Originally from Yerevan, Armenia, concert pianist Marianna Shirinyan has made a name for herself performing with a whole raft of major orchestras across Denmark, Norway and Finland. On 2nd November, she performs Mozart’s wistful Piano Concerto no. 23 in the Norwegian Radio Orchestra’s live streamed concert, available to watch on Bachtrack At Home. We caught up with her to discuss her relationship with the piece, forbidden music in Soviet Armenia and her experience in music competitions.

DR: Most of your family – your mother, father and brother – are violinists. What made you go the other way and choose the piano?

It was rather the choice of my grandmother, who used to live with us. In the house there was at least one violin sounding constantly, with my parents and brother practising, and all the students of my mother visiting us. I guess my grandmother became a bit tired of the sound of the violin and suggested that I play the piano. I wasn’t particularly excited about the thought, but got used to it with time and later learned to love it. My heart still beats much more for the string instruments, but the piano gives me incredible possibilities to express myself.

You grew up in Soviet Armenia, and your father owned and played forbidden records of Eastern European folk music. How did that influence your musical development?

Indeed it has strongly formed my musical thinking. I guess every composer has, to a particular degree, been influenced by folk music of their own county or others. It brings them back to the roots and underlines them. My father’s interest was very much in the music of Moldavia, Romania, Bulgaria, Hungary and Jewish culture, and we were listening and playing it a lot in the house. Our neighbours then were warm-hearted enough not to declare it to the state, otherwise my parents would face serious problems.

That folk music certainly has brightened and freed my musical horizons, which I’m thankful for.

What was the musical scene like in Armenia at the time?

The musical scene in Armenia has always been interesting and on a high level. Even during the times of the war in the beginning of 1990s, it became even more exciting then.

You have experience of music competitions – both as a performer (when you won five prizes at the ARD competition in 2006) and as a juror (at the ARD and Edvard Grieg Piano Competition in 2014). What advice do you have for young musicians who are entering competitions?

I honestly haven’t attended too many competitions, but the prize at the ARD competition has opened several important doors for me. It has been an exciting journey ever since.

For young players, I would of course recommend doing competitions for the chance of developing, learning new repertoire, having wonderful possibilities to perform (during the competitions and hopefully after), seeing new places and meeting interesting people. But please, do not consider a competition to be sporting event and do not go on doing competitions for years. It should always be about music. Looking at it from the other side, as a member of jury, I can say that one is only searching for a really interesting, sincere musical personality who has a special message.

Some would argue that a music performance is quite subjective. As a juror, how do you decide what is a first-prize competition performance?

A first prize performance is emotional, honest and professionally solid. One should always bear in mind that a first prize is a first step into a hopefully long and challenging concert life.

Tell me about your relationship with Mozart’s Piano Concerto no. 23. When did you first encounter it? How do you approach it now?

This is a concerto which I grew up with – one of my big favorites. I started playing it much later [in life] though. The first encounter was six years ago, which felt like meeting a good, old friend. I adore this piece.

You’ve said in the past that you don’t plan exactly how you’re going to play certain musical phrases – you see how the mood strikes you in the concert. How does this affect your relationship with the orchestra when performing?

The hall, the acoustics, the public, the conductor and the orchestra, their approach: it all can certainly influence a performance. But I also have my own architecture for the piece.

Your performance with the Norwegian Radio Orchestra is being streamed live online. Does it feel different when you know your performance is being broadcast live across the world?

Certainly there is a different type of tension connected with the microphones and cameras, but also some cosiness as well. Knowing that my family and some of my friends around the world are watching the concert makes me happy.

How does the Norwegian Radio Orchestra compare with other orchestras you’ve performed with?

I played with the Norwegian Radio Orchestra for the first time half a year ago, playing Prokofiev’s Piano Concerto no. 3, and I’m thrilled to join them again. It’s a great orchestra, with a beautiful sound and a warm atmosphere.  

For many, there’s a difference between being able to play notes on the piano very quickly and giving a truly great performance. For you, how important are the virtuoso aspects of a piano performance?

The virtuoso aspects can be greatly impressive, but it’s just a part of the performance – though for sure an important one. A truly great performance is an all-round experience.

The Norwegian Radio Orchestra’s stream begins at 19:30 CET (18:30 UK time).