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

I had this little toy keyboard-glock thing when I was little and, apparently, I would relentlessly play Twinkle Twinkle Little Star on repeat on it…using only fingers 4 and 5. My parents weren’t musicians but suspected it would be sensible to find a teacher for me before I got into any strange habits!

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

My parents were incredibly supportive for which I will be eternally grateful. We also had a wide variety of musical genres playing in our home. I also had a primary school music teacher who encouraged me to be broad from the very start. He let me start an ensemble of children blowing across pen lids and he gave us a slot in a concert!

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

Self-doubt is my biggest enemy. I received some pretty damning assessments of my pianism and musicianship from some teachers along the way advising me to search for a career elsewhere and those comments still haunt me, regardless of any success I may enjoy. On a lighter note, as I like to keep myself varied and versatile, the constant “hat changing” from role to role takes a fair amount of concentration. There’s a reason people choose to specialise and I am endeavouring to match each person’s standard in each of their home territories! But I wouldn’t change it!!

Which particular works do you think you play best?

I have a particular love for Debussy and French music. My very first piano teacher taught me that if I couldn’t get the sound I wanted out of a piano, that was down to me and I had to keep searching. This led to an endless thirst for finding sounds. I love contemporary music for the same reason. I also enjoy playing music which pulls on the breadth of styles I am familiar with.

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

I often don’t! I am often asked to play particular programmes based around certain themes. I recently performed a programme of works written for me for piano and various micro-computers!

Do you have a favourite concert venue and why?

I do love the Wigmore Hall. As well as the beautiful acoustic, there is something about its dimensions, the stage, the lighting, which makes you feel both near enough and far enough away from the audience while having a wonderful connection with any fellow performers on stage.

Who are your favourite musicians?

I love a good explosion like Martha Argerich. And Mitsuko Uchida just oozes generosity and sincerity.

What is your most memorable concert experience?

Unfortunately, the one which springs to mind is where I had a wardrobe malfunction! I started my Scarlatti Sonata and one strap slipped down my shoulder, then the other… I could feel the audience holding their breath…for all the wrong reasons!

As a musician, what is your definition of success?

Finding the perfect connection between you, the composer and the audience (and the space and the piano) and balancing what needs to be communicated between all of these.

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

That you can only offer what you have to offer. Feed yourself in every way possible, work as hard as possible, and always give everything you can. You must not expect any less of yourself…but you also cannot expect any more.

Where would you like to be in 10 years time?

In 10 years time, I would like to have a life full of a whole range of musical things, some of which I don’t want to be able to guess! I’d also like to have redressed my work-life balance…!

What is your idea of perfect happiness?

My idea of perfect happiness is the above and having person/people to share that with. Moments of absolute creative activity interspersed with thoughtless silliness and some complete stillness.

What is your present state of mind?

My present state of mind is currently noisy! I find it difficult to switch off; finding internal silence is a constant endeavour.

As a multi-genre chamber musician, orchestral pianist and music director, Yshani has performed at venues including Wigmore Hall, Queen Elizabeth Hall, the Amsterdam Concertgebouw, Barbican Theatre and various West End Theatres. She has performed at events including the Oxford Lieder Festival, Kammer Klang and Live at the London Palladium and with such varied artists as City of Birmingham Symphony Orchestra, Mahogany Opera and Nina Conti.

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What inspired you to take up piano and pursue a career in music?

In an odd way, music itself. I was eleven, still at primary school, when I wanted to explore some extra-curricular interests, something to call my own, and I was drawn to the piano in the corner of the assembly hall that one of the teachers used to play to lead us in songs. In addition, a couple of my close friends took piano lessons, so it felt like a natural course for me to take. I asked my mum if I could start piano lessons at school, but she reluctantly said no, having just been made redundant from her job as a result of the financial crisis.

I decided to get creative, so I drew a keyboard onto some pieces of paper, and I began to follow music theory lessons online; I started cross-referencing the sounds of notes, scales, and chords with the visual patterns on my paper, until I could begin to her those sounds in my head, when I could then pick out some easy pieces. I found the internet was an invaluable resource when it came to understanding how music worked, but it was also my first introduction to classical music. I didn’t come from a musical family at all, and the only classical music I heard was the odd offering from an advert, so when I discovered such a vast selection of music, across Bach, Debussy, and Rachmaninov to name some of my favourites at the time, I resolved then to play those pieces myself; I’m proud that I’ve ticked off a few, but I’m still working my way through the list!

I worked like this on my own for six months, until my mum managed to raise enough money from friends to pay for my first piano lessons at school. I would pass my Grade 1 exam with Distinction after only four hours of tuition, practising at home still on my paper keyboard; the excitement of performing, even if only to the examiner, encouraged me never to look back. I have tried to retain that childlike curiosity and delight as I continue to work through my repertoire now.

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

I came quite late to the piano, so there was a lot of catching up I needed to do if I were to realise my ambitions of a career in performance. I spent the much of my teens scrambling for opportunities to practise on real pianos. I would wake up at 5:30 in the morning to ensure I got to school by 7am, when the gates opened, as the Head of Music there allowed me to practise on the school’s grand piano whenever it was not in use. I would fit in about an hour and a half’s worth of practice in the morning, followed by the total time of another hour of my mid-morning break and lunch, and another long stretch after school, normally until the caretaker kicked me out. I would get home for dinner, but I would rarely get to sleep before 1am, due to work I had to do for both my school commitments and mental practice… and added to all this, I was continually bullied by my father, who refused to support my musical efforts. I don’t think I’ve been pushed quite so physically or mentally since the three years I followed that daily routine.

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

I have had a news article about Lucas Debargue on my wall for several years, whose story renews my spirits when things get tough. I am grateful for the encouragement and advice of my piano teachers, particularly Soojin Kim, who encouraged me as I first turned my attention towards a career in music, and Charles Owen, my current piano teacher at the Guildhall School of Music and Drama, who inspires me every week. I must also thank the Head of Music at my secondary school, Johanna Martin, and William Fong and Mary-Kate Gill at the Purcell School, for all their guidance and support. I am forever thankful, though, for my mum, whose love and belief in me has helped me every step of the way.

Which performance are you most proud of?

I was awarded the opportunity in my second and final year at the Purcell School to perform at the Milton Court Concert Hall at Guildhall, where I performed Berg’s Sonata Op 1. I relished the musical, mental, and emotional challenges of such an incredible piece — I had to learn to look at music in very different ways — and it felt like a culmination of everything I achieved there. I’ve enjoyed more performances of the work since, and I think back to that concert every time I play it.

Which particular works do you think you play best?

I doubt I’ll ever figure that one out, but I’m happy to spend my life trying.

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

I always look for something that will push me towards greater playing; after all, what is a musician without the curiosity to learn? I like to include a mix of repertoire favourites with less familiar works, which I hope leaves the audience with two interesting experiences: hearing the classics in new and different contexts, and discovering music within the wider history of the musical catalogue. I like to incorporate a single unifying thread into my recital programmes too, although I don’t always share exactly what that is!

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

Milton Court, St John’s Smith Square, and the Fazioli Concert Hall in Italy are among my favourites — have you tried those pianos?! I’ve had some really lovely experiences at several other venues, however, simply because the people there were so caring and welcoming, which makes all the difference as the nerves begin to set in.

Who are your favourite musicians?

Aaaah, there are far too many! I’ll have to mention Alfred Brendel, Martha Argerich, Robert Levin, Pierre-Laurent Aimard, Claudio Abbado, Mariss Jansons, Dame Janet Baker, Diana Damrau… I’m afraid this list could go on quite a bit longer!

What is your most memorable concert experience?

I was once asked to play a short recital as part of an outdoor arts festival. I took to the stage, and as I sat down to play Bach, a young boy at the front shouted “Beethoven!”, so I played Beethoven for him instead. I ended up taking requests from the audience for the whole recital as they shouted out the names of different composers after each piece. I never got to play any Bach, but I did get a taste of the ‘rock star’ life, or at least as close as I can expect to get!

As a musician, what is your definition of success?

As a human, to be happy. As a musician, to be human.

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

Listen, in every sense; I can’t begin to explain how important that is.

I’ve found you can’t just wait to be inspired, rather you need to find inspiration from within, and that comes from the love of music; if you find new ways to love music, you’ll find new ways to be inspired.

Finally, another item from my bedroom wall:

“I was obliged to be industrious. Whoever is equally industrious will succeed equally well…”

— Johann Sebastian Bach

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

If all goes well, at the piano.

What is your most treasured possession?

My Yamaha b1 SG2.

What is your present state of mind?

Excited. Inspired. Happy.

Andrew Garrido began learning the piano at the age of eleven, in 2010; lacking funds to afford lessons or an instrument, he drew a keyboard onto paper and learnt from YouTube for six months before his first piano lesson. He began study with Danielle Salamon upon his entrance to the prestigious Purcell School only five years later in September 2015, where he was awarded the Senior Piano Prize and Senior Academic Music Prize in 2017; Andrew obtained a Licentiate Diploma from Trinity College London (LTCL) that August.

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Andrew Garrido also hosts a podcast series Scores and More

 

 

(Photo Paul Cochrane)

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Wu Qian is an internationally acclaimed pianist and Co-Founder of Investec International Music Festival, which takes place from 26 March to 16 May 2020.

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

It was more like an accident; my parents took me to a friend’s house when I was 6 years old and they had a piano. As a child I have never seen anything like it before and immediately asked my parents if I could have one – they agreed thinking that it was proven how piano playing helps children developing both sides of the brain! After the first lesson, the teacher told my parents I was very talented so my mother had secretly hoped that I might make something out of piano and has pushed me ever since! There were times when I almost resented the amount of practise I had to do, but fortunately later on, I really started to appreciate music and it enlightened my life. That is what drove me to pursue a career in music.

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

I was very fortunate that I had wonderful teachers from different backgrounds. I feel it’s the combination of all these incredible musicians and mentors who influenced my musical path.

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

I think challenges are everywhere, but thankfully music makes me forget them!

Which performances/recordings are you most proud of?

I am never that content with my own performances. I could perhaps pick out a few sections here and there to say “ah that was quite nice!”, but it is difficult for me to be completely satisfied.

Which particular works do you think you perform best?

When I listen back my performances and recordings, I feel Schubert, Schumann suit me well.

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

I always like to add a few new works that I would like to learn or challenge myself, then there are always plenty of promoters requesting more of their wishes! So then it becomes a balancing act; trying t develop your repertoire while having a programme ready to perform.

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

We are lucky these days as there are many beautiful venues with good acoustics, so it is very difficult to pick one, but I do think it’s the combination of the space we perform in, the quality of the piano, the audience, the ambience and the performer’s mood and energy at the very moment of the performance which create a unique feeling.

What is your most memorable concert experience?

I am lucky that I have been to quite a few concerts and even lectures that I was very moved by. I can’t always explain what it was but when a performance touches you, it is unforgettable.

As a musician, what is your definition of success?

For me, it’s knowledge of the entire music history, and I am sad to admit I feel there isn’t enough time in one’s lifetime to find out everything, but I try my best!

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

Love the music you are making, work hard but never forget to enjoy it! We are all so lucky to be able to work on incredible repertoire, created by these titans of history; I really can’t think of something as exciting and rewarding as working in the arts.

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

Too many possibilities that I honestly can’t choose, but I can’t imagine doing something in life that doesn’t involve music.

Wu Qian was born in Shanghai, where she received her early training before being invited to study at the Yehudi Menuhin School. At fifteen she performed Mozart’s E flat Major concerto (K449) in the Queen Elizabeth Hall and again at the Menuhin Festival in Switzerland. She also played the Saint-Saens Concerto No.2 with the Philharmonia Orchestra in St. John’s Smith Square. She made her debut recital at the South Bank Purcell Room in 2000 and has since played there again on several occasions, including a recital broadcast by BBC Radio 3.

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

It might sound weird, but music itself guided me to become a professional musician. As a child and teenager, I lived in my own world and spending time playing and listening to music was my favourite activity. It was much later – around my 15th or 16th birthday – when I realized pursuing a different career would equal spending less time with music and that was no option for me. You could say I was naÏve enough to think you could just choose a life. With time I learned that you have to make your way first.

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

Without doubt the people I love – my parents, my sister and my wife. They supported me from early on and without them I would not have had the luxury of mainly focusing on music. As a musician, I’m convinced it’s impossible to fully seperate the professional from the private parts of life. It’s interwoven and therefore I don’t like to call a vocation a career.

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

I’ve always believed in doing what I love and avoiding the things I don’t like as much as possible. Music has become such a big part of myself; therefore certain elements such as competitions never fit with my perspective on it.

The greatest challenge is, consequently, to stay true to yourself and to keep in touch with your instinct, especially in our noisy, stressful and competitive world. 

Which performances/recordings are you most proud of?

This is impossible to define, because my assessment constantly changes. When I record I have the exact version in mind and I want to believe it is set in stone and made for eternity. However I have learned that even after a few months my concept has evolved and the recording is not up to date any more. The same applies to live recordings or performances. At first it frightened me, but thinking about it now, isn’t change the only true certainty we know?

Which particular works do you think you perform best?

That I can’t decide. All I know is that my interest and passion are generated by the works I play or record. It’s hard to choose favourites, because music is too diverse and too dependent on mood and many other parameters.

I feel a strong affinity for Alexander Scriabin and also Franz Liszt, but that doesn’t mean I don’t equally enjoy Scarlatti, Ravel, Yun or Brahms. 

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

I love compiling recital programmes, creating  a proper ‘menu for the ears’. Proportion, variation, dimension and relations in between the works chosen make such a big difference. Sometimes promoters engage me for certain works desired and some other times they like my suggestions. It’s very much a fluctuating thing.

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

I love the Wigmore Hall, like so many other musicians do. Venues with a rich history usually fascinate me, but there is a few, partly modern concert halls I enjoy very much, such as the Philharmonie Luxembourg, the Maison Symphonique in Montréal or the wonderful Concertgebouw Amsterdam.

A great venue is more than just good acoustics – it’s atmosphere, surroundings, spirit and architecture.

What is your most memorable concert experience?

There are many memorable experiences on stage. Alongside the highlights, such as sharing the stage with close friends or living legends such as Yannick Nézet-Séguin there is a series of exceptional incidents I encountered so far: Medical emergencies on or off stage, pets smuggled into concert halls or drunk promoters involuntarily popping up live on stage…

As a musician, what is your definition of success?

Success is when you achieve separating your self-worth as a person from the satisfaction with your performance. I strongly believe you can only remain independent and free if you don’t allow your personal approach on music to be commercialized.

It’s a lot harder to achieve than it sounds.

Joseph Moog’s ability to combine exquisite technical skill with a mature and intelligent musicality set him apart as a pianist of exceptional diversity. A champion of the well-known masterworks as well as a true advocate of rare and forgotten repertoire paired with his quality to compose and arrange, Joseph was awarded the accolade of Gramophone Young Artist of the Year 2015 and was also nominated for the GRAMMY in 2016.

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(artist photo: Askonas Holt)