Wednesday, May 27, 2015

Vika goes wild – a classical pianist taps into her passion for rock

When her parents were told that she – at kindergarten age – had perfect pitch and a talent for music, there was no going back: “My parents took it seriously, and the natural consequence seemed to be continued studies at a special music school. That included competitions, exams, and concert performances under high pressure, requiring utmost commitment and all the other expectations that go along with that…and- it was all understood,” says pianist Viktorya Yermolyeva, better known as Vika, or “vkgoeswild” to her YouTube subscribers, which now number over 350,000.
“All these people are spread all over the world, which is wonderful, and at the same time it makes it harder to project when organizing live concerts. Musically, they come from very different directions; mostly they are open-minded. I have classical fans, who realize that metal is good music too. And I get metal fans, who realize the piano is not as lame as they thought it might be.”
Vika’s arrangements are one-of-a-kind. While many may think of her as controversial, she manages to transfer music she adores into an idiom of sound that resonates from the instrument she knows so well. In her hands, music that wasn’t written for the piano in any way, sounds as if it was written for it alone; she makes the piano into an incubator, tapping into a new kind of orchestral expression to grow out of it.
Sometimes, her extraordinary choice of style makes her feel a little out of place: “Honestly, I don’t do it to be controversial at all. I just play music I can identify with on the instrument I know best. It happened to be this combination. If I had figured it out earlier in life, maybe I would have picked up bass guitar and would be in a band, not making everybody’s eyebrows raise,” she says, half-jokingly. In fact, Vika tried that too, at a time before she realized that the instrument wasn’t the problem. Even though she successfully finished her piano studies at the Kiev conservatory, partook in the competition cycle, and pursued postgraduate studies in Weimar and Rotterdam, she never felt enthusiastic about a career in classical music. Why did people view a career in music as some sort of an Olympic sport? Should not live experience add just as much value to audience interpretation as a performer’s competition history?
Vika reacted to these tensions by listening to “the other music,” rock music in particular, and her choices became heavier and more aggressive as she continued to broaden her palette. Rock became the “soundtrack,” as she says, to her “inner reality.” For a while, Vika tried on the Jazz hat and even enrolled in her first year of jazz piano instruction in Rotterdam after graduating with highest honors as a classical concert pianist. “A weird move,” she admits, because she knew from childhood improvisations that traditional jazz was not her thing. Eventually, she quit her search, and as an escape created a secret channel, “vkgoeswild,” to let it all hang out, dance, sing, and improvise without publicly revealing her identify. Very soon, Vika started making full piano arrangements, and then, with her first Metallica cover, her web presence began to go viral.
“It wasn’t the first time I had to arrange rock songs. I used to play in a restaurant in Amsterdam, solo and accompanying singers. Piano sheets of pop song arrangements never satisfied me, I always had to change them, add more life to them…but I never thought of it as a career.” She also heard arrangements of songs she loved that did not sound at all like the originals when played on the piano. Deep down, Vika knew the piano was capable of much more than the easy listening covers she was hearing. The occasional arrangements by classically trained musicians, on the other hand, sounded too virtuous for her taste. “Lots of technique,” she describes them: “Pianists would add a lot of unnecessary passages and technical tricks to make it look cool, and to show off…there wasn’t the right feeling for the music. Sadly, there seems to be a lack of respect in the classical world for classical musicians who try themselves in other genres, I never got why people could see this as a “betrayal of good taste.” I could never relate to that snobbish quality in people,” she says. Instead, Vika eagerly turned to metal, without really looking back.
“I don’t feel like making debates about it, and I don’t want to know what some people will say about my choices,” she says. “I just want to play music I feel a deep connection with.”
Her success happened quickly once people started to take an interest in her YouTube videos. It was Vika’s getting to that point that took years of wrestling with perfection.
While her arrangements of renowned titles are high in demand, Vika plans to also develop some of her own materials in collaboration with friends. She hopes to release some of these tracks on an album, which she is in the midst of funding via Kickstarter. Vika now lives in Frankfurt, Germany. She still occasionally plays classical music for herself and friends, and she misses performing on a grand piano, which will be a must for the upcoming recording. There are still logistical questions that she is working through for the project, particularly with regard to the metal covers for which she has become known: “It’s logical to want to also record all the songs I love most and feel great about performing, but that depends very much on the copyright issues. With classical music, we never really have to think about this issue, but with arrangements, it certainly becomes a complicated matter,” she confides.
When the limitations of laws and judgment are stripped away, though, there is something essential in all music making; according to Vika, this universal element consists of “emotions in music, energy, and power.” She says, “I think classical music, rock, and metal…these are all just different ways of expressing the same thing. As long as it’s there, it does not really matter to me how it’s being articulated. Music I love was always written by people who felt a lot, went through a lot of pain and suffering…even if they wrote their music 200 years ago, times changed, but these things don’t.”
Visit Vika’s website here for more information.

Friday, May 22, 2015

Lera Auerbach – excessive ease of aesthetic discovery

An artist who does not like to comment on her own prolific work, Lera Auerbach answers query with further creative output. “When I was told, you can’t be a composer and a pianist, I started to paint,” says the now 30something Russian-American pianist, composer, visual artist, and poet.
Literature and poetry were always part of Auerbach’s artistic inspiration and an integral part of her creative DNA. She has published three books of poetry in Russian, selected works of which have been recited publicly in performances by Gerard Depardieu, Sergey Yursky, and Evgeny Kissin. In 1996, the International Pushkin Society of New York named her Poet of the Year, and her poetry and prose are included in textbooks mandatory for schoolchildren in her native Russia.
Alongside several of her own librettos, Auerbach writes the English blog Trouble Clef, published for over a decade as a contribution to the Best American Poetry blog. Her first English publication is titled Excess of Being. A collection of aphorisms, some of which occasionally appear in Trouble Clef, it is a spontaneous work in progress collected over three years, which, compiled into eight chapters, integrates and comments on different aspects of life.
Coupled with some 120 oil-on-rusted metal works made from antique roof tiles that Auerbach found in an architectural salvage store, the book completes a body of work that she felt was forging its way for some time.
Originally approached by her publisher about a book of prose, the plan changed quickly; as aphorisms continually appeared, the author kept collecting, jotting down her thoughts in a notebook she kept next to her bed whenever inspiration struck. “Early on I felt there was something else that wanted to come out,” a feeling Auerbach always fosters while writing or composing.
It is in the editing and grouping process, an intense period of structuring by condensing, that Auerbach’s more evaluative shaping takes place. The visual art element of her work started out similarly impulsively before becoming an integral and defining part of the book. She fell in love with the characteristics of the raw and rusty material, and the 19th century tiles’ alluring time-worn aesthetic. “There is beauty in the spontaneity of creating,” says Auerbach, seeing strong connections between her visual art and her work as a pianist and composer. “Not unlike in performance, there is a certain spontaneity involved in the creative process. You can’t correct yourself with this unusual technique. You can only keep it as is, or discard it. That takes an inner freedom and courage. You can’t be afraid of making a mistake.”
It is through her selection, the grouping of raw material, that the artist establishes the framework and context of the larger work – and here again she feels there exist many similarities to the way she composes. Auerbach originally wanted to include her existing artwork, but felt the need to create a special series of visual pieces, ingraining her words, and giving a unifying structure to her writing. Her original work now only accompanies the chapter titles. “The overall form is always very important for me; even a collection of shorter pieces, similar to a collection of Preludes, must receive a solid shape,” she confirms.
“A book of aphorisms is a rather strange genre: It may seem similar to poetry but it’s also very different in how I relate to it. Excess of Being is based on a Rainer Maria Rilke poem.” Auerbach quotes: “‘Excess of being wells up in my heart …’ Rilke was fascinated with the Russian language. I edited some of his Russian poems, because I felt there was so much beautiful imagery with an awkward use of language. It gave me great joy working on it and I loved the process.”
Many of Auerbach’s grand scale scores embrace dramatic fairytales, often willed by the artist’s own romantic mindset, but with an ingenious message of their own: “It is irrelevant how you feel,” says Auerbach. “What matters is the work itself. You tune yourself to be the instrument of your creation and, the work writes itself. I make the grand plan, but then I let it go, and very often, the work turns out differently than I had originally perceived it, and I allow it to be.” The process of her own artistic creativity is at the heart of her contemplation and observation, and often shows up in her most original scores. It is perhaps precisely because of her distinctive eye for its conceptual framework and orchestrated architecture that Auerbach’s aphoristic shorthand becomes true commentary. “Dying from a paper cut,” the author remarks on her own, sometimes overwhelming struggle with the little things in life. Depicting occurrences and observations stemming from everyday life, to love and to music, her words – perhaps best pondered upon in small dosage – offer truism in coming to terms with life’s excess by making it into art.

Wednesday, May 13, 2015

Pianist Inon Barnatan – Classic Role-play

This article was published in the German PianoNews magazine 3/2015, Staccato Verlag.

Photo credit: Marco Borggreve

Impressed with Barnatan, Alan Gilbert, Music Director of the New York Philharmonic, recently described the 35-year-old Israeli musician as “a wonderful pianist, a probing intellect, passionately committed, and a capable contemporary music pianist as well.” Gilbert, the leading force of New York’s mighty music citadel, in fact allocated an extraordinary position to Barnatan; this March, Barnatan performed Ravel’s Piano Concerto in G major with Alan Gilbert and the New York Philharmonic Orchestra, his debut with the orchestra, and the inauguration of the New York Philharmonic’s performer label, “Artist-in-Association.”
As the first soloist in the history of the New York Philharmonic, or any other world orchestra to my knowledge, Barnatan will be playing a sequence of contracted collaborations with the New York Philharmonic, including three different concerto performances during three seasons, as well as chamber music with musicians from the orchestra.
The pianist explains that Gilbert’s call came as a total surprise: “I had no idea about any of this when my manager got the call. I am much honored to be the first artist chosen for such a significant position. What Allan and his team do so well, by not just hiring different soloists for every season, is to nourish a deeper rapport with the artist. That applies not only to the new ‘Artist-in-Association’ series, but also to their already established ‘composer-in-residence’ program. They really mean it when they say they are looking to build meaningful relationships, and they put their money where their mouth is.” 
                                                                                                                                                                                                        Photo credit: Marco Borggreve
The ‘Artist-in-Association’ program consists of a continuing collaboration between artist and orchestra over three full seasons, and includes concertos, as well as a variety of chamber music programs. Working through a broad repertoire over several seasons and with the same musician not only allows for a certain freedom from the impulse of “playing it safe”, but also creates opportunities for discovery and for showcasing the full spectrum of an artist’s aptitude – an opportunity particularly beneficial to emerging artists. At the same time, this approach brings the artist closer to the audience.
 “The usual situation is that you have very short notice to prepare for your debut,” says Barnatan, “and by the time you could be invited back – which usually can’t be planned earlier than three years in advance due to advanced scheduling arrangements – the audience has all but forgotten you.”
Particularly in the realm of contemporary music, Gilbert’s commitment to building long-term perspectives rather than indulging in the novelty aspect of a soloist is well known and appreciated.
“The New York Philharmonic does not just do contemporary music – they do a whole Biennale,” says Barnatan.
Being the first emerging artist featured during several, consecutive seasons at the New York Philharmonic has certainly not hurt Barnatan’s career, but his talent and personality have made him many friends within the New York music community long before this extraordinary honor.
I’ve played a lot in New York lately,” he says.  “Remarkably, despite New York being known as such a ‘dog eats dog’ place, I found much support here early on. In my experience, if someone here likes you, they will do everything they possibly can for you to succeed.”
Barnatan’s New York road to success has recently been further paved by being awarded one of the prestigious Martin E. Segal Awards for the year 2015. 
Apart from John Gerlach, director of the Rockefeller Concert Series, who invited him for his first performance in New York, Barnatan names Hanna Arie-Gaifman, music director at the 92Y, as one of his early and most important advocates.
Since 2009, he has been performing regularly at the 92Y’s concert series, participating with members of the Cleveland Orchestra in a Janáček – Kundera celebration, and also joining the Tokyo String Quartet in its three-year cycle of Beethoven’s string quartets.
In December 2012, Barnatan’s solo recital with works by Debussy, Adès, Britten, and Ravel formed the backbone of his CD, “Darkness Visible”, an album that made the “Best of the Year” list of The New York Times.
A 2013 release of Schubert’s late Sonata in C minor, D.958 and A major, D.959 (including his affectionate Impromptu in G flat D.899, No. 3) on the Avie label followed, attracting Gramophone’s praise for his “sensitivity, poise, and focus”; the music magazine called Barnatan a “born Schubertian.”  
Barnatan’s 2006 recording on the Bridge label, “Schubert Recital, which included Schubert’s second set of Impromptus (D.935), already expressed the pianist’s affinity for Schubert’s work early on in his career, and so it came as no surprise when three years later, after his time with the Chamber Music Society of Lincoln Center’s group for young musicians (CMS Two), he co-curating the CMS “Schubert Project”, an exploration of Schubert’s late works. Following this, Barnatan participated in international performances with CMS.
“Inon is an absolute musician, engaging and interesting. He is already great and still growing, and he is a joy to work with,” says the 92Y’s Gaifman when asked about Barnatan.

Photo Credit: Ruby Washington
Inon Barnatan at SubCulture
During the 2014 collaboration between the New York Philharmonic and the 92Y at the downtown music venue, SubCulture, Barnatan was featured in a solo program titled “Voices”, which allowed him to express himself through repertoire ranging from Bach to Liszt all the way to jazz.
Then, during the 92Y’s “Jerusalem Quartet and Friends” cycle, he played Brahms’ chamber music works as “resident pianist” with the revered quartet.
Jerusalem Quartet cellist Kyril Zlotnikov raves about working with Barnatan:
“The quartet’s first collaboration with Inon was at the London Royal Academy of Music, around 12 years ago. Since then it has been always a great pleasure for me to collaborate with Inon. He is very sensitive, delicate, flexible, and such a knowledgeable musician with great taste; and most importantly he knows how to listen, which is a quality I personally admire the most. It’s just a joy to make music together with Inon, and I hope we will have many more opportunities to play together.”
Barnatan likes to compare his playing and performing with the role-play of an actor: “As in an actor’s job, a musician’s job is to inhabit the role, but at the same time disappear behind it and figure out what the material is about, and how to bring that across,” he says.
And indeed, an actor’s nuanced and very detailed expressions create a unique palette that is not unsimilar to the pianist’s craft.   
To achieve perfectly aligned coordination, the choreography of movement requires a controlled distribution of body weight. Only then can a pianist’s interpretation fully and uniquely express the emotional power and character of a composer’s specific sound. There is a reason why classical master works are performed and recorded countless times and by a multitude of pianists: no performance possesses the same interpretative detail as the other.
An unending quest to discover a musical work’s character, which rarely reveals itself in the score alone, is a prerequisite for any adequate interpretation.
Not unlike a film script, the score only serves as a point of departure; in the performance, it is up to the artist to provide direction by balancing dominant and secondary voices, but, unlike in film production, this has to be done in one ‘take’  – true mastery each time.
Naming some of the masters who helped him build his musical vision, Barnatan particularly mentions his mentor, Maria Curcio, herself the last pupil of the legendary Arthur Schnabel in Italy and of Nadia Boulanger in Paris. Curcio’s list of students reads like the ‘who is who’ of piano icons, and includes pianists such as  Martha Argerich, Radu Lupu and Leon Fleisher.
“Originally the plan was for me to leave Israel for the US, where at age 17 I was auditioning for Juilliard, Curtis, and Peabody,” Barnatan remembers.   “But after I had returned to Jerusalem, where I was supposed to play for Curcio, she had to cancel but invited me instead to visit her for a week in London, where she resided at the time. I was so taken with her that this week turned into my moving to London to study with this grand dame of the piano; she was just so incredible,” says Barnatan.
“She embodies that spirit of Schnabel, and although she did not have a career of her own as a performer, she fully represented that beautiful musicianship, a true marriage of sound and knowledge.”
Barnatan especially appreciated the great mentor’s capacity to technically achieve different types of sound, so precious in an artist’s palette. “She taught me how to use everything in my arsenal [while] still trying to make it sound like you are the first person playing that piece.”
In 2000, Barnatan met pianist and educator Leon Fleisher at the Ravinia Music Festival in Illinois. Coming out of the Schnabel/Curcio tradition, Leon Fleisher told him: “If you want a thousand different sounds, you need to play a thousand different ways.”

At Ravinia, Barnatan also worked with teachers such as Miriam Fried, Claude Frank, Menahem Pressler, and collaborated with young artists like Alisa Weilerstein. “Alisa and I had the same manager, who paired us up and planned our first live radio broadcast together, in 2008.”
Barnatan remembers his first performance with the vibrant cellist very vividly: “We did not really have much time to rehearse together, but it came so natural – we agreed about things in every respect and it was just a great chemistry between us. The broadcast took place at one of the major radio stations, and after we played, the interviewer remarked that our performance together was obviously the fruit of a longstanding collaboration, to which Alisa remarked without blinking: ‘Oh, about a year and a half’.” 
“Ravinia opened my eyes,” says Barnatan. “It did so for many things, but especially for my developing understanding of chamber music.”
Four years after Ravinia 2000 and shortly before his Carnegie Hall debut, Barnatan played one of Schubert’s late sonatas for Fleisher’s master class at Carnegie Hall. In the audience was Ara Guzelimian, then Carnegie Hall’s senior director and artistic advisor. Ardent about Barnatan’s talent, he further assisted Barnatan by introducing the young pianist to cellist David Finckel, artistic director of the Chamber Music Society of Lincoln Center, which in turn led to Barnatan’s engagement with CMS Two.
In 2007, Barnatan and violinist Liza Ferchtman released a duo-CD with works by Schubert and Beethoven on the Challenge Classics label. The musical chemistry between both performers has been praised as a “tour de force in ensemble playing.”
And despite very demanding solo careers, Barnatan and cellist Alisa Weilerstein decided to devote some of their precious time to celebrate their musical synergy. Photo credit: Jamie Jung

“We don’t do huge amounts of performances together; usually we plan on one tour per year in Europe and one in the United States, but when we get together it’s always easy, just like the first time,” says Barnatan.
They recently returned from Berlin, where they recorded sonatas by Chopin and Rachmaninoff for the Decca label at Teldex, to be released sometime this year. “This is difficult repertoire and could be tricky sometimes in collaboration, but because of our dynamic, it went like a breeze,” Barnatan says.
In an industry starved for iconic performers, both Barnatan’s and Weilerstein’s careers are flourishing; Weilerstein’s recording of Elgar and Elliott Carter’s cello concertos on the Decca label conducted by Daniel Barenboim, was named “BBC Album of the Year” in 2013.
Yet stepping into the realm of a successful international career has not always come easy for the thoughtful Israeli artist, who has made his home in Harlem. He struggles with the dilemma of the business aspects of an artist’s life versus the noble act of performing.
It might well be his understanding for the role of the actor, which will provide the young pianist with the necessary balance to navigate these disparate worlds.
And then he adds: “it’s a bit of a paradox: the career stuff is supposed to be all about you … but I do feel very strongly that as a musician it’s really not about you.”
It is this humble thoughtfulness that makes Inon Barnatan so likeable.

Between Fire and Ice – Adrienne Haan brings new energy to Cabaret at Café Sabarsky

   (all photo credits: Rob Klein)

Adrienne Haan’s diabolical Weimar Berlin Cabaret “Between Fire and Ice” was a great fit for the unique Cabaret series at Café Sabarsky, which is primarily devoted to German and Austrian music of the 1890s to 1930s. The Viennese-style café in the Neue Galerie, named after the museum’s co-founder Serge Sabarsky, and outfitted with Josef Hoffman sconces, Adolf Loos bentwood chairs, and Otto Wagner fabrics serves specialty Austrian fare and projects an atmosphere reminiscent of the rich and multifaceted culture of Berlin and Vienna of that era.
Established by Ronald Lauder, the prestigious museum’s collection of works by so-called “degenerate artists,” as well as art and objects from the Vienna Secession, creates an environment conducive to atmospheric music that reflects the period’s Zeitgeist; it was a time exploding with creativity and rebellion, characterized by the persistent search for one’s own identity and expression in a changing socio-political climate, famously portrayed by another female heroine, Marlene Dietrich, in her prominent film role of Lili Marlene. Haan calls it: “The dance on the volcano between the two World Wars, a bodacious period probing the ties between feminine struggle and female glamour.”
Café Sabarsky’s established cabaret series has seen some of the genre’s great talents; the name Ute Lemper, a high-caliber representative of this particular German-flavored art form, spiked with intense theatrical drama and calculated audience engagement, comes to mind.
Adrienne Haan’s sold out program this Thursday, attended by both the German and Austrian Ambassadors to the UN, was Haan’s debut performance at Café Sabarsky, and like cabaret’s all-star, Lemper, Haan animates the room and keeps her audience leaning in with suspense. Often engaging audience members with direct interactions, Haan’s provocative, fun-filled, and sometimes slightly overdone flirtations in honor of “Jonny’s Birthday” abruptly turn into spouts of melodic outburst and spiteful hissing for Brecht/Weil’s charismatic “Seeräuber (Pirate) Jennie.” Altering the mood in the room with every number, she never loses a beat. Haan’s theatrically well-conceived and highly sensitive musical interpretations are piercing. In fact, her poignant and emotionally intense delivery reaches even audience members that may have never heard the well-known melodies or do not fully comprehend some of the German texts infused into the otherwise mostly English repertoire. A potent soprano, Haan’s range of artistry does full justice to the sensuous melodies and inquisitive lyrics of compositions by Misha Spolansky/Marcellus Schiffer, Friderich Hollaender, and Kurt Weill/Bertold Brecht.
(photo left) The great connection between Haan and Richard Danley at the piano is apparent; Danley has collaborated with Haan for the past 13 years at many of her New York performances. Haan’s accuracy and clear devotion to keeping her delivery honest with the character of each of these show pieces is particularly impressive. “This is the most important aspect when portraying this kind of repertoire,” she says, “you can’t just croon this flat out. You have to feel the emotional component, and like an actress, become one with the role.” And that she does: her performance is rounded out with a bountiful dose of temperament and a dash of nostalgia, but only where nostalgia is due.
While stringing these rare cultural pearls from the past and uniquely foreign aura often seems to call for a delivery portrayed with a fake sentimental slant, Haan begs to differ – her scripted realization of these art songs is never cliché; she reserves room for a deeply felt, personal freshness and a smart bite – she is a true interpreter of the genre.
Like some of the paintings within the café’s neighboring galleries of the old world 19th century villa, Haan vibrantly portrays the full bag of mixed (sometimes excessive) characteristics and emotions, like the attractive and the ugly, the rebellious and the shady, the fear and hope so inherently depicted by the art of the time. Psychological precision, and therefore a deep understanding of the underlying message of these varying characteristics, lies at the heart of cabaret’s theatrical/musical art. Haan proves to have both, the charm to make it amusing, and the conceptual flexibility to bring this music to life, making the audience laugh and sob, and perhaps even igniting a curiosity in her audience to explore this repertoire further – an inspiration with the potential to transform. 
                      Photo: With German UN Ambassador Harald Braun (left) and Austrian UN Ambassador Martin Sajdik (right) at Café Sabarsky.

On October 29th, Adrienne Haan will perform her program TEHORAH at Carnegie Hall’s Weill Recital Hall, conceived in honor of the 50th anniversary of German/Israeli diplomatic relations. Tehorah, which means pure in Hebrew, features music of 1920s Weimar Berlin, Yiddish Klezmer, and contemporary music sung in Hebrew arranged for the multi-lingual singer, piano, and string quartet. The performance will be directed by German pianist and conductor Heinz Walter Florin. Fifty years after the holocaust, the story about war, loss, hope, and forgiveness promises to be a heart-wrenching experience, calling upon music as an ambassador of peace.
Her website: Adrienne Haan and for further reading my article
Ilona Oltuski –    

Tuesday, May 12, 2015

Pianist Llewellyn Sanchez-Werner – “Music can make the world a better place.”

“Music can break down barriers because it speaks directly to the heart, connecting people through its common language,” says the young man sitting across the table with great conviction, as he brushes away a strand of long, blond hair from falling over his lively eyes. From the get-go, Llewellyn’s enthusiasm is contagious, and remains the distinct mark of the multitude of endeavors in which this young musician engages.
Photo: Llewellyn Sanchez-Werner performs at the Miami International Piano Festival
In 2010, Llewellyn was the first American soloist to perform with the Iraqi National Symphony Orchestra; while there, he launched a fundraising drive for the first local Children’s Cancer Clinic. “While the other performers and I did not speak the same language, and the atmosphere initially might have been described as tense, with search-dogs sniffing instrumentalist’s cases, it was a very gratifying and really bonding experience,” remembers Llewellyn, “carried by our mutual musical goal, we were all just musicians, not thinking of political conflicts.”
Honored as “Connector of the Day” by CNN International in 2011 for his independently initiated humanitarian contributions, the young pianist also performed at President Obama’s second inaugural concert at the Kennedy Center in 2013.          Photo: in the limelight at Kennedy Performing Arts Center
Dean of the Juilliard School, Joseph Polisi, the author of The Artist as Citizen, could not have asked for a more engaged young musician to take his ideology to its fullest meaning.
An astonishing curiosity and the ability to both inspire and be inspired are perhaps at the core of Llewellyn’s extraordinary talent, as he is constantly eager to engage in music’s harmonizing dialectic within and beyond the score. He does not need much sleep – life is much too exciting. He says, “What I enjoy most about our relatively small community at Juilliard is the interaction between the disciplines; the dancers, actors, composers and other instrumentalists.” While Llewellyn spends time alone in the practice room, the museum, and in the library studying the orchestrations for Ravel or Rimsky-Korsakov, the Belle Canto lines of Chopin’s works and relation to literature, exploring how Liszt set music to poetry and what inspired Schuman, or just trying to understand the complexity of it all, he is actually quite eager to build relationships with those around him. Llewellyn’s most precious memories are intense debates and play-outs with other musician friends in the practice room, even though when it comes to age, those around him are frequently several years his senior.
“Age never proved to be a barrier,” he insists, “I am often like the little brother, but on a cultural level everything quickly evens out,” says Llewellyn, who arrived to New York’s Juilliard Pre-College division when he was barely 10 years old, accompanied by his mother. Tested for extraordinary abilities, he had started taking credits at Ventura College in Los Angeles at age five, and had absolved credits equivalent to a full high school diploma. He became their youngest student ever to earn an Associate of Arts Degree before leaving the West Coast for Juilliard’s eminent breeding ground of musical talent.
His special gift for music emerged at age two, at which time he sang melodies and played them at the piano during his mother’s playful piano lessons; professional lessons quickly followed, leaving him reading music by age three. At age five, he wrote his first composition, inspired by the theory class he was taking: an experiment in counterpoint. Llewellyn continues his studies in composition with Lowell Liebermann, a former graduate of Juilliard and one of New York’s noted contemporary composers. Photo credit: Chris McGuire
In Veda Kaplinsky, chair of Juilliard’s piano faculty, Llewellyn found formative pianistic guidance early on: “She has an incredibly discerning ear and was able to guide me in seeing the big picture, while paying attention to every nuance,” he says. The transformation from pre-college to regular conservatory enrollment happened swiftly for Llewellyn. As per Juilliard rules, first year enrolled students have to live at the local dormitory, but in order to do so they have to be seventeen years of age. In Llewellyn’s case, rules were bent just a little bit when the school granting him permission to continue living with his mother upon his early enrollment at the conservatory; he was only fourteen at the time – the youngest pupil admitted as a full time student.
Llewellyn also started studying with former Leeds winner, concert pianist Ilya Itin: “Ilya and I formed a long term friendship,” he explains, “and as an active performer, he is able to offer something direct and unique. He became instrumental in taking my playing to the next level, but he also has this sterling character,” Llewellyn describes.
Both Kaplinsky and Itin link principals of the Taubman approach to their teaching. Kaplinsky, a student of Dorothy Taubman herself, and Itin, enlightened by Edna Golandsky, a student and later assistant of Taubman’s who further developed her training, both apply individual ingredients of Taubman’s intricate insights into a natural piano technique. Known to prevent pianists from incurring injuries at the instrument and facilitate individual musical expression through an expansive understanding of the performer’s intricate movements at the keyboard, Taubman’s teachings have provided much solace to instrumentalists, solving many mysteries of the key ingredients of playing with full tonal control and projection. “Apart from how these principals affected my own playing, I admire what the Golandsky Institute has done for so many instrumentalists,” says Llewellyn, who visited the summer workshop for the first time as a student in 2009, when studying with Itin, a longtime faculty member and performer of the yearly Golandsky Institute’s Summer Symposium at Princeton University.
“I had never been injured at the piano so for me it was about other things. Ilya has allowed me to find what is comfortable for me and has aided me to find my complete ease of playing, taking or leaving from the approach whatever I see fit. There is never a struggle; the approach facilitates the best possible way of movement with ease and fluidity, it helps with your sound and you become in control of every little detail,” explains Llewellyn, who shifted from student to performer at the festival’s weeklong concerts in 2012, and opened the summer’s 2014 performance series.
Despite his fast-track career, Llewellyn’s receipt of the 2014 Gilmore Award came as a total surprise: “They apparently select based on anonymous recommendations; they visit your performances incognito and read about you online… It was wonderful for me to receive that honor. It served as a validation that I was on the right track, and it provides me with a lot of exposure, which every artist needs.” Although Llewellyn is not rushing into an out-of-control performance career, but rather plans to broaden his expertise, he looks forward to taking advantage of the performance and commission opportunities that the award presents. “Writing music and performing often inform each other; you appreciate music differently if you understand the process of creating it,” he confirms. He indicates that he is starting to expand his search for eligible composers from whom he can commission new works. It remains to be seen for how long Llewellyn’s musical choices will continue to coalesce with his ambitions to ignite social change and cultural diplomacy, but he seems to be able to keep finding fascinating projects. For Hilan Warshaw’s documentary Wagner’s Jews for WDR - ARTE , which brilliantly explores the ongoing controversy over performing Wagner’s music in Israel and the composer’s Anti-Semitic stance, Sanchez-Werner was filmed in New York performing the works of Tausig, Wagner, and Liszt. He has also collaborated with the Gershwin family on a concert and biographical tribute to the Gershwin brothers and he keeps seeking inspiration and to follow in an admirable tradition of symbolic artistic efforts, including some of Mozart’s librettos, Sibelius compositions opposing Soviet suppression, and Barenboim’s West-Eastern Divan Project. Even if coming from a somewhat blue eyed perspective of a seventeen year old, his idealism and enthusiasm can genuinely spark, garnering well deserved admiration.
Photo left: With Yoheved Kaplinsky, his teacher and Juilliard Piano faculty chair, after his graduation recital at Juilliard's Paul Hall

Performing his Graduation recital at Juilliard, this April, he modestly proved that he continues to keep it real: with his heart at the right place he generously commended the biggest inspiration in his life – his mother.  Photo right: Ilona Oltuski