because this orchestra called the brain continuously adapts itself. and so we ask a few astute questions. we can control our thoughts, which makes us very power. kind of like a superpower. a questions about life. the universe were series 42 years to almost everything this week on d, w. ah, i love my life on station i love sharing music, this 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 found 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 a mature, from age, ah, whoa! ecstasy, passion, and grace. yamisha etzky and beethoven's faith piano concerto. even among the wilds, top pianists, he stands out as the youngest on the international state or the canadian musician dazzled audiences with his virtuosity. and the mature of his

interpretations. ah, ah ah, we accompany a new key to some concepts on behalf to gain some insight into his live and work under. 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 drugs like to come in with more than a decade under the limelight yahoo! shot sky 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 of playing pristine lyrical and intelligent the audience is chanted 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. ah, the ascii enjoy seeking out challenges, for example, beethoven's piano concerto number 5. also known as the emperor contract. ah, a claim, john feared 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 its containers and the emperor has a certain posture to it that is particular. and in a way, actually i liked it less than others because it's, it's more outgoing and ex extrovert, it's not as intimate, it's not as searching. it's 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, and 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 and science through . and of course, and we can go back in the history and add the bit of him 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 a sort of complete and pasta 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 all sorts of music. and they were listening to all sorts of recordings all the time. so yes, that was an emergent but nothing conscious and nothing on purpose. but when i started a candle, listen, 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 enough 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 playing tuning. i know you're always still searching for the basic answer. so it's always interesting and i think that really have kept me in music searching for the perfect sound he prepared for each concert meticulously playing 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 incident, knowing the hall and testing the limits innocence, testing the limits of 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 i 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, and i'm the confidence to test the limits. i'm to explore. all flowed into his performance of beethoven. ah, said would he be able to play it if we were to wake him up at 3 in the morning? ah, 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 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, watch about 15. does he still clear the night life and lo 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 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 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 concerts, schedule doesn't let him spend much time in his home town calgary. but even so young to ship, he says time with his family helps 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 a 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, or 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 crusade. but, but it is, i mean, it's perfect and you can find some of 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 form. mm hm. mm. from a very early age li shasky was drawn to robert. she months piano compositions. ah,

even who did his fasts sherman album for the deutsche a grandma fun label in 2016 an experience he describes as a childhood dream come true blue. ready 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 a 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 out a little bit about the history of music. also the history of how it's 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 interpretations of frederick chaperones.

music ah, he loves the works of poland. my famous composer, if that be a coincidence or does, if polish ancestry gave him a natural affinity for chopin, he shut sky doesn't see it. that way. is of course it's a. ready very easy assumption and correlation to make and i don't blame people. i 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 taught people this 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 pull. and 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 in 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 is 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. certainly don't try to create new trends or counter current ones. 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, and 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,

a bit of an and then younger shasky and not hellish ascii. and then these great composers, the time honored image of the piano virtuoso, a fierce, unfamiliar performer, replace his mastery above all. it's not what you mean to shasky strife. despite his traditional leanings, this makes him a distinctly modern contemporary musician. ah stereotyped b believe and nothing but straight jackets. they narrowed perceptions wirelessly shops, gay, profess 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 or words fail in music. we're

talking about music right now, but i would have a very hard time to tell you in words what date of fit piano control means and how to play it. you can't say that in words. 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 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 etzky to the very top with performances and the prestigious carnegie hall on the south spoke festival. ah, exceptionally talented musician is often mentioned in the same breath, a few others davi and daniel tree from it. 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 here and i think it's appalling and 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 sit down and 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. i

these fleeting moments with audiences the world was 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 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 and play frankfurt, berlin, and hamburg and munich, but also come to pick me and, and you'll have of for hall playing or maybe play in bathrooms and there's a super festival that takes place. ah,

a just $27.00 young ski has already achieved much that the classical world has to offer. he's a favorite of the public. i'm depressed in his career has been a series of triumphs. ah, but does not 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 exchange 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 contents 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 us out. and i really, honestly, ever since i've 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. 4th times, i don't think we need to, ah ah,

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