1.
How important is Beauty in your performances and compositions?
I
often think and say to myself that I have to be true and spiritually honest
towards Beauty... When I perform or compose, I stay completely faithful to its
extraordinary power and try to give my most fullest attention to it, full
emotional spectrum and most sincerest thoughts, expressed through language of
music. In words of Fr. Chopin: 'Bach is an astronomer, discovering the
most marvellous stars. Beethoven challenges the universe. I
only try to express the soul and the heart of man. ''
2.
Do you believe that Beauty is therapeutic?
Not
only believe in it… That’s exactly what I teach to my students and many have
come to me saying how very therapeutic it has been for them to learn music, for
some, how life-changing has the influence been! Isn’t that remarkable??
In
my opinion, its therapeutic secret is that during the actual practice (not only
the final performance stage), our ears and mind united in one magical
music making / improving, creates the most finest, most calming, relaxing and
indeed therapeutic circumstances there could be!
3.
What does it mean to be a composer in the XXI century?
I
think that is a very wise question.. Having studied music and composition for
quite a bit, still hasn’t helped myself to answer to this question. The problem
or obstacle is, in my opinion, that there is an unwritten law going around
saying that XXI century music is supposed to be something we have never ever
heard before or that it has to include elements never used before such as
sounds of dishes, cutlery, human voice to a very extreme level (screams,
shouts), plastic bags, in another words – the element of pitch has lost its
meaning in nowadays.
Now,
when the word of freedom has reached its highest peak, it has become harder, in
my opinion, to say what exact rules should be followed when composing XXI
century music. It seems to me that ‘the stranger, the better!’ motto is taking
greatest impact on this, yet I am not entirely sure this is a motto for such
delicate form of art as music…
I
personally trust that those great values of earlier centuries, starting from
the great Bach generation and finishing with Liszt, their ideology, their
detailed and practically proven methods of composing are the most honourable
one’s, and I will dare to say – the only one’s when it comes to composing new
music, be it whichever century. This has been my motto when composing. Through
the period of creating music, I try to ‘let myself go’ to another universe,
improvise, allow myself to be transformed, but, I will also keep in mind the
great structure and melody formulas so well created by previously mentioned and
more composers in past. I do, however, appreciate many our day composers music
such as E. Rautavaara, a composer from my own country P. Vasks, minimalist
music and spiritual greatness of Messiaen's music.
4.
You are described as an innovative musician and composer. How important is
innovation in your job?
This
question can be partly answered by my previous comments on ‘What does it mean
to be a composer in the XXI century?’ subject. In brief, I do believe that one
needs to be innovative, when composing, however, the level of inventiveness has
to be balanced out or shall we say, ‘rounded up’ by the rules of composing from
earlier centuries.
My
strong belief is that everyone’s composition will be innovative in its way,
because there is no other similar work out there, even if the change
is a very slight one. Because I strongly trust that everyone’s musical creation
comes from the depth of his or her soul, it can never be repeated, for we all
have our own souls, our own life backgrounds, emotional scales and the list
goes on and on... Lets take the great ‘revolutionary’ L. Van Beethoven as an
example. He is known for having very innovative and different approaches to
composing. But at the same time he is still following the rules of structure,
balance, colours, effects, the only thing that is very ‘innovative’ indeed, is
his own soul, having gone through a very tough childhood and even adulthood,
which has mirrored back in his work.
5.
I remember that a famous cyclist in an interview said that he was thinking of
philosophy while performing…what do you think during your performances?
Most
certainly the interviewer in question must have meant Bach. He was and still is
one of the greatest musical philosophers there are! Look at those remarkable
fugues, ensemble works and orchestrations of his! They all generate great
amount of highest level of philosophy! This is exactly what I am thinking, when
performing his work in particular…
When
playing someone else’s music, thoughts vary. I remember performing
Shostakovich’s prelude and fugue in d minor, the last one. I also remember
reading literature about it. And the fusion of actual music, which is somewhat
dark yet gloriously noble, and literature details from history had created a
clear story-line in my head, when I perform the piece. In the opening I think
of all the terrible pain of war, lost families, their closest one’s, the human
tragedy, which also resembles at the beginning of fugue, which is kind of quiet
and inner, but in my opinion its this great level of sorrow. I also think of
noble colours when octaves would come in both in Prelude and Fugue, which are
quite many, and in my opinion particularly meant by Shostakovich himself to
make the illusion of noble and grand gestures. These, I think, identify the
belief that not all is lost and that we should learn from these mistakes in
order to avoid such tragedy in future.
On
the other hand, when I performed Mussorgsky’s Pictures at an Exhibition, I
could not stop thinking of the actual visit to a museum, and tried to animate
the frozen pictures, whilst having a clear sense of the full meaning behind the
pictures, which, as we know, not all is so jolly and sparkling.. The piece,
after all, was dedicated to a dead friend of Mussorgsky.
6.
You are defined as a challenging artist and teacher. Is there any limit in your
challenge?
Throughout
years of full time studies both in the UK
and back home in Latvia,
where the study routine is quite rigid, I have been challenged by others and
challenged myself very often. Quite frankly, the environment of many such arts
institutions all around world are only active because of the drive of
competition between students and their challenges.
Now,
when I have happily finished my Masters studies, I can look back and regret
nothing. I was particularly pleased to have won the Recital Prize in 2011 back
in years of studies at Manchester...
By achieving first prize I had achieved personal challenge – to participate and
luckily win a high calibre competition with high level of adjudicators at the
panel.
However,
I have noticed some ‘scars’ because of this great drive of
competition within... I think that’s my present limit – instead of competing I
am trying to enjoy myself and the art of music to the fullest, and
very thankful to the universe for the ability to share this beauty
with others by offering lessons and seeing them progress.
7.
Is talent all you need to be a good performer?
You
know the saying out there: ‘Its ONLY 1% of talent, and 99% hard work’ that
makes one great. I strongly believe in that.
I
also strongly trust in the power of music genetics taken after parents... Sometimes
it is so easy to teach pupils from musical backgrounds, as they simply
naturally and even not knowingly appreciate everything said in no time.
However
there are situations when pupils with no musical background whatsoever achieve
higher than others... And I think that’s because of the 99% work they put in!
8.
What is the best quality for being a
good music teacher?
You
see, during my teaching I still learn much myself. Your pupils, no matter which
level, can be of great influence to teachers themselves. Many of them remind me
how great is music, many remind how much more patient I should be when tutoring
the very beginners, although for me it might have seemed patient teaching.
If
I need to break it down to a few points as to what exactly is the best quality
for being a good music teacher, it has become obvious to me that not only my
pupils will inspire me back, they will also make me be on top ‘of the game’ by
holding constant practice of my own, by keeping on top of news on music around
the world, by learning their repertoire in order to be able to give the best
advice, and most of all – the result of satisfied and well achievers makes a
teacher feel so worthy and happy, that it can not be described in words. The
youngest ones can be the most inspiring ones. I remember this cute little one...
She was only 4, and was starting her very first lessons in piano. Now one needs
to understand that at this age it is crucial to give a good lesson, or else
that can be their first and last lesson ever. So even having had much
experience in teaching such young one's, I think teacher will still feel a bit
nervous every now and again. Long story short, the lesson ended so unexpectedly
for both of us, that I could not believe it! Her focus was
spectacular, her intelligence for her age – even more incredible, and most of
all – we both enjoyed ourselves fully and truly! And here comes the best part…
After having parted with her, I remember her coming back in a matter of
minutes, and saying: ‘I’m here for more!!’ Now isn’t that cute??? This is
exactly what makes it so much fun and fulfilling!
On
top of that, meeting ever new people of any age is also so great!
9.
Reading the testimonials on your website (http://eduardsgrieznis.com/)
you appear as a versatile personality, is this good for a musician or should a
musician be more rigorous?
I
think it really depends on person. If a musician likes and most importantly –
feels mostly comfortable in one particular musical style or setting, they
should definitely choose only their area of comfort. I, personally, do indeed
like to 'taste' different styles and settings of musical world. After all, the
more versatile a musician and personality, the more versatile – thus, more
dedicated - will be a music teacher!
10.
As a musician you have worldwide experience, do you think that being born in Latvia offered
you more chances than if you had been born in Italy?
I
have heard that Italy
is quite proud and well-known for their own great school of virtuoso pianists
and artists. Also, I am aware that Latvian music system, so much based on the
legendary Russian school, is also very valuable and offered me many concert
opportunities throughout my time at home.
Having
been in the UK for more than
five years now, has made me realize that even UK has a lot to offer.
So
I guess my answer to this is that it is hard to say, what would have been
'if'... I am very pleased where I have come now, for the path I have had back
home in Latvia and the UK, and also had had the chance to taste the great life
of Italian culture by participating in a 'Giuseppe Terracciano 4th International
Contest' back in 2007. I must say since that first visit to Italy I've been
'drugged' by the glorious beauty and culture of your country, and wish to come
back soon!
11.
Have you ever been to Florence?
I
have indeed, quite a few years ago actually. It was a memorable journey, for
sure... In fact, I basically fell in love with the city and its all shape of
arts!
12.
Would you like to come to Florence
to perform? Have you ever considered the option of living in Florence and why?
I
would be mostly delighted and extremely excited to come and make music at this
fabulous place! And yes, I have indeed considered staying in Florence for life. After visiting it a few
years ago, I remember this feeling of it being my second home, even if I wasn’t
there for more than a day... Also there was something in the air that one
cannot explain... Or was it the great taste of wine...?
In
order to conclude, I would just like to mention this remarkable quote of J. S.
Bach: ‘It’s easy to play any musical instrument: all you have to do is touch
the right key at the right time and the instrument will play itself.’
