Who or what inspired you to take up the piano and pursue a career in music?
It was a long time coming. Though I had already played the piano for six years before entering the Curtis Institute of Music, it was the colleagues and friends I made there that really inspired me to see music as a way of life.
Who or what have been the most important influences on your musical life and career?
My teachers at Curtis and the Hannover Musikhochschule have shaped the way I see music. My family and friends give the life experiences I need to tell interesting stories. In an ever-changing environment, I’m grateful to have a stable network of people I can trust and count on for advice.
What have been the greatest challenges of your career so far?
There are many difficult things about being a concert pianist, whether its learning a particularly tricky piece, getting over a defeat at a competition, but these are so minor in the grand scheme of things. It’s an ongoing challenge to give your all every time you step out on stage. Even if you’re tired or fatigued, it’s a musician’s responsibility to inspire and bring memorable moments to audiences. But this is a challenge that I cherish.
Which performance/recordings are you most proud of?
Certain concerts stick out in my memory. I had a wonderful experience performing a benefit concert for the Multiple Sclerosis society with Howard Griffiths and the Camerata Schweiz at the Tonhalle Maag. We performed the Beethoven violin concerto in the piano version and as an encore, Hallelujah, where the audience joined in the chorus. A moment of goosebumps, the good kind.
Which particular works do you think you play best?
I can’t answer such a question, but I have lots of music I love to perform. At the moment, I’m particularly interested in the Viennese classics of Haydn, Mozart and Beethoven.
How do you make your repertoire choices from season to season?
It’s a given that I only perform works I feel I have something special to express. I’m very open to learning different repertoire, and I gather a lot of inspirations through regular trips to different opera houses and symphonic concerts, something Germany abounds with. Finding a central work is important in each program, then it’s a question of finding matches and themes.
Do you have a favourite concert venue to perform in and why?
Hamburg Elbphilharmonie kleiner Saal is fantastic, not least because of its prestige. The pianos there, the acoustic and an enthusiastic audience are unique.
Who are your favourite musicians?
Cecilia Bartoli, Kristian Zimerman and Sviatoslav Richter.
What is your most memorable concert experience?
I performed in Beijing NCPA last year, and my three grandparents came, all over 90 years old. I was so proud and happy to share with them one of my favorite pieces, Chopin concerto No. 2.
As a musician, what is your definition of success?
Staying true to yourself and never wavering in your faith in music.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Live a full life, embrace multiple interests, because the more you know about the world, the more you can share.
Claire Huangci, the young American pianist of Chinese descent and 2018 Geza Anda Competition first prize and Mozart prize winner, has succeeded in establishing herself as a highly respected artist, captivating audiences with her “radiant virtuosity, artistic sensitivity, keen interactive sense and subtle auditory dramaturgy” (Salzburger Nachrichten). Her unusually diverse repertoire, in which she also takes up rarely performed works, is illustrative of her remarkable versatility.
Who or what inspired you to pursue a career in music?
I come from a very musical family of parents who are professional musicians, two sisters who are professional musicians, and one brother who used to play the violin. As you can imagine, growing up surrounded by music was incredibly inspiring and stimulating! I started playing violin at age 3 and piano at 5, and I remember making the decision around 11 years of age to become a professional pianist. At that time, I had attended an international summer institute for young pianists, and something just “clicked” with being surrounded by so many wonderful musicians. I thought something to the effect of “I have to do this!” and I’ve been devoted to the profession ever since.
Who or what have been the most important influences on your musical life and career?
I have been blessed with fantastic teachers throughout my life, teachers who not only gave me a foundation of musicianship and technique at the piano, but who also supported me as a person (and continue to do so). In this business, I think it is so important to have teachers who care about students in their development as musicians AND human beings. One person in particular who has had an extraordinary influence in my life is a Brazilian pianist named Luiz de Moura Castro. He also taught my eldest sister, and from the time I was ten, he has had a great impact on my approach to music. In addition, I come from a lineage of Russian teachers including a wonderful woman by the name of Zena Ilyashov (whom I studied with as a young pianist) and the well-known pianist and pedagogue Boris Berman (while at Yale School of Music). Both teachers gave me imperative tools for approaching the keyboard, perhaps most specifically in how I create “sound.”
As for performers who influenced me, I remember being spellbound at a young age by violinist Jascha Heifetz. There was something about the electricity of his playing which enamored me, and he’s one of the performers who still gives me goosebumps every time I hear one of his recordings. Likewise, Vladimir Horowitz has always been close to my musical heart; there’s a similar electricity and emotional impact when listening to him. I always try to tap into this kind of excitement/fire when performing.
What have been the greatest challenges of your career so far?
I’ve done quite a lot of competitions, and that can be a brutal part of the learning process for any young pianist. As so many people know, there are variables quite often out of one’s control (politics, personal preferences, etc.), which can be disheartening. I did very well in some and less well in others, but at the end of the day, I learned about myself in the process: not just about playing at a consistent, high level, but what it means to believe in one’s self as a musician.
As with any profession, people can be dismissive, and especially when something is as personal as art. Therefore, it is imperative one believes in one’s worth and what one has have to offer as a musician. As clichéd as it may sound, I do what I do because I believe music needs to be shared with people; to me, being a performer is not about my ego or another person’s ego, but rather being a conduit for great music. This gives me the confidence to believe in what I am doing.
Which performances/recordings are you most proud of?
I absolutely love performing with orchestras, and my first performance of Brahms’ D minor concerto will always stand out in my memory. There’s something about that piece that requires extreme vulnerability and strength, and performing it was powerful beyond what I expected. The way Brahms conceived of the orchestral writing is stunning, and it truly feels chamber music when performing it.
It seems my most memorable performances are with orchestra, but another one was performing Prokofiev’s Second Piano Concerto a few years back. Of course it is a powerhouse of a piece, but there was a particular performance which felt like the highest energy I’ve ever had onstage, both in how I felt with the piano part as well as the interaction with orchestra. Both the Brahms and Prokofiev are extraordinarily powerful pieces, but the Prokofiev is powerful in a way that’s primal.
Which particular works do you think you perform best?
That’s a great question, as I think I’ve “evolved” over the years in both my tastes and what I’ve excelled at. I used to gravitate primarily toward Russian repertoire, but in the past few years, I’ve come to adore J.S. Bach (even more than I used to) and much of the Spanish repertoire. Perhaps that’s an odd combination, but I would like to explore more of Bach in performance (although it can feel scary/exposed!) as well as the Spanish repertoire (would like to finally perform Granados’ Goyescas in its entirety).
I would be remiss not to mention the works of Australian composer Carl Vine, as I have recently released an album of his solo piano music including the world premiere recording of his Piano Sonata No. 4, a work written for me this past year. I adore his music, and much of the last year has been devoted to performing and recording Vine. In particular, the sound-world he creates is fascinating to explore, and there’s also an aspect of virtuosity that makes performing his music incredibly exciting (his writing is challenging yet idiomatic to the instrument).
How do you make your repertoire choices from season to season?
Well as I mentioned, the past year has been greatly focused on Carl Vine, in particular because I commissioned a piece from him and knew I would be giving several premieres internationally. Usually, I make repertoire choices based on particular pieces I would like to play or composers I would like to explore more of. There are also times where presenters will request a particular piece(s), so it can be a combination of reasons.
Do you have a favourite concert venue to perform in and why?
I recently gave a solo recital at Carnegie Hall’s Weill Recital Hall, and it was a pure delight. The acoustics are fantastic, and there’s an intimacy to the hall that I much prefer in a solo piano recital rather than a hall which seats 4,000. I had a similar impression performing at the Salzburg Mozarteum, having a beautiful intimacy to the hall. That said, I performed with the Montreal Orchestre de Metropolitain in Montreal’s Place des Arts, and that was a fantastic hall and huge space. So, it also depends on the context of what and with whom I’m performing!
As a musician, what is your definition of success?
On a superficial level, one could say success is defined by how many prestigious halls one plays in, how many recordings one sells, how many successful musicians one performs with. While those are all wonderful and important things to use as professional goals, I think they are also things which can be distracting to leading a fulfilled life as a musician. There are so many times when a musician will come to a crossroads in their career, asking themselves why they do what they do. I’ve come to realize that success as a musician can only truly be measured by how much one is enjoying what one does and how genuinely one is connecting with the audience, no matter the size or prestige. If I give a performance where even just one person has found inspiration or comfort through the music, or I’ve managed to inspire a young musician to get excited about classical music, that to me is true success as a musician.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Follow this career path because you love it and will do it no matter what difficulties come your way! It’s a very difficult career to choose, but one that can bring incredible good and beauty to the world.
What is your most treasured possession?
If I can count my cats as possessions, then I’ll say my cats!
What is your present state of mind?
Honestly, I’m grateful to be a musician. Without it, life would make a lot less sense!
Aphorisms: The Piano Music of Carl Vine is available now
Pianist Lindsay Garritson has performed throughout the United States and abroad since the age of four. She has appeared on stages such as Carnegie Hall, the Kennedy Center, and Place des Arts (Montreal), and has been featured as soloist with the Phoenix Symphony Orchestra, Charleston Symphony Orchestra, Eastern Connecticut Symphony Orchestra, Las Colinas Symphony Orchestra (Texas), Orchestre Métropolitain (Montreal), Atlantic Classical Orchestra, Orquestra Sinfônica Barra Mansa (Brazil), the Yale Philharmonic Orchestra, and the European Philharmonic Orchestra, among others.
Who or what inspired you to take up the piano and pursue a career in music?
My family loves music, although none of them are professional musicians. But they enjoy having friends over, having fun playing accordion and singing songs together, so I grew up in a music loving atmosphere. When I was four, my mother bought me a piano as she thought musical training would be beneficial for me. I was a quiet girl and could easily sit in front of the piano for a long period of time, definitely longer than the other kids could I suppose! I guess I was quite attracted to the sound of piano without knowing what it would mean to my life. Later, I won first prize at a number of piano competitions held in my home city Chongqing when I was between the ages of six to nine. My parents were encouraged by the professors from the best conservatory in China, and decided to send me for professional music study. So, I moved to Beijing at the age of ten, and “officially” started to pursue a professional career at the Central Conservatory of Music. Once I started to understand music and gradually build up a genuine connection with it along the path, I became more certain about choosing a career in music.
Who or what have been the most important influences on your musical life and career?
My piano teachers. I wouldn’t have gone this far without them. I’ve always been lucky to work with teachers who have helped me tremendously in different stages of my career. Professor Huiqiao Bao was my teacher for twelve years in the Central Conservatory of Music in Beijing. She laid a solid foundation for my career, as a respectable female musician, she is most certainly my role model. Her lessons have extended beyond the scope of music and spilled over into my life, learning better how to navigate through difficult periods. I studied with Professor Alexander Korsantia during my time in New England Conservatory in Boston; his passionate attitude to music and bold approach to life constantly encourage me to step out of my comfort zone and break my limits. My current teacher at the Royal College of Music in London, Professor Norma Fisher, is bringing my understanding of music to another level. These teachers have always been by my side and have guided me to be a better pianist. Their attitude towards music has inspired me to pursue the ultimate goal to become a better artist.
What have been the greatest challenges of your career so far?
The greatest challenge I have faced was to hold on to the passion and belief in the music I perform, regardless of any dilemma and obstacles that came my way. I believe all the greatest artists have experienced the same challenges and overcame them.
Which performance/recordings are you most proud of?
All of the performances I have given were meaningful for me; I keep learning from every performance, also getting to understand the pieces and myself better. Thus, I would say I am proud of every step I have taken.
Which particular works do you think you play best?
It depends on the time being. However, it would definitely be the pieces that I feel connected to the most at that time. Lately, I feel a deep connection with the music of Scriabin and Rachmaninov.
How do you make your repertoire choices from season to season?
I think it’s important for young artists, including me, to try to add variety into their repertoire. I would not want to limit myself to a certain style, or certain composers. Instead, I love challenging myself by selecting pieces that cover a wide range of styles, and pushing myself to play pieces that I don’t feel most comfortable with.
Do you have a favourite concert venue to perform in and why?
It’s really hard for me to pinpoint a favourite because I’ve enjoyed playing in different ones. Some are grand concert halls, some are intimate salon venues. I think each venue has a unique character and my adjusting to it can certainly be a fun part of the performance.
Who are your favourite musicians?
There are many extraordinary musicians I’d like to mention, but Radu Lupu and Martha Argerich are the two living musicians I admire the most. Radu Lupu’s playing always flowed with the genuineness and the simplicity which held deep thoughts behind the musical language; his interpretation of the works by Schubert simply blows me away. Martha Argerich is a female musician who has a strong character; her boldness and fearlessness makes her music so unique and effective.
What is your most memorable concert experience?
I was attending a music festival in Kiev Ukraine in February 2014, and was scheduled to play Tchaikovsky Piano Concerto No.1 in a concert. At this time the Ukrainian Revolution broke out, there was violence involving riot police, shooters, and protesters in Independence Square. I was very frightened being in the city. However, the concert went on as planned, and I was deeply touched when I saw so many people in the audience At that moment, there was no doubt that music can heal great divisions. It was the most unique concert experience in my career so far, and it reminds me the meaning that music can bring to everyone.
As a musician, what is your definition of success?
Despite all the obstacles, keep playing, pursuing and sharing music for a lifetime!
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Always be genuine to the music and the composers, learn the background and history of the music and composer, try to understand the true meaning that the composers wanted to convey and interpret their works with your own voice. To build up a career as a musician, our persistence and love for music are always the backbone to support our dreams.
What is your idea of perfect happiness?
Doing the things I love to do for life and could have others benefit from it.
Born in 1992, Chinese pianist Siqian Li started her musical education at the age of four. She studied with Madame Huiqiao Bao, received her Bachelor of Music Degree at the Central Conservatory of Music (Beijing) and became the first pianist to be awarded the “Best of the Best – Top and Innovative Talent” diploma and scholarship from China’s Ministry of Culture. As a student of Professor Alexander Korsantia, she obtained a Master of Music Degree with Academic Honors and a Graduate Diploma at the New England Conservatory (Boston). She continues to pursue an Artist Diploma at the Royal College of Music (London) under the tutelage of Professor Norma Fisher.
Who or what inspired you to pursue a career in music?
My great-grandmother, Freda Loaring, was a significant influence and I was lucky enough to know her for the first few years of my life. She must have been an able amateur pianist as I have inherited her scores of works including the Grieg Concerto with her own markings. She played for Santangelo’s Orchestra in Guernsey which often accompanied visiting singers and silent films at the old Royal Hotel. She encouraged my sister to play and once she had been playing for a while, I showed an interest in starting too.
Who or what have been the most important influences on your musical life and career?
Every one of my teachers has had a huge impact on my playing. Mervyn Grand’s teaching back in Guernsey motivated me and he and his son Sebastian (a pianist, now a great friend of mine and an exceptional conductor) were one of the major early inspirations that turned a hobby into a career. I studied with Murray McLachlan for six years at Chetham’s and RNCM and he really worked wonders on my technique and the way I thought about music and artistry more broadly. In America I’ve studied with Boris Berman and James Giles. I think what I’ve learned most from them is a more nuanced sensitivity to different styles and, physically, how to find appropriate sounds and colours for those styles.
What have been the greatest challenges of your career so far?
Everyone tells you that music is competitive as a profession, so this comes as no surprise, but I think the greatest challenge so far for me has been the gradual realisation that there’s not a ‘divine’ justice determining success. I think I used to believe that if you worked hard enough and played well enough then someone would look after you and see that you got where you deserve to. I now realise that you’ve got to go out and make it happen for yourself. That might seem obvious, but it has been a gradual learning curve.
Which performances/recordings are you most proud and which works do you think you perform best?
In terms of live performances, I have very fond memories of performing Rachmaninoff’s five works for piano and orchestra with Guernsey Sinfonietta and with Stockport Symphony Orchestra. I’ve always felt a very immediate connection with Rachmaninoff’s music, as many young musicians do, but as I have gotten older that connection has only deepened. This gives me the courage of my convictions. I feel I have an authentic and meaningful personal approach and can be more authoritative as a result.
When recording Tchaikovsky’s The Seasons and Ireland’s Sarnia, I set out to record a disc that comes as close to a live recording as possible. This approach, together with the possibilities offered by the piano and acoustic at Chethams’ Stoller Hall, allowed me to find sounds and colours that I am happy to hear back (once in a while).
How do you make your repertoire choices from season to season?
Programming is a delicate balance between what I feel I can play with personal authenticity and conviction, what the promoter(s) might want and what the audience might like to hear. It is also sometimes quite practical, for instance prioritising larger Romantic masterpieces like Liszt’s Sonata, Schumann’s Fantasie, Chopin’s Preludes and Brahms’ F minor Sonata so as to get them in my fingers and to start a journey with these pieces sooner rather than later. This has sometimes led to very unusual and ambitious programmes. One of these included Ireland’s Sarnia, Beethoven Sonata Opus 110, Stravinsky’s Three Movements from Petrushka and Liszt’s B minor Sonata in one evening!
Most of all I look for music that I like and that means something to me, and I try to thread a theme through the programme if I can. I also like creating global tonal schemes through a programme. Ideally all of these concerns come together in the same programme!
Do you have a favourite concert venue to perform in and why?
I love playing on home ground. I’m very proud of my island home of Guernsey and I’m lucky to be able to return home to play for a very supportive and appreciative audience in one of the country’s best acoustics for piano and chamber music at St James. I also just love the place itself. It’s not surprising that it has inspired artists from Pierre-Auguste Renoir and Victor Hugo to John Ireland, Julie Andrews and Oliver Reed.
What is your most memorable concert experience?
Performing in Wigmore Hall in 2016. Of course, it’s a great hall for solo piano music but you can’t help but be inspired by the history. Backstage, the framed photographs and signatures from great musicians of the past and present are both humbling and inspiring.
As a musician, what is your definition of success?
This is a difficult question to answer but I think, if we are honest, there is an ideal and a practical answer to this. Ideally, a successful musician is one that stays true to themselves and to their artistry. Someone that ‘successfully’ connects to others in their performances, in their teaching and in everyday life. Practically, if you can make enough to continue striving for this ideal then I’d say you’re a successful musician.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
As a teacher, I am always working towards the independence of my students. There are day to day concerns like how to analyse a problematic passage and practice it more efficiently on their own and how to make interpretative decisions more independently, but eventually the student needs to be equipped with a sure sense of self (and what it means, to them, to be an artist) in order to be a happy and successful musician. Artistry for me is about inward truth, outward connection and continual striving and I try to share that with my students.
Tom Hick’s recording of John Ireland’s Sarnia and Tchaikovsky’s The Seasons is available now
Hailed as an artist of ‘magnificent pianism’ with an ‘engaging personality,’ Guernsey-born pianist Tom Hicks has gained first prize in competitions including the Wales International Piano Competition, the Croydon Piano Concerto Competition and the EPTA UK Piano Competition and was also a finalist in the New York International Piano Competition and a semi-finalist in the Ferruccio Busoni International Competition. In addition, Tom has won awards such as the Richards’ Prize for Piano and Musicianship and the Dennis Midwood Keyboard Prize from Chetham’s School of Music; the Faculty of Humanities Outstanding Academic Achievement Award, the Keith Elcombe Prize for Best Overall Performance and three Proctor-Gregg Performance Prizes from the University of Manchester; and the Gold Medal Award and Peter Frankl Piano Prize from the Royal Northern College of Music.
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