The fastest piano player in the world told “Today” about the Ukrainian roots and his unique technique
The fastest pianist in the world prishlite Ukrainian Lubomyr Melnyk returned to Kiev. He will play an exclusive summer concert in the Caribbean Club Concert Hall on August 27.
Also watch the video on how the piano among the Arctic played an Italian composer Ludovico Einaudi:
Lubomyr Melnyk is the author of a unique piano technique Сontinuous piano music. Translated it means “continuous music”. It is based on the principle of maintaining a continuous flow of sound. Maestro saddened by the fact that the audience is not perceived 40 years, and the representatives of the classical style did not recognize until now. “Today” was able to talk with a genius pianist and ask, how did this unique technique.
– Tell our readers about their Ukrainian roots that connects you with Ukraine?
– I was born in Munich, a Ukrainian family that emigrated to Germany. The Ukrainian language was my first language, everything around me was Ukrainian. I have lived in many countries, but never felt a part of a particular country. I always felt Ukrainian. Ukrainian music, arts, our history, our people – very important to me. It’s part of my soul. I very much appreciate them. I worry about the Ukraine, because the country is now going through terrible times. The Ukrainian culture has always been a part of me, of my soul.
– Why do You compare with the Ferenc Liszt? There is an interesting event or story?
– Franz Liszt was a great virtuoso on piano (So Lubomyr Melnyk says about piano – ed.). He also promoted the game on piano. Other artists played classical pieces. For example, Bach, Mozart, Beethoven, Schubert, and others – have changed something, brought their own. But not so much as a Leaf. He has changed much in music. And I also brought to the world a completely new piano. In my music you can hear the real voice of the piano.
People used to listen to classical music, just music. And when people listen to my music, they hear not only my work, but a real voice and piano. And it’s the only music in the world, which is the voice of the piano.
– You say that continuous music is the true voice of the piano. What is the difference sound of the piano in classical music and continuous music?
On the one hand, it is easy to understand. In classical music a piano is a tool for you, just to reach out to people. It’s just a tool. Works intended for piano, you can play the organ, can be played on marimba (percussion instrument, a relative of the xylophone – ed.) you can play different instruments and the work remains itself. It sounds wonderful.
But continuous music is continuous music, it’s part of my life, this is the voice of the piano. You cannot move it to another tool because this voice will disappear, and work will not get the beauty that is on the piano.
For example, “Moonlight Sonata” by Beethoven you can play the guitar and it will sound just fine. But my music can’t play the guitar or marimba or any other instrument. This is very deep music, that’s the true voice of the piano.
Plus the technique in which I play, is a step forward for thousands of years to classical techniques. Other pianists, unfortunately, can’t do anything with my music – they can’t physically play my music. Their fingers do not work as quickly. This shows that my music has a completely different atmosphere. During the concert, I have a million different options for playing the piano, how to move keys, so to speak. And classical pianists who play concerts only 4-5 options. They are so used.
Classical pianists are experts in the game of classical works, but they can’t play piano, they know nothing about piano (so Lubomyr Melnyk says about the true piano – ed.). But playing the piano is something more. We need to work hard and learn over the years.
– How much time did it take to find just continuous music, because You studied in Canada, lived in France, worked at the Paris Opera?
I went to classical Conservatory piano and basically I was all arranged. But at the end of 1970 to 1975 the changes in classical music, there were new things in music, new genres. Then I wanted something more to do on the piano, to play something new. The old way of playing the piano I have was not enough.
At that time I was not able to do what we could in 15 years. There was continuous music and at the moment I play it for more than 40 years. And it does not cease to live in me, I feel that I go deeper and deeper and know more and more about piano. People think that piano is just wood, iron and keys. But he has a life. Tool just asleep during classical pieces.
– You are the fastest pianist in the world. Is it possible to say that the speed of the piano reflects the level of knowledge of the tool?
– It’s true. All pianists in the world has its own maximum that it can “survive” while playing the piano. Now the piano is a physical maximum of 13-14 notes per second. They can’t go over this maximum. Even 15-16 is for many almost impossible. And I play more than 19 notes per second! I’ve been practicing this for years. And only through continuous music could reach such a level, because it changes the body. To play at that speed, like me, many may take more than 15 years of work.
– Do You have special exercises for hands, for the fingers that are different from exercises for classical pianists?
There are classic exercises and a lot of them. The music played by classical pianists – superprecise. We need classical concerts, I don’t want people to quit. But I wish the piano was doing and new things, it’s a new way to play with your fingers and hands. So the classical exercises I and my students do not. There are different physical exercises for the hands and body to during the concert was the integrity of the body and piano. When I play a concert, my body, and as it merges with the instrument via the keys and until the middle of the piano.
– You performed in a duet with Ukrainian singer Christinas the Nightingale song Fortepiano. How did the rehearsal as prepared?
– It was a great blow. Christina wrote a beautiful song. This music needs to live. It’s a complicated thing, so you need to prepare and prepare yourself. I was very pleased to play this music together with Christinas. I would like to make some new works together.
– Do You see someone in a talented young pianist who will continue Your business, your music continuous music?
– There are young pianists who are just starting to learn and haven’t got far. After all, it is a complicated and lengthy process. But yet someone I could together to perform on stage. I’d really like to someone who has played with me on stage for an hour concert, where the stage stood two pianos. It is important for me to share with others the fact that I can now play the piano.
So that young pianists could play this music. However, this is a very strange situation, because the classical world absolutely does not want to accept new music that I play. Classical pianists are not interested in new music, they play Bach, Beethoven. They don’t want to see a new world of music.
Where was born Your unique technique?
-She was born suddenly. It was 1973 in Paris. I played for modern dancers Carolyn Carlson. She was a big star in France, and conducted master classes for young people. Came from her inspiration. I played in her lectures. After these master classes I was having the idea continuous music.
– What inspires You? You listened, you know?
– Everything in my life, all displayed in my music. It changes me every moment. I see new things, do new things. The soul grows every moment and everything that happens in my life is over. There are times when I do create works. Each artwork is created out of nothing, suddenly starts the idea and something new is happening maybe days, months or years.
In my music there is water, even on the physical level. Nobody knows what water is. We can’t create water, it is important for our life. Three major things in my music: water, air and stone.
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