Blurred Boundaries - Classical Meets Jazz: Ophelia Gordon, Concert Pianist & Recording Artist

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This episode is brought to you by the New York Piano Group,
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CINEMA
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Welcome back to the PianoPod, everyone.
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Today I am thrilled to introduce a truly remarkable guest, Ophelia Gordon, a pianist whose artistry
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bridges classical and jazz with fresh energy and insight, particularly in the music of
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Nikolai Kapustin.
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Joining us from London, Ophelia brings a unique perspective on interpreting Kapustin's electrifying
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and genre-defying compositions.
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Her musical journey is anything but conventional.
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She began as a classical guitarist and double bassist studying at the Brit School before
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earning degrees in music from Durham University and City University London.
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Her passion for exploring different musical languages ultimately led her to the piano
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and to Kapustin, whose work brilliantly fuses classical structures with the rhythmic vitality
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of jazz.
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Now, recognized as one of the most exciting interpreters of Kapustin's music, Ophelia
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recently signed with Divine Art Recordings and is set to release her debut solo album,
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Kapustin Between the Lines.
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Through her performances and teaching and scholarship, she is introducing new audiences
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to Kapustin's extraordinary music.
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As a pianist and educator myself and podcast creator, I've always been fascinated by
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artists who carve out their own artistic identity.
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My own journey navigating the classical world while constantly evolving as a musician and
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entrepreneur has shown me the importance of vitality, curiosity, and authenticity.
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That's why I find Ophelia's story especially compelling.
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Her ability to bridge classical and jazz traditions while championing Kapustin's music is a testament
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to the power of artistic exploration.
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In this episode, we'll dive into Ophelia's fascinating journey, her transition to piano,
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her deep connection with Kapustin's music, and how she blends two musical traditions
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that are often seen as separate.
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Whether you are a pianist, a music lover, or someone passionate about artistic individuality,
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this conversation will challenge and inspire the way you think about music.
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Before we begin, I want to share something new with you.
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Every Friday, I publish a blog on Substack where I go beyond the podcast, offering personal
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reflections, behind the scenes insights, and thoughts on music, creativity, and the evolving
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role of classical musicians.
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If you enjoyed these conversations, I invite you to subscribe at thepianopod.substack.com
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for exclusive content and deeper discussions.
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Now, without further ado, let's welcome the extraordinary Ophelia Gordon to the Piano
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Pod.
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Please enjoy the show.
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You are listening to the Piano Pod, where we talk to the brightest minds in the industry
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about how they are bringing the piano into the future and thriving in a complex, ever-evolving
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world.
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Welcome to the Piano Pod, Ophelia.
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It's such a pleasure to have you on the show.
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Yay.
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Thank you.
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I'm so happy to be here.
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Thank you for having me.
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Thank you.
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So today, from where you are joining us?
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Yes.
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So I'm joining you from South London.
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A small suburb called Dulwich.
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Okay.
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Yeah, it's very nice.
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Wow.
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But literally right from the suburbs of London, so quite far away.
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Oh, how nice.
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I've never actually, I've never been to London, so I really would love to.
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Oh, gosh.
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Must have.
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Yes, I know, right?
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So, but before we dive in, I'd like to give a special shout out to Blair Boonmigura, founder
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of the Artsong Preservation Society of New York for introducing Ophelia to the Piano
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Pod.
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Of course, for our listeners, Blair and the Artsong Preservation Society of New York are
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no strangers.
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They were our sponsor of the month back in November 2024.
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So Ophelia, I hear that you were in New York a couple months ago.
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Yes.
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Yeah.
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So I was lucky enough to have been invited to be the resident pianist for the Artsong
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Preservation Society, which happens at the Manhattan School of Music every June.
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And I became close with Blair earlier last year, and then he invited me out.
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And it was a fantastic experience working with roughly about 50 different singers.
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And I had to learn an incredible amount of repertoire in a very short space of time.
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I think I probably learned up to about 60 different artsong pieces.
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Oh my goodness.
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Yeah, in about a month.
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So that was very challenging.
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If my sight really hasn't improved after that, I don't know what will.
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But it was fantastic.
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And it's a very, very special organization that supports the preservation of artsong.
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So that was actually my first time to New York.
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So what an amazing first time.
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Wow.
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Yes.
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That's great.
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It's made me hungry for more.
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So I can't wait to get back out there.
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And yeah, it was a fantastic experience.
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Will you be back for this summer?
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This summer, I'm not sure at the moment.
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I've got quite a lot going on at the moment in London.
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And I think that's exciting.
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Yes.
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I think it's taking up quite a lot of time, and I'm sure we're going to get into that
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in the chat.
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But hopefully there will be more opportunities.
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And yeah, I'm definitely going to be coming out at some point soon.
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So that would be good.
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Yeah, you have to come back again and so that we can meet soon.
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Yes.
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Yeah, definitely.
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Yeah.
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Wow, great.
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But so today I'm really, really looking forward to exploring the unique style and legacy of
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groundbreaking Ukrainian composer Nikolai Kupustin, whose extensive innovative works
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have been performed by renowned pianists and cherished by so many.
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But surprised to know that his works remain relatively undiscovered until the later years
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in his life, no?
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Yes.
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Yeah.
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As seems to be the way with certain composers, it's almost as soon as they've passed, that's
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when they really come out of the woodwork.
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And that's been my experience with him anyway.
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So I only recently discovered him in 2022.
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Oh, really?
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So I've actually never heard of him before.
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And then through my research, I've obviously realized that he has kind of sort of from
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the 90s is when he was becoming more popular.
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But from 38, you know, 1938, nobody really knew of him.
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And he's such an incredible composer.
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I feel so lucky to be talking about him with you and exploring him.
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I'm just incredibly passionate about his music.
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Yeah.
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And I can tell.
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And then I really also want to discover why your obsession, right?
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And then I'm sure there are so many stories and explanations and behind it.
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But before we go even further, I usually start this question with most of the guests.
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So the first one, the first question for our conversation is if you were to capture the
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essence of your artistry, mission and passion in just a few sentences, how would you define
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yourself as an artist today?
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Yes.
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So I would say that I'm an artist who doesn't tick any boxes.
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I don't fit neatly into a style or an expectation.
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I'm very multifaceted.
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And my background, my education, my training and now my work really gives this multi diverse
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approach.
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And I think that as my artistry has been growing and changing and I've been maturing as a pianist,
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I'm starting to realise that it's being yourself and being authentic is what makes you an artist.
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And that's what gives you the strongest artistic voice.
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So it's a hard question.
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And I could talk forever about it really, but I think it's just about realising that
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I'm not a one size type of artist.
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And I have had so many different experiences that actually that's beginning to shape who
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I am as a unique person.
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And it's about embracing that voice and that authenticity.
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Wow.
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Well said.
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I don't know if that answers the question.
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Oh yeah, of course.
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Because this season's theme is authenticity and joy on the piano pod.
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And it just fits perfectly.
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So you said you don't quite fit in, but actually you fit into the piano pod theme perfectly.
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Thank you.
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But authenticity brings joy and happiness, right?
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I think that's it.
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I think it can take a long time to figure out who you are.
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And then when you start realising actually you're not meant to be another person, you're
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not meant to be another type of musician.
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We can admire other musicians and we can be inspired by them, but really they are not
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us.
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And we will only grow as an individual if we embrace ourselves.
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And that's what I'm learning to trust more and more.
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I'm still kind of at the beginning of my journey.
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Although I've achieved great things, I still feel like there's so much that's coming and
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I'm still figuring out more about who I am.
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But the more I lean into that's what makes me me, the more my audience are connecting
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with me.
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And the more my playing is improving as well.
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Just by trusting, do it your way and believe that and take all the little bits that you've
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picked up with you along your way, put that in your music and the audience respond in
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a very different way when you really are coming from that mindset.
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That's what I've been experiencing recently anyway.
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Wow.
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Yeah, but to get there to find your own voice is not easy.
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It's challenging.
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Yeah, yeah.
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And I think culturally, in Europe in particular, it can be very difficult because there are
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expectations of what musicians should be like, what they should play, how they should play.
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There's so much protected repertoire, some of the most amazing repertoire, Beethoven,
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Chopin, Schubert, Bach.
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It's so protected that if you ever want to try something else, you have to expect some
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sort of backlash in some ways, right?
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Because it's just been worshiped for such a long time.
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But I'm beginning to notice that if you trust your own interpretations and you really have
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a reason for why you're playing the music, it changes the perception of the listeners.
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It's very interesting how there is this shift once you get to that point, but it takes a
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long time to get there.
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And I think it really comes from having had life experience.
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If you understand what the music is about and how you can relate it to yourself, that
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is when your music can really change.
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And that's what I've been experiencing.
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You've been saying trusting yourself, trusting one's self.
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Sometimes it's not easy because like you mentioned, not only in Europe or in the United Kingdom,
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but also in the United States too.
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What makes it classical music is classical music.
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And so just to break a little rule here and there, you almost feel like, am I supposed
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to be doing this?
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Can I trust my gut?
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Can I trust my intuition, instinct?
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And we get told so many different things.
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So at some point you've almost got to play everything that you've been told and then
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almost push it out the window.
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So you can pick up bits in the way, but at the end of the day, you playing the music
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and you need to connect with the reason why you're playing it.
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So it's getting to that stage and just trusting that everyone is going to have a different
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opinion about how you're playing, but they can never argue with why you're playing.
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And if you are able to demonstrate that emotional connection that you have, then it totally
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changes everything.
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But I think it leads into another point of being vulnerable enough to do that because
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that's the problem.
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I think that's one of the biggest barriers is it's almost like most musicians know I
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want to play it because I love it.
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You know, this piece reminds me of this or, you know, I have a reason of why I'm playing
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this music, but I struggle to be vulnerable enough to show that in my playing.
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You know, so you have to be open to letting people really hear the music and where it's
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coming from and why you're playing it.
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And you don't have to explicitly tell people why you're playing it, but they'll be able
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to hear.
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That's my experience anyway.
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That's been my recent experience.
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Wow, that's amazing.
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Now we can really talk more in depth.
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You already explored a little bit, but yeah, later, much later.
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But so I'm really sensing the reasons why you are attracted to Kapustin because he is
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his own thing.
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Absolutely, absolutely.
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So I first discovered his music on BBC Radio 3, which is a very popular radio station here.
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And in all fairness, I probably had heard his music as an encore before at a concert
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or something, but you know, didn't sort of clock.
247
00:17:42,300 --> 00:17:48,900
And then when I heard this piece, it was within about five seconds, I knew immediately I have
248
00:17:48,900 --> 00:17:50,660
to play this music.
249
00:17:50,660 --> 00:17:53,060
I was like, who is this?
250
00:17:53,060 --> 00:17:54,060
What is this?
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00:17:54,060 --> 00:17:57,580
I'm going to go home as soon as I get home because I was in the car at the time.
252
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I said, as soon as I get home, I have to find out what this is.
253
00:18:00,100 --> 00:18:04,020
So I went on to the listing, you know, the radio listing of what was being played.
254
00:18:04,020 --> 00:18:06,260
And I saw it and I was like, oh my God.
255
00:18:06,260 --> 00:18:11,300
And I just listened to more and more and more and I just became completely obsessed.
256
00:18:11,300 --> 00:18:13,940
So that's almost three years ago.
257
00:18:13,940 --> 00:18:18,980
And then I started just by playing the first Etude.
258
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I thought this is a good plot.
259
00:18:21,380 --> 00:18:22,540
Where should I start?
260
00:18:22,540 --> 00:18:29,220
You know, so I'd already played varying different types of Etudes, Ligeti, Chopin, you know,
261
00:18:29,220 --> 00:18:30,220
different ones.
262
00:18:30,220 --> 00:18:35,140
But I thought, okay, I'll start with what seems to be one of the most popular pieces
263
00:18:35,140 --> 00:18:36,140
of Poussin.
264
00:18:36,140 --> 00:18:43,380
And it took, I'd say like about a month to understand the language properly.
265
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But then after that, Etude after Etude after Etude just became easier and easier.
266
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And now I'm doing an album.
267
00:18:50,980 --> 00:18:52,780
So it's crazy.
268
00:18:52,780 --> 00:18:56,700
It's going to be about 70 minutes of Capuchin.
269
00:18:56,700 --> 00:18:57,700
Wow.
270
00:18:57,700 --> 00:19:02,820
It kind of just exploded really.
271
00:19:02,820 --> 00:19:09,940
And now, you know, it's like, for me, it's the most comfortable repertoire that I play.
272
00:19:09,940 --> 00:19:10,940
Completely.
273
00:19:10,940 --> 00:19:11,940
Yeah.
274
00:19:11,940 --> 00:19:14,740
I mean, I feel so at home with it.
275
00:19:14,740 --> 00:19:20,660
And I knew that when I first heard it on the radio, I knew that I'm going to be able to
276
00:19:20,660 --> 00:19:21,660
do this music.
277
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Like it just spoke to me immediately.
278
00:19:25,420 --> 00:19:30,060
But going back to what you said about how Capuchin doesn't fit into a box either.
279
00:19:30,060 --> 00:19:34,060
And I think that must be what drew me to him.
280
00:19:34,060 --> 00:19:39,100
Because it had the language, the harmony, the rhythm of jazz.
281
00:19:39,100 --> 00:19:41,860
But it wasn't improvised.
282
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I'm happy to explain a bit about my background and why it spoke to me.
283
00:20:01,780 --> 00:20:08,740
Because I've had a very, very diverse exposure to music.
284
00:20:08,740 --> 00:20:12,540
And I grew up surrounded by jazz music.
285
00:20:12,540 --> 00:20:14,140
That was the sound of my home.
286
00:20:14,140 --> 00:20:16,580
So my mom is also a pianist.
287
00:20:16,580 --> 00:20:18,740
My granddad was a pianist.
288
00:20:18,740 --> 00:20:22,500
My great granddad was a concert pianist based in Paris.
289
00:20:22,500 --> 00:20:24,380
So there's a big lineage.
290
00:20:24,380 --> 00:20:26,540
And it even goes further, further back.
291
00:20:26,540 --> 00:20:32,140
Like my grandma's doing a family tree and she's discovered even more quite prominent
292
00:20:32,140 --> 00:20:34,780
French musicians in the family tree.
293
00:20:34,780 --> 00:20:35,780
So that's very exciting.
294
00:20:35,780 --> 00:20:43,380
I hope to kind of find out a bit more about who's in the tree and how it all connects.
295
00:20:43,380 --> 00:20:50,620
But I grew up predominantly to the sound of jazz because my mom was also a saxophonist.
296
00:20:50,620 --> 00:20:51,620
Pianist and saxophonist.
297
00:20:51,620 --> 00:20:52,620
Oh my goodness.
298
00:20:52,620 --> 00:20:53,620
Yes.
299
00:20:53,620 --> 00:20:56,980
So she had every weekend our home was basically a jazz club.
300
00:20:56,980 --> 00:20:57,980
Oh wow.
301
00:20:57,980 --> 00:21:03,780
And she'd have all her friends over and they'd play boogie woogie, blues.
302
00:21:03,780 --> 00:21:07,780
She'd have all her other sax friends playing and they'd all just be improvising and jamming.
303
00:21:07,780 --> 00:21:14,420
So my memories of being young are hearing that music, watching these musicians play.
304
00:21:14,420 --> 00:21:19,260
And every night before I'd go to sleep, my mom would put jazz music on.
305
00:21:19,260 --> 00:21:23,340
You know, there is that saying, there's that belief that if you play classical music to
306
00:21:23,340 --> 00:21:26,420
a baby, you know, it makes them intelligent.
307
00:21:26,420 --> 00:21:29,180
But I think this must have happened with jazz.
308
00:21:29,180 --> 00:21:34,100
You know, I've kind of developed that taste.
309
00:21:34,100 --> 00:21:37,860
However, my training was classical.
310
00:21:37,860 --> 00:21:42,860
So when I was, as soon as I was old enough to be able to actually play, there isn't really
311
00:21:42,860 --> 00:21:44,340
an age of when I started.
312
00:21:44,340 --> 00:21:45,340
I just began playing.
313
00:21:45,340 --> 00:21:51,260
I was probably about three when I was actually tinkering away and then started four more
314
00:21:51,260 --> 00:21:55,660
lessons probably a year later or something like that.
315
00:21:55,660 --> 00:21:57,340
But the training was straight away classical.
316
00:21:57,340 --> 00:22:04,780
So very traditional, learning to read the music, you know, yeah, very traditional approach.
317
00:22:04,780 --> 00:22:08,260
And I just went through the grades and kind of continued with that.
318
00:22:08,260 --> 00:22:13,740
I started also learning the violin, the guitar, double bass, the trumpet.
319
00:22:13,740 --> 00:22:14,740
Yeah.
320
00:22:14,740 --> 00:22:17,220
And I did them all to quite a high level.
321
00:22:17,220 --> 00:22:24,340
So yeah, it was, it was a very interesting musical upbringing because I was constantly
322
00:22:24,340 --> 00:22:26,700
surrounded by music.
323
00:22:26,700 --> 00:22:34,980
And the interesting thing is that I was listening to jazz, but playing classical music, which
324
00:22:34,980 --> 00:22:38,620
you think, oh, why did I maybe not express to play jazz?
325
00:22:38,620 --> 00:22:44,180
But I think, I think I was almost just doing what was shown to me, you know, or what my
326
00:22:44,180 --> 00:22:49,620
teachers were giving me was like, you know, I have that at home, but I'm doing this at
327
00:22:49,620 --> 00:22:53,940
school and, you know, and with my teachers and everything like that.
328
00:22:53,940 --> 00:23:01,900
So it was amazing when I heard Kapustin because it married those two things together.
329
00:23:01,900 --> 00:23:06,900
You know, it had the classical structure and I knew that it was written.
330
00:23:06,900 --> 00:23:10,900
That was the other thing, although it sounds very spontaneous, you know, spontaneous, I
331
00:23:10,900 --> 00:23:16,660
knew this is something I'm going to be able to play because of the training I've had.
332
00:23:16,660 --> 00:23:17,660
Yeah.
333
00:23:17,660 --> 00:23:23,420
So that was a really nice feeling, but it was the jazz spirit that I had always been
334
00:23:23,420 --> 00:23:30,500
looking for and felt like, oh, I wish I could play traditional jazz, but I just hadn't had
335
00:23:30,500 --> 00:23:37,740
the opportunity to really study it and, and was so focused on my classical repertoire
336
00:23:37,740 --> 00:23:39,740
at the time.
337
00:23:39,740 --> 00:23:43,140
Yeah, it's, it's been a very interesting journey.
338
00:23:43,140 --> 00:23:51,900
And I spent two years at a popular school in London, the Brit school, where, yeah, where
339
00:23:51,900 --> 00:23:58,420
some artists such as Adele, Amy Winehouse, some quite big names have come from there.
340
00:23:58,420 --> 00:24:01,940
And it was at that point where I started to realize, okay, I've had a lot of classical
341
00:24:01,940 --> 00:24:06,900
training at my educational places before, and then I arrived at the Brit school and
342
00:24:06,900 --> 00:24:09,980
it's totally the opposite.
343
00:24:09,980 --> 00:24:14,180
It's, it's, it's almost like there's no classical.
344
00:24:14,180 --> 00:24:18,540
I've done all of this classical training and now I'm thrown in the other, other end where
345
00:24:18,540 --> 00:24:23,340
I have to do transcriptions, I'm learning about music from all over the world.
346
00:24:23,340 --> 00:24:25,060
I'm learning how to song write.
347
00:24:25,060 --> 00:24:30,660
It's totally different, but I didn't feel like I fitted into either category.
348
00:24:30,660 --> 00:24:32,820
It was very strange.
349
00:24:32,820 --> 00:24:34,660
It was a very strange experience.
350
00:24:34,660 --> 00:24:41,980
And then even after that, you know, my education, I decided to go to university and, and focus
351
00:24:41,980 --> 00:24:44,060
on classical guitar.
352
00:24:44,060 --> 00:24:48,780
So I was, that was my, that was my main study, my principal study.
353
00:24:48,780 --> 00:24:51,420
And I was doing, so I did that for three, four years.
354
00:24:51,420 --> 00:24:55,660
And then again, I felt, is this what I should be doing?
355
00:24:55,660 --> 00:24:56,660
Do I fit in here?
356
00:24:56,660 --> 00:25:01,220
It's something doesn't feel totally at home, you know?
357
00:25:01,220 --> 00:25:06,860
I was kind of just doing what I felt was expected, I think.
358
00:25:06,860 --> 00:25:14,820
And I think it's quite a, an honest journey of a lot of musicians is they just kind of
359
00:25:14,820 --> 00:25:21,740
keep going with the path that they're shown and go, okay, this is your instrument, do
360
00:25:21,740 --> 00:25:22,740
the grades.
361
00:25:22,740 --> 00:25:25,300
If you like it, just keep going, keep going.
362
00:25:25,300 --> 00:25:32,660
And it was, it's actually really been since, since discovering Kapustin or maybe a year
363
00:25:32,660 --> 00:25:37,740
before where I started to feel like I need to start playing what's right for me, what
364
00:25:37,740 --> 00:25:40,060
feels right for me.
365
00:25:40,060 --> 00:25:45,980
So I would only choose repertoire really if it spoke to me, you know?
366
00:25:45,980 --> 00:25:52,060
And I think, I think it's that distinction between kind of doing what's expected and
367
00:25:52,060 --> 00:25:59,020
then actually playing really what connects to you and just going with that.
368
00:25:59,020 --> 00:26:03,740
And as soon as I started almost like rebelling in some way and not playing the repertoire
369
00:26:03,740 --> 00:26:09,780
that everyone was expecting me to play, my performing was improving because I felt this
370
00:26:09,780 --> 00:26:11,620
is really what I should be doing.
371
00:26:11,620 --> 00:26:19,420
And especially with Kapustin because it speaks to me and it speaks to my education as well.
372
00:26:19,420 --> 00:26:27,220
It, it, it's made me feel very at home and I have a very strong sentiment to, to playing
373
00:26:27,220 --> 00:26:28,220
his music.
374
00:26:28,220 --> 00:26:32,500
It's quite, it's quite strange, but it's, I can't really describe it in any other way,
375
00:26:32,500 --> 00:26:33,500
to be honest.
376
00:26:33,500 --> 00:26:39,540
Yeah, but in a way I can really feel you.
377
00:26:39,540 --> 00:26:44,500
I can really relate to you and classical music.
378
00:26:44,500 --> 00:26:46,500
Well, let's just focus on classical music.
379
00:26:46,500 --> 00:26:48,580
It's just like this pyramid.
380
00:26:48,580 --> 00:26:51,500
You're supposed to reach this top of this, right?
381
00:26:51,500 --> 00:26:52,500
Yeah.
382
00:26:52,500 --> 00:26:53,500
Tip, right?
383
00:26:53,500 --> 00:26:54,500
Yeah.
384
00:26:54,500 --> 00:26:55,500
But yeah.
385
00:26:55,500 --> 00:26:57,820
There's this sort of expectation.
386
00:26:57,820 --> 00:27:00,020
There's this huge expectation.
387
00:27:00,020 --> 00:27:06,380
And like going back to what I said about how protected the repertoire is, there's almost
388
00:27:06,380 --> 00:27:10,540
no room for your own imprint in it.
389
00:27:10,540 --> 00:27:17,460
You know, if you do do something that's totally personal, you have to be prepared that people
390
00:27:17,460 --> 00:27:21,420
are going to, are going to come up, come against it.
391
00:27:21,420 --> 00:27:24,180
You know, then they might not, they might not enjoy it.
392
00:27:24,180 --> 00:27:31,140
But I think that actually if you find repertoire, so it doesn't even have to be contemporary.
393
00:27:31,140 --> 00:27:36,900
It can be traditional repertoire, but it's, it's again, connecting to just playing it
394
00:27:36,900 --> 00:27:42,020
completely authentically and trusting that, you know, it's about, it's about anyone can
395
00:27:42,020 --> 00:27:43,820
really play the notes.
396
00:27:43,820 --> 00:27:47,540
You know, we can all, you know, if you spend enough time, we can all learn to play the
397
00:27:47,540 --> 00:27:49,700
right notes at the right time.
398
00:27:49,700 --> 00:27:54,780
But it's really about the why and how you can, how you can demonstrate that.
399
00:27:54,780 --> 00:27:59,660
And I'm hoping with Kapustin that I'm able to, you know, show my journey through the
400
00:27:59,660 --> 00:28:04,420
album because I'm not playing his music purely because I like it.
401
00:28:04,420 --> 00:28:07,060
You know, it's for a very different reason.
402
00:28:07,060 --> 00:28:12,460
And I think the album has come exactly at the right time in my life.
403
00:28:12,460 --> 00:28:16,860
And it's, it's an album about a journey.
404
00:28:16,860 --> 00:28:20,340
And it's not a finish, you know, it's not a perfect product.
405
00:28:20,340 --> 00:28:23,140
It's not, this is the pinnacle of, of my career.
406
00:28:23,140 --> 00:28:30,420
This is just a point in my journey and, and how I have found total almost expressive freedom
407
00:28:30,420 --> 00:28:32,940
in his playing.
408
00:28:32,940 --> 00:28:37,260
So does that make sense?
409
00:28:37,260 --> 00:28:38,260
Yeah,
410
00:28:38,260 --> 00:28:39,580
It does make sense.
411
00:28:39,580 --> 00:28:40,900
It does make sense.
412
00:28:40,900 --> 00:28:41,900
Wow.
413
00:28:41,900 --> 00:28:46,780
So the, well, we can talk more about the album later, but album comes in sometime in the
414
00:28:46,780 --> 00:28:47,780
fall 2025?
415
00:28:47,780 --> 00:28:48,780
Yes.
416
00:28:48,780 --> 00:28:49,780
Yeah.
417
00:28:49,780 --> 00:28:50,780
Yeah.
418
00:28:50,780 --> 00:28:51,780
We're hoping, we're hoping.
419
00:28:51,780 --> 00:28:53,780
So I've recorded the first half.
420
00:28:53,780 --> 00:28:56,580
I've still got a lot more to do.
421
00:28:56,580 --> 00:29:00,900
But it's, it's all set to be recorded in the spring, which is really good.
422
00:29:00,900 --> 00:29:04,900
And then there's, you know, things that have to happen before it's released.
423
00:29:04,900 --> 00:29:11,020
But hopefully, hopefully in the next few months, I should be thinking about proper release dates
424
00:29:11,020 --> 00:29:14,340
and there'll be a launch party and it's all very exciting.
425
00:29:14,340 --> 00:29:18,700
But yeah, this year, this year definitely should be.
426
00:29:18,700 --> 00:29:19,700
So very exciting.
427
00:29:19,700 --> 00:29:21,740
That is very exciting.
428
00:29:21,740 --> 00:29:26,660
Now I've also, because I've known Kapustin for a while.
429
00:29:26,660 --> 00:29:31,260
Like, yeah, because I think he's bigger in the United States.
430
00:29:31,260 --> 00:29:36,300
Obviously his music was so influenced by American jazz music.
431
00:29:36,300 --> 00:29:40,620
So obviously if you're living in America, United States, you hear quite a bit.
432
00:29:40,620 --> 00:29:46,580
And then Yuzha Wang, she performed the, I think third, two to number three.
433
00:29:46,580 --> 00:29:47,580
Yeah.
434
00:29:47,580 --> 00:29:48,580
And that's famous.
435
00:29:48,580 --> 00:29:53,780
I've been to her concerts twice and at Lincoln Center and then she always plays that as one
436
00:29:53,780 --> 00:29:54,780
of the encore pieces.
437
00:29:54,780 --> 00:29:55,780
Yeah.
438
00:29:55,780 --> 00:30:01,980
And I think that's great because, because she's obviously this huge pioneering figure
439
00:30:01,980 --> 00:30:09,100
and for even just that little glimmer, for that, for that profile, for someone of that
440
00:30:09,100 --> 00:30:13,100
profile to be playing his music is fantastic.
441
00:30:13,100 --> 00:30:20,940
And I think that has started more and more people going, what is this?
442
00:30:20,940 --> 00:30:27,180
And I think it's fascinating that it's popular or maybe even more popular in America than
443
00:30:27,180 --> 00:30:32,500
it is at the moment in the UK because Kapustin never went to America.
444
00:30:32,500 --> 00:30:33,500
Yes.
445
00:30:33,500 --> 00:30:34,500
So, so.
446
00:30:34,500 --> 00:30:35,500
Wow.
447
00:30:35,500 --> 00:30:41,180
And it's amazing how he's an absolute genius because he picked, the whole influence has
448
00:30:41,180 --> 00:30:44,260
come from the radio, really, and TV.
449
00:30:44,260 --> 00:30:45,260
That was everything.
450
00:30:45,260 --> 00:30:50,980
There were visiting American pianists that would go to Russia and play because he spent
451
00:30:50,980 --> 00:30:53,420
a lot of his time in Russia.
452
00:30:53,420 --> 00:30:55,620
Although he always said he was a Ukrainian.
453
00:30:55,620 --> 00:31:01,260
So let's respect that and not say that he's Russian.
454
00:31:01,260 --> 00:31:08,940
But he, yeah, it's really special that he was able to pick up so much just from those
455
00:31:08,940 --> 00:31:15,780
mediums and I bet he would have loved to have gone to America and actually seen it and absorbed
456
00:31:15,780 --> 00:31:18,420
it in the flesh.
457
00:31:18,420 --> 00:31:22,340
But the pure genius that he is.
458
00:31:22,340 --> 00:31:26,980
You know, because I've tried several etudes.
459
00:31:26,980 --> 00:31:33,780
I tried the first one and I think I tried the number four, etude number four, Remembrance.
460
00:31:33,780 --> 00:31:35,260
Oh, so beautiful.
461
00:31:35,260 --> 00:31:37,900
And then number five, Railery.
462
00:31:37,900 --> 00:31:49,620
Oh, that is just insane.
463
00:31:49,620 --> 00:31:59,460
It has the blend of what Rachmaninoff to Bill Evans to Art Tatum.
464
00:31:59,460 --> 00:32:00,820
It's really incredible.
465
00:32:00,820 --> 00:32:05,420
So apparently Kapustin's favorite pianist was Oscar Peterson.
466
00:32:05,420 --> 00:32:08,900
And actually you can hear that in the preludes.
467
00:32:08,900 --> 00:32:13,740
Mostly I feel personally, I think that that's the response I've gotten mostly from audiences
468
00:32:13,740 --> 00:32:19,340
as well, because every time I've performed his music and actually almost for the last
469
00:32:19,340 --> 00:32:23,340
six months, all of my concerts have been all Kapustin.
470
00:32:23,340 --> 00:32:27,900
So if you come to watch me, be prepared to listen to just Kapustin.
471
00:32:27,900 --> 00:32:29,500
But people love it.
472
00:32:29,500 --> 00:32:36,020
And they just say, they almost are teaching, the audiences are teaching me even more as
473
00:32:36,020 --> 00:32:42,540
well because they'll come back and say, that sounded exactly like Herbie Hancock.
474
00:32:42,540 --> 00:32:46,180
You know, and I hadn't thought, actually, yeah, that is a bit like her.
475
00:32:46,180 --> 00:32:53,180
You know, so I love hearing other people's responses to his music because then it's educating
476
00:32:53,180 --> 00:32:55,340
me as well.
477
00:32:55,340 --> 00:32:57,860
And I think that's really special.
478
00:32:57,860 --> 00:33:06,060
And then I recently posted a video, you know, sadly, so many artists now have to use social
479
00:33:06,060 --> 00:33:08,580
media, you know, to promote their music.
480
00:33:08,580 --> 00:33:12,700
And although it can be a difficult world to navigate, I think it's quite important that
481
00:33:12,700 --> 00:33:15,900
we try to reach audiences through that way.
482
00:33:15,900 --> 00:33:21,220
And I posted a video, just a short clip of me playing some of the Kapustin, and it's
483
00:33:21,220 --> 00:33:25,820
had almost 35,000 views, which is fantastic.
484
00:33:25,820 --> 00:33:30,860
But it's the comments that I'm getting from it are incredible because the audiences are
485
00:33:30,860 --> 00:33:34,900
saying that sounds like it's from a Japanese video game.
486
00:33:34,900 --> 00:33:36,220
Like where's this from?
487
00:33:36,220 --> 00:33:38,540
Or, you know, that sounds like Prokofiev.
488
00:33:38,540 --> 00:33:44,820
And it's so amazing how there are all these little snippets of the music that people are
489
00:33:44,820 --> 00:33:50,380
picking up such different ideas from, but everyone is just loving it.
490
00:33:50,380 --> 00:33:53,780
I think that's the main thing is that there are more and more people now discovering his
491
00:33:53,780 --> 00:33:57,660
music that instantly are like, what is this?
492
00:33:57,660 --> 00:34:00,940
Almost like the way that I felt when I first heard his music.
493
00:34:00,940 --> 00:34:01,940
Yeah.
494
00:34:01,940 --> 00:34:06,500
Well, I felt the same way when I first heard it and it was so shocking.
495
00:34:06,500 --> 00:34:13,460
And then, yeah, it's jazzy, but it's not quite jazz jazz because you hear all these classical
496
00:34:13,460 --> 00:34:17,100
elements as a classical musician, you instantly know that's classical.
497
00:34:17,100 --> 00:34:22,660
There's no way that's improvisation, but it's like, so, yes, it's so interesting.
498
00:34:22,660 --> 00:34:23,660
Yeah.
499
00:34:23,660 --> 00:34:27,460
So I want to know what makes his music so unique.
500
00:34:27,460 --> 00:34:32,380
We just talked about it, but and then unique and compelling for both classical and jazz
501
00:34:32,380 --> 00:34:33,380
pianists.
502
00:34:33,380 --> 00:34:34,380
Yes.
503
00:34:34,380 --> 00:34:39,700
So if I come from more of a jazz perspective, because what I have found very interesting
504
00:34:39,700 --> 00:34:48,180
is most of the people that have connected with me online have actually been jazz musicians
505
00:34:48,180 --> 00:34:51,340
and they are the ones that are like, what is this?
506
00:34:51,340 --> 00:34:52,340
Interesting.
507
00:34:52,340 --> 00:34:53,340
Are you improvising?
508
00:34:53,340 --> 00:34:54,340
Have you written that?
509
00:34:54,340 --> 00:34:56,620
I'm like, no, no, no, no, no.
510
00:34:56,620 --> 00:35:03,460
But isn't that fascinating that actually more jazz musicians are picking up on the playing
511
00:35:03,460 --> 00:35:05,020
than classical?
512
00:35:05,020 --> 00:35:09,500
So it definitely speaks to them immediately, but there's hardly anyone really.
513
00:35:09,500 --> 00:35:18,340
I mean, it's becoming more popular, but most of the jazz musicians that I have encountered
514
00:35:18,340 --> 00:35:23,780
and worked with even had never heard of Kirsten either, but they're kind of like, they perk
515
00:35:23,780 --> 00:35:27,460
up, you know, they go, well, who is this?
516
00:35:27,460 --> 00:35:33,580
Like, I think I might need to actually find out who this person is because it really resonates
517
00:35:33,580 --> 00:35:35,580
with their language.
518
00:35:35,580 --> 00:35:43,340
And I think that's why they are now picking up more about it because of the use of the
519
00:35:43,340 --> 00:35:46,300
rhythm, because of the use of the harmony.
520
00:35:46,300 --> 00:35:53,580
And I'm currently doing a master's, a conservatoire for Trinity Laban in London, and I'm doing
521
00:35:53,580 --> 00:35:55,580
both classical and jazz.
522
00:35:55,580 --> 00:35:56,580
Really?
523
00:35:56,580 --> 00:35:57,580
Yeah.
524
00:35:57,580 --> 00:35:58,580
And amazingly-
525
00:35:58,580 --> 00:35:59,580
In piano?
526
00:35:59,580 --> 00:36:00,580
Yes, very in piano.
527
00:36:00,580 --> 00:36:01,580
Oh my God.
528
00:36:01,580 --> 00:36:08,220
Yeah, so, but what I'm loving is that I'm taking the jazz professors, the Kabustin,
529
00:36:08,220 --> 00:36:13,100
they'd never heard of him, but they go, oh my God, like, what is this?
530
00:36:13,100 --> 00:36:14,380
This is incredible.
531
00:36:14,380 --> 00:36:19,660
And they're very honest about the fact that they say, I don't know if I'd ever play this.
532
00:36:19,660 --> 00:36:22,300
They say, I don't know if I'd ever be able to play this.
533
00:36:22,300 --> 00:36:27,820
And I don't know if necessarily I'd feel comfortable playing it.
534
00:36:27,820 --> 00:36:33,420
But they actually say to them, this is jazz, which is really interesting.
535
00:36:33,420 --> 00:36:43,140
So I've found myself in lots of interesting conversations about is Kabustin jazz or classical?
536
00:36:43,140 --> 00:36:48,860
And yes, it's very, it's kind of really straight away, it is classic.
537
00:36:48,860 --> 00:36:49,860
You know, okay.
538
00:36:49,860 --> 00:36:56,420
If we respect the tradition of playing written music, and also a lot of the interpretation,
539
00:36:56,420 --> 00:37:00,300
a lot of the composition has classical elements to it.
540
00:37:00,300 --> 00:37:05,020
But when I play it to a jazz musician, they say it's jazz.
541
00:37:05,020 --> 00:37:09,420
And then I open up the question to them, but hang on, what about improvisation?
542
00:37:09,420 --> 00:37:12,140
Isn't improvisation jazz?
543
00:37:12,140 --> 00:37:15,820
And there is so much jazz now that isn't improvised.
544
00:37:15,820 --> 00:37:16,820
Isn't?
545
00:37:16,820 --> 00:37:19,660
No, there's a lot.
546
00:37:19,660 --> 00:37:26,140
So if jazz musicians, I think it takes a certain jazz musician to maybe talk about that, be
547
00:37:26,140 --> 00:37:27,860
happy to talk about that.
548
00:37:27,860 --> 00:37:32,740
And improvisation is a huge tradition in the jazz world.
549
00:37:32,740 --> 00:37:33,740
That is jazz.
550
00:37:33,740 --> 00:37:35,380
To me, that is jazz.
551
00:37:35,380 --> 00:37:41,580
But I find it interesting that some jazz musicians are saying to me, I think Kabustin is jazz.
552
00:37:41,580 --> 00:37:45,860
And I think, oh, but this opens a whole other debate of what is what then?
553
00:37:45,860 --> 00:37:50,060
You know, why is jazz only improvisation?
554
00:37:50,060 --> 00:37:53,220
And why is classical only written?
555
00:37:53,220 --> 00:37:55,180
Because you also have classical improvisation.
556
00:37:55,180 --> 00:38:01,140
Yes, because Bach, Bach's time of improv was a normal thing.
557
00:38:01,140 --> 00:38:02,140
Absolutely.
558
00:38:02,140 --> 00:38:09,940
So it opens up this whole other, you know, line of debate, really.
559
00:38:09,940 --> 00:38:13,820
And I'm not in any position to kind of put anything in any box.
560
00:38:13,820 --> 00:38:19,580
And I think that's what I am about, is that actually, I'm not going to be for or against
561
00:38:19,580 --> 00:38:20,580
either viewpoint.
562
00:38:20,580 --> 00:38:26,740
But I just find it fascinating how other people are responding to it and saying, no, I think
563
00:38:26,740 --> 00:38:27,740
it's jazz.
564
00:38:27,740 --> 00:38:31,860
And then you might take it to another musician and they say, no, I think it's classical.
565
00:38:31,860 --> 00:38:34,940
And it's like, okay, well, what is it?
566
00:38:34,940 --> 00:38:42,980
You know, and Kabustin himself was very adamant that he was a classical pianist and that this
567
00:38:42,980 --> 00:38:45,580
is classical music.
568
00:38:45,580 --> 00:38:53,700
But if he were alive today, I would love to say to him, but you must be improvising to
569
00:38:53,700 --> 00:38:56,420
get to your composition.
570
00:38:56,420 --> 00:39:05,300
Like you must have been skilled in that art because your compositions are so dynamic.
571
00:39:05,300 --> 00:39:11,980
And the research I've done is that he obviously, it started off with an idea and then he composed
572
00:39:11,980 --> 00:39:13,300
on top of it.
573
00:39:13,300 --> 00:39:20,540
And that was why he said it made it so, you know, so perfect.
574
00:39:20,540 --> 00:39:25,940
It's because the improvisation in the early stage was refined.
575
00:39:25,940 --> 00:39:32,340
And so he says it can't be considered jazz because it's not improvisation, it is written.
576
00:39:32,340 --> 00:39:35,080
And I think that's really important to honor that.
577
00:39:35,080 --> 00:39:40,340
And I would never, I'd almost never advertise the music as jazz.
578
00:39:40,340 --> 00:39:47,980
But you can't take away that there is harmony and rhythm here that is of the jazz language.
579
00:39:47,980 --> 00:39:50,420
So it's a really unusual place.
580
00:39:50,420 --> 00:39:58,740
And classical, when classical musicians approach it, they're coming, you know, if they haven't
581
00:39:58,740 --> 00:40:06,820
had that kind of exposure to jazz before, they're playing in a very kind of formal way
582
00:40:06,820 --> 00:40:12,380
of this is just an etude and I'm playing it just as an etude.
583
00:40:12,380 --> 00:40:19,580
Whereas I think if you have maybe a stronger understanding of the jazz sound, you can maybe
584
00:40:19,580 --> 00:40:27,820
pick up nuances that Kapustin would have maybe had appreciated in the performances.
585
00:40:27,820 --> 00:40:29,780
Does that make sense?
586
00:40:29,780 --> 00:40:36,460
So I think what's important, at least for my own approach, is that my understanding
587
00:40:36,460 --> 00:40:44,380
of jazz is just constantly being developed and enriched in a very practical sense as
588
00:40:44,380 --> 00:40:51,220
well so that it's constantly influencing my interpretations of the written score.
589
00:40:51,220 --> 00:40:54,500
So you've got to have both really, I think in this.
590
00:40:54,500 --> 00:40:58,740
I'm hearing this in and out of either side, right?
591
00:40:58,740 --> 00:40:59,740
Yes, yeah.
592
00:40:59,740 --> 00:41:00,740
That's it.
593
00:41:00,740 --> 00:41:06,060
It's very, it can be a very debatable subject.
594
00:41:06,060 --> 00:41:07,060
Very.
595
00:41:07,060 --> 00:41:12,460
And it kind of leans back to the protectiveness of people's repertoire and the protectiveness
596
00:41:12,460 --> 00:41:14,020
of genre.
597
00:41:14,020 --> 00:41:22,740
And I'm just finding that as I'm developing as a musician, I really want to cross those
598
00:41:22,740 --> 00:41:25,980
or I want to challenge those ideas.
599
00:41:25,980 --> 00:41:34,620
And yeah, and very, and what's really great is that I'm, because of my studying now, I've
600
00:41:34,620 --> 00:41:40,980
been kind of given this extra space to just have fun and explore, experiment with no kind
601
00:41:40,980 --> 00:41:41,980
of expectation.
602
00:41:41,980 --> 00:41:47,340
You know, it's like a playground.
603
00:41:47,340 --> 00:41:48,480
So it's great.
604
00:41:48,480 --> 00:41:57,900
So I'm just at the start of a Kapustin project where I'm creating lead sheets for jazz musicians
605
00:41:57,900 --> 00:42:05,460
of Kapustin's etudes and I'm going to create a classical and jazz musician collaborative
606
00:42:05,460 --> 00:42:06,940
performance.
607
00:42:06,940 --> 00:42:12,380
So the idea is that the jazz musicians will be able to improvise with the classical musicians
608
00:42:12,380 --> 00:42:17,020
playing Kapustin's music and it's going to be expanded.
609
00:42:17,020 --> 00:42:20,580
And I think that that is something that needs to happen.
610
00:42:20,580 --> 00:42:26,340
And I think Kapustin has kind of given this opportunity to explore this.
611
00:42:26,340 --> 00:42:29,700
So this is what I would like to do and this is what I'd like to explore.
612
00:42:29,700 --> 00:42:33,220
So that's a whole other thing.
613
00:42:33,220 --> 00:42:34,700
I have so many questions.
614
00:42:34,700 --> 00:42:36,580
Wait, wait, wait.
615
00:42:36,580 --> 00:42:47,540
So based on Kapustin's current, let's say some etude number one, something like that.
616
00:42:47,540 --> 00:42:48,540
Yeah.
617
00:42:48,540 --> 00:42:53,300
Then you are making a lead sheet out of it.
618
00:42:53,300 --> 00:42:54,300
Right.
619
00:42:54,300 --> 00:43:00,300
And then the lead sheet is usually there's a melody, single melody line and you'll see
620
00:43:00,300 --> 00:43:03,820
the chord names on top.
621
00:43:03,820 --> 00:43:06,140
And then jazz has its own chord thing.
622
00:43:06,140 --> 00:43:12,140
Like you see the letter, we kept the letter with like a little bit of a different codes
623
00:43:12,140 --> 00:43:20,220
to follow, like a C minus C, M, A, J. I'm explaining to my listeners.
624
00:43:20,220 --> 00:43:22,320
So that's exactly what you're doing.
625
00:43:22,320 --> 00:43:28,300
And they usually jazz musicians, when they do like a big ensemble or something, they
626
00:43:28,300 --> 00:43:30,540
have this lead sheet in front of them.
627
00:43:30,540 --> 00:43:34,500
Then they're improvising according to the lead sheet.
628
00:43:34,500 --> 00:43:38,980
So you're not supposed to go play the different chord.
629
00:43:38,980 --> 00:43:39,980
Yes.
630
00:43:39,980 --> 00:43:41,980
You have to follow.
631
00:43:41,980 --> 00:43:42,980
Yes.
632
00:43:42,980 --> 00:43:46,180
You have to respond to what the harmony is saying.
633
00:43:46,180 --> 00:43:50,020
And once you know what the harmony is, it then opens up doors to the scales that you
634
00:43:50,020 --> 00:43:52,220
can play within that harmony.
635
00:43:52,220 --> 00:43:57,260
So then that helps you improvise on top of the harmony that's been written out.
636
00:43:57,260 --> 00:44:05,980
So my project is really to analyze all of the harmony across the whole etude.
637
00:44:05,980 --> 00:44:10,060
That's going to take, that's a lot of work, which is why I'm really trying to learn jazz
638
00:44:10,060 --> 00:44:18,340
as much as I can and understand harmony in that way so that I can analyze that.
639
00:44:18,340 --> 00:44:23,420
But what I want to be able to do is to be able to say, okay, classical musician, here's
640
00:44:23,420 --> 00:44:28,660
the score, learn the score, do it as you normally would.
641
00:44:28,660 --> 00:44:32,540
But here's the lead sheet for the jazz musicians.
642
00:44:32,540 --> 00:44:37,300
And although the classical musicians, there might be a slight, there might be more space
643
00:44:37,300 --> 00:44:38,300
given.
644
00:44:38,300 --> 00:44:43,260
I might put sections in where it will give room to the jazz musicians to improvise.
645
00:44:43,260 --> 00:44:45,500
So there will be slight arrangements.
646
00:44:45,500 --> 00:44:53,220
The whole point is that on stage or in a performance setting, we will be able to play together.
647
00:44:53,220 --> 00:44:57,380
And there won't be this, there won't be this, oh, well, you're only jazz, so you can't
648
00:44:57,380 --> 00:45:01,060
play this and you're classical, so you're not allowed to play.
649
00:45:01,060 --> 00:45:04,060
There's got to be a joining here.
650
00:45:04,060 --> 00:45:09,220
And we aren't all, you only have to stay on that side and you have to stay on that side.
651
00:45:09,220 --> 00:45:13,820
And I think Kapustin is that perfect platform to do that.
652
00:45:13,820 --> 00:45:16,540
He's almost given you the template for that.
653
00:45:16,540 --> 00:45:22,420
He said, here's the harmony in a classical structure, but why can't we improvise on top
654
00:45:22,420 --> 00:45:23,420
of that?
655
00:45:23,420 --> 00:45:32,060
You just, well, unlocked the question, the answer to the question, the ultimate question.
656
00:45:32,060 --> 00:45:39,020
So basically jazz musicians, what makes the jazz is the lead sheet based on the sheet.
657
00:45:39,020 --> 00:45:44,180
The freedom, yeah, the freedom of being able to say, okay, I do have a structure here.
658
00:45:44,180 --> 00:45:48,460
You know, I have to follow the harmony, but really I'm free.
659
00:45:48,460 --> 00:45:54,180
And I think with Kapustin's music, although it is structured and it is, you have to learn
660
00:45:54,180 --> 00:45:58,060
the notes, like we were the classical musician.
661
00:45:58,060 --> 00:46:04,900
You've got to play it with freedom and you've got to have that jazz feel of the spontaneity
662
00:46:04,900 --> 00:46:09,740
of improvisation and I think that's really important in studying.
663
00:46:09,740 --> 00:46:11,980
But how do you do that as a classical musician?
664
00:46:11,980 --> 00:46:16,500
If I may ask, yes.
665
00:46:16,500 --> 00:46:18,700
I think it comes down to trust.
666
00:46:18,700 --> 00:46:24,900
And actually, yeah, and actually almost saying, this is the way I want to play this phrase
667
00:46:24,900 --> 00:46:27,620
and I want it to be expressed in this way.
668
00:46:27,620 --> 00:46:32,820
I want to voice it this way, or I'm going to accentuate it in a different way, which
669
00:46:32,820 --> 00:46:39,380
in the jazz world, you know, who says you can accent whatever you want?
670
00:46:39,380 --> 00:46:42,300
You know, there isn't really like a set thing.
671
00:46:42,300 --> 00:46:45,900
You can do your own thing, right?
672
00:46:45,900 --> 00:46:51,540
And I think that's what you have to trust with Kapustin's music in that although you're
673
00:46:51,540 --> 00:46:55,140
playing the notes and it's written and you do want to see, okay, if Kapustin has put
674
00:46:55,140 --> 00:47:01,820
an accent on one of the notes, we should respect that because he's taken time to write that
675
00:47:01,820 --> 00:47:02,820
down.
676
00:47:02,820 --> 00:47:08,860
But Kapustin, in some of his scores, when he's actually, when we've been lucky enough
677
00:47:08,860 --> 00:47:14,260
that he's written a description about how he wants to play the piece, which you do find
678
00:47:14,260 --> 00:47:22,980
in some of his scores, he says from his own words, play this as if it is being improvised.
679
00:47:22,980 --> 00:47:25,500
That's what he says.
680
00:47:25,500 --> 00:47:26,500
Yes.
681
00:47:26,500 --> 00:47:31,860
He says it needs to be played, not like a Takata style cadenza.
682
00:47:31,860 --> 00:47:34,860
You know, it doesn't, we don't want it to be even.
683
00:47:34,860 --> 00:47:40,260
It actually needs to be, you know, alive.
684
00:47:40,260 --> 00:47:42,860
And it's amazing to have actually read that.
685
00:47:42,860 --> 00:47:50,540
And it's almost given credit to, he wants you to play it like jazz and not so much in
686
00:47:50,540 --> 00:47:52,980
a classical way.
687
00:47:52,980 --> 00:47:56,780
And I think that that's really fascinating to explore.
688
00:47:56,780 --> 00:48:02,660
But going back to kind of authenticity, if you want to play it in a classical way, play
689
00:48:02,660 --> 00:48:06,820
it in a classical way, you know, there's kind of no right or wrong.
690
00:48:06,820 --> 00:48:14,060
And it's, I think every pianist should try and play his music because I think you learn
691
00:48:14,060 --> 00:48:18,180
a lot about how you want to interpret things.
692
00:48:18,180 --> 00:48:22,700
And it will give you, it will give you that platform to do that.
693
00:48:22,700 --> 00:48:23,700
I think so.
694
00:48:23,700 --> 00:48:29,940
And, you know, what makes his music so, so fascinating and attractive is that, you know,
695
00:48:29,940 --> 00:48:37,860
I'm not a jazz musician and I tried, but jazz is a different language you speak, right?
696
00:48:37,860 --> 00:48:43,740
The way they, so going back to Leedsheet versus the written work, so the way jazz musicians
697
00:48:43,740 --> 00:48:48,260
think about music and the way we think about, I think about classical music is different.
698
00:48:48,260 --> 00:48:50,160
So that's one thing.
699
00:48:50,160 --> 00:48:56,340
So when I tried Capustin's some of the etudes, I was like, wow, I feel like I was a jazz
700
00:48:56,340 --> 00:49:01,260
musician because I've always wanted to be like that, you know?
701
00:49:01,260 --> 00:49:03,740
Maybe next life, in the next life.
702
00:49:03,740 --> 00:49:11,300
I think that's why it's so special because it does connect, it does connect a side of
703
00:49:11,300 --> 00:49:17,740
you that you might have always wanted or something that you've always loved, you know, an art
704
00:49:17,740 --> 00:49:22,420
form that you've always loved that you've just never had access to or never had, you
705
00:49:22,420 --> 00:49:24,580
know, it just hadn't happened.
706
00:49:24,580 --> 00:49:30,020
And I think that written out jazz, so not even just Capustin, but any jazz that has
707
00:49:30,020 --> 00:49:35,140
been notated is really, is really special for people.
708
00:49:35,140 --> 00:49:42,020
And I think that it shouldn't automatically not be considered jazz because it's not spontaneous.
709
00:49:42,020 --> 00:49:53,300
You know, I think that yes, jazz is a language and it has its total own tradition, but there
710
00:49:53,300 --> 00:49:58,900
needs to be an access for people in a different way, in a different way.
711
00:49:58,900 --> 00:50:04,100
And I think it's very interesting just because I'm coming at it from a very different place.
712
00:50:04,100 --> 00:50:08,820
And I've had a very unusual upbringing musically.
713
00:50:08,820 --> 00:50:16,620
But that, yeah, that is your, because of that, because of your versatility that contributes
714
00:50:16,620 --> 00:50:19,940
to playing his works.
715
00:50:19,940 --> 00:50:24,060
And also you will be the expert in his music, right?
716
00:50:24,060 --> 00:50:26,860
Because you can understand both sides.
717
00:50:26,860 --> 00:50:27,860
Yes.
718
00:50:27,860 --> 00:50:37,900
And I think, you know, I'm just trusting my own vulnerability about it, you know, and
719
00:50:37,900 --> 00:50:43,380
thinking, well, there'll be other musicians that will play Capustin in the future.
720
00:50:43,380 --> 00:50:47,180
And there are other musicians that play his music now that might disagree with the way
721
00:50:47,180 --> 00:50:52,620
that I'm playing, but that's fine because I'm trusting that I'm doing it in a way that
722
00:50:52,620 --> 00:50:54,900
feels right for me.
723
00:50:54,900 --> 00:51:03,460
And based on my understanding of the two different genres, that's how I'm playing it.
724
00:51:03,460 --> 00:51:08,780
And I think that's really how it, that's all you can do as an artist is just trust that
725
00:51:08,780 --> 00:51:13,580
I'm doing it this way, you know, and I'm connected to it this way.
726
00:51:13,580 --> 00:51:17,580
And yeah, lean into that, I think.
727
00:51:17,580 --> 00:51:22,140
And it can be said for all genres, you know, all different types of music.
728
00:51:22,140 --> 00:51:28,180
It's really about if you trust, if you trust the way that you want to play it, and you
729
00:51:28,180 --> 00:51:32,500
are able to communicate that, then it works.
730
00:51:32,500 --> 00:51:37,380
You know, or I'm finding it's working.
731
00:51:37,380 --> 00:51:40,980
Before continuing this inspiring conversation with our guest, let's take a moment to hear
732
00:51:40,980 --> 00:51:45,380
from our valued sponsor of the month, New York Piano Group, whose support helps make
733
00:51:45,380 --> 00:51:46,380
this podcast possible.
734
00:51:46,380 --> 00:51:51,460
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100 events hosted, including workshops, concerts, master classes, and online performance meetups.
738
00:52:05,620 --> 00:52:10,700
New York Piano Group offers a unique space for adult pianists to connect, perform, and
739
00:52:10,700 --> 00:52:12,260
develop their craft.
740
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As a member, you'll enjoy exclusive performance opportunities, discounted event tickets, and
741
00:52:17,060 --> 00:52:22,900
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742
00:52:22,900 --> 00:52:26,820
Whether you're looking to overcome stage fright, build connections, collaborate with
743
00:52:26,820 --> 00:52:32,020
fellow artists, or simply share your love for piano, New York Piano Group is here to
744
00:52:32,020 --> 00:52:33,020
help you grow.
745
00:52:33,020 --> 00:52:38,740
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746
00:52:38,740 --> 00:52:45,780
Visit newyorkpianogroup.org or look for us on meetup.com to join our community today.
747
00:52:45,780 --> 00:52:50,420
Whether you're playing Chopin for fun or dreaming of your Carnegie Hall debut, there's a place
748
00:52:50,420 --> 00:52:58,020
for you at New York Piano Group.
749
00:52:58,020 --> 00:52:59,020
But you know what?
750
00:52:59,020 --> 00:53:00,020
You're beaming.
751
00:53:00,020 --> 00:53:03,260
Your energy is just coming through this screen right now.
752
00:53:03,260 --> 00:53:05,020
Because you found your way.
753
00:53:05,020 --> 00:53:14,460
Because I love talking to people who are sort of like you, like in a gray area.
754
00:53:14,460 --> 00:53:17,180
It's not black and white.
755
00:53:17,180 --> 00:53:18,300
I don't belong in this.
756
00:53:18,300 --> 00:53:24,100
I don't belong in that, but you are on your own thing.
757
00:53:24,100 --> 00:53:26,460
But then I understand.
758
00:53:26,460 --> 00:53:35,300
So when someone like you then finding, because of that, the challenge would be really finding
759
00:53:35,300 --> 00:53:39,820
your own voice or own expression.
760
00:53:39,820 --> 00:53:46,140
I mean, whether that happens with most artists at some point, I don't know.
761
00:53:46,140 --> 00:53:49,820
I don't think people talk about that really.
762
00:53:49,820 --> 00:53:55,180
But I mean, before Kapustin, I was playing a lot of Rachmaninoff.
763
00:53:55,180 --> 00:53:58,020
And I really loved playing his repertoire.
764
00:53:58,020 --> 00:54:02,020
And I still play kind of in my spare time.
765
00:54:02,020 --> 00:54:04,380
I still play his repertoire.
766
00:54:04,380 --> 00:54:07,260
And that's another music that speaks to me as well.
767
00:54:07,260 --> 00:54:12,060
And I used to have people say, you play it so honestly.
768
00:54:12,060 --> 00:54:14,820
And I always wondered what they meant by that.
769
00:54:14,820 --> 00:54:20,260
And it wasn't necessarily about you're playing it honestly as you're learning, you're playing
770
00:54:20,260 --> 00:54:22,220
the notes honestly.
771
00:54:22,220 --> 00:54:26,540
You're actually playing it because it's, you're playing it honestly because you're playing
772
00:54:26,540 --> 00:54:29,620
it exactly how you feel you need to play.
773
00:54:29,620 --> 00:54:35,180
It's the honesty from yourself, which I think is what they were referring to.
774
00:54:35,180 --> 00:54:45,620
So I think all artists or any aspiring musician can feel hope in that and think, you know,
775
00:54:45,620 --> 00:54:50,740
if it's coming from an honest place and I'm really connected to the music, it totally
776
00:54:50,740 --> 00:54:53,940
transforms the playing.
777
00:54:53,940 --> 00:55:00,620
And to trust that it's okay to be your own voice and that you don't have to fit into
778
00:55:00,620 --> 00:55:02,460
any particular category.
779
00:55:02,460 --> 00:55:10,020
And actually, as soon as you start becoming yourself, that's when people resonate with
780
00:55:10,020 --> 00:55:12,860
you more or you connect even more.
781
00:55:12,860 --> 00:55:20,340
And it's a very amazing experience when you start doing that because just even in performances,
782
00:55:20,340 --> 00:55:27,580
the kind of the response I get when I'm just totally playing myself and not sort of thinking,
783
00:55:27,580 --> 00:55:31,220
I must make sure I do this or, you know, that teacher's told me to do this.
784
00:55:31,220 --> 00:55:32,540
I've got to do this.
785
00:55:32,540 --> 00:55:37,220
You know, as soon as you just start trusting, I know what I want to do and I know I can
786
00:55:37,220 --> 00:55:40,020
do it, the whole game changes.
787
00:55:40,020 --> 00:55:43,220
So, and I think that's what's happened.
788
00:55:43,220 --> 00:55:47,740
And I think that's how the album has come around because I was so, I was so in love
789
00:55:47,740 --> 00:55:51,900
with Kaboostin and I just, I think at the time I'd only learned a few of the etudes
790
00:55:51,900 --> 00:55:58,380
and the record label heard me play and they just said, we love this.
791
00:55:58,380 --> 00:56:01,580
We want to sign you and just do a whole album of it.
792
00:56:01,580 --> 00:56:05,780
And I was like, but I was just playing.
793
00:56:05,780 --> 00:56:12,340
I wasn't even like, I was doing a recording, but it wasn't like a commercial recording
794
00:56:12,340 --> 00:56:17,700
and they were involved in the project and I wasn't feeling particularly well in the
795
00:56:17,700 --> 00:56:19,820
day and I was just like, oh, you know what?
796
00:56:19,820 --> 00:56:20,820
It's fine.
797
00:56:20,820 --> 00:56:25,460
I'm just going to play my best and, you know, just kind of be myself.
798
00:56:25,460 --> 00:56:28,740
I can't do anything other than be myself really.
799
00:56:28,740 --> 00:56:30,700
And they just absolutely loved it.
800
00:56:30,700 --> 00:56:37,860
And I thought, oh my God, like I wasn't competing, you know, there wasn't any kind of formality.
801
00:56:37,860 --> 00:56:45,140
I was just playing how I would normally play and, or I was just playing me.
802
00:56:45,140 --> 00:56:47,140
Does that make sense?
803
00:56:47,140 --> 00:56:48,140
Yes.
804
00:56:48,140 --> 00:56:52,540
You know, it must have been a really hard work to get there, I'm sure, but at the same
805
00:56:52,540 --> 00:57:00,100
time, how fortunate that being able to find, you know, your ways and it took, it must took
806
00:57:00,100 --> 00:57:02,140
a lot of courage too sometimes.
807
00:57:02,140 --> 00:57:03,140
Yeah.
808
00:57:03,140 --> 00:57:06,380
And I'm still, I'm still working through that, you know, and I think there might be
809
00:57:06,380 --> 00:57:12,580
a point, I think where I think as artists, you'll always have to do that because there'll
810
00:57:12,580 --> 00:57:16,860
always be someone that might have something negative to say, which is very normal.
811
00:57:16,860 --> 00:57:19,060
We all have to understand that.
812
00:57:19,060 --> 00:57:24,460
And you know, there'll always be people that will have expectations of what you should
813
00:57:24,460 --> 00:57:28,980
be doing or how you should be playing or what repertoire you should be playing.
814
00:57:28,980 --> 00:57:36,700
And I think you've just got to lean into the feeling of, of the music that you play.
815
00:57:36,700 --> 00:57:42,380
And if it feels right, if it lights you up, if it gets you out of bed, then that's what
816
00:57:42,380 --> 00:57:47,100
you should be playing, you know, and, and it's okay to do that.
817
00:57:47,100 --> 00:57:50,460
Like it's okay to follow that and trust that.
818
00:57:50,460 --> 00:57:52,500
You know, do you know what I mean?
819
00:57:52,500 --> 00:57:53,500
Yeah, yes.
820
00:57:53,500 --> 00:57:54,500
Yeah.
821
00:57:54,500 --> 00:57:55,500
Wow.
822
00:57:55,500 --> 00:57:56,500
But that's amazing.
823
00:57:56,500 --> 00:58:02,260
So I can't really wait for the album to come because, you know, thank you.
824
00:58:02,260 --> 00:58:08,220
Yeah, that that's like the really one of you said it's not a pinnacle.
825
00:58:08,220 --> 00:58:10,700
It's just a, you know, one of the process.
826
00:58:10,700 --> 00:58:16,820
But I, yeah, but at the same time, it's like the product where you produce your producing
827
00:58:16,820 --> 00:58:20,420
or something with all the hard work you've.
828
00:58:20,420 --> 00:58:26,540
So I want to know what exactly you will be playing in the album for the album.
829
00:58:26,540 --> 00:58:29,540
So you said, are you doing all eight concert?
830
00:58:29,540 --> 00:58:30,540
Yes.
831
00:58:30,540 --> 00:58:35,500
I'm doing all the etudes and I've recorded them now, so they're done.
832
00:58:35,500 --> 00:58:36,500
Yeah.
833
00:58:36,500 --> 00:58:42,740
So it took about, it's interesting actually, the recording process.
834
00:58:42,740 --> 00:58:47,260
There's kind of mixed, mixed ideas about how it should be done, you know.
835
00:58:47,260 --> 00:58:50,500
So some people say you should get it done in a day.
836
00:58:50,500 --> 00:58:51,500
Try and do it in a day.
837
00:58:51,500 --> 00:58:53,500
Others are saying, no, no, no, it takes a week.
838
00:58:53,500 --> 00:58:54,860
You know, you've got to have a whole week.
839
00:58:54,860 --> 00:58:56,380
So I thought I'll go for the middle.
840
00:58:56,380 --> 00:58:57,740
I'll go for three days.
841
00:58:57,740 --> 00:59:03,660
So I gave myself three days to record all of them and we got it all done and that was
842
00:59:03,660 --> 00:59:04,660
amazing.
843
00:59:04,660 --> 00:59:10,860
And yeah, kind of looking forward to hearing them all, you know, together and once they're
844
00:59:10,860 --> 00:59:15,340
mastered and everything and just hearing the final product would be fantastic.
845
00:59:15,340 --> 00:59:19,620
So I'm also recording seven preludes.
846
00:59:19,620 --> 00:59:29,340
But yeah, from ranging kind of from number five up to 23.
847
00:59:29,340 --> 00:59:34,740
So there's a mixture of a mixture of them there and I've chosen specific ones kind of
848
00:59:34,740 --> 00:59:37,980
back to my point of which ones make me feel.
849
00:59:37,980 --> 00:59:41,740
How do they make me feel when I really play them and really listen to them and which ones
850
00:59:41,740 --> 00:59:43,620
am I most passionate about?
851
00:59:43,620 --> 00:59:48,780
But I also felt it was important to maybe include some that if you hadn't heard Kapustin's
852
00:59:48,780 --> 00:59:53,040
music before, these are good starting points.
853
00:59:53,040 --> 01:00:00,540
These are really this is Kapustin, you know, kind of like the one for my own taste anyway,
854
01:00:00,540 --> 01:00:04,980
because some of his music can also become quite contemporary.
855
01:00:04,980 --> 01:00:10,620
There's a lot that's almost slightly atonal in style, like the tonal sense quite hard
856
01:00:10,620 --> 01:00:11,620
to pinpoint.
857
01:00:11,620 --> 01:00:18,780
And I thought I don't want to choose anything that's going to be too inaccessible for both
858
01:00:18,780 --> 01:00:20,680
jazz and classical audiences.
859
01:00:20,680 --> 01:00:23,900
So I've chosen some of I think my favorite ones.
860
01:00:23,900 --> 01:00:30,700
And then I've also I'm also recording four standalone solo pieces.
861
01:00:30,700 --> 01:00:32,500
I'm not really familiar with those.
862
01:00:32,500 --> 01:00:34,180
Yeah, they're wonderful.
863
01:00:34,180 --> 01:00:38,460
I think if you want to first start playing Kapustin, they're probably the best repertoire
864
01:00:38,460 --> 01:00:39,460
to start with.
865
01:00:39,460 --> 01:00:40,460
I mean, the etudes are great.
866
01:00:40,460 --> 01:00:45,660
You know, if you if you have kind of if you're ready for the challenge and the kind of technical
867
01:00:45,660 --> 01:00:46,660
aspect of it, great.
868
01:00:46,660 --> 01:00:54,060
But if you want to learn more like songs or just nice pieces, they're really good to start.
869
01:00:54,060 --> 01:00:59,820
So there's one called Big Band Sounds, which actually was written, Kapustin originally
870
01:00:59,820 --> 01:01:02,660
wrote it for Big Band and Piano.
871
01:01:02,660 --> 01:01:05,780
And I'm hoping to do performances of that soon.
872
01:01:05,780 --> 01:01:09,180
So that yeah, that would be like literally the big band.
873
01:01:09,180 --> 01:01:10,180
Yes.
874
01:01:10,180 --> 01:01:11,180
Yeah.
875
01:01:11,180 --> 01:01:12,180
Yeah.
876
01:01:12,180 --> 01:01:13,180
So that would be fantastic.
877
01:01:13,180 --> 01:01:14,500
But he then rewrote it for solo piano.
878
01:01:14,500 --> 01:01:17,860
So that would be fantastic.
879
01:01:17,860 --> 01:01:24,740
And then there's also a few slower, more reflective pieces, one called Contemplation, another
880
01:01:24,740 --> 01:01:29,260
called Ballad, which actually doesn't have as far as I'm aware, doesn't have a commercial
881
01:01:29,260 --> 01:01:30,700
recording for you.
882
01:01:30,700 --> 01:01:31,700
So that's really exciting.
883
01:01:31,700 --> 01:01:36,380
So that'll sort of be a premiere of that, which is really great.
884
01:01:36,380 --> 01:01:45,380
I'm also doing a paraphrase on a famous Brazilian piece called Acrela do Brasil.
885
01:01:45,380 --> 01:01:49,500
So totally different from his other repertoire.
886
01:01:49,500 --> 01:01:51,500
It's so, so Brazilian.
887
01:01:51,500 --> 01:01:53,220
It's a samba piece.
888
01:01:53,220 --> 01:01:58,700
And I again wanted the audience to hear so much versatility and show everything that
889
01:01:58,700 --> 01:02:05,460
he does, big band, Preludes, Etudes, Brazil, you know, samba, contemplate, you know, really
890
01:02:05,460 --> 01:02:07,940
contemplative music as well.
891
01:02:07,940 --> 01:02:12,980
And I'm giving I've given myself a bit of a challenge of also learning one of his two
892
01:02:12,980 --> 01:02:17,820
piano pieces and I'm recording both parts myself.
893
01:02:17,820 --> 01:02:22,460
And that is a paraphrase on Dizzy Gillespie's Manteca.
894
01:02:22,460 --> 01:02:26,420
So yeah, that's really that's a huge challenge, actually.
895
01:02:26,420 --> 01:02:32,340
I think that's probably going to be the most challenging one and also one that I'm most
896
01:02:32,340 --> 01:02:37,860
curious to see how the audience respond to it, especially the jazz audience, because
897
01:02:37,860 --> 01:02:45,060
it is a very famous jazz piece by one of the biggest jazz artists that's ever lived.
898
01:02:45,060 --> 01:02:50,500
And it's going to be really fascinating to see what they think of that.
899
01:02:50,500 --> 01:02:56,780
And I'm studying really carefully the original recordings of the Manteca, lots of different
900
01:02:56,780 --> 01:03:02,460
recordings from Dizzy with different bands and yeah, loads of different recordings from
901
01:03:02,460 --> 01:03:09,020
that to make my own interpretation as as I would want it.
902
01:03:09,020 --> 01:03:10,020
So that's really exciting.
903
01:03:10,020 --> 01:03:12,180
Yeah, but that's that's quite a big challenge.
904
01:03:12,180 --> 01:03:15,340
So I think in total, there's going to be about 21 tracks.
905
01:03:15,340 --> 01:03:16,340
Oh, my goodness.
906
01:03:16,340 --> 01:03:17,340
Yes.
907
01:03:17,340 --> 01:03:20,740
I think that's everything.
908
01:03:20,740 --> 01:03:22,740
I'm trying to think if there's anything I've left off.
909
01:03:22,740 --> 01:03:25,500
No, I think that's about yeah, I think it will be about 21.
910
01:03:25,500 --> 01:03:27,580
So it's going to be a lot of work.
911
01:03:27,580 --> 01:03:33,580
And it's crazy how it's all just coming together and it's happening.
912
01:03:33,580 --> 01:03:38,580
I think what I'm learning as well as a recording artist is that once you've actually recorded,
913
01:03:38,580 --> 01:03:41,220
you're still going to be playing this repertoire.
914
01:03:41,220 --> 01:03:46,260
But I'm also playing the repertoire in such a different way since the recording.
915
01:03:46,260 --> 01:03:50,460
And it's that evolution of your playing of my playing.
916
01:03:50,460 --> 01:03:51,460
Yeah.
917
01:03:51,460 --> 01:03:57,020
And I think I think that's what's really fascinating to learn about this journey is that I people
918
01:03:57,020 --> 01:04:00,260
will come and see my performances.
919
01:04:00,260 --> 01:04:05,500
And although they're still the same pieces, my evolution, my growth as a musician will
920
01:04:05,500 --> 01:04:09,020
be in a different place from when I actually recorded.
921
01:04:09,020 --> 01:04:14,620
And it's almost like they'll get a very different experience from coming to watch them live.
922
01:04:14,620 --> 01:04:16,060
And I think that's exciting, though.
923
01:04:16,060 --> 01:04:23,100
I think that's a really nice thing to embrace that you can, you know, there's the product,
924
01:04:23,100 --> 01:04:27,100
there's the album, that's the tracks, but you'll get something totally different.
925
01:04:27,100 --> 01:04:29,340
So come and see me.
926
01:04:29,340 --> 01:04:37,380
You know, and I'm actually just about to do a first performance of arrangements of the
927
01:04:37,380 --> 01:04:40,020
etudes with drums and bass.
928
01:04:40,020 --> 01:04:45,740
So forming my own trio, which is yeah, based on one of the etudes.
929
01:04:45,740 --> 01:04:47,340
Yeah, yeah.
930
01:04:47,340 --> 01:04:52,980
So when I first started learning the music, I obviously came across a great pianist called
931
01:04:52,980 --> 01:04:57,180
Frank Dupree, who's recorded a huge amount of Capustin.
932
01:04:57,180 --> 01:04:58,180
Oh, yes.
933
01:04:58,180 --> 01:05:01,740
I think I just heard his piano concerto number four.
934
01:05:01,740 --> 01:05:02,740
Yes.
935
01:05:02,740 --> 01:05:03,740
By Capustin.
936
01:05:03,740 --> 01:05:07,100
Yeah, he's just released a new album.
937
01:05:07,100 --> 01:05:13,580
And he one of his first Capustin albums was his trio arrangements of Capustin.
938
01:05:13,580 --> 01:05:15,840
And they're fantastic.
939
01:05:15,840 --> 01:05:22,820
And I think that's that's given, again, even more evidence of that this music can be played
940
01:05:22,820 --> 01:05:24,220
in such a different way.
941
01:05:24,220 --> 01:05:26,540
And it's almost like a Piazzolla.
942
01:05:26,540 --> 01:05:27,540
Makes me think of Piazzolla.
943
01:05:27,540 --> 01:05:28,540
Right.
944
01:05:28,540 --> 01:05:29,540
Right.
945
01:05:29,540 --> 01:05:30,540
Yes, very much.
946
01:05:30,540 --> 01:05:31,540
Yeah, very much.
947
01:05:31,540 --> 01:05:34,620
And I think it's it's a really exciting feature.
948
01:05:34,620 --> 01:05:40,000
And although the album isn't going to have any, you know, trio arrangements, I'm looking
949
01:05:40,000 --> 01:05:45,260
forward to putting that into my performances and giving the audience is a whole nother
950
01:05:45,260 --> 01:05:47,020
taste of his music.
951
01:05:47,020 --> 01:05:53,140
So it's amazing how art history can develop so quickly.
952
01:05:53,140 --> 01:05:56,180
And you can constantly come up with new ideas.
953
01:05:56,180 --> 01:06:00,180
And already, you know, if you come come and talk to me again in three months, I'll probably
954
01:06:00,180 --> 01:06:01,180
have another idea.
955
01:06:01,180 --> 01:06:03,180
It would have changed again.
956
01:06:03,180 --> 01:06:05,180
It's just so exciting.
957
01:06:05,180 --> 01:06:06,180
Really exciting.
958
01:06:06,180 --> 01:06:12,820
I mean, I mean, even just learning, you know, Kapustin's music for the first time, I'm just
959
01:06:12,820 --> 01:06:13,820
like playing.
960
01:06:13,820 --> 01:06:19,700
And usually when it's like a classical repertoire, I can really hear it while looking at the
961
01:06:19,700 --> 01:06:20,700
score.
962
01:06:20,700 --> 01:06:22,220
This is it's supposed to be.
963
01:06:22,220 --> 01:06:27,220
But Kapustin, I'm I need a little bit more time.
964
01:06:27,220 --> 01:06:31,340
One thing is because I don't have the jazz background, but also I don't necessarily hear
965
01:06:31,340 --> 01:06:34,060
it by just looking at the score.
966
01:06:34,060 --> 01:06:35,060
Does that?
967
01:06:35,060 --> 01:06:36,060
Yes.
968
01:06:36,060 --> 01:06:39,260
Do you experience that?
969
01:06:39,260 --> 01:06:43,420
I think at first I had to work on that as well.
970
01:06:43,420 --> 01:06:48,860
And I think the difficulty with it is because of the way it's drawn rhythmically.
971
01:06:48,860 --> 01:06:54,380
And because because as classical musicians, we are sort of used to reading rhythm in that
972
01:06:54,380 --> 01:06:55,380
in that way.
973
01:06:55,380 --> 01:07:02,260
And I've had to take his music to I've taken his music to so many different jazz musicians.
974
01:07:02,260 --> 01:07:06,420
And they say to me, well, this is this is a funk rhythm.
975
01:07:06,420 --> 01:07:07,700
This is how you need to play it.
976
01:07:07,700 --> 01:07:14,020
And you need to play it with the metronome on the off beats and play it with a drummer.
977
01:07:14,020 --> 01:07:17,900
You can't play it like a classical musician on the down beats.
978
01:07:17,900 --> 01:07:20,540
It's got to be syncopated.
979
01:07:20,540 --> 01:07:29,140
And I think for for musicians who aren't so accustomed to to to listening to jazz or playing
980
01:07:29,140 --> 01:07:35,020
any jazz, it can be quite disorientating and they can't always settle into the groove and
981
01:07:35,020 --> 01:07:38,260
understand how to read that kind of groove.
982
01:07:38,260 --> 01:07:41,140
Personally, there's so many notes.
983
01:07:41,140 --> 01:07:44,180
It's just there's just so many.
984
01:07:44,180 --> 01:07:51,220
I feel like it's more of a rhythmical thing that people need to study more or kind of
985
01:07:51,220 --> 01:07:54,600
explore more, become more comfortable with.
986
01:07:54,600 --> 01:07:57,500
And then the notes kind of fall into place.
987
01:07:57,500 --> 01:08:04,460
So if I if I were to suggest to some to anyone how to start any Kapustin repertoire, because
988
01:08:04,460 --> 01:08:11,980
it can feel daunting, start by understanding what the rhythm is and almost write the rhythm
989
01:08:11,980 --> 01:08:20,220
out or clap the rhythm or write down one and two and one to, you know, all tiny digits,
990
01:08:20,220 --> 01:08:23,460
figure it out, understand what the time signature is.
991
01:08:23,460 --> 01:08:31,140
OK, so if if there are 16 semi-crovers, but you're not going to want to hear all the semi-crovers,
992
01:08:31,140 --> 01:08:36,100
you know, we want to we want to divide that up, then that's when you get the metronome
993
01:08:36,100 --> 01:08:37,100
out.
994
01:08:37,100 --> 01:08:42,220
You say, OK, it's got to be on beat two and beat four and then get used to playing that.
995
01:08:42,220 --> 01:08:47,660
Because as classical musicians, we would never practice really with an offbeat metronome.
996
01:08:47,660 --> 01:08:52,260
It takes a lot of time to be able to feel comfortable with that.
997
01:08:52,260 --> 01:08:57,780
But as soon as you get it, it kind of it it sinks in and it really helps, really helps
998
01:08:57,780 --> 01:08:59,160
with your rhythm.
999
01:08:59,160 --> 01:09:04,640
So that's how I would that's kind of my advice of how to approach it.
1000
01:09:04,640 --> 01:09:08,740
And as soon as you start understanding jazz harmony as well.
1001
01:09:08,740 --> 01:09:13,260
So I do think you need to study a little bit about jazz harmony and you'll start noticing
1002
01:09:13,260 --> 01:09:20,820
that the shapes your hands make are the voicings of what would be appropriate for the jazz
1003
01:09:20,820 --> 01:09:22,100
chord.
1004
01:09:22,100 --> 01:09:28,700
So try to play any any form of maybe slightly easier jazz repertoire.
1005
01:09:28,700 --> 01:09:34,520
Like I love there's a composer who is UK based called Nikki Iles.
1006
01:09:34,520 --> 01:09:40,740
And she she's a fantastic jazz pianist and her music is super.
1007
01:09:40,740 --> 01:09:46,180
It kind of ranges from sort of around grade three right up to advanced.
1008
01:09:46,180 --> 01:09:50,660
So it's it's really great for anyone that's not as advanced with jazz and wants to just
1009
01:09:50,660 --> 01:09:55,180
start playing jazz repertoire that's written.
1010
01:09:55,180 --> 01:10:01,420
If you want to look for something before Kapustin, that's a really good entry point.
1011
01:10:01,420 --> 01:10:04,620
And then you can start sort of understand once you've kind of worked on the rhythm,
1012
01:10:04,620 --> 01:10:07,380
you can understand, OK, where is the melody?
1013
01:10:07,380 --> 01:10:09,500
Is there a melody here?
1014
01:10:09,500 --> 01:10:12,460
And how can I how can I find that?
1015
01:10:12,460 --> 01:10:17,620
But I think the amazing thing about Kapustin is that you can in some pieces you can just
1016
01:10:17,620 --> 01:10:20,620
decide yourself where the melody is.
1017
01:10:20,620 --> 01:10:21,620
That's what I felt.
1018
01:10:21,620 --> 01:10:24,300
And yeah, that's what I've really felt.
1019
01:10:24,300 --> 01:10:31,780
And I think there's so much room to just interpret it as as you would like.
1020
01:10:31,780 --> 01:10:33,140
And that's the joy of it.
1021
01:10:33,140 --> 01:10:38,140
And that's what gives me the freedom is that actually, I think there's a voice here or
1022
01:10:38,140 --> 01:10:39,580
I think there's a voice here.
1023
01:10:39,580 --> 01:10:42,980
You know, like, why don't why don't we bring out the thumb in the left hand like you would
1024
01:10:42,980 --> 01:10:44,980
sometimes in classical repertoire?
1025
01:10:44,980 --> 01:10:46,380
But why can't we do it here as well?
1026
01:10:46,380 --> 01:10:49,980
You know, there's there's nothing to stop me from doing that.
1027
01:10:49,980 --> 01:10:53,540
So you can make a lot of choices yourself.
1028
01:10:53,540 --> 01:10:59,180
And and I haven't had anyone I've had not very many professors say, no, no, no, don't
1029
01:10:59,180 --> 01:11:00,180
do it like that.
1030
01:11:00,180 --> 01:11:28,820
So it's yes, it's it's working well.
1031
01:11:28,820 --> 01:11:30,980
So tell me more of yourself.
1032
01:11:30,980 --> 01:11:35,060
And we'll get back to Kapustin again, you know.
1033
01:11:35,060 --> 01:11:42,740
But it's interesting, like because you were like for college, you were playing classical
1034
01:11:42,740 --> 01:11:47,180
guitar and I think you were also playing double bass.
1035
01:11:47,180 --> 01:11:48,420
You know, yes, yes.
1036
01:11:48,420 --> 01:11:51,860
So that's a jazz jazz double bass or both.
1037
01:11:51,860 --> 01:11:52,860
Yeah.
1038
01:11:52,860 --> 01:11:56,740
So I was in jazz bands growing up and I was also.
1039
01:11:56,740 --> 01:11:58,980
I was in classical.
1040
01:11:58,980 --> 01:11:59,980
Yes, yes.
1041
01:11:59,980 --> 01:12:06,180
So although although I've had it's funny because I still don't think I've had super, super
1042
01:12:06,180 --> 01:12:13,580
jazz training, not as a pianist, definitely more as a bassist, for sure.
1043
01:12:13,580 --> 01:12:20,260
And also, I'm starting I think even just this week, I was reflecting a lot on my background
1044
01:12:20,260 --> 01:12:26,060
and I'm trying to become more aware of my identity, you know, of just the type of musician
1045
01:12:26,060 --> 01:12:27,060
I am.
1046
01:12:27,060 --> 01:12:31,420
And I was thinking to myself, I actually did a lot of transcription.
1047
01:12:31,420 --> 01:12:35,020
And that's a really big thing in the jazz training.
1048
01:12:35,020 --> 01:12:36,580
So so yes.
1049
01:12:36,580 --> 01:12:45,780
So so when I was when I was gosh, I went to a music specialist Catholic girls school when
1050
01:12:45,780 --> 01:12:49,180
I was 11 and the music was amazing.
1051
01:12:49,180 --> 01:12:50,180
And I did.
1052
01:12:50,180 --> 01:12:51,820
I was in every ensemble going.
1053
01:12:51,820 --> 01:12:53,180
I was in all the choirs.
1054
01:12:53,180 --> 01:12:57,940
I was in every violin orchestra, the principal orchestras.
1055
01:12:57,940 --> 01:13:00,780
I was in the jazz band, the guitar ensemble, everything.
1056
01:13:00,780 --> 01:13:05,940
I just I just couldn't not do every every ensemble they had.
1057
01:13:05,940 --> 01:13:11,980
And double bass came along because I'd already reached a good level on the guitar and I was
1058
01:13:11,980 --> 01:13:15,180
playing bass guitar.
1059
01:13:15,180 --> 01:13:17,660
You know, the double bass is a really endangered species.
1060
01:13:17,660 --> 01:13:20,260
There aren't that many double bassists.
1061
01:13:20,260 --> 01:13:24,100
I mean, obviously now in the industry, you meet more and more, but growing up, it's quite
1062
01:13:24,100 --> 01:13:26,020
rare to play the double bass.
1063
01:13:26,020 --> 01:13:30,620
And the school I was at the time were very encouraging of it.
1064
01:13:30,620 --> 01:13:33,220
And they gave me a double bass and gave me lessons.
1065
01:13:33,220 --> 01:13:36,860
And I just kind of, you know, picked it up straight away because of everything that I
1066
01:13:36,860 --> 01:13:38,500
had done before.
1067
01:13:38,500 --> 01:13:40,700
And I'd love playing that.
1068
01:13:40,700 --> 01:13:48,260
And then, yeah, when I was 16, 15, 16, my piano teacher at the time passed away.
1069
01:13:48,260 --> 01:13:50,980
So he yeah, so I'd reached a good level.
1070
01:13:50,980 --> 01:13:54,940
I think I was working on a diploma or whatever.
1071
01:13:54,940 --> 01:13:58,140
And then he just he passed away quite suddenly.
1072
01:13:58,140 --> 01:14:04,620
And I found myself being really encouraged with the guitar and the double bass and all
1073
01:14:04,620 --> 01:14:07,980
my solo opportunities at school were all on the guitar.
1074
01:14:07,980 --> 01:14:13,300
And I thought, OK, well, I think I've had enough of the classical world that I want
1075
01:14:13,300 --> 01:14:14,860
to I want to do something else.
1076
01:14:14,860 --> 01:14:17,380
You know, and the Brit school was in my town.
1077
01:14:17,380 --> 01:14:19,660
And I thought, OK, I'm going to go there.
1078
01:14:19,660 --> 01:14:23,820
But it was such a transition from where I had just been.
1079
01:14:23,820 --> 01:14:27,260
And it was completely the other way.
1080
01:14:27,260 --> 01:14:33,420
And I'd gone from this really quite strict classic, well, not mostly classical, but very
1081
01:14:33,420 --> 01:14:40,180
traditional educational setting to total opposite.
1082
01:14:40,180 --> 01:14:44,780
Everyone's smoking, you know, wearing their own clothes.
1083
01:14:44,780 --> 01:14:45,780
Like really?
1084
01:14:45,780 --> 01:14:46,780
Well, OK.
1085
01:14:46,780 --> 01:14:50,740
And I felt, oh, my God, I don't know if I should be here.
1086
01:14:50,740 --> 01:14:52,220
I don't know if I should be here.
1087
01:14:52,220 --> 01:14:54,340
You know, and I've obviously gained a place.
1088
01:14:54,340 --> 01:14:55,340
It's really hard to get in.
1089
01:14:55,340 --> 01:14:57,140
Like thousands of kids apply.
1090
01:14:57,140 --> 01:14:59,940
And I was I was really pleased to get to go.
1091
01:14:59,940 --> 01:15:05,380
But then when I was there, I was like, I don't know if I fit here because I've come from
1092
01:15:05,380 --> 01:15:07,380
such a different place.
1093
01:15:07,380 --> 01:15:14,740
And then I decided when I was 18, I thought, OK, I'm going to go and study classical guitar
1094
01:15:14,740 --> 01:15:18,580
at university, which I did, and I was still playing bass a lot.
1095
01:15:18,580 --> 01:15:22,220
So piano had kind of just gone to the side slightly for a bit.
1096
01:15:22,220 --> 01:15:26,500
I was still playing, but I wasn't having many lessons.
1097
01:15:26,500 --> 01:15:33,140
And then when I finished my undergrad in guitar and double bass, because of my mom's connections
1098
01:15:33,140 --> 01:15:38,780
with the piano, I kind of found myself with a full time job teaching piano.
1099
01:15:38,780 --> 01:15:40,300
You know, I've had so cheap.
1100
01:15:40,300 --> 01:15:46,060
There was so much work available for me as a young musician who just finished and it
1101
01:15:46,060 --> 01:15:47,620
was great security.
1102
01:15:47,620 --> 01:15:52,220
And then I realized actually I've kind of neglected the piano a little bit.
1103
01:15:52,220 --> 01:15:57,780
And yes, when I was about 21, I was like, OK, I'm going to go back to my own studying
1104
01:15:57,780 --> 01:15:59,820
of it and really focus.
1105
01:15:59,820 --> 01:16:02,060
And then my whole world just changed.
1106
01:16:02,060 --> 01:16:06,860
Really, like I kind of rekindled this love that I'd always had.
1107
01:16:06,860 --> 01:16:15,100
But perhaps because the passing of a teacher, you kind of feel a bit left.
1108
01:16:15,100 --> 01:16:19,340
You know, it's quite an unusual experience when you've just hit that point and you're
1109
01:16:19,340 --> 01:16:25,500
playing really advanced repertoire and then the teacher that you've trusted just goes.
1110
01:16:25,500 --> 01:16:32,820
And I was also navigating a different school and my identity was changing.
1111
01:16:32,820 --> 01:16:38,300
You know, like I don't know who I am, you know, a teenager is really difficult.
1112
01:16:38,300 --> 01:16:44,860
And then when I was 21, I kind of threw myself back into my own training of piano and now
1113
01:16:44,860 --> 01:16:45,860
we're here.
1114
01:16:45,860 --> 01:16:52,820
So it's just it's just been a very unusual journey to kind of come here.
1115
01:16:52,820 --> 01:16:53,820
What a journey.
1116
01:16:53,820 --> 01:17:01,420
But thank you for sharing your story because yeah, but you know, I was thinking about double
1117
01:17:01,420 --> 01:17:03,420
bass.
1118
01:17:03,420 --> 01:17:10,260
I wish I had some sort of a experience with that because what I struggle tried to play
1119
01:17:10,260 --> 01:17:19,300
jazzy stuff or when I was even taking a few lessons from this jazz pianist in New York,
1120
01:17:19,300 --> 01:17:24,420
Jim Riddle, whom I also interviewed in first season season one.
1121
01:17:24,420 --> 01:17:26,180
And he's an incredible jazz pianist.
1122
01:17:26,180 --> 01:17:28,860
And then what I struggled was the baseline.
1123
01:17:28,860 --> 01:17:32,580
So he would say, boom, boom, boom, boom, you know, then he do this.
1124
01:17:32,580 --> 01:17:37,020
I'm like, I hear it, but I can't do it.
1125
01:17:37,020 --> 01:17:43,020
When I saw somebody would play this humongous chorus like Rachmaninoff and I play this,
1126
01:17:43,020 --> 01:17:44,020
I can do it.
1127
01:17:44,020 --> 01:17:45,580
I can hear it.
1128
01:17:45,580 --> 01:17:48,540
But that bass line, I cannot improvise.
1129
01:17:48,540 --> 01:17:49,900
I cannot do it.
1130
01:17:49,900 --> 01:17:54,860
Yes, I think that I think that's interesting, actually, because obviously with Kapustin's
1131
01:17:54,860 --> 01:17:56,660
music, there is that bass.
1132
01:17:56,660 --> 01:18:01,460
Although there's chords and there's a lot of left hand voicing, so you're not always
1133
01:18:01,460 --> 01:18:04,180
just playing a singular note.
1134
01:18:04,180 --> 01:18:11,340
But because I played so much bass in different styles as well, so it wasn't just finger style,
1135
01:18:11,340 --> 01:18:16,420
it was also with the bow, I really resonated with the lower register.
1136
01:18:16,420 --> 01:18:18,420
And I was also an alto.
1137
01:18:18,420 --> 01:18:22,260
So I was singing always the lower register.
1138
01:18:22,260 --> 01:18:28,660
And it's made me very comfortable playing all the left hand really in Kapustin.
1139
01:18:28,660 --> 01:18:35,780
It just kind of I voice it as if it is bass, you know, so definitely having had all those
1140
01:18:35,780 --> 01:18:39,940
years of bass playing helps has helped significantly.
1141
01:18:39,940 --> 01:18:46,700
I think the only thing I really wish that I had had were drum lessons.
1142
01:18:46,700 --> 01:18:50,900
And although I think my rhythmical sense probably from being a bassist and playing with drummers
1143
01:18:50,900 --> 01:18:54,380
when I was at the BRIT, we are constantly playing with drummers.
1144
01:18:54,380 --> 01:18:57,180
So I think I have do have that.
1145
01:18:57,180 --> 01:19:00,060
But I would have loved to have done that as well.
1146
01:19:00,060 --> 01:19:02,540
It's not too late, though, you know, maybe I could take some.
1147
01:19:02,540 --> 01:19:03,540
Yeah, no delay.
1148
01:19:03,540 --> 01:19:09,340
Next time I maybe you come back here and say, hey, I just picked up on drums.
1149
01:19:09,340 --> 01:19:16,260
I did have this crazy idea of kind of like recording my own trio ensembles of Kapustin
1150
01:19:16,260 --> 01:19:18,300
and just teaching myself the drums.
1151
01:19:18,300 --> 01:19:21,060
Yeah, yeah, yeah.
1152
01:19:21,060 --> 01:19:29,020
But you know, idea of making this piano solo into this jazz band stuff, it just blows my
1153
01:19:29,020 --> 01:19:30,020
mind.
1154
01:19:30,020 --> 01:19:31,020
Yeah.
1155
01:19:31,020 --> 01:19:32,020
Yeah.
1156
01:19:32,020 --> 01:19:35,940
Did somebody did somebody suggest you to do it or is it coming from the inspiration of
1157
01:19:35,940 --> 01:19:36,940
his music?
1158
01:19:36,940 --> 01:19:38,940
Oh, definitely his music.
1159
01:19:38,940 --> 01:19:45,660
So so I think what was really funny was that as soon as I started really studying Kapustin,
1160
01:19:45,660 --> 01:19:51,180
I knew immediately I wanted to play this music with a live drummer immediately.
1161
01:19:51,180 --> 01:19:53,420
So I did contact a drummer like within a week.
1162
01:19:53,420 --> 01:19:56,380
I was like, could you you know, do you want to collaborate?
1163
01:19:56,380 --> 01:19:57,380
Can we play this together?
1164
01:19:57,380 --> 01:19:59,580
And it sounds incredible.
1165
01:19:59,580 --> 01:20:03,300
And then when I was doing even more research, I then discovered Frank's album.
1166
01:20:03,300 --> 01:20:07,640
And I was like, oh, OK, so this is happening.
1167
01:20:07,640 --> 01:20:09,700
This is actually happening.
1168
01:20:09,700 --> 01:20:14,380
And it kind of gave me the courage to think I can do that as well.
1169
01:20:14,380 --> 01:20:19,340
Like, you know, if he's if Frank has done this and kind of set this set this scene of
1170
01:20:19,340 --> 01:20:23,380
you can do these interpretations, go for it.
1171
01:20:23,380 --> 01:20:27,220
Obviously, they'll be Frank's and these will be mine.
1172
01:20:27,220 --> 01:20:30,660
So we won't do things, you know, in the same way.
1173
01:20:30,660 --> 01:20:32,180
We have a very artistic difference.
1174
01:20:32,180 --> 01:20:36,900
And I think that's what's really nice is that you can still do arrangements and they can
1175
01:20:36,900 --> 01:20:38,460
be totally different.
1176
01:20:38,460 --> 01:20:45,740
But he was kind of that that confidence and now we've become good friends and, you know,
1177
01:20:45,740 --> 01:20:47,380
we talk about Kapustin a lot.
1178
01:20:47,380 --> 01:20:49,340
And I've said, oh, can you give me a suggestion?
1179
01:20:49,340 --> 01:20:51,660
You know, how could I maybe work on his interpretation?
1180
01:20:51,660 --> 01:20:54,300
You know, what could we do?
1181
01:20:54,300 --> 01:20:58,980
And spoke to his drummer and his bassist as well and kind of getting more and more advice
1182
01:20:58,980 --> 01:21:06,300
and and playing his I'm now playing Kapustin music with different drummers as well to get
1183
01:21:06,300 --> 01:21:07,300
different ideas.
1184
01:21:07,300 --> 01:21:13,660
You know, I've gone to a sound specialist to learn really about the rhythm of Brazil
1185
01:21:13,660 --> 01:21:16,540
and how to how to study that more.
1186
01:21:16,540 --> 01:21:21,180
And I think that's really important as an artist to just keep learning.
1187
01:21:21,180 --> 01:21:25,380
You know, it doesn't doesn't stop just when you when you're doing concerts, when you've
1188
01:21:25,380 --> 01:21:28,780
reached a point where actually doing concerts and doing now, but it doesn't mean that you
1189
01:21:28,780 --> 01:21:36,380
can't still learn and network with other musicians who you could still learn from.
1190
01:21:36,380 --> 01:21:37,780
It's just so much more.
1191
01:21:37,780 --> 01:21:43,540
And I can't wait to see by the end of the masters what more I've learned about different
1192
01:21:43,540 --> 01:21:47,180
approaches and different interpretations and all the different musicians that will have
1193
01:21:47,180 --> 01:21:48,180
different ideas.
1194
01:21:48,180 --> 01:21:51,140
So it's super exciting.
1195
01:21:51,140 --> 01:21:54,820
And so what made you decide to go back to school?
1196
01:21:54,820 --> 01:21:55,820
Yes.
1197
01:21:55,820 --> 01:21:57,820
Well, OK.
1198
01:21:57,820 --> 01:22:07,540
So so speaking very, very honestly and quite vulnerable, vulnerable.
1199
01:22:07,540 --> 01:22:14,580
I found myself over the last year going through a difficult separation from marriage.
1200
01:22:14,580 --> 01:22:15,580
And I'm sorry.
1201
01:22:15,580 --> 01:22:16,580
Yes.
1202
01:22:16,580 --> 01:22:17,580
Oh, no, it's fine.
1203
01:22:17,580 --> 01:22:18,580
It's fine.
1204
01:22:18,580 --> 01:22:21,220
And I'm in a place where I'm happy to share it.
1205
01:22:21,220 --> 01:22:27,580
And I hope that it can help people who are listening as well, you know, just kind of
1206
01:22:27,580 --> 01:22:29,340
a deepened connection, really.
1207
01:22:29,340 --> 01:22:36,420
And so so I kind of committed myself to just working as a professional musician and was
1208
01:22:36,420 --> 01:22:41,420
performing teaching, doing lots of accompanying, obviously started playing a bit of the caputin
1209
01:22:41,420 --> 01:22:42,540
as well.
1210
01:22:42,540 --> 01:22:47,780
And then, yeah, I found myself in this obviously quite difficult situation where now, you know,
1211
01:22:47,780 --> 01:22:54,020
nearly divorced and having to really rebuild my life a lot.
1212
01:22:54,020 --> 01:22:59,860
And it was during that process where I thought, I think I want a few years to just focus on
1213
01:22:59,860 --> 01:23:05,540
me and to and to really do what I love.
1214
01:23:05,540 --> 01:23:12,020
And at the same time, so in the midst of the very difficult separation, I had received
1215
01:23:12,020 --> 01:23:19,140
the record offer, the contract, and then it prompted me, OK, well, if I've got this opportunity,
1216
01:23:19,140 --> 01:23:25,940
I'd really like to be in a place where that's going to be mentored and supported.
1217
01:23:25,940 --> 01:23:30,020
And I hadn't had those years just for the piano in an institution.
1218
01:23:30,020 --> 01:23:37,020
It had been the guitar, you know, and I thought, I think I owe it to myself to really do what
1219
01:23:37,020 --> 01:23:41,820
I would what I want to do at this stage, you know, because my whole life had just completely
1220
01:23:41,820 --> 01:23:46,180
changed from what I was expecting to happen.
1221
01:23:46,180 --> 01:23:51,900
So that's really, you know, an honest answer.
1222
01:23:51,900 --> 01:23:55,020
You know, that's that's kind of how it's how it's come around.
1223
01:23:55,020 --> 01:23:57,620
And I never thought I would do a master's.
1224
01:23:57,620 --> 01:24:00,900
I kind of did the undergrad and thought, I'm just going to work.
1225
01:24:00,900 --> 01:24:04,660
You know, I feel like I'm going to learn a lot from working.
1226
01:24:04,660 --> 01:24:12,380
And I was very lucky that I've been really busy and really successful as a professional.
1227
01:24:12,380 --> 01:24:16,420
But I thought, you know, when when something like that happens in your life and it all
1228
01:24:16,420 --> 01:24:23,900
just completely changes, you start thinking, what is it that I really, really want to do
1229
01:24:23,900 --> 01:24:31,420
or what could I do now that I know is what I need to do for myself?
1230
01:24:31,420 --> 01:24:35,740
I almost have I've almost just said I need to put myself first.
1231
01:24:35,740 --> 01:24:43,860
I need to spend time reconnecting with my music, you know, reconnecting with myself,
1232
01:24:43,860 --> 01:24:49,900
you know, finding out who I am because I was in it was a very, very long relationship.
1233
01:24:49,900 --> 01:24:58,940
So it's interesting how music, especially Kapustin, has really been there during this
1234
01:24:58,940 --> 01:25:01,100
time as well.
1235
01:25:01,100 --> 01:25:08,300
And the album is the album is a result of this period of my life.
1236
01:25:08,300 --> 01:25:13,060
You know, when when when things happen and your life changes, sometimes there's only
1237
01:25:13,060 --> 01:25:14,780
one thing that stays.
1238
01:25:14,780 --> 01:25:18,940
And whatever that one thing is, that's the thing that you need to lean on.
1239
01:25:18,940 --> 01:25:20,500
And it was my music.
1240
01:25:20,500 --> 01:25:23,460
You know, it was the only thing that was giving me comfort.
1241
01:25:23,460 --> 01:25:26,740
It was it was helping me process.
1242
01:25:26,740 --> 01:25:35,820
And it's interesting that Kapustin was that music, you know, was it's almost like the
1243
01:25:35,820 --> 01:25:42,740
the structure of his music helped made sense during a time that was complicated.
1244
01:25:42,740 --> 01:25:48,980
You know, and the extreme focus that required that you need to have when you play his music
1245
01:25:48,980 --> 01:25:53,580
really helped kind of channel things for me.
1246
01:25:53,580 --> 01:26:01,860
But I think what's interesting is that I play his music very emotionally.
1247
01:26:01,860 --> 01:26:06,780
And it's not something that maybe you would immediately associate with Kapustin if you'd
1248
01:26:06,780 --> 01:26:08,380
only ever heard it for the first time.
1249
01:26:08,380 --> 01:26:12,380
It's not like Rachmaninoff, you know, it's not top on the sleeve music.
1250
01:26:12,380 --> 01:26:13,900
Well, you wouldn't think it is.
1251
01:26:13,900 --> 01:26:15,740
But for me, it really is.
1252
01:26:15,740 --> 01:26:20,620
For me, it's I'm very emotionally connected to it.
1253
01:26:20,620 --> 01:26:26,380
And it it's carried me through some really difficult times.
1254
01:26:26,380 --> 01:26:29,380
So sorry, it's quite heavy.
1255
01:26:29,380 --> 01:26:30,380
No, no, no.
1256
01:26:30,380 --> 01:26:32,100
This is a very important thing.
1257
01:26:32,100 --> 01:26:33,100
Yeah.
1258
01:26:33,100 --> 01:26:41,500
And I think it's I think it's I think it's just important to be honest and and to, you
1259
01:26:41,500 --> 01:26:50,140
know, accept that music is this foundation for a lot of people, you know.
1260
01:26:50,140 --> 01:26:52,340
And I know it's not just me.
1261
01:26:52,340 --> 01:26:57,340
Like I know that since kind of sharing this story with people, there's been so many people
1262
01:26:57,340 --> 01:27:02,260
that have reached out to me and said, I feel like I've gone through exactly the same thing.
1263
01:27:02,260 --> 01:27:09,180
You know, like music has been so important to me during difficult times and and it can
1264
01:27:09,180 --> 01:27:11,980
be really life changing.
1265
01:27:11,980 --> 01:27:16,260
So yeah, so the Masters was kind of a result, I feel.
1266
01:27:16,260 --> 01:27:21,980
You know, the the album, it's all it all kind of came so organically during such difficult
1267
01:27:21,980 --> 01:27:23,700
time.
1268
01:27:23,700 --> 01:27:28,300
So yeah, I think I think I just have to.
1269
01:27:28,300 --> 01:27:32,940
That's why I thought I'm just going to follow this and just see see what happens, like not
1270
01:27:32,940 --> 01:27:39,380
be tethered to an outcome, you know, not kind of have any huge expectation of of, oh, I
1271
01:27:39,380 --> 01:27:40,380
hope it does well.
1272
01:27:40,380 --> 01:27:48,020
It's almost like, well, I'm playing it because I needed to play it, you know, because it's
1273
01:27:48,020 --> 01:27:49,020
kept me going.
1274
01:27:49,020 --> 01:27:50,860
And that and that's it.
1275
01:27:50,860 --> 01:27:55,700
And I've been able to connect with myself through the music.
1276
01:27:55,700 --> 01:28:01,300
So to anyone that's listening, I think I think I just, you know, would would love to kind
1277
01:28:01,300 --> 01:28:11,820
of offer that sense of trusting that things like music or art or anything where you feel
1278
01:28:11,820 --> 01:28:18,540
like you can really express something in words that can't be said.
1279
01:28:18,540 --> 01:28:24,420
Do it, you know, just trust that that will help you, because that's how it's been for
1280
01:28:24,420 --> 01:28:25,420
me.
1281
01:28:25,420 --> 01:28:28,020
So I hope that makes sense.
1282
01:28:28,020 --> 01:28:29,180
Oh, totally.
1283
01:28:29,180 --> 01:28:34,300
Thank you so much for sharing this vulnerability, showing your vulnerability.
1284
01:28:34,300 --> 01:28:35,980
But that is the strength.
1285
01:28:35,980 --> 01:28:38,620
And yeah, beautiful.
1286
01:28:38,620 --> 01:28:39,860
Thank you.
1287
01:28:39,860 --> 01:28:48,060
So like, no wonder the music of Cuphead's team really spoke to you in some on some levels,
1288
01:28:48,060 --> 01:28:49,060
right?
1289
01:28:49,060 --> 01:28:50,060
It's not just one thing.
1290
01:28:50,060 --> 01:28:51,060
So yeah, yeah, yeah.
1291
01:28:51,060 --> 01:29:01,020
I think I think when you become deeply connected with a particular music, you kind of have
1292
01:29:01,020 --> 01:29:04,660
to it's helpful to understand why.
1293
01:29:04,660 --> 01:29:09,100
And it's helpful to understand the journey of yourself and why you why you love this
1294
01:29:09,100 --> 01:29:10,580
music.
1295
01:29:10,580 --> 01:29:17,700
And as I've said, like it helps you show that to people that are listening and that they
1296
01:29:17,700 --> 01:29:22,100
can hopefully connect to themselves when listening.
1297
01:29:22,100 --> 01:29:26,620
And that's really what it is, you know, I think, I think when you hear a performer and
1298
01:29:26,620 --> 01:29:30,100
you're moved by them, it's because they're doing that.
1299
01:29:30,100 --> 01:29:34,220
It's because they're connect they're so connected with what they're playing and it's helping
1300
01:29:34,220 --> 01:29:39,660
you connect with your own experience when you're listening to them.
1301
01:29:39,660 --> 01:29:46,820
So I think that though that's that kind of special quality when you watch performance
1302
01:29:46,820 --> 01:29:49,860
that you hope to experience.
1303
01:29:49,860 --> 01:29:53,900
And I'm hoping to keep doing that keep learning about that.
1304
01:29:53,900 --> 01:29:59,140
You know, so inspired when I see musicians that do the same, that do that sort of have
1305
01:29:59,140 --> 01:30:02,140
that quality in their playing.
1306
01:30:02,140 --> 01:30:05,780
And it's just trusting that that works.
1307
01:30:05,780 --> 01:30:07,460
I've said the word trust so much.
1308
01:30:07,460 --> 01:30:09,460
I know, but you're doing it.
1309
01:30:09,460 --> 01:30:10,980
That's that's amazing.
1310
01:30:10,980 --> 01:30:15,780
So the I want to know the title of the upcoming album.
1311
01:30:15,780 --> 01:30:16,780
Yes, yes.
1312
01:30:16,780 --> 01:30:19,500
So it's called Between the Lines.
1313
01:30:19,500 --> 01:30:20,500
Between the Lines.
1314
01:30:20,500 --> 01:30:21,500
Yes.
1315
01:30:21,500 --> 01:30:22,500
Tell me.
1316
01:30:22,500 --> 01:30:23,500
Between the Lines.
1317
01:30:23,500 --> 01:30:26,500
Okay, where does this title come from?
1318
01:30:26,500 --> 01:30:34,220
It's, there were a few other titles and I kind of sat on a few things for a while and
1319
01:30:34,220 --> 01:30:43,340
I thought I've got to be able to to say in the cover that although this music is this
1320
01:30:43,340 --> 01:30:46,260
cross, it is this fusion.
1321
01:30:46,260 --> 01:30:48,620
So there's the betweenness there.
1322
01:30:48,620 --> 01:30:55,180
But also let's read between the lines of what this music is about.
1323
01:30:55,180 --> 01:31:02,820
And also read between the lines of why I'm playing this music, you know, and it's really
1324
01:31:02,820 --> 01:31:06,380
not just an album about here's the notes.
1325
01:31:06,380 --> 01:31:10,020
It's actually about what's in between the notes.
1326
01:31:10,020 --> 01:31:13,620
That's the story of my life that's been happening.
1327
01:31:13,620 --> 01:31:17,860
And I want to show you in I want to show you in that.
1328
01:31:17,860 --> 01:31:22,180
So I think it was it was almost like that phrase of read between the lines.
1329
01:31:22,180 --> 01:31:27,620
You know, can you can you pick up what else is going on here?
1330
01:31:27,620 --> 01:31:32,580
And can you emotionally see other layers?
1331
01:31:32,580 --> 01:31:34,780
I hope that would be the outcome anyway.
1332
01:31:34,780 --> 01:31:40,620
You know, I think I'm just I'm you know, that's that's kind of my vision or how I would like
1333
01:31:40,620 --> 01:31:41,620
it.
1334
01:31:41,620 --> 01:31:43,100
How about how I would like it to receive.
1335
01:31:43,100 --> 01:31:46,740
But, you know, again, I'm not kind of tethered to any huge expectation.
1336
01:31:46,740 --> 01:31:48,940
I'm just enjoying the process.
1337
01:31:48,940 --> 01:31:52,660
But I think the album title works well.
1338
01:31:52,660 --> 01:31:55,460
I think it feels comfortable for me.
1339
01:31:55,460 --> 01:31:58,460
And it's quite a personal choice.
1340
01:31:58,460 --> 01:32:02,940
You know, I think there was the choice of volume, you know, volume one, because then
1341
01:32:02,940 --> 01:32:06,140
it could be like I could do another one, you know, volume two.
1342
01:32:06,140 --> 01:32:10,140
You know, and I thought I could say something like that or jazz meets classical.
1343
01:32:10,140 --> 01:32:12,100
I thought, OK, that's a nice one.
1344
01:32:12,100 --> 01:32:15,980
But also almost quite too explicit.
1345
01:32:15,980 --> 01:32:20,860
And I think I think I like how between the lines opens up.
1346
01:32:20,860 --> 01:32:24,740
OK, what does she really mean?
1347
01:32:24,740 --> 01:32:27,540
I'm not going to share the actual cover yet.
1348
01:32:27,540 --> 01:32:33,340
The cover also has that unusual quality to it.
1349
01:32:33,340 --> 01:32:38,860
And it's it kind of leaves you wondering.
1350
01:32:38,860 --> 01:32:43,940
Who is this person and what what is her story here?
1351
01:32:43,940 --> 01:32:48,060
And it's not your traditional classical album cover.
1352
01:32:48,060 --> 01:32:49,700
So I'm hoping to share it.
1353
01:32:49,700 --> 01:32:54,180
I don't want to share it just yet, though, because I'm waiting for it to be signed off
1354
01:32:54,180 --> 01:32:58,540
and, you know, kind of with the release when the release is out, then everyone will see
1355
01:32:58,540 --> 01:32:59,540
it.
1356
01:32:59,540 --> 01:33:02,620
But that's been a really exciting part, actually, of thinking, oh, my God, you know, I'm going
1357
01:33:02,620 --> 01:33:04,700
to have my face on a cover.
1358
01:33:04,700 --> 01:33:07,060
How do I what story do I want to tell it?
1359
01:33:07,060 --> 01:33:08,820
What do I want to say?
1360
01:33:08,820 --> 01:33:14,860
Because your your first album is kind of like your entry card into the industry.
1361
01:33:14,860 --> 01:33:19,460
And it's it's really like your business card of like, here I am.
1362
01:33:19,460 --> 01:33:23,820
It's it's it's introducing you, introducing you.
1363
01:33:23,820 --> 01:33:30,820
So you do want to you do want to think about it and think about how what do you want people
1364
01:33:30,820 --> 01:33:34,540
to think or how do you want to challenge people?
1365
01:33:34,540 --> 01:33:40,260
And I definitely wanted to come away from just something more generic.
1366
01:33:40,260 --> 01:33:44,860
I think I wanted to I wanted to do something that felt right for me.
1367
01:33:44,860 --> 01:33:48,740
And the responses I've had so far, just showing kind of friends and colleagues, they have
1368
01:33:48,740 --> 01:33:52,180
been like, OK, that's different.
1369
01:33:52,180 --> 01:33:56,940
And I'm like, well, yeah, they're like, but it's it's good.
1370
01:33:56,940 --> 01:33:57,940
It's you.
1371
01:33:57,940 --> 01:33:58,940
It feels very you.
1372
01:33:58,940 --> 01:34:00,580
And I'm like, well, that's it.
1373
01:34:00,580 --> 01:34:02,780
You know, it's it's about me as an artist.
1374
01:34:02,780 --> 01:34:03,780
So yeah, it's so exciting.
1375
01:34:03,780 --> 01:34:04,780
I can't wait to show.
1376
01:34:04,780 --> 01:34:05,780
I can't wait.
1377
01:34:05,780 --> 01:34:07,740
I can't wait to see it.
1378
01:34:07,740 --> 01:34:17,380
So what kind of legacy, Kapustin's legacy do you want to carry in your performance and
1379
01:34:17,380 --> 01:34:19,380
also in the album?
1380
01:34:19,380 --> 01:34:20,380
Yes.
1381
01:34:20,380 --> 01:34:23,020
Oh, that's a really good question.
1382
01:34:23,020 --> 01:34:32,180
I think the if we go back right back to when Kapustin first discovered jazz, he was in
1383
01:34:32,180 --> 01:34:35,540
his late teens.
1384
01:34:35,540 --> 01:34:41,740
Jazz was pretty prohibited in I think at that point, I think he was in Russia when he first
1385
01:34:41,740 --> 01:34:44,180
listened to it because he was studying.
1386
01:34:44,180 --> 01:34:45,180
He was studying.
1387
01:34:45,180 --> 01:34:50,100
So he had already moved from the Ukraine and he was at the Moscow Conservatoire.
1388
01:34:50,100 --> 01:34:55,300
I think it was when he was studying at the Moscow Conservatoire that him and his friends
1389
01:34:55,300 --> 01:35:00,620
were kind of illegally listening to an American radio station.
1390
01:35:00,620 --> 01:35:05,020
And they first heard jazz through the station.
1391
01:35:05,020 --> 01:35:11,340
And it was almost that like rebellious nature of Kapustin that I love.
1392
01:35:11,340 --> 01:35:14,900
And through discovering him more, learning more about him, I realized that actually when
1393
01:35:14,900 --> 01:35:17,140
he was young, he was quite rebellious.
1394
01:35:17,140 --> 01:35:24,500
And he was like a cheeky boy, you know, and he and he'd often want to go against kind
1395
01:35:24,500 --> 01:35:27,260
of what was told of him.
1396
01:35:27,260 --> 01:35:31,580
Although he was a very good student, he was a virtuous pianist, there was that spirit
1397
01:35:31,580 --> 01:35:33,380
inside him.
1398
01:35:33,380 --> 01:35:41,460
And I think I would like for that sort of freedom and that slight rebellious nature
1399
01:35:41,460 --> 01:35:44,180
to still be carried through.
1400
01:35:44,180 --> 01:35:50,220
And that's what I would love to share in the album and kind of carry that spirit across.
1401
01:35:50,220 --> 01:35:56,500
So yes, he is this amazing virtuoso pianist, but there is this essence to him.
1402
01:35:56,500 --> 01:36:05,860
And that's why his music is so fantastic because he didn't do what everyone else was doing.
1403
01:36:05,860 --> 01:36:08,220
He was so authentic.
1404
01:36:08,220 --> 01:36:14,180
He was just doing exactly the music he wanted to write, and people loved it.
1405
01:36:14,180 --> 01:36:22,580
And I think it's keeping that spirit alive and not putting him in any category, I think
1406
01:36:22,580 --> 01:36:24,940
is really important.
1407
01:36:24,940 --> 01:36:32,780
I don't know how he would feel himself, you know, but it's what I would like to leave
1408
01:36:32,780 --> 01:36:35,180
of his legacy for sure.
1409
01:36:35,180 --> 01:36:36,180
Yeah.
1410
01:36:36,180 --> 01:36:37,940
Wow, thank you.
1411
01:36:37,940 --> 01:36:42,300
Before we wrap up, sadly, it's toward the end of our conversation, but let's take a
1412
01:36:42,300 --> 01:36:46,940
moment to promote your work officially and then you know, you can maybe mention about
1413
01:36:46,940 --> 01:36:50,020
your upcoming concerts and obviously about the album too.
1414
01:36:50,020 --> 01:36:54,780
So I'm sure our listeners will be really excited to learn more about you.
1415
01:36:54,780 --> 01:36:56,740
So where can they find you?
1416
01:36:56,740 --> 01:36:57,740
Maybe website.
1417
01:36:57,740 --> 01:36:59,820
So yes, the floor is yours.
1418
01:36:59,820 --> 01:37:00,820
So take it away, please.
1419
01:37:00,820 --> 01:37:01,820
Yeah, sure, sure.
1420
01:37:01,820 --> 01:37:06,460
So at the moment, I'm mostly performing in the UK.
1421
01:37:06,460 --> 01:37:11,140
Hopefully when the album is launched, there will be more international performances and
1422
01:37:11,140 --> 01:37:13,540
more international platforms.
1423
01:37:13,540 --> 01:37:16,940
But at the moment, you can connect with me really on social media.
1424
01:37:16,940 --> 01:37:21,140
I'm mostly Instagram, Facebook, TikTok, those kind of platforms.
1425
01:37:21,140 --> 01:37:22,140
TikTok too, okay.
1426
01:37:22,140 --> 01:37:23,140
Yes, TikTok.
1427
01:37:23,140 --> 01:37:26,100
Yeah, Kapustin is doing really well on TikTok.
1428
01:37:26,100 --> 01:37:27,100
It's amazing.
1429
01:37:27,100 --> 01:37:28,100
Yeah.
1430
01:37:28,100 --> 01:37:32,580
Yeah, the following I'm getting there is better than Instagram at the moment.
1431
01:37:32,580 --> 01:37:33,580
It's really impressive.
1432
01:37:33,580 --> 01:37:39,380
So definitely if your listeners are more interested in hearing Kapustin check, see what's on TikTok.
1433
01:37:39,380 --> 01:37:42,100
For sure, there's some great things there.
1434
01:37:42,100 --> 01:37:44,220
What is your handle?
1435
01:37:44,220 --> 01:37:47,980
It's just Ophelia Gordon, I think on TikTok.
1436
01:37:47,980 --> 01:37:49,980
Instagram Ophelia?
1437
01:37:49,980 --> 01:37:51,580
Yes, yeah.
1438
01:37:51,580 --> 01:37:57,100
And then I have my website, which is just OpheliaGordon.com.
1439
01:37:57,100 --> 01:38:00,940
And my email again, you can all find on my website and just reach out.
1440
01:38:00,940 --> 01:38:07,460
And if you want to know more about Kapustin or you want to know more about me as an artist
1441
01:38:07,460 --> 01:38:14,300
or yeah, you know, interested in collaborating or if you have questions or anything, you
1442
01:38:14,300 --> 01:38:20,180
know, I'm always open to meeting new musicians, new people and just seeing kind of seeing
1443
01:38:20,180 --> 01:38:21,180
what can happen.
1444
01:38:21,180 --> 01:38:24,900
And yeah, so that's it really.
1445
01:38:24,900 --> 01:38:25,900
Yeah.
1446
01:38:25,900 --> 01:38:31,540
So the album itself as well will be released on Spotify, Amazon, iTunes, all the kind of
1447
01:38:31,540 --> 01:38:35,460
major streaming platforms.
1448
01:38:35,460 --> 01:38:40,380
And then also will be you'll be able to buy it direct from the record labels website,
1449
01:38:40,380 --> 01:38:46,860
which is so the label I'm recording with is called Divine Arts Recording.
1450
01:38:46,860 --> 01:38:54,140
And it's a subsidiary of Naxos, which is a they're kind of the distributor.
1451
01:38:54,140 --> 01:38:58,820
So if you kind of follow that that lead, you'll be able to find Divine Arts.
1452
01:38:58,820 --> 01:39:02,020
But they do specialize in lots of contemporary repertoire.
1453
01:39:02,020 --> 01:39:07,940
So it's really it's really exciting to be kind of one of they have a few jazz albums,
1454
01:39:07,940 --> 01:39:10,900
but they've obviously never recorded Kapustin before.
1455
01:39:10,900 --> 01:39:16,180
So really looking forward to being the first Kapustin album within their catalog.
1456
01:39:16,180 --> 01:39:17,180
So that's really exciting.
1457
01:39:17,180 --> 01:39:22,060
But yeah, I hope that gives people ways to find me.
1458
01:39:22,060 --> 01:39:23,140
Yeah, I'm sure.
1459
01:39:23,140 --> 01:39:27,180
And then I will list all the links in the show notes as well.
1460
01:39:27,180 --> 01:39:33,240
So yeah, now I didn't tell you, but before we go, we usually have this rapid fire questions
1461
01:39:33,240 --> 01:39:39,500
where I ask each guest silly questions and you have to answer them each question in a
1462
01:39:39,500 --> 01:39:41,980
short responses as possible.
1463
01:39:41,980 --> 01:39:45,260
And no question and no explanation is needed.
1464
01:39:45,260 --> 01:39:49,860
But before we go, do you have any last thing you want to say?
1465
01:39:49,860 --> 01:39:54,420
Well, thank you to you, Ukiime for having me.
1466
01:39:54,420 --> 01:40:00,260
It's been so lovely talking and I hope that I hope that everyone has understood what I've
1467
01:40:00,260 --> 01:40:05,380
said, because when you just talk, sometimes you think, I hope people are understanding
1468
01:40:05,380 --> 01:40:06,380
what I'm saying.
1469
01:40:06,380 --> 01:40:09,140
Loud and clear, we understood you.
1470
01:40:09,140 --> 01:40:11,460
And then yeah, good.
1471
01:40:11,460 --> 01:40:16,420
And yeah, and I'm just so excited for what's to come.
1472
01:40:16,420 --> 01:40:21,700
And yeah, hope I've connected with people that have been listening and, you know, and
1473
01:40:21,700 --> 01:40:23,900
yeah, thank you again so much for having me.
1474
01:40:23,900 --> 01:40:25,900
It's been so nice talking to you.
1475
01:40:25,900 --> 01:40:30,300
And you know, you've been so warm and sorry, I've spoken so much.
1476
01:40:30,300 --> 01:40:32,260
No, this is great.
1477
01:40:32,260 --> 01:40:33,660
That's why I created this platform.
1478
01:40:33,660 --> 01:40:35,060
I want you to speak.
1479
01:40:35,060 --> 01:40:40,140
And thank you so much for sharing all all your stories, but also your expertise.
1480
01:40:40,140 --> 01:40:41,140
I learned a lot.
1481
01:40:41,140 --> 01:40:42,140
It was a masterclass.
1482
01:40:42,140 --> 01:40:44,140
So brought me to you.
1483
01:40:44,140 --> 01:40:47,860
So let's get into this rapid fire, right?
1484
01:40:47,860 --> 01:40:48,860
Yeah.
1485
01:40:48,860 --> 01:40:49,860
All right.
1486
01:40:49,860 --> 01:40:50,860
So we'll start with that.
1487
01:40:50,860 --> 01:40:54,780
Yeah, we'll start with easy ones and then get to some more advanced ones.
1488
01:40:54,780 --> 01:40:58,580
So question number one, what is your comfort food?
1489
01:40:58,580 --> 01:41:00,140
Spaghetti bolognese.
1490
01:41:00,140 --> 01:41:01,740
Yes, good.
1491
01:41:01,740 --> 01:41:02,860
Yes.
1492
01:41:02,860 --> 01:41:05,180
How do you like your coffee in the morning?
1493
01:41:05,180 --> 01:41:06,180
Milky.
1494
01:41:06,180 --> 01:41:09,180
Yeah, it's great.
1495
01:41:09,180 --> 01:41:10,180
Cats or dogs?
1496
01:41:10,180 --> 01:41:11,180
Cats.
1497
01:41:11,180 --> 01:41:12,180
Do you have a cat?
1498
01:41:12,180 --> 01:41:14,180
No, actually, I don't at the moment.
1499
01:41:14,180 --> 01:41:19,580
I have a dog, but I can't wait to get a cat.
1500
01:41:19,580 --> 01:41:22,580
Oh, you poor dog.
1501
01:41:22,580 --> 01:41:24,740
All right.
1502
01:41:24,740 --> 01:41:25,740
Sunrise or sunset?
1503
01:41:25,740 --> 01:41:28,740
Oh, that's hot.
1504
01:41:28,740 --> 01:41:29,740
Sunrise.
1505
01:41:29,740 --> 01:41:32,740
Summer or winter?
1506
01:41:32,740 --> 01:41:33,740
Summer.
1507
01:41:33,740 --> 01:41:34,740
Yeah.
1508
01:41:34,740 --> 01:41:39,420
What skill have you always wanted to learn but haven't had a chance to?
1509
01:41:39,420 --> 01:41:44,540
Should I say the drums?
1510
01:41:44,540 --> 01:41:46,660
To me, it's the jazz piano.
1511
01:41:46,660 --> 01:41:49,580
So yes, I agree.
1512
01:41:49,580 --> 01:41:53,340
What is your word or words to live by?
1513
01:41:53,340 --> 01:41:54,340
Just be yourself.
1514
01:41:54,340 --> 01:41:56,820
I think that's the bad thing.
1515
01:41:56,820 --> 01:42:02,660
Yeah, if I'm being very clear, yeah, just be yourself.
1516
01:42:02,660 --> 01:42:07,340
What is the most important quality you look for in other people?
1517
01:42:07,340 --> 01:42:09,740
Honesty, always.
1518
01:42:09,740 --> 01:42:14,380
Yeah, honesty, authenticity, honesty, for sure.
1519
01:42:14,380 --> 01:42:18,980
Name three people who inspire you, living or dead.
1520
01:42:18,980 --> 01:42:25,980
Okay, so I love a British pianist called Joanna McGregor.
1521
01:42:25,980 --> 01:42:30,700
She's quite known for her Piazzolla and Bach interpretations.
1522
01:42:30,700 --> 01:42:32,900
She's really inspiring for me.
1523
01:42:32,900 --> 01:42:34,780
Oh, gosh, who else?
1524
01:42:34,780 --> 01:42:37,700
You know, David Bowie.
1525
01:42:37,700 --> 01:42:42,900
David Bowie as well, for his artistry.
1526
01:42:42,900 --> 01:42:49,740
He's the most authentic kind of case you could think of, so hugely inspired by him.
1527
01:42:49,740 --> 01:42:52,380
And Rachmaninoff, I would say.
1528
01:42:52,380 --> 01:42:56,060
Yeah, for that vulnerability, for sure.
1529
01:42:56,060 --> 01:43:04,060
And kind of the way he rose and wrote the second concerto after his depression.
1530
01:43:04,060 --> 01:43:06,580
What an inspiration.
1531
01:43:06,580 --> 01:43:08,940
His story of his life is just incredible.
1532
01:43:08,940 --> 01:43:13,700
So I think those three people, yeah, which actually is not what I was expecting to say,
1533
01:43:13,700 --> 01:43:14,700
but there you go.
1534
01:43:14,700 --> 01:43:15,700
Yeah, there you go.
1535
01:43:15,700 --> 01:43:17,820
But you know, it's done with what felt right.
1536
01:43:17,820 --> 01:43:21,660
Somebody just named David Bowie as one of the three people.
1537
01:43:21,660 --> 01:43:26,460
So yeah, he's the reason again.
1538
01:43:26,460 --> 01:43:27,940
All right.
1539
01:43:27,940 --> 01:43:35,940
Name one piece in your current playlist.
1540
01:43:35,940 --> 01:43:36,940
Oh my goodness.
1541
01:43:36,940 --> 01:43:37,940
Oh, that's so hard.
1542
01:43:37,940 --> 01:43:42,940
That's probably the hardest question, actually.
1543
01:43:42,940 --> 01:43:47,180
You know, I've been re-listening again to Rachmaninoff's cello sonata.
1544
01:43:47,180 --> 01:43:48,180
Oh, good one.
1545
01:43:48,180 --> 01:43:55,060
Yeah, I love, I love, I did start working on it and I hope to play that.
1546
01:43:55,060 --> 01:43:56,060
Yeah.
1547
01:43:56,060 --> 01:43:57,060
The last movement.
1548
01:43:57,060 --> 01:44:01,020
The piano part is then of course the cello, but gorgeous.
1549
01:44:01,020 --> 01:44:02,020
Yeah.
1550
01:44:02,020 --> 01:44:03,020
Yeah, so beautiful.
1551
01:44:03,020 --> 01:44:04,900
Yeah, so that's on my list.
1552
01:44:04,900 --> 01:44:08,220
I've got a big list, but that's one that stood out to me today.
1553
01:44:08,220 --> 01:44:09,220
Yeah, great.
1554
01:44:09,220 --> 01:44:10,220
Yeah.
1555
01:44:10,220 --> 01:44:12,900
So the last question, fill in the blank.
1556
01:44:12,900 --> 01:44:15,460
Music is blank.
1557
01:44:15,460 --> 01:44:16,460
Music is life.
1558
01:44:16,460 --> 01:44:17,460
Good one.
1559
01:44:17,460 --> 01:44:18,460
Classic.
1560
01:44:18,460 --> 01:44:19,460
Beautiful.
1561
01:44:19,460 --> 01:44:20,460
Yes, it is.
1562
01:44:20,460 --> 01:44:21,460
But it absolutely is.
1563
01:44:21,460 --> 01:44:22,460
Really is.
1564
01:44:22,460 --> 01:44:23,460
You can't have life about music.
1565
01:44:23,460 --> 01:44:24,460
That's right.
1566
01:44:24,460 --> 01:44:27,460
Music is my life.
1567
01:44:27,460 --> 01:44:28,460
Wonderful.
1568
01:44:28,460 --> 01:44:31,460
You know, it's not just what you do, it's actually who you are.
1569
01:44:31,460 --> 01:44:36,460
You know, lots of people's cases, and in my case, so there you go.
1570
01:44:36,460 --> 01:44:37,460
There you go.
1571
01:44:37,460 --> 01:44:38,460
Thank you.
1572
01:44:38,460 --> 01:44:41,460
So that concludes this episode of the piano part.
1573
01:44:41,460 --> 01:44:46,460
Thank you, Ophelia, for joining us today and sharing your incredible stories and insights
1574
01:44:46,460 --> 01:44:47,460
and expertise.
1575
01:44:47,460 --> 01:44:52,460
To our wonderful audience, you can learn more about Ophelia and her work by visiting her
1576
01:44:52,460 --> 01:44:59,460
website at OpheliaGordon.com and follow her on Facebook, Instagram, TikTok at OpheliaGordon.
1577
01:44:59,460 --> 01:45:03,460
And of course, thank you to our faithful fans and listeners for tuning in.
1578
01:45:03,460 --> 01:45:08,460
If you enjoyed today's episode, please give it a thumbs up and subscribe to the piano
1579
01:45:08,460 --> 01:45:09,460
part on YouTube.
1580
01:45:09,460 --> 01:45:14,460
And don't forget to share and then review this episode on your social media and tag
1581
01:45:14,460 --> 01:45:15,460
the piano part.
1582
01:45:15,460 --> 01:45:17,460
It's one of the best ways to help us grow.
1583
01:45:17,460 --> 01:45:20,460
And we would love to hear your feedback.
1584
01:45:20,460 --> 01:45:26,460
For the latest piano news and updates, be sure to follow the piano part on Substack,
1585
01:45:26,460 --> 01:45:28,460
Facebook, Instagram, TikTok and LinkedIn.
1586
01:45:28,460 --> 01:45:31,460
I will see you for the next episode of the piano part.
1587
01:45:31,460 --> 01:45:32,460
Thank you, Ophelia.
1588
01:45:32,460 --> 01:45:33,460
Kiwi kiwi.
1589
01:45:33,460 --> 01:45:34,460
Thank you.
1590
01:45:34,460 --> 01:45:35,460
Bye, everyone.
1591
01:45:35,460 --> 01:45:36,460
Thank you.
1592
01:45:36,460 --> 01:45:54,460
Thank you.