The Score, the House magazine of Wigmore Hall, London
October 2004
- When did you start playing the piano?
At age 7 with Anthea Rael. She had the wonderful gift of making it fun and both my daughters have learned with her too.
- What was your first “big break”?
There wasn’t a big break as such, but I do remember my first concert at WH. It was 31 January 1983 when I got together with some wind playing friends and persuaded William Lyne to let us have the hall one Sunday afternoon. We were all make our Wigmore debuts and the concert was all Poulenc, marking 20 years since his death. It was amazing because to everyone’s amazement it sold out and people were queuing out on the street! It was the most perfect way to appear for the first time at Wigmore Hall.
- Who has been your biggest influence?
Two wonderful pianists as a teenager: Geoffrey Parsons and Menahem Pressler. They worked on equal terms with their collaborators and inspired me with a lifelong love of chamber music.
- What sort of piano do you have at home?
I am lucky enough to have 2 Steinways at home, both left to me by musicians who were interested in and supportive of my career. I have a model O left to me by Ivor Newton and a model B left by Joseph Cooper.
- In a nutshell, what is the difference between working with singers and/or instrumentalists?
Very little, but one important difference: songs have words. Pianists who work with singers have to have a real love of words and interest in the poems the composer has set.
-How much time do you spend practising?
In my 20s I had vast amounts of repertoire to learn, so I practised all hours. Nowadays it varies depending on the repertoire, but having experience helps as there is less chance that I’ll be playing it for the very first time.
-Other that Wigmore, which is your favourite hall?
One bigger – the Mozartsaal in the Konzerthaus in Vienna, and one smaller – the Recital Hall in the Concertgebouw. There is, of course, nowhere quite like Wigmore Hall!
- If you have time to yourself, what do you do?
Play tennis, read novels, go to the theatre and cinema and go walking.
- What is your favourite piece of music to play/listen to?
So much but I do feel particularly privileged every time I play the Schubert cycles and Schumann’s Dichterleibe. I also love playing the Brahms and Elgar piano quintets. Favourite music to listen to – that’s a difficult one. I do have very catholic tastes when it comes to listening, but, not in any order, my favourites are Schubert, Mozart, Beethoven, Bach, Schumann, Debussy. But I also adore Sibelius Tchaikovsky, Wagner, Britten, Chopin, Faure, Ravel ….
- What was the last concert you attended as an audience member?
It was at the Barbican where I heard my friend Nicholas Daniel give a brilliant performance of Elliott Carter’s oboe concerto with the BBC Symphony Orchestra.
- Have you ever had a disaster on stage?
Thankfully, not personally, but I do remember one concert in a music festival when the janitor of the hall came on to the stage while we were performing to a full house. He couldn’t see the audience and thought we were rehearsing and tried to turn us off in the middle of the piece! When he turned round and saw the audience I’ll never forget the look on his face!
- What has been your proudest moment so far?
I think probably the Gala concert in memory of my mother in December 2005. She loved Wigmore Hall and the atmosphere that night was wonderful.
- Do you have any superstitions about performing?
No!
- What is the most important thing you have learned about your job?
Be totally commited to the music but don’t take yourself too seriously.
- What single piece of advice would you give to aspiring accompanists?
If there’s anything else you’d like to do, do that instead! You need to be able to commit to it at least 110%.