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.

Which particular works do you think you perform best?

Schoenberg’s piano music occupied me for years so thank goodness I am told I play it well! I treasure the review from Peter Stadlen, a pupil of Webern, who liked my performance of Schoenberg’s Suite Opus 25 : “Schoenberg has come of age” he wrote; thank you Peter Stadlen!

However, maybe what I do best is what I enjoy the most, which is trying to communicate unfamiliar music in as clear a way as possible.

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

Sometimes one is free to choose, or a festival or concert series may stipulate a particular work or composer. On the whole I have been able to perform the music I want to play. I enjoy creating programmes which are cohesive in some way, not merely a collection of disparate pieces.

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

It is the audience who create the atmosphere in a concert and an enthusiastic audience can transform any venue into somewhere special.

However, recently, I loved performing at the Turner Sims in Southampton; fabulous piano and intimate hall. I will be recording there again soon on the Fazioli.

Who are your favourite musicians?

I admire musicians who engage with the music of their own time as well as performing traditional repertoire. Maurizio Pollini comes to mind or Stephen Hough who is that rare musician in today’s world, a composer-performer. Both Pollini and Hough bring an illuminating intelligence to whatever they play. Having said that, I will go anywhere to hear Angela Hewitt play Bach

What is your most memorable concert experience?

At the Johannesburg International Mozart Festival in 2015, I gave the first South African performance of Neo Muyanga’s Hade Tata (Sorry Father) composed in tribute to Nelson Mandela. That was a very special occasion for me.

One of the most memorable experiences was taking part in the Park Lane Group’s 25th Anniversary celebrations in the Queen Elizabeth Hall; 25 pianists playing 25 Steinway grand pianos on raked stages, conducted by Sir Colin Davis!

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

When I am asked to talk to young musicians, I advise them not to choose a career in music if they think it will make them rich or famous but only if music is their reason for getting out of bed in the morning! This is a difficult and unstable profession.

Being a professional musician requires hard work, humility, curiosity, passion and stubborn persistence! It requires an ability to “bounce back” from rejections.

Keeping fit and well in order to deal with the rigours of practice, performance and travel is vital; regular exercise, meditation and control of the breath also aid relaxation.

In practice, it is important to work from the inside out, from the notation, not outside in, imitating a favourite recording; it is essential to understand how the music is put together. Every performance should sound like a first performance even if the repertoire is very familiar.

I encourage young musicians to remember that while there is a vast legacy of repertoire from the past, we are living in the 21st century and there is a wealth of music being created right now which deserves some of their attention!

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

I hope I will still be excited about playing new music.

What is your most treasured possession?

Peace of mind.

Renée Reznek’s new disc ‘From My Beloved Country’, new piano music from South Africa is released on 31st March on the Prima Facie label
Renée Reznek was born in South Africa. As a child she studied with Adolf Hallis, who was a pupil of Tobias Mattay. She graduated with distinction from the University of Cape Town with a Bachelor of Music degree. During these years Lamar Crowson was her teacher.
Read Renée’s full biography here