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Pianist Anastasiya Bazhenova explores the fragility of the human condition in her debut album

In her debut recording, pianist Anastasiya Bazhenova presents a programme that goes beyond a simple chronological survey of keyboard music. From Mendelssohn to Madness is not just about contrasting different historical periods; it is a deep exploration of the human condition and how our inner worlds change when external stability starts to fade.

For me, the tension is already present in the Mendelssohn. His music often sounds lyrical and balanced, but there is also something fragile in it, as if the stability could break at any moment. The Fantasia in F-sharp minor begins to open up that tension — it is more restless, more searching. And by the time we reach Prokofiev, the tension is no longer hidden. It becomes direct, physical, almost violent. So the “madness” in the title is not only the destination. It is something that slowly reveals itself along the journey.

Anastasiya Bazhenova (interview with Indie Boulevard magazine)

The album begins within the world of Felix Mendelssohn Bartholdy, a composer whose music hails from an era where form offered a sense of reassurance. In his Songs Without Words, Bazhenova uncovers a serene human voice that communicates with the confidence that it can still be heard without exertion. During this period, qualities such as clarity, proportion, and beauty were not merely ornamental; they were fundamental tools for understanding both oneself and reality.

However, even within this transparent beauty, a subtle tension begins to emerge. In the Fantasia in F-sharp minor, this balance is no longer an automatic state but a conscious effort. Here, the music becomes a battleground where light and darkness clash, symbolising an inner struggle to preserve wholeness against forces that seek to dismantle it. For Mendelssohn, form serves as a final battleground against chaos.

The narrative takes a sudden turn with Sergej Prokofiev’s Sixth Sonata, which opens the space beyond the rupture of the old order. This is music for a world that no longer promises stability—a world where the pace of change has quickened beyond our ability to comprehend.

Within this sonata, intense emotional states coexist in a raw, exposed form: fear, fury, despair, irony, and paranoia. The music forsakes the pursuit of traditional harmony, opting instead to record reality in its most unfiltered state. As the album moves from Mendelssohn to Prokofiev, the listener undergoes a inward shift: a transition from trusting in form to living without guarantees, and from viewing beauty as a support to acknowledging the need to live without it.

Rather than viewing these pieces as a collection of separate works, Bazhenova considers the programme as a single internal trajectory. The album does not seek to resolve the tensions it presents or provide simple explanations. Instead, it allows the music to unfold as a continuous process – a musical narrative of a human being who keeps feeling, thinking, and searching for meaning even when the structures of the past have broken down.

We often think of madness as something extreme or pathological, but in reality it is much closer to ordinary human experience. It can grow out of fear, obsession, loneliness, or simply from the unbearable tension between what we feel inside and what the world expects from us. In that sense, “madness” in this album is not something distant or theatrical. It is something that lives quietly inside many people. Music simply gives it a voice.

Anastasiya Bazhenova

From Mendelssohn to Madness is released on CD and streaming 1 April 2026 on the Etcetera Records label

Anastasiya Bazhenova performs in London at the 1901 Arts Club, a delightful salon-style concert venue, on 24th April. Details here https://www.1901artsclub.com/24-apr-2026-from-mendelssohn-to-madness.html

Anastasiya Bazhenova pianist

Photo credits Torgeir Rørvik

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Guest post

PianoMe: The Smart Way to Share Rehearsal Spaces and Earn Money with Your Music Room

What can you do when rehearsal rooms and instruments stand empty for hours or even days?

The answer is simple: share them through www.piano.me/en and turn unused space into income.

PianoMe is a growing online platform that enables musicians, music schools, studios, churches, and private hosts to rent out rehearsal spaces with instruments by the hour. At the same time, musicians can book affordable practice rooms exactly when they need them—no long-term contracts, no unnecessary costs.

Rehearsal Spaces Sharing Community – Built by Musicians for Musicians

PianoMe was created by musicians who experienced the same problem many artists face: finding a suitable place to practice is often difficult, expensive, and inflexible.

The idea behind the platform is based on the sharing economy: if a room and an instrument are not in use, they can be shared with others.

This creates a classic win-win situation:

  • Hosts generate additional income from otherwise idle rooms
  • Musicians pay only for the time they actually use
  • Cities benefit from a reduction in rehearsal room shortages

Traveling musicians, in particular, appreciate being able to book a nearby practice room within minutes, whether for an audition, an exam, or a recording session.

Monetize Your Empty Rehearsal Room

If you own a rehearsal room or a studio that is not used 24/7, PianoMe offers an easy and secure way to earn money.

Creating a listing takes only a few minutes:

  • Upload photos
  • Set your availability
  • Define your own rental rules and cancellation terms
  • Start receiving bookings

All processes—from request to payment—are fully digital and automated, which means no paperwork and minimal administrative effort.

A Lifeline for Music Schools

Music schools are facing increasing financial pressure due to rising costs and reduced public funding. PianoMe helps them:

  • Generate additional revenue from unused rooms during off-peak hours
  • Digitize and automate their rental processes
  • Reach new target groups such as freelance teachers, ensembles, and choirs

For some institutions, hourly room sharing has already become a second financial pillar that helps stabilize operations.

Flexible Solutions for Music Teachers

Freelance music teachers benefit from a highly flexible, on-demand room model:

  • No long-term rental contracts
  • No deposits
  • Hourly bookings based on actual teaching needs
  • Easy cancellations within the respective host’s policy

This supports the growing agency model in music education, where teachers operate independently and require adaptable teaching spaces.

Growing Demand and a Diverse Rehearsal Space Marketplace

The response on social media has been overwhelmingly positive. The general consensus is clear: without PianoMe, many rehearsal rooms would remain unused for hours or even days, generating costs instead of value. With PianoMe, this situation is reversed. As one private host wrote in a Google review, their grand piano used to be played only on weekends, but thanks to the platform, both the instrument and the room are now actively used during the week as well.

As the PianoMe network continues to expand, the range of available spaces is becoming increasingly diverse. Today, the platform offers far more than single piano practice rooms. Musicians can find studios equipped with drum kits, electric guitars, or even full recording setups. Room sizes vary widely—from small attic spaces and basement studios to full concert halls and modern event venues with stage and seating.

Browsing PianoMe feels like discovering the hidden musical infrastructure of a city. Many users are surprised by how many rehearsal rooms and instrument-equipped venues exist behind the scenes—places they would never have found without the platform.

Despite this wide selection, choosing the right room remains simple. User reviews provide real insights into the quality of the space and the instruments. In addition, each listing includes detailed information such as available equipment, room size, hourly price, capacity, concert suitability, rental conditions, and real-time availability.

The platform is used not only by professional musicians but also by hobbyists. And it is no longer limited to pianists—singers, amateur bands, choirs, violinists, composers, and many others are now part of the growing PianoMe community.

Free Music Event Promotion and Digital Tools for Musicians

Every musician wants to perform live—and ideally to a full audience. PianoMe makes this easier by allowing users to promote their music events completely free of charge. The platform’s event promotion page, together with its integrated event QR code feature, has recently been expanded with additional functions. Event announcements can now be created on any device within minutes and shared directly across social media channels.

For those who prefer physical promotion, PianoMe also offers a one-click poster generator. Users can design, download, print, and display posters without needing external design tools. Concert programs can be distributed digitally via QR codes, enabling audiences to access them instantly on their smartphones—saving both printing costs and large amounts of paper.

By combining rehearsal spaces with digital promotion and content sharing, PianoMe goes far beyond room booking. It creates a connected ecosystem where musicians support each other, exchange ideas, and present their work.

Read PianoMe’s interview with Frances Wilson (The Cross-Eyed Pianist)

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Guest post by Alexandra Westcott

This article about learning the piano, the skills and the memories was lovely, and jogged my own memories of myself both as student and teacher.

I was about 6 when I used my sister’s books to learn the piano – they had photos for hand positions and finger numbers and that seemed all I needed (I’ve no idea to this day how I learned the rhythm and counting; I don’t remember reading about it but I must have!). I raced through the books and started fiddling with any music floating around, which was a fair amount as my Mum was a singer and also played the piano. I remember having the C major Mozart sonata at home and learning two pages during each holiday when home from boarding school at around 8 or 9. At this point Mum asked me if I wanted lessons, and because all my friends hated it (they hated the
practice); I said no because I loved playing, but she obviously ignored me and I ended up with a teacher I adored with whom I became very close.

I played the piano in all my spare time to the extent my reports used to say ‘she spends a lot of time at the piano’ and during prep, having done my homework as fast as possible, would skip off to the music rooms. I was fussy even then about the piano I played, and only the teachers’ or the grand in the assembly hall would do! None of the awful practice pianos for me!

During my time at school with this wonderful teacher, me and a group of friends would be taken away for a weekend each term to him and his wife at his amazing ancient cottage. He was the church organist and ran the church choir so we ate well on local Devon produce that he was given by local friends and members of the church. At times we also had breakfast in bed (often sugar on toast!), It was all very idyllic and I stayed in touch with him and his wife until they died.

For the 6th form I left there and went to a college local to my home, so I changed teacher and went to a local music school during my A levels. A completely different teacher and one the parents were scared of but the pupils loved. We did Sunday concerts at her house, always with cake, and a large concert once a year at the 6th form college at which she got her advanced students to do a movement of a concerto with her school orchestra. I did the first movement of the Schumann. I never wanted to be a concert pianist but this was good experience and I later had the chance to play on a few occasions with another orchestra, and for one of the concerts performed the whole of the Schumann. It brought back many memories.

I had another teacher for my degree, and then had a break in formal lessons before returning to a commitment to my own playing in my 20s. I had a local teacher for a year but then met Nelly Ben Or and knew I had to learn with her.

Nelly Ben Or

I studied with Nelly for many many years undoing my bad habits in order to acquire new and better ones and becoming a much better pianist, and a better teacher for that. I would often have lunch along with my lessons, and, again, house concerts and other performances enhanced the lessons. And, yes, you guessed it, always with accompanying food and drink.

As a teacher myself I became the sort of teacher I had grown up with; I had close bonds with my students, always had house concerts and local concerts both with tea parties afterwards, usually some chocolate for after lessons, and often would become close friends and either take them out for tea when young, or stay in touch later on.

Piano teachers, or any instrument teacher, hold a particular place in the life of a child. Such a close bond is formed and often many confidentialities shared. There needs to be trust for something that is hard to learn and something that needs self expression in execution. It is maybe not surprising that the bond becomes a firm friendship (and, often, one that needs physical as well as sustenance)!

I often wonder about my students’ memories of their time with me and whether they have similar memories as I do about my own mentors. I hope they hold the same  happy and cherished memories in their hearts for all the hours we spent and fun we had together as I do for my own teachers.

Alexandra Westcott is a piano teacher based in north London who specialises in understanding the piano in the light of the Alexander Technique, as studied with Nelly Ben Or, and encourages all areas of learning in a creative way. Find out more here

If you would like to share your piano memories, whether you are a teacher or pianist, or bothm, please get in touch

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SONGS OF THE SPIRIT Music & words by Thomas Hewitt Jones

The Royal School of Church Music launches a major new choral commission as part of its centenary celebrations in 2027.

Songs of the Spirit is an exciting new suite of songs by award-winning British composer Thomas Hewitt Jones, created to uplift and inspire singers of all ages and backgrounds. With accessible yet impactful music, this 40-minute piece is perfect for community choirs, youth ensembles, chamber choirs, church choirs and can be performed in a wide range of settings. 

At its heart, the work explores a deeply human theme – the longing for safety and belonging in an increasingly complex world. Rooted in Christian values, the piece offers a message of kindness and hope, whilst inviting reflection on profound questions about identity, purpose and the human spirit in 2026 and beyond.

Unforgettable melodies, lyrical clarity, and radiant harmonies will all weave into a musical tapestry expressing the emotional weight and beauty of the themes at play. 

The piece is scored for SATB but is flexible and will include movements suitable for children’s choir alone, and a rousing final hymn-like movement with the option of audience participation. It will be suitable for performance either as a whole, or as standalone movements, with scoring options for piano, organ and strings. 

Listen to an excerpt here:

Following the success of A Season to Sing, the RSCM’s previous co-commissioning project with composer Joanna Forbes L’Estrange and over 50 choirs worldwide, the RSCM now invites choirs to be part of its centenary celebrations. In exchange for a donation of £300, co-commissioning choirs will have the exclusive right to perform Songs of the Spirit during its first year, and also receive the following benefits: 

  • A commemorative, hard-bound signed score 
  • Your choir’s name in the list of commissioners in the printed score 
  • 30% off all scores purchased for your choir within the first year of publication. 
  • Access to full support resources to aid learning 
  • Media promotion of your choir and its performance of the piece 
  • A personalised video message from Thomas Hewitt Jones for your choir 

This is an exciting opportunity to bring a powerful, appealing and uplifting new work to the contemporary choral music repertoire while allowing choirs to share their journey with the RSCM to ensure choral music stays accessible and widespread.

Songs of the Spirit will be available from September 2026

FIND OUT MORE / GET INVOLVED

The success of a previous jointly commissioned work, A Season to Sing by Joanna Forbes L’Estrange (premiered in Spring 2025, with over 50 performances world wide to date), demonstrates the value of this model, with co-commissioning choirs praising the excellent resources provided, efficiency, and feeling valued throughout the process.