1
00:00:00,000 --> 00:00:07,000
This episode is brought to you by Foundation for Bolivian Artists, whose support helps make this show possible.

2
00:00:07,000 --> 00:00:11,000
Are you looking for an experience of cultural exchange and community?

3
00:00:11,000 --> 00:00:18,000
Foundation for Bolivian Artists presents Cantuta Concerts Op. 2 with José Navarro Silberstein in his New York recital debut.

4
00:00:18,000 --> 00:00:26,000
At Foundation for Bolivian Artists, we showcase the exceptional talent of Bolivian classical musicians, providing them with valuable exposure to advance their musical careers.

5
00:00:26,000 --> 00:00:32,000
So come join us on February 28th at Merkin Hall and share in the discovery of Bolivia's unique culture and music.

6
00:01:26,000 --> 00:01:46,000
Welcome back to another episode of the PianoPod, everyone.

7
00:01:46,000 --> 00:02:05,000
Today, we are thrilled to welcome Ana Heller, a renowned concert pianist and pioneer as the founder of Moving Classics TV, a groundbreaking online platform dedicated to showcasing new piano music and connecting contemporary composers with global audiences.

8
00:02:05,000 --> 00:02:15,000
Ana has built an extraordinary career through her unwavering commitment to contemporary piano music and her imaginative interpretations.

9
00:02:15,000 --> 00:02:23,000
Her delicate musicality, nuanced playing, and innovative vision have earned her worldwide recognition.

10
00:02:23,000 --> 00:02:40,000
Through Moving Classics TV, Ana has recorded works by over 500 contemporary composers, collaborating closely with them to bring their creations to life, while reshaping how audiences engage with modern classical music.

11
00:02:40,000 --> 00:02:51,000
In addition to her work with Moving Classics TV, Ana's live performances demonstrate her drive to push the boundaries of traditional concert experiences.

12
00:02:51,000 --> 00:03:04,000
Her latest project, Sunset Hour, is a unique blend of music, visual art, and philosophy, offering audiences an immersive and thought-provoking experience.

13
00:03:04,000 --> 00:03:19,000
Her thematic recitals, such as Tribute to Virginia Woolf and Bach in Movies, further illustrate her ability to tell stories through music and create deeply personal connections with her listeners.

14
00:03:19,000 --> 00:03:39,000
In this conversation, we'll explore Ana's inspiring journey as a pianist and visionary. We'll dive deep into her creative process, the challenges and rewards of building Moving Classics TV, and her mission to bridge the gap between classical music and contemporary audiences.

15
00:03:39,000 --> 00:03:49,000
Ana will also share her thoughts on the evolving role of musicians in the 21st century and her vision for the future of piano performance.

16
00:03:49,000 --> 00:04:03,000
But before we go any further, we are excited to share some big news. The PianoPod is now on Substack. Substack allows us to connect with you, our amazing listeners, in a whole new way.

17
00:04:03,000 --> 00:04:17,000
With tiered membership options, you'll have access to exclusive behind-the-scenes content, early episode releases, special bonus materials, and insights from each episode.

18
00:04:17,000 --> 00:04:28,000
By joining, you'll also be supporting the production of the PianoPod and helping us continue to bring you meaningful conversation with the leading voices in the classical music world.

19
00:04:28,000 --> 00:04:40,000
So head over to the pianopod.substack.com slash subscribe to sign up and become a part of the PianoPod family today.

20
00:04:40,000 --> 00:04:58,000
We can't wait for you to hear Ana's incredible story, her dedication to the contemporary music world, and her pioneering work in redefining piano artistry. Please enjoy the show.

21
00:04:58,000 --> 00:05:11,000
You are listening to the PianoPod where we talk to the brightest minds in the industry about how they are bringing the piano into the future and thriving in a complex, ever evolving world.

22
00:05:11,000 --> 00:05:17,000
Welcome to the PianoPod, Ana. It's such a pleasure and honor to have you on the show today.

23
00:05:17,000 --> 00:05:21,000
The pleasure is all mine. Thank you for inviting me.

24
00:05:21,000 --> 00:05:25,000
Of course. Thank you. And where are you joining us from today?

25
00:05:25,000 --> 00:05:33,000
I'm in Munich, Germany. Wonderful, beautiful city. I've been there like once or twice. Yeah, it's a beautiful place.

26
00:05:33,000 --> 00:05:41,000
Before we dive into our conversation, I just want to take a moment to acknowledge one person, one of our amazing listeners, Opoku Boadu.

27
00:05:41,000 --> 00:05:51,000
And Opoku, also a devoted fan of your platform, Moving Classics TV, and recommended you as a guest on our show last summer.

28
00:05:51,000 --> 00:06:05,000
So here we are today, January 2025. I've been so eagerly looking forward to having this opportunity to chat with you about our favorite topic on earth, which is piano.

29
00:06:05,000 --> 00:06:13,000
And so a big shout out to Opoku. Thank you for supporting the PianoPod and connecting us with incredible guests like Ana.

30
00:06:13,000 --> 00:06:21,000
So speaking of Moving Classics TV, I've been a huge fan of your innovative platform. I'm learning a lot.

31
00:06:21,000 --> 00:06:37,000
I'm learning a lot about contemporary composers, and it's truly remarkable how you've created a digital space that bridges the gap between classical music and contemporary audiences, which is similar to our mission at the PianoPod.

32
00:06:37,000 --> 00:06:49,000
And I'm so excited to learn more about your work and vision. But before we dig deeper, I'd like to begin our conversation with a question we have recently made a tradition here at the PianoPod.

33
00:06:49,000 --> 00:07:01,000
So if you were to capture the essence of your artistry, mission, and passion in just a few sentences, how would you define who you are as an artist today?

34
00:07:01,000 --> 00:07:17,000
Well, I'm a concert pianist who is searching for the timeless ideals of beauty, old and new ones. And I'm also passionate about sharing my art with people and with Moving Classics internet channel.

35
00:07:17,000 --> 00:07:22,000
I am discovering, playing, and recording new piano music.

36
00:07:22,000 --> 00:07:35,000
Beautiful. Wow. So let's just talk about Moving Classics, right? Yes. So it seems like it's been such a successful platform.

37
00:07:35,000 --> 00:07:48,000
And just to give our audiences the tangible stats, your YouTube channel has nearly 4,000 subscribers and Facebook page has, I believe, like, over 60,000 followers?

38
00:07:48,000 --> 00:08:03,000
Yes, over 60,000. Yes. My goodness. It shows how you're engaging, that your community is and truly impressive. So for those who may not know or familiar with this Moving Classics yet.

39
00:08:03,000 --> 00:08:31,000
So let's start by explaining what it is and what inspires you to create. Well, basically, the idea is very simple. It's an internet page. It's a platform for composers, new composers, emerging composers, and also famous composers of today who are writing music that speaks to the hearts of the contemporary audience.

40
00:08:31,000 --> 00:08:44,000
And I have a YouTube channel as a heart of the Moving Classics platform. And on the Moving Classics page, we have profiles of composers.

41
00:08:44,000 --> 00:09:01,000
There is also a written interview where we talk about creativity, about compositions, about the issues that are important for composers. And I also play and record selected compositions.

42
00:09:01,000 --> 00:09:18,000
So this is really Moving Classics in a nutshell and what inspired it. You know, I was always interested in learning new things. As a little child, I was playing through countless compositions.

43
00:09:18,000 --> 00:09:32,000
And, you know, some people play the same things 100 times. And I wanted to play 100 different things. Well, which kind of led to this natural curiosity.

44
00:09:32,000 --> 00:09:49,000
And at the same time, I met in Facebook, Pjotr Laffert, who was a composer himself and who was also founder of this consonant music school, so to say, in the 70s and 80s.

45
00:09:49,000 --> 00:10:06,000
And, you know, we started conversation. And as I was searching for something where I could share my knowledge and my passion in the Internet, it was a kind of a natural continuation of the search.

46
00:10:06,000 --> 00:10:20,000
So he said, why don't you just start sharing this music? If you play it, you just record it and then, you know, one by one, one piece after another one. So that's how it started.

47
00:10:20,000 --> 00:10:28,000
Did you start by just simply posting a piece by piece on, for example, YouTube or something?

48
00:10:28,000 --> 00:10:40,000
Well, yeah, you know, it was one day I discovered YouTube for myself. I wasn't the first one, of course. It was actually late in comparison with others.

49
00:10:40,000 --> 00:10:50,000
But at the beginning, I was recording the classical compositions, like traditional ones, and wanted to put them in a new light.

50
00:10:50,000 --> 00:10:59,000
So doing kind of a theater video, you know, but it wasn't really something that I was hoping to share with the world.

51
00:10:59,000 --> 00:11:08,000
So I'm more into new, undiscovered pieces. You know, I'm like a pioneer by my character.

52
00:11:08,000 --> 00:11:20,000
So, yeah, I think the first composition was Sir Banicci Form, who was a friend of Peter Lacher, who is really a claimed Romanian composer.

53
00:11:20,000 --> 00:11:38,000
And I just recorded it and it was received positively and he encouraged me to record more. So that's how it started.

54
00:11:38,000 --> 00:11:51,000
Now, when you launched or started posting and then launched, eventually moving Classics TV, what sort of gaps or needs in the industry were you hoping to address?

55
00:11:51,000 --> 00:11:56,000
You know, and what motivated you to bring this platform to life eventually?

56
00:11:56,000 --> 00:12:13,000
Well, I mean, the biggest need or gap, what I see and I still see today is that most pianists play traditional repertoire and all the concert programs are all more or less traditional.

57
00:12:13,000 --> 00:12:20,000
Everybody will say that they play at least one piece by contemporary composer.

58
00:12:20,000 --> 00:12:33,000
We have academic composers, especially in Germany, because you have the state financing and you have a kind of approved composers who belong to academia.

59
00:12:33,000 --> 00:12:39,000
And they also compose in their own way, so to say.

60
00:12:39,000 --> 00:12:46,000
And of course, you have really countless Spotify composers. That's how I call it.

61
00:12:46,000 --> 00:12:53,000
But you don't really have a systematized way of presenting these composers.

62
00:12:53,000 --> 00:13:02,000
So it's like a huge pot. And if you search for something to play, for example, where do you start?

63
00:13:02,000 --> 00:13:11,000
You are really kind of maybe intimidated by the amount of compositions that you need time and effort.

64
00:13:11,000 --> 00:13:20,000
And I think this decoration is really very important. So I wished myself that I would have it.

65
00:13:20,000 --> 00:13:27,000
So first I would be going through the playlist and I would see what people are playing.

66
00:13:27,000 --> 00:13:35,000
At the beginning, it was very time consuming and difficult because I didn't know myself where do I start?

67
00:13:35,000 --> 00:13:41,000
So I was going through all the lists and publishing houses, suggestions.

68
00:13:41,000 --> 00:13:50,000
But then I also wanted to share the music that's speaking to the audiences of today.

69
00:13:50,000 --> 00:13:59,000
Because it's an Internet platform, I thought in the first line that the other people who are listening online,

70
00:13:59,000 --> 00:14:06,000
it's not the concert performances or it's not a university state exam.

71
00:14:06,000 --> 00:14:13,000
Or it's not even something where you want to show off your virtuosity.

72
00:14:13,000 --> 00:14:19,000
It's more just to listen, just maybe to dream, maybe to think.

73
00:14:19,000 --> 00:14:25,000
And so something that would appeal to younger generations too.

74
00:14:25,000 --> 00:14:30,000
Wow, that is interesting. So many things that I want to talk about that.

75
00:14:30,000 --> 00:14:35,000
First of all, it's the curation part. And it does make sense.

76
00:14:35,000 --> 00:14:44,000
Being a curator is part of our job these days as musicians and especially classical music.

77
00:14:44,000 --> 00:14:54,000
Like you mentioned, especially when it comes to contemporary music, we're dealing with living composers, which is exciting.

78
00:14:54,000 --> 00:14:58,000
But we just don't know where to start, as you said.

79
00:14:58,000 --> 00:15:08,000
So it's like you're dealing with this whole different, I don't know, another platform to deal with with so many talented composers.

80
00:15:08,000 --> 00:15:12,000
And then it's like, oh my gosh, I don't know what to listen to, where to listen to start with.

81
00:15:12,000 --> 00:15:19,000
And because people are just posting and posting on whether that is social media or music streaming services, which is great.

82
00:15:19,000 --> 00:15:22,000
But it's like, where do I start?

83
00:15:22,000 --> 00:15:29,000
But even now, myself, after all the seven years, I have over 500 composers.

84
00:15:29,000 --> 00:15:36,000
And it means that even I myself have limits of playing the music of these composers.

85
00:15:36,000 --> 00:15:47,000
And sometimes I have to look up the names and see what are the compositions that I played, which is really kind of the biggest frustration for myself,

86
00:15:47,000 --> 00:15:55,000
because I really don't want to forget pieces and it doesn't mean that I disrespect composers.

87
00:15:55,000 --> 00:16:06,000
You know, it's just, you know, we are humans and we have only 24 hours to play the music.

88
00:16:06,000 --> 00:16:09,000
And which is really sad.

89
00:16:09,000 --> 00:16:19,000
But like also what you mentioned about because this is the digital platform that you created, so it's not that live performance, maybe live performance.

90
00:16:19,000 --> 00:16:25,000
Also, you do in a different setting. But for moving classics, it's digital.

91
00:16:25,000 --> 00:16:39,000
Which means a lot of non classical musicians or non class that people who are have never listened to classical music may for some reason just come across your video and listen.

92
00:16:39,000 --> 00:16:44,000
So want to be friendly to those folks. Correct.

93
00:16:44,000 --> 00:16:50,000
So the selection of the music is is a little different. Right. So please tell us about that.

94
00:16:50,000 --> 00:16:58,000
Yeah. And I mentioned at the beginning that it's really very important for me to share music with others,

95
00:16:58,000 --> 00:17:04,000
because I think that the music lives in the moment where somebody else is listening.

96
00:17:04,000 --> 00:17:09,000
So I'm playing for other people. So I'm choosing music for other people.

97
00:17:09,000 --> 00:17:23,000
And I'm thinking about people who don't go to concerts, who don't know piano performance, who really want to discover something,

98
00:17:23,000 --> 00:17:33,000
maybe about themselves, maybe about the world around them, or maybe a little bit about art and then about music and then about classical music.

99
00:17:33,000 --> 00:17:43,000
You see, that's how it starts. So I want to play if I use this word accessible music, music that speaks to them,

100
00:17:43,000 --> 00:17:49,000
not to the classical music aficionados who are listening to classical music anyway.

101
00:17:49,000 --> 00:18:01,000
So because I really think that we need more people who appreciate this piano art, you know, especially if we think about the future.

102
00:18:01,000 --> 00:18:08,000
So that's why this is how I think when I choose composition.

103
00:18:08,000 --> 00:18:19,000
About the process of selection, it's really more complicated than that, because it's a way of communicating with composers.

104
00:18:19,000 --> 00:18:26,000
Like at the beginning, it was me who was contacting composers. And then at a certain point, it changed.

105
00:18:26,000 --> 00:18:39,000
So I would be getting compositions from composers. And again, a little disclaimer, I will be getting so many really good compositions

106
00:18:39,000 --> 00:18:51,000
that maybe I have not recorded them all yet, which is also kind of my my little challenger and also a problem,

107
00:18:51,000 --> 00:19:01,000
because some people have to wait a really long time and it has nothing to do with the quality of composition or my appreciation of their art.

108
00:19:01,000 --> 00:19:10,000
It's just it's just I try to to be fair and see who was the first who applied, so to say.

109
00:19:10,000 --> 00:19:19,000
But I really tried to record and see how what's the feedback to this music.

110
00:19:19,000 --> 00:19:23,000
So I'm not really kind of a judgemental about it.

111
00:19:23,000 --> 00:19:31,000
I mean, surely I have to be able to play the music and it should also speak to me at this very moment.

112
00:19:31,000 --> 00:19:41,000
That's why sometimes I play music after three years, because maybe I develop myself as an artist and I could understand it better now.

113
00:19:41,000 --> 00:19:50,000
And at the moment where I received the email, the composition was not really talking to me.

114
00:19:50,000 --> 00:19:52,000
So all is possible.

115
00:19:52,000 --> 00:19:59,000
Wow. So this is actually wonderful because you used to seek out for those compositions.

116
00:19:59,000 --> 00:20:06,000
But now you are just your inbox is filled with this wonderful pieces of music gems.

117
00:20:06,000 --> 00:20:11,000
Right. So how do you decide which compositions record?

118
00:20:11,000 --> 00:20:23,000
Not just the priority in terms of who which pieces came first, but like, do you have like specific for those who are listening, maybe for the composers, they want to know, right?

119
00:20:23,000 --> 00:20:31,000
Because they have most of most of us want an opportunity for their music to be acknowledged and so on.

120
00:20:31,000 --> 00:20:42,000
So, well, because we are we exist over many years, it's also developed its own style, so to say.

121
00:20:42,000 --> 00:20:52,000
So it's kind of moving classics. So I really want either emotional tonal music or minimal music or atmospheric music.

122
00:20:52,000 --> 00:20:58,000
So it can be anything from neoclassical to neo romantic.

123
00:20:58,000 --> 00:21:07,000
But it should sound I mean, I also call it contemporary, but not in a contemporary academic way.

124
00:21:07,000 --> 00:21:21,000
So I think about my audience and and it could definitely have a certain lens, because I don't want really long compositions to be featured because I mean, as we all know,

125
00:21:21,000 --> 00:21:33,000
average length is about three minutes or even less. But this is the optimal composition for showing showing it at the channel.

126
00:21:33,000 --> 00:21:38,000
Then, of course, I also look at the communication with the composer.

127
00:21:38,000 --> 00:21:44,000
I want to know if they are committed, how they feel if there is a certain title.

128
00:21:44,000 --> 00:21:56,000
I also really like titles and stories behind the compositions because it makes me curious and it makes the audience curious.

129
00:21:56,000 --> 00:22:03,000
And I also think that today the music is becoming conceptual again.

130
00:22:03,000 --> 00:22:12,000
And I mean, by that, not this 70s or concepts of music, but even I now he has concepts, you know.

131
00:22:12,000 --> 00:22:15,000
So there should be a reason for writing music.

132
00:22:15,000 --> 00:22:25,000
And if I feel I don't care about the age of composer, I don't care if they're professional in a way, how do they make their money?

133
00:22:25,000 --> 00:22:35,000
I don't ask this question. But if they are passionate about it and if I feel there is something, I mean, surely I want to get a view.

134
00:22:35,000 --> 00:22:43,000
I mean, let's be honest. And I really want to surprise my audience.

135
00:22:43,000 --> 00:22:48,000
So if I think it could be, it could be something.

136
00:22:48,000 --> 00:22:52,000
Sometimes it's a contrast, sometimes it's just what they expect.

137
00:22:52,000 --> 00:23:17,000
And sometimes it's really expectation that I even expect that is the best match in this case.

138
00:23:17,000 --> 00:23:26,000
Let's just go more into the tangible part of it. So let's say just for YouTube, how many videos you've already created?

139
00:23:26,000 --> 00:23:38,000
You know, I think it's also over 500 because I was recording and release every week, every week over seven years.

140
00:23:38,000 --> 00:23:39,000
Yes, yes.

141
00:23:39,000 --> 00:23:50,000
So you started like around 2017, right? Yes. Since then, every week, every week. Yes. Once one video a week.

142
00:23:50,000 --> 00:23:58,000
One. Yeah, but I mean, certainly I wouldn't be recording every week, but I will release every week.

143
00:23:58,000 --> 00:24:06,000
And I also used to have the composer of the week. So I would present composer and video.

144
00:24:06,000 --> 00:24:14,000
And then your performances are beautifully captured. I love the studio, too.

145
00:24:14,000 --> 00:24:20,000
It's stunning. The whole scenery and the glass windows in the background and then the beautiful.

146
00:24:20,000 --> 00:24:24,000
I think it's Steinway Piano, right? Is place. Steinway Piano, yes, exactly.

147
00:24:24,000 --> 00:24:29,000
So tell me, where is that location of the studio?

148
00:24:29,000 --> 00:24:38,000
It's a private studio and it's by one of the supporters of moving classics. Really?

149
00:24:47,000 --> 00:24:56,000
Gorgeous. So and there's like it's a multi-camera set up in the in your videos and it creates such dynamic viewing experience

150
00:24:56,000 --> 00:25:02,000
while maintaining a really organic, authentic live performance quality also.

151
00:25:02,000 --> 00:25:12,000
Yes. And my idea was it's kind of a reading, really, because, you know, I differentiate between

152
00:25:12,000 --> 00:25:19,000
really the performances where you perform one piece and especially, you know, I mean, I'm getting older.

153
00:25:19,000 --> 00:25:29,000
So I used to play some pieces like over many, many years. So when I get this fresh piano compositions,

154
00:25:29,000 --> 00:25:38,000
for me, they are really new. So I don't want to wait. I would never release a Chopin recording like this.

155
00:25:38,000 --> 00:25:45,000
But so that's why I call them kind of readings, not really performances, you know, because for me,

156
00:25:45,000 --> 00:25:53,000
it's more important to bring them into the world, maybe with some little imperfections rather than wait long time,

157
00:25:53,000 --> 00:26:01,000
because usually what happens, composers listen to it and then they decide to do some revisions and then they review things.

158
00:26:01,000 --> 00:26:10,000
So ideally, you would have to go back and do more recordings or wait several years and re-record it, you know.

159
00:26:10,000 --> 00:26:16,000
So but I really want to keep the freshness. Yeah, it really shows.

160
00:26:16,000 --> 00:26:25,000
Maybe that's why people are gravitated towards your channel and then your videos, too, because of the authenticity.

161
00:26:25,000 --> 00:26:31,000
Yeah, because that's the keys. This is one of the keys to be successful these days on digital spaces,

162
00:26:31,000 --> 00:26:40,000
because, you know, people can fake these days using all these tools, but I think people want authenticity. Right.

163
00:26:40,000 --> 00:26:46,000
Yeah. And I mean, I really also like like live recordings.

164
00:26:46,000 --> 00:26:59,000
So because as you say, I mean, it's it's it's I mean, I wouldn't say it's easier to to edit the recordings because I also did it myself.

165
00:26:59,000 --> 00:27:08,000
But but still, I really like spontaneity. I like this this human imperfection, if you want.

166
00:27:08,000 --> 00:27:14,000
I find there is something really authentic about it, as you say.

167
00:27:14,000 --> 00:27:20,000
So I really don't want to change that. Approachable.

168
00:27:20,000 --> 00:27:26,000
But also, still, you maintain high quality in production performance.

169
00:27:26,000 --> 00:27:33,000
So I think it's wonderful. And I also like the title moving classics TV.

170
00:27:33,000 --> 00:27:37,000
I can almost imagine why the title moving by.

171
00:27:37,000 --> 00:27:42,000
Yeah, yeah. Tell us the reason behind the title.

172
00:27:42,000 --> 00:27:47,000
Well, this is the the word game. Right. It's a pun, I think, in English. Right.

173
00:27:47,000 --> 00:28:02,000
It is the word. So moving in a way, developing, progressing, evolving and at the same time, moving emotionally, touching and appealing.

174
00:28:02,000 --> 00:28:17,000
So and classics, I mean, it's ambitious because I kind of want the pieces that I record that they will get to the status of of classic.

175
00:28:17,000 --> 00:28:22,000
And I mean, surely I play the way I play piano. It's a classical piano.

176
00:28:22,000 --> 00:28:28,000
So so it's a mixture of everything together, really.

177
00:28:28,000 --> 00:28:34,000
But, you know, I was watching through and then actually I learned a lot about contemporary composers.

178
00:28:34,000 --> 00:28:39,000
It's like, oh, maybe I should play the piece by her or by him.

179
00:28:39,000 --> 00:28:44,000
You know, so I was wondering who would be the main audience for moving classics?

180
00:28:44,000 --> 00:28:57,000
Like, who did you have in mind? Is it like a fellow classical pianist to learn more about more about contemporary composers or much wider audience you had in mind?

181
00:28:57,000 --> 00:29:02,000
Well, I was thinking about the broadest audience.

182
00:29:02,000 --> 00:29:10,000
Well, you know, I kind of differentiate the audiences and I call them the little town audience.

183
00:29:10,000 --> 00:29:15,000
And by this, I mean, yeah, well, I mean, this is my own systematization.

184
00:29:15,000 --> 00:29:25,000
The little town audience, they are really the kind of, let's say, musicians themselves or people who regularly go to classical concerts.

185
00:29:25,000 --> 00:29:35,000
I mean, they are the people who would go to Giorgi Sakhalov or Marta and who would really know everything about classical music.

186
00:29:35,000 --> 00:29:41,000
And you have this big city, you know, all the people who go to rock and pop concerts.

187
00:29:41,000 --> 00:29:48,000
But, you know, thanks to Ainaudi, it kind of rediscovered piano for many people.

188
00:29:48,000 --> 00:29:56,000
And there was this huge wave of interest and we are still kind of riding on this wave.

189
00:29:56,000 --> 00:30:16,000
And I think it's important to use this momentum and develop it because usually, you know, people who start learning piano, they don't necessarily want to start with Mozart, for example, which I perfectly understand.

190
00:30:16,000 --> 00:30:23,000
But, you know, for them to stay with Ainaudi, it's perhaps also a little bit one sided, you know.

191
00:30:23,000 --> 00:30:41,000
But if they kind of get something that is still exciting and approachable and side-guisty, then you go to classical, to moving classics and to get maybe some classical composers who write in this modern language.

192
00:30:41,000 --> 00:30:51,000
So I'm thinking about different types of listeners, but most of them just want to enjoy some music.

193
00:30:51,000 --> 00:31:00,000
They are not musicians, they don't go to concerts, but they appreciate something that speaks to them.

194
00:31:00,000 --> 00:31:03,000
But where does this passion come from, right?

195
00:31:03,000 --> 00:31:17,000
So before starting this moving classics or posting videos with the contemporary composers, probably you've, we're playing, well, traditional pieces, but also sometimes contemporary.

196
00:31:17,000 --> 00:31:22,000
But where does this passion that originates from?

197
00:31:22,000 --> 00:31:33,000
Like, yeah, like having to have this passion to reach out to audiences we typically don't think about, right?

198
00:31:33,000 --> 00:31:50,000
Yeah, this is a really interesting question also for me to think and reflect because some things kind of appear to us as a natural result of something that we didn't think about.

199
00:31:50,000 --> 00:31:58,000
Because, I mean, regarding the classical music, I mean, I am still playing and I mean, this is really how I work.

200
00:31:58,000 --> 00:32:03,000
But I think we will talk about this freelancer thing later on.

201
00:32:03,000 --> 00:32:21,000
So, I mean, surely during my education, we've learned all sorts of pieces and I've also played Schönberg and Stockhausen and surely Agrabah, and you name them.

202
00:32:21,000 --> 00:32:30,000
But I wasn't doing it really consciously, you see, and I wasn't really kind of digging into this.

203
00:32:30,000 --> 00:32:37,000
So I had to discover it myself. I mean, I admit it was new for me too.

204
00:32:37,000 --> 00:32:44,000
But I really wanted to do something different. Maybe it's also my character.

205
00:32:44,000 --> 00:32:56,000
I want to do new things. I'm not somebody who wants to perfect or to excel in one thing that one thousand people are doing.

206
00:32:56,000 --> 00:33:09,000
So it doesn't interest me. But I really want to be a pioneer who risks something, who just discovers.

207
00:33:09,000 --> 00:33:18,000
And there is nothing more rewarding than playing a new composition with a new composer to the audience.

208
00:33:18,000 --> 00:33:24,000
And afterwards, everybody's coming and saying, could you please repeat who was this composer?

209
00:33:24,000 --> 00:33:31,000
Maybe you need to spell it out. Please, maybe you can give me the link and I'll listen to more compositions.

210
00:33:31,000 --> 00:33:44,000
And this is what is happening. These people who come to me afterwards or who write to me, of course, in social media channels, they say, can you give me examples?

211
00:33:44,000 --> 00:33:51,000
Where can I find music or where can I find more recordings or who is it?

212
00:33:51,000 --> 00:33:59,000
And that's how the process starts. And this is for me, like the greatest reward that I can possibly get.

213
00:33:59,000 --> 00:34:07,000
So basically your audiences, fans shaped what this movie classic TV.

214
00:34:07,000 --> 00:34:20,000
Yes, yes. Through their feedback, through their appreciation, through their comments, through their messages, because they started also suggesting they were showing signs of approval.

215
00:34:20,000 --> 00:34:29,000
And it helped me to to evolve because without their support, I wouldn't be able to do anything.

216
00:34:29,000 --> 00:34:37,000
And I also find it important to listen to their opinion, too, because I'm doing it for them, not for me.

217
00:34:37,000 --> 00:34:46,000
But that's like the best way to really grow. Right. Your whatever the project is. Right.

218
00:34:46,000 --> 00:35:05,000
Yeah, I mean, I think so. I mean, I know this is always kind of this conversation and all this advice that you get online where everybody is saying, I mean, certainly I do think that I personally like this.

219
00:35:05,000 --> 00:35:17,000
No denying that I enjoy this music. I play it with much devotion and it's easier for me to share. So I don't really have to to make an effort of sharing it.

220
00:35:17,000 --> 00:35:29,000
And I think I won't be able to because if my heart is not in it, it's so difficult to record to practice.

221
00:35:29,000 --> 00:35:36,000
I will be doing my dual lingua and forget about everything else. I mean, like, seriously.

222
00:35:36,000 --> 00:35:46,000
Well, let's go back to more practical thing again. So this platform, Moving Classics, offers also website and on the website.

223
00:35:46,000 --> 00:35:56,000
It's just so much information that you can find about composers and compositions. And then I like the fact that you feature a composer of the week.

224
00:35:56,000 --> 00:36:11,000
Yes, I you learn a lot of details about the composer, contemporary composer and so on. So can you just take us through what's on the website and how the first timer, for example, to visit the website and what can they discover?

225
00:36:11,000 --> 00:36:18,000
You see, that's how the process goes. People listen to videos first. And if they like the music, they get curious.

226
00:36:18,000 --> 00:36:28,000
And that's where this information about composers is very important because they want to know everything about about them.

227
00:36:28,000 --> 00:36:38,000
So composer of the week is presented at the launching page, though it's the first featured article on the on the Internet page.

228
00:36:38,000 --> 00:36:52,000
And then they find a profile and information about them, where they started or I mean, anything that composer considers interesting for the audience because they provide me with this information.

229
00:36:52,000 --> 00:36:59,000
Then all the links that they want to share to. And there is an interview with them.

230
00:36:59,000 --> 00:37:12,000
The interview is a standard because I really want my audience to be able to just see the similarities or differences.

231
00:37:12,000 --> 00:37:22,000
So it's a kind of a it's not compare in the way of in a competitive way. It's more to appreciate in this comparable way.

232
00:37:22,000 --> 00:37:32,000
And it's really very interesting to read what composers think about creativity, what advice they give to younger listeners,

233
00:37:32,000 --> 00:37:44,000
where to start with listening to music or how to start composing or how to write music and what they think about music.

234
00:37:44,000 --> 00:38:08,000
And to give some some insights into their compositions, too.

235
00:38:08,000 --> 00:38:22,000
The future of your platform. First of all, you know, through my project, the piano pod, which launched in twenty twenty, I've found that what started as a simple idea has grown into something much larger.

236
00:38:22,000 --> 00:38:30,000
And by interviewing incredible artists like you and our industry, I've discovered so much so much more than I initially thought.

237
00:38:30,000 --> 00:38:38,000
And then this platform, the piano pod, has become far more than deeper than I initially intended.

238
00:38:38,000 --> 00:38:48,000
So with that in mind, I'm curious to know how has moving classics TV evolved since its launch in 2017 and did it grow into something larger than you originally?

239
00:38:48,000 --> 00:38:53,000
Yeah, you're right. This is really important to develop.

240
00:38:53,000 --> 00:39:01,000
And even if something is working, there is always a point where you don't progress.

241
00:39:01,000 --> 00:39:11,000
And I mean, this is also nothing new when I say that that the YouTube listeners, the amount is actually following them.

242
00:39:11,000 --> 00:39:23,000
So it has to do with a huge amount of new content. And this content is growing every day and you have a really much bigger competition if you want.

243
00:39:23,000 --> 00:39:33,000
I mean, it doesn't have to be something in the same area, but people have also only limited amount of time.

244
00:39:33,000 --> 00:39:43,000
And there is one thing to follow somebody over, let's say, two years. But I think it's like with love relations.

245
00:39:43,000 --> 00:39:56,000
You have this peaks and after that, you either are really good friends or you just kind of start with looking somewhere else and some people just don't return.

246
00:39:56,000 --> 00:40:05,000
So that's why I was thinking how to evolve. And this year, for example, I changed a little bit my focus.

247
00:40:05,000 --> 00:40:14,000
So from now, the videos or the compositions will be more topic oriented.

248
00:40:14,000 --> 00:40:22,000
So this year, it's a white darkness topic that I am presenting through the whole year.

249
00:40:22,000 --> 00:40:31,000
So maybe we can go into this white darkness project because this is what I'm going to record and what I'm going to work on.

250
00:40:31,000 --> 00:40:35,000
So I really want to focus a little bit more.

251
00:40:35,000 --> 00:40:46,000
So for this year, and it was also suggested by, I mean, not really suggested, I would say inspired by Anna Grieg, who is a movie classics composer.

252
00:40:46,000 --> 00:40:59,000
And I recorded her composition in the last years. And she had I kind of check it with her and I asked her, what do you think about chance?

253
00:40:59,000 --> 00:41:10,000
Do you like them? And she said, Oh, I love them. And I just ask, maybe there is something that you can kind of do for piano.

254
00:41:10,000 --> 00:41:22,000
And she was really so cooperative. She said, Yeah, I'll try. And I got one composition from her and it was really based on the Gregorian challenge.

255
00:41:22,000 --> 00:41:35,000
And I played it. And I fell in love with this idea. So to put a long story short, I asked composers, I approached several composers as a trial, you know,

256
00:41:35,000 --> 00:41:45,000
to if they want to compose something based on Gregorian challenge and they had absolute freedom to do in their own style.

257
00:41:45,000 --> 00:41:55,000
I only wanted to kind of limit it more or less, you know, time wise. But the rest really absolutely free.

258
00:41:55,000 --> 00:42:01,000
And I was so lucky to get over 25 compositions back.

259
00:42:01,000 --> 00:42:15,000
Wow. That's where the white darkness comes from. Yes. Yes. I was wondering about that. So I know why darkness reimagines Gregorian chance through a contemporary lens and.

260
00:42:15,000 --> 00:42:25,000
Okay, so you're going to play 25 different compositions based on Gregorian chance by 25 different composers.

261
00:42:25,000 --> 00:42:34,000
Exactly. Yes. 25 totally different composers. Yes. And you're going to play that and then incorporate that into your channel, which is Moving Classics.

262
00:42:34,000 --> 00:42:52,000
Yeah. So basically, moving classics goes white darkness. And so I will present these compositions and I will present composers again, because it is also something that I discovered through moving classics.

263
00:42:52,000 --> 00:42:58,000
The next activity is that it's not enough to just do a composer of the week and then it's gone.

264
00:42:58,000 --> 00:43:13,000
So, you know, you really need to go into more detail. And so it's kind of a chance again to meet the composers who were presented in the past and just maybe see them through a different lens.

265
00:43:13,000 --> 00:43:42,000
And at the same time, I want to be more professional with promoting this music. So I think I will also do some concerts or some events with live music where I played, because this is some this is the learning from the past that it's really not enough to just play and record one composition because next week is another composer and another chance.

266
00:43:42,000 --> 00:44:09,000
And if you don't really repeatedly play this music and talk about it and it takes somebody told me it's like seven times or but I don't know I have an impression you can do it 100 times and and that's why people are successful who are kind of only present, you know, so you need to meet one

267
00:44:09,000 --> 00:44:21,000
composer or one song like here on moving classic then maybe on classical radio and go to concert and hear it there and then maybe read an article about it.

268
00:44:21,000 --> 00:44:36,000
And then you think, oh, I know there was something. So that's why this white darkness idea and there will be certainly next year, maybe there will be this Asian composers.

269
00:44:36,000 --> 00:44:45,000
So it's something that I'm personally interested in. But it's like step by step. So I really want to have it more focused.

270
00:44:45,000 --> 00:44:59,000
Then, when did you start this white darkness project then is it this well, the first impulse was in September, and composers had deadline, end of the year, but it was really for this first trial period.

271
00:44:59,000 --> 00:45:13,000
And now it's me learning the music and I will record it on the 28th of January. And from then, I will start releasing it step by step, as I always did.

272
00:45:13,000 --> 00:45:29,000
So basically, there is a little holiday for moving classics presentations over one month. But okay, I mean, now I go more into quality than quantity. So we just also I think important.

273
00:45:29,000 --> 00:45:52,000
Are you going to be just playing these pieces this entire year or you'll be playing other pieces as well? I'm just curious. Well, I mean, I decided that for moving classics, they will always be compositions only by composers of today, which means that I will be asking, I will be reaching out to other composers or if somebody is, for example, listening to our podcast.

274
00:45:52,000 --> 00:46:06,000
And if they love Gregorian chants, why don't send a new piece to me? I mean, I will be happy to discover it. Yes. So it's all it's ongoing. But you were right for the concert.

275
00:46:06,000 --> 00:46:24,000
I will be combining we speak about the business of putting programs together. Certainly, I need to play famous composers to attract more people, because if it's just only the moving classics composers, I mean, this is really kind of an issue.

276
00:46:24,000 --> 00:46:44,000
And it's different. But for for moving classics, yes, this is really something like for for real fans and for real aficionados of piano music. I mean, certainly the event with only new compositions will be the best.

277
00:46:44,000 --> 00:46:59,000
Yes, of course. And then I like the fact that, you know, gray and chance and other chance are basically considered like the origin of what we do, you know, Western classical music. So it's just blending those two. And that's very clever.

278
00:46:59,000 --> 00:47:16,000
Yeah. And I think having to have the theme is so good because you just really see the intention coming from creators. And yeah, that's why I have the theme this year, which is the authenticity city and joy.

279
00:47:16,000 --> 00:47:24,000
That's the theme of season five. And then so yeah, also very positive one.

280
00:47:24,000 --> 00:47:30,000
Sure. But then, you know, the joy comes from being authentic. Right. Yeah.

281
00:47:30,000 --> 00:47:46,000
Wow. This is great. So then just going back then future of moving classics and you mentioned about the Asian composers. Right. So just hear me out. You know, I am obviously Asian and I live in the United States.

282
00:47:46,000 --> 00:48:05,000
You know, there are so many Asian amazing Asian classical pianists, classical violinists. But when it comes to classical composers, you just Asian composers are still minority. I feel we we hardly play.

283
00:48:05,000 --> 00:48:26,000
Right. That's kind of strange. And then the then the year 2020 was a really turning point globally with, of course, the pandemic, but also the movements like Black Lives Matter movement, which, you know, sparked conversations, discussions on inclusion and equity in classical music.

284
00:48:26,000 --> 00:48:42,000
And this momentum has led to greater focus on composers from diverse backgrounds. And as an Asian artist myself, I'm passionate about discovering and performing works by Asian composers. But like you said, it's like, I don't know where to look.

285
00:48:42,000 --> 00:49:02,000
And it's just so overwhelming thing. So I'm just so super curious to know your project, upcoming project, maybe after this Gregorian chant project. But yeah, it was a little bit easier to start with the Gregorian chance because I already had the composers and with the Asian composers.

286
00:49:02,000 --> 00:49:21,000
So I'm just starting. And this is exactly what you said. If you ask me to give you the names, I really would have to think first and I'm sure that for other pianists, they will even have hard times naming one or two.

287
00:49:21,000 --> 00:49:40,000
And so personally, I'm really kind of international person. I really want to discover more composers from the countries, for example, Indonesia or Malaysia, where I like I cannot give you names, unfortunately, or Vietnam, for example.

288
00:49:40,000 --> 00:49:58,000
So this is like my task where I will also be focusing and searching. And so that will be like really one year of featuring. But first, of course, I need to do my homework.

289
00:49:58,000 --> 00:50:27,000
Wonderful. I can't wait. So for those tuning in today, I encourage you to visit movingclassics.tv to discover more about Ana's innovative platform. And don't forget to check out her YouTube channel at movingclassics, where you can immerse yourself in her captivating performances of delightful contemporary piano music and experience you won't want to miss.

290
00:50:27,000 --> 00:50:36,000
Before continuing this inspiring conversation with our guest, let's take a moment to hear from our valued sponsor of the month, whose support helps make this podcast possible.

291
00:50:36,000 --> 00:51:01,000
At Foundation for Bolivian Artists, we're on a mission to give classical musicians from Bolivia access to the world's most prestigious career opportunities by granting them a unique recital debut in New York City. The problem is, talented musicians in Bolivia face a stark lack of access to meaningful career advancement and painfully limited visibility on the global stage.

292
00:51:01,000 --> 00:51:12,000
We know that the world is missing out on something extraordinary, which is why we are dedicated to championing the performers and composers of Bolivia. Here's how we do it.

293
00:51:12,000 --> 00:51:23,000
We seek out talented Bolivian musicians and offer them the opportunity of a lifetime, a fully funded concert debut in New York City, an experience that can open doors and launch careers.

294
00:51:23,000 --> 00:51:34,000
Our concerts are more than just music. They are a gateway to the beauty and depth of Bolivia and its Andean culture, sparking awareness and appreciation among new audiences.

295
00:51:34,000 --> 00:51:53,000
So join us at our next Cantuta concert on February 28th at Merckin Hall featuring Jose Navarro Silberstein in his New York recital debut. For more information, visit us at bolivianartistsfoundation.org.

296
00:51:53,000 --> 00:52:13,000
So, Anna, just we need to discover who you are even more. And you mentioned that in, you know, one of I asked you to fill out the questionnaires and then you said you mentioned that you rebuilt your career from scratch in a new country.

297
00:52:13,000 --> 00:52:16,000
I assume a new country is Germany.

298
00:52:16,000 --> 00:52:31,000
Which is understandably challenging and exciting and an incredible journey. I understand myself. You know, United States is a new country to me. I grew up in Japan. I'm Korean, but you know, so yeah.

299
00:52:31,000 --> 00:52:46,000
Yeah, yeah. And then you're Korean. My last name is Song. So it's a Korean last year. I thought also that you can't Japanese or is it always Japanese? Yeah, Japanese pronunciation of it's complicated.

300
00:52:46,000 --> 00:53:02,000
Anyway, so tell me about a bit about your experience. I think I feel like this whole experience of new being a new country, which means whatever the reason is, you can start fresh. Right.

301
00:53:02,000 --> 00:53:11,000
And whatever you so yeah, that's that's true. And that's one way one way to think. But yeah, tell me more about it. Yeah.

302
00:53:11,000 --> 00:53:24,000
Yes. And I think it's also this thing. There is no profit in my own country or or is it politically correct to say no.

303
00:53:24,000 --> 00:53:44,000
You see, the thing was that I was born into the music family. I was born in Siberia in Tom's. I mean, okay, it's a Russian figuration. So my mom was a pianist and she was also head of the local opera company.

304
00:53:44,000 --> 00:53:55,000
But it's really little thing because there's no house in terms because it's more scientific city. But it's a city with seven universities.

305
00:53:55,000 --> 00:54:07,000
So it was always kind of full of young people and students. And and my sister chose music as a profession. And she's an elder sister.

306
00:54:07,000 --> 00:54:20,000
So she was really my role model for for a long time. And it's still is, of course. So I kind of grew up listening to her practice in piano.

307
00:54:20,000 --> 00:54:27,000
And when I was 19, I had a chance to get the scholarship to study the United States of America.

308
00:54:27,000 --> 00:54:42,000
So I was in Oklahoma, where I spent one year there. And yeah, Norman State University.

309
00:54:42,000 --> 00:54:53,000
So, but it was the kind of, you know, for the student was 19. I think you're not even of age in the United States.

310
00:54:53,000 --> 00:55:04,000
But it was really amazing time. And it kind of changed my mindset because I really grew more more curious about different cultures.

311
00:55:04,000 --> 00:55:15,000
And so when I was back, I started to also different jobs with, for example, with Merlin Medical Emergency Relief International,

312
00:55:15,000 --> 00:55:24,000
who were helping people with different diseases like tuberculosis, for example, because I could speak English.

313
00:55:24,000 --> 00:55:33,000
It was very useful for them and for me, too, because I also learned a different part of society.

314
00:55:33,000 --> 00:55:41,000
Because, you know, as a classical musician, you just spent, I don't know, eight hours practicing.

315
00:55:41,000 --> 00:55:50,000
But seriously, I mean, that was my problem as a child. I was like, practicing, practicing, practicing, or maybe not practicing, but sitting,

316
00:55:50,000 --> 00:55:59,000
sitting at the piano for seven hours and dreaming, but but not talking or not walking or not doing any sports or anything,

317
00:55:59,000 --> 00:56:09,000
which means that I really had to learn hard way to communicate or to kind of open up to reality, basically.

318
00:56:09,000 --> 00:56:15,000
That was around. And I was lucky again to get German scholarship.

319
00:56:15,000 --> 00:56:22,000
So I was one year in Frankfurt with the German academic exchange programs.

320
00:56:22,000 --> 00:56:27,000
And then I was finished with my studies. And so with the question, what do you do?

321
00:56:27,000 --> 00:56:37,000
I don't know. It wasn't really something that I was like really keen on, because it just happened.

322
00:56:37,000 --> 00:56:44,000
It just happened also naturally that I decided to stay in Germany, you know.

323
00:56:44,000 --> 00:56:49,000
And at the beginning, I said, well, let's see.

324
00:56:49,000 --> 00:56:59,000
I never kind of immigrated, you know, in the way that I said, OK, I, you know, give up everything, you know.

325
00:56:59,000 --> 00:57:03,000
That was kind of my way of dealing with things.

326
00:57:03,000 --> 00:57:11,000
So I kind of started, OK, well, it's two months here, two months in Russia, you know,

327
00:57:11,000 --> 00:57:18,000
and then it was like more and more. And then, of course, I'm living here for 20 years now, basically.

328
00:57:18,000 --> 00:57:26,000
And so this is my home here. But at the beginning, when I was in Germany, I didn't practice piano anymore.

329
00:57:26,000 --> 00:57:33,000
And I didn't work in this musical music industry because of several reasons.

330
00:57:33,000 --> 00:57:42,000
It's really very, very difficult to start from scratch in a new country because being a freelance pianist needs contact.

331
00:57:42,000 --> 00:57:49,000
You know, you need a network of people where you know who know you and who can recommend you.

332
00:57:49,000 --> 00:57:55,000
It's all about endorsements. And if you're a newcomer and if you haven't won the Tchaikovsky competition,

333
00:57:55,000 --> 00:58:03,000
but I mean, if you want to competition and you are like five, maybe it's not good either.

334
00:58:03,000 --> 00:58:08,000
So, you know, so it's really it takes time.

335
00:58:08,000 --> 00:58:13,000
And in my case, it took like eight years to really restart.

336
00:58:13,000 --> 00:58:18,000
And of course, it was like growing more and more.

337
00:58:18,000 --> 00:58:27,000
And now I can say that certainly I do it one hundred twenty percent of my time.

338
00:58:27,000 --> 00:58:36,000
But all of these life experiences shaped who you are as an artist and creator, especially today.

339
00:58:36,000 --> 00:58:43,000
No. Oh, yes. And I also think personally that today in our very competitive world,

340
00:58:43,000 --> 00:58:51,000
where we are really saturated by music or by opportunities, I think it's all about authenticity.

341
00:58:51,000 --> 00:59:00,000
It's either you are interesting as a person or you have something to say or you don't say anything.

342
00:59:00,000 --> 00:59:12,000
I mean, you can be good, but but what is good? I mean, like for me, it's all you either have this passion to play music and you do it or you just don't.

343
00:59:12,000 --> 00:59:19,000
Because in my case, it was really like this when I wasn't practicing, there was something missing.

344
00:59:19,000 --> 00:59:27,000
And this need became stronger over years. And then I just had to go back.

345
00:59:27,000 --> 00:59:35,000
But you need this life experiences, too, because it makes you more mature and more resilient.

346
00:59:35,000 --> 00:59:45,000
And if you speak about music business, you really need totally unmusical qualities to survive.

347
00:59:45,000 --> 00:59:55,000
And like being really in your world of music doesn't necessarily help you.

348
00:59:55,000 --> 01:00:01,000
Yeah, I know. You need a total different skill set.

349
01:00:01,000 --> 01:00:11,000
For what you do, right. And it just doesn't only involve the knowledge of music or being able to play the piece.

350
01:00:11,000 --> 01:00:16,000
But there's so much more as being an entrepreneur. Exactly.

351
01:00:16,000 --> 01:00:31,000
Exactly. Entrepreneur. Yes. Life experience. Yeah. But you seem to have that innate, I guess, desire to be forging your own path, I guess.

352
01:00:46,000 --> 01:00:55,000
Beyond moving classics TV, you've been a champion of creative audience engagement.

353
01:00:55,000 --> 01:01:08,000
So I think before moving classics, you've already started like a cinematic piano recitals like acrylic really tribute to Virginia Woolf and back in movies.

354
01:01:08,000 --> 01:01:17,000
So can you tell us more about that? Because I am a freelance concert pianist. So basically that's what I am doing.

355
01:01:17,000 --> 01:01:37,000
So I was always interested in creativity and all the creativity suggestions are to let yourself be inspired by different things like movies, books or just life experiences.

356
01:01:37,000 --> 01:01:46,000
So you have the dots and you connect to these dots and through this connecting dots, you get the themes for your recitals.

357
01:01:46,000 --> 01:01:52,000
Because for me, the recitals, they are like little stories that I'm telling.

358
01:01:52,000 --> 01:02:18,000
You know, maybe you can compare it to theater, little theater things, plays. So every year a new one will appear. And I try to make it more interesting also for audience because it gives you the lines to connect, select pieces.

359
01:02:18,000 --> 01:02:23,000
So this is like the ideal recital that I would like to attend myself.

360
01:02:23,000 --> 01:02:30,000
Wow, that gives a really different dimension to just one hour an hour or 90 minute concert, right?

361
01:02:30,000 --> 01:02:39,000
One hour or 90 minutes. Well, it depends on the organizers. I think now the trend is shorter recitals.

362
01:02:39,000 --> 01:02:48,000
But if you do the break, then it's 90 minutes. And then do you ever speak on stage and explain? Oh, yes.

363
01:02:48,000 --> 01:02:53,000
Yes. I think this is really the common practice these days.

364
01:02:53,000 --> 01:03:02,000
I started, I would say something like seven years ago to speak in my recitals.

365
01:03:02,000 --> 01:03:09,000
And it was interesting because at the beginning I wasn't really sure. And I tried both ways.

366
01:03:09,000 --> 01:03:21,000
And then I could always see the difference that you need to kind of, I mean, not necessarily explain, but maybe kind of give direction.

367
01:03:21,000 --> 01:03:34,000
And I always positive feedback. And I think today it's really the common practice that the organizers also expect you to speak and engage with your audience.

368
01:03:34,000 --> 01:03:43,000
I think so. Maybe simultaneously you've been involved in a candlelight concert series. Oh, yes.

369
01:03:43,000 --> 01:04:02,000
Three years ago, the original candlelight concerts came to Munich. And I was really lucky and lucky to be one of the first who were selected to play.

370
01:04:02,000 --> 01:04:11,000
So it was three years ago. Yesterday, three years ago that I played my first concert. And it was Coldplay.

371
01:04:11,000 --> 01:04:32,000
That was my first program that was given to me. And I must say, I am really, really impressed by candlelight concert fever organization, because they attract like twice eight hundred people every evening.

372
01:04:32,000 --> 01:04:41,000
And young people and people who never, ever saw a piano before. And they all go there.

373
01:04:41,000 --> 01:04:56,000
People from different walks of life, people who are far away from music. And they all go there and they arrive to me and they say, oh, we don't really know anything about classical music, because we think it doesn't really bring emotions.

374
01:04:56,000 --> 01:05:08,000
But you play classical piano because that's what I play. I play all the arrangements. They are classical piano. And then they said, we were surprised that it brings emotions in us.

375
01:05:08,000 --> 01:05:19,000
And yeah, and I say, well, maybe you should come to the classical program. And they said, well, if it's like this, then yes.

376
01:05:19,000 --> 01:05:30,000
And this is how it starts. So I'm really thankful that they exist because they really help us classical musicians a lot.

377
01:05:30,000 --> 01:05:33,000
Yeah, it's a gateway to this.

378
01:05:33,000 --> 01:05:44,000
You know, although it may seem small compared to the rest of the world, but it's like the rich legacy of classical music. Right. It's a wonderful way to get into that.

379
01:05:44,000 --> 01:05:55,000
Yeah, absolutely. I'm really impressed when I see young people and by young, I mean, like anybody who is under 50.

380
01:05:55,000 --> 01:06:01,000
Because usually in the classical concerts, you have 70 plus. You look seriously.

381
01:06:01,000 --> 01:06:15,000
And this is this is a big problem for future of classical music concerts. And if you play a classical classical classical recital in Germany, you get something like 20 people there.

382
01:06:15,000 --> 01:06:25,000
So even in Germany, too, like, yeah, I'm thinking like, I mean, three fun of doesn't have this problem, but anybody else does.

383
01:06:25,000 --> 01:06:37,000
And I mean, I'm not speaking about myself. I speak also about the, you know, people who are kind of known in the pianistic circle.

384
01:06:37,000 --> 01:06:47,000
But only Helen Grimor and Lan Lan can feel the big audience, you know, big, big holes. You see, and this is already something. This is serious.

385
01:06:47,000 --> 01:06:56,000
It is a serious issue. So basically, for those of who are listening candlelight concert series started in 2019. I think.

386
01:06:56,000 --> 01:07:01,000
Twenty, right? Yeah. Twenty. Okay.

387
01:07:01,000 --> 01:07:13,000
Or, no, in Munich, I don't know when they actually started in Munich. It was three years ago. So it's twenty one. Okay. Got it.

388
01:07:13,000 --> 01:07:30,000
But basically, it's run by this company, Fever. Fever. Exactly. Spanish. I see. Okay. And then their mission is to democratize the classical music experience by using putting candlelights.

389
01:07:30,000 --> 01:07:37,000
But they're not the actual real candlelights right there. No, they're LED. Yeah.

390
01:07:37,000 --> 01:07:49,000
But fill the venue with this LED candlelight. And then so it's very visually welcoming and it creates certain mood.

391
01:07:49,000 --> 01:07:58,000
And that's absolutely probably creating the calmness. Right? Yeah. Yeah. You see, it was really interesting.

392
01:07:58,000 --> 01:08:11,000
The first time I saw it, because when I saw this first advertisement in Facebook and it started a long time ago and they were saying soon in Munich, soon in your city or something like this.

393
01:08:11,000 --> 01:08:21,000
And I saw all these candles and I even didn't think about myself because I thought, oh, well, you know, looks really little bit. I don't know.

394
01:08:21,000 --> 01:08:33,000
I'm not sure. And then I saw the best of Chopin or best of Mozart. I also thought, oh, well, you know, the best of. Yeah.

395
01:08:33,000 --> 01:08:39,000
And then I went to the best of Chopin with candlelight.

396
01:08:39,000 --> 01:08:54,000
And like, seriously, I was I was really impressed because the moment you walk into this hall and it's really completely dark. Yeah. So it's no lights. Only this five or four thousand candles.

397
01:08:54,000 --> 01:09:08,000
It's amazing. It's really amazing. And it sets the mood. And I mean, my problem now when I play a classical classical recital with the usual lights, I really miss something.

398
01:09:08,000 --> 01:09:15,000
You know, because I find we do need the fantasy world around us.

399
01:09:15,000 --> 01:09:26,000
I mean, you can get it at home when you're watching YouTube or but when you're in a big hall, you know, it's really very difficult.

400
01:09:26,000 --> 01:09:34,000
And especially, you know, it has something to do with our senses. And when you experience that, it's difficult to top it.

401
01:09:34,000 --> 01:09:42,000
It's amazing that I guess intimacy you feel between the audience and yourself, but also with even with yourself.

402
01:09:42,000 --> 01:09:51,000
Like, I love it when I when I played and I really like I mean, you wouldn't believe it, but I really like being in this dark.

403
01:09:51,000 --> 01:10:07,000
You know, so I'm really like one with the music. You know, I mean, certainly when I talk, because I also have to speak when I stand up and then maybe it would be better to have light for the narcissistic purposes.

404
01:10:07,000 --> 01:10:23,000
You know, I mean, there is something about it, you know, this is really. Yeah, it is. That's why you always have the spotlight and you know, like James Rhodes had this James Rhodes behind him.

405
01:10:23,000 --> 01:10:28,000
You know, in the show, because people don't even remember your name, you know.

406
01:10:28,000 --> 01:10:40,000
So when you're in the dark, you're in music, you are in the dark, so you cannot really kind of develop the image of yourself afterwards.

407
01:10:40,000 --> 01:10:50,000
But for the musical experience, I find it much more rewarding because you are not like person, you are really the interpreter.

408
01:10:50,000 --> 01:10:57,000
You are this vessel playing the music. I really like this idea.

409
01:10:57,000 --> 01:11:12,000
That's a one way to approach music and it's such an innovative idea. Yeah, it is. It is. And I'm really I'm actually sad that I didn't come to this idea.

410
01:11:12,000 --> 01:11:27,000
Because it's funny enough, it's simple. I mean, it's not simple to put candles, you know, I mean, just to put candles, but like many, many, many candles.

411
01:11:27,000 --> 01:11:38,000
Well, but again, all really great things are simple, I think. Right. Yeah. Wow.

412
01:11:38,000 --> 01:11:48,000
Thanks for explaining. It just makes even more sense. And then I know I've noticed so many artists participating these days.

413
01:11:48,000 --> 01:12:02,000
Interesting about the title. So do you do the like a do you play like arrangements or if it's a cold play? So do you actually do the transcription or just find transcription?

414
01:12:02,000 --> 01:12:11,000
Well, both, both actually. Yeah. I mean, you know, with the with the arrangements, you play what you can.

415
01:12:11,000 --> 01:12:21,000
I mean, put it this way. And I mean, it should also be your personality, because you see, with transcriptions, it's important that people recognize the songs.

416
01:12:21,000 --> 01:12:33,000
So they are always all the orientations, right. The way it's written and you kind of use the songs as a reference.

417
01:12:33,000 --> 01:12:42,000
So but it's art in itself, how to put it in this virtuosic piano, you see, because it's piano for the concert.

418
01:12:42,000 --> 01:12:53,000
It's not moving classics for Internet. So and it's like one hour attention span program, which is also difficult.

419
01:12:53,000 --> 01:13:01,000
So that's why you have a team and you have people who advise you to do it, which is really best help.

420
01:13:01,000 --> 01:13:10,000
And, you know, again, it's also something different. You play for eight hundred people. You see, there is no time for experimentation.

421
01:13:10,000 --> 01:13:18,000
Really, that many people? Yes. Eight hundred. And you play like two concerts. So you play like one thousand six hundred people.

422
01:13:18,000 --> 01:13:28,000
So that's why the decision, you know, you cannot make your own decision, you see, because it's not people who come to an Ahella concert.

423
01:13:28,000 --> 01:13:37,000
You see, this is really so that's why it's it's important that everything is really perfect.

424
01:13:37,000 --> 01:13:45,000
You have this responsibility to with candlelight. There is always this rating system afterwards.

425
01:13:45,000 --> 01:13:53,000
Yeah. So you kind of get rated like booking, trip advisor or I don't know what.

426
01:13:53,000 --> 01:14:01,000
Uber or hello fresh, you know, so all this thing.

427
01:14:01,000 --> 01:14:12,000
And all these things, though, which is again an interesting thing, because basically ratings exist everywhere in our lives.

428
01:14:12,000 --> 01:14:20,000
Right. Because when people don't buy tickets next time or organize and doesn't invite you, I mean, you got your rating.

429
01:14:20,000 --> 01:14:28,000
But with the candlelight, you you'll get the feedback and you get all this ratings and they are there.

430
01:14:28,000 --> 01:14:33,000
You see them. So this is also an interesting point.

431
01:14:33,000 --> 01:14:42,000
It's like with other things, you kind of feel the rating, but nobody tells you exactly what it is.

432
01:14:42,000 --> 01:14:49,000
Right. And when you are confronted and it's written black and white, you have to deal with it.

433
01:14:49,000 --> 01:14:59,000
Right. It's like the university or back at school where your teacher says, well, it was this and that.

434
01:14:59,000 --> 01:15:09,000
So which makes it again very it's not something for beginners, you know, because you really have to deal with that.

435
01:15:09,000 --> 01:15:19,000
And it's when you have that many people, it's on one hand, it's amazing experience because when would I play for 800 people?

436
01:15:19,000 --> 01:15:33,000
Like, seriously, I mean, you played I played several piano concertos, but it was like several times in my life, you know, but solo recital never ever, you know, with that many audiences.

437
01:15:33,000 --> 01:15:46,000
That's many. No, of course not. Yeah. And when you play for that many people and when you get their positive reaction, this is amazing.

438
01:15:46,000 --> 01:16:01,000
So it's also like a drug, you know, you get addicted and and you learn so much because when I played three years ago, I mean, my first rating wasn't great at all.

439
01:16:01,000 --> 01:16:07,000
And I thought, OK, and I wasn't really a beginner, you know, comparison.

440
01:16:07,000 --> 01:16:11,000
So it wasn't it's not the same to play in a big hall.

441
01:16:11,000 --> 01:16:15,000
You need to practice in a big hall. Everything is different.

442
01:16:15,000 --> 01:16:20,000
And the problem is that we never play in a big hall.

443
01:16:20,000 --> 01:16:26,000
I mean, like when will you play in a hall with the capacity of one thousand people?

444
01:16:26,000 --> 01:16:44,000
Yeah, never. And you have to produce sound totally differently. Otherwise, it's and then again, speak for 800 people is totally different when you do this intimate concerts in this house environment or salon environment.

445
01:16:44,000 --> 01:16:48,000
That is wow. Fascinating.

446
01:16:48,000 --> 01:16:53,000
So this is really fascinating. Yeah. I mean, it's a big challenge to.

447
01:16:53,000 --> 01:17:02,000
But I think but, you know, in the past, every era of classical music, there is was also entertainment component to it.

448
01:17:02,000 --> 01:17:14,000
Right. Mozart, Beethoven, you know, they performed at venues where there was casino, there was drinking going on and.

449
01:17:14,000 --> 01:17:18,000
Yeah, this is also a shop and yeah, absolutely.

450
01:17:18,000 --> 01:17:31,000
But I think I think this is really the I would say part of the of our society and culture, because for one hour, yes, it's show business after all.

451
01:17:31,000 --> 01:17:34,000
Well, that's a different ballgame. That's interesting.

452
01:17:34,000 --> 01:17:47,000
Yes, it is a different ballgame. But when you play for somebody else, it's always show, you know, even if you play Bach, Bartitos, you see, but you have to kind of present them, you know.

453
01:17:47,000 --> 01:17:56,000
I think that's how I think, you know, because when I play for myself, then, you know, I close the door and I play for myself.

454
01:17:56,000 --> 01:18:03,000
You know, sometimes I even play silent piano, so that's nobody listens, you know.

455
01:18:03,000 --> 01:18:14,000
But when you play for other people, there's always this component of of showing something, you know, of sharing, of expressing something.

456
01:18:14,000 --> 01:18:25,000
So it's outgoing, you see, I mean, it's kind of a little let's say, how do you say it's a contradiction?

457
01:18:25,000 --> 01:18:33,000
Because we speak about, you know, being kind of in your own world or being one with yourself.

458
01:18:33,000 --> 01:18:42,000
That's why many pianists, especially pianists from all musicians have problems of forming or sharing with others.

459
01:18:42,000 --> 01:18:51,000
I know, yes. And the traditional way, quote unquote, of just walking in and out of the concert hall stage makes more sense.

460
01:18:51,000 --> 01:19:00,000
But even then, if you don't have the sharing spirit, if you don't have the really sharing a passion to the audience, it doesn't speak to the audience. Yes.

461
01:19:00,000 --> 01:19:06,000
Even the sound production, like, technically speaking, it doesn't project. I tried it, you see.

462
01:19:06,000 --> 01:19:16,000
It's really interesting because I thought I was feeling the emotions. I was like really in love with love and with Liszt and love dreams.

463
01:19:16,000 --> 01:19:28,000
And I thought, oh, that's going to be amazing. And people said, well, listen, your sound, it was really very kind of like here, but you didn't project.

464
01:19:28,000 --> 01:19:33,000
And I noticed, OK, yes, it's all about sending the sound.

465
01:19:33,000 --> 01:19:39,000
I know you also in that candlelight concert series, you performed the Lincoln Park, right?

466
01:19:39,000 --> 01:19:49,000
So the Mr. Opoku Obwadu, he said, what inspired Anna to cover a candlelight concert featuring Lincoln Park?

467
01:19:49,000 --> 01:19:54,000
And to be honest, I love Lincoln Park. I love it. I love that.

468
01:19:54,000 --> 01:19:58,000
I was going to ask him and you when you're shocked.

469
01:19:58,000 --> 01:20:03,000
Yes, I was shocked, but also at the same time, I like Lincoln Park.

470
01:20:03,000 --> 01:20:09,000
It's just, you know, I know when I am in a certain mood, I need to listen to their albums.

471
01:20:09,000 --> 01:20:14,000
But I mean, their music is great. I really like their music.

472
01:20:14,000 --> 01:20:20,000
And I mean, yes, I do like pop and rock. So I always played it.

473
01:20:20,000 --> 01:20:39,000
I also played it as background music. No problem with that. But I know that in the classical music, people always say, OK, some, for example, some concert organizers rejected me because they said, oh, you play you play entertainment.

474
01:20:39,000 --> 01:20:45,000
And I said, well, but the program that I suggested, it's really classical, classical.

475
01:20:45,000 --> 01:20:50,000
But they said, no, no, no, forget it. I mean, you cannot play classic.

476
01:20:50,000 --> 01:21:06,000
And I really don't like that, you know, because I think as a musician, you know, I mean, you need to be open to more music because, you know, the music today, it has so many different opportunities.

477
01:21:06,000 --> 01:21:14,000
And I'm sure Mozart will be listening to all this music. Maybe he would love Taylor Swift.

478
01:21:14,000 --> 01:21:19,000
Maybe he would be dating her.

479
01:21:19,000 --> 01:21:27,000
And you wouldn't believe it. But or maybe you know, of course, that Lincoln Park is cool on piano.

480
01:21:27,000 --> 01:21:35,000
You really can play it really well. I find it's one of the programs that's very beneficial when you play on the piano.

481
01:21:35,000 --> 01:21:36,000
Really?

482
01:21:36,000 --> 01:21:46,000
Yes, because some music, I agree, it's somehow it's really difficult and maybe it's it's not really for piano piano.

483
01:21:46,000 --> 01:21:52,000
But Lincoln Park is and they have good melodies when they're here.

484
01:21:52,000 --> 01:21:55,000
And and I also like emotions.

485
01:21:55,000 --> 01:22:05,000
Right. But I was hesitant about because on the piano, just because they they're very innovative in their craft, too, where they blend the.

486
01:22:05,000 --> 01:22:14,000
How do you go metal rock or heavy rock with new metal and alternative rock and hip hop hip hop together.

487
01:22:14,000 --> 01:22:22,000
Right. So the hip hop part part, I was sort of hesitant because well, yeah, maybe this time songs.

488
01:22:22,000 --> 01:22:29,000
Yeah, but you use a repetition. So it's like, so but it's it's it's it's it's works.

489
01:22:29,000 --> 01:22:34,000
It really does work. Yeah. Yeah. I mean, it's really I know at the beginning, I also thought, oh, no.

490
01:22:34,000 --> 01:22:52,000
But it does work. Yeah. And, you know, there is something least about it, like list, you know, that you have this really epic, big emotion thing, you know, with a huge range of piano.

491
01:22:52,000 --> 01:22:56,000
So you can really show your skill.

492
01:22:56,000 --> 01:23:12,000
So, yeah, I mean, it can get really pianistic difficult, too. I mean, depends how how you want to play it. And but as we all know, at the end, it doesn't really matter.

493
01:23:12,000 --> 01:23:29,000
The piano part is now on sub stack. If you're wondering, sub stack is an all in one platform where creators like me can connect directly with you share exclusive content and build a thriving community.

494
01:23:29,000 --> 01:23:40,000
By subscribing, you'll get a behind the scenes updates, early access to new episodes and special perks designed just for our audience.

495
01:23:40,000 --> 01:23:51,000
Your sub stack subscription helps us create more of these meaningful conversations and support initiatives that uplift the classical music community.

496
01:23:51,000 --> 01:24:05,000
So join us on sub stack and be part of this journey. Please go to the piano pod dot sub stack dot com slash subscribe or click the link in the description to subscribe today.

497
01:24:05,000 --> 01:24:13,000
Thank you for your support, and I look forward to sharing more joyous and meaningful experiences with you on the piano part.

498
01:24:13,000 --> 01:24:29,000
Now, then, with all the topics we've discussed so far I've noticing a clear trend in, you know, contemporary piano. So, in your words, what trends do you see emerging in live piano performance formats and audience engagement, first of all.

499
01:24:29,000 --> 01:24:44,000
Well, yeah, I mean, there's certain trends. I think the concerts. I mean, this is what I think. It's just my observation. The concerts with the live events will be shorter. They will be more compact.

500
01:24:44,000 --> 01:25:00,000
They will use many visual things. So there will be nothing with 3D and all this immersive experience. We will be building the fantasy worlds around us, which is really great. I find that I need that.

501
01:25:00,000 --> 01:25:16,000
There are definitely so there will be more mixture of different styles. So it will be okay to start with Bach and go to Metallica and then maybe finish with Imagine Dragons. But, you know, I mean, this is part of the concept.

502
01:25:16,000 --> 01:25:33,000
And if it's not something kind of sporadic if it's really something that you put together and if it's a convincing, it will work. And, and I'm sure the the classical music or the live piano event will will survive this way.

503
01:25:33,000 --> 01:25:52,000
Yeah, yeah. And also another trend would be let's just talk about contemporary classical music world where I'm hearing more consonant music. Most of your pieces you're playing in the moving classics that they are consonant, not dissonance.

504
01:25:52,000 --> 01:26:10,000
Yes, exactly. Yes. Regarding the classical music, there is also a trend. I think we have really this kind of, let's say, really Renaissance of new romantic or how you call it really modern tonal music.

505
01:26:10,000 --> 01:26:30,000
Yeah, I think the music is getting actually more complex again, you know, so we are away from this neoclassical. I mean, this trend is disappearing, because I mean, basically, it should come to an end because to to make a variation of this is difficult, even for an Audi himself.

506
01:26:30,000 --> 01:26:45,000
That's what I hear from his new album, for example, but composers use more collage techniques, which means they mix different styles. Yes, it's like poly stylistic, right?

507
01:26:45,000 --> 01:27:02,000
They are using different rhythms, but they even if they are a tunnel, then they come back to this tonality. So it's really interesting. This is what I noticed in all this new submissions that I have been getting.

508
01:27:02,000 --> 01:27:23,000
So there is a certain trend and it's more like storytelling. So the music is getting more content based. So it's about something, something that you as a listener or a pianist really understand because it's to a certain purpose to a certain event or, you know.

509
01:27:23,000 --> 01:27:44,000
Yeah, I think I thought you would be the perfect person to ask this question, you know, it's I love talking about trend and macro economics, because it's not about us, our industry, but so many different elements of our lives are affecting, you know, how one project shapes, for example, or industry being shaped.

510
01:27:44,000 --> 01:28:00,000
So, yeah, this is the most interesting. Yeah, that's true. Because, I mean, we're really speaking about big things. And I also like talking about society and the, you know, the behavior, you know, how people and I mean, it's all together.

511
01:28:00,000 --> 01:28:29,000
I mean, it's certainly it's psychology to I understood. It's never about music, music, you see, music is just one component. And then certainly this is our profession. But even in our profession, you know, we deal with so many things that like when we deal with composers, you know, they are also people with their needs, with their fantasy, with their wish and with what they want.

512
01:28:29,000 --> 01:28:41,000
With what they want to say. So, you know, it's more about communicating with them with ourselves with our audience.

513
01:28:41,000 --> 01:29:05,000
Speaking of composers, one of the amazing works that you do, and I think because of the work in unique work that you do. So you have the privilege of being able to work with composers directly, not just like commissioning, but also maybe you may have a say into specific composition,

514
01:29:05,000 --> 01:29:34,000
let's say there's a piano composer, maybe you can say, oh, this just pianistically doesn't make sense. So why don't we do you work that way with? Yes, yes. I always did. And I even offered this proof playing service to composers that I put online because I still think and I'm really convinced that it's always better to have somebody neutral.

515
01:29:34,000 --> 01:29:55,000
You see, the problem is that with composers with whom I'm friends with, I'm no more neutral, you see. I mean, certainly, of course, we work together. But, you know, when you have somebody whom you don't know and not even played one piece, it's a totally fresh view.

516
01:29:55,000 --> 01:30:09,000
And I think that it always helps to have somebody else just play through it. I mean, this is really all it takes is just play through and you have already your first impression. I really like doing that.

517
01:30:09,000 --> 01:30:23,000
And I have several composers with whom I work this way. And I always got really good feedback for offering my advice. That's cool. So that's called proof playing.

518
01:30:23,000 --> 01:30:47,000
Proof playing. Yes. I created the word. Not proof reading. Because proof reading, it's more something that the publishing house will do anyway. So this is not something that I'm doing. But I mean, certainly, if I see things, I correct them too, surely, but I'm not somebody who is doing engraving or, you know, publishing things, right?

519
01:30:47,000 --> 01:30:58,000
I don't have this expertise. But I have expertise in playing, performing, listening, kind of sharing. So this is my focus.

520
01:30:58,000 --> 01:31:16,000
You've conducted fascinating research on creativity, cause, and I just watched the video and I need to rewatch it again because some of the concepts I really need to understand better. So can you tell us what this research was all about?

521
01:31:16,000 --> 01:31:33,000
Well, basically it's research and also the tool that kind of helped me to conduct creativity breaks in companies. So the idea was, the initial impulse was, what can a manager learn from a musician?

522
01:31:33,000 --> 01:31:50,000
And I learned about creativity from my composers because I talked to them and I asked them all these questions and I systematized all this information that I got and converted it into 10 creativity codes.

523
01:31:50,000 --> 01:32:09,000
Like brilliant proportions, for example, or unexpected moments or unleashed freedom. Basically they're abstract notions. But if you kind of get to this abstract level, it really helps you to understand how creativity works.

524
01:32:09,000 --> 01:32:23,000
Because these are the principles behind plays or music composition. Like even with the 4,000 candles, right? It's a brilliant proportions. It's exaggeration, of course.

525
01:32:23,000 --> 01:32:31,000
I mean, you don't take just nine, but you take like 4,000. You see, this is the principle.

526
01:32:31,000 --> 01:32:51,000
Principle of creativity. So, yes, it's a principle of creativity. Well, this is like all things with creativity. That's all kind of a self-explanatory on paper and then you go home and want to apply and then you notice, oops, it's not that easy.

527
01:32:51,000 --> 01:33:05,000
Sure, sure, sure. And then I know it starts with big picture. So, yeah, well, that's the beginning of it all. Yes. But I mean, this is really something that's like moving classics. Okay, bang.

528
01:33:05,000 --> 01:33:16,000
And then you're going to detail. Yeah, it's the vision that you have. But I think this is really like direction for the past in your life that you go.

529
01:33:16,000 --> 01:33:25,000
So, how do you mainly apply this creativity codes into the work we do, but not only as an artist, but creativity in general?

530
01:33:25,000 --> 01:33:39,000
Yeah, basically, they are the concept to think and reflect. So my idea was always when I speak about creativity. So I share the creativity code and I give examples from composers.

531
01:33:39,000 --> 01:33:51,000
My own sample. And then I always leave people to think of their own samples, because, you know, I mean, we really need to make the codes our own.

532
01:33:51,000 --> 01:34:08,000
And I agree that it takes time to really understand some things, because if you are you see, the thing is, if you are not trying to do something creatively, but you just want to start, it's difficult because it's already something for people who are already trying.

533
01:34:08,000 --> 01:34:20,000
You see, so it can be first ignition, but then you need to come back to them and let time go and then come back again.

534
01:34:20,000 --> 01:34:29,000
So, you see, it's like philosophy, you know, it's not something really like practical. Okay, you mix this and that and you get that.

535
01:34:29,000 --> 01:34:41,000
That's why we go to universities or we go to courses where we learn practical skills, but it's more about mindset and creativity is mindset.

536
01:34:41,000 --> 01:35:00,000
I've met so many creative people, pianists and composers and music admins through the work I do on the piano part and I was just, I've been so impressed with the creativity, all these artists bring and including you.

537
01:35:00,000 --> 01:35:14,000
So one thing just comes with this being creative is the lifestyle or it's the freelance part of it's a significant part of many concert pianist careers, but also challenging.

538
01:35:14,000 --> 01:35:21,000
So let's talk about pros and cons and how have you been navigating these?

539
01:35:21,000 --> 01:35:30,000
I think this thing about freelancing is also as a character thing, right, because it's not for everybody.

540
01:35:30,000 --> 01:35:38,000
You see, being a freelancer means that you organize your day yourself and that's where it starts.

541
01:35:38,000 --> 01:35:52,000
This is for me the most difficult part because you decide yourself, you prioritize yourself and you need to acquire new musical concerts or new opportunities.

542
01:35:52,000 --> 01:35:57,000
And at the end of the day, you look at your finances and I mean, let's face it.

543
01:35:57,000 --> 01:36:11,000
I mean, we make our living through music and through piano playing and I really have to balance costs with my profits that I'm making from playing music.

544
01:36:11,000 --> 01:36:24,000
And this is really hard part because it's like nobody there who will help or say, okay, now today you deal only with the etude of Chopin like the university,

545
01:36:24,000 --> 01:36:28,000
because tomorrow you'll play your exams.

546
01:36:28,000 --> 01:36:32,000
But you see, yes, tomorrow I play my concert, for example, right.

547
01:36:32,000 --> 01:36:38,000
But I have this month, for example, four different programs that play.

548
01:36:38,000 --> 01:36:44,000
But I mean, certainly some of them are already running like Linkin Park.

549
01:36:44,000 --> 01:36:50,000
Some are chamber music that I play in old residences, for example.

550
01:36:50,000 --> 01:37:06,000
Then I also have one private concert. Then I have one little town near Munich where I play a classic for senses, where I play Liszt and Chopin and Schubert, which is also actually needs to be in my fingers.

551
01:37:06,000 --> 01:37:25,000
So balancing these things. And this is really entrepreneurial where you need certain skills of time management, of accounting or legal stuff, too, because I mean, you deal with different contracts.

552
01:37:25,000 --> 01:37:35,000
Some of them are, for example, cancelled. Sometimes you get sick and so, you know, when we finish with this interview, you know,

553
01:37:35,000 --> 01:37:41,000
I'll definitely have to look into the issues if there is anything urgent this week.

554
01:37:41,000 --> 01:37:46,000
Maybe some things have been changed or postponed. And this is like every day.

555
01:37:46,000 --> 01:37:58,000
So, for example, I start practicing in the morning and then I see, oh, there are some emails that are urgent because it's about a thing that's tomorrow.

556
01:37:58,000 --> 01:38:18,000
I cannot say, OK, this is my practice time. I practice to the end and then I deal with it. No, no, it doesn't work in my case like this because, you know, I cannot afford myself to turn off my phone even for more than half an hour because some things it's like last minute.

557
01:38:18,000 --> 01:38:28,000
You know, I really like substituting other people. It's for me, it's fun and I'm really doing it very, very happily.

558
01:38:28,000 --> 01:38:39,000
So that's why I need to make sure that I get the information because otherwise the information will be gone or if it's like tonight or tomorrow.

559
01:38:39,000 --> 01:38:57,000
And they are like little things like this. So that's why I would really say it's not for everybody. And for me, for example, I never wanted to be like to be employed by one organization because I really need this diversity.

560
01:38:57,000 --> 01:39:12,000
I really need this. Like my my mind needs all this. The Lincoln Park and Chopin. You see, this is how I am. You see, this is this transformation of different ideas. And imagine you work from eight to five.

561
01:39:12,000 --> 01:39:18,000
Even like I cannot play Chopin eight to five. You see, this is my problem.

562
01:39:18,000 --> 01:39:29,000
Living in this freelance style of lifestyle career is wonderful. But at the same time, it has its unique challenges too.

563
01:39:29,000 --> 01:39:44,000
Yeah. And you cannot say, for example, if you I mean, you have a certain amount of concerts, but different organizers plan at a certain advance notice.

564
01:39:44,000 --> 01:39:54,000
So some are like two months advance and some are planning for two thousand twenty six, which is perfect. But still imagine to plan for twenty six.

565
01:39:54,000 --> 01:40:05,000
I also have a problem with that because like, especially now when you know me, I don't know what am I going to like twenty six.

566
01:40:05,000 --> 01:40:20,000
I don't even know about next week, you see. And yeah. So but again, to two months planning scheduling is also a little bit tricky because it can be you get really wonderful concert to play.

567
01:40:20,000 --> 01:40:28,000
But you have already made made an appointment for kind of a charity concert. I mean, like, how do you deal with that?

568
01:40:28,000 --> 01:40:43,000
For example, I mean, this is really an issue for freelancers. You know, something that you you are paying actually money to perform right versus where you are getting commercial invitation.

569
01:40:43,000 --> 01:40:48,000
Right. Yeah. How would you deal with that?

570
01:40:48,000 --> 01:40:57,000
Especially when there are more people involved, I really get into trouble with that.

571
01:40:57,000 --> 01:41:02,000
So since we're talking about future, so let's talk about the legacy and the future of classical music.

572
01:41:02,000 --> 01:41:06,000
So where do you want to see the classical music world in 10 years?

573
01:41:06,000 --> 01:41:15,000
And yeah, I was thinking about this. Yeah, I really like thinking about future because it's I'm more like future oriented person.

574
01:41:15,000 --> 01:41:32,000
I really do want to believe that music and culture will help us people to be together, you know, like especially now with all this really political uncertainties and all this crazy world.

575
01:41:32,000 --> 01:41:46,000
I think this is like something constant that's continuing this tradition, this heritage, you know, from Gregorian chance up to the composers who are writing today.

576
01:41:46,000 --> 01:41:58,000
I really want to believe that these composers are writing more in the next 10 years and create new, better worlds, you know, and I really do believe in that.

577
01:41:58,000 --> 01:42:10,000
That people, you know, of all different nationalities, you know, they will meet in this concert halls and be it Candlelight or Ostari.

578
01:42:10,000 --> 01:42:24,000
I don't know something, as I said, this dream world with the immersive pictures, maybe hybrid concerts where you also do the streaming all over the world or maybe, you know, this glasses.

579
01:42:24,000 --> 01:42:36,000
But the most important thing is that we are still humans, you know, that we are not substituted by artificial intelligence, that we are living the passion that we have.

580
01:42:36,000 --> 01:42:39,000
How do you want to contribute to that?

581
01:42:39,000 --> 01:43:08,000
Well, yes, I'll definitely continue working with composers and try to be as constructive and helpful as I can be. I want to even put more effort into popularizing their music through the topics, through this theme oriented programs like Why Darkness or the Asian, I don't know how to be called, but something to Tales of Asia or something.

582
01:43:08,000 --> 01:43:17,000
We will find the right word for that and kind of put more emphasis on sharing this.

583
01:43:17,000 --> 01:43:29,000
And certainly playing for people, playing the music that people want to hear and also combine it with my own personal tales.

584
01:43:29,000 --> 01:43:44,000
Each of us at some point in our journey, especially as a pianist, is called to explore and examine our sense of purpose and mission as performing artists, composers, you name it.

585
01:43:44,000 --> 01:43:56,000
So for you, Anna, how did you find your sense of purpose? And how has it guided your path as a concert pianist and so much more? But how did you find your sense of purpose?

586
01:43:56,000 --> 01:44:19,000
Well, I think through passion, you see, I just listen to my heart. I listen to my needs and I try and I'm kind of a person who does things. So I really want to transform this passion into something that has also value to other people, because I think that's how I can contribute to society.

587
01:44:19,000 --> 01:44:35,000
You know, for me, it's not about, you know, just museum play and things. It's living the creative life together with the society and making a contribution to this society.

588
01:44:35,000 --> 01:44:37,000
So I think this is my purpose.

589
01:44:37,000 --> 01:44:57,000
Now, you mentioned in the guest forums you filled out a few months ago and it says, search for your passion. All is possible. So what message or advice would you like to leave our audience and listeners with, especially for those searching for their own passion and life?

590
01:44:57,000 --> 01:45:15,000
My piece of advice or my message would be perhaps this is the biggest luck in life to find your own passion and just take time, all it takes to find your passion because when you found it, all is possible.

591
01:45:15,000 --> 01:45:27,000
Thank you. So before we wrap up, let's take a moment to promote your work and upcoming concerts. I'm sure our listeners will be excited to learn how they can stay connected with you and beyond this conversation.

592
01:45:27,000 --> 01:45:41,000
So I hear you have, you know, White Darkness recordings and projects in the making and also alongside with so many other exciting initiatives. So can you share more about them and let us know where we can stay updated on your latest news?

593
01:45:41,000 --> 01:46:04,000
Well, for my international community and for anybody who is listening or for piano fans, White Darkness compositions will start appearing from February on and this year is the under motto White Darkness devoted to Gregorian chants.

594
01:46:04,000 --> 01:46:17,000
So if some composers feel inspired by this idea, please contact me at movingclassics.tv or movingclassics in all social media, AnnaHela and LinkedIn in.

595
01:46:17,000 --> 01:46:26,000
So just send me your contact information or use the course. I will be really happy to answer you.

596
01:46:26,000 --> 01:46:45,000
And for people who are in Munich, I guess the best is really to look at the schedule at my webpage, Anna-Hela.com, because there are really exciting concerts coming up and I'm also playing for Eonarium.

597
01:46:45,000 --> 01:47:00,000
This is the Enlightenment show for seasons where I am putting together a special program together with this big exhibition on the 5th of March. So this is also exciting that I would like to mention specially.

598
01:47:00,000 --> 01:47:11,000
Right. So movingclassics.tv and Anna-Hela.com are two different websites and they can be in touch with you. Wonderful.

599
01:47:11,000 --> 01:47:23,000
Thank you. So before I let you go, we have one more thing to do, which is called the RappiFy question. So ready or not, please answer each question with the shortest response as possible.

600
01:47:23,000 --> 01:47:37,000
No explanation is necessary. Okay. All right. So I'm ready. Question number one. What is your comfort food? Sushi. Yes.

601
01:47:37,000 --> 01:47:54,000
Great. How do you like your coffee in the morning? Oh, cappuccino with milk. Are you a cat person or dog person? I am an absolute cat person. I think cats are just perfect. Great.

602
01:47:54,000 --> 01:48:07,000
Sunrise or sunset? Sunset. Summer or winter? Winter. I'm from Siberia. Sure. I think you're the first person who says that. I love snow.

603
01:48:07,000 --> 01:48:19,000
What skill have you always wanted to learn but haven't had a chance to? Oh, rhetoric. Yeah. You know, like Platon or Aristotle, something like that.

604
01:48:19,000 --> 01:48:25,000
What is your word or words to live by? Passion. Passion.

605
01:48:25,000 --> 01:48:38,000
What is the most important quality you look for in other people? Sincerity. Name, this is hard, name three people who inspire you, living or dead?

606
01:48:38,000 --> 01:48:54,000
David Bowie, Frederic Chopin and my mom. David Bowie. Wow. David Bowie. Yes, I love David Bowie. I really do. Because he had this creative personalities. Yeah.

607
01:48:54,000 --> 01:49:10,000
He was eccentric and such. Yeah, eccentric. Yeah. And just non-conform. He lived his own dreams and he wasn't perfect. Yes. Name one piece in your current playlist. Oh, this is interesting. Yes.

608
01:49:10,000 --> 01:49:31,000
Sergey Akhanov, a sketch in memory of Eric Satie. Later, can you send me the link? I will. Yes, I will. Yes, I recorded it. But I still learn it and play it. Yes, I recorded it. But I still play and learn it and practice it.

609
01:49:31,000 --> 01:49:43,000
Fill in the blank. This is the last one. Music is blank. Blank. Oh, music is fantasy. Yes. Music is fantasy. Oh, great. Music is fantasy.

610
01:49:43,000 --> 01:49:54,000
That wraps up this episode of the PianoPod. This was wonderful. Oh, heartfelt thanks to you, Anna. Wow. I think I need my bubble tea.

611
01:49:54,000 --> 01:50:03,000
But this was wonderful. Thank you so much for joining us today and sharing your incredible stories and insights and expertise. Well, thank you.

612
01:50:03,000 --> 01:50:17,000
To our wonderful audience, you can learn more about Anna and her work by visiting her websites, movingclassics.tv and anna-hela.com. And please follow her on Instagram and YouTube at Moving Classics.

613
01:50:17,000 --> 01:50:27,000
And of course, thank you to our wonderful faithful listeners for tuning in today. If you enjoyed today's episode, please give it a thumbs up and subscribe to the PianoPod on YouTube.

614
01:50:27,000 --> 01:50:38,000
That's right. And then don't forget to share and review this episode on your social media and tag the PianoPod. It's one of the best ways to help us grow and we'd love to hear your feedback.

615
01:50:38,000 --> 01:50:48,000
For the latest piano news and updates, be sure to follow the PianoPod on Facebook, Instagram, TikTok and LinkedIn. I will see you for the next episode of the PianoPod. Thank you, Anna, once again.

616
01:50:48,000 --> 01:51:12,000
Thank you. Bye, everyone.