pianist | performer | inventor | mum
GIGS in 2020
References for '12 Years' tracks
Children's Show
Maja Bugge collaboration
Films of concert performances
Belonging Here
Moments of Weightlessness
Future Piano
Inside-Out Piano II
Inside-out Piano I
Episode 1: Julia Steinberger
Episode 2: Inika Taylor
Archive: BEAM Festival 2011-16
BEAM 2011
Programme overview 2011
Performers 2011
Installations 2011
Bursary and Open Space 2011
BEAM Train and AV Gallery 2011
Pianists and composers
Useful piano books
Posts tagged 'piano'
Snape Maltings: Festival of New
I'm just back from another very intense experience at Snape Maltings: a residency with Maja Bugge leading to the Festival of New. While I was there I found myself looking back over the times I'd been previously and was amazed to discover I'd been going there to make music for 31 years!!!
The Snape Maltings Concert Hall
Reminiscing: 1988
The first time was when I was 14 and I played mandolin in Mahler 7 with the Northern Junior Philharmonic Orchestra. My Dad made me a special mandolin case as the instrument had been found in a school cupboard I think, unadorned. The case was a cool shape and I was very proud to be playing such a unique instrument in amongst all my friends (and that's a lot of people for a Mahler Symphony!). I can completely remember sitting on the stage of Snape Maltings Concert Hall, looking out at all the wood and thinking how beautiful it was. I was also slightly afraid that the percussionist was going to drop a cymbal on me after one of the crashes. Or in fact did they actually drop it? It's so long ago, it's hard to decipher sometimes between imagination and reality…
I next came back to play another instrument I never normally play – celeste, this time in Hans Werner Henze's The Emperor's Nightingale under Oliver Knussen for what I suppose might have been called a Britten-Pears ensemble. I'd been in a practice room at Guildhall School of Music and Drama and my friend had said he'd been asked to play and didn't fancy it. "I'll go!", I said. I arrived in the room when they'd already started playing and I had no idea how famous or amazing Olly was and I just got straight in to it and thus was born one of the most important relationships of my musical life. Over the next I think 10 years, I came back every year to the composer's course to perform in the ensemble. I played some ferocious music but every time I was learning a new score Olly had tips about rhythm, colour, timbre. I was challenged by young composers over and over but I thrived on the excitement of not knowing what I'd be playing at the end of the week when I arrived and then slaving over it until Cross Keys o'clock every night. Goodness, we spent too long in there too!
The course changed one year, into New Music, New Media, and now I was listening to David Sheppard explaining how a mixer worked. I strained to learn about inputs and gain, then encouraged by Dave and my other new bandmate Mira Calix to buy some basic guitar pedals and try daisy-chaining them in different ways. I learnt about Delay and Distortion and now I was starting to improvise and our band, Alexander's Annexe, was now coming for a residency in the same Britten-Pears Recital Room where I'd played so much already. It was here that we made our "extremely beautiful and highly unexpected" WARP Records release Push Door to Exit and prepared for an amazing outdoor performance at the Ravello Festival, held at the Villa Rufulo where I believe Wagner lived for a while…
My beautiful Annexe band mates: Dave the Microbrute & Mira holding the title-inspiring tape
At some point during these years I worked as a repetiteur for the new opera Mira and Tansy Davies wrote – Elephant & Castle – and I can still visualise the enormous screen and singers in the reeds. That was a magical re-making of the place I'd come to know like home. And I also helped to lead a course with the fantastically energetic and creative Michel van der Aa and Arnoud Nordegraaf on making films and multimedia music. Also on the staff for that course was Oliver Coates, the extremely talented cellist and composer who now works a lot with Jonny Greenwood and Radiohead.
My next visit (I think – chronology dissolves too with memory) was to teach the incredibly talented Aldeburgh Young Musicians. I think I was very pregnant. They were so inspiring, so dedicated. I was working with Leafcutter John, a musician I have huge respect for, and we led the group in exploring making music, using electronics. It was probably the first time I'd experienced the new Hoffman building, which seemed to at least double the technical capacity of previous years. Suddenly everything was very professional in a different way – even the way the buildings had been coaxed into the new age were stunningly 'architect-y' now, instead of just really nice.
Sarah and Maja
And now, 2019. Here I was, back again. This time with a cellist, Maja Bugge. We had come to make something about climate breakdown and the wilful destruction of the planet. Our first meeting had been at Hack the Jazz Fest at Cheltenham Jazz Festival, kindly invited by Emily Jones to come together and think about augmenting the festival with new audience experiences. Maja and I had hit it off and continued talking on the phone. We found a shared concern about the future our children were facing. But we hadn't ever played a note together until Monday morning at Snape. The gig was Saturday, noon, and in the preceding days it had become clear that this wasn't just a sharing but instead part of a brilliant festival, where people had bought tickets and lots of 'industry' guests would be. This aspect might have added a bit of stress but of course was also an amazing opportunity. To make something fast, show it, get feedback, then maybe even get it out there.
Making music together
Almost as soon as we began playing, we had the wonderful realisation that cello and inside piano go brilliantly together. It turned out that I'd basically spent 5 years playing the cello with my piano – finding harmonics, bowing it with cassette tape and rosin, plucking, pizzicato, playing spiccato with various rubber balls and knocking on the body of my instrument. Maja and I easily found a palette with which to work. What was much harder to establish what to do with it. I am rather a limited composer – I tend to stay on a pedal note or one chord or texture for the duration of a piece, unless it is a deliberately through-composed longer work (of which I've written only a handful). Having spent many years playing highly complex avantgarde classical contemporary music, I have edged closer and closer to simplicity and minimalism and away from experimental gesture. However, when Maja and I tried longer forms, we veered towards rhapsody, able to easily include different musical language (e.g. impressionism) but also incorporating more experimental gestures.
What was more straightforward to navigate and to make choices about was the topic for our concert – climate change and the looming crisis the planet is facing. In listening to some recorded interviews that Maja had made in advance, we alighted on the idea of running the event as a public meeting. This immediately fitted the risk of the 'sharing' – "hi, everyone: thanks for coming.. we're a bit unprepared but there's a lot to get through today.. we're doing our best, we've only just learnt recently about what's required..". We created an agenda: Welcome – 1. Why are we here? (Which we thought of as 'what are we saving?' but by avoiding the word saving, we avoided the trap of humans as heroic) – 2. What's happening now? – 3. What can we do? – AOB/Close of meeting. It seemed to really work and kept momentum. It allowed us to go to very dangerous and vulnerable places but also allowed us to make jokes where inappropriate and to stay human and imperfect. I have to confess (much to my husband's chagrine) that I am increasingly enjoying connecting to audiences through the medium of laughter. It cuts across the stage/auditorium barrier very well.
Through the week we honed the structure, the script and the musical pieces. As we were working within such an extraordinarily tight time-scale, we decided early on to keep text and music separate except in two solo pieces – me duetting with Greta Thunberg and Maja with John Smith. Maja had also collected a snippet of Solve, an 8-year-old Norwegian boy who was doing his bit, going to the School Strike 4 Climate and also becoming vegetarian, even though he does rather miss sausages, sushi and bacon.
We were very privileged to have two wonderful conversations during the week, tiny parts of which are online as soundfiles. Gina Gow of Incredible Oceans talked to us next to their installation for the recent Siren festival by Roger Hardy (above) and Charlotte du Cann of Dark Mountain read to us and fed us delicious food, whilst we enjoyed a special evening together.
Sarah with Charlotte du Cann
The final sharing
In the sharing itself, the audience were moved. They agreed the meeting format worked (we used activist meeting hand signals to take the temperature on this – see photo below!) and we had extra 'guest speakers' in the form of reading out or playing clips of: Jem Bendell, Neil Kaye, Julia Steinberger and Peter Believes in Science not Dogma.
Our brilliant audience at the Festival of New, Snape Maltings
But most movingly, several individuals came up afterwards and said it was the push they had needed – to actually feel climate change in their hearts, not just to have read about it and understood that it was serious. For me, I feel the job is done if that has happened. What better reason for me to be on a stage right now?
EVERYONE ELSE!
Shama Rahman: sitar and brainwaves
There were so many other great artists there with us. Most excitingly, I got to perform with Shama Rahman on her sitar. That was a really magical experience. I found out that inside piano can cross into other cultures so much more easily than just straight keyboard playing. My zinging glass ball mirrored the sitar's wonderful buzzing, my microtonal pitches and harmonics cradled the delicacy and otherness. But I also learnt (very quickly!) how to play raga, a tiny bit about the rules – what needs to be established and in what order. I even had to try to learn how I would play an F for her during her melody, as she didn't have the F at the right pitch. That was probably the hardest thing! Discussing the meeting of raga and Western notation was fascinating – the simple act of adding phrasing meaning that I could now understand the rhythmic profile.
Shama was not only playing the sitar though – she is also a neuroscientist and was wearing an EEG headset, with maybe 10 sensors which could read her brain activity, which was visualised and projected onto a screen. The loveliest comment afterwards was from Seb Rochford, who was later drumming with Kit Downes, who said that, a couple of times, when I'd found a really rich note to cradle the sitar (possibly a plucked bass piano string, which sound amazing), Shama's whole brain had lit up.
Kit Downes (piano), Lucy Railton (cello), Tom Challenger (sax), Seb Rochford (drums)
Kit Downes' performance with 'Dreamlife of Debris' was absolutely fantastic. As well as Seb, he had Lucy Railton (cello) and Tom Challenger (Sax) playing with him. He started with a gorgeous track by his wife and then went into a set of music which was delicate, quiet and texturally creative whilst being deftly harmonically underpinned. The beauty and intensity grew until an explosion of rhythm in an athletic piano solo threw everything into dramatic relief. He played a really nice bit of inside-piano, using some bass harmonics to great effect. I absolutely love watching other pianists play inside because it is so different from what I do and it makes me excited that other people spend time exploring it too. I did cheekily think he'd have been more comfortable doing it on my piano 🙂 I asked him to demonstrate some of the techniques…
Kit Downes playing inside the piano, using a Matthew Bourne technique
The day before we'd seen the extremely cool Tinmen and the Telephone, which I did indeed answer… They began their jazz set with a video piece, showing the drummer stating that (paraphrasing) 'just like biologists and chemists who tried to stop biological and chemical weapons, AI scientists were also acting against the formation of AI as a controlling or weaponised medium'.
Tinmen and the Telephone
Of course, gradually morphing through glitch, this became the opposite statement and what was genius about the set was that this morphing is what happened to us (and more specifically, our phones) during the set. They'd brought their own WIFI (this would have been helpful earlier in the week for a few file-shares!) and an app, which the audience then interacted with to affect the concert. At first, we had to vote world leaders to eject, then we composed music (it was very cleverly done) and finally, our phones became the music. What was really dark (through pretty lights) was that they began to control eg people's phone torches flashing, or their volume. A kind of polite panic set in, with some people trying to quit the app. It really reminded me of a scene in the fantastic BBC recent drama Years and Years where the Farage-esque Emma Thompson character takes control of her audience's phones. A very neat comment on authoritarianism, all done with some skilled playing and a friendly demeanour. By the end, I was seriously impressed and only wished that they'd left the games for some time and done some playing, even if to give us time to think about the darkness of AI-control that they were explicitly talking about through it all.
The theatre group 'Silence Makes Perfect' (Yael Rasooly Director & Singer with Meitar Ensemble) from Israel did something absolutely extraordinary. I have never seen costume, make-up, props, 3-D printed puppets and classical music brought together, let alone to elicit such a fundamental and strong response in me. They tackled big issues head on, unwavering, to the point where as an audience member I was almost cowering whilst simultaneously marvelling at their ingenuity and the astonishing extent of their accumulative talents. This really was daring and epic theatre brought to life by some incredible minds. I'm just sad we didn't drink wine together properly until the last night!
To top off the festival, Sam Lee performed with a brilliantly talented band (I especially enjoyed his characterful pianist and sensitive violinist). Sam has a beguiling voice and uses it to bring old folk songs into our times. His directness lets his voice and the songs speak for themselves, whilst the arrangements conjure both the old and new skilfully and urgently somehow. I share his focus on the importance of looking after our planet and the celebratory yet humble manner in which he shares his immense talent was an inspiring end to an exhausting but no doubt expanding week. I'm also happy to report that since the gig we've had an offer to commission our show and to tour it to the Arctic Circle! So watch this space for more on that. And if you've enjoyed reading about my exploits with the piano, please consider donating to my Kickstarter fund to build a new lightweight version which I might actually be able to take to the Arctic…!
Back to Chetham's
After reading, please view Sarah's Kickstarter to help her build a new piano.
Arriving in Manchester for the Chetham's International Summer School and Festival for Pianists 2019 was a surreal experience. It felt like I hadn't been back to Chetham's since my school days (Murray McLachlan later reminded me I'd done a talk in the early 2000s) and driving down Deansgate was bizarre. I couldn't spot any of our favourite haunts! The next morning as I looked out of my drizzily hotel window, I spotted Chet's – an historical island in an otherwise changed and modernised Manchester. Wow, was that really where I'd spent those four intense years of my life?
Chetham's through the drizzle from my hotel window
Down at ground level approaching Chetham's, things were just as different. The road by the cathedral, now pedestrianised as much of it is around there, didn't boast the best barm shop any more, run by local women who showed me you could put salt on tomato to spice up the most basic sarnie. Now instead it was Zizzi and other ubiquitous brands. As I walked closer, I realised the school buildings were also very different indeed. I was excited as I walked through the arch into the main yard – up high on top of Millgate was 'the flat' where I lived for my final year (scene of much drama!), the old girl's house corridor windows, then down here the lovely old Baronial Hall where I'd slipped on the stone step as I came on stage for my first concert, to play the Beethoven Variations in C Minor. But now I'm walking across the yard towards Palatine…and it's gone, simply disappeared! There just remains a gate staring out into an abyss – as I approach, it's just an empty site, some unremarkable grass 2 floors down. A truly existential moment, as the place where so many hundreds of hours were spent, so many memories formed, has vanished.
So now I walk back through the arch and along the stunning new bridge to the new building. Did Chet's own all this land before? We used to sledge here in winter – the grass bank opposite Victoria Station. The whole place is transformed now into a massive cruise liner of a building, pleasingly curved and beautifully designed. The full height metal door slides open for me and the Oglesby Atrium beckons – several floors of bright white and internal windows, a fantastic architectural space which inspires a feeling of openness without being too big for normal-sized humans congregating at the bottom.
The lovely chaps from Pianospeed: Powered by Yorkshire Tea!
Kathryn Page is wonderfully welcoming and the first thing we have to manage is the delivery of my piano – arriving any minute. A piano mix-up ensues, as, directed by the porter: my re-configured Erard grand is delivered (by the brilliant Pianospeed) into a small practise room. It turns out that Forsyths had turned up at the same time with an upright, which might have been heading for my spacious teaching room if we hadn't intercepted. Who knows how many pianos are arriving but once we eventually get the right pianos in the right places, I take time to appreciate the two other grand pianos in my room (!) – a good Yamaha and a gorgeous Kawai Shigeru, all soft and silky, still partially wrapped in plastic.
The rest of the day is spent constructing my piano and playing, then meeting people as they begin to arrive, one of them, Henry Lewis, turns out to be a piano relative – more on that later. I find Sarah Beth Briggs who I haven't seen since my youth in Newcastle, and my old school friend and peer Leon McCawley (we both studied with Heather Slade-Lipkin at Chet's and a few days in, we have a fun session reminiscing about her memorable teaching techniques). Then we're straight into concerts in the Stoller Hall – an opening gala evening with maybe nearly 2 hours of music – and it's clear that the hall can handle the most sensitive sound amazingly; it's a beautiful space. Joseph Tong, who I also haven't seen for years, plays Schumann easily and sensitively, with real fluidity and humility.
Me, Sarah Briggs, Leon McCawley, Janet Nicolls (my mum!) & Nikki Isles having a nice time!
The next day we start teaching and the regime is strict and tiring – 6 hours a day, start 9am. I have to admit it is slightly abrupt on the first morning, as I dash across from the hotel breakfast but immediately the talent and friendliness of my first pupil has me absorbed. 14-year-old Ruth plays completely in the moment, she is really inhabiting the music. Where I can help is in making choices – which cadence is the most important?, which corner the most special?, if this happens here, what could happen there? We work through the piece and that wonderful thing happens, when a piece just comes more alive. She is a great listener and I'm delighted. Next up, I have an improvisation pupil who is a little shy. I decide we should just play together and gradually, with each new piece, I sense she is starting to find a tiny bit more confidence. We talk about having a tool box of parameters – what could be changed just using dynamics, texture, pitch, character, articulation, tessitura and I use a technique taught to me by Sean Gregory at Guildhall School of Music. He made me improvise in front of a room of piano teachers and I was totally alarmed at this thought (despite having played probably billions of notes in front of audiences by then). He gave me one note – D. That was it. So, I was forced to experiment with everything else – rhythm, texture and so on. That moment taught me I could do this terrifying thing. By the end of the session, Mary is growing.
After the break, Matthew arrives, chipper and chatty – his wife has bought him the course as payment for agreeing to a third child who is now 7 weeks old. I suspect the payment might not be equal to the task but am so impressed that he is also a doctor – how do these committed amateurs find time in busy lives to play the piano? It is absolutely humbling that at the end of what must be an utterly exhausting and no doubt emotionally intense day that Matthew wants to sit at a piano and play Brahms. He explains it is curative, that actually the music provides a space to visit emotional intensity without having to say a word and I see that the therapy that I am so lucky to enjoy as a career must help thousands of people who sit outside a career in music. The first lesson we have is on how to solve problems with efficient practise. I teach him that spending 5 minutes on that bar – dissecting the challenge, understanding it with his brain, isolating the natural motions he'll need to overcome those broken chords or that jump – will mean that then, when he plays from the beginning, he will arrive at the newly sorted area and actually be able to go through it rather than stumble at it. He agrees that if he can start each 10-minute session (usually at about 9.30pm at night, when he's really tired already) with this problem-solving, that his overall enjoyment will go up.
On arrival: my piano awaits building in my lovely & spacious teaching room
Next to appear is Tom, holding two scores – one Einaudi, the other Philip Glass – and saying he loves what I'm doing with the inside piano and he's a computer programmer and he'd love to learn to compose and he's had a severe trauma in his life and he'd like to express something about that in his music. We begin with some playing and he's not completely in the zone – technical things are challenging and it's hard for him to connect what he hears and imagines with what his fingers will do. We go over some technique and find smoother, easier ways of playing perpetual arpeggiac figures as are so common in Glass. But there's something much deeper happening when we go to my piano and begin to experiment. Suddenly Tom is listening absolutely intently and he's creating, he's exploring the sounds. And we both get lost in it and by the end his eyes are sparkling. We're both looking forward to seeing where his music will go.
My last two pianists are both virtuosi in different ways. The first is 16 and very accomplished. He plays Liszt impressively and it's only left for me to talk to him about phrasing and structure, re-finding the music after the many hundreds of hours he's obviously spent on the learning and mastering. The second is 8 and has only been learning for 2 years, mainly self-teaching as his current teacher isn't sure what to do. He'll come to Chet's next year and I see why. He is not only playing a Beethoven Sonata with a certain command of the material but he is also a total delight. When I suggest that we should re-think the introduction as a little sketch (between his little sister playing in a meadow with beautiful flowers and a big, hairy man who shouts "get off the grass!" at her) he is beaming and plays it again with more passion and conviction. There is so much I can teach him – phrasing in pairs, technical tricks, ways to put together difficult sections, how to practise octaves (isolating the thumb for guidance, ensuring you are still playing the octaves, rather than than just sticking in octave shape. I learnt that tip from a fantastic pianist and very modest chap Philip Howard who won Gaedeamus playing Xenakis – he was amazing and I should know, as I page-turned for his Evryali, which was terrifying!). I can't help feeling a tiny bit jealous of this young boy's future teachers: to come across such natural and effervescent talent in an 8-year old is kind of mind-boggling and utterly delightful and to sense you have the tools to help is a fantastic feeling.
The next day I have a new pupil, a lady who I later discover shares gorgeous gardening photos on Instagram, who has bravely brought along some George Benjamin pieces, in theory written 'for children'. They are complicated and challenging, using fast 5 rhythms, or difficult pitch groupings. I quickly realise that everything Diana is doing is in her brain, her head and we need to get these rhythms down into her body. We turn to stomping around the room, swaying, clapping, chanting and gradually I convince her that thinking of it just as beat and offbeat is possible and ultimately easier. We even make a short film of me illustrating this. Over the next lessons we make some progress but it is hard to unlearn the thinking she's already embedded – I've realised that although it's written in 5/16 it's much easier to feel (and therefore think) it in 5/8. So the challenge that modern music can pose can be as much about learning to interpret the score and make it your own, as simply to read and learn it. (A strange addendum here is that I was the first ever person to perform George Benjamin's music at Darmstadt, the terrifying German new music summer course that gathers the brightest, best and often most complicated composers together for intensive concerts and lectures).
Leon McCawley and Ashley Wass get ready to play Beethoven's Ninth on two pianos
As the week goes on, we see more amazing concerts – two to note are the Beethoven's 9th for two pianos played by Leon McCawley and Ashley Wass and also Sarah Beth Briggs' lecture recital in memory of Denis Mathews. The former made me very nostalgic for the Palatine corridors – two muscular yet totally sensitive peers playing with total joy and energy. I love how quietly Leon dared to play his opening and the second movement came to life wonderfully. Ashley played with such ease and beauty, perfectly voiced chords. The whole experience was brilliant. Sarah's concert/lecture was delivered with the best version of BBC Radio 3 knowledge and fluidity, she told anecdotes that helped us listen and then played with ferocious strength and delicious delicacy, I really felt captivated.
Henry Lewis (centre) with the new Inside-Out Piano moving team…
The late-night 10pm concerts were a treat, too. (It's funny, new music on Radio 3 is often banished to 'Hear and Now', 11pm on Saturday, which we all referred to as 'Where & When?). Adam Gorb was the featured composer and this was where I saw Henry Lewis in full flow. It was rather nice that at one point he did a proper pounce onto the piano for a low cluster and someone jumped in their seat and then smiled in response. Henry really was in his element and I found his playing alive, brilliant, exploratory and a fantastic mix of intellectual understanding and musical play. What I then discovered was that we'd both studied with Kate Miller, and as soon as I heard him say that it all clicked – of course he had! We phoned her the next day to celebrate that we'd met and she was delighted.
As the teaching progressed, there was a really satisfying journey with each pupil. The improvisation became more and more authoritative and confident, the 8-year-old got the hang of certain techniques and the idea of story, Tom ended up making a new piece using software on his own computer and we were both very moved, the doctor found a new determination to practise for a few minutes in a problem-solving way to then enjoy his emotional outpouring. And we had some lovely workshops, up to 30 people coming to find out what on earth my piano is all about. Various people popped in to visit the piano and it was great to have the opportunity to show it up close to many enthusiasts. The piano was also lucky enough to be not just tuned but basically reborn at the hands of the amazing Peter Lyons, a piano technician of incredible skill, who I absolutely loved meeting during the week. The piano sounded better than it ever has!
Peter Lyons at the Inside-Out Piano
The concert series
Angela Hewitt's concert of the Goldberg Variations was an extraordinary feat of playing and of listening. Apparently, she used to be a ballet dancer and the way her arms moved so fluidly and towards the end, increasingly dramatically, really was a visual feast. The control of the sound and the architecture was phenomenal and I did recognise that I was seeing probably a once in a generation performer, so committed to her very particular art. She did seem to be sort of floating above us mere mortals, sitting reverentially soaking up every profound corner, each virtuosic phrase. The last slow movement was absolutely static in the best kind of way – time literally stood still – I can recall it clearly right now, as I sit writing on a busy train. She really has poise in spades and I feel lucky to have been able to witness her performance as part of this enormous feast of piano recitals.
One of the challenges of the week was finding any time at all to think about my own concert and I was very sad to miss Murray's performances, as I would have really liked to see him in action. Sorry, Murray! However, I did manage to grab a few practise hours and my recital on the Monday evening was thoroughly enjoyable, a bit more of a riot than I'd planned, really but the audience was so warm (even heckling with jokes!) and the hall so beautiful that I just had a lot of fun. My mission was to introduce my incredible piano and the sounds that it makes.
Performing at Stoller Hall, with audience participation heard afterwards…!
What was rather lovely was that, having given a couple of workshops, afterwards people said "oh, you didn't play the rubber ball" or "I missed the slate!" and I was touched by how much they'd fallen in love with these sounds, exactly as I have. I actually made a little film on Youtube of my favourite sounds, so, if you missed any during the concert, you can see those here:
I also performed one track from my 12 Years recital. It felt like quite a risk to do so but I feel so strongly that the climate crisis is something we need to push into all of our conversations that in the end I did decide to include it. Several people were extremely moved, with the very kind Mark Hagger saying on Twitter that he thought it should be prescribed listening.
Stunning concert by @sarahpiano @chethampiano summer school on Monday. Her piece feat. @GretaThunberg really got me on the #ClimateEmergency should be compulsory listening for … well everyone. Bravo! @futurepianoltd . pic.twitter.com/F7doL9lHot
— Mark Hagger (@MarkHagger7) August 22, 2019
I do agree that absolutely everyone should hear the words of Greta Thunberg, which is what features in the piece I played. Her truth is clear and direct.
It was such a pleasure to have time during other week to meet other pianists and I was thrilled when Nikki Isles (recent award winner of an Ivors Academy Golden Badge Award) said that I had good rhythm! I wished she'd been my improvisation teacher somewhere along the way. I enjoyed chats with many other staff, including Ben Frith and Mark Tanner and I even managed to grab Murray and Kathryn for a brief moment, to thank them for having me.
What was lovely for me is that I really don't teach at all currently and it was just great to have that feeling again of sharing in someone's journey, of being helpful and of being able to offer advice which leads directly to something impactful. It is a humbling thing and totally energising. Although I left thoroughly tired, I drove away with a very complete sense of having communed and shared with people who care about the piano just as much as me and who spend their own hours, shaping and perfecting emotional experiences at this most monolithic of instruments.
Please view Sarah's Kickstarter to build a new piano. Some names in this article have been changed to protect anonymity.
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