Known for his charisma and ability to convey the deep emotional essence of music to audiences around the world, Simon Trpčeski he gained the status of one of the most important pianists of his generation. The audience of the music program of the 38th Grad Teatar festival will have the opportunity to see for themselves, during which Trpčeski will hold a concert tonight in the church of Santa Maria in punta, in Budva's Old Town.
Simon Trpčeski is a prominent Macedonian pianist, born in 1979 in Skopje. He showed his musical talent at an early age, and he began his formal education at the Academy of Music in Skopje, where he graduated in the professor's class. Borislava ivanova.
Trpčeski attracted international attention with his exceptional technical skills and expressive music. His London debut in 2001 with the London Symphony Orchestra was a turning point in his career, followed by appearances with leading orchestras around the world, including the Royal Philharmonic Orchestra, the Chicago Symphony Center and the Los Angeles Philharmonic. His discography includes several acclaimed albums, among which the recordings for the EMI Classics label stand out. He won numerous awards and accolades, including the prestigious Gramophone Award for Best Young Artist in 2003.
In addition to solo performances, Trpčeski is active in chamber music and often performs with friends and fellow musicians. His passion for education and working with young talent further enriches his contribution to the music community.
In an interview for Vijesti, he announces tonight's concert in Budva, comments on the music scene in the Balkans and the role of classical music in society, talks about challenges in that field in the world, advises younger colleagues and reveals plans for the future...
How do you feel about this year's hosting at the Grad Teatar festival? What can the audience expect from your performance?
I am coming to Budva probably after almost 30 years, maybe a little less. This sounds quite dramatic and unbelievable, and it seems so to me. I think I may have passed through Budva once or twice in those almost 30 years, but I never had the opportunity to come to the Grad Theater festival again. That's why I'm very happy to have received an invitation from the maestro Bojana Sudić to introduce myself to the Montenegrin audience, as well as to everyone who is a fan of festivals and art in general. I am glad that I will have the opportunity to perform in such a historic and very charming city, which for some is also a fashionable place.
Which compositions did you choose for this performance and why? Is there a specific theme or message that you want to convey through the chosen repertoire?
I will present myself with several compositions that not only evaluate, but also explain human nature and all its characteristics and qualities, as well as shortcomings during life, which are expressed in various ways. I will play a repertoire that includes "Mazurkas" by Chopin, "Holberg's Suite" by Griga, all the way to "Krkko Orašićić" and "Sonata" by Prokofiev. As a musician, I want to remind all of us through this program of the normality of human life and personality, the feelings of sadness, love and pain, but also the spirit of humor and the spirit of children, as well as the pressure we feel through Prokofiev's "Sonata" because of everything that, unfortunately, happening in the world. Let this concert be a call to understanding, love and peace. In such a fairly developed world, war simply must not happen.
Who are some of your biggest musical role models and how have they influenced your playing style?
There are several pianists who really left a strong impression on me. Of course, I had an excellent piano school that originates from the old Russian piano school. This is the type of people who paid attention to the sophisticated taste in music that I try to follow and improve daily. So, although I don't want it to appear that I am conservative, these role models have dedicated themselves to sound, the beauty of sound, the culture of interpretation and purity. These are characteristics that may not always correspond to the times we live in, but I consider myself lucky to have been able to learn from such role models who were representatives of a slightly older school.
What are the biggest challenges you face as a pianist on the international scene?
I partially touched on this topic in the previous answer. One of the challenges today is playing and interpretation in the world of pianists, because everyone, of course, wants and needs to find their own stamp of interpretation, which is normal and natural. However, it is difficult to find a balance between sophisticated taste and the modern, commercialized world. I believe that everyone should believe in their expression, but respecting the purity of the music.
How do you rate the music scene in the Balkan region compared to the world scene?
Lately I have been following the music scene in the Balkans and I think the result is really advanced, especially what is happening in the Balkans, such as the programs of the Sofia Philharmonic, the Belgrade Philharmonic and several orchestras in Bucharest. Although I haven't followed that much lately, it caught my eye. Of course, there are also the programs of orchestras in Ljubljana and Zagreb, as well as the efforts of the Macedonian Philharmonic and other cultural institutions that strive to present quality musical programs. It is a close connection between artistic creation and finance. I'm not saying that everything depends on finances, but they play a significant role. When compared to Western scenes, the situation can be ungrateful, but in the Balkans you can see effort and knowledge, as well as festivals that offer quality content, which is to be respected. In Montenegro, at least according to what I saw until last year, people are also trying. On the one hand, the concept is simple: the state must recognize that culture in a nation requires maximum support from musical institutions and qualified people with knowledge and vision. It may sound simple, but it is not easy and you need to find the right people and support them. If they are not supported, the situation can become problematic. These are complex things that can be solved in a simple way, especially when it comes to the Balkan mentality.
What is your opinion about contemporary composers of classical music?
Being a contemporary composer is not at all an easy task, given the rich history that surrounds us. Finding your own language and expression in this day and age is a huge challenge. I respect the courage and even the unscrupulousness of those who embark on research and finding their expression, conveying their visions and emotions through music in the modern age. Technology, electronics and experimentation play a significant role, but it is important that these innovations have a clear purpose or goal. However, we must not forget that melody is one of the key characteristics of music, which should touch the audience in different ways. Although this may be simple to say, in reality it is very complex. Regardless of all the challenges, I support and respect all composers who have the passion, desire and courage to show their skills and express themselves in their own way.
What do you consider to be the key moments in your career so far? How important is the role of a mentor in your musical journey and do you mentor young musicians?
There are several key moments in my career. From today's point of view, the period of education was extremely important, because it provides a solid foundation for the development of a musical personality. The period of high school and college was extremely important for me, especially because of the exceptional professors I had. The combination of their influence and my character and personality contributed significantly to my interpretation. After finishing my studies, continuing to work on myself was crucial. Also, receiving an award at a competition in London and starting to cooperate with management were important moments. I believe that there are several important components in my career, and the process of continuous improvement is crucial because of the high competition.
What would you advise young pianists who are just starting their musical journey?
I always advise younger colleagues to believe in themselves and to respect themselves and music. This includes dedicated work, which is inevitable. When they lay a solid foundation, quality will naturally manifest itself. Of course, there are always nuances, but it is important to build good taste and not let the commercial world spoil sophisticated taste. Staying true to yourself and your pure taste is not easy in today's commercial environment. Therefore, this is the advice I would give them.
What message would you like to convey to the audience that will come to listen to you at the Grad Teatar festival?
I would like the audience to open their senses and, as they say in the Montenegrin language, "surrender" to the music and sincere feelings that I will try to convey. The intensity of emotions that music can provide is difficult to describe in words. If the audience relaxes and surrenders to the magic of the music, it will enrich their lives in a way that is priceless.
What are your plans after the Grad Teatar festival?
After the Grad Teatar festival, I continue with concerts. I recently performed in Amsterdam with the Romanian Chamber Orchestra and the conductor Gabriel By Bebeshele, and I also participated in the Belios festival in Cote Saint Andre near Lyon in France, with the Ukrainian Youth Orchestra and the conductor Oksanom Univ. The season started intensively, with three concerts in three different countries in four days. I am planning concerts in Dusseldorf with the Dusseldorf Orchestra, and then I will return to Macedonia to continue with the project "Makedonissimo", which we have already performed at the Bar Chronicle. We hope to perform it in other cities of Montenegro, since the plans for Podgorica were changed last season. Also, I plan to open the season in Sweden and participate in the Enesco competition in Bucharest as a member of the jury. After that, I will start the new part of the season in America with concerts in Milwaukee, Montreal, Miami and Denver, as well as as a resident artist in Timisoara. Last season I was artist in residence in Monte Carlo performing with the Royal Scottish Symphony Orchestra. Also, I am planning performances in Germany, Spain, England and Croatia, and maybe a return to Serbia. During the year, I am also planning a performance with the opera in Zurich, Switzerland, and the great anniversary concert of the Macedonian Philharmonic in Skopje.
Classical music has the power to deepen emotions, stimulate creativity and intellectual reflection
How do you see the role of classical music in today's society? In what way do you believe that music can contribute to cultural dialogue and understanding between nations?
From a historical perspective, classical music for me is a means of purifying the mind and spirit, which includes intellectual cleansing. I believe that classical music has the power to deepen human emotions and stimulate creativity and intellectual reflection. I believe that even people who had no special talent or interest in classical music can, if they dedicate themselves and listen openly, experience something new and significant. Classical music can touch an audience and provide an emotional experience that is difficult to describe in words. Music has been medically proven to have positive effects, although I'm not an expert in that area. If institutions pay more attention to classical music and the arts in general, it can help connect people and promote greater understanding. In the Balkans, perhaps, the tendency to make everything more complicated than necessary can make things difficult. However, if the right people are hired in key positions in cultural institutions and teamwork is promoted, significant progress can be made. In the end, it all depends on our desire to progress.
Bonus video:
