Interview
1. What was the first piece(s) you learned? Was it inevitable you would be a pianist as a consequence of your early tuition?
The first pieces I have learned were a few Waltzes for Children, Mozart Sonata in C major K545 and short works by Grieg. I had a passion for music since I was a child.
2. Is your family musical?
My family are not musicians however they enjoy music and attend concerts regularly.
3. Which famous musicians do you admire? Why? Who would be your dream accompanist?
I admire many musicians, but Michelangeli and Martha Argerich are two artists whose performances I find are always moving me and their technique of playing the piano is formidable. I believe that Michelangeli’s recordings are a school which many artists still learn from, and Argerich’s genuine and pure feeling for music is something very exceptional and unique. Needless to say, I would of course be delighted to play a duet with Argerich.
4. Tell us about your days at the Arab Institute of Music in Aleppo, and your instructor the Michael Kotcharov?
I was always looking forward to going to the Arab Institute of Music for a lesson. Michael Kotcharov was a great teacher. He is the one who introduced me to my first Chopin and Liszt pieces. He paid attention to detail and was very accurate in his teaching method which was very important to me at such a young age.
5. How did it feel like to win the best piano student prize 2 years in a row in your country?
Winning always gives me a stimulus to be more passionate and involved in what I am doing. It is the moment when one can forget about all the continuous efforts applied before.
6. What are your fondest musical memories, privately or performing?
My fondest musical memories include my first appearance on stage when I was 7 years old, then receiving my first international award at the London International Piano Competition when I was 16, followed by the 1st Prize in the Jean Francaix International Piano Competition, Paris when I was 18.
Other memorable occasions include playing Bach Concerto in F minor and Haydn D Major Piano Concerto with the Aleppo Orchestra when I was 11 years old, my performance of Beethoven’s Fantasy for Piano, Orchestra and Choir with the Syrian Philharmonic Orchestra at 15, my performance of Prokofiev Concerto No.3 with the Young Musicians Symphony Orchestra when I was 17 years old and my performance of the Chopin Concerto No.1 with the Young Emirates Symphony Orchestra when I was 21. These were all very exciting and powerful experiences for me.
7. Can you introduce us to your subsequent tutor Vladimir Kasatkin. What was it like to be instructed by this man?
I have studied with Vladimir Kasatkin for 6 years. He definitely managed to widen my outlook particularly in expanding my repertoire, polishing the artistic side of my performances and developing my musical personality. I learnt a lot of major works of the piano repertoires during that time. I was also very inspired by his technique and ability to perform despite his advanced age at that time. Without his supervision and encouragement I would not have managed to participate and get an Educational Award at the London International Piano Competition which opened doors for me in Europe.
8. In 2005 you were accepted at The Purcell School, where you were awarded a two-year scholarship to study with Sulamita Aronovsky. Can you tell us more about this period of your musical development?
Moving to study to the UK was very exciting for me and I enjoyed it a lot. I consider myself very lucky to have been awarded a scholarship to study at the Purcell School with Sulamita Aronovsky. During this time of my musical development I felt I started to form my musical ideas with greater clarity, and I felt that she helped me to use my musical insight to underpin the stylistic features of different compositions. My ability to master the interpretation of musical works became more comprehensive as my artistic personality developed to a professional level. I continued working with Sulamita Aronovsky throughout the four year BMus course at the Royal Academy of Music.
9. Recently you won 1st Prize at the 2008 Jean Françaix International Piano Competition in Paris and in 2009 you were a prize-winner in the Ciutat de Carlet International Piano Competition, Spain. Tell us what pieces you played in these?
My repertoire included the following works -
Bach- Prelude and Fugue Book II, No.1
Mozart-Sonata in C minor K 457
Beethoven-Sonata Op.27, No.1
Chopin-Sonata No.3, Op.58
Chopin-Etude Op.25, No.6
Liszt-Paganini- Study No.6
Francaix- Nocturne and Scherzo
Ravel-Gaspard de la nuit
Scriabin- SonataNo.5, Op.53
10. What advice would you give to those who wish to embark on a professional concert music career? Is this your own vision for your future?
I think that in order to have a professional concert artist’s career one has to be very persistent and dedicated. It all depends on the passion somebody has for music as well…. Unfortunately it is easy to get discouraged in our profession as musicians have to face criticism almost every day, but in the end we should believe in ourselves in order to make others believe in us.
11. How often and for how long do you practice?
I practice every single day, this is necessary. I never counted the hours but I try fit 2 or 3 sessions per day with breaks in between.
12. Do you or would you like to teach music?
I have been teaching privately for several years and I also work for the London Music Centre. I do hold the LRAM certificate for teaching from the Royal Academy of Music, I enjoy teaching and I learn a lot from it as well.
13. How do you balance your music with other obligations – or do studies win over performing commitments? If you did have copious free time, would you embark on a vacation or a research project by preference?
I believe everything has to be in proportion. If I had copious free time, I would try to combine vacation and research projects.
14. Do you compose? What inspires you?
I composed when I was younger, but I do not anymore.
15. Do you listen to ‘traditional Arab music’, how wide is you taste in music genres?
I do listen to ‘traditional Arab music’ and also try to follow up the modern performers to a certain extent. I enjoy hearing the traditional old ‘slow music’ in UK and Europe as well.
16. Clearly the geography you come from is going through its own political convulsions right now, no doubt affecting all spheres of life including musical teaching and performance. Are you optimistic that in the future the performing arts in the Arab world will emerge with minimal damage?
We are hoping that the situation will be solved soon, and the musical life in Syria will be ‘reinstated’. I also hope that there will be more opportunities for the performing arts to develop and blossom. I shall do my utmost to contribute to it.
17. Do you have future projects in the pipeline?
Yes, I do. Before the end of 2011, I shall play recitals in London at Leighton House on 12th November and Regent Hall on 2nd December. In addition I will have concerts in Aleppo and Damascus on 15th and 19th of December.
