The thought of giving a Master Class at the Purcell Room, although daunting when at first considered, had not troubled me until I faced a nearly full-house, staring at me from down below!! Why, what were they doing there? Well, I can only be myself!

I remember two embarrassing things from that evening: after only a couple of half-words in, a voice was immediately heard: "louder, please"... and later on, while commenting on Chopin's Études, the word "articulation" wouldn't come to me, in any given form!! Ask me to speak to a crowd and I become instantly tongue-tied, so to get stuck at that word was hilarious...

Never mind, usually in the comfort of my own studio, I get such pleasure from teaching and also learn from it! In my opinion it's a shame when artists of the standard of an Ashkenazy for instance, don't. It's true that he listens to many young pianists but imagine how much he could 'give' and inspire by sharing his pianistic skills and fabulous musicianship in a one-to-one with the young hopefuls? Priceless, Vova, I wish you would!

I like to concentrate on the balance between hands, variety of sound, be it ''perlé', 'Brahms-deep' or the silkiest of touches; when technical difficulties occur, more often than not it's simply a question of position of the hand --"if you don't get a passage right 8-9 times in 10, it's the wrong fingering". Depending whether one is playing in recital or with an orchestra, a different projection is in order. I like to demonstrate the never-ending possibilities in the use of the pedal ("modesty apart ...", as we say in Portuguese); developing a keen eye for the markings in a score and total independence of hands where phrasing is concerned; an ear for the inner-melodies or making a crescendo with one hand while the other is doing the opposite. Chopin uses this effect quite often. For me, each voice is a different instrument, I like to play Chamber Music with myself: ideal partners are so difficult to find! The 4 participants Irina, Pyotr, José and Marco, all talented young pianists, provided great musical entertainment. Thanks for the patience, guys! Keep working hard and listening to what you do. And don't forget to settle your framework with the help of my friend-the-metronome, only then you'll be able to free yourselves in Music ".

Earlier in the day, on that same Purcell Room stage, I was reduced to despair when presented with the only two appalling instruments available for use at the Queen Elizabeth Hall. One London critic wrote: "she seemed ill-at-ease before the start of each piece"... if only he knew how close I was to going home! But how could I ignore the very numerous faithfuls? Although most unhappy, I played on, of course. To think that I'm speaking of London's scene, not that of some god-forsaken little place in the midwest of the USA, one would never believe! Does anybody else have any views on this, surely it can't just be me?! HE-L-LO, colleagues: "aux armes, citoyens-pianistes”!

Analyzing this, it could have to do with the fact that the older I get, the more I treasure the sound I make; and in order to do justice at projecting that, which is the core of my pianism, I expect to be provided with instruments (at least one) in respectably working order. The piano chosen for the students in the Master Class was completely dead at the top register -- hence my comment of "and to think I'm supposed to use this, on Sunday afternoon"-- It was the worst case of the 'least bad' of the two. The repetition in the one I had to go for, was so sluggish that the thought of launching myself into Scarbo was enough to want to send someone ... to the gallows >’ Le gibet’ (excuse the pun) and ‘Ondine’ felt more as if played on sunshine-bathed Copacabana beach rather than on the silkiness of the Ocean waters...

"If only"... I could have brought my own gorgeous Grand from home, like two years ago...Unlike the usual feeling I have of going on a trip when playing recitals, it became duty rather than pleasure and I did not much enjoy myself, that Sunday afternoon! I am so sorry.

An evening of music for a Children's Charity -- to try out another half of a new programme for later in the month -- at a beautiful house in London (including a most generous reception – thanks, Mr. & Mrs. Boas) preceded an appearance in Örebro, where I directed the Swedish Chamber Orchestra from the keyboard, in Beethoven's Concerto # 3 -- which I play since aged 14 ... To hear it phrased and paced my way, was most satisfying!

The wind section who usually have the most beautiful lines, therefore requiring balancing above the strings, for close rapport in dialogues with the piano, gave me my first sitting ovation, and would not stop applauding or get up at my request... I felt 'over the moon', by their spontaneous gesture. Thanks, Katarina (the concert-mistress) for the wonderful collaboration. Who knows where or when, but a Beethoven Cycle together would be quite a treat !

A recital in Warsaw, under the effects of thousands of milligrams of vitaminated UPSA aspirin -- I had just started the worst flu of my life -- on a surprisingly small Steinway, no comments -- was followed by the masterful score of Bernstein's "Age of Anxiety", with the Berlin Radio Orchestra under Larry Foster. They had the cheek of bringing a pianist to stand-by -- preparing for my demise?-- but even though I felt absolutely dreadful, I was not going to give up all the work I had put into preparing it. That's the one plus, we instrumentalists, have over singers: with no voice (Larry never imagined me capable of being that quiet!), an incredibly sore throat, and at times a fever, we are still able to perform. Of course it was broadcast and even if I don't think I played that badly, I could not for obvious reasons recommend that as my best rendition of the piece. The Masque (orchestrated for piano and percussion alone) went rather well. Pity there was only the one performance: so much work and not even a second chance for the Orchestra of sealing it as "done". As long as I can make it to the piano, on any stage, I will honour my contract. Professionalism? Humph, I'd say so, unlike some colleagues who may cancel simply because they don't feel like playing or leaving their… pets.

And I continued to feel ghastly, 'crawling' about with fever and a nasty cough, and made it through the last engagement of this incredibly busy month of March: with the BBC Concert Orchestra -- at the RFH in London, which is about to close for needed renovations. The Concerto was Shostakovich's # 2 -- the entrance of its gorgeous slow movement is the signature to my website -- I always think it "the most demanding 18 minutes in the repertoire"!

But adrenalin or sheer guts, carried me through an amazingly good performance of the Concerto most associated with me, since I first moved to Great Britain: many fans still write about that treasured '74 recording with the lovely Bournemouth Orchestra and Paavo Berglund, for EMI, my first orchestral disc. And remember I recorded it again, with the Philharmonia and Ashkenazy, for DECCA. It's nice to look for new approaches each time you re-visit and 'old friend' like that, but here, ENERGY and the loveliest of slow movements are what come to mind and those two will never fail to impress or touch audiences!

Phew, I must have a rest now and completely get over this flu: my next gig is recording a new solo album of 'jewels' by 5 of my favourite Brazilian composers: Fructuoso Vianna, Camargo Guarnieri, Lorenzo Fernandez, Alberto Nepomuceno and ... Heitor Villa-Lobos. Watch out for its release in September >> I promise to let you know the details!  

PS: for my next recital programme, how about some divine Schubert having got Radu's 'stamp of approvaI', or perhaps an all-Beethoven Sonatas? Byee.  

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