Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?
My parents foremost – there was music around the house at all times, and my mother had a beautiful voice and sang often with my father accompanying. Then my first teacher, from age 5, Barbara Boissard. Then Kathleen Long, a natural pianist and musician with a beautiful sound. I stayed with her until I was 12 when I went to study at the Paris Conservatoire for 6 years. By then my mind was firmly made up – but these people were good early influences who would have helped my resolve to be a musician grow.
What have been the greatest challenges of your career so far?
In my younger years, there was an injury or two which involved some important last minute cancellations, which I hated being obliged to do. You have to keep faith that you will heal completely, which of course I did. However emerging from the pandemic is really challenging – planning impossible and great flexibility needed, as well as zen-like qualities.
Of which performances/recordings are you most proud?
It depends on which period of my life. The Philips recordings of Lieder with Wolfgang Holzmair were very special for me. As were the Schubert Live recordings from South Bank Centre a little over a decade ago. They were tough days, the rehearsal was recorded, as was the concert, with a patch session until late into the night. Each was a real marathon.
But my set of recordings for Chandos have been, still are, a wonderful journey – all done at the amazing Snape Maltings with an excellent team. I have a particular fondness for the Liszt/Wagner recording, as well as for the Beethoven Diabelli Variations and “Iberia y Francia” , a lovely mix of French and Spanish masterpieces, large and small.
Which particular works/composers do you think you perform best?
It’s not really for me to say. I don’t take up any work if I am not 150% convinced by it, and feel that I have something really personal to express through a piece. I guess that Schubert and Schumann are particularly close to me.
What do you do off stage that provides inspiration on stage?
Get away from music! Read, be in the great outdoors, preferably walking..
How do you make your repertoire choices from season to season?
Dominated either by practicalities (recordings, requests from promoters, festival themes) or, simply by a movement of the heart that impels me to such and such a composer..
Do you have a favourite concert venue to perform in and why?
There are so many. The Wigmore Hall is particularly dear to me as to so many of us – but also Spivey Hall near Atlanta GA in the US, Severance Hall in Cleveland, the Recital Hall in Melbourne, the Concertgebouw in Amsterdam…I hate to leave any out, but am obliged to!
What do you feel needs to be done to grow classical music’s audiences?
I would like to think that the amount of filming of concerts on the web during the pandemic, and their easy availability, might entice new audience members when venues open up more. If only newly interested viewers could realise what an even richer experience it is sitting in a hall sharing an amazing musical experience with others – the synergy between platform and audience…There is honestly nothing like it.
What is your most memorable concert experience?
One was certainly the first time I played the last three Schubert Sonatas together in one concert, a marathon if ever there was one. It was in the hall at Westminster School, on a freezing cold night – a packed audience sat huddled up in their coats and listening so attentively. It was a two hours-and-ten concert, and I was like a rag doll at the end, but proud to have stayed the course..
As a musician, what is your definition of success?
When I see that the music for which I have been a vessel has really reached the depths of people’s hearts and souls and that they are the better, or the wiser, for it. It is like speaking a message that has been clearly heard. If music-making is not about that, then for me it is not about anything. This has nothing to do with commercial success which is another story.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Be humble about your ambition, whilst keeping your vision and goals clear. Be patient. And work work work – it is never enough.
Where would you like to be in 10 years?
Alive!
What is your idea of perfect happiness?
Walking in the Italian countryside in spring, with the prospect of a simple meal with friends at the end of the day.
What is your most treasured possession?
My house and garden.
What is your present state of mind?
Sane, mostly.
Imogen Cooper performs at this year’s Petworth Festival on 24 July, playing music by Schubert, Liszt and Brahms. More information/tickets
Regarded as one of the finest interpreters of Classical and Romantic repertoire, Imogen Cooper is internationally renowned for her virtuosity and lyricism. Recent and future concerto performances include the Berliner Philharmoniker and Sir Simon Rattle, Sydney Symphony with Simone Young and the BBC Scottish Symphony Orchestra with Ryan Wigglesworth.
(Photo credit: Sim Canetty-Clarke/Askonas Holt)
The Cross-Eyed Pianist 