What is your first memory of the piano?

Actually, and rather embarrassingly, I used to use the spaces between Bb and C# and Eb and F# to park my Dinky cars – and run them along the fronts of the white notes! It always vexed me that the spaces between other black notes weren’t wide enough for such a clearly useful purpose. However, it is also true to say that, at about the same time, I would hear my mother playing those timeless classis such as Rustle of Spring, Maiden’s Prayer and In a Persian Market.

Who or what inspired you to start teaching?

I am ashamed to say that in my 20s it was simply an economic necessity! However that changed significantly when I was awarded the Lambert Fellowship to return as a member of the keyboard faulty at the Royal College of Music, and it was here that I realised that I was far better at connecting with older minds, and it was at this time I stopped working with younger pupils.

Who were your most memorable/significant teachers?

One always remembers one’s first teacher! June Luck (with whom I had tea recently!) taught me from middle C up to my Diploma and entry to the RCM, and I know it’s a cliché, but probably taught me as much about life as she did about playing the piano. Then there was John Barstow, who, somehow, and I really don’t know how he did it, managed to turn youthful dreams into grown up realities (as long as students were willing to work!). And here again too, broader culture was as important as practice – he expected students to go to concerts, the theatre, read literature, follow current events. After that there were of course many other extraordinary musicians who helped me to grow, but perhaps Lev Naumov (formerly Neuhaus’ assistant) stands out for showing me how to throw away the score!

Who or what are the most important influences on your teaching?

Of course my own teachers, but also the many extraordinary treatises, from CPE Bach, and Czerny to Schnabel, Brendel, Rosen etc. Each time I open up one of those tomes I become acutely aware of my own ignorance, and try to become a little better! Also Herrigel’s Zen in the Art of Archery, which has been by my side for a couple of decades now, but most importantly, as any teacher knows, my students, from whom I learn at least as much as I attempt to impart.

Most memorable/significant teaching experiences?

Every time a student tells me that I’ve made a difference to their life – I can’t imagine anything more significant than that.

What are the most exciting/challenging aspects of teaching adults?

The passion – the idea that amidst a busy life here are people who want to be part of the tradition of human creativity. Of course, bringing such a wealth of experience, often quite, quite different from one’s own is also exciting as it offers so many various ways of discussing and understanding a concept. But it is so hard for adults to get used to the idea of necessary repetition, when its something they usually left behind at the school gate.

What do you expect from your students?

I expect them to do all they can with all that they have. The results don’t actually matter, as long as the journey is honest, which is why I get upset with the lazy ones, and those just in it for the buzz/fame/ ego, no matter how good they are, but the honest student with meagre talents is always a joy. If it isn’t about the journey of a whole person I really don’t know what the point is.

What are your views on exams, festivals and competitions?

Gyorgy Sandor once told me that in his day pianists played concerts, but now they played piano competitions because there were no concerts left! In some ways he was probably right. A judicious use of exams/festivals/competitions in order to fire the work ethic/enthusiasm seems very wise – so that the young artist understands what it is to throw themselves at a particular goal at a particular moment (and let’s be honest, unlike most professions, we can’t just stand up in the boardroom and say ‘sorry been very busy, will a week next Tuesday do?’!), but as soon as they become an end in themselves they can only harm the art. After all, the artist has to throw himself wholly at his art every single day. I remember, when I was teaching in America, how students would ask whether it ‘would be in the test’ – when music becomes about jumping over hurdles, or acquiring laurels then it inevitably forgets about touching souls.

However, perhaps we should start being more honest in the big international piano competitions. We all know they’re fixed, whether through outright skulduggery or old fashioned juror bias, so why not instead make it a purely sporting event. Speed trials with time penalties for wrong notes and split-screen TV coverage, loudest chords and fastest octaves measured electronically, a speed learning competition, audience prizes for the most dolefully dreamy stare into the middle distance etc – what a great spectator sport, and at least it would be honest! 😉

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

I don’t really teach beginners, but from the wrong end of the telescope it seems to me that the fundamentals must be entirely thorough – fluency and lack of tension in the body, a real understanding of notation (I have yet to meet a 1^st yr college student who understands the very different purposes of a slur and a phrase mark), a sense of musical style and an understanding of how music works.

For my advanced students these are all the same issues! But most particularly the idea of interpretation – the art of investing a score with life in an honest and coherent way. Once that is understood, adapting one’s skills to allowmit to happen in concert is just a matter of hard work!

What do you consider to be the best and worst aspects the job?

Best is to see a musician grow and be able to help that process, and to meet so many wonderful people (anyone who loves the piano is going to be a friend of mine!). Worst is dealing with the many terrible neuroses which seem to come out so clearly in music making and so hamper the individual.

What is your favourite music to teach? To play?

To teach – Haydn. He knows all the rules, and constantly subverts them! It’s just so joyous!

To play – hmmmm. I love playing Liszt and Busoni, and at the moment I’m thrilled to be immersed in Alkan for the bicentenary next year, but every time I approach Beethoven I know I’m in for a rollercoaster ride – so vexing and daunting, but there is nothing like that moment after you’ve just played the last chord of one of the sonatas!

Who are your favourite pianists/pianist-teachers and why?

Pierre Laurent Aimard – an extraordinary artist at his best (although it does sometimes appear that he does too much) and his masterclasses combine the practical with the truly revelatory.

David Dubal – although he rarely plays the piano these days, his unique way of challenging, beguiling and even outraging his students, and his unbelievable breadth of culture pays the most extraordinary dividends. A true educator (recalling that the word ‘education’ actually means to draw forth, quite different from instruction, which is putting in!).

Karl Lutchmayer studied at the Royal College of Music under Peter Wallfisch and John Barstow and also undertook periods of study with Lev Naumov at the Moscow Conservatoire. For his Masters’ degree he conducted extensive research into performing practice in the piano music of Busoni, since when his research interests have grown to include Liszt, Alkan, Enescu, The Creative Transcription Network, reception theory, and the history of piano recital programming. He later returned to his alma mater and started his lecturing career when the prestigious Constant & Kit Lambert Fellowship was awarded to him by the Worshipful Company of Musicians – the first time in its history that it was awarded to an instrumentalist.

Full biography here

www.karllutchmayer.com