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

I had played the piano for some years, and was playing occasional concerts by my early-teens, but for me the epiphanic moment was watching Jorge Bolet giving masterclasses and performing on BBC television. I suppose it came at just the right point in my musical and personal development, but suddenly I was obsessed, and pretty much every waking moment became about playing, listening to and reading about music – rather to the detriment of my school work.

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

Here I have to mention my first teacher, June Luck (who died recently). She was my local piano teacher in Ipswich, and had certainly never had a performing career, but she instilled one truly great maxim that has shaped my life and career: you can be anything you want as long as you’re willing to work hard enough. Then there were two teachers at the Royal College where I studied for my undergraduate and master’s degrees – John Barstow, who was really responsible not only for teaching me how to really control the instrument but also how to make friends with it, and the composer Edwin Roxburgh, who really opened my ears to contemporary music for the first time. After college, of course, there were many other teachers and mentors including Lev Naumov in Moscow, David Dubal in New York and Martino Tirimo in London, but special mention must be made of Ronald Stevenson. By the time we met at the end of my 20s I had established a performing and academic/lecturing career and was fairly well-known for my passion for Busoni. Ronald, who was the preeminent authority on Busoni and his circle made me understand the much larger perspective around early Modernism and its relationship to the piano, and led me along so many ‘paths less travelled’ in our epically long days in his music room and library which he called his den of musiquity!

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

Of course, the early years, establishing a career are always difficult, but my particular career as a pianist-lecturer seemed to baffle friends, colleagues and promoters alike – I suppose, back then before the internet and the portfolio career as a norm, it seemed strange that I didn’t fit into an easy pigeon-hole. Fortunately, the Royal College of Music awarded me a fellowship for two years during which time I was able to show how such a career could and did work, and indeed it set me on my third, rather unexpected path as an academic professor.

Which performances/recordings are you most proud of?

I’m soon to be performing the Busoni piano concerto in London. I’ll never forget the day when I discovered John Ogdon’s recording of it in a second-hand record shop, and then a few weeks later, listened through to it with a score borrowed from Westminster Library. It was simply overwhelming, and as I started to pick my way through the score’s complexities, I couldn’t really begin to imagine how I could ever learn it. Eventually, about ten years ago, I gave a series of performances of it in the UK and New York with my amazing friend and colleague, Aleksander Szram playing the orchestral parts at a second piano (although we also had a live choir for the last movement). A couple of those performances are up on YouTube and although I certainly play it differently now, I am inordinately proud of the journey I made with that music.

Which particular works do you think you perform best?

I’m very influenced by the idea of ‘Sprezzatura’ which was a term used by 16th-century courtiers to refer to a noble disdain. The idea is that you have to study every detail of your task, and then throw away the rulebook. I think I probably perform best those compositions which respond to such an approach – certainly Liszt, Busoni and Enescu amongst them.

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

Of course, I’m still influenced by promoters and venues, so for instance I recently gave some Medtner recitals in Bengaluru to celebrate the life of the Maharajah of Mysore, and a little while back was asked to give the premiere of the Edwin Roxburgh Piano Concerto. However, for the last few years I have also ensured that each season I include a work or two from my ‘bucket list’ which I’ve kept since my teens. This year it was the Schulz-Evler transcription of the Blue Danube, whilst previous offerings have included the Godowsky Passacaglia and Sorabji’s Jardin Parfumée. I realise I’ll never complete the list, but it’s really important to still treat myself to works I’ve always wanted to learn.

What is your most memorable concert experience?

For the last few years I have been living in India (my family home) for a few months each year, partly trying to offer educational opportunities to young musicians and teachers and partly giving concerts in my capacity as the first Indian Steinway artist. The concerts are sometimes quite traditional, but the really memorable ones have been where audiences have literally never seen a piano or knowingly heard Western music before. That’s a real privilege and responsibility, but it also sometimes reminds me of the memoirs I’ve read of the early years of the piano recital – the piano circus life as Liszt called it. So, I’ve headlined music festivals (even had a review in Rolling Stone magazine for performing Liszt!), given recitals to with brand tie-ins from wine to sports cars, and played for royalty (and was given the snuff-box to prove it!).

As a musician, what is your definition of success?

Leading others (students and audiences) away from the increasing mundanity of our everyday lives to see the truly extraordinary in our world, ourselves and one another – whether just for a few minutes in a concert, or as an inspiration for future living.

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

To have an imagination, and then to work hard in order to turn into a reality both for themselves and their audiences, whilst at the same time trying to avoid the perils of narcissism (especially in the age of the selfie).

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

I’d like to have helped to create the first degree-awarding conservatoire in India, and have my own den of musicquity by the sea on the south coast of England, with a Great Dane by my side.

Karl Lutchmayer performs Busoni’s Piano Concerto in C at St John’s Smith Square on 30 November, with Seraphin Orchestra, conducted by Joy Lisney. This concert is the culmination of his 3-day concert series ‘Busoni – The Romantic Modernist’ which explores Busoni’s music beyond his well-known transcriptions of J S Bach.

Further details and booking


Karl Lutchmayer is equally renowned as a concert pianist and a lecturer. A Steinway Artist, Karl performs across the globe, and has worked with conductors including Lorin Maazel and Sir Andrew Davis, and performed at all the major London concert halls. He has broadcast on BBC Radio 3, All India Radio and Classic FM, and is a regular chamber performer. A passionate advocate of contemporary music, Karl has also given over 90 world premieres and had many works written especially for him.

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

I loved to sing as a child and wanted to imitate my voice through an instrument: the clarinet was an obvious choice.

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

Every note that I played and that brought me closer towards what I felt and heard inside.

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

Performing the Mozart Clarinet Concerto with the BBC Scottish Symphony Orchestra on a brand new bassett clarinet at the BBC Proms. The instrument was designed for me and ready only three weeks before the performance.

The ARD competition in Munich in 2012 was also quite a challenge!

Which performance/recordings are you most proud of? 

My latest recording: Belle époque with the Orchestre National de Lille under Alexandre Bloch (Pentatone).

Which particular works do you think you play best?

As I love Mozart (Quintet, Concerto, Trio) and French music (Debussy, Poulenc, Widor, ..) most; I guess those are the pieces people like to hear most from me.

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

Intuïtion and a sense of challenge and creativity.

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

My favourite halls are the Concertgebouw Amsterdam and the Tonhalle Zürich. Both halls have a magical acoustic.

Who are your favourite musicians?

I do not have a favourite musicians, but I love many: Martha Argerich, Liisa Batiashvili, Truls Mörk, Hagen Quartet, Belcea Quartet, Francesco Piemontesi, Tabea Zimmerman, François Leleux…

What is your most memorable concert experience?

A performance of Brahms Clarinet Quintet in a small church in Belgium. There was a special atmosphere that evening. It felt almost like a healing experience, both for me and the audience. Many listeners started to cry during the slow movement.

As a musician, what is your definition of success?

Serving the music, reaching perfection and leaving ego at the doorstep.

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

Practice hard, stay yourself, ask yourself why you make music and embrace challenges with a smile.

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

Even closer to my clarinet

What is your idea of perfect happiness?

Having the impression that life flows by itself.

Belle Époque – music for clarinet from Brahms, Debussy, Pierné, Trojahn and Widor
(Pentatone SA-CD PTC 5186808) is available now.


Belgian clarinettist Annelien Van Wauwe, former BBC New Generation Artist and winner of the renowned Borletti-Buitoni Trust Award 2018, is known for her expressive, intensive, lyrical and honest performances. She is considered to be one of the most fascinating and original clarinettists of her generation.

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

I started my musical life as a chorister at Ripon Cathedral in Yorkshire. Exposure to the greats of choral music was the basis for becoming a composer and conductor, and was a great introduction to the technical as well as the aesthetic aspects of music.

Who or what were the most significant influences on your musical life and career as a composer?

In my teens I corresponded quite a bit with Benjamin Britten in the later years of his life, and he gave me a lot of ideas and encouragement to become a composer. Studying music at Christ Church, Oxford as an undergraduate was also an important step on the road.

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

The greatest challenges revolve around presenting pieces to audiences which require active listening on their part. People are everywhere bombarded with noise, and commercial music of all kinds, which requires no active participation from the listener. This puts them off the idea of listening to something and being challenged to think about what the music is trying to say to them.

Of which works are you most proud?

The Sonata for Organ, which was premiered and recorded by Clive Driskill-Smith; Suite – King Richard III for Solo Violin, premiered and recorded by Rupert Marshall-Luck; the works I have written for Christ Church, Oxford (especially King Henry VIII’s Apologia); the setting of the Jubilate Deo (in Zulu) which I wrote for the 750th Anniversary of the foundation of Merton College, Oxford; and a number of choral pieces for choirs in Germany, especially the Frankfurt Canticles and Responses, and the Berlin Canticles and Responses. I have also had a number of commissions from the London Festival of Contemporary Church Music. My Sonata for Piano is just about to be premiered in London, and this is a major piece.

What are the special challenges/pleasures of working on a commissioned piece?

Making sure that we are all agreed at the outset as to what exactly is being requested, and the reason why the person is commissioning the piece. However, it is a very rewarding experience to deliver a new work to someone who has commissioned it. People are very generous in their appreciation of new works like that. It is very exciting to be writing for a distinguished performer or ensemble, in particular to write a work which fits their style of performance, their character, and their ethos. The challenge is to write something which is appropriate to the performer, and is a work that they will want to play frequently and be identified with. Of course, they can be very demanding (!), but that is also good, because it means they have thought a lot about what they are looking for and why.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Mainly this is a great pleasure, because the reason they will want to play your music is because they choose to. This enables one to develop a longer-term relationship with performers who are looking to include this type of music in their repertoire. Then a very fruitful discussion about new pieces can ensue, and trying new things which enhance the appeal of the performer to the audience.

How would you characterise your compositional/musical language?

It varies from very simple tonal pieces (especially some of the pieces for church choirs), through to more complex works, like the larger Sonatas. Maybe it could be see as being a continuation of the English musical tradition, from VW, Howells, Finzi, Britten, Tippett, Leighton, Lutyens.

How do you work?

I do like things to be organised, because I really do not like missing deadlines! A lot of planning goes into each piece. They will have been forming in my mind for many months (sometimes even years) before the pencil even hits the paper. I tend to write things out long-hand, and then put them onto Sibelius. Then it’s off to the publishers.

As a musician, what is your definition of success?

That people are interested enough to listen to the music, and that if they studied it in detail, they would appreciate the logic, structure, and meaning of the pieces I have written. Where listeners have done this, they tell me the music appeals to the ear, the heart, and the brain. It’s lovely when you get feedback like that.

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

To work hard, listen to the great music, and enjoy what you are doing. You have an individual voice as a composer or performer, and you need to find ways to express yourself. Others will guide you, but your voice is your own.

Richard Pantcheff’s Piano Sonata is premiered by Duncan Honeybourne on 6 November 2019 at the 1901 Arts Club, London. Introduction by Richard Pantcheff. More information


Richard Pantcheff is internationally renowned as a composer in many genres, and has established a prominent reputation as a composer of Choral, Organ, Chamber and instrumental music of the highest quality. His musical career commenced as Head Chorister at Ripon Cathedral, in England. During his five years as a Music Scholar at senior school, he corresponded regularly with Benjamin Britten, who acted as occasional mentor to him in composition. Thereafter, he graduated with Honours in Music at Christ Church, Oxford University, under Simon Preston and Francis Grier.

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You can see most of Richard’s music on his publisher’s website : www.musicaneo.com

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

I trained initially as a cellist and although I had a number of other interests, it was clear to me from an early point that I would pursue a career in music and also do something with writing or language, perhaps as an avocation. As I was completing my Master of Music degree in performance, it became obvious that the chronic pain I experienced was not going go away, and that I wasn’t going to be able to practice and perform as I had hoped. It turned out that I have fibromyalgia and some related conditions – mostly invisible disabilities that precluded, in my case, being able to practice and rehearse several hours a day and other necessary activities for professional performers. I turned to musicology and theory instead, areas in which I’d always been interested but hadn’t to that point pursued with much depth, and have been very happy and successful working in those disciplines. My PhD work encompassed a number of multi- and interdisciplinary approaches that made me first think that I could expand my writing career into one that drew upon both scholarly and performative elements. Developing a creative practice in addition to my scholarly work has meant that I’m able to work with both music and language at the same time professionally as a musicologist and music theorist and as a librettist and lyricist.

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

Dealing with chronic, often debilitating illness means I have less energy and time available to work than I would like. I have to be careful about pacing myself and getting work done when I’m feeling well.

What led you to start writing libretti?

I had been writing poetry for about three years and had always had an idea that eventually I’d like to collaborate with composers. As a performing musician and later a scholar, I’ve always been interested in opera and the relationships between word and music. Then I read an anecdote about Marie Curie visiting the seaside with her grown daughters and asking them to teach her to swim, and it was immediately clear to me that this could become the basis for an opera – I saw and heard the text of the first scene right away. It became my first opera libretto, ‘Marie Curie Learns to Swim’.

What are the special challenges/pleasures of working on a libretto?

One big challenge is to create a text that singers can perform effectively and well. Libretti need a good balance between language that is very poetic and language that is more prosaic. I’m always reading my text out loud to make sure that I have this balance. I also have to be constantly aware of how my words sound: whether they elide, if they are easy to enunciate clearly, if they require a certain pace or technique to reach the audience. It’s also crucial to have text that moves at different speeds and conveys different emotions. While I’m writing, I think about word length, patterns, breathing, and other aspects of speech and singing. And while all of this is a challenge, it is also one of the things I enjoy most about writing text that will be set to music. I love working with language and words and finding just the right way to phrase things.

How do you approach writing libretti?

I do a lot of research first. With ‘Marie Curie Learns to Swim’, I read biographies of Curie and her family and histories of science and materials about the work she did. I had to make sure words I wanted to use were in existence for the time period of the opera. I’m often doing research all the way through as I’m writing – I always find new things I want to look up or understand better as I’m working. Then I create an outline of acts and scenes and determine how the opera will move from a beginning through various points of tension and activity to a peak and then resolve. I usually start with the beginning of the libretto, but sometimes as I’m writing one section I’ll have ideas for later parts, so I’ll put those in a file to use as I get to the later scenes. I do a good bit of rewriting, sometimes as I go and sometimes after I section is finished and I’ve had some time away from it. The composer can also ask for rewrites or changes, and I’m always open to those.

Is it all about the text, or does the music influence you as you write?

I sometimes have an idea of the kind of soundscape I’d like as I’m working on a scene, but really the music is up to the composer. For a set of song lyrics, my ‘Four Songs for Lady Macbeth’, I did have certain song forms in mind as I wrote. The first song is a shout dirge, which combines a slow, funereal march with the shout-out aspects of gospel music; the last song text is based on the Coventry Carol and composer Jessica Rudman gave it a setting that is rhythmically similar to the traditional carol but melodically very different. In ‘Marie Curie Learns to Swim’, there’s an aria for Pierre Curie that I wanted to have the feel of a patter song—he’s extolling the (dubious) virtues of radium and gets carried away and should sound like a stereotypical used car salesman—and so my concept of the kind of music to which the aria would be set helped shape and color my text.

How do you work?

While I’ll sometimes write out ideas or make notes by hand, I mostly work in my home office using a laptop with an external keyboard and mouse and two monitors. My disability sometimes prevents me from typing easily, so I use dictation software at times. The dual monitor set-up lets me do research while I have documents open and makes working more efficient. If I’m writing free verse or working on scholarly projects, I can listen to music while I work, but if I’m working on something with a strict metrical form, I work in quiet. When you have an office at home like I do, it can be easy for work to spill over into the rest of life, so I keep to a regular schedule of working during the day on weekdays only.

In your creative process, which part do you enjoy the most? And the least?

I most enjoy the actual writing – working with words, finding the best ways of describing or communicating things – and the research. As part of the research process, I’m continually learning, and the new knowledge I acquire opens up new expanses of language for me, and I find that exciting. I suppose the aspect I like the least is feeling disorganized about projects. I like to have very well-organized work times and spaces, even in my mind, and when I have too many things going on at once or am over-committed, it’s an unpleasant feeling, like I’ll somehow lose ideas or phrases because I can’t put them down as they develop.

As someone who works in the sphere of music, what is your definition of success?

If a performer or audience member or reader tells me that my words have moved them, or affected them, or made them happy, or taught them something, or that they enjoyed reading or singing or hearing my words, that’s success.

How do you view the current position of women in music and academia, and what are your hopes for the future?

I think that while there is increasing awareness of the bias against women and the problematic ways women are treated in music and in academic music departments, we have a long way to go. I want to see a world in which women and non-binary people and composers of colour are represented on every concert program, in which both the academy and the concert world acknowledge the importance of inclusivity, in which everyone acknowledges the inequities of the past and is invested in changing the culture.

What is your present state of mind?

Optimistic. I’m seeing and involved in a number of projects that are addressing the problems of inequity in music, and am encouraged by the enthusiasm with which these initiatives are being met. I’m also working on scholarly and creative projects that seek to reframe our understanding of creative histories, and speak to audiences in fresh and, I hope, revelatory ways.

‘The Harbingers’ by Rossa Crean premieres in Chicago on 31 October 2019. The new work, which was written by Kendra Leonard, tells the story of different cultural figures of death who convene on Halloween Night to pass judgment on the fate of a recently deceased soul. More information and tickets


Kendra Preston Leonard is a musicologist and music theorist whose work focuses on women and music in the twentieth and twenty-first centuries; and music and screen history, particularly music and adaptations of Shakespeare; and a librettist and poet.

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

My second singing teacher at Salo Music College. I was 14 or 15. Not particularly sure if I liked music as hobby. Parents were pushing.  Opera was in no way on my list of things I liked.

Then came this lovely teacher. Matti Pelo. He understood, had a good sense of psychology, was a good teacher. I started making progress with him.

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

My two teachers. In the beginning Liisa Linko-Malmio at Sibelius Academy, and since 1984, Vera Rozsa in London.

Later my first agent Diana Mulgan, a wise lady and a perfect manager for this young singer. At the start she concentrated on mostly turning down crazy offers that would have definitely ruined me.

Later still, some conductors and some stage directors who taught me so much.

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

“My own own worst enemy”, meaning mostly struggling with myself – confidence and not believing in myself. I have been lucky to have had a lot of support from people around me.

Which performances/recordings are you most proud of?

My 3 favourites will probably always be:
German Arias with Sir Colin Davis with Dresdner Staatskapelle
Four Last Songs (live rec) with Claudio Abbado
My 40th Birthday Recording with Jukka-Pekka Saraste and the Finnish Radio Orchestra.

Which particular works do you think you perform best?

Slavic repertoire feels my stuff, Janáček particularly. Wagner feels right and gives me sheer pleasure to sing it. Also Richard Strauss.
Finnish repertoire remains my speciality: Sibelius, Madetoja, Kuula. Saariaho.

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

It depends on what is offered to me. Singer needs to work; I need to sing. So I choose from what I am offered. Opera houses of course know my repertoire. So it works smoothly. For example, switching to new roles is possible when the organizers are kept informed about changes I’m making.  My management does that.

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

Oh, there are so many. Carnegie Hall, Wigmore Hall, Gulbenkian, Royal Albert Hall, Palais Garnier, Rudolfinum, Tampere-talo. Love my ”home hall” in Naples, Florida; Artis—Naples.

What is your most memorable concert experience?

So many. All concerts with Claudio Abbado. Jiří Bělohlávek.
Maybe my 40th Birthday concert at Hartwall Arena in Helsinki. The concerts in my native Finland feel always special. The audience there knows me, has followed my career the longest.

Impossible question!

As a musician, what is your definition of success?

When I feel I connect with my audience. When I find the ”zone” and the audience comes along. Time stops.

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

Home. Lots.
Giving master classes occasionally. Maybe giving private lessons. Coaching young singers.
Maybe still singing the Countess of Pique Dame.

What is your idea of perfect happiness?

Every day is different. But one thing is above all else: health.

Keeping loving people. Giving love. I feel I have plenty. Gratitude.

What is your most treasured possession?

My health.

What is your present state of mind?

All over the place. (Post divorce state. Temporary, I hope.) Work is my blessing.


In demand by every major opera house and festival, the lyric beauty of Karita Mattila’s voice and her innate sense of theatre set her apart as one of the most sought-after dramatic sopranos in the world today.

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(artist photo: Harrison Parrott)

 

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

There was always music being heard at home because both my parents are music lovers but actually playing the piano was introduced relatively late to me. I had many friends my age (8 at the time) who were playing an instrument and so my parents simply thought, why not?

It wasn’t until much later that I realised just what it might mean to be a concert pianist which was when I went to hear the Tchaikovsky first piano concerto at the Royal Festival Hall. The concerto captures your attention from start to finish and you can imagine how impressive it was to a child aged eleven. Of course my reaction then and what thoughts whirled in my head would not be how I hear the concerto now, but I learnt at that moment about the communication of music.

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

My many professors, of course, have all had an impact to my music making. One of my first professors was Christopher Elton. I was at the Purcell School and searching for a new teacher. I was introduced to Christopher and he accepted me in his class but I was this incredibly shy child who didn’t talk much to adults but was determined to make efforts through playing. Christopher was incredibly patient with me, and has, in in a way, been a musical father to me, as he has seen through all my career phases. Many, many years later, we still keep in touch and a friendship has developed since, which is always one of the nicer aspects of a musical relationship.

Then there is Maria Curcio-Diamond, who transmitted so many pearls of wisdom but I was too young to fully appreciate when I studied with her and now refer back to constantly today.

Lev Naumov was just a brilliant mind and musician and I was immensely fortunate to have had the opportunity to participate regularly in his classes.

John Lill has also been influential but I would say that however, it was the years I spent alongside Ruggiero Ricci that has had the most impact with my approach to music making today. He was heralded as a prodigy as a youth, a virtuoso as an adult violinist (a term he disliked) and the first violinist to have recorded all the Paganini Caprices. He was so modest and lived through so many experiences. I would often accompany his students in masterclasses and I learnt so much from watching him teach and from when we played together. There was something so natural and straightforward in his music making. It’s something I have tried to transmit in my own performances. It was also these years spent with Ricci that opened many doors for me, notably by meeting other musicians, some very well known, others less, as well as non-musicians but music lovers who have all had an influence into my approach to performing and life today on and off the concert circuit.

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

Juggling between raising two small children and keeping up with the rhythm of giving concerts have been challenging but extremely rewarding. Before my children, my focus before and during performances would hinge entirely around the concert, but today, now with my children, I am somewhere in the back of mind, thinking, “I hope they had a good day at school, I hope they have eaten well, I hope they are sleeping well”. The usual worries all parents have!

Which performances/recordings are you most proud of?

Always wanting to improve on the last performance/recording is a common trait in performers and I share this!

Of course there have been certain performances that have been more satisfying than others, not only in terms of my particular performance, but also when the audience is so reactive and appreciative, it is a very special moment. I really appreciate also when sometimes members of the public write to me following a performance to let me know how much they enjoyed that particular concert or how much they enjoyed the last album.

Which particular works do you think you perform best?

In giving an interpretation to any one work, I really try to show what might be new to discover in the piece. In this sense, I think I convey Beethoven quite well. The French composers also seem to suit me; maybe it’s being married to someone French!

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

What’s great about mixing chamber, duo and solo repertoire in a season is that there is an abundance of choice! It’s common these days to link a theme to a programme so that gives me a certain guideline. Otherwise for concerto dates, it’s quite often what the promoter has in mind for the season alongside the choice from the conductor so I need to be quite flexible for these dates.

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

Of the more well known venues, like many other performers, I would have to say the Wigmore Hall. Its reputation precedes it and the hall doesn’t disappoint. That said, there is a venue in France called Prieuré Sainte-Marie du Vilar that has to be included. It is a restored Romanian Orthodox Church, lost in the middle of the Pyrénées Orientales, and each year the monks and nuns organise a music festival for the community. The rawness of the venue and being surrounded by the stones impregnated with history gives a very unique atmosphere.

What is your most memorable concert experience?

I gave a series of concerts in Greece and one of the venues was in Patras. What was most striking about the make-up of this audience was that it was treated as a family outing. The children were all placed in the front rows, some not abiding by the ‘silence code’ of a concert, but it didn’t matter. At the end of each work, they applauded enthusiastically and seemed to enjoy the concert as much as the adults. It reminded me of my first impressions of attending performances and I hope I was able to communicate something to them with the Mozart concerto that I performed at the time.

As a musician, what is your definition of success?

When you feel you have found your voice and you have the opportunities to express this.

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

Never be afraid to be wrong and learn from everyone. Watch and watch and listen and listen again. There is so much archive available on the internet today. It’s important, I think, to be open to all interpretations and techniques of playing before creating and defining your own.

What is your idea of perfect happiness?

Two answers to this question. It would be either to find the time between concerts and practice for a good dance session with my husband and children because we always end up by collapsing in laughter. Otherwise it would be to take time out from playing to be by the sea with the family and catch up reading and a good glass of wine to hand.


Min-Jung Kym’s debut recording of Beethoven’s Piano Concerto No. 4 and Mendelssohn’s Double Concerto is available now. Further information

Min-Jung Kym is establishing herself as an artist bringing fresh quality and musicianship to her performances. Since her London solo concert debut at the age of just 12, she has performed at the Barbican Centre, Wigmore Hall, Cadogan Hall, Royal Festival Hall, Queen Elizabeth Hall, UNESCO in Paris, the National Museum of Korea in Seoul, South Korea and many, many other venues.

www.minjungkym.com


(artist photo: Arno MiseEnavant)