Sinfonia Music Studio

EMIL GILELS (1916-1985).

When I am performing at my best, I tend to imagine the music almost as a kind of fantasy. Yet every time I perform a piece, I find myself approaching it differently. My interpretation is never exactly the same: sometimes I use greater dynamic contrasts, sometimes less; sometimes I play with more energy, and at other times I am more restrained. The overall character and projection of the performance also change from one occasion to another.

For me, interpretation is a process. First comes mastering the work—knowing every detail and becoming completely comfortable with it. Then comes the element of fantasy and imagination. Technique is essential, but it must be combined with imagination and a deep connection to the spirit of the music. At the same time, a performer has to remain faithful to the composer while retaining independence as an artist. When I perform, especially when I am not feeling well, I sometimes have to work much harder, even forcing myself to bring all these elements together.

As for repertoire, I consider myself an eclectic pianist rather than a specialist in one particular composer. I play music that I genuinely enjoy, and I do not perform works simply because they are expected of me. I may play some Mozart or Brahms without feeling the need to perform everything they wrote. I also dislike performing the same work too frequently. After playing a piece three times, I often feel that I have said enough for the moment and prefer to put it aside for a while. This helps me maintain a fresh perspective and prevents the music from becoming stale.

EDVARD GRIEG (1843-1907) suggests that the greatness of art does not lie in complexity or technical sophistication, but in its ability to express something deeply human. The true artist takes profound emotions and ideas from within and communicates them with such clarity and simplicity that they can be immediately understood and felt by others.

Scheherazade by Rimsky Korsakov.

The fourth movement by Rimsky Korsakov brings together elements from all the preceding movements while also introducing new ideas. Both the opening and the Vivace section are based on Sultan Shakhriar’s theme. The main violin theme of Scheherazade returns, along with the fanfare motif, which represents the shipwreck. The careful repetition and development of these themes create a strong sense of unity, making the work feel more like a symphonic suite than a collection of separate movements.

Towards the end, the contrasting Shakhriar theme in the subdominant minor interacts with Scheherazade’s theme in the tonic major. This tension eventually resolves into a magnificent, lyrical, and peaceful conclusion.

Here, you will hear Guangbin Wang’s piano transcription of this movement.

Chopin’s Ballade No. 4 in F minor, Op. 52 is the last of his four Ballades. It was inspired by a narrative poem by the Polish poet Adam Mickiewicz, which tells the story of three brothers who leave their elderly father and travel around the world in search of wealth. As the seasons pass without any news from them, their father becomes increasingly worried and lonely. Eventually, the brothers return home. They have not found great riches, but they come back happily married to loving wives.

The famous pianist and Chopin interpreter Alfred Cortot, who also edited Chopin’s complete works, described this Ballade as “the richest in substance, the most polyphonic, and the most moving and subtle.” He felt that the music has a dreamlike quality, saying that the listener is guided only by the thread of a dream.

The Grade 6 A16 piece for the ABRSM 2027–2028 syllabus is a fascinating work by Japanese composer Kōsaku Yamada. Yamada was a significant figure in the development of Western-style classical music in Japan and was among the first Japanese composers to establish this tradition seriously.

It would be a mistake however, to approach this piece simply as a Romantic work that requires long, singing lines or a purely cantabile style. The music is much more concerned with gesture, articulation, rhythm, colour and atmosphere rather than with building conventional long phrases.

Join Mr Simon Soh on 9 September 2026 to discover how to approach this piece effectively, together with valuable tips on how to perform it successfully in the ABRSM examination.