Hello everyone and welcome back to the PianoPod.
Today's episode is a special bonus conversation
created in collaboration with Manus School of
Music at The New School. Do you remember last
October, the PianoPod partnered with Manus Prep
for its very first live edition? It brought together
members of the Manus community and beyond, and
the energy in the room was remarkable. The audience
leaned in, asked thoughtful questions during
the Q &A, and stayed long after the event ended
to continue the conversation. That experience,
rooted in live performance, dialogue, and genuine
exchange, clearly resonated on both sides. The
momentum opened the door to today's episode,
one centered on artistry, pedagogy, and the long
arc of piano study through the lens of an artist
who has shaped generations of musicians. This
season, we are exploring creativity and connection,
highlighting artists and institutions who are
building community while reimagining the future
of classical music. Today, we explore what it
truly means to build artists through music and
mentorship. I am thrilled to welcome Pavlina
Dokowska, internationally active concert pianist
and chair of the piano department at Manus School
of Music. For decades, she has shaped generations
of young artists through a philosophy grounded
in rigor, humanity, and a deeply family -centered
approach to teaching. Her perspective, rooted
in performance, pedagogy, and institutional leadership,
offers a rare and valuable lens on serious piano
study today. In our conversation, we discuss
why sustained piano study matters now, how artists
are formed through mentorship and community,
and how these ideas intersect with the Menace
International Piano Festival. an initiative that
extends the department's spirit into an intensive
summer gathering in the heart of downtown Manhattan,
one of the world's great cultural centers. We
are also joined by Jiwon Young, a current graduate
student at Manus and recent first prize winner
of the concerto competition. Through her perspective,
we glimpse what it is like to study and grow
as an artist within this vibrant musical community
and how mentorship translates into artistic confidence
on stage. If you are watching this episode, be
sure to like the video. It truly helps this show
grow and reach more listeners. If you're listening
on audio, please subscribe and leave a review.
Your engagement sustains this growing community
of artists and thinkers who are reimagining what
classical music can be today. Here is the piano
pod with Pavlina Dakovska. Please enjoy the show.
You are listening to The Piano Pod, 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.
Pavlina, welcome to The Piano Pod. It's such
a pleasure to have you today. Thank you so much
for being here. Thank you for having me. It's
a great pleasure for me, too. Oh, thank you.
And so before we dive in, I want to briefly return
to that moment last fall. You know, collaborating
with Manus Prep at Stiefel Hall gave me a window
into the Manus community at the new school, how
deeply people are connected and how state of
the art the facilities are and how uniquely situated.
In downtown Manhattan, connecting the East, West
Villages, and the historic Greenwich Village
neighborhood is so wonderful. And what struck
me most was seeing young musicians, some as young
as five or six in the prep, sharing the same
building and musical environment with college
-level, postgraduate -level students from Manist,
all learning and making music under one roof.
And today I'm speaking with you in your role
as... chair of the piano department at Manus
School of Music. You've been teaching there for
how many years? 30. Oh, wow. And I have been
chairing the piano department since 1998. And
since 1999, I started the now very well -known
Manus Sounds Festival, which takes the young
talent of Manus And later on of this, College
of Performing Arts, School of Drama, School of
Jazz, all over the city of New York at some of
the most prestigious concert venues, including
Weill Hall, Carnegie Hall, many cultural centers,
consulates, Steinway Hall, museums. So menace
is all over. So what has kept you committed to
this particular musical community for so long?
I feel very, very passionate about manners. When
I was invited to give a masterclass for the first
time as a performing artist, you know, performing
artists are invited to give masterclasses. And
I was asked for a first masterclass to give in
1996. And then again in 97, two classes in a
row. And then... I was asked to be hired. And
ever since I went into Manus and I met colleagues,
I met students, I felt the whole atmosphere.
It's a very special world. It's a very family
-like school. Students, parents. not only parents,
because in the college we have international
students, but faculty, patrons, we all are feeling
like we are a family. This is one word that always
comes to mind when I say Manus. Wow. Beautifully
said. So with your expansive career as a concert
pianist and decades of experience as a pedagogue
and chair of the piano department, I'm curious
to hear your perspective. Why does serious piano
study matter in our current musical and cultural
moment? I would like to share with you a great
quote by the writer E .T .A. Hoffman. who inspired
many composers, including Schumann, Brahms, etc.
He said, Music is the most romantic of all arts
because its subject is the infinite. Music discloses
to man an unknown realm in which he leaves behind
all definite feelings, to surrender himself to
inexpressible longing. So this sentence, this
quote from Hoffman always lives with me. I always
share it because in one sentence he describes
the magic of music. Music indeed takes us to
a very extraordinary place of the mind, of the
emotions. We are, as performers, as students,
as listeners, as audience, we're making the same
intellectual and emotional journey as the composers
did and we're living the life of geniuses, you
know, to go through the emotional and intellectual
journey of Beethoven, Mozart, Schubert, Chopin,
Prokofiev, Schoenberg, and now contemporary composers.
This is an extraordinary privilege and it makes
our own life richer because we are involved with
their rich world. And when we speak about the
importance of young people to study music, this
is one very strong and important point. Their
life becomes richer. Their values become different.
Their knowledge becomes very broad. Why? Because
you cannot be performing the music of, let's
say, Chopin or the music of Prokofiev, unless
you understand the world they lived in, unless
you understand the history, the culture, the
arts of that period. So anyone who studies music
and studies it in the right way becomes a very
well -rounded person. And because of that, also
becomes a better person. I strongly believe that
music is extremely important when we educate
the young people. It also trains concentration,
discipline, the ability to express yourself the
ability to connect to audience and not only audience
it makes you a freer person because it teaches
communication and these skills can serve you
very well regardless what your profession later
on will be music and arts have to be part of
the education The same way, you know, math, it's
not a matter of choice. Students have to study
math. They have to study English. They have to
study other languages. They have to study music.
They have to study arts, humanities. It's actually
a beautiful word which we say about humanities,
that it's part of studying humanities, music.
brings out our humanity. There is a reason why
it's called humanity. Yes, absolutely. Wow, that's
a really powerful statement. Thank you so much.
So, you know, I think my audience should get
to know you better. And I've been listening to
your album, Music of Tributes, Debussy O'Morning.
And it's a, you know, homage to Debussy. And
then I heard several different composers, pieces
by composers as well. And then your performance
was just so incredible. But so how your musical
journey began and the path that led you to an
international performing career, I would like
to know. You grew up in Bulgaria, right? I grew
up in Bulgaria. I had extraordinary teachers.
My first teachers. I will be always very, very
grateful. Lydia Kuteva was the one who really
put me on a path of professional career because
I started performing at the age of 11. My first
performance with orchestra. Then I started in
the conservatory with Julia Konstantin Ganev,
who were... Very privileged to study with Henrik
Neuhaus, one of the greatest teachers of all
time in Moscow. I also spent several summers
with a great performer and teacher Yvonne Lefebvre.
And I worked with her on French music. I won
the Debussy competition there. And then I came
on a Fulbright scholarship to the United States.
Studied with Beverly Webster at the Juilliard
School where I got my master's degree. In the
meantime, I also won a competition in Senegal.
And while I was actually already a Juilliard,
I had a management. I was performing already
in Europe. And then I started performing in the
United States through another manager. So I would
spend six months in Europe touring, six months
in the United States touring. in Asia, Mexico,
etc. So I was very fortunate to experience that.
And I was very lucky also to collaborate with
extraordinary musicians, instrumentalists, great
singers from whom I learned a lot. One of them
was Nikolai Giarov, one of the greatest bassists
in the world, Nerella Freire. I have worked with
Nathaniel Rosen. the great cellist, recorded
with him, Robert McDuffie, the great violinist.
So this is briefly what my life as a performer
was. And being fortunate to study with great
teachers, I knew that I have a calling for that.
I felt I had a calling for that because I I really
connected and learned from them, not only about
music and playing the piano, but also how to
communicate your knowledge to people. And as
a performer, I was many times invited to give
masterclasses. So for me, this was a calling.
And when I started working at Manus, it became
one of my missions. And I'm very happy and I'm
very grateful that I had this opportunity to
start sharing my knowledge in a very big, consistent,
profound way with the future generation of pianists.
And we have real stars. who followed the path
of graduates of Manus, like Mari Piraj, as you
know, Richard Wood. So we have extraordinary
musicians who came from Manus and alums of Manus.
And they are performing, whether it's Natasha
Paremsky, whether it's Reid Tetzeloff, whether
it's Daria Rabotkina, Angelina Gadelia, Vladimir
Rumyantsev. The list is very long. I actually,
today, I just got a text message from my former
student, Reid Tetzlaff, who has a wonderful career
and at the same time doing his doctoral degree
at Peabody with Richard Goode. He just texted
me with a program from his performance in Florida.
big, big concert series. And he said, and guess
what? Natasha Paramsky, your student also performed
there. And so I saw the list of these two students
of mine, former students, and I was so, so proud
to see them performing actually on the same series.
So Menace is all over. Wow. So with the decades
of teaching there and you've seen it all, you
know, you've experienced it all, I'm sure. But
so from that point of view, what does it mean
to train pianists, young pianists as complete
artists in this modern world? It is an interesting
question because on one hand, we as teachers
need to follow. the tradition of great teaching
of the past. Because these teachers were truly
phenomenal. When we go back all the way, Clara
Schumann, Leschetizky, the list is very long.
At the same time, we live in very different times.
We live in stressful times and it is very important
to provide all the support the students need
in order to continue pursuing music, not to be
discouraged, not to be distracted by the many
distractions in the world today. to really approach
every single student for his or her uniqueness.
Teaching piano is about connecting to individual
students. You don't teach the same piece the
same way to every student. Otherwise you make
recordings about how to teach a piece. Every
student has their own knowledge, broad or limited,
imagination, and you have to reach out to them
depending on it. And while communicating the
necessary knowledge about the composer, you go
to the student. depending on their needs, also
pianistic. Some students have not only different
hands, but different level of pianistic technical
abilities. So you have to address that. And therefore,
teaching is something which requires tremendous
sense of responsibility. Tremendous understanding
about giving and real love for the student. You
have to love your student. Because if you don't
connect with love, there is always a barrier.
The students feel where they're welcomed, where
they're embraced with appreciation. Always say
to my students, the purpose is to, I mean, perfection
is not possible. We just try to do the best we
can at the given moment. And there is no place
for frustration or anger with yourself. You just
love music, give what music is needed, and appreciate
every little progress you're making, whether...
At three o 'clock, you were able to master four
measures of something. You have to be happy.
So, music making is about being very happy within
the process of making music. If you don't have
that state of mind, you cannot... enter the world
of these great composers because music was born
out of love, passion, and sense of liberation.
You are being liberated when you put down on
the piece of paper the music. Therefore, we as
performers have to experience that passion, that
sense of liberation, the happiness that we can
make music. Well, thank you. Well, that's powerful.
Now, so you've been telling me the word community
quite a bit today. So what role does community
play in supporting artistic growth and long -term
development? Community is very important. Family
is very important. Your friends are very important.
The audience that you try to also cultivate your
own audience is what today also the artists have
to develop. Ability to promote themselves, to
attract audiences. This is something that also
at Manus is being taught. Entrepreneurship. Yeah,
that's wonderful. You have to be able to market.
who you are because we live with the technology
in the world that makes it possible. Before the
artist was counting only on a manager. What the
manager was able, the impresario was able to
do to get you performances. Now the young people
have the ability to promote themselves and they
should. Let's talk about Manus, right? So can
you give us a brief overview of the School of
Music at the New School, so Manus, and the role
that piano department plays within it? Well,
as we know, the piano is an instrument that everyone,
whether you play violin or cello or winds or
singer, you need to know to play somehow piano.
And also the piano department is involved in
supporting the other instrumentalists and the
singers. So we have chamber music, we have classes
which teach our students how to work with singers,
how to work with instrumentalists. The piano
department is very, very strong. And I'm very
proud that Manus, as of 2024, became the only
conservatory in New York to meet the criteria
for an all -Steinway school. So we have extraordinary
pianos. the students have the opportunity to
play on great instruments. The piano department,
because of the prominence of the piano department
and the success that Manus Sounds Festival has
had during the 27 years, this led to my idea
to start the Manus International Piano Festival,
which we started in 2020. at the year when we
became an old Steinway school. So this is another
important contribution that the Menace Piano
Department is giving to the world of music because
it's an international piano festival. We bring
in students from all over the world. We have
international faculty in addition to the Menace
faculty. So the month of July is a wonderful
month. which spotlights the great accomplishments
of the piano department. Wonderful. So the Manus
International Piano Festival that you mentioned,
so let's talk more about that. So it takes place
exactly where you are, at Manus School of Music.
Also, and also at... We are part of the new school.
We collaborate, as I mentioned, with the Menna
Sounds Festival. We collaborate with the School
of Jazz, School of Drama, with Parsons School
of Design. I have created fantastic events with
Parsons also, including Parsons. So now we have
an event which also includes some students from
Milan. It's Leo Tolstoy and Music on February
24th. So... The campus of the new school is wonderful,
and we use some of the great facilities and great
halls of the new school because we are part of
it. That's wonderful. So how long is the festival
for, especially for this year? When is the start
date? The festival since we started in 2024 is
two weeks. Students this year will arrive on
the 12th of July and through July 26th and this
is a very intense period when they have private
lessons, when they have daily performance workshops,
there are lectures, there are presentations,
there are showcases where all pianists play at
the end of each week. We have a wonderful competition
which gives cash prizes, first, second, third
prize and honorary mentions. And we have a great
concert series featuring the new generation of
outstanding pianists. Wonderful. And so what
are the age group for this festival? We welcome
anybody from the age of 16 on. And exceptions
are being made for exceptionally talented students
under the age of 16. Of course, they have to
be accompanied by parents. There is a process,
you know, they have to apply. They have to send
their recordings. We listen to these recordings.
We make decisions. We also are very generous
about scholarships. For the last two years, we
have given about $30 ,000 in scholarships. Wonderful.
Everyone who has been part of this festival has
left very happy. Great. Now, can you introduce
us some of the core faculty members or maybe
guest artists for this year's? Of our international
piano faculty, Hyunjun Chung, one of the leading
pedagogues and performers of Korea, South Korea.
Yoon Soon, a professor in Shanghai, who happens
to be also an alumna of Manus. wonderful pianist
and great teacher, very well known in China,
not only. We have Ronan O 'Hara from the United
Kingdom and Graham Scott from the United Kingdom,
both prominent pianists and and teachers. So,
as far as men's faculty, we have great stars
who are joining the faculty. Anne Schein, legendary
Anne Schein, Eterion Giapparidze, Vladimir Valyarevich,
Irina Morozova, Simona Dinerstein, We have about
Thomas Sauer, Jerome Rose. I mean, the list is
like 15 people. Each and every one of our faculty
are recognized worldwide. Amazing. So what do
you hope participants carry forward beyond the
festival, both artistically and personally, by
participating in this festival? We hope that
they learn a lot, that they enjoy their stay
in New York City. I must say that this festival
is the only large -scale piano festival in New
York City. And so when you come and you study
piano, you also have the ability to go to the
Metropolitan Museum, to the Frick Museum, to
the Museum of Modern Art. There are so many museums.
There are so many things happening in New York
City. I also would like to mention another very
important aspect that we're very proud of. We
are providing for the students unlimited number
of hours for practicing. Many festivals internationally
and U .S. festivals, you know, they give you
three hours to practice because facilities are
limited. Our students can practice. Really? Yes.
So we won't limit the number of hours. Of course,
at night they have to sleep. Right. That's right.
Wonderful. Now we'd like to hear from Jiwon Yang,
a past Manus International Piano Festival participant
and a current Manus graduate student. And before
we hear from her, her perspective, Pavlina, could
you tell us a bit about Jiwon? What qualities
stood out to you as a developing artist? Jiwon
is absolutely an exceptional pianist. And she
auditioned only at Manus. She felt that this
is the place she wants to be. She studies with
me and with Richard Goode. And she won the third
prize in Van Cliburn Junior. She has a large
list of competitions. And the last one was the
third prize at the ARD Munich International Piano
Competition, which is one of the biggest one.
in the piano world. So she's a very accomplished
pianist and she's also a great collaborator.
She plays a lot of chamber music. She is a wonderful
person and she felt really in love. She felt
really in love with Manus. So when she finished
her undergraduate study, it was time to apply
for graduate studies. And I asked her, where
are you going to apply? She said, I don't want
to go anywhere else. I'm going to stay at Manus.
And now she's going to be auditioning also for
professional studies diploma. So she'll be eight
years at Manus, nurtured by a wonderful atmosphere,
her colleagues, great teachers. She takes collaborative
piano classes with Professor Stanesco, Professor
Novacek, she studies chamber music. She studies
with many people, Brandon Mayers. She is spreading
her wings. I'm very, very happy with what she
has accomplished and the kind of person she has
become. Now, we're joined by Jiwon Young, a graduate
student at Manus School of Music and a participant
in last year's Manus International Piano Festival.
And before we begin, welcome, Jiwon. Thank you.
Thank you for having me. Thank you. And I want
to start with a huge congratulations. You just
won first prize in the George and Elizabeth Gregory
Concerto Competition at Manus. Last night. Wow.
So, so it was a final round last night. Yes.
So we had the three different rounds for this
whole year. It started in the fall semester of
2025. We started the pre -screening round with
the videos. And then to the semifinal round,
which happened last November. Then five finalists
got to play last night with a second piano accompanist.
We had three pianists, one percussionist, and
one violinist. So it was a very huge night. Wow.
Really, I'm very, very happy for you. And what
a great achievement. So as a first prize winner,
what will you receive? So, well, I got an opportunity
to perform with our school orchestra soon. The
date will be released soon. And also the cash
prize. How much? It's a list of 4 ,000 cash prize.
And also the very... like I would say personal
growth by playing in front of the audience I
mean it's a very like a big privilege to play
in front of the audience the whole concerto as
I played Tchaikovsky first piano concerto it
was actually like the length of 40 minutes so
it was actually huge so it itself was already
a great experience for myself and also my pianist
who accompanied me was And well, himself, I would
identify him as an orchestra. He was amazing
playing with me. With him, I was very confident
on playing. Wonderful. Congratulations once again.
So for our viewers and listeners who are just
discovering you, you know, could you briefly
introduce yourself? Where are you originally
from? What you are focusing on in your graduate
studies? And then what has shaped you artistically?
So, well basically first I'm based on South Korea,
Seoul. I just moved to New York City and it's
my first time living in the States abroad alone.
It's been six years already. So I kind of feel
like this is my second home. And as I'm a student
at Madison for six years already, because right
now I'm pursuing my last semester, final semester
as a master degree student. But I was a graduate
of undergraduate here as well. So my most focus
is obviously a solo pianist. I really perform
everywhere since I was like. young girl I was
traveling a lot for international competitions
and performances. By that I try to expand my
perspectives and my growth as a musician which
one of my goal at last it's to be able to travel
everywhere to perform, share my music with people
around the world. So that's what I am working
currently now. Okay. I'm just curious, what has
kept you at Manus from your undergraduate till
now? What kept you for a long time? So it might
sound very obvious, but really one of the only,
even the only reason is my professors. I currently
study with Richard Good and Pavlina Dukovska.
They are wonderful people. I'm always honored
to be their students. And it was the major reason
I also came to Madness. But not only the professors,
but the community here at Madness are really
amazing. As I'm staying here for almost six years,
it's actually one -fourth of my whole life. All
the communities, all the other professors, all
the other community. I mean, all the faculty
members, my friends, peers. They're all really
amazing, I would say. I kind of imagine, like,
if this is going to be the same if I was in other
place, that it really means a lot to me. It's
a wonderful, really tight community there. Today
you're here with us because you participated
in the Manus International Piano Festival, I
believe last year. And now in its upcoming summer
would be the third year. And so I'm just curious
what attracted you to apply last summer and then
what specifically drew you in? Yeah. So first
of all, I actually attended both first and second
year of Manus Piano Festival. When I first heard
that this was going to happen, I was very excited.
Not because it's going to happen in our school,
but I believed my professor, Pavlina Dukovska,
who's actually in charge of everything. She's
the chair of everything. And not only that, but
because even during the school years, she has
been in charge of an event called Manus Sounds
Festival, which happens every year. She curates.
All the performances, not only in our school,
but everywhere around New York City. So students
have an opportunity to perform in many big venues,
including Carnegie Hall and Steinway Hall in
New York City. So when I first heard about this
news that this new festival is going to open
up, I had no doubt that this is going to be a
really great privilege. to all of the pianists
in the world to be able to achieve a great opportunity.
So as I expected, the first year, even it was
the first year, the festival was very successful.
It includes lessons, private lessons with all
the faculty members from Venice, but not only,
but also from international. a pianist, a great
well -known pianist from international and we
have a masterclass going on and also what really
stood out to me is that all the students get
to get their own practice room for a whole time
they participate. For me, I quite feel that this
is very rare thing because as i've been traveling
a lot to all the other competitions and festivals
getting their own practice room for as much as
they can it's quite rare so you always have to
fight for it right yes i i thought it was a very
great thing to not be limited to the space for
using and also we provide the housing and also
The second week, which is the last week, we hold
a competition itself to fight over the cash prize
also. And I also participated in the first year
competition, which I won a second prize. So all
these things. And also we have a weekly showcase
that students get to play whatever they want
to play. All the other things. One of the main
attractive things is that it's New York City.
Manhattan. So, I mean, I believe people in this
world always kind of wish or dream about traveling
to New York City once in their life, I assume.
So all of these things come and it's truly attractive,
I would say. Was there any particular moment
that... maybe musical or even personal that stayed
with you from the past festival experiences?
Well, yes, of course, faculty members. It was
my great privilege to be able to work with all
the international faculties. It's a very nice
thing that we got to share our passion. to the
faculty members and we learn a lot from them
and also friends like we had a very big portion
of applicants since the first year so we have
two weeks some people get to choose to join either
only one week they can choose both weeks The
way you get to meet people from these festivals.
I think it's very Very meaningful. I still be
in touch with a lot of friends I've met and They
come around from everywhere like from Asia from
Europe and other states and you get to know them
because We get to know all the pianists community
and like we know we have something inside to
share in common so i think it's a very great
chance to meet people and also the staff members
i i still remember from the the very first year
um without them it wasn't really possible i would
say the the staff members were really nice they
were very supportive um They were everywhere
that we needed them. And I think because of them,
the festival was even able to be more successful
and fluent. So I will be coming back for this
summer festival as well as I will be opening
the concert. Oh, and as I'm saying this, I kind
of forgot to mention about it. In our festival
also, we have a very... important guest artists
to come and perform their solo recitals. We always
had like about five great pianists including
Ye Kwon Sun who was the very first one to open
the concert on our first festival and yeah we
get to watch and share also their music and to
see their passion over the music as well. So
I'm also honored to be able to perform as a guest
artist this year. I'm looking forward. Wow, that's
incredible. What an incredible opportunity. So
how did this festival shape you as a developing
artist? Maybe in your practice habits or performance
mindset or sense of artistic community? What
do you think? I think the most thing I learned
and I noticed after having this festival was
in a very short time of period I was able to
build my confidence over my own music like sometimes
like as we're still in a learning process You
might be not sure enough with your own thing.
Like you might be stuck on something. But by
meeting all the other faculty members and like
getting to talk with them and from like learning
from them, it really helped me to go forward
as a musician and also kind of expand and build
my perspective on music, like how to like consume.
in a different way of interpretations and things,
and also by performing. I mean, as a pianist,
and not only pianist, but as a stage artist,
I think it's very crucial to have an experience,
to be able to perform on stage in order to build
your ability as a stage artist. And I think Manus
Summer Festival is one of the things that will
really help you to grow as a musician. Wonderful.
So this would be the last question. So if a young
pianist is listening to this episode and wondering,
you know, whether they should go to summer festival
anywhere or whether they should apply, what would
you tell them? If you're hesitating or if you're
wondering whether I should apply, just go and
apply. It won't be a regret. Well, I myself haven't
been to like thousands of festivals in this world,
but I can still guarantee that Manasema Festival
is one of the best experience I think you could
get. So why not? Why don't you apply? Wonderful.
So for those who are listening right now or watching,
all the links are in the show notes or description.
So be sure to check them out. Jiwon, thank you
so much once again for sharing your experience
with us and congratulations once again. Thank
you so much and thank you for having me. Can
you quickly share a bit about the current application
process for students joining from around the
world? I believe it's international, so you're
accepting students globally. So including key
dates, for example, deadlines and so on. Well,
there is an early application. I believe it's
March, sometime in March. Then it's end of April,
May. Students can reach out to us through email.
They can also reach out to me directly if they
have questions. We are a very friendly team.
we would answer any questions the applicants
may have. So to learn more about the Manus International
Piano Festival, please visit the Manus website.
You can find a link on screen right now, or you
can find a QR code also appearing on the screen.
For those who are listening to this episode,
the link is available in the show notes. Pavlina,
thank you so much for participating today. What
a wonderful conversation. But before I let you
go, what gives you hope about the next generation
of pianists? I see how passionate the new generation
of pianists is. And I see the passion of the
students. And I also believe that something as
great as music cannot disappear. Because people
feel, once they're in touch with music, they
feel the necessity to have music in their lives,
one way or another. So I'm very hopeful. You
have to be hopeful. Yes, absolutely. Well, thank
you, Pavlina. What a great way to end our conversations
for sharing your time and insight in art history.
It's been a really wonderful conversation and
I hope that you'll come back to the piano part
and then we can talk more about piano. Yeah.
Great pleasure. Thank you. So thank you to our
listeners as well. If you enjoyed this episode,
please like it and leave a comment. Your engagement
truly helps the show grow and keeps this work
going. We'll see you in the next episode. Thank
you once again, Pavlina. Thank you. Bye. Thanks
for watching!