May
24
Q and A with International Concert Pianist Nurry Lee
Nurry Lee is a South Korean-British pianist who began studying the piano at the age of six with her mother. At nine, she won her first concerto competition and was offered a full scholarship to study at Wells Cathedral School. She completed her Undergraduate and Masters degrees at the Royal College of Music and her Artistic Diploma at the Royal Northern College of Music, winning numerous awards including the Milstein Award and first prize at the RNCM Chopin Competition. Praised by Emanuel Ax as a “wonderful pianist,” Nurry has performed internationally across Europe, the USA, Asia, and West Africa, including a debut concert at Carnegie Hall. She has also appeared on BBC Radio 3 with her piano trio, Trio Rouge.
Can you tell us a bit about your early life and how you started with the piano?
I was born in Reading and started learning to play the piano at the age of six. My mum played for fun and taught me and my sister. I became obsessed with it and started playing by ear, imitating my older sister. Eventually, I got a proper teacher and my journey with the piano began.
What was your educational journey like?
I studied at Wells Cathedral School for seven years, then moved on to the Royal College of Music where I completed both my diploma and master’s. Afterwards, I attended the Royal Northern College of Music in Manchester to do an artistic diploma, which is intended for artists on the cusp of international careers.
How did you find your time in Manchester?
Manchester was really fun – I love Manchester! It was a great place to study and grow as an artist.
What is your daily practice routine like?
I usually spend 2 to 4 hours a day practising. If I have a performance coming up, it can be up to 8 hours. It all depends on what’s on the horizon.
How do you commit music to memory?
Committing music to memory is tough and one of the most daunting tasks for pianists because we have so many notes. I use a combination of muscle memory, listening, and analytical techniques to visualise the piece. You really have to know it harmonically since you can’t improvise your way out of classical music; it’s quite rigid.
What happens if you make a mistake during a performance?
If I make a mistake, I have safety spots in the piece that I can fall back on. During a performance, it’s important to stay composed and think about the next part.
How do you approach teaching a 7-year-old to play the piano?
I start with fun songs and pair them with technical bits that are needed to progress to harder songs. It’s about pairing the easier bits with the harder bits, and if the child recognises the tune, it’s more rewarding for them.
Do you think it’s possible to master both classical and jazz piano?
Yes, the Associated Board has introduced jazz exams, which I think are popular. However, mastering both classical and jazz fully is challenging because they require different approaches. If you really want to go full-on classical, it’s hard to find the time to master jazz as well.
How do the rules differ between classical and jazz music?
Jazz requires you to throw away the classical stiffness and go with the feeling more. It’s a different kind of freedom compared to classical music.
What’s next for you in your career?
I have some concerts and travelling performances coming up. I’m also thinking about doing a recording and an album, but I need a chunk of time to do it justice and get all the pieces to the required level.
Where is your work primarily based?
Most of myy work is in London, but I travel between London and Bath where I live. It’s harder to meet up with other musicians since leaving the Royal College of Music, but having a network is important because it can get lonely just travelling and playing piano.
What kind of piano do you practice on at home?
I have an upright Kawai piano at home, which is great for practice.
Do you prefer music on paper or digital formats?
I prefer music on paper, but using an iPad is good because I can carry all my music with me. However, you do worry about the battery running low, but if you commit the music to memory, it doesn’t really matter.
What’s your view on AI in music?
AI is a very interesting subject! I think it will definitely influence the music industry, much like how technology and recording equipment have. However, I don’t think AI can replace performers and artists because the ‘human’ or ‘soulful’ part of music can’t be replicated by AI.
Could AI be useful in music composition?
AI could probably help with composition, especially on a technical level. But for music to really be alive, human input is essential. AI can compose at a basic level, but the greatest compositions often have a structure that isn’t purely rational, which adds to their expressiveness.
Do you think AI will ever be able to express emotion in music?
I’m not sure AI could want to express something in the same way humans do. Part of what makes great music is the imperfections and unique expressions of the composer, which I think requires a human touch.
Should musicians rely on AI for learning?
I think we should definitely try and learn everything ourselves before relying on AI. It’s like how in my maths classes at school, our teachers wouldn’t let us use calculators!