TIME FOR CHOPIN

Beatrice Rana is discussing the delicious moment when musician and composer truly connect; when the notes are not only technically secure, but there is a clear understanding between innovator and interpreter. Recently, she has been working closely on one composer’s work in particular, someone whose oeuvre has long been problematic for the Italian pianist.

But who is the mysterious challenge-setter? Could it be Pierre Boulez, whose abstract piano sonatas out-fox the most dedicated keyboardist? Or Ronald Stevenson, whose hour-long single-movement Passacaglia on DSCH requires a feat of endurance from its soloist. Perhaps one of the lesser-known Classical composers, Dussek, Wölfl or Reicha, who all place their own particular demands on 21st-century pianists? No. It is, in fact, one of the pillars of piano music: Chopin.

‘My relationship with Chopin has been delicate,’ smiles Rana, ‘ I have always loved his music but I never felt truly confident playing his works – until now.’ The strict Italian lockdown was terrifying in many ways, but Rome-based Rana says that she ‘tried to enjoy what was left in life.’ For the 28-year-old, this was time with family, cooking, baking – and playing the piano purely for pleasure.