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

When I was four years old, my parents went away on a long European holiday, leaving me and my younger brother in the care of our grandmother and a much loved adopted “auntie”, a retired piano teacher. To keep her happy, they rented a piano which she played every day. One evening, Auntie Bessie played Schumann’s Arabesque Opus 18 and I vividly remember the overwhelming emotions which resulted in floods of tears! She responded by teaching me to play; by the time my parents returned I could perform simple pieces. It is my belief that from that time, music became an essential resource for me, filling the hole left by the absence of my parents. I didn’t envisage a performing career; that developed later on, but I knew there was no other path for me but to study music.

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

I grew up in South Africa where very little 20th century music was performed. However, when I was a B. Mus. student at the University of Cape Town, my Harmony and Counterpoint lecturer, now Professor Emeritus James May, asked me to play Schoenberg’s Suite Opus 25 and Webern’s Variations Opus 27 in a concert. Despite not knowing these pieces at all and initially finding them incomprehensible, I was determined to honour my commitment and in the process became “hooked”. What fascinated me in the Suite for instance,was recognising the phrasing of a Gavotte or Minuet despite the unfamiliarity of the serial language.This felt exhilarating, like learning a new language. So thanks to James May, this was the start of my journey into 20th century and new music.

The teachers who influenced me most for very different reasons were Gyorgy Sandor at the University of Michigan, Ann Arbor, and Susan Bradshaw in London. Sandor changed my piano technique with advice on arm weight and a flexible wrist; he was a pragmatic teacher, a problem solver. Lessons on the music of Bartok, who was his teacher, were revelatory, but his interest in 20th century music stopped there.

Susan Bradshaw was the perfect guide to performing 20th century classics and new repertoire. Her incisive intelligence simplified complex textures. She taught me how to articulate phrasing in unfamiliar contexts and to make new repertoire as accessible as possible at a first hearing. She introduced me to composers such as Robert Saxton who wrote a Sonata for me, which led to my giving my first London premiere in the Purcell Room. The experience of working together with a composer like Robert to produce a first performance was life changing.

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

I could say that performing the complete solo works of Schoenberg, Berg and Webern from memory in the Wigmore Hall was one of my most challenging concerts.

However the real challenge for me was returning to performing after a long break following the birth of our two children.

Which performance/recordings are you most proud of?

I am proud of my new CD of recent South African piano music which I hope will introduce some fantastic composers to those unfamiliar with South African contemporary music: Kevin Volans, Michael Blake, Rob Fokkens, Neo Muyanga, David Earl, Peter Klatzow, Hendrik Hofmeyr and David Kosviner. The majority of the pieces on the CD are rooted in traditional South African music though some are European in origin; this is diverse repertoire which reflects a rich and varied culture. With one exception, these works have never been recorded and many have been dedicated to me.