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Welcome back to another episode of the PianoPod, everyone.
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.
Ana has built an extraordinary career through her unwavering commitment to contemporary piano music and her imaginative interpretations.
Her delicate musicality, nuanced playing, and innovative vision have earned her worldwide recognition.
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.
In addition to her work with Moving Classics TV, Ana's live performances demonstrate her drive to push the boundaries of traditional concert experiences.
Her latest project, Sunset Hour, is a unique blend of music, visual art, and philosophy, offering audiences an immersive and thought-provoking experience.
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.
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.
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.
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.
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.
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.
So head over to the pianopod.substack.com slash subscribe to sign up and become a part of the PianoPod family today.
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.
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.
Welcome to the PianoPod, Ana. It's such a pleasure and honor to have you on the show today.
The pleasure is all mine. Thank you for inviting me.
Of course. Thank you. And where are you joining us from today?
I'm in Munich, Germany. Wonderful, beautiful city. I've been there like once or twice. Yeah, it's a beautiful place.
Before we dive into our conversation, I just want to take a moment to acknowledge one person, one of our amazing listeners, Opoku Boadu.
And Opoku, also a devoted fan of your platform, Moving Classics TV, and recommended you as a guest on our show last summer.
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.
And so a big shout out to Opoku. Thank you for supporting the PianoPod and connecting us with incredible guests like Ana.
So speaking of Moving Classics TV, I've been a huge fan of your innovative platform. I'm learning a lot.
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.
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.
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?
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.
I am discovering, playing, and recording new piano music.
Beautiful. Wow. So let's just talk about Moving Classics, right? Yes. So it seems like it's been such a successful platform.
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?
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.
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.
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.
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.
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.
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.
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.
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.
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.
Did you start by just simply posting a piece by piece on, for example, YouTube or something?
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.
But at the beginning, I was recording the classical compositions, like traditional ones, and wanted to put them in a new light.
So doing kind of a theater video, you know, but it wasn't really something that I was hoping to share with the world.
So I'm more into new, undiscovered pieces. You know, I'm like a pioneer by my character.
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.
And I just recorded it and it was received positively and he encouraged me to record more. So that's how it started.
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?
You know, and what motivated you to bring this platform to life eventually?
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.
Everybody will say that they play at least one piece by contemporary composer.
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.
And they also compose in their own way, so to say.
And of course, you have really countless Spotify composers. That's how I call it.
But you don't really have a systematized way of presenting these composers.
So it's like a huge pot. And if you search for something to play, for example, where do you start?
You are really kind of maybe intimidated by the amount of compositions that you need time and effort.
And I think this decoration is really very important. So I wished myself that I would have it.
So first I would be going through the playlist and I would see what people are playing.
At the beginning, it was very time consuming and difficult because I didn't know myself where do I start?
So I was going through all the lists and publishing houses, suggestions.
But then I also wanted to share the music that's speaking to the audiences of today.
Because it's an Internet platform, I thought in the first line that the other people who are listening online,
it's not the concert performances or it's not a university state exam.
Or it's not even something where you want to show off your virtuosity.
It's more just to listen, just maybe to dream, maybe to think.
And so something that would appeal to younger generations too.
Wow, that is interesting. So many things that I want to talk about that.
First of all, it's the curation part. And it does make sense.
Being a curator is part of our job these days as musicians and especially classical music.
Like you mentioned, especially when it comes to contemporary music, we're dealing with living composers, which is exciting.
But we just don't know where to start, as you said.
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.
And then it's like, oh my gosh, I don't know what to listen to, where to listen to start with.
And because people are just posting and posting on whether that is social media or music streaming services, which is great.
But it's like, where do I start?
But even now, myself, after all the seven years, I have over 500 composers.
And it means that even I myself have limits of playing the music of these composers.
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,
because I really don't want to forget pieces and it doesn't mean that I disrespect composers.
You know, it's just, you know, we are humans and we have only 24 hours to play the music.
And which is really sad.
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.
Also, you do in a different setting. But for moving classics, it's digital.
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.
So want to be friendly to those folks. Correct.
So the selection of the music is is a little different. Right. So please tell us about that.
Yeah. And I mentioned at the beginning that it's really very important for me to share music with others,
because I think that the music lives in the moment where somebody else is listening.
So I'm playing for other people. So I'm choosing music for other people.
And I'm thinking about people who don't go to concerts, who don't know piano performance, who really want to discover something,
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.
You see, that's how it starts. So I want to play if I use this word accessible music, music that speaks to them,
not to the classical music aficionados who are listening to classical music anyway.
So because I really think that we need more people who appreciate this piano art, you know, especially if we think about the future.
So that's why this is how I think when I choose composition.
About the process of selection, it's really more complicated than that, because it's a way of communicating with composers.
Like at the beginning, it was me who was contacting composers. And then at a certain point, it changed.
So I would be getting compositions from composers. And again, a little disclaimer, I will be getting so many really good compositions
that maybe I have not recorded them all yet, which is also kind of my my little challenger and also a problem,
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.
It's just it's just I try to to be fair and see who was the first who applied, so to say.
But I really tried to record and see how what's the feedback to this music.
So I'm not really kind of a judgemental about it.
I mean, surely I have to be able to play the music and it should also speak to me at this very moment.
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.
And at the moment where I received the email, the composition was not really talking to me.
So all is possible.
Wow. So this is actually wonderful because you used to seek out for those compositions.
But now you are just your inbox is filled with this wonderful pieces of music gems.
Right. So how do you decide which compositions record?
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?
Because they have most of most of us want an opportunity for their music to be acknowledged and so on.
So, well, because we are we exist over many years, it's also developed its own style, so to say.
So it's kind of moving classics. So I really want either emotional tonal music or minimal music or atmospheric music.
So it can be anything from neoclassical to neo romantic.
But it should sound I mean, I also call it contemporary, but not in a contemporary academic way.
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,
average length is about three minutes or even less. But this is the optimal composition for showing showing it at the channel.
Then, of course, I also look at the communication with the composer.
I want to know if they are committed, how they feel if there is a certain title.
I also really like titles and stories behind the compositions because it makes me curious and it makes the audience curious.
And I also think that today the music is becoming conceptual again.
And I mean, by that, not this 70s or concepts of music, but even I now he has concepts, you know.
So there should be a reason for writing music.
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?
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.
I mean, let's be honest. And I really want to surprise my audience.
So if I think it could be, it could be something.
Sometimes it's a contrast, sometimes it's just what they expect.
And sometimes it's really expectation that I even expect that is the best match in this case.
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?
You know, I think it's also over 500 because I was recording and release every week, every week over seven years.
Yes, yes.
So you started like around 2017, right? Yes. Since then, every week, every week. Yes. Once one video a week.
One. Yeah, but I mean, certainly I wouldn't be recording every week, but I will release every week.
And I also used to have the composer of the week. So I would present composer and video.
And then your performances are beautifully captured. I love the studio, too.
It's stunning. The whole scenery and the glass windows in the background and then the beautiful.
I think it's Steinway Piano, right? Is place. Steinway Piano, yes, exactly.
So tell me, where is that location of the studio?
It's a private studio and it's by one of the supporters of moving classics. Really?
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
while maintaining a really organic, authentic live performance quality also.
Yes. And my idea was it's kind of a reading, really, because, you know, I differentiate between
really the performances where you perform one piece and especially, you know, I mean, I'm getting older.
So I used to play some pieces like over many, many years. So when I get this fresh piano compositions,
for me, they are really new. So I don't want to wait. I would never release a Chopin recording like this.
But so that's why I call them kind of readings, not really performances, you know, because for me,
it's more important to bring them into the world, maybe with some little imperfections rather than wait long time,
because usually what happens, composers listen to it and then they decide to do some revisions and then they review things.
So ideally, you would have to go back and do more recordings or wait several years and re-record it, you know.
So but I really want to keep the freshness. Yeah, it really shows.
Maybe that's why people are gravitated towards your channel and then your videos, too, because of the authenticity.
Yeah, because that's the keys. This is one of the keys to be successful these days on digital spaces,
because, you know, people can fake these days using all these tools, but I think people want authenticity. Right.
Yeah. And I mean, I really also like like live recordings.
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.
But but still, I really like spontaneity. I like this this human imperfection, if you want.
I find there is something really authentic about it, as you say.
So I really don't want to change that. Approachable.
But also, still, you maintain high quality in production performance.
So I think it's wonderful. And I also like the title moving classics TV.
I can almost imagine why the title moving by.
Yeah, yeah. Tell us the reason behind the title.
Well, this is the the word game. Right. It's a pun, I think, in English. Right.
It is the word. So moving in a way, developing, progressing, evolving and at the same time, moving emotionally, touching and appealing.
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.
And I mean, surely I play the way I play piano. It's a classical piano.
So so it's a mixture of everything together, really.
But, you know, I was watching through and then actually I learned a lot about contemporary composers.
It's like, oh, maybe I should play the piece by her or by him.
You know, so I was wondering who would be the main audience for moving classics?
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?
Well, I was thinking about the broadest audience.
Well, you know, I kind of differentiate the audiences and I call them the little town audience.
And by this, I mean, yeah, well, I mean, this is my own systematization.
The little town audience, they are really the kind of, let's say, musicians themselves or people who regularly go to classical concerts.
I mean, they are the people who would go to Giorgi Sakhalov or Marta and who would really know everything about classical music.
And you have this big city, you know, all the people who go to rock and pop concerts.
But, you know, thanks to Ainaudi, it kind of rediscovered piano for many people.
And there was this huge wave of interest and we are still kind of riding on this wave.
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.
But, you know, for them to stay with Ainaudi, it's perhaps also a little bit one sided, you know.
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.
So I'm thinking about different types of listeners, but most of them just want to enjoy some music.
They are not musicians, they don't go to concerts, but they appreciate something that speaks to them.
But where does this passion come from, right?
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.
But where does this passion that originates from?
Like, yeah, like having to have this passion to reach out to audiences we typically don't think about, right?
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.
Because, I mean, regarding the classical music, I mean, I am still playing and I mean, this is really how I work.
But I think we will talk about this freelancer thing later on.
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.
But I wasn't doing it really consciously, you see, and I wasn't really kind of digging into this.
So I had to discover it myself. I mean, I admit it was new for me too.
But I really wanted to do something different. Maybe it's also my character.
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.
So it doesn't interest me. But I really want to be a pioneer who risks something, who just discovers.
And there is nothing more rewarding than playing a new composition with a new composer to the audience.
And afterwards, everybody's coming and saying, could you please repeat who was this composer?
Maybe you need to spell it out. Please, maybe you can give me the link and I'll listen to more compositions.
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?
Where can I find music or where can I find more recordings or who is it?
And that's how the process starts. And this is for me, like the greatest reward that I can possibly get.
So basically your audiences, fans shaped what this movie classic TV.
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.
And it helped me to to evolve because without their support, I wouldn't be able to do anything.
And I also find it important to listen to their opinion, too, because I'm doing it for them, not for me.
But that's like the best way to really grow. Right. Your whatever the project is. Right.
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.
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.
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.
I will be doing my dual lingua and forget about everything else. I mean, like, seriously.
Well, let's go back to more practical thing again. So this platform, Moving Classics, offers also website and on the website.
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.
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?
You see, that's how the process goes. People listen to videos first. And if they like the music, they get curious.
And that's where this information about composers is very important because they want to know everything about about them.
So composer of the week is presented at the launching page, though it's the first featured article on the on the Internet page.
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.
Then all the links that they want to share to. And there is an interview with them.
The interview is a standard because I really want my audience to be able to just see the similarities or differences.
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.
And it's really very interesting to read what composers think about creativity, what advice they give to younger listeners,
where to start with listening to music or how to start composing or how to write music and what they think about music.
And to give some some insights into their compositions, too.
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.
And by interviewing incredible artists like you and our industry, I've discovered so much so much more than I initially thought.
And then this platform, the piano pod, has become far more than deeper than I initially intended.
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?
Yeah, you're right. This is really important to develop.
And even if something is working, there is always a point where you don't progress.
And I mean, this is also nothing new when I say that that the YouTube listeners, the amount is actually following them.
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.
I mean, it doesn't have to be something in the same area, but people have also only limited amount of time.
And there is one thing to follow somebody over, let's say, two years. But I think it's like with love relations.
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.
So that's why I was thinking how to evolve. And this year, for example, I changed a little bit my focus.
So from now, the videos or the compositions will be more topic oriented.
So this year, it's a white darkness topic that I am presenting through the whole year.
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.
So I really want to focus a little bit more.
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.
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?
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.
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.
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,
to if they want to compose something based on Gregorian challenge and they had absolute freedom to do in their own style.
I only wanted to kind of limit it more or less, you know, time wise. But the rest really absolutely free.
And I was so lucky to get over 25 compositions back.
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.
Okay, so you're going to play 25 different compositions based on Gregorian chance by 25 different composers.
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.
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.
The next activity is that it's not enough to just do a composer of the week and then it's gone.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
That's the theme of season five. And then so yeah, also very positive one.
Sure. But then, you know, the joy comes from being authentic. Right. Yeah.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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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.
I assume a new country is Germany.
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.
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.
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.
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.
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.
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.
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.
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.
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.
And when I was 19, I had a chance to get the scholarship to study the United States of America.
So I was in Oklahoma, where I spent one year there. And yeah, Norman State University.
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.
But it was really amazing time. And it kind of changed my mindset because I really grew more more curious about different cultures.
And so when I was back, I started to also different jobs with, for example, with Merlin Medical Emergency Relief International,
who were helping people with different diseases like tuberculosis, for example, because I could speak English.
It was very useful for them and for me, too, because I also learned a different part of society.
Because, you know, as a classical musician, you just spent, I don't know, eight hours practicing.
But seriously, I mean, that was my problem as a child. I was like, practicing, practicing, practicing, or maybe not practicing, but sitting,
sitting at the piano for seven hours and dreaming, but but not talking or not walking or not doing any sports or anything,
which means that I really had to learn hard way to communicate or to kind of open up to reality, basically.
That was around. And I was lucky again to get German scholarship.
So I was one year in Frankfurt with the German academic exchange programs.
And then I was finished with my studies. And so with the question, what do you do?
I don't know. It wasn't really something that I was like really keen on, because it just happened.
It just happened also naturally that I decided to stay in Germany, you know.
And at the beginning, I said, well, let's see.
I never kind of immigrated, you know, in the way that I said, OK, I, you know, give up everything, you know.
That was kind of my way of dealing with things.
So I kind of started, OK, well, it's two months here, two months in Russia, you know,
and then it was like more and more. And then, of course, I'm living here for 20 years now, basically.
And so this is my home here. But at the beginning, when I was in Germany, I didn't practice piano anymore.
And I didn't work in this musical music industry because of several reasons.
It's really very, very difficult to start from scratch in a new country because being a freelance pianist needs contact.
You know, you need a network of people where you know who know you and who can recommend you.
It's all about endorsements. And if you're a newcomer and if you haven't won the Tchaikovsky competition,
but I mean, if you want to competition and you are like five, maybe it's not good either.
So, you know, so it's really it takes time.
And in my case, it took like eight years to really restart.
And of course, it was like growing more and more.
And now I can say that certainly I do it one hundred twenty percent of my time.
But all of these life experiences shaped who you are as an artist and creator, especially today.
No. Oh, yes. And I also think personally that today in our very competitive world,
where we are really saturated by music or by opportunities, I think it's all about authenticity.
It's either you are interesting as a person or you have something to say or you don't say anything.
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.
Because in my case, it was really like this when I wasn't practicing, there was something missing.
And this need became stronger over years. And then I just had to go back.
But you need this life experiences, too, because it makes you more mature and more resilient.
And if you speak about music business, you really need totally unmusical qualities to survive.
And like being really in your world of music doesn't necessarily help you.
Yeah, I know. You need a total different skill set.
For what you do, right. And it just doesn't only involve the knowledge of music or being able to play the piece.
But there's so much more as being an entrepreneur. Exactly.
Exactly. Entrepreneur. Yes. Life experience. Yeah. But you seem to have that innate, I guess, desire to be forging your own path, I guess.
Beyond moving classics TV, you've been a champion of creative audience engagement.
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.
So can you tell us more about that? Because I am a freelance concert pianist. So basically that's what I am doing.
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.
So you have the dots and you connect to these dots and through this connecting dots, you get the themes for your recitals.
Because for me, the recitals, they are like little stories that I'm telling.
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.
So this is like the ideal recital that I would like to attend myself.
Wow, that gives a really different dimension to just one hour an hour or 90 minute concert, right?
One hour or 90 minutes. Well, it depends on the organizers. I think now the trend is shorter recitals.
But if you do the break, then it's 90 minutes. And then do you ever speak on stage and explain? Oh, yes.
Yes. I think this is really the common practice these days.
I started, I would say something like seven years ago to speak in my recitals.
And it was interesting because at the beginning I wasn't really sure. And I tried both ways.
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.
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.
I think so. Maybe simultaneously you've been involved in a candlelight concert series. Oh, yes.
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.
So it was three years ago. Yesterday, three years ago that I played my first concert. And it was Coldplay.
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.
And young people and people who never, ever saw a piano before. And they all go there.
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.
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.
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.
And this is how it starts. So I'm really thankful that they exist because they really help us classical musicians a lot.
Yeah, it's a gateway to this.
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.
Yeah, absolutely. I'm really impressed when I see young people and by young, I mean, like anybody who is under 50.
Because usually in the classical concerts, you have 70 plus. You look seriously.
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.
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.
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.
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.
It is a serious issue. So basically, for those of who are listening candlelight concert series started in 2019. I think.
Twenty, right? Yeah. Twenty. Okay.
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.
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.
But they're not the actual real candlelights right there. No, they're LED. Yeah.
But fill the venue with this LED candlelight. And then so it's very visually welcoming and it creates certain mood.
And that's absolutely probably creating the calmness. Right? Yeah. Yeah. You see, it was really interesting.
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.
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.
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.
And then I went to the best of Chopin with candlelight.
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.
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.
You know, because I find we do need the fantasy world around us.
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.
And especially, you know, it has something to do with our senses. And when you experience that, it's difficult to top it.
It's amazing that I guess intimacy you feel between the audience and yourself, but also with even with yourself.
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.
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.
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.
You know, in the show, because people don't even remember your name, you know.
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.
But for the musical experience, I find it much more rewarding because you are not like person, you are really the interpreter.
You are this vessel playing the music. I really like this idea.
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.
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.
Well, but again, all really great things are simple, I think. Right. Yeah. Wow.
Thanks for explaining. It just makes even more sense. And then I know I've noticed so many artists participating these days.
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?
Well, both, both actually. Yeah. I mean, you know, with the with the arrangements, you play what you can.
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.
So they are always all the orientations, right. The way it's written and you kind of use the songs as a reference.
So but it's art in itself, how to put it in this virtuosic piano, you see, because it's piano for the concert.
It's not moving classics for Internet. So and it's like one hour attention span program, which is also difficult.
So that's why you have a team and you have people who advise you to do it, which is really best help.
And, you know, again, it's also something different. You play for eight hundred people. You see, there is no time for experimentation.
Really, that many people? Yes. Eight hundred. And you play like two concerts. So you play like one thousand six hundred people.
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.
You see, this is really so that's why it's it's important that everything is really perfect.
You have this responsibility to with candlelight. There is always this rating system afterwards.
Yeah. So you kind of get rated like booking, trip advisor or I don't know what.
Uber or hello fresh, you know, so all this thing.
And all these things, though, which is again an interesting thing, because basically ratings exist everywhere in our lives.
Right. Because when people don't buy tickets next time or organize and doesn't invite you, I mean, you got your rating.
But with the candlelight, you you'll get the feedback and you get all this ratings and they are there.
You see them. So this is also an interesting point.
It's like with other things, you kind of feel the rating, but nobody tells you exactly what it is.
Right. And when you are confronted and it's written black and white, you have to deal with it.
Right. It's like the university or back at school where your teacher says, well, it was this and that.
So which makes it again very it's not something for beginners, you know, because you really have to deal with that.
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?
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.
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.
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.
And I thought, OK, and I wasn't really a beginner, you know, comparison.
So it wasn't it's not the same to play in a big hall.
You need to practice in a big hall. Everything is different.
And the problem is that we never play in a big hall.
I mean, like when will you play in a hall with the capacity of one thousand people?
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.
That is wow. Fascinating.
So this is really fascinating. Yeah. I mean, it's a big challenge to.
But I think but, you know, in the past, every era of classical music, there is was also entertainment component to it.
Right. Mozart, Beethoven, you know, they performed at venues where there was casino, there was drinking going on and.
Yeah, this is also a shop and yeah, absolutely.
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.
Well, that's a different ballgame. That's interesting.
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.
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.
You know, sometimes I even play silent piano, so that's nobody listens, you know.
But when you play for other people, there's always this component of of showing something, you know, of sharing, of expressing something.
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?
Because we speak about, you know, being kind of in your own world or being one with yourself.
That's why many pianists, especially pianists from all musicians have problems of forming or sharing with others.
I know, yes. And the traditional way, quote unquote, of just walking in and out of the concert hall stage makes more sense.
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.
Even the sound production, like, technically speaking, it doesn't project. I tried it, you see.
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.
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.
And I noticed, OK, yes, it's all about sending the sound.
I know you also in that candlelight concert series, you performed the Lincoln Park, right?
So the Mr. Opoku Obwadu, he said, what inspired Anna to cover a candlelight concert featuring Lincoln Park?
And to be honest, I love Lincoln Park. I love it. I love that.
I was going to ask him and you when you're shocked.
Yes, I was shocked, but also at the same time, I like Lincoln Park.
It's just, you know, I know when I am in a certain mood, I need to listen to their albums.
But I mean, their music is great. I really like their music.
And I mean, yes, I do like pop and rock. So I always played it.
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.
And I said, well, but the program that I suggested, it's really classical, classical.
But they said, no, no, no, forget it. I mean, you cannot play classic.
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.
And I'm sure Mozart will be listening to all this music. Maybe he would love Taylor Swift.
Maybe he would be dating her.
And you wouldn't believe it. But or maybe you know, of course, that Lincoln Park is cool on piano.
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.
Really?
Yes, because some music, I agree, it's somehow it's really difficult and maybe it's it's not really for piano piano.
But Lincoln Park is and they have good melodies when they're here.
And and I also like emotions.
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.
How do you go metal rock or heavy rock with new metal and alternative rock and hip hop hip hop together.
Right. So the hip hop part part, I was sort of hesitant because well, yeah, maybe this time songs.
Yeah, but you use a repetition. So it's like, so but it's it's it's it's it's works.
It really does work. Yeah. Yeah. I mean, it's really I know at the beginning, I also thought, oh, no.
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.
So you can really show your skill.
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.
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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.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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.
With what they want to say. So, you know, it's more about communicating with them with ourselves with our audience.
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,
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.
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.
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.
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.
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?
I don't have this expertise. But I have expertise in playing, performing, listening, kind of sharing. So this is my focus.
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?
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?
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.
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.
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.
I mean, you don't take just nine, but you take like 4,000. You see, this is the principle.
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.
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.
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.
So, how do you mainly apply this creativity codes into the work we do, but not only as an artist, but creativity in general?
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.
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.
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.
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.
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.
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.
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.
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.
So let's talk about pros and cons and how have you been navigating these?
I think this thing about freelancing is also as a character thing, right, because it's not for everybody.
You see, being a freelancer means that you organize your day yourself and that's where it starts.
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.
And at the end of the day, you look at your finances and I mean, let's face it.
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.
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,
because tomorrow you'll play your exams.
But you see, yes, tomorrow I play my concert, for example, right.
But I have this month, for example, four different programs that play.
But I mean, certainly some of them are already running like Linkin Park.
Some are chamber music that I play in old residences, for example.
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.
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.
Some of them are, for example, cancelled. Sometimes you get sick and so, you know, when we finish with this interview, you know,
I'll definitely have to look into the issues if there is anything urgent this week.
Maybe some things have been changed or postponed. And this is like every day.
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.
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.
You know, I really like substituting other people. It's for me, it's fun and I'm really doing it very, very happily.
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.
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.
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.
Even like I cannot play Chopin eight to five. You see, this is my problem.
Living in this freelance style of lifestyle career is wonderful. But at the same time, it has its unique challenges too.
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.
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.
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.
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.
But you have already made made an appointment for kind of a charity concert. I mean, like, how do you deal with that?
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.
Right. Yeah. How would you deal with that?
Especially when there are more people involved, I really get into trouble with that.
So since we're talking about future, so let's talk about the legacy and the future of classical music.
So where do you want to see the classical music world in 10 years?
And yeah, I was thinking about this. Yeah, I really like thinking about future because it's I'm more like future oriented person.
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.
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.
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.
That people, you know, of all different nationalities, you know, they will meet in this concert halls and be it Candlelight or Ostari.
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.
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.
How do you want to contribute to that?
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.
We will find the right word for that and kind of put more emphasis on sharing this.
And certainly playing for people, playing the music that people want to hear and also combine it with my own personal tales.
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.
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?
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.
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.
So I think this is my purpose.
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?
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.
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.
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?
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.
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.
So just send me your contact information or use the course. I will be really happy to answer you.
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.
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.
Right. So movingclassics.tv and Anna-Hela.com are two different websites and they can be in touch with you. Wonderful.
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.
No explanation is necessary. Okay. All right. So I'm ready. Question number one. What is your comfort food? Sushi. Yes.
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.
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.
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.
What is your word or words to live by? Passion. Passion.
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?
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.
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.
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.
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.
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.
But this was wonderful. Thank you so much for joining us today and sharing your incredible stories and insights and expertise. Well, thank you.
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.
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.
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.
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.
Thank you. Bye, everyone.