![]() In my opinion, effective marketing is what leads to performing careers in 2015 and why an article like this can be so helpful for advanced students considering a performance career. How many professional pianists and teachers would say that he’s the best pianist in the world today? Some may, but I think that while many would agree he is an excellent performer, the thing he has above all else is an ability to market himself. The fact that she struggled for so long to get performance opportunities despite her immense talent reminds us that, up to a point, it doesn’t matter how talented you are: it’s about how well you can market yourself.Ĭonsider Lang Lang. Unfortunately, these are exactly the kinds of marketing skills that aren’t taught to performance students at University level these days, but are so important in the 21st Century. Her debut Royal Albert Hall concert (click to watch) was organised solely on the back of her YouTube stardom. Read the full article here: Valentina Lisitsa: My ten tips for how to become a viral YouTube star | Valentina Lisitsa – Classic FM Why online marketing is so important In this article, from the Classic FM website, Valentina shares her 10 tips for how to get noticed on YouTube. She spoke to us exclusively and shared her tips for making it on YouTube – and beyond. And then, she started uploading videos of her performances to YouTube…Now she can sell out concert halls, her recordings are best-sellers and she is indisputably one of the classical world’s biggest stars. The concert bookings weren’t coming in and she didn’t have any recordings to speak of. ![]() In 2007 the brilliant Ukrainian pianist found her career was floundering. Valentina is a Ukranian-born pianist who struggled for years to get any kind of performance gigs despite being prodigiously talented: You can learn more about Valentina at her website: , and will find many more examples of her playing at her YouTube channel: /valentinalisitsa.Like thousands of pianists and teachers out there, I’ve long been inspired by the remarkable talent and story that is Valentina Lisitsa. Born into a family of non-musicians in Kiev, Ukraine, she started playing piano at the age of three. What they got instead was a thoughtful, poignant rendering of this hackneyed Bagatelle, one that demonstrates just how beautiful it can be when played by a true artist. Valentina Lisitsa is a Ukrainian-born classical pianist. You will hear some surprised laughter as she begins to play, as the audience was undoubtedly expecting one of her trademark virtuoso encores, not a student recital piece. Valentina’s fourth and final encore was Beethoven’s well-known “Fur Elise”. It is unmistakably Russian in character, and very majestic. The attentive reader may recall that this prelude was featured on this blog in September in a memorable performance by Emil Gilels. Prelude in G minor by Sergei Rachmaninoff ![]() Obligingly, the young virtuoso complied, and after four bars he was perspiring profusely! When he had finished this astonishing performance, someone wistfully asked that he play a simple piece by Schumann, such as “Traumerei”. He kept this up for quite some time without as much as a drop of perspiration on his brow. The most difficult music seemed to flow effortlessly from his fingers. A young virtuoso once came to the famous piano class of Theodor Leschetizky in Vienna, and upon being asked to play, stunned everyone with a phenomenal display of virtuosity. Vladimir Horowitz, for whom “Traumerei” was a signature piece, once related the following incident as a gentle reminder to anyone who might think that slow, lyrical music is easy to play. She plays it beautifully, and it was this performance more than any other that convinced me of her artistry. “Traumerei” means “Dreaming”, and this piece is as different as possible from the virtuoso showpieces that Valentina Lisitsa is known for. This kind of knuckle-busting difficulty is Valentina Lisitsa’s bread and butter, but as we will see in a moment, she can also play with exquisite sweetness. “La Campanella” (“The Little Bell”) is the third of six “Grandes Etudes de Paganini” by Liszt, all of which are based on compositions by the great 19th-century Italian violinist and composer Nicolo Paganini, and all of which are notoriously hard to play. Her first encore was by Franz Liszt, who was himself an admirer of Grieg’s concerto. They called her back for no less than four encores, each of which reveals a different aspect of her artistry. After thrilling to her brilliant performance of Grieg’s Piano Concerto, the audience in Seoul was in no mood to let Valentina Lisitsa leave the stage.
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