RSS feed RSS Twitter Twitter Facebook Facebook 15 Questions 15 Questions

15 Questions to Salome Scheidegger

img  Tobias

Hi! How are you? Where are you?
Hi. I am fine, thank you. I am on my computer in my family's flat in Zurich. While I am sitting, I am peering outside the window where the lilac trees are in full bloom.

What's on your schedule right now?
I have to prepare a new program for a recital at the end of the month, and then I have to practice for a chamber music rehearsal next week. Then I have a very, very important audition this month.

If you hadn't chosen for music, what do you think you would do right now?
I would go to High School (Gymnasium) in Zurich and learn for my graduation. But this is something I can hardly imagine.

What or who was your biggest influence as an artist?

A very high standard in quality goes through my whole education. When I started to learn Japanese Classical Dance at the age of three I was trained by a very traditional and high level teacher. I had to wear beautiful silk kimonos in winter and cotton one's in summer. Then, when I started to play piano, my teacher, Patricia Pagny, worked hard on me to develop important basics like an extraordinary care of the touch, and equal virtuosity in both hands. Until now I owe a lot to her. Presently I have also a wonderful and very different teacher, Galina Vracheva. She gives me much personal and autonomous strength.

What's the hardest part about being a musician and what's the best?

I find it sometimes hard to have the discipline to stay and practice while others go and have fun. The best moment is certainly, when a concert is over and it went well. I have also some "light moments" during a play on stage or at home, when I feel that body and soul come together. This is a gorgeous feeling.

What's your view on the classical music scene at present? Is there a crisis?

I am too young to have a real opinion about that and too inexperienced, although I think that the classical world should change something and keep up with the times. Sometimes I think it works with antiquated patterns, e.g. it lacks the visual part of a music experience. This is a pity. Also the critics sound ridiculous and not understandable to non-insiders.

Some feel there is no need to record classical music any more, that it's all been done before. What do you tell them?
Then there is also no need to go to concerts anymore. Nothing has been done before, it all changes, and every record is different. There is always something that can be changed or improved. It would be like giving up striving for personal perfectionism.

What constitutes a good live performance in your opinion? What's your approach to performing on stage?
The public must be touched deeply by the performance. It should forget about everything that's outside the concert hall, or wherever. It is important to have the feeling of being in contact with the public; this is when you sense a concentrated silence. Some people even let their tears flow. You must make them addicted to your music.

What does the word "interpretation" mean to you?
It is the matter of putting your heart into the piece of music. Every cell of your body gets touched by the music and you try to express that feeling while playing. Of course, you have to get an idea of the composer's biography, his environment and the circumstances which led to the creation of the work. Even so my approach is somehow instinctively. I feel the piece and I play it.

True or false: It is the duty of an artist to put his personal emotions into the music he plays.

True or false: "Music is my first love"
True. Classical and modern. I could not live a day without music.

True or false: People need to be educated about classical music, before they can really appreciate it.

True. I think that there are stages in life where it is difficult to find an approach to classical music, due to age, environment or actual interests. But if someone is not brought to it, how can this person learn to appreciate classical music?

You are given the position of artistic director of a concert hall. What would be on your program for this season?
Maybe that program would get a little one-sided - I would always invite soloists to play. I would put the Grieg piano concerto in A minor, the Chopin piano concertos and the Shostakovich concerto for piano and trumpet on the program for sure.

What's your favorite classical CD at the moment?
The 1960 recording of Chopin's piano concerto no. 2 in F minor, op. 21, played by Witold Malcuzynski (with the London Symphony Orchestra, conducted by Walter Süsskind) and Jacqueline du Pre and Daniel Barenboim playing Chopin's Cello sonata. Right now, I'm fond of Chopin.

Have you ever tried playing a different instrument? If yes, how good were you at it?
No, even though my sister plays the violin, it was never a real question or a wish to try. I like singing!

Anthology 2004

Salome Scheidegger

Related articles

15 Questions to Yuja Wang
It's simply unfair: Yuja Wang ...
15 Questions to Michael Zisman (Bandoneon)
Trying to track Michael Zisman's ...
Interview with Salome Scheidegger
Allow us the space for ...
15 Questions to Iiro Rantala / Trio Töykeät
Foremost, Iiro Rantala is a ...
15 Questions to Romana Goumare
The flute has countless faces. ...
15 Questions to Paul Moravec
Complaining about both the artistic ...
15 Questions to the Duo Tal & Groethuysen
At the anual awards ceremonies ...
15 Questions to Magdalena Galka
A few things are noticeable ...
15 Questions to Nadejda Vlaeva
While many talents choose to ...
15 Questions to Susanna Artzt
Susanna Artzt is the best ...
15 Questions to Alessio Bax
His piano recitals cover everything ...
15 Questions to Lucille Chung
Lucille Chungs Piano career started ...

Partner sites