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“For me, success is journeying towards ever more authentic and creative personal expression” – interview with Jasmina Kulaglich of Trio Bohème ahead of their concert at The Jazz Room on 9 July

Who or what inspired you to pursue a career in music?

My cousin, a pianist, put me on the piano at the age of six. I immediately fell in love with the instrument because of the range of colours that can imitate the whole orchestra. For me, one of the great challenges for the pianist is to make the audience forget that the sound is produced by hammers – the piano can sing like a string instrument, and can also have the amplitude of an orchestra.

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

In my artistic path, I had the chance to feed on the philosophies of the great piano schools: Czech and Russian in my native country, Serbia, then the French school in Paris, and then the Latin American School, with the disciples of Claudio Arrau – Edith Fischer and Aquis Delle Vigne. Another great master who influenced my path was György Sebők.

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

I like to work with musicians from different countries. My first trio was built between Paris and New York, and the second – Trio Bohème – between Paris and Moscow. I like to live the qualities of musicians coming from the very different horizons. It’s a very rewarding challenge.

Which performances/recordings are you most proud of?

As a soloist, I recorded the CD “Byzantine Mosaic” for Naxos in World Premiere – it is a work devoted to the Orthodox monasteries of the Balkans, very spiritual and profound. This year, I am delighted to release “The Seasons”, a new CD with my Trio Bohème, with a “western premiere” of The Seasons by Tchaikovsky transcribed for the trio, alongside the “Four Seasons in Buenos Aires” by Astor Piazzolla.

Which particular works do you think you perform best?

I really like the sonatas of Beethoven and Schubert – their classical structure is of great depth. On the other side, I like the fluidity and imagination of a Debussy, and of course, being of Slavic origin, I carry in my heart Tchaikovsky, Janacek, Shostakovich…

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

I choose my programs by “Coup de coeur” as I like to be spontaneous and attentive to my heart. Intuition guides me and it is never mistaken in the choices of what suits me in different periods.

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

Among the large concert halls, I really like the Salle Gaveau in Paris. It has a wonderful acoustic and can accommodate as much an orchestra as a soloist or chamber music ensemble.

Who are your favourite musicians?

Being exposed to the sources of the Latin-American School, my favorite pianists are Claudio Arrau, Daniel Barenboim, Martha Argerich, but also Dinu Lipatti, Clara Haskil, Murray Perahia, Wilhelm Kempf…

What is your most memorable concert experience?

I have a very nice memory of the concert where I played Liszt’s First Concerto with the European Romantic Orchestra in Paris. I like to be surrounded by many musicians, and even being a soloist, to create with them in perfect agreement.

As a musician, what is your definition of success?

For me, success is journeying towards ever more authentic and creative personal expression – never copying but searching for its own inner pearl. If this expression is sincere and profound, in agreement with our soul, the public will feel it. The main thing for me is to pass the vibrations of another dimension – the one where the music is born. And this is the greatest happiness in my artistic journey.

What advice would you give to young or aspiring musicians?

See above – this seems to me to be as important to inspire young musicians at the beginning of their career.

Jasmina Kulaglich is the pianist with Trio Bohème, whose new disc The Seasons is available now on the Calliope label. It includes the western premiere of Tchaikovsky’s Seasons, transcribed for trio by Alexandre Goedicke, and The Four Seasons in Buenos Aires by Astor Piazzolla

Trio Bohème perform at The Jazz Room at The Bull’s Head, Barnes, London on Tuesday 9 July. Further information


Born in Belgrade, Jasmina Kulaglich studied in the Belgrade National Music Conservatoire where she was unanimously awarded First Prize. She also won the Grand Prize of the University of Arts and the City of Belgrade October Prize.

She then went on to study with Edith Fischer and Aquiles Delle Vigne (both disciples of Claudio Arrau), and later with György Sebők.

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Meet the Artist – Mei-Ting Sun, pianist

Mei-Ting celebrates the birthdays of Franz Schubert and Wolfgang Amadeus Mozart in a special concert on 27 January. Find out more about Mei-Ting’s musical influences and inspirations….

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

I started piano when I was three, so the question wasn’t so much who inspired me to take it up but rather who started me on it, and the answer to that would be my parents. I always liked music – I remember marching on the bed when I was 2 or something to the march from Aida – so my parents thought it would be an interesting experiment to have a young child sit at the piano for hours. In terms of a career, it wasn’t anything other than music itself that inspired me. I decided at the age of 16 that I could not live without music in my life every day, and playing music made my happy.

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

There have been many, since different influences played important parts during different periods of my life. The most important influences during my formative years must have been my professor at the time, Dr. Edward Aldwell, who really taught me everything I know about how to study music among other things, and going to the Metropolitan Opera House in New York for 13-15 performances every year from when I was 14 to 18.

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

The ups and downs of a career in music can be extremely challenging, mentally, physically, and financially. Finding a balance not to be too high or too down, and to focus on what I love to do without always having an end meant creating projects for myself, which turned out to be a major source of entertainment. One of the biggest challenges was to learn, perform, and record the complete works of Chopin published during his lifetime, and that is also the series of performances and recordings that I am most proud of.

Which particular works do you think you play best?

This is a most difficult question for me to answer! Of course I feel affinity towards certain composers and works, but I think one of the challenges for me is to get into the minds of every composer I want to play, and to truly – as much as I personally believe I can – understand the works I perform. When that happens, that work will be one that I feel I play best.

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

This is a most easy question. I do that by thinking, what haven’t I played recently and what can make my life richer, more diverse, and more interesting?

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

I can’t say that I do. I like all kinds of venues, ranging from the biggest halls to the smallest salons, but I would perform different kinds of repertoire in each. Acoustically, my favorite is the Auditorio of Zaragoza.

Who are your favourite musicians?

There are too many, so I’ll just list a few of the dead pianists: Alfred Cortot, Walter Gieseking, Myra Hess, Artur Schnabel, Clara Haskil, Sergei Rachmaninoff, William Kapell.

What is your most memorable concert experience?

A recital in Lazienki Park in Warsaw. I ended the recital with the Heroic Polonaise of Chopin, and an older gentleman wobbled to the stage, and told me about how he used to be a soldier, took part in the Warsaw Uprising, and how they played a record of the Heroic Polonaise during the uprising. Then he said, “when you played the Polonaise, it reminded me of the Uprising,” with tears flowing down his cheeks.

As a musician, what is your definition of success?

To love music, to share music, and to share that love of music with as many people as possible.

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

Work hard, and enjoy working hard. If you can’t enjoy working hard, then there’s no point in working hard, and no point in working in music. That being said, one must also enjoy life and work hard at it.

What is your idea of perfect happiness?

My idea of perfect happiness would involve too many things that’s not under my control, such as world peace, so perhaps a smaller and more achievable definition would be in order here. A moment of perfect happiness: sitting in a quiet bar with good company, a glass of Bruichladdich 40 in hand, 45 minutes after a perfectly satisfying performance of something by Bach or Schumann.

Mei-Ting and Michelle Chow play fantasies and sonatas for piano by Schubert and Mozart on Sunday 27 January at St Paul’s Grove Park. Tickets here


Critically acclaimed pianist Mei-Ting has been heard in many of the world’s greatest concert halls performing an extensive repertoire that includes the complete works for solo piano of Brahms, Chopin, and Debussy, in addition to all 32 Sonatas of Beethoven.

After winning several major competitions, including the first Piano-e competition and the National Chopin Competition of the US, Mei-Ting’s career has taken him throughout most of the US, Latin America, Asia, and Europe, at venues such as Carnegie Hall and Lincoln Center in New York, Auditorio Nacional in Madrid, Tonhalle in Zurich, and Obecni Dum in Prague.

He has collaborated with many major orchestras, including the Orquestra Sinfônica do Estado de São Paulo, the Prague Philharmonia, Orquesta Nacional de España, the Warsaw Philharmonic, and the National Symphony of Mexico, working with eminent conductors including Stanisław Skrowaczewski, Antoni Wit, Jakub Hrůša, Michał Nesterowicz, Lü Jia, Antoni Ros-Marbà and Pablo González.

While performing the complete works of other composers, Mei-Ting transcribed and arranged several orchestral and operatic works, expanding the technical and tonal possibilities of the modern piano. This project, which encompasses selections from R. Strauss’s Rosenkavalier and Salome, Stravinsky’s Firebird Suite from 1919, and a brand new transcription of Ravel’s La valse, has already garnered rave reviews around the world.

Mei-Ting is a Yamaha artist. He is represented by Ibermusica in Spain, Portugal, and Latin America, and Caecilia Artist Management Agency in worldwide.

Mei-Ting

Interview with Niklas Walentin, violinist

Ahead of his appearance with the Walentin Trio at Craxton Studios on 16 March, violinist Niklas Walentin talks about his influences and inspirations, significant teachers, repertoire, performing and more……

Who or what inspired you to take up the violin and pursue a career in
music?
I was first introduced to the violin and classical music “live” when attending a chamber music concert in Germany at the age of 6. The programme included, among other pieces, the famous C major string quintet by Franz Schubert. It had an immense impact on me, and I startet leaning the violin later the same year. At the age of 10, and not having found much interest in school, I decided to stay in the world of music into which I had been so luckily invited. At the same time, I had already been participating successfully in many competitions and masterclasses, so that taking the decision of becoming the best violinist I could possibly become, was not so far away.
Who or what have been the most important influences on your musical life and career?
The number of people and their endless support it has taken makes up a list longer than one could possibly imagine. I know of very few careers where from childhood, one is in the need of such strong and continuous support. But naturally, every member of my family is the initial answer. Then, my teacher and mentor, Søren Elbæk, who both as a violinist and musician has inspired me tremendously, but also his personality and as a human being has been a great support through my youth.
What have been the greatest challenges of your career so far?
It is difficult question to answer, as there are so many different things I have encountered at different times in my career. But looking back, I would say the most challenging thing has been to accept how the world of classical music works as a business. Even though it sounds quite harsh, and in some way ruins the romantic image of this wonderful world filled with so much incredible music, musicians, composers and so forth all need to make a living. To me, having slowly experienced how all that works, and to accept in some situations, that even though one has done ‘the job’ exactly as intended to highest standards, and all the work it takes around building up a career has been done, still sometimes, doors just simply won’t open. And that has been quite a challenge.
Which performance/recordings are you most proud of?
The perfect answer would and should of course in many ways be them all. Yet there are some I am particularly happy about. One of them was by debut concert in Carnegie Hall two years ago: it was a childhood dream come true, and a truly magical evening. I was at the time releasing my second album with four grand works for violin by Carl Nielsens, and even though my fourth album is on its way with my piano trio, I am still very proud of the recording of Carl Nielsen.
Which particular works do you think you play best?
I have spent a lot of time with Carl Nielsen and his music. He is definitely a composer woth whom I have strongly identified. I have a passion for playing solo violin, and have many plans of doing much more in the future. But next to my solo career, I have a very busy ensemble with my piano trio, Trio Vitruvi, and this spring I will return to Carnegie Hall together with my colleagues. We will be releasing our first album together, with the second piano trio by Schubert, and his music; being some of the first classical music I ever experienced, it has a very dear place in my heart.
How do you make your repertoire choices from season to season?
It is far from easy to choose, and a lot of the time, other circumstances do the choosing for me. But when I have my hands totally free, I choose pieces I simply can’t help but play. There comes an incredible and very naturally overflow of passion when performing pieces that you simply must play, and this is something that I feel always transmits to the audience very positively.
Do you have a favourite concert venue to perform in and why?
The Weill Recital Hall in Carnegie Hall is unique. But I have to admit that I have fallen equally in love with Wigmore Hall. Also, the Mariinsky Theater in St. Petersburg is to me, when performing violin concertos, a gem!
Who are your favourite musicians?
I would say the violinist Henryk Szeryng has had a very big influence on my playing. But my chamber music professor, founding member of the Alban Berg quartet, Hatto Beyerle, is a musician to whom I very much look up. Danish jazz violinist Svend Asmussen is also very high on the list!
What is your most memorable concert experience?
Lately it was when I was at the Verbier Festival, I had a free evening to attend a concert with Ana Chumachenko, who together with friends performed Schubert’s String Quintet in C. I had not heard the work for many years, and I was in tears more or less throughout the piece.
As a musician, what is your definition of success?
To remain yourself throughout your career and not to be confused by the many who want their influence to show through your character and way of playing. I have had many faces in my life, where I have been torn between two parties, and their way to do things would be the best. But when I finally learned to take the final decisions myself, a true sense of freedom followed.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
One thing which can be difficult to impart is the experience of the life itself as a musician. How to overcome issues of not undestanding why things don’t come your way when you work hard, or to restrain the pressure of nerves when performing at a high level. So much time is spent on learning how to play the instrument and the pieces, but I find advice for when you are actually out there on your own, and you need to show your very best to an unfamiliar audience that demands the highest level of quality, is rarely given enough.

Niklas Walentin performs with Alena Walentin (flute) and Viv McLean (piano) at Craxton Studios, Hampstead on Friday 16 March in a programme featuring Franck’s Sonata in A for violin and piano. Further details and tickets here www.7stararts.com/event/walentin-trio-craxton-studios/