Olga Jegunova is a 33 year old classical pianist. The latvian musician discovered the piano at a very early age, and is now trying to give back to the world of classical music.

What are the struggles of a classical musician?

I really wish that the investment musicians make towards our society would be more appreciated and would pay back better for artists. How do we do that? By supporting arts and by carrying more about artists.

For artists the main challenge is to be both creative and earthly practical. Musical market has become a real competition field. Putting an artist into sports-like conditions can be very dangerous. Creativity must be spontaneous, curious and free, whereas competitions requires completely different skills: a standard (often repetitive) repertoire, stamina for 20 concerts a month, social awareness, nerves made of steal and one has to offer something special, different from others. Unfortunately, the search for a “special ingredient” sometimes takes great artists to the cheap cross-culture and a shallow entertainment zone.

This creates a new challenge : to remain faithful to the genuine culture.

Do you feel like one needs to suffer to create music?

I have went through the phase where my very best performances were taking place during the most stressful times, even depression. They were the most emotionally charged performances. Now I understand that it can’t function like this. It is important to keep your mental health very stable. And it is important to learn how to transition from being a musician to being a human being. It is very easy to become extremely selfish, to expect the world to revolve around you. At the end of the day we all have our responsibilities and people to care for.

You have a performance tomorrow, you’ll be playing some excerpt from the “Poetic Sonatas” CD. Are you nervous?

Yes, I’m very nervous. I’ve always been very nervous before performances. It starts a few days prior to the concert. Even now, while answering this very question, my hands became completely cold. It is all about being there in that very moment: in one evening I will present sonatas that I have been working on for years. No pressure? Don’t think so.

And you’ve never played these sonatas publicly?

Of course I have, many many times. However, every single performance is so unique; the audience, the acoustics, the piano and the atmosphere always change. It is a one-off moment and it is very important for me to do my best at this very performance. I fear to fail.

In what way?

By not being able to deliver my best. Not because I will be criticised or I will never have another opportunity to perform. But because I have a very strong responsibility towards the composers that I have chosen: Beethoven, Chopin, and Bartok. If you deal with the greatest, make sure you’re up to the level.

Another very important reason why I’m nervous is the complexity of these sonatas, and how unpredictably difficult they can be in the moment of the performance. They are playing their own tricks, I can get carried away, lose control. Alfred Brendel said that during a performance, you need to be in the past, in the present, and in the future at the same time. You can only imagine the amount of concentration and focus musicians go through. Some say it is very similar to the neurosurgeons during an operation.

Or “the zone” for a sportsman?

Exactly. Everything distracts you. It can be a little fly, a crying baby in the first row, someone eating a sweet during the quietest part of the piece. But once you are in the zone, nothing matters anymore. Getting into this zone can be a long process though.

Going back on something you said about the responsibilities towards the composers you’re playing: Beethoven or Chopin will never be able to tell you if they are satisfied with your performance. How do you judge if your performance was good enough for them?

Wonderful question. You see, with great masters we are both lucky and totally trapped. Lucky because we are dealing with a top excellency; trapped because we need to keep up. Who is there to judge? The audience and the silence. G.Kancheli says that a good performance creates a vibrating silence in the audience. I couldn’t agree more.

Tell us more about your charity.

I have recently started a music charity called “Olgarhythm”. I try to support those who are talented and faithful to the music. I try to encourage their focus and creativity. Still, this is not enough; music has to be an organic part of educational system and later, an important part of our lives. At the moment the charity exists thanks to the private donations. Also, all the proceeds from my new CD “Poetic piano sonatas” are going to the charity.

In one of your video blogs on YouTube, you said : “I feel that we live in a very noisy society, and I feel the need to cultivate the silence.” Could you expand on that?

Music appears from silence. It is the almost meditative state you need to achieve to create something, almost an hypnotic mood. I feel nowadays many things have been done to avoid that. Even now, during our interview we’re hearing a background music. We don’t really need it but it’s here to create a so-called ambiance. But I’m sure that the ambiance can be created by two people being in a room and having a interesting conversation. It’s all about exchange of thoughts, of emotion and energies. Maybe all this noise is here to stop us from thinking, concentrating? So if I say something silly today, I can always blame this background noise.

You’ve also talked about stage fright in one of your videos.

Yes.

But you are not totally over it.

No. But I don’t think you should be over it. As soon as you’re over it you become average, normal, healthy, in control. Stage fright pushes your borders, makes you overcome yourself, puts you out of your comfort zone. Once you are out of your comfort zone, you can do amazing things. Things that you’re not even aware of. But you have to overcome the stage fright in order to be there. Stage fright is in many cases a pure and absolute creation of your ego : “What if they don’t like what I do or how I look ? What if I will not be loved ?” This is the fear of not being accepted.

Can you talk about the influence of your parents in your career?

Yes, it started with my grandfather who truly loved making music and improvising. He played the violin, sang, and was extremely creative. For him, music was a totally different dimension, another language. This brought so much happiness to our family gatherings. Very special memories. Later, my mother started teaching me more. In a very clever way, through the game she introduced us to the sounds, rhythm, musical expression. We were litterally playing the piano. It couldn’t have been a better start.

Both of my parents were very supportive in a totally different way: my mother was always there, participating, guiding, listening and hearing me. But my dad helped me in an exactly opposite way: by not interfering, by letting me breathe, make choices and mistakes, and by simply accepting me.

Latvia has a very strong bond with music, a lot of Latvians learn music in some way.

Yes, Latvia is a very musical nation… They respect and cultivate folk music, their cultural roots. Latvians share the love of singing and dancing together.

Do you sing?

Yes, of course! And I love it. I think we have to sing. It makes us more human.

Do you sometimes find yourself singing mainstream music alongside the piano?

Sometimes! I learn a lot from pop and rock musicians. First of all, I reappreciate classical music after listening to some rock and pop. Second of all, rock and pop musicians are very daring, they are so sure about themselves! I wish classical musicians would learn from them, because classical musicians always doubt, criticise themselves and often analyse and complicate too much. Sometimes is it important to just let it go, let it happen.

Except from classical music, what is your go-to music?

My first choice when I need something else is jazz. I can’t stop enjoying some good jazz standards and improvisations. Then there is always Elvis when I’m on vacation (laughs).

Do you plan on continuing your YouTube channel?

Not sure. It is hard to explain the unexplainable…

But you received so many good feedbacks!

Yes, and I’m grateful for every single line. Although I receive a lot of criticism, I am determined to stay faithful to the music. I like what Marina Abramovic (serbian visual artist) said : “If you spend your life caring about what people think about you, you will waste your life ; you just need to do what you have to do and then see what happens.”

Which composer do you feel the deepest connection with?

J.S.Bach. It will always be Bach. All other composers grew from Bach. They are the consequence that I love and appreciate but if I had to chose one, it would be only Bach.

How can you be so sure?

Because he has everything in his music. Even beyond understanding. He manages to communicate without forcing… His music organises my mind, brings peace, harmony and a sense of perspective. His genius makes you realise that you’re an important part of the universe, but that you’re just a part of it. There is so much love and humanity in his music.

What’s something you’ve realised about piano that changed the way you play for the better?

I realised that my my playing can make people freer. Music definitely has a therapeutic effect.

Do you play any other instruments?

No. But I don’t mind. Piano playing is very hard to master. Since people have narrowed their specialities down, we master one profession throughout our lives. Earlier, people used to play many instruments, improvise, compose and conduct. I’d love to play instruments from every orchestra group : string instrument, wooden instrument, percussion, harp etc, but there is the danger of just scratching a surface without digging any deeper. I would love to be able to improvise, compose and conduct and be a bit of a “Da Vinci woman”. However, in some ways I have enough multitasking to do already: I have a family to care for, concerts to play, students to teach, charity to run and articles to write. I suppose I already direct my own mini orchestra of life.

Don’t you think it would be possible for you to conduct a real orchestra later on in your life?

I don’t have this kind of ambition. On top of this, being in charge of a big ensemble gives you a lot of power. Power can be dangerous…

Do you compose?

No, I don’t have this gift. Because you see, when you know the existence of the great composers, you either have to be better, or don’t even try.. If you can’t be better than them, if you can’t say things that are more important than what they have said, why create in the first place?

Or, you become an entertainer, a clown that just adds more noise to an already very noisy planet.

According to you, what’s the weirdest thing that society accepts?

I don’t want to go into politics right now… (laughs) Oh my goodness, what a question. The weirdest thing that society accepts...War. It starts within one insecure, unloved person, and then it spreads. It is scary to see how many people are for violence, terror, anger, death…

Have you felt the influence of war?

Of course. It is in the air. Every day. I feel sorry for those who can’t live in a safe and peaceful environment. Many people go through so much struggle every day. I am privileged to be a musician, to live this illusion, to have this interview…

If someone brought to you a box with everything you’ve lost, what would you search for first?

Some of my friends. Some of the people I really really love but because of certain reasons, the connection is lost.

Would you say that piano or music were one of the reasons for that?

Oh, no no. Nothing do to with music. Life situations really.

You are playing tomorrow, how do you prepare during the last two weeks before the performance?

I try to prepare myself by getting into the music, I visualise and hear very clearly the moment on stage. I like to know the stage, the piano, the acoustics. The rest is all about the sound and where it is going to take us to. Also, sleep is affected. The nights before and after the concert are usually rather restless as I think how will it go and then how did it go.

So was this the worst time for an interview with you..?

And the best at the same time. Because I’m already entering the zone, and it’s already a very different “me”.

X or Y

Chopin or Beethoven?

Beethoven because Chopin learned from him anyway…(laughs)

Cat or Dog?

Dog!

Do you have one ?

No and I’m allergic to both (laughs) !

Major or Minor?

Major for life, but minor for music…(laughs)

Science or Religion?

Science of course.

Day or Night?

That’s a tricky one.

You can skip one question if you’d like.

I like the transition between the two.

Guitar or Cello?

Oh, I’m going to skip this one! (laughs)

Ernest Gulbis (latvian tennis player) or Mickail Tal (latvian chess player) ?

(laughs) Mickail Tal of course!

Do you play chess?

Sometimes but I always lose!

Superstition or Reason?

Reason, 100%.

Movies or TV Shows?

Movies, of course!

What’s one of your favourite movies?

“Breaking the waves”.

Celebrity or Posterity?

Posterity of course. It is very obvious, you could have guessed it! (laughs)

Interview done by Jean Boutros Younes on the 7th of february 2017.

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