Expert Advice
Nicolas Namoradze on why pianists turn their ears off
The Honens Prize laureate on chamber music, finding teachers everywhere and why pianists stop listening to themselves.
News
- NewsAndsnes and Chamayou win 2026 Gramophone Piano Award; Imogen Cooper receives Lifetime Achievement Award
- NewsMitsuko Uchida wins the 2027 Léonie Sonning Music Prize
- Competition NewsMikhail Kambarov wins La Palma d’Oro International Piano Competition
- Competition NewsEdward Leung wins 2026 Albert Roussel International Piano Competition
- NewsAngela Hewitt to lead a new music festival in Umbria
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Expert Advice
All adviceInesa Sinkevych on singing while you practiceSoyeon Kate Lee on playing an unfamiliar piece like it’s BeethovenOlga Kern on why pianists have two brainsRan Dank on why water has no anglesMichelle Cann on telling a story in every sectionMichael Lewin on why the audition panel wants to like youAlvin Zhu on why you should learn a new piece before you play a noteYoheved Kaplinsky on why excitement isn’t about volumeAlan Woo on why silence can be the most dramatic momentRobert Blocker on why you shouldn’t race to the finishSean Chen on why your ears, not your feet, play the pedalRachel Naomi Kudo on why your scales should singHyun Sook Park on why you should listen from the ceilingEric Lu on playing the pieces everyone playsRobert McDonald on playing on the front side of the beatAlan Chow on why rubato isn’t the only way to be expressiveYi-heng Yang on playing a prelude like an improvisationYong Hi Moon: melodies are multiplication, not additionEnrico Elisi on why your fingers shouldn’t outrun your footGerardo Teissonnière on finishing every phrase to the last noteMichael Lewin on why Liszt invented impressionismDavid Fung: “The music of Beethoven plays itself”Jiayan Sun on why Beethoven shouldn’t sound like a metronomeJames Giles on why you should practice staccato legato