Season 5 Episode 10: Anna Heller - Concert Pianist & Creator of Moving Classics TV

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Welcome back to another episode of The Piano Pod with Yukimi Song with Yukimi Song with Yukimi Song. Today we are thrilled to welcome Anna Heller, a renowned concert pianist and pioneer as the founder of Moving Classics The Piano Pod with Yukimi Song, a groundbreaking online platform dedicated to showcasing new piano music and connecting contemporary composers with global audiences. Anna has built an extraordinary career through her unwavering commitment to contemporary piano music and her imaginative interpretations. Her delicate musicality, nuanced playing, and innovative vision have earned her worldwide recognition. Through Moving Classics TV, Anna has recorded works by over 500 contemporary composers, collaborating closely with them to bring their creations to life while reshaping how audiences engage with modern classical music. In addition to her work with Moving Classics TV, Anna's live performances demonstrate her drive to push the boundaries of traditional concert experiences. Her latest project, Sunset Hour, is a unique blend of music, visual art, and philosophy, offering audiences an immersive and thought-provoking experience. Her thematic recitals, such as Tribute to Virginia Woolf and Bach in Movies, further illustrate her ability to tell stories through music and create deeply personal connections with her listeners. In this conversation, we'll explore Anna's inspiring journey as a pianist and visionary. We'll dive deep into her creative process, the challenges and rewards of building Moving Classics TV, and her mission to bridge the gap between classical music and contemporary audiences. Anna will also share her thoughts on the evolving role of musicians in the 21st century and her vision for the future of piano performance. But before we go any further, we are excited to share some big news. The Piano Pod with Yukimi Song is now on Substack. Substack allows us to connect with you, our amazing listeners, in a whole new way. With tiered membership options, you'll have access to exclusive behind-the-scenes content, early episode releases, special bonus materials, and insights from each episode. By joining, you'll also be supporting the production of The Piano Pod and helping us continue to bring you meaningful conversations with the leading voices in the classical music world. So head over to thepianopod.substack.com/subscribe to sign up and become a part of The Piano Pod family today. We can't wait for you to hear Anna's incredible story her dedication to the contemporary music world, and her pioneering work in redefining piano artistry. Please enjoy the show. You are listening to The Piano Pod with Yukimi Song, where we talk to the brightest minds in the industry about how they are bringing the piano into the future and thriving in a complex, ever-evolving world. Welcome to The Piano Pod with Anna. It's such a pleasure and honor to have you on the show today.

The pleasure is all mine. Thank you for inviting me.

Of course, thank you. And where are you joining us from today?

I'm in Munich, Germany.

Wonderful, beautiful city. I've been there like once or twice. Yeah, it's a beautiful place. Before we dive into our conversation, I just want to take a moment to acknowledge one person, one of our amazing listeners, Opoku Boadu. And Opoku also a devoted fan of your platform Moving Classics TV and recommended you as a guest on our show last summer. So here we are today, January 2025. I've been so eagerly looking forward to having this opportunity to chat with you about our favorite topic on Earth, which is piano! And so a big shout out to Opoku—thank you for supporting The Piano Pod with us and connecting us with incredible guests like Anna. So speaking of Moving Classics TV, I've been a huge fan of your innovative platform. I'm learning a lot, I'm learning a lot about contemporary composers, and it's truly remarkable how you've created a digital space that bridges the gap between classical music and contemporary audiences, which is similar to our mission at The Piano Pod. And I'm so excited to learn more about your work and vision. But before we dig deeper, I'd like to begin our conversation with a question we have recently made a tradition here at The Piano Pod with. So if you were to capture the essence of your artistry, mission, and passion in just a few sentences, how would you define who you are as an artist today?

Well, I'm a concert pianist who is searching for the timeless ideals of beauty, old and new ones. And I'm also passionate about sharing my art with people, and with Moving Classics internet channel, I am discovering, playing, and recording new piano music. Beautiful.

Wow. So let's just talk about Moving Classics, right? Yes. So, um, It seems like it's been such a, you know, successful platform. And just to give our audiences the tangible stats, your YouTube channel has nearly 4,000 subscribers and Facebook page has, I believe, like over 60,000 followers.

60,000, yes. My goodness.

It shows how you're engaging that your community is and truly impressive. So for those who may not know or familiar with this Moving Classics yet. So can you start by explaining what it is and what inspired you to create?

Well, basically the idea is very simple. It's an internet page, it's platform for composers, new composers, emerging composers, and also famous composers of today who are writing music, music that speaks to the hearts of the contemporary audience. And I have a YouTube channel as a heart of the Moving Classics platform. And on the Moving Classics page, we have profiles of composers. There is also a written interview. Where we talk about creativity, about compositions, about the issues that are important for composers. And I also play and record selected compositions. So this is really Moving Classics in a nutshell. And what inspired it, you know, I was always interested in learning new things as a little child. I was playing through countless compositions and, you know, some people play the same things 100 times and I wanted to play 100 different things. Well, which kind of led to this natural curiosity. And at the same time, I met on Facebook Piotr Lachert, who was a composer himself. And who was also founder of this consonant music school, so to say, in the '70s and '80s. And, you know, we started conversation and as I was searching for something where I could share my knowledge and my passion in internet, it was a kind of a natural continuation of this search. So he said, why don't you just start sharing this music? If you play it, you just record it. And then, you know, one by one, one piece after another one. So that's how it started.

Did you start by just simply posting a piece by piece on, for example, YouTube or something?

Well, yeah, you know, it was I kind of, one day I discovered YouTube for myself. I wasn't the first one, of course. It was actually late in comparison with others. But at the beginning, I was recording the classical compositions, like traditional ones, and wanted to put them in a new light. So doing kind of a theater video, you know, but But it wasn't really something that I was hoping to share with the world. So I'm more into new undiscovered pieces. You know, I'm like pioneer by my character. So yeah, I think the first composition was Sorban Niki Form, who was a friend of Peter Lachert and who is really acclaimed Romanian composer. And I just recorded it and it was received positively and he encouraged me to record more. So that's how it started.

Now, when you launched or started posting and then launched eventually Moving Classics TV, what sort of gaps or needs in the industry were you hoping to address, you know, and then what motivated you to bring this platform to life eventually?

Well, I mean, the biggest need or gap, what I see, and I still see it today, is that most pianists play traditional repertoire and all the concert programs are all more or less traditional. Um, everybody will say that they play at least one piece by a contemporary composer. We have academic composers, especially in Germany, because you have the state financing and you have a kind of approved composers who belong to, uh, to academia, and they also compose in their own way, so to say. And of course, you have really countless Spotify composers. That's how I call it. I mean, all the names, but you don't really have a systematized way of presenting these composers. So it's like a huge pot. And if you search for something to play, for example, Where do you start? You are really kind of maybe intimidated by the amount of compositions and you need time and effort. And I think this, the curation is really very important. So I wished myself that I would have it. So of course I would be going through the playlist and I would see what people are playing, but At the beginning, it was very time-consuming and difficult because I didn't know myself where, where do I start. So I was going through all the lists and publishing houses' suggestions. But then I also wanted to share the music that's speaking to the audiences of today. Like, because it's an internet platform, I thought in in the first line that they are the people who are listening online. It's not the concert performances or it's not university state exam or it's not even something where you want to show off your virtuosity. It's more just to listen, just maybe to dream, maybe to think. And so something that would appeal to younger generation too.

Wow, that is interesting. So many things that I want to talk about that. First of all, it's the curation part, and it does make sense. Like, being a curator is part of our job these days as musicians, and especially classical music, like, like you mentioned, especially when it comes to contemporary music where dealing with living composers, which is exciting, but we just don't know where to start, as you said, right? Yeah, so it's like you're dealing with this whole different— I don't know, another platform to deal with, and with so many talented composers, and then it's like, oh my gosh, I don't know what to listen to, where to listen to, to start with. And because people are just posting and posting on whether that is social media or music streaming services, which is great, but it's like, where do I start, right?

But even, even now myself, after all the 7 years, I have over 500 composers. And it means that even I myself have limits of playing the music of these composers. And sometimes I have to look up the names and see what are the compositions. That I played, because which is really kind of the biggest frustration for myself because I really don't want to forget pieces. And it doesn't mean that I kind of disrespect composers, you know, it's just, you know, we are humans and we have only 24 hours to play the music and which is really sad.

But like, also then what you mentioned about— because this is the digital platform, like, you create it, so it's not that live performance. Maybe live performance also you do in a different setting, but for Moving Classics, it's digital. So which means a lot of non-classical musicians or non-classical people who have never listened to classical music may, you know, for some reason just come across your video and listen. So want to be sort of friendly to those folks, correct? So the selection of the music is a little different, right? So please tell us about that.

Yeah. And I mentioned at the beginning that it's really very important for me to share music with others, because I think that the music lives in the moment where somebody else is listening. So I'm playing for other people. So I'm choosing music for other people. And I'm thinking about people who don't go to concerts, who don't know piano performers, who really want to discover something. Maybe about themselves or maybe about the world around them, or maybe a little bit about art and then about music and then about classical music. You see, that's how it starts. So I want to play— if I use this word accessible music, maybe it's a kind of word that music that speaks to them. Not to the classical music aficionados who listen to music anyway. So, because I really think that we need more, more people who appreciate this piano art, you know, especially if we think about future. So that's why this is how I think when I choose compositions. But about the process of selection, it's really more complicated than that because, you know, it's a way of communicating with composers. Like at the beginning, it was me who was contacting composers. And then at a certain point, it's changed. So I would be getting compositions from composers. And, and again, a little disclaimer, I will be getting so many really good compositions that maybe I have not recorded them all yet, which is also kind of my, my little challenge and also a problem because some people have to wait a really long time and it has nothing to do with the quality of composition or my appreciation of their art. It's just, it's just I try to, to be fair and see who was the first who applied, so to say. But, but I really try to record and see how, what's the feedback to this music. So I'm not really kind of judgmental about it. I mean, surely I have to be able to play the music and it should also speak to me at this very moment. That's why sometimes I play music after 3 years, because maybe I developed myself as an artist and I could understand it better now. And at the moment where I received the email, the composition was not really talking to me. So all is possible. Wow.

So this is actually wonderful because you used to seek out for those compositions, but now you are just— your inbox is filled with these wonderful pieces of music, gems, right? So, yeah. How do you decide which compositions to record? Not just a priority in terms of who, which pieces came first, but like, do you have like specific— for those who are listening, maybe for the composers, they want to know, right? Because they— yeah, most of, most of us want an opportunity for their, uh, our music to be acknowledged and so on.

So Well, because we are, we exist over many years, it also developed its own style, so to say. So it's kind of a moving classic. So I really want either emotional tonal music or minimal music or atmospheric music. So it can be anything from neoclassical to neo-romantic, but it should sound— I mean, I also call it contemporary, but not in a contemporary academic way. So I think about my audience, and it should definitely have a certain length because I don't want really long compositions to be featured because, I mean, as we all know, average length is about 3 minutes or even less, but this is the optimal composition for showing it at the channel. Then of course I also look at the communication with a composer. I want to know if they are committed, how they feel, if there is a certain title. I also really like titles and stories behind the compositions because it makes me curious and it makes also audience curious. And I also think that today the music is becoming conceptual again. And I mean by that, not this '70s or concepts of music, but even Einaudi has concepts, you know? So they should be There should be a reason for writing music. And if I feel, I don't care about the age of composer. I don't care if they're professional in a way, how do they make their money? I don't ask these questions. But if they are passionate about it, and if I feel there is something, I mean, surely I want to get views. I mean, let's be honest. And I really want to surprise my audience. So, um, if I think it could be, it could be something. Yeah. Sometimes it's a contrast. Sometimes it's just, um, what they expect. And sometimes, um, it's, it's really, uh, expectation that I even exceed. That is the best match in this, in this case.

Let's just go more into the tangible part of it. So let's say just for YouTube, how many videos you've already created?

Do you know? I think it's also over 500 actually, because I was recording and releasing every week. Every week? Every week over 7 years.

Yes, yes, yes. So you started like around 2017, right? Yeah. So since then, every week?

Every week, yes. One video a week? One, yeah, but I mean, certainly I wouldn't be recording every week, but I will be releasing every week. And I I also used to have the composer of the week, so I would present composer and a video.

So, wow. And then your, you know, performances are beautifully captured. I love the studio too. It's stunning, the whole scenery and the glass windows in the background, and then the beautiful— I think it's Steinway piano, right? Is placed. Yeah. Exactly. Yes. So tell me, uh, where, where is that location of the studio?

Well, it's, uh, it's a, it's a private studio and it's, uh, by one of the supporters of Moving Classics. Really? Gorgeous.

So, and then there's like it's a multi-camera setup in your videos and it creates such dynamic viewing experience while maintaining a really organic, authentic live performance quality also. Yeah.

Yes. And my idea was it's kind of a reading, really, because I differentiate between reading the performances where you perform one piece and especially, I mean, I'm getting older, so I used to play some pieces like over many, many years. So when I get this fresh piano compositions, for me, they are really new. So I don't want to wait. I mean, I would never release a Chopin recording like this, you know. But so that's why I call them kind of readings, not really performances. You know, because for me it's more important to bring them into the world, maybe with some little imperfections, rather than wait a long time. Because usually what happens, composers listen to it and then they decide to do some revisions and then they review things. So ideally you would have to go back and do more recordings or wait several years and re-record it, you know. So, but I really want to keep the freshness.

Yeah, it really shows. Maybe that's why people are gravitated towards your channel and then your videos too, because of the authenticity. Yeah, because that's the keys. That's one of the keys to be successful these days on digital spaces because, you know, people can fake these days using all these tools, but I think people want authenticity, right?

Yeah, and I mean, I really also like live recordings. So because as you say, I mean, it's, I mean, I wouldn't say it's easier to edit the recordings because I also did it myself. But still, I really like spontaneity. I like this human imperfection, if you want. I find there is something really, really authentic about it, as you say. So I really don't want to change that.

Approachable, but also still you maintain high quality in production performance. So I think it's wonderful. So, and I also like the title, Moving Classics TV. I can almost imagine why the title Moving, but can you tell us the reason behind the title?

Yeah, well, this is the word game, right? It's a pun, I think, in English, right? Or it's the word. So moving in a way, developing, progressing, evolving. And at the same time moving, emotionally touching and appealing. So, and classics, I mean, sure, it's ambitious because I kind of want the pieces that I record, that they will get to the status of classics. And I mean, surely I play, the way I play piano, it's a classical piano. So, it's a mixture of everything together.

Really. Wonderful. But, you know, I was watching through, and then actually I learned a lot about contemporary composers. It's like, oh, maybe I should play the piece by her or by him, you know. So I was wondering, who would be the main audience for Moving Classics? Like, who did you have in mind? Is it like a fellow classical pianist to learn more about contemporary composers or much wider audience you had in mind?

Well, I was thinking about the broadest audience. Well, you know, I kind of differentiate the audiences and I call them the little town audience. And by this I mean, yeah, well, I mean, this is my own systematization. The little town audience, they are really the kind of a let's say musicians themselves or people who regularly go to classical concerts, but I mean, they are the people who would go to Georgi Sakharov or Martha and who would really know everything about classical music. And you have this big city, you know, all the people who go to rock and pop concerts. But, you know, thanks to Ainaudi, he kind of rediscovered Piano for many people, and there was this huge wave of interest, and we are still kind of riding on this wave. And I think it's important to use this momentum and develop it because usually, you know, people who start learning piano, they don't necessarily want to start with Mozart, for example, which I perfectly understand. But, you know, for them to stay with Einaudi, it's perhaps also a little bit one-sided, you know. But if they kind of get something that is still exciting and approachable and zeitgeisty, then you go to classical, to moving classics and you get maybe some classical composers who write in this modern language. So I'm thinking about different types of listeners. But most of them just want to enjoy some music. They are not musicians. They don't go to concerts. But they appreciate something that speaks to them. But where does this passion come from, right?

So before starting this Moving Classics or posting videos with the contemporary composers, probably you were playing, well, traditional pieces, but also sometimes contemporary, but Where does this passion originate from? Like, yeah, like having to have this passion to reach out to audiences we typically don't think about, right?

Yeah, this is a really interesting question also for me to think and reflect because some things kind of appear to us as a natural result of something that we didn't think about. Because I mean, regarding the classical music, I mean, I am still playing. And I mean, this is really how I work. And, but I think we will talk about this freelancer thing later on. So yeah. So But I mean, surely during my education, we learned all sorts of pieces and I also played Schoenberg and Stockhausen and surely Agrippa and you name them. But I wasn't doing it really consciously. You see, and I wasn't really kind of digging into this. So I had to discover it myself. I mean, I admit it was new for me too. But I just, I really wanted to do something different. Maybe it's also my character. I want to do new things. I'm not somebody who wants to perform effect or to excel in one thing that 1,000 people are doing. So it doesn't interest me, but I really want to be a pioneer who risks something, who just, yeah, who just discovers. And there is nothing more rewarding than playing a new composition. With a new composer to the audience. And afterwards, everybody is coming and saying, could you please repeat who was this composer? I really need to spell it. Please, maybe you can give me the link and I'll listen to more compositions. And this is what is happening. These people who come to me afterwards or who write to me, of course, in social media channels, They say, uh, um, can you give me examples? Where, where can I find music? Or where can I find more recordings? Or who is it? And some— and that's how the process starts. And this is for me like the greatest reward that I can possibly get.

So basically your audience's fans shaped what this movie Classic TV, right?

Yes, yes. Through their feedback, through their appreciation, through their comments, through their messages, because they started also suggesting, they were showing signs of approval, and it helped me to evolve, because without their support, I wouldn't be able to do anything. And I also find it important to listen to their opinion too, because I'm doing I did it for them, not for me.

But that's like the best way to really grow, right? Your whatever the project is, right? Yeah. Listening to your audience.

I mean, I think so. I mean, I know this is always kind of this conversation and all this advice that you get online where everybody is saying, I mean, certainly I do things that I personally like. There's no denying that. I enjoy this music. I play it really with much devotion. And it's easy. It's easier for me to share. So I don't really have to make an effort of sharing it. And I think I won't be able to, because if I really, if my heart is not in it, it's so difficult to record, to practice. I will be doing my Duolingo and forget about everything else. I mean, like, seriously.

Well, let's go back to more practical thing again. So this platform, Moving Classics, offers also website and on the website, It's just so much information that you can find about composers and compositions. And then I like the fact that you feature a composer of the week. Yes. You learn a lot about details about the composer, contemporary composer, and so on. So can you just take us through what's on the website and how the first-timer, for example, to visit the website, what can they discovered.

You see, that's how the process goes. People listen to videos first, and if they like the music, they get curious. And that's where this information about composers is very important, uh, because they want to know everything about, about them. So, um, Composer of the Week is presented at their launching page. So it's the first, uh, featured, uh, um, um, article on the, um, on the internet page, and then they find the profile and information about them, where they started, or I mean, anything that composer considers interesting for the audience because they provide me with this information. Then all the links that they want to share too. And there is an interview with them. The interview is a standard because I really want my audience to be able to, let's say, yeah, just see the similarities or differences. So it's a kind of a— it's not compare in the way of in a competitive way. It's more to appreciate in this comparable way. And it's really very interesting to read what composers think about creativity. What advice they give to younger listeners, where to start with listening to music, or how to start composing, or how to write music, and just what they think about music. Some insights into their compositions too.

Can we talk about the future of your platform? First of all, you know, through my project, The Piano Pod with Yukimi Song, which launched in 2020, I've found that what started as a simple idea has grown into something much larger. And by interviewing incredible artists like you in our industry, I've discovered so much, so much more than I initially thought. And then this platform, The Piano Pod, has become far more than— far deeper than I initially intended. So with that in mind, I'm curious to know, how has Moving Classics TV evolved since its launch in 2017, and did it grow into something larger than you originally?

Yeah, you're right. This is really important to develop. And even if something is working, there is always a point where you don't progress. And I mean, this is also nothing new when I say that that the YouTube listeners, the amount is actually falling. So it has to do with a huge amount of new content, and this content is growing every day, and you have a really much bigger competition, if you want. I mean, it doesn't have to be something in the same area, but people have also only limited amount of time. And there is one thing to follow somebody over, let's say, 2 years. But I think it's like with love relations. You have this peaks and after that you either are really good friends or you just kind of start with looking somewhere else and some people just don't return. So that's why I was thinking how to evolve. And this year, for example, I changed a little bit my focus. So from now on, the videos or the compositions will be more topic-oriented. So this year it's a white darkness topic that I am presenting through the whole year. So maybe we can go into this Why Darkness project because this is what I'm going to record and what I'm going to work on. So I really want to focus a little bit more. So for this year, and it was also suggested by, I mean, not really suggested, I would say inspired by Anna Grieg, who is a movie classics composer, and I recorded her composition in the last years. And she had— I kind of chatted with her and I asked her, what do you think about chants? Do you like them? And she said, oh, I love them. And I just asked, maybe there is something that you can kind of do for piano? And she was really so so cooperative, she said, yeah, I'll try. And I got one composition from her and it was really based on the Gregorian chant. And I played it and I fell in love with this idea. So to put a long story short, I asked composers, I approached several composers as a trial, you know, to if they want to compose something based on Gregorian chant. And they had absolute freedom to do in their own style. I only wanted to kind of limit it more or less, you know, time-wise, but the rest really absolutely free. And I was so lucky to get over 25 compositions back.

Wow, that's where the White Darkness comes from.

Yes, yes, I was wondering about that.

Um, so I know White Darkness, it reimagines Gregorian chants through a contemporary lens. And yes, okay, so you're going to play 25 different compositions based on Gregorian chants by 25 different composers? Exactly, yes.

25 totally different composers, yes.

And you're going to play that and then incorporate that into your channel, which is Moving Classics?

Yeah, so basically, uh, um, Moving Classics goes white darkness. And, um, so I will present, uh, these compositions and I will present composers again because it is also something that I discovered through Moving Classics activities that it's not enough to just do Composer of the Week and then it's gone. So, you know, you really need to go into more detail. And so it's kind of a chance again to meet the composers who were presented in the past and just maybe see them through a different lens. And at the same time, I want to be more professional with promoting this music. So I think I will also do some concerts or some events with live music where I played, because this is the learning from the past that it's really not enough to just play and record one composition because, you know, next week is another another composer and another chance. And if you don't really repeatedly play this music and talk about it, and it takes— somebody told me it's like 7 times, but I don't know. I have an impression you can do it 100 times. And That's why people are successful who are kind of omnipresent, you know? So you need to meet one composer or one song, like here on Moving Classics, then maybe on classical radio, then go to concert and hear it there, and then maybe read an article about it. And then you think, oh, I know, there was something. So that's why this White Darkness idea. And there will be certainly next year, maybe There will be this Asian composers, something that I'm personally interested in, but it's like step by step. So I really want to have it more focused.

Then when did you start this White Darkness project then? Is it this—

Well, the first impulse was in September and composers had deadline end of the year, but it was really for this first trial period. So now it's me learning the music, and I will record it on the 28th of January. And from then I will start releasing it step by step, as I always did. So basically there is a little holiday for Moving Classics presentations of one month. That's okay. I mean, now I go more into quality than quantity. So which is also, I think, important.

Sure, sure. Then are you going to be just playing these pieces this entire year or you'll be playing other pieces as well?

I'm just curious. Well, I mean, I decided that for Moving Classics, there will always be compositions only by composers of today, which means that I will be asking, I will be reaching out to other composers. Or if somebody is, for example, listening to our podcast and if they love Grigoriy and Chance, why don't send a new piece to me? I mean, I will be happy to discover it. Yes. So it's all ongoing, but you are right for the concert. I really need to— I will be combining, but we'll speak about the business of putting programs together. Certainly, I need to play famous composers to attract more people because if it's just only the moving classics composers, I mean, this is really kind of an issue. And it's different. So, but for moving classics, yes. This is really something like for real fans and for real aficionados of piano music. I mean, certainly, the event only new compositions will be the best. Yes, of course.

And then I like the fact that, you know, Gregorian chants and other chants are basically considered like the origin of what we do, you know, Western classical music. So it's just blending those two, and that's very clever. Yeah. And I think having to have the theme is so good because you just really see the intention coming from creators. And yeah, and that's why I have the theme this year, which is Authenticity and Joy. That's the theme of Season 5.

And then so yeah, Joy, yeah, it's also very positive one.

Sure, but then, you know, the joy comes from being authentic, right?

Yeah, that's true. Yeah, yeah.

Wow, this is great. So then Just going back to the future of, you know, moving classics, and you mentioned about the Asian composers, right? So just hear me out, you know, I am obviously Asian and I live in the United States, and then, you know, there are so many Asian, amazing Asian classical pianists, classical violinists, and all that. But when it comes to classical composers, you just Asian composers are still minority, I feel. We hardly play, right? That's kind of strange. And then the year 2020 was a really turning point globally with, of course, the pandemic, but also the movements like Black Lives Matter movement, which, you know, sparked conversations, discussions on inclusion and on equity in classical music. And this momentum has led to greater focus on composers from diverse backgrounds. And as an Asian artist myself, I'm passionate about discovering and performing works by Asian composers. But like you said, it's like, I don't know where to look. And yeah, it's just an overwhelming thing. So I'm just so super curious to know your project, upcoming project, maybe after this Gregorian chant project.

Yeah, it was a little bit easier to start with the Gregorian chants because I already had the composers. And with the Asian composers, I'm just starting. And this is exactly what you said. If you ask me to give you the names, I really would have to think first. And I'm sure that for other pianists, they would even have hard times naming one or two, right? So, and personally, I'm really kind of international person. I really want to discover more composers from the countries, for example, Indonesia or Malaysia, where I cannot give you names, unfortunately, or Vietnam, for example. So this is like my task where I will also be focusing and searching. So that will be like really one year of featuring. And, but first, of course, I need to do my homework.

Wonderful. I can't wait. So for those tuning in today, I encourage you to visit movingclassics.tv to discover more about Anna's innovative platform. And don't forget to check out her YouTube channel @movingclassics, where you can immerse yourself in her captivating performances of delightful contemporary piano music, an experience you won't want to miss. Before continuing this inspiring conversation with our guest, let's take a moment to hear from our valued sponsor of the month, whose support helps make this podcast possible.

At Foundation for Bolivian Artists, we're on a mission to give classical musicians musicians from Bolivia access to the world's most prestigious career opportunities by granting them a unique recital debut in New York City. The problem is talented musicians in Bolivia face a stark lack of access to meaningful career advancement and painfully limited visibility on the global stage. We know that the world is missing out on something extraordinary, which is why we are dedicated to championing the performers and composers of Bolivia. Here's how we do it: we seek out talented Bolivian musicians and offer them the opportunity of a lifetime— a fully funded concert debut in New York City, an experience that can open doors and launch careers. Our concerts are more than just music. They are a gateway to the beauty and depth of Bolivia and its Andean culture, sparking awareness and appreciation among new audiences. So join us at our next Cantuta concert on February 28th at Merkin Hall featuring José Navarro Silberstein in his New York recital debut. For more information, visit us at bolivianartistfoundation.org.

So, Ana, just, uh, we need to discover who you are even more and And you mentioned that in, you know, one of— I asked you to fill out the questionnaires and then you said, you mentioned that you rebuilt your career from scratch in a new country. I assume a new country is Germany. Exactly. Which is understandably challenging and exciting and an incredible journey. I understand myself, you know. United States is a new country to me. I grew up in Japan. I'm Korean, but you know, so yeah, yeah, yeah. And then you're Korean? Yeah, my last name is Song, so it's a Korean last name.

Yes, I thought also that Yukimi is, uh, right? Japanese? Or is it also—

oh, it's Japanese. It's a— yeah, Japanese pronunciation of— it's complicated. Anyway, yeah, okay, yeah. So tell me a bit about your experience. I feel like this whole experience of being a new country, which means whatever the reason is, you can start fresh, right? Whatever you— so yeah, that's true. And that's one way to think.

But yeah, tell me more about it. Yes. And I think it's also this thing, there is no prophet in own country, or is it politically correct to say. I don't know. But you see, the thing was that, um, I was born into the music family. I was born in Siberia, in Tomsk. I mean, okay, it's a Russian Federation. So, um, uh, my mom was a pianist, and she was also, um, uh, kind of a, uh, head of a local opera, uh, company. But you It's really a little thing because there's no opera house in Tomsk because it's more scientific city. But it's a city with 7 universities. So it was always kind of full of young people and students. And my sister chose music as her profession. And she's an elder sister. So she was really my role model for a long time. And I mean, still is, of course. So I kind of grew up listening to her practicing piano. And when I was 19, I had a chance to get the scholarship to study at the United States of America. So I was in Oklahoma, where I spent one year there. Oklahoma, of all places. Oklahoma, yes. Yes, Oslo home. Yeah, Norman State University. So, but it was the kind of, you know, for the student who was 19, I think you are not even of age in the United States. But it was really amazing time and it kind of changed my mindset because I really grew more curious about different cultures. And when I was back, I started also different jobs with, for example, with Merlin Medical Emergency Relief International, who were helping people with different diseases like tuberculosis, for example. So because I could speak English, it was very useful for them and for me too, because I also learned the different parts of society. Because, you know, as a classical musician, you just spend, I don't know, 8 hours practicing and that's it. Like, seriously, I mean, that was my problem as a child. I was like practicing, practicing, practicing, or maybe not practicing, but sitting, sitting at the piano for 7 hours dreaming, but not talking or not walking or not doing any sports or anything. Which means that I really had to learn hard way to communicate or to kind of open up to reality basically that was around. And I was lucky again to get a German scholarship. So I was one year in Frankfurt with the German academic exchange programs. And then I was finished with my studies. And then it's always the question, what do you do? And I don't know. It wasn't really something that, you know, I was like really very keen on because it just happened also naturally that I decided to stay in Germany, you know. And at the beginning I said, well, I mean, let's see. I never kind of immigrated, you know, in the way that I said, okay, I, you know, give up everything, you know. That was kind of my way of dealing with things. So I kind of started, okay, well, it's 2 months here, 2 months in Russia, you know. And then it was like more and more. And I mean, of course, I'm I'm living here for 20 years now, basically. So this is my home here. But at the beginning, when I was in Germany, I didn't practice piano anymore. And I didn't work in this musical, music industry because of several reasons. It's really very, very difficult to start from scratch in a new country because Being a freelance pianist needs contacts. You need, you know, you need a network of people where, you know, who know you and who can recommend you. It's all about endorsements. And if you're a newcomer and if you haven't won a Tchaikovsky competition, but I mean, if you won the competition and you are like 5, maybe it's not good either. So, you know, So it's really, it takes time. And in my case, it took like 8 years to really restart. And, and of course it was like growing more and more. And now I can say that certainly I do it 120% of my time.

But all of these life experiences shaped who you are. As an artist and creator, especially today.

No? Oh yes. And I also think personally that today in our very competitive world where we are really saturated by music or by opportunities, I think it's all about authenticity. It's either you are interesting as a person or you have something to say. Or you don't say anything. I mean, you can be good, but what is good? I mean, like, for me, it's all, you either have this passion to play music and you do it, or you just don't. Because in my case, it was really like this. When I wasn't practicing, there was continuously something missing. And this need became stronger over years. And then I just had to go back. But you need this life experiences too, because it makes you more mature and more resilient. And if you speak about music business, you really need totally unmusical qualities. To survive. And like being really in your world of music doesn't necessarily help you. Yeah, I know.

You need a total different skill set. Yeah. For what you do, right? And it just doesn't only involve— involved with the knowledge of music. Or being able to play the piece, but there's so much more as being an entrepreneur.

Exactly. Entrepreneur. Yes. Life experience. Yeah.

But you seem to have that innate, I guess, desire to be forging your own path, I guess. Yeah. Yeah. Beyond Moving Classics TV, you've been a champion of creative audience engagement. So I think before Moving Classics, you've already started like thematic piano recitals. Like, for example, Aquarelle, Tribute to Virginia Woolf, Bach, and movies. So can you tell us more about it?

Yeah, because I am a freelance concert pianist. So basically, that's what I am doing. So I wanted to— I was always interested in creativity and all the creativity suggestions are to let yourself be inspired by different things like movies, books, or just life experiences. So you have the dots and you connect to these dots, and through this connecting dots, you get the themes for your recitals. Because for me, the recitals, they are like little stories that I'm telling, you know, maybe you can I compare it to theater, little theater things, plays. So every year a new one will appear. And I try to make it more interesting also for audience because it gives you the lines to connect, select pieces. So this is like the ideal recital that I would like to attempt myself.

Oh, wow. That gives a really different dimension to just 1 hour, an hour or 90-minute concert, right?

Yeah, 1 hour or 90 minutes. Well, it depends. Yeah, it depends on the organizers. I think now the trend is a shorter recital. So, but if you do the break, then it's 90 minutes.

And then do you ever speak on stage and explain?

Oh yes, yes. I think this is really the common practice these days. I started, I would say something like 7 years ago to speak in my recitals. And it was interesting because at the beginning I wasn't really sure and I tried both ways. And then I could always see the difference that you need to kind of, I mean, not necessarily explain, but maybe kind of give direction. And I always got positive feedback. And I think today it's really the common practice that the organizers also expect you to speak and engage with your audience. I think so.

Maybe simultaneously you've been involved in the Candlelight Concert Series.

Oh yes, 3 years ago, the original Candlelight Concerts came to Munich, and I was really lucky to be one of the first who were who were selected to play. So it was 3 years ago, yesterday, 3 years ago that I played. Yes, yes, that I played my first concert and it was Coldplay. That was my first program that was given to me. And I must say, I am really, really impressed by Candlelight Concert Fever organization because They attract like twice 800 people every evening and young people and people who never ever saw a piano before. And they all go there, people from different walks of life, people who are far away from music. And they all go there and they write to me and they say, oh, we don't really We don't really know anything about classical music because we think it doesn't really bring emotions. But you play classical piano because that's what I play. I play all the arrangements. They are classical piano. And then they said, we were surprised that it brings emotions in us. So, and yeah, and I say, well, maybe you should come to the classical program. And they say, well, if it's like this, then then yes, and this is how it starts. So I'm really thankful that they exist because they really help us classical musicians a lot.

Yeah, it's a gateway to this really, you know, although it may seem small compared to the rest of the world, but it's like the rich legacy of classical music, right? It's a wonderful way to to get into that. Yeah, absolutely.

No, I'm really impressed when I see young people, and by young, I mean like anybody who is under 50, because usually in the classical concerts, you have 70 plus, you know, seriously. And this is a big problem for future of classical music concerts. And if you play a classical, classical, classical recital in Germany, you get something like 20 people. There, you know.

So it's even in Germany too, like, I'm—

yeah, I'm thinking like, I mean, wow, Trifonov doesn't have this problem, but, uh, anybody else does. And I mean, I'm not speaking about myself, I speak also about, um, the, um, you know, uh, people who are kind of, um, known in the pianistic circle, but, uh, but only, uh, Helen Grimore and Planlan can feel the big audience, you know, big, big halls, you see. And this is already something. This is some serious— yeah, it is a serious issue.

So basically, for those who are listening, Candlelight Concert Series started in 2019, I think, uh, 20, right? Yeah, 2019. Oh, 20.

Okay. Or, uh, no, in, in Munich, I don't know when they actually started. Uh, in Munich it was 3 years ago, so it's 21, right?

One. Okay, got it. But basically, it's run by this company, Fiverr.

Fiverr, exactly. Spanish.

Spanish. I see. Okay. And then their mission is to democratize the classical music experience by using— putting candlelights, but they're not the actual real candlelights, right?

They're— no, they're LED.

Yeah. But fill the venue with this LED candle lights. And then so it's very visually welcoming and it creates certain mood. And that's absolutely probably creating the calmness, right?

Yeah. Yeah. You see, it was really interesting the first time I saw it because when I saw this first advertisement in Facebook and it started a long time ago, and they were saying, soon in Munich, soon in your city or something like this. And I saw all these candles and I even didn't think about myself because I thought, oh, well, you know, looks really a little bit, I don't know, I'm not sure. And then I saw the best of Chopin or best of Mozart. I also thought, oh, well, you know, the best of, yeah, yeah. And then I went to the best of Chopin with candlelight. And like, seriously, I was really impressed because the moment you walk into this hall and it's really completely dark. Yeah. So it's no lights, only these 5,000 or 4,000 candles. It's amazing. It's really amazing. And it sets the mood. I mean, my problem now, when I play a classical, classical recital with the usual lights, I really miss something, you know, because I find we do need this fantasy world around us. I mean, you can get it at home when you watch YouTube, but when you are in a big hall, you know, it's really very difficult. And especially You know, it has something to do with our senses. And when you experienced it, it's difficult to top it, you see.

I guess intimacy you feel between the audience and yourself, but also with even with yourself, like in that.

I love it when I, when I played and I really like, I mean, you wouldn't believe it, but I really like being in this dark connection, you know. So I'm really like one with the music, you know. I mean, certainly when I talk, because I also have to speak when I stand up, then maybe it would be better to have light for the narcissistic purpose, you know. Yeah, I mean, there is something about it, you know. This is really— That's a good point. Yeah, it is. It is. That's why you always have the spotlight. And you know, like James Rhodes had this James Rhodes behind him, you know, in the show, because people don't even remember your name, you know. So when you're in the dark, you're in music, you are in the dark. So you cannot really kind of develop the image of yourself afterwards, it seems. But for the musical experience, I find it much more rewarding because you are not like person, you are really the interpreter. You are this vessel playing the music. I really like this, this idea.

Yeah. That's one way to approach music and it's such an innovative idea.

Yeah, it is. It is. And I'm really, I'm actually sad that I didn't come up with this idea. Because it's, you know, funny enough, it's simple. I mean, it's not simple to put 4,000 candles, but, you know, I mean, just to put candles, but like many, many, many candles. Well, but again, all really great things are simple, I think, right?

Yeah. Wow. Oh, well, thanks for explaining. It just, it makes even more sense. And then I know I've noticed so many artists participating these days. And the interesting thing about the title. So do you do the, like, do you play like arrangements? So if it's like Coldplay, so do you actually do the transcription or just find transcription? Well, Well, both, both actually.

Yeah, I mean, you know, with the arrangements, you play what you can. I mean, put it this way. And I mean, it should also be your personality because you see, with transcriptions, it's important that people recognize the songs. So they are always only orientations, right? The way it's written and you kind of use the songs as as a reference. So, but it's an art in itself how to put it in this virtuosic piano, you see, because it's piano for the concert. It's not moving classics for internet. So, and it's like one-hour attention span program, which is also difficult. So that's why you have team and you have people who advise you to do it, which really does help. And, um, and it's, uh, and you know, again, it's, it's also something different. You play for 800 people. You see, there's no time for experimentation. Really? That many people? Yes, 800. And you play like 2 concerts, so you play like 1,600 people. So that's why That's why the decision, you know, you cannot make your own decision, you see, because it's not people who come to Anna Hela concert, you see. This is really, so that's why it's important that everything is really perfect. And you have this responsibility too. And with Candlelight, there is always this rating system afterwards. Yes. So you kind of get rated like Booking.com or TripAdvisor or I don't know what. Uber. Yeah. Or Uber. Yeah. Well, like Uber or HelloFresh, you know. So all this thing. Yes. And all this thing. So which is again, an interesting thing because basically ratings exist everywhere in our life, right? Because when the people don't buy tickets, It's next time or organizer doesn't invite you. I mean, you got your rating, but with the Candlelight, you get the feedback and you get all these ratings and they are there, you see them. So this is also an interesting point. It's like with other things, you kind of feel the rating, but nobody tells you exactly what it is, right? And when you are confronted and it's written black and white, you have to deal with it, right? It's like the university or back at school where your teacher says, well, it was this and that. So which makes it again very, it's not something for beginners, you know, because you really have to deal with that. And it's, uh, when you have that many people, it's, uh, on one hand, it's amazing experience because when would I play for 800 people? Like, seriously. I mean, you played, uh, I played several piano concertos, but it was like, uh, several times in my life, you know, but, um, solo recital, never, ever, you know, with that many audiences, that many. No, of course not. But I'm like, oh. Yeah. And when you play for that many people and when you get their positive reaction, this is amazing. So it's also like a drug, you know, you get addicted and you learn so much because when I played 3 years ago, I mean, my first rating wasn't great at all. And I thought, okay, and I wasn't really a beginner, you know. In comparison. So, but it wasn't, it's not the same, you know, to play in a big hall. You need to practice in a big hall. Everything is different. And the problem is that we never play in big hall, you know. I mean, like, when will you play in a hall with a capacity of 1,000 people, for example? Yeah. Never. And you have to produce sound totally differently. Otherwise it's— and then again, speak for 800 people is totally different when you do this intimate concerts in this house environment or salon environment.

That is— wow, fascinating.

This is really fascinating. Yeah. I mean, it's a big challenge too.

Sure. But I think, but, you know, in the past, every era of classical music, there was also entertainment component to it, right? Mozart, Beethoven, you know, they performed at venues where there was casino, there was drinking going on.

And Liszt also. Yeah, Liszt also, Chopin too. Yeah, absolutely. But I think this is really the— I would say part of our society and culture, because I mean, for one hour, yes, it's show business after all. Yeah.

Well, that's a different ballgame.

That's interesting. Yes, it is a different ballgame. But when you play for somebody else, it's always show, you know, even if you play Bach partitas, you see. But you have to kind of present them, you know. I think that's how I think, you know, because when I play for myself, then, you know, I close the door and I play for myself. You know, sometimes I even play silent piano so that nobody listens, you know. But when you play for other people, there's always this component of, of showing something, you know, of sharing, of expressing something. So it's outgoing, you see. I mean, it's kind of a little, let's say, how do you say it, contradiction, because we speak about, you know, being kind of in your own world or being one with yourself, but That's why many pianists, especially pianists from all musicians, have problems of performing, of sharing with others.

I know. Yes, in the traditional way, quote unquote, of just walking in and out of the concert hall stage makes more sense. But even then, if you don't have the sharing spirit, if you don't have the really sharing your passion to the audience, the audience, it doesn't speak to the audience.

Yes. Even the sound production, like technically speaking, it doesn't project. I tried it, you see, it's really interesting because I thought I was feeling the emotions. I was like really in love with love and with Liszt and love's dreams. And I thought, oh, that's going to be amazing. And people said, well, listen, your sound, it was really very kind like here, but you didn't project. And I noticed, okay, yes, it's all about sending the sound.

I know you also in that Candlelight Concert Series, you performed the Linkin Park, right? Because, uh, what— so, so the Mr. Uh, he, he said, what inspired Anna to cover a Candlelight Concert featuring Linkin Park? And to be honest, I love Linkin Lincoln Park. I love you too. Oh great, I love that.

I was going to ask him and you, were you shocked?

Yes, I was shocked, but also at the same time I, I like Lincoln Park. It's just, you know, I, I know when I am in a certain mood I need to listen to their albums. Yeah, but I mean, their music is great.

I, I really like, I really like their music. And, um, I mean, I mean, yes, I, I do like pop and rock, so I, I always played it. Um, I also played it as, um, you background music, no problem with that. So, but I know that in the classical music people always say, okay, some, for example, some concert organizers rejected me because they said, oh, you play, you play entertainment. And I said, well, but the program that I suggested, it's really classical, classical. I mean, but they said, no, no, no, forget it. I mean, I mean, let's say you cannot play classical. And I really don't like that, you know, because I think as a musician, you know, I mean, A, you need to be open to more music because, you know, the music today, it has so many different opportunities. And I'm sure Mozart will be listening to all this music. Maybe he would love Taylor Swift. We don't know. Maybe he would be dating her or something. But, and you wouldn't believe it, but, or maybe you know, of course, that Linkin Park is cool on piano. You really can play it really well. I find it's one of the programs that's very beneficial when you play on the piano. Really? So, yes, I've never thought of that because some music I agree For me, it's somehow, it's really difficult and maybe it's not really for piano, piano, but Linkin Park is and they have good melodies. I know they do. Yeah, and I also like emotions.

Right, but I was hesitant about because on the piano, just because they're very innovative in their crafts too, where they blend the how do you call it, metal rock or heavy rock with—

Yeah, new metal and alternative rock and hip-hop. Hip-hop together, right?

So the hip-hop part, I was sort of hesitant because—

Well, yeah, maybe the some songs, yeah, but you use a repetition. So it's like dum-da-da-dum-da-da-dum. So, but it works. It really does work. Yeah, yeah. I mean, it's really— I know at the beginning I also thought, oh no. But it does work. Yeah. And, you know, there is something Lisztian about it, like Liszt, you know, that you have this really epic, big emotion thing, you know, with a huge range of forte piano. So you can really show your skill. So yeah, I mean, it can get really pianistically difficult too. I mean, depends how you want to play it. But as we all know, at the end, it doesn't really matter.

The Piano Pod with Yukimi Song is now on Substack. If you're wondering, Substack is an all-in-one platform where creators like me can connect directly with you, share exclusive content, and build a thriving community. By subscribing, you'll get behind-the-scenes updates, early access to new episodes, and special perks designed just for our audience. Your Substack subscription helps us create more of these meaningful conversations and support initiatives that uplift the classical music community. So join us on Substack and be part of this journey. Please go to thepianopod.substack.com/subscribe or click the link in the description to subscribe today. Thank you for your support, and I look forward to sharing more joyous and meaningful experiences with you on The Piano Pod. Now then, with all the topics we've discussed so far, I'm noticing a clear trend, uh, in, you know, contemporary piano. So you What trends do you see emerging in live piano performance formats and audience engagement, first of all?

Well, yeah, I mean, there's certain trends. I think the concerts— I mean, this is what I think. I mean, it's just my observation. The concert, the live events will be shorter. They will be more compact. They will use many visual things. So there will be, I think, with 3D and all this immersive experience, we will be building the fantasy worlds around us, which is really great. I find that because I need that, definitely. So there will be more mixture of different styles. So it will be okay to start with Bach and go to Metallica and then maybe maybe finish with Imagine Dragons. But yeah, why not? I mean, if it's part of the concept and if it's not something kind of sporadic, if it's really something that you put together and if it's convincing, it will work. And I'm sure the classical music or the live piano event will survive this way. Yeah. Yeah.

And also another trend would be, you know, let's just talk about contemporary classical music world where— yeah, I'm hearing more consonant music. Most of the pieces you're playing in the Moving Classics, they are consonant, not dissonance. Yes, exactly.

Yes. Regarding the classical music, there is also a trend. I think we have really this kind of a, let's say, this really renaissance of new romantic or how you call it, really modern tonal music. Yeah. I think the music is getting actually more complex again. You know, so we are away from this neoclassical. I mean, this trend is disappearing because I mean, basically it should come to an end because to make a variation of this is difficult. Difficult, even for Einaudi himself. That's what I hear from his new albums, for example. But composers use more collage techniques, which means they mix different styles. Yeah, so it's like polystylistic, right? They are using different rhythms, right? But they, even if they are atonal, then they come back to this tonality. So it's really interesting. This is what I notice in all these new submissions that I have been getting. So there is a certain trend and it's more like storytelling. So the music is getting more content-based. So it's about something, something that you as a listener or pianist really understand. Because it's to a certain purpose, to a certain event, or, you know. Wow.

Yeah. I think I thought you would be the perfect person to ask this question. You know, I love talking about trend and macroeconomics. It's because it's not about us, our industry, but so many different elements of our lives are affecting, you know, how what one project shapes, for example, or industry being shaped.

So exactly, this is the most interesting. Yeah, that's true, because I mean, we're really speaking about big things. And I also like talking about society and the, you know, the behavior, you know, how people— and I mean, it's all together. I mean, it's certainly psychology too. I understood it's never about music, music, you You see, music is just one component. I mean, certainly this is our profession, but even in our profession, you know, we deal with so many things. And like when we deal with composers, you know, they are also people with their needs, with their fantasy, with their wish and with what they want to say. So, you know, it's more about communicating with them, with ourselves, with our audience. Yeah.

Speaking of composers, one of the amazing works that you do, and I think because of the work in unique work that you do, so you have the privilege of being able to work with composers directly, not just by commissioning, but also maybe you may have a say into specific composition. Let's say there's a piano composer, you can say, oh, this just pianistically doesn't make sense, so why don't we— do you work that way with composers?

Yes, yes, I always did, and I even offered this proof plane service to composers that I put online because because I still think, and I'm really convinced that it's always better to have somebody neutral. You see, the problem is that with composers with whom I'm friends with, I am no more neutral, you see. I mean, certainly, of course, we work together. But, you know, when you have somebody whom you don't know and not even played one piece, It's a totally fresh view. And I think that it always helps to have somebody else just play through it. I mean, this is really all it takes. It's just play through and you have already your first impression. So I really like doing that. And I have several composers with whom I work this way. And I mean, it's— I always got really, really good feedback for offering my advice. That's cool.

So that's called proofplay. Proofplay.

Yes. I created the word. Not proofreading. It's because proofreading, it's more something that the publishing house will do anyway. So this is not something that I'm doing. But I mean, certainly if I see things, I correct them. Direct them to, surely, but I'm not somebody who is doing engraving or, you know, publishing things, right? I don't have this expertise, but I have expertise in playing, performing, listening, kind of sharing. So this is my focus.

You've conducted fascinating research on creativity codes, and I just watched the video and I need to rewatch it again because of some of the concepts that I really need to rewatch it, like, to, to understand better. So can you tell us what this research is, was all about?

Yeah, well, basically it's research and also the tool that kind of helped me to conduct creativity breaks in companies. So the idea was, the initial impulse was, what can a manager learn from musicians? And I learned about creativity from my composers because I talked to them and I asked them all these questions. And I kind of systematized all this information that I got and converted it into 10 creativity codes. Are like thrilling proportions, for example, or unexpected moments, or unleashed freedom. Basically, they're abstract notions, but if you kind of get to this abstract level, it really helps you to understand how creativity works, because these are the principles behind plays or music composition. This one, like even with the 4,000 candles, right? It's like extreme proportions. It's exaggeration, of course. I mean, you don't take just 9, but you take like 4,000. And you see, this is the principle. Principle of creativity. So yes, it's a principle of creativity. It is actually, well, this is like all things with creativity. That's all kind of self-explanatory on paper. And then you go home and want to apply and then you notice, oops, it's not that easy, you see.

Sure, sure, sure. And then I know it starts with big picture. Yeah, do the big picture.

Yeah, well, that's the beginning of it all, yes. But I mean, this is really something that's like moving classics. Okay, bang. Yes. Big picture. And then you go. Go into detail. Yeah, it's the vision that you have, but I think this is really like direction for, for the path in your life that you go.

How can we apply this Creativity Codes into the work we do, but not only as an artist, but creativity in general?

Yeah, yeah, basically they are the concept to think and reflect. So my idea was always, uh, when I speak about creativity So I share the Creativity Code, then I give examples from composers. I give my own example, and then I always leave people to think of their own examples because, you know, I mean, we really need to make the codes our own. And I agree that it takes time to really understand some things because if you are— you see, the thing is If you are not trying to do something creatively, but you just want to start, it's difficult because it's already something for people who are already trying, you see. So it can be first ignition, but then you need to come back to them and let time go. And then come back again. So you see, it's like philosophy, you know, it's, it's not, uh, something really like practical. Okay. You mix this and that and you get that. That's why we, we go to universities or we go to courses where we learn practical skills, but it's more about mindset. I think creativity is mindset.

I've met so many creative people, uh, pianists and composers and, uh, Music Admins through the work I do on The Piano Pod with Yukimi Song, and I was just— I've been so impressed with the creativity all these artists bring, including you. So one thing just comes with this being creative is the lifestyle, or it's the freelance part of— yeah, it's a significant part of many concert pianist careers, but also challenging. So let's talk about pros and cons and how, how have you been navigating these?

Um, I think this thing about freelancing is also, um, as a character thing, right? Because, um, um, it's not for everybody, you see. Um, being a freelancer means that you organize your day yourself. And that's where it starts. This is for me the most difficult part because you decide yourself, you prioritize yourself, you need to acquire new musical concerts or new opportunities. And at the end of the day, you look at your finances and I mean, let's face it, I mean, we make our living through music and through piano playing. And I really have to balance my costs with my profit that I'm making from playing music. And this is a pretty hard part because it's like nobody there who will help or say, okay, now today you deal only with the etude of Chopin, like at the university, because tomorrow you'll play your exam. Them. But you see, yes, tomorrow I play my concert, for example, right? But I have, uh, in this month, for example, 4 different programs, uh, that I play. But I mean, certainly some of them are already running, like, uh, Lincoln Park, uh, some are— it's a chamber music, uh, that I play in old residences, for example. Then I also have one private, uh, concert. Then I I have one little town near Munich where I play a classic for senses, where I play Liszt and Chopin and Schubert, which is also actually needs to be in my fingers. And so balancing these things, and this is really entrepreneurial where you need certain skills of time management, of accounting or legal stuff too, because I mean, you deal with different contracts. Some of them are, for example, cancelled. Sometimes you get sick and, and, and so, you know, when we finish with this interview, you know, I'll definitely have to look into the issues if there is anything urgent this week. Maybe some things have been changed or postponed. Phone. And this is like every day. So for example, I start practicing in the morning and then I see, oh, there are some emails that are urgent because it's about a thing that's tomorrow. So I cannot say, okay, this is my practice time. I practice to the end and then I deal with it. No, no, it doesn't work in my case like this because, you know, I cannot afford myself to turn off my phone even for more than half an hour because some things it's like last minute. You know, I really like substituting other people. For me, it's fun and I'm really doing it very happily. So that's why I need to make sure that I get the information because otherwise the information will be, you know, gone. Or if it's like tonight, night or tomorrow, you see. And they are like little things like this. So that's why, um, I would really say it's, um, it's not for everybody. And for me, for example, I never wanted to be, um, like, um, to be employed by, uh, by one, uh, organization because I really need this diversity. I really need this, um, like my, my mind needs all this, the Linkin Park and You see, this is how I am. You see, this is this transformation of different ideas. And imagine you work from 8 to 5. Even like, I cannot play Chopin 8 to 5. You see, this is my problem.

Living in this freelance style of lifestyle or career is wonderful, but at the same time, it has its unique challenges. Unique challenges too.

Yeah. Yeah. And you cannot say, for example, if you, I mean, you have a certain amount of concerts, but different organizers plan at a certain advance notice. So some are like 2 months advance and some are planning for 2026. Which is perfect, but still imagine to plan for 2026. I also have a problem with that because like, especially now when you know me, I don't know what am I going to like 2026. I don't even know about next week, you see. And yeah, so, but again, 2 months planning, scheduling is also a little bit tricky Because it can be you get really wonderful concert to play, but you have already made an appointment for kind of a charity concert. I mean, like, how do you deal with that, for example? I mean, this is really an issue for freelancers, you know, something that you are paying actually money to perform, right? Versus where you are getting commercial invitation Right, right, right. Yeah, yeah, yeah. How would you deal with that, especially when there are more people involved? I really get into trouble with that.

Wow. So since we're talking about future, so let's talk about the legacy and the future of classical music. So where do you want to see the classical music world in 10 years?

Chosen? Yeah, I was thinking about this. Um, yeah, I really like thinking about future because, uh, it's, uh, I'm more like future-oriented person. Yeah. And, um, I, I really do want to believe that, uh, that music and culture will help us people to be together, you know, like especially now with all this, uh, really political uncertainties and all this crazy world. I think this is like something, a constant that's continuing this tradition, this heritage, you know, from Gregorian chants up to the composers who are writing today. I really want to believe that these composers are writing more in the next 10 years and creating create new, better world, you know. And I really do believe in that, that people, you know, of all different nationalities, you know, they will meet in these concert halls and be it candlelight or starry, I don't know, something, as I said, this dream world with the immersive pictures, maybe hybrid concerts where you also do the streaming all over the world, or maybe, you know, these glasses. But the most important thing is that we are still humans, you know, that we are not substituted by artificial intelligence, that we are living the passion that we have.

How do you want to contribute to that?

Well, yes, I'll definitely continue working with composers and try to be as constructive and helpful as I can be. I want to even put more effort into popularizing their music through the topics, through this theme-oriented programs like Why Darkness or the Asian, I don't know how to be called, but something Tales of Asia or something. We will find the right word for that. And kind of put more emphasis on sharing this and certainly playing for people, playing the music that people want to hear and also combine it with my own personal tales.

Yeah. Each of us at some point in our journey, especially as a pianist, is called to explore and examine our sense of purpose and mission as performing artists, composers, you name it. So for you, Anna, how did you find your sense of purpose, and how has it guided your path as a concert pianist and so much more? But how did you find your sense of purpose?

Well, I think through passion, you see. I just listen to my heart. I, I listen to my needs, and I And I'm kind of a person who does things. So I really want to transform this passion into something that has also value to other people, because I think that's how I can contribute to society. You know, for me, it's not about, you know, just a museum playing thing. It's living the creative life together with the society. Society and making a contribution to this society. So I think this is my purpose.

Now you mentioned in the guest forms, uh, you filled out a few months ago, and it says, search for your passion, all is possible. So what message or advice would you like to leave our audience and listeners with, especially for those searching for their own passion life?

My piece of advice, or my message, would be perhaps this is the biggest luck in life, to find your own passion and just take time, all it takes to find your passion, because when you found it, all is possible.

Thank you. So before we wrap up, let's take a moment to promote your work and upcoming concerts. I'm sure our listeners will be excited to learn how they can stay connected with you and beyond this conversation. So I hear you have, you know, White Darkness recordings and projects in the making, and also alongside with so many other exciting initiatives. So can you share more about them and let us know where we can stay updated on your latest news?

Well, for my international community and for anybody who is listening, or for Piano More advanced white darkness compositions will start appearing from February on. And this year is under the motto White Darkness devoted to Gregorian chants. So if some composers feel inspired by this idea, please contact me, Moving Classics TV, or Moving Classics in all social media, Anna Hella and LinkedIn. So just, um, send me the, um, your, um, in contact information or your scores. I will be really happy to answer you. And, um, for people who are in Munich, um, I guess, uh, the best is really to look at the schedule at my webpage, Anna-Hella.com. Pianopod.com because there are really exciting concerts coming up. And I'm also playing for Eonarium. This is the Enlightenment Show for Seasons where I am putting together a special program together with this big exhibition on the 5th of March. So this is also exciting that I would like to mention specially.

Right, so movingclassics.tv and anna-heller.com are two different websites and they can be in touch with you. Wonderful. Thank you. So before I let you go, we have one more thing to do, which is called the rapid fire questions. So, uh, ready or not, please answer each question with the shortest response as possible. No explanation is necessary. Okay. All right. All right. So I'm ready. Question number 1. What is your comfort food? Sushi. Yes. Great. How do you like your coffee in the morning?

Oh, cappuccino with milk.

Are you a cat person or dog person?

I am an absolute cat person. I think cats are just perfect. Great.

Sunrise or sunset? Sunset. Summer or winter?

Winter. I'm from Siberia. Sure.

I think you're the first person who says that.

I love snow. What skill have you always wanted to learn but haven't had a chance to? Oh, rhetoric. Yeah. You know, like Plato or Aristotle, something like that.

What is your word or words to live by? Passion. Passion. Passion. What is the most important quality you look for in other people? Sincerity. Name— this is hard— name 3 people who inspire you, living or dead.

David Bowie, Frédéric Chopin, and my mom. David Bowie. Wow. Wow. David Bowie. Yes, I love David Bowie. Yes, I really do. Because he had this creative personality. Yeah, eccentric and such an eccentric. Yeah. And just not non-conform. And he lived his own dreams. And absolutely.

He wasn't perfect. Name one piece in your current playlist. Oh, this is interesting.

Yes. Yes. Sorry. Akhunov, a sketch in memory of Erik Satie.

Can you— later, can you send me the link?

I will. Yes, I will. Yes, I recorded it, but I still learn it and play it. Yes, I recorded it, but I still play and learn it and practice it.

Yeah. Great. Fill in the blank. This is the last one.

Music is blank. Blank. Oh, music is fantasy. Fantasy. Oh, great. Because fantasy.

That wraps up this episode of The Piano Pod with Yukimi Song with Anna. This was wonderful. Oh, heartfelt thanks to you, Anna.

Wow. I think I need my bubble tea.

But this was wonderful. Thank you so much for joining us today and sharing your incredible stories and insights and expertise. To our wonderful audience, you can learn more about Anna Anna and her work by visiting her websites, movingclassics.tv and anna-hella.com. And please follow her on Instagram and YouTube @movingclassics. And of course, thank you to our wonderful faithful listeners for tuning in today. If you enjoyed today's episode, please give it a thumbs up and subscribe to The Piano Pod with Yukimi Song with Yukimi Song. That's right. And then don't forget to share and review this episode on your social media and tag The Piano Pod. It's one of the best ways to help us grow, and we'd love to hear your feedback. For the latest piano news and updates, be sure to follow The Piano Pod on Facebook, Instagram, TikTok, and LinkedIn. I will see you for the next episode of The Piano Pod with Yukimi Song. Thank you, Anna, once again. Thank you. Thank you. Bye, everyone.