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

We had an upright piano in the corner of the dining room, which one of my older sisters was learning on. Aged about 6 I used to sit at it, crashing about on the keys and flailing my arms around as I imagined concert pianists did –  maybe I saw one on the TV. I think my parents realised my enthusiasm needed channelling and took me to a teacher who reminded me of Cruela de Vil – brown hair on one side and blonde on the other! I had a wonderful teacher at secondary school, Elaine Hugh-Jones, who was very inspiring and supportive. For a long while I toyed with becoming a solo pianist, but turned down the opportunity to study piano at the RNCM in preference to taking up an instrumental scholarship at Oxford. Over time I began to realise that my musical temperament did not lean towards life as a soloist, and there were many other ways to pursue a performing career. The Guildhall School of Music and Drama (GSMD) held those answers for me.

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

A chance conversation with Roger Vignoles prevented me from giving up altogether…I needed a teacher who knew about accompanying-he suggested some lessons with Paul Hamburger, and, as well as with him, at the GSMD I had the chance to work intensively with Graham Johnson, Martin Isepp and Iain Burnside, who were all hugely inspirational to me in their different ways. Playing for masterclasses at Snape for wonderful singers/teachers such as Elly Ameling, Anthony Rolfe Johnson and Elizabeth Soderstrom were also fantastic learning opportunities. In latter years, especially after moving to Shropshire, I have Roddy (Roderick Williams) to thank for continuing to take me with him on his musical journey, whilst it may have seemed I disappeared off the musical world’s radar; and for his natural, intelligent, sublime interpretations. Oh, and his irrepressible sense of humour.

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

Trying to keep it going!! The move to Shropshire, having three children in close succession, and getting divorced made it particularly challenging to carry on playing at all.

Musically, I think some of the contemporary works I’ve performed have challenged me greatly, such as the four Songs by Torsten Rasch, commissioned for Gloucester Three Choirs Festival; and more recently getting out of my comfort zone and having to use an elbow in a new work called “The Rain is Coming” by Emily Levy.

Which performance/recordings are you most proud of?

Going way back, one which comes to mind is playing for Nathan Berg in the Gold Medal final at GSMD. He was singing Mahler’s Ruckert Lieder – trying to do these incredible songs justice for Nathan meant so much to me I was sick beforehand! Luckily it paid off – and he won. A recent performance of Die Schöne Mullerin with Roddy had a feeling of musical and emotional synchronicity – I was so glad to be part of that performance too. And I’m really proud to have been given the opportunity to record the new SOMM CD, songs that I have performed with Roddy many, many times over the years, all of which I adore.

Which particular works do you think you play best?

You may have to ask others about that!

Accompanists have to be like chameleons. It’s important to be able to feel comfortable in as many styles as possible. I like to think I can play best whatever I happen to be working on. Having said that, I have a particular penchant for the serious and intense, for example I think I can put across a pretty convincing “Ich bin der welt abhanden gekommen” (Mahler)… I also feel I now have a more confident approach to playing Schubert – Die Schöne Mullerin is a personal favourite; although tomorrow it may be Schwanengesang, and the day after, Winterreise.

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

As an accompanist with many other demands made on my time, these choices are frequently not mine. Quite often my job is to fall in love with whatever repertoire I am tasked with – I enjoy that challenge.

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

Roddy and I did a tour of Schwanengesang in 2016. One of the venues was the Sam Wanamaker Theatre at the Globe in London. It was a very special place to play. It is an utterly beautiful bijou Jacobean-style space for starters, and as the performers, we were cocooned by the audience above us and around us, all of us bathed in the most atmospheric candlelight – a truly memorable experience.

What is your most memorable concert experience?

A festival in 2013 – memorable for the wrong reasons! I was attempting to give my all in an exceptionally beautiful postlude of Richard Sisson’s “So Heavy Hangs the Sky”, when the city council rudely began to empty the huge glass-recycling bins outside the venue – the sound continued for a good ten seconds… The second half of the concert was accompanied by reversing vehicle noises, pretty much matching the pulse, but not the atmosphere of Britten’s “The Sunflower”. The audience were not happy!

As a musician, what is your definition of success?

The ability to be able to move an audience through musical communication.

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

Respect the composer’s intentions, whatever you perceive them to be; try to communicate the spirit of the piece; enjoy the practice journey; have fun. Respect and support your colleagues.

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

Back at the Wigmore Hall

What is your idea of perfect happiness?

The Beach House Goa Retreat

What is your most treasured possession?

My Steinway piano, given to me when I was 14

What do you enjoy doing most?

Walking the dog in the Shropshire hills with my kids

What is your present state of mind?



Roderick Williams’ new CD, with Susie Allan, piano, ‘Celebrating English Song’ is available now on the SOMM label. Further information here

Susie Allan studied Music at Worcester College, Oxford, as a Hadow Instrumental Scholar, and Piano Accompaniment at the Guildhall School of Music and Drama. She won the GSMD Accompaniment Prize, the Gerald Moore Award, and a Geoffrey Parsons Memorial Award. Her teachers included Paul Hamburger, Graham Johnson and Iain Burnside. She has accompanied many masterclasses at the Britten-Pears School at Snape Maltings, Suffolk and elsewhere, and has been a Professor of Accompaniment at the RCM and the RWCMD.




sommcd0162Whenever I hear Haydn’s piano music played well, I want to rush to my piano to play it myself. Such was the effect of listening to Leon McCawley‘s new ‘Sonatas and Variations’ disc on the Somm label. Haydn’s piano music is not performed enough, in my humble opinion, so it is a pleasure to have a recording of such quality to enjoy.

A brace each of sonatas in major and minor keys, these works have long been part of McCawley’s concert repertoire, and this shows in his deft and insightful handling of articulation, dynamics and Haydn’s rapid changes of mood. Nothing feels forced nor contrived, and there’s wit and humour aplenty, especially in the C major Sonata (No. 60, Hob. XVI/50) which shows Haydn (and McCawley) thoroughly enjoying his mastery of the instrument and its capabilities. McCawley brings elegance and spaciousness to the slow movements, revealing fine details of inner voices. Haydn’s final piano sonata, No. 62 in E flat Hob. XVI/52, which unlike the last sonatas of Beethoven and Schubert was composed some 15 years before Haydn died, rather than at the end of his life, combines grandeur and exuberance in its opening movement, while the slow movement has a stately nobility. The finale is a lively romp, but despite the rapid tempo, there is never any loss of detail or precision.

The F minor Variations are a delight, at once melancholy and wistful in the minor variations, and gracious, playful and warm in the major ones. Interior details are highlighted and a sense of the overall architecture and narrative of the work is clear. And I am pleased to note that McCawley observes all the repeats, which turns this work into something enjoyably substantial. Throughout there is tasteful pedalling and the piano has a lovely clarity, perfect for this music.


Piano Sonatas
No. 53 in E minor
No. 60 in C major,
No. 33 in C minor
No. 62 in E flat major
Variations in F minor Hob. HVII/6
Leon McCawley, Piano




50fb9b63faf24b079dabd5a6bbbcf0c2Piano Sonata No. 6 in A, Op. 82 (1940)
Piano Sonata No. 7 in B flat, Op. 83 (1942)
Piano Sonata No. 8 in B flat, Op. 84 (1944)

Peter Donohoe, piano

Peter Donohoe’s third volume of Piano Sonatas by Sergei Prokofiev completes the cycle with Nos. 6, 7 and 8. Peter has a long association with the piano music of Prokofiev – the Sonata No 6 was part of his silver medal-winning programme at the 1982 Tchaikovsky Competition – and indeed the composer’s homeland, as a regular visitor to Russia throughout his career (his diary from his stay in then Soviet Moscow during the 1982 Tchaikovsky Competition is a fascinating read).

Prokofiev composed piano sonatas throughout his life and the final three belong together in the same way as the final three piano sonatas of Beethoven and Schubert. Though the works were not intended to be performed consecutively, they do exhibit “familiar” attributes which connect them. For Peter Donohoe, these sonatas form one of the great cycles in piano literature, written by a composer who was also a magnificent pianist (surviving recordings of Prokofiev playing his own works are testament to this). This final instalment of Donohoe’s recording for Somm includes what are called the “war trilogy” piano sonatas, written during World War II, and reflecting on and reacting to the horrors of Soviet Russia’s titanic struggle against Hitler.

The sixth sonata opens with a clangorous motif which rings out before the music retreats into darker passage work and a second subject with folksong qualities. Donohoe’s pacing, acute rhythmic vitality and colourful dynamic palette combined with a glorious sound (evident throughout the recording) allows the music to build gradually to a climactic reprise of the open motif. Donohoe brings a wry humour to the second movement, a rather jaunty march, interrupted by a tense and sinuous middle section, but the ominous tread is never far away. The third movement is an elegant and rather poignant waltz, and like the preceding movement the middle section contains more unsettling material. There is a lovely clarity of line here which brings an expansive romantic sweep to the movement. The finale, all frenetic scurryings and mocking themes, is a fine example of Donohoe’s effortless fluency and technical control.

The Sonata No. 7 is the most popular of the three, and its menacing, militaristic tread is evident from the opening. Donohoe’s restraint in the quieter, middle section hints at impending drama as the frenetic energy builds. Although scored in a major key, there is nothing joyous about this music. The middle movement, marked Andante caloroso, contains a consoling cantabile melody as beautiful as any nineteenth-century salon piece, but once again the mood is disturbed by plangent bass chords and an overriding sense of melancholy. There is power here, in Donohoe’s rich fortes, but his sense of restraint creates an extraordinary tension despite the hushed conclusion. The perpetuum mobile finale crackles with energy, subtly phrased and crisply articulated, it is both triumphant and unsettling.

Like the previous sonata, No. 8 is also scored in B flat. Composed in 1944, it is the longest of Prokofiev’s nine piano sonatas and is a work of great breadth and emotional tension. Again, it is Donohoe’s ability to hold back rather than push the dynamics which creates a greater sense of drama, tension and impending tragedy. The middle movement opens with a lyrical Schubertian melody over an accompaniment which grows more florid. This feels like the calm before the final tempest and Donohoe’s sensitive line and delicate touch creates passages of great charm and beauty. The finale begins with a hectic motif which is both playful and heroic.

There is a wonderful immediacy to Donohoe’s playing combined with vibrant pianistic colour, sprightly articulation, technical assuredness and musical authority which runs through every note. An impressive conclusion to the cycle.

Available on the Somm label


Release date: 29 April 2016

PROKOFIEV PIANO SONATAS VOL. 3, The “War Sonatas”, Nos, 6, 7 & 8

Peter Donohoe – piano

“Donohoe’s authoritative playing shines through in every work — he has lived with these pieces for a long time… In his hands every sonata makes a memorable impression, and the Fifth receives one of the finest performances I have encountered on disc. A wonderful anthology. Next instalment, please!”   Classical Ear (of Vol. I).

The recording is exemplary, fully projecting Donohoe’s massive dynamic range. The finale of the Second Sonata epitomises all that is Prokofiev, and, in Donohoe, all that is great Prokofiev playing… The helter-skelter character of No. 3 is perfectly conveyed through Donohoe’s impressive technique. There are performances of both No. 2 and No. 3 by Gilels in existence, and Donohoe loses little in that exalted company. It is No. 4 that is the highlight, though, a performance of magisterial intensity. No. 5 receives a performance of the utmost integrity. Magnificent” . International Piano (of Vol. I).

This intelligently planned programme is played by musicians fully attuned to Prokofiev’s expressive lyricism and humour… Raphael Wallfisch and Peter Donohoe give the music’s opening narrative a compelling sense of direction, making the gentle, inward quality of the exposition’s end all the more captivating.” *****  BBC Music Magazine (of Vol. II).


This is the third and final volume in Peter Donohoe’s highly-praised recordings of the complete Piano Sonatas of Sergei Prokofiev and SOMM are proud to have been able to capture his mature interpretative thoughts on the composer’s War Trilogy. Prokofiev was a magnificent pianist and, like so many of his predecessors and contemporaries, he would often reserve his most personal and intimate thoughts to the music he wrote for his own instrument. Sonatas Nos. 6, 7 and 8, written consecutively during World War II, reflecting on and reacting to the horrors of what was referred to in Soviet Russia during their titanic struggle against Hitler as the ‘Great Patriotic War’, drew from Prokofiev some of his greatest music, expressed through his own instrument, the piano, producing in the central sonata of the trilogy, No. 7, his most famous and brilliant piano music, with the exciting finale marked Precipitato (impetuous, headlong) depicting the ferocity and grit of the Russian attacks on the Nazi army. The beautiful Sixth Sonata is more personal and inward-looking, contemplative and moving, and the Eighth looks forward to a post-war world in which all conflict on Russian soil will have ceased.

Peter Donohoe has always been closely attuned to Russian music and particularly that of Prokofiev and his recordings of the War Trilogy go back more than 30 years. He first recorded the 7th Sonata in 1982 for HMV then again in 1991 together with the two other “War Sonatas”, 6 and 8 for EMI. He believes that Prokofiev’s Sonatas form one of the greatest piano solo cycles in the repertoire. ‘Prokofiev was creating these major works throughout his career — all of them are major and some are still underrated and I am delighted to have had the chance of recording, on SOMM, the complete cycle at last.’


Piano Sonata No. 6 in A, Op. 82 (1940)

[1[ 1. Allegro moderato

[2] 2. Allegretto

[3] 3. Tempo di valzer , lentissimo

[4] 4. Vivace

Piano Sonata No. 7 in B flat, Op. 83 (1942)

[5] 1. Allegro inquieto — Poco meno — Andantino

[6] 2. Andante caloroso – Poco più animato – Più largamente – Un poco agitato

[7] 3. Precipitato

Piano Sonata No. 8 in B flat, Op. 84 (1944)

[8]  1. Andante dolce – Allegro moderato – Andante dolce come prima – Allegro

[9]  2. Andante sognando

[10]3. Vivace – Allegro ben marcato – Andantino – Vivace come prima


Peter Donohoe  – biography

Peter Donohoe was born in Manchester in 1953. He studied at Chetham’s School of Music, gratuated in music at Leeds University and went on to study at the Royal Northern College of Music with Derek Wyndham and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique.

Recent and forthcoming engagements include appearances with the Dresden Philharmonic, the BBC Concert Orchestra, RTE National Orchestra and CBSO (under Sir Simon Rattle), a UK tour with the Russian State Philharmonic Orchestra as well as concerts in South America, Europe, Hong Kong, South Korea, Russia and the USA. Other engagements include performances of all three MacMillan piano concertos with the BBC Scottish Symphony Orchestra, a series of concerts for the Ravel and Rachmaninov Festival at Bridgewater Hall alongside Noriko Ogawa, and performances with The Orchestra of the Swan. Donohoe is also in high demand as an adjudicator at piano competitions around the world, including the International Tchaikovsky Piano Competition, Moscow, the Queen Elisabeth Competition, Belgium, and the Hong Kong International Piano Competition. Recent recordings include two discs of Prokofiev pianos sonatas for SOMM, the first of which Gramophone described as “devastatingly effective”, declaring Donohoe to be ” in his element”.  Other recordings include Cyril Scott’s Piano Concerto with the BBC Concert Orchestra under Martin Yates for Dutton and Malcolm Arnold’s Fantasy on a Theme of John Field with the Royal Scottish National Orchestra and Martin Yates, also for Dutton.

Donohoe has worked with many of the world’s greatest conductors including Christoph Eschenbach, Neeme Järvi, Lorin Maazel, Kurt Masur, Andrew Davis and Yevgeny Svetlanov. More recently he has appeared as soloist with the next generation of excellent conductors such as Gustavo Dudamel, Robin Ticciati and Daniel Harding.

Peter Donohoe is an honorary doctor of music at seven UK universities and was awarded a CBE for services to classical music in the 2010 New Year’s Honours List.

[Source: press release]

Meet the Artist……Peter Donohoe

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

My first contact with the piano was the upright piano my parents had at home. My elder sister started lessons and I was very interested in listening and after a while I started playing her pieces by ear. It all happened very naturally from the lessons to winning competitions, participating in concerts and when I realised I was playing professionally.

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

I was very lucky to meet lots of very distinguished musicians early in my life. The two artists that have influenced me the most are both Brazilian. The first was Jaques Klein who was an extraordinary pianist. I played for him several times and his approach to music inspired me forever. There was something organic in his playing, natural but profound and that balance influenced me to search for my style in those models. The other is Nelson Freire whom I know since I was 13 and have played for him throughout my life. Another exceptional artist and again his way of playing with a natural flow and musicality made a great impact in the way I look at music in general. We continue to meet regularly in Brazil, Paris or here in London. Another important part of my musical influences came much later in life and it was my discovery of Philosophy. Reading the great philosophers have changed quite a lot the way I study music and see the infinite possibilities we have to interpret the scores.

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

A life in music is challenging in several ways. I could say that the interesting challenging side is the one of preparing scores which is always an adventure and a conquest but there is also the “practical side” of the profession with the travels, unexpected pianos and circumstances, getting bookings and so on.

But to me a great challenge has been conquering a space for the Latin American music that I so much want to bring to light. People are always afraid of the unknown and it still needs a lot of convincing to get more Latin American music into the programmes.

I feel really happy when I am “asked” to include some Brazilian composers in the recitals as I have been doing for many years and more recently pieces by Ernesto Nazareth which have been extremely well received in the concerts I have played. I remember playing his Tango Brejeiro as an encore on several occasions and always being asked afterwards what that was and how nice it sounded. For the forthcoming launch of my new CD Portrait of Rio tomorrow, I will play five pieces by Nazareth and will end the concert with his Poloneza, a real show-stopper.

Which performance/recordings are you most proud of?

Every recording is the result of intensive research and practice and to see the CD coming out at the end of all the work is a wonderful feeling. I couldn’t single out just one because every time I listen to them again, which is rare, I have different opinions about the performances…I think it is only natural as with time we change our views of the music but obviously the first CD, Villa-Lobos was a landmark and then I managed to follow him by other important Brazilian composers who are much less known outside Brazil, such as Francisco Mignone, Marlos Nobre and now Ernesto Nazareth. I must say, I feel a great sense of achievement especially with the Nazareth CD because so much of his music was still unpublished until a few years ago but thanks to the fantastic work of a couple of foundations in Brazil, all his scores are now available online which has meant I have been able to include some debut recordings of certain pieces. It was thrilling discovering some amazing compositions that had not been recorded before including the Poloneza and Valse Brillante, a fox-trot and even a Funeral March. The difficult part was to choose the material and limit it in one CD but I am happy with the varied selection I’ve assembled.

Which particular works do you think you play best?

There are composers that I feel more comfortable with than others and pieces that feel more enjoyable. I like playing for instance Mozart’s Sonatas and Variations, Chopin’s Ballades, Nocturnes and Waltzes, Schumann’s Carnaval, Kinderszenen and Etudes Symphoniques. From the Latin American and Spanish repertoires I love playing Lecuona’s Suite Andalucia and Afro Cuban Dances, Villa-Lobos’ Brazilian Cycle and Bachianas No.4, Mompou’s Scenes d’Enfants, Canciones and Danzes, and I am also enjoying the group of pieces by Nazareth that I have so far played in the UK and in Italy with one tango, one polca, one classical waltz and one samba!

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

Each season is different and depends a lot on the bookings I get. There will always be the concertos asked by different orchestras and some recitals with specific requests. Only then I can really choose what else I would like to include in my performances. I like to research and make connections between composers and some historical context and for the new CD launch in London I included to accompany the Nazareth pieces, a Polonaise and a couple of Waltzes by Chopin and a Paraphrase by Gottschalk who were two of his greatest influences. I always try to vary the repertoire so that I am not playing the same pieces for too long as I think there is a good number of times you can reinvent your performances but if it goes for too long it can start to lose the freshness and excitement.


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

I am going to play at Sala Cecilia Meireles in Rio after quite a while because it has been closed for a few years for refurbishment. I am really looking forward to it as it is a wonderful hall with fantastic acoustics and by being in my hometown it has some special vibe to it. It was one of the first halls I played as a professional when still in my teens.

Favourite pieces to perform? Listen to?

I love playing Mozart and Chopin and obviously the Latin American repertoire. I feel happy when the public enjoy music they have not heard previously.

When it comes to listening I prefer to hear operas by Mozart and Wagner and chamber music by Schubert, especially Lieder.

Who are your favourite musicians?

Another difficult question. I love many pianists of the past and we are lucky to be able to continue enjoying their art with their recordings. Pianists such as Clara Haskil, Arthur Rubinstein, Ingrid Haebler and Emil Gilels are among my favourites. I also heard the other day the First Ballade by Chopin played by Claudio Arrau and was amazed, what a wonderful performance! Among the living artists I would say that Daniel Barenboim who is a complete musician and Nelson Freire, who I consider the greatest living pianist today, are my favourites. I also admire many singers such as Dietrich Fisher-Dieskau, Barbara Hendricks, Maria Callas, etc

What is your most memorable concert experience?

The concert I will always remember was Dietrich Fischer-Dieskau singing Schubert at the Queen Elizabeth Hall. The whole experience was memorable. The music making was extraordinary as every word he sang kept you in wonder.

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

I think the most important thing is to keep the love for music whatever happens. It is a difficult profession and there will be many disappointments and frustrations on the way but after all being an artist is working with beauty and emotions and it is what makes this profession so special. Respect to the composer’s ideas and humility as an interpreter are the fundamental values of the true artist.

Tell us more about the Mignone and Albeniz Piano Concertos which you have recorded

It is very exciting that the project to record Mignone and Albeniz piano concertos has finally become a reality. I am glad that SOMM recordings took up the challenge with me and managed to get the fabulous Royal Philharmonic Orchestra and conductor Jan van Steen. The team work was especially inspiring and professional.

I am so privileged to have met Francisco Mignone as child and enjoyed a long friendship with him.

I have played a lot of works by Mignone for piano solo, chamber music and even piano and orchestra but there was one work which I dreamed of playing for a long time which was his Piano Concerto. He wrote some beautiful Fantasias Brasileiras for piano and orchestra (I played and recorded No.3) but only one piano concerto and it is without doubt the climax of his pianistic production. Mignone was arguably the most complete pianist among the Brazilian composers of the time and in this concerto he explored the vast possibilities of the instrument. He once accepted that his music suffered influence from European composers such as Debussy and the Italian opera composers of the turn of the century, especially in his earlier works and in his long life he moved away from these earlier composers and experimented with a more “modern” language for a while before he realised that melody was central to his music.

He looked for a synthesis of the European influences with Brazilian folklore and that is what he achieved in his piano concerto. He may have had Rachmaninoff and Ravel in mind as a model for his concerto but combined these influences with Brazilian motives and came up with a masterpiece.

His orchestration is very original and complex but extremely skillful. There is an old anecdote about Mignone and Villa-Lobos in which Mignone was going to conduct a work by Villa-Lobos in Rio and during the rehearsals found a few problems with the orchestration. Mignone was very polite with the older master but he thought the instrumentation could be improved and suggested a few changes for which Villa-Lobos replied “OK you can fix them, just don’t tell anybody about this.”

This concerto was only played by two pianists as far as I know, the dedicatee Arnaldo Estrella, an excellent pianist and teacher of a generation of famous Brazilian pianists and his wife, Maria Josephina in the late 50’s early 60’s. I don’t know why it has then been forgotten by the following generations of pianists.

When I started planning this recording I found an old score I had here at home for a long time which I got from the National Library of Rio, it was a photocopy of a printed score for two pianos but when I started looking for the full score and parts I realised they had made a new edition at Academia Brasileira de Musica. So I bought the score and the piano part but to my dismay I realised it was full of mistakes and needed another revision. The hand written originals were in very bad condition and difficult to use for a performance. We definitely needed a new version. I then with some help got it revised and did the piano part myself. In fact I ended up using Maria Josephina’s copy for the recording as it had Mignone’s own markings on it. I think it gave me confidence and inspiration!

The Albeniz Concerto is another wonderful piano concerto which has been sparsely performed since its premiere in 1887. Albeniz himself played the premiere in Madrid, followed by performances in Paris and London. It received very favourable reviews. Despite being an early work and criticised for not being Spanish enough I can see the Albeniz of Spanish Suite and Iberia already coming through in the themes and the piano writing.

I would love to see these two concertos rediscovered by the pianists around and see them reinstated in the main repertoire.

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

If I am alive I would like to be still playing the piano and enjoying music as much as I do now.

What is your idea of perfect happiness?

Happiness for me is when my family is together.

What is your most treasured possession?

I love my piano, it is my companion.

What do you enjoy doing most?

In love travelling (on holidays!!), discovering new places.

What is your present state of mind?


Clélia Iruzun’s recording of piano concertos by Isaac Albeniz and Francisco Mignone is available now on the SOMM lable. Further information here


Clélia Iruzun’s childhood was spent in the rich cultural atmosphere of Rio de Janeiro where she began playing the piano at the age of four, winning her first competition at seven and making her orchestral debut playing Grieg’s Piano Concerto at 15. At 17 Clelia won a scholarship to continue her development by studying with the highly regarded Maria Curcio in London, and then with Christopher Elton, who took her under his wing at the Royal Academy of Music where she graduated with the Recital Diploma. Later she also studied with Noretta Conci and then with Mercês de Silva Telles, who encouraged Clélia to develop her own definitive style. Her mentors have included Fou Ts’Ong, Stephen Kovacevich, and her compatriots, the great pianists Jacques Klein and Nelson Freire.