question about the life, the universe and everything. if you knew the answer? well in give it here. the answer to almost everything. a word document 3, series with clever, crazy ground breaking questions. can we go and see after life or are we getting dumber? how can we feed every 140 to the answer to almost everything. starts january 15 on d, w. ah ah, i love my life on stage and a love sharing music. audience. ah, they always give it my all every single concert and a 100 times a year that that sometimes can be a little bit much i think

that's it certainly what i have felt in it and it's infinite. it's a spectrum of joy and pain and suffering. and all of the human emotions, perhaps that makes me old from age mature for major. ah, whoa! ecstasy, passion, and greece generally shasky and beethoven's faith piano kancheta. even among the wells taught pianists he stands out of the youngest on the international stage,

the canadian musician dazzles audiences with his city and the maturity of his interpretations. ah, we accompany a new ski to some concepts and gain some insight into live work. and we asked him to tell us more about the secret behind his early success. mm. ah . in many respects in my life, i became more mature than my peers at a young age just because of how my life and for them perhaps also it's a character trait. musically speaking,

i was never drawn into virtuosity. i was never drawn into a showing off, and i was always sort of looking for the inner core and the inner beauty of music. i think with age that's a lot of people are looking for again. and i think that's also why, for the most part, we see audiences that are not on the young side, but on the older side in classical music. because after they've had their fun, after they've had their parties, after they've had their dances, somehow looking for that pure and untouched beauty is what draws back to me. with more than a decade under the limelight, young shot sky has won high praise from reviewers around the world. the boston globe described him as a musician of unusual refinement and imagination, and the new york times playing christine lyrical and intelligent audiences are

enchanted by his grand show of emotion. ah, i think that's certainly what i've found that infant. it's a spectrum of joy and pain and suffering and all the human emotions and all the elements in the world put in one hour conscious. it's amazing and i've always enjoyed that. so perhaps that makes me old from a mature, from age or, or whatever it may be, but that's not only who i am. i'm also still young. and i'm also still a very normal person, but certainly when it comes to musical experiences and, and my approach to music and my approach to being on stage, it's more traditional than modern, ah, least ascii enjoy seeking out challenges. for example, beethoven's piano concerto number 5. also known as the emperor can check me

the in a claim, john fi and the master. this is one of the most challenging in the piano repertoire works. it was ahead of its time. ah, i love all a bit of as considers. and the emperor has a certain posture to it that is particular. and in the way, actually i liked it less than others because it's, it's more outgoing and, and, and to give it its breadth and sonority that it requires. and i think i think it has of courses jennifer stunning moment. like the 2nd movement but. but just the overall perception, i think of, of really presenting yourself as it is and with no

embellishments and complete confidence that complete confidence and science through . and of course, and we can go back in the history and add the bit of and by that point was completely deaf and he couldn't play himself anymore and, and all these things. but yet he wrote this piece with this sort of complete and pastor of i know what i'm doing and this is what i want to say and, and it's quite incredible that he had the courage and the guts and, and everything to do it. i had started playing piano at the age of 5, and at 1st you practice bird instrument. by the time he was a teenager, he was already gaining notice. though he was hailed as a child prodigy. his parents, immigrants from poland, went musicians himself. music drew me in obviously from an early age i don't come from a musical family. so i wasn't sort of immersed at home in a, in

a family of musicians and instruments and so on. and my friends enjoyed music without a doubt, not particularly, and only classical, but also to music. and they were listening to all sorts of recordings all the time . so yes, that was an immersion, but nothing conscious and nothing on purpose. but when i started candle lessons, i think the fact that i don't have there isn't a certain path. there isn't a right or wrong. there isn't a sort of yes or no. and you that it's up for negotiation. everything is up for negotiation and you can find your own way that, that i think gave me always for me to, to continue working on it because there was never, that you couldn't achieve perfection. and you couldn't just say ok, this is great. and, and then you start fine tuning. now you're always still searching for the basic answer. so it's always interesting and i think that really have kept me in new the only searching for the perfect sound he for pass the each concert meticulously

playing and testing the instrument and the acoustics to everything is just ah ah, ah, when i'm in a concert hall and i want to play on the piano. it's very, very important for me to be in position on stage on my concert instrument. because of course, i could not practice per se the practice has been done, hopefully before it's about actually knowing your instrument. that particular incident, knowing the hall and testing the limits innocence, testing the limit, the volume of time, of what the hall gives you, what the candle gives you. it's super, super important for me to spend that time on the piano and. and then when i come

and play it on stage, in concert for the audience, i have a much better appreciation, a much better knowledge of what exactly i can do, how i can play, ah fashion and the confidence to test the limits i'm to explore. all flowed into his performance of beethoven. i said, would he be able to play it if we were to wake him up at 3 in the morning? the it would be possible physically you can surpass. something's not everything a your body needs enough for us simply to do it and if you're too tired, no matter what you do, you can't give it your all. it's amazing that you just can't push it. be uncertain minutes, but mentally as a whole other matter at 3 am, i'm not sure how coherent oh,

be playing that. i could certainly play some pieces in my sleep, so to speak. and i think the result would still be quite good. others perhaps not me and you find many people his age out dancing and drinking the night away in clubs. parties. ah, watch about 15. does he still clear of the night life and as a low keepers and, and beyond late nights out, because i'm playing concert, i would rather be in bed by 10 pm and private life. and when everything seems to revolves around the pianos, oh, there's always a balance between what is professionally,

what is personal and, and i think every artist finds their own way and that to me, i love my life on stage. and i love sharing music with audience and, and i also feel very responsible because it isn't just me playing catalog, whatever i can do, but, but they come with a certain expectation. so i certainly want to deliver that as not an expectation of playing perfect dory or playing in a certain way. but i always get my, all every single concert and a 100 times a year that that sometimes can be a little bit much and out of their hand. i also have a, i believe, a very interesting personal life beyond. and they want to lead that personal life not only be on stage. ah, he's busy concert schedule doesn't let him spend much time in his home town calgary . but even so young he says time with his family helps ground him. ah,

i'm very lucky to be close with my parents and my mom is dedicated a lot of her life to supporting me and to helping me. and she travels with me most of the time. and we have a great time together. if we visit things we, of course we work hard when you play as many countries as they do in a year. you are working a lot of the time. but being with her also gives me the chance to he goes to the museums or go for walk or share those moments with somebody. and that's very important. we met janish etzky at a music festival on the island of ou saddam in the baltic sea. his daily routine is carefully planned, but he still managed to make time for a walk on the beach to clear his thoughts and leave room for inspiration. other art inspires, of course, i'm other forms of arts. i love seeing paintings or, or sculptors being and galleries, being in beautiful buildings architecture and being in beautiful spaces and nature

. a thing is that the key inspiration as much as it's a stereotype and it's such a cliche. but, but it is, i mean, it's perfect. and you can find some of beauty in it. i can inspire you for a long time. i think in music, at least you're always pursuing something different and that's why i didn't go into sports or something is because you have to be so focused on the one thing and, and you can never deviate from that person and music. it is the one thing, but i think you have the inspiration of, of other aspects and not just that strict following the 19 mm. from a very 80 age li shasky was drawn to robert. she months piano compositions.

ah, give a tour did his fasts sherman album for the deutsch gramaphone label in 2016 an experience he describes as a childhood dream come true blue. ready ah, into an unknown universe, guided by curiosity. the way i started new work when, when i need to learn something, i want to learn something. i actually just literally get the music and i start playing. and i see what i can get from that sort of very initial reading. i like that cart blouse. so you start course with experience with age and

simply being around you hear lots of music that you want to learn, but some of it and some of it you don't know very well. and i like that approach that you, you have a complete we have a fresh set of eyes, fresh that of ears and a fresh approach to it. and of course then it is important to find out a little bit about the history of music. also the history of how it's been played. so i listen to my colleagues and both present and past and get a sense of how far off was i from my very sort of, intuitive performance intuitive based on the score, which is basically the composer's intentions. how far off i was from the tradition and, and what we're accustomed to and then i make my choices based on that ah, ah, this approach was what brought him to his interpretation. the frederick chaperones music. ah,

he loves the works of poland. my famous composer, if that be a coincidence, or does it polish ancestry, give him a natural affinity for chopin? he said he doesn't see it that way. is of course it's a very easy assumption and correlation to make and i don't blame people think it's difficult on other hand because i was born in canada and i have lived all my life. yes. and fortunate because my parents talk polish, unfortunate because i went to pull in a few times, but that's no different than if somebody else would have learned polish and gone to poland a few times. i don't think you can really say that there's any advantage to dna in the blood. and certainly my affection 1st opened came from natural place from

a place that i simply love his music. and i love how he uses my instrument and his music. can you explain that by dna? i'm not so sure because some of my favorite artists who played chopin are not polish and have nothing to do with the country. so i think that that speaks bound for how international and how broadening that can be. i musical affinity jeff ski believe and not only a matter of environment and upbringing, perhaps that's why his chopin sounds quite different from the polish tradition. interpretation is a bit more rust around the edges and the elegant charm of someone like auto rubenstein, the polish bone pianist regarded as one of the greatest chopin interpreters. but if he deliberately flouting the audience is expectations. certainly don't try to create new trends or counter current ones, but i do look in

a sort of vague basic way at what's in the score and trying to strip down what has been accumulated over the years. accumulated and sense of traditions or our knowledge of the score of our knowledge of music or appreciation for it. and, and that sometimes can mean to a sort of more pure istic approach. but that isn't to capture any trend. it's not on purpose to, to make something difference or, or stand out. it's just because that's how i see the music. and i think of course, my interpretation will ideas and may, sol somehow always have to come through. but in the end, i have to be a little bit in the background of what the music is. i certainly don't want to jump across the barrier and, and be at the forefront. it should be chopin, beethoven and then the youngest etzky and not hellish ascii. and then these great

composers, the time honored image of the piano virtuoso, a fierce, unfamiliar bull performer, replace as mastery. above all is not what yamisha sky strife despite is traditional leanings. this makes him a distinctly modern contemporary musician. ah stereotyped the belief and nothing but straitjackets, they narrowed perceptions. whereas michelle sky preferred to leave room for nuance . and the intangible, ah, i think as humans, we are very keen to try to describe things to explain them and we use words for that and words words fail in music. we're talking on music right now, but i would have a very hard time to tell you in words what bit of and stiff can control means and

how to play it. you can't say that word. you can't express that. and i think that the same goes for when we're trying to explain that a certain artist plays it in a certain way and, and that perhaps the nationality or the culture, the history or the age or whatever, have some influence. everything has influenced life has influence. i play and i tell his story, and when i'm sitting in front of the piano, it is a story that, of course, i draw from my own life and from what i've imagined. it's not only a story that you have to have lived through. you can have a vivid imagination and go through it. and i think that when you're on stage you have to embrace that and simply give it a year old. ah, this is the approach that etzky to the very top with performances at the prestigious carnegie hall on the south spoke festival.

ah, exceptionally talented musician is often mentioned in the same breath, a few others davi in january for more limits. and of course, i have many, many great colleagues in music and of course in canada as well. and it's amazing because they all follow their own path. and i think sometimes i would hear something by my colleagues and be very inspired. and other times i hear, and i think it's appalling and it's disgusting. but this is because you have your own opinion and i have my own interpretation ideas and very firm viewpoints because that's what happens. and i know that the audience is perhaps don't share my viewpoint and i completely am at peace with that. and i appreciate

that some people do and some people are open to them at the very least. and i think that this is what makes music relevant today. why are we listening to better assist? dana can say that was written over 200 years ago because it's still different every time we hear it and it's never going to be the same. and music really lives in live arts and as much as recordings are important than as much as all sorts of archival purposes of them do, do have their own meaning. but being in the concert hall, experiencing that fleeting moments of beauty, that fleeting moment of whatever might have been is amazing because it's only shared with the people that are there ah, in these fleeting moments with audiences the world over. but he has

a special affinity for one country in particular as a artist, as a performer, as a classical pianist. jimmy is one of my favorite places to play because you have a deep appreciation, i think, and a long culture of coming and attending and being a part of classical music of being a part of the country. and that's an amazing gift for, as performers, because there are very few other countries, if any, in the world where you can play in so many different places, not only and play frankfurt, berlin, and hamburg and munich, but also come to me and you'll have a full holiday playing or maybe play in buck home and there's a super festival that takes place. i just 27 young leadership ski has already achieved much that the classical world has to

offer. he's a favorite of the public. i'm depressed. his career has been a series of triumphs. ah, that also apply to classical music in general. what does its future home? ah, i don't want to change classical music to accommodate 2 young people. i want to give them the chance to extend that to come to the concert. but i'm, i'm astonished. traditionalist and i love music being the way it is. i love classical concerts having a traditional format. i don't want to add a light shows or drinking beer during the concert or anything. it should, i think it has its place in the world to be the way to, to be a formal event, to be something where you celebrate music at a very re high level. but i'm also glad to see that young people do embrace. and i do see in my contract

a lot of younger audiences and that is wonderful as far as securing the future of music, i think i have a lot of colleagues and a lot of people who are helping you with that. and i really, honestly, i've ever since i've started playing, there's been a subject and yes, i'm still young, i'm to myself, but it's already 12 years and i don't see that halls are getting emptier or that we're having any problem i, i really don't think we will have a problem with us and, but i think we have to maintain that higher level of production, whatever we're doing, that it is the best that it can be and not changed for the times. i don't think we need to do that. ah

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