. There were so many things about Sebők that were crucial to me, but one of them was this urge to find a kind of balletic parallel to phrases, to find a way to move at the piano that exactly mirrors the essence of the phrase. It was very important to him, as a Hungarian pianist, that notes that are up should be “up”, and notes that are down should be “down”, if that makes sense….there was a way that he used to demonstrate this. There was a naturalness and a simplicity that he was after that I really adored. He had a beautiful way with Mozart which really opened up the music up for me. I knew that I always loved Mozart but I didn’t really know why: he used to unpack the simplest phrases of Mozart, to find a tremendous sense of play, a sense of constant exchange, little surprises that had to be dealt with one way or another or reacted to. I could talk about Sebők for hours!

There was another teacher from that period, who was almost the opposite to Sebők. He was a ‘cello professor at Oberlin and one of things that he talked about was “inhabiting” the music, almost like method acting in theatre. He coached a friend of mine and I on the slow movement of Beethoven E-flat major ‘cello sonata. We loved to argue, as many young musicians do, and he made us meditate on separate things: he made my friend meditate on “filling out” each note right to the end. He made me think about the saddest thing I could imagine, which for me was the idea of not playing the piano. He had an incredible emotional investment in every moment of the music.

These two approaches were quite different, one was incredibly European, the other totally American, but they worked because they were both after the same things

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

Trying to do too much! And balancing writing and playing. I would say the greatest challenge is just to play well night after night and to practice well. And having a life on top of all of that!

Which performance/recordings are you most proud of?

There is a quote from Vladimir Nabokov, when asked what was his favourite novel, he replied “the one I’m about to write”, which I think is the best answer to this question! When I did the Ligeti Etudes it was a very charged moment in my life, it was music I really believed in, and it was fun to work on that music that hadn’t been that much recorded at that time.

Which particular works do you think you play best?

I do a lot of Bach, a lot of Mozart and Beethoven, some Schumann. And I’ve been doing with a great deal of pleasure, especially for me, a lot of Renaissance keyboard music. And through Sebők I am a big Bartok person. And Ligeti and Ives too

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

Each project comes from a kind of notion, for example with the music history programme, I felt we all know the story of Western classical music from classes at school, although in the classical world the focus tends to be between 1650 and 1950 and of course there are many hundreds of years that are shunted off to the side. And the story is longer than that and has many beautiful elements. To my mind it is like an epic story or an epic poem, and I felt it would be useful, as in a time lapse photo, to watch it go by and feel the pull of time and see all the new ways in which each new gain or vision of music is also a loss – an incredible cycle of destruction and creation. I tried to find a way to do it in an evening’s span. I was very constrained – in the selection of pieces and how long each piece should be, so it was kind of a mental exercise.

When I did Goldbergs Variations and Ligeti Etudes that was interesting – Ligeti is all about disorder and chaos, and a new mathematical order to the world, whereas Bach is the opposite: at the end of the Variations it is all about order and clarity

As a musician, what is your definition of success?

This is a rather complicated thing to say but the times when I have felt in the moment of the performance I have brought the notes on the page to life in a weird way which is outside of me – that is the kind of success that I am after

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

For pianists make sure that the left hand is not subservient to the right, that the harmonies get their due. One of the things that bothers me most about young musicians today is the sense of the metronome working behind everything with no sense of rubato. Without it the music just begins to sound like a diagram. But when you say rubato they always think you mean slowing down, but of course it also means speeding up.

 

Jeremy Denk begins an Artist Residency at Milton Court Concert Hall on October 12th. For further information and to book tickets please visit the Barbican’s website

 

Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur “Genius” Fellowship, the Avery Fisher Prize, and Musical America’s Instrumentalist of the Year award, Denk was also recently elected to the American Academy of Arts and Sciences. Denk returns frequently to Carnegie Hall and has recently performed with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and Cleveland Orchestra, as well as on tour with Academy St. Martin in the Fields.

In 16-17, Denk toured extensively throughout the US, including returning to the National Symphony led by Sir Mark Elder, and performing with the St. Louis, Vancouver, and Milwaukee Symphonies. He also toured the UK in recital, including appearances in Perth, Southampton, the Bath Festival, and a return to Wigmore Hall. He returns to the BBC Proms this Summer playing Bartok 2 with the BBC Symphony. He has also recently appeared with the Britten Sinfonia, with whom he will perform at the Barbican next season–where he is artist-in-residence at Milton Court. Denk also recently made his debut at the Amsterdam Concertgebouw, the Philharmonie in Cologne, and Klavier-Festival Ruhr, and continues to appear extensively on tour in recital throughout the US, including, recently, Chicago, Washington, Boston, San Francisco, Miami, Philadelphia, and at New York’s Lincoln Center’s White Light Festival in a special program that included a journey through seven centuries of Western music. Next season, Denk returns to the San Francisco Symphony with Tilson Thomas, and Carnegie Hall with Orchestra St. Luke’s, and continues as Artistic Partner of The St. Paul Chamber Orchestra with multiple performances throughout the season, and a new piano concerto written for him by Hannah Lash. He also makes his debut on tour in Asia, including recitals in Hong Kong, Singapore, and Seoul. Future projects include re-uniting with Academy St. Martin in the Fields for a tour of the US.

Denk’s upcoming releases from Nonesuch Records include The Classical Style, with music by Haydn, Mozart, and Beethoven, and the complete Ives violins sonatas with Stefan Jackiw. He also joins his long-time musical partners, Joshua Bell and Steven Isserlis in a recording of Brahms’ Trio in B-major. His previous disc of the Goldberg Variations reached number one on Billboard’s Classical Chart.

In 2014 Denk served as Music Director of the Ojai Music Festival, for which, besides performing and curating, he wrote the libretto for a comic opera. The opera was later presented by Carnegie Hall and the Aspen Festival. Denk is known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” The pianist’s writing has appeared in the New Yorker, the New Republic, The Guardian, and on the front page of the New York Times Book Review. One of his New Yorker contributions, “Every Good Boy Does Fine,” forms the basis of a book for future publication by Random House in the US, and Macmillan in the UK. Recounting his experiences of touring, performing, and practicing, his blog, Think Denk, was recently selected for inclusion in the Library of Congress web archives.

In 2012, Denk made his Nonesuch debut with a pairing of masterpieces old and new: Beethoven’s final Piano Sonata, Op. 111, and Ligeti’s Études. The album was named one of the best of 2012 by the New Yorker, NPR, and the Washington Post, and Denk’s account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano. Denk has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two piano sonatas featured in many “best of the year” lists.

Jeremy Denk graduated from Oberlin College, Indiana University, and the Juilliard School. He lives in New York City, and his web site and blog are at jeremydenk.net.

 

itin-14

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

I don’t remember myself NOT playing piano.  As I was told by my parents (non-musicians but avid music lovers) I was drawn to the piano from a very young age. I was not that interested in toys – the piano was my toy. Pursuing a career in music must have been my first teacher’s idea: Natalia Litvinova was and has been a very important influence in my life (musical and not).  My conservatory professor, Lev Naumov, remains to this very day an inspiration and a driving force for my musical endeavors.

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

Can’t put challenges on the scale. Everything becomes a challenge and a reward when done with utmost dedication.

Which performance/recordings are you most proud of?

I believe they are to come. There is a light at the end of the tunnel….

Which particular works do you think you play best?

I try to play works that I play best. 

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

I choose whatever fascinates me hoping my audience doesn’t mind my whims.

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

There are many and they change. I suspect it has nothing to do with geography.

What is your most memorable concert experience?

Once I was scheduled to perform a concerto in Santiago, Chile. At the rehearsal ( fortunately not at the performance itself) I found out that the conductor and the orchestra were playing a different version of the piece. I had to change the concerto on the spot. Will never forget that.

As a musician, what is your definition of success?

I don’t have one. I just want to do my job well.

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

To be a musician is a privilege. 

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

I hope I am still around in 10 years ( roviding the world is still there as well)

What is your idea of perfect happiness?

Would not be perfect happiness if I were able to explain it.

What is your most treasured possession?

I don’t treasure my possessions. 

What do you enjoy doing most?

I enjoy non-doing most

What is your present state of mind?

Ambivalent

 

Ilya Itin performs sonatas in D by Schubert and Rachmaninov on Saturday 7th October, part of the London Piano Festival at King’s Place. Further information here

ilyaitin.com