store this is my flex, the waste from just one week. how much work can really get we still have time to go. i'm going all with what for his subscriber for morning with someone else to the hardwood tb highlights of selected for you. you every week in your inbox, subscribe now? ah, i love my life on stage and a love sharing music. audience. ah, i always give it my all every single concert and a 100 times a year. that sometimes can be a little bit much i think

that's it certainly what i have found in it. i that infinite a spectrum of joy and of pain and of suffering and all of the human emotions. perhaps that makes me old from age matured from age. ah whoa! ecstasy, passion, and grace. generally shasky and beethoven's faith piano concerto. even among the wells taught pianists he's done out of the youngest on the international stage, the canadian musician

dazzles audiences with his city and the maturity of his interpretations. ah ah, we accompany epsky to some concepts and to gain some insight into his life and 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 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 drugs like to come in with more than a decade under the limelight. yahoo ski has one 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 is playing pristine lyrical and intelligent audience is shaun paige by his grand show of emotion. ah,

i think that's certainly what i have found that infinite a spectrum of joy and of pain and suffering and all the human emotions and all the elements in the world put in one hour concert. 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. the least ascii enjoy seeking out challenges. for example, beethoven's piano concerto number 5. also known as the emperor can check the news,

a claim, john c and the master 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. an ex extrovert, it's not as internet, it's not as searching. it sort of makes a statement, but i've learned to embrace that statement. i've learned to embrace that sort of stature of it and at to give it its breadth and sincerity that it requires. and i think, i think it has, of course, has dutiful, stunning moments 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 somehow signs 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 all these things. but yet he wrote the piece with a 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. but 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 wasn't ready gaining notice. though he was hailed as a child prodigy. his parents, immigrants from poland went musicians themselves. 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. my parents enjoyed music without a doubt, not particularly, and only classical, but all sorts of music. and they were listening to all sorts of recordings all the time. so yes, that was an immersion, but nothing conscious, nothing on purpose. but when i started piano lessons, i think the fact that i don't have there isn't a certain path, there's no right or wrong, there isn't a sort of yes or no in music. it's upfront association. everything up for negotiation and you can find your own way that, that i think gave me always spurred me to continue working on it because there was never that you couldn't achieve perfection. and you couldn't just say ok, this is a 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 music

only searching for the perfect sound he prepared for each concert meticulously laying and testing the instrument and the acoustics to everything just ah ah ah, in 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, it's not practice per se. the practice has been done hopefully before it's about actually knowing your instrument that particular announcement, knowing the hall and testing the limits innocence, testing the limits of the volume of time. 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 they 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 this ah fashion, i'm the confidence to test the limits. i'm to explore. all flowed into his performance of beethoven. i can check, 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, and if you're too tired, no matter what you do, you can't give your all, it's amazing that you just can't push the answer in 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 on me and you find many people his age out dancing and drinking the night away in clubs. ah. what's about to steer clear of the night life and loki, person 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 when it's 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 casually 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 or, or playing in a certain way. but i always give it my all every single concert and $100.00 times a year that that sometimes can be a little bit much and, 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 health ground him ah,

i'm very lucky to be close with my parents and that 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, that 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 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 the beauty in it that 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 in music. it is the one thing. but i think you have the inspiration of, of other aspects and not just that strict following the board room

from a very early age li shasky was drawn to robert. she men's piano compositions. ah eva, who did his fasts, sherman album for the deutsch, gramaphone label in 2016, an experience he describes as a childhood dream come, true. blue ah, from that musical journey has taken him in many different directions. she's especially intrigued by studying, lax, completely new to him entering 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 and fresh that of ears and fresh approach to it. and of course then it is important to find 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 brought him to his interpretations of frederick chaperones. music ah, he loves the works of poland. my famous composer, if that be a coincidence or does have told ancestry, gave him a natural affinity for chopin. shad skeet 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 and think it's difficult. on the 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 for soap and came from a 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 d n a? 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 abound for how international and how broadening that can be. i musical affinity shasky believe, and not only a matter of environment and upbringing, perhaps that's why his chopin sounds quite different from the polish tradition interpretation. it's a bit more rough around the edges and the elegant,

someone like auto rubinstein, the polish bone pianist regarded as one of the greatest chopin interpreters. but if he deliberately flouting the audience is expectations really 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 try to strip down what has been accumulated over the years. accumulated and sense of traditions or our knowledge of the score, our knowledge of music, our appreciation for it and, and that sometimes can mean to a sort of more pure istic approach. but that doesn't account for 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 youngish, etc, and not hellish ascii. and then these creek composers the time honored image of the piano virtuoso, a fierce, unfamiliar bull performer replaces mastery. above all is not what you are going to ask if trifle, despite the traditional leanings, this makes him a distinctly modern and contemporary musician. ah stereotypes the believe and nothing but straight jackets. they never the perceptions. whereas michelle sky preferred to leave for him 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 and music. we're talking about music right now, but i would have a very hard time to tell you in words what bit of a fit piano concerto means and how to play it. you can't say that and you can't express that. and i think that the same goes for when we're trying to explain that a certain artist plays 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 influence. life has influence. i play and i tell a 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 up and simply give it a year old. ah, this is the approach that brought families 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 on this davi and daniel tree from more limits and on it, 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 piano? consider those 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 moment of beauty, that fleeting moment of whatever might have been is amazing because it's only shared with people that are there

ah, in jazz these fleeting moments with audiences the world over was he has a special affinity for one country in particular, as a artist, as a performer, as a classical pianists, germany is one of my favorite places to play because you have a deep appreciation, i think in a long culture of coming and attending and being a part of classical music of being a part of the content, and that's an amazing gift for us performance, because there are very few other countries if any, in the world where you can play in so many different places. not only in play frankfurt, berlin, and hamburg and munich, but also come to pick them in the end. you'll have of full hall playing or maybe playing buck home, and there's

a super festival that takes place. ah, a just 27. yeah. sky has already achieved much that the classical world has to offer. he's a favorite of the public and depressing. his career has been a series of triumphs. ah, but does that also apply to classical music in general? what does the future hold? ah, i don't want to change classical music to accommodate 2 young people. i want to give them to the chance to extend that to come to the concert. but i'm an 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 it is to be a formal event to be something where you celebrate music at a very, very high level. but i'm also glad to see that young people do embrace that, and i do see in my context a lot of younger audiences. and that is wonderful. as far as securing the future of class. can you think? i think i have a lot of colleagues and a lot of people who are helping you that and i really honestly, ever since i started playing been a subject and yes, i'm still young, i'm 27, 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 this. 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. 4 times, i don't think we need to, ah ah,

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