Ahmed Alom, pianist

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

My mother really pushed me to go into every possible field. She would put me in karate lessons and painting. One day my aunt wanted to get rid of her piano and she brought that piano into our apartment. I was instantly intrigued and started figuring out the sounds and the patterns.

I started to take aural training classes with my professor, Hortensia Upmann, which was kind of like learning a language. I found that I really liked the rhythmic aspect of music and I began tapping everywhere. Every table. Every pot and pan. When I applied to music school, I was accepted as a percussionist.

Mauricio Gutierrez was my first percussion professor and was my first influence in that sense until I took elementary piano with my first piano teacher, Beatriz Olivera. She was the first to show me all of the capabilities of the instrument and the first to see my talent for piano. She insisted that I audition and switch to a piano career. So I did both my majors, percussion and piano until I was around 15 or 16 years old.

I really owe everything in my career to my family, including my grandma and my uncles. On the artistic side, my uncle Juan Carlos Alom was a filmmaker and a photographer. Juan Carlos exposed me to a lot of art, expositions, painting and photos, and creative thinking. He was a real influence on my life and career trajectory.

Then I really have to be extremely thankful to my piano teachers. I had many including Leonardo Gell, Ninowska Fernandez, and Mercedes Estevez. I’m also thankful for the teachers that shaped me in other fields of music, including music theory, harmony, and music history. When I arrived in New York, to the Manhattan School of Music, I took lessons with Dr. Solomon Mikowsky and he was really crucial in my development of the music. But also at MSM I got to meet people like Anthony de Mare, who was the first one that introduced me to contemporary music. Then we had Sylvia Rosenberg who taught me a lot in chamber music, Maestro Reiko Fueting and Peter Andreacchi as well in theory and harmony. So that is a lot of what I am today. Right now, I’m receiving a lot of advice from conductor Teddy Abrams and composers Julián De La Chica, Teddy Abrams, Ford Lallerstedt, Pedro Giraudo, and Gabriel Globus.

What have been the greatest challenges of your career so far?

The first that comes to mind was coming to New York City for the first time. When I came to the Manhattan School of Music, I was really young, I was around 17 years old. I came by myself from Havana with a really good scholarship from the school. But I had to learn how to do things extremely fast. My parents did not have the means to support me financially on my journey, so I had to learn quickly how to live on my own and support myself.

That experience was extremely significant in my personal growth as it allowed me to discover the distinctions and unique offerings of the city of New York, both within and beyond the confines of the school. It provided me with a strong sense of community and exposed me to the happenings of the real world.

I had the privilege of collaborating with immensely talented people in the realm of popular music, not only from Cuba and the United States but also from Israel, Spain, and Argentina. I was amazed that each of them had their own truth. As a classical pianist, I was so familiar with the strict guidelines and expectations regarding sound, and these musicians each had such distinctive sound and quality.

Not to mention, the first winter in the city after coming from a warm county. That was a challenge!

I guess if we go a little bit deeper, one challenge in my career was trying to combine both the popular music and classical music worlds without any sort of bias. My background is classical music in Cuba, but also popular music, we have a really good share of popular music, including, percussion. So in my programming, I try to combine improvisation and classical, and sometimes it’s hard, to find the right institutions and the right audiences to bring those programs together.

I’m extremely lucky that the world is changing in a way where you’re seeing more of these musical crossovers. Artists like Conrad Tao and Yuja Wang come to mind, as they actively take on commissions and perform contemporary music. Although the challenge of finding the right balance still persists, it is encouraging to see progress in this area, even if it requires careful thought and consideration.

Which particular works/composers do you think you perform best?

During the premiere of George Perle’s Etudes in Havana, I had the opportunity to showcase four of them. It was an incredible experience to witness the curiosity of the audience, many of whom were not accustomed to contemporary music, as they expressed their feelings and reactions to the music I performed. As a musician, it’s really great to have that assurance of what you’re doing.

Here in the US, I presented the collaborative project “Tentacion” with my friends from People of Earth.  The project involved a fusion of American and Cuban music, as well as influences from Puerto Rico, incorporating various popular styles into a 12-piece band. We had the privilege of performing with Teddy Abrams and collaborating with the Louisville Symphony Orchestra and the New World Symphony Orchestra. That was really a lot of fun. And it was a piece that really brought the audience to another state of mind. It’s not the typical piece that you will encounter in a classical program. It was really well accepted.  Working alongside Teddy Abrams and the amazing drummer and composer Dafnis Prieto made the experience even more remarkable and unforgettable.

If there’s one composer I love to play, it’s Bach. I think I have a great affinity for Bach because he’s the perfect blend of logical and spiritual. It’s really compelling. It’s difficult to put into words, but his music gives the impression of a continuous improvisation that somehow harmonizes and makes sense. The music of Chopin it’s also something I’ve been playing quite a lot, when I was in the finals of the Kosciuszko Chopin competition in New York, I played this Sonata No. 3 and it was one of my favorite moments. In Cuba, then I perform his Concerto No. 2 in 2019, with my mentor Solomon Mikowsky.

When it comes to composers, I find great appreciation for Beethoven, Rachmaninoff, and contemporary music in general. At MSM, studying under my professor Anthony DeMar, I had the opportunity to explore this passion further and even performed a few piano pieces that involved spoken word.  I had the opportunity to explore compositions by Rzewski, Nico Muhly, Luciano Berio, Tania Leon, and more. Most recently I have been reading through new music by Julian de la Chica and Keyla Orozco.

What do you do off-stage that provides inspiration on stage?

I like to think of myself as a very composed person.  I actually like to play quick games of online chess before concerts. Any kind of short strategy game somehow helps me to activate my brain and to stay focused.  I also love coffee.  I just got my new coffee machine and I’m obsessed with it. When I travel and I have concerts, I like to find a really good place that has really unique good coffee. Occasionally, you might find me in a picturesque setting, immersing myself in a good book, although I don’t make it a regular practice before playing. That’s more suited for a different ambiance and state of mind.

How do you make your repertoire choices from season to season?

I really enjoy a good programming experience and a lot of my time goes into figuring out what to play and why. It’s something I’ve been doing ever since starting piano. I’ve recently begun studying conducting, and I’ve come to realize how crucial it is to discover the right pieces and the stories behind them.

The social context surrounding my concerts plays a significant role in determining the programming. I distinctly recall a recent performance in Cincinnati with violinist Rubén Rengel.  We carefully selected works that reflected the prevailing conflicts of war, particularly as tensions escalated between Russia and Ukraine. We were thinking about it from our home countries of Venezuela and Cuba and our countries also have broad histories of conflicts and exile, so it was touching to bring works from Alberga and Stravinsky.

During the creation of my forthcoming album, Exilio, we grappled with numerous philosophical considerations surrounding its programming. Many profound conversations with collaborative composer Julián De La Chica played a pivotal role in shaping the repertoire and the overall essence of the album. We delved deep into the concept of “exile,” exploring not only its physical aspects but also its mental and emotional dimensions. This theme emerged as a crucial thread throughout the album, allowing the composers to express their authentic voices and effectively communicate with the audience.

Do you have a favourite concert venue to perform in and why?

I remember enjoying playing at the Kaufman Center. The acoustics were great and the piano was fantastic. But more importantly, the audience was really warm and welcoming. In general, I like to experience different venues’ atmospheres, even if they aren’t conventional. I don’t mind playing outdoors for example. It changes my experience every time I play a different venue. It challenges me to find a new state of mind and mood in order to convey a message to the audience. It’s appealing and fun when I change from venue to venue.

What do you feel needs to be done to grow classical music’s audiences?

In my opinion, at least in New York, classical music is extremely well-preserved and alive. We tend to be extremely critical about the traditions, and how classical music should be played. Sometimes we think too analytically and traditionally.   By doing so, we occasionally overlook the essential aspect of delivering a message that resonates with audiences.

I remember seeing Conrad Tao play the Goldberg Variations with Caleb Teicher dancing. The aspect of this staging is extremely important these days, so if we can make a good career at work, I think it will be really appealing for young people.

What is your most memorable concert experience?

Well, I’ve had a lot of incredible experiences, I cannot pick one! The concerts in Cuba the Tentation project, and my graduation recital at the Manhattan School of Music all had an impact on my career and have really shaped what I am doing now. It’s hard to choose one concert since they have all shaped what I’m doing now.

As a musician, what is your definition of success?

For me, being successful is doing what you love, there’s no question about it. It takes a lot of courage to follow your passion with such conviction, but if you have an intense passion for what you do, it’s the only thing that will bring true joy. Success is being able to enjoy every second of what you do and being able to share that passion with those around you.

What advice would you give to young/aspiring musicians?

Well, one thing in the music industry we’re not talking about, classical specifically, is improvising. Improvising, not just in Jazz, is so important. The ability to extract music from the score when appropriate and infuse it with personal expression is a topic that often goes unaddressed in the classical realm. However, it is a matter that deserves to be talked about because it gives a lot of depth and meaning to the music and really helps the performances to be even more interesting and surprising.

What’s next? Where would you like to be in 10 years?

I would like to still be in New York but have more European commitments. Especially in Berlin, Paris, The Netherlands, and Spain. I’d love to travel the world. Right now I’m studying conducting, I have plans to pursue my Master’s degree as well and bring even more meaning to my work with this education.

What is your idea of perfect happiness?

My idea of happiness (at least for right now, at 24 years old) is doing what you love, having your family, and experiencing love. The most important key to happiness is to find your passion and follow it. It will fill every aspect of your life and most importantly your soul.

What is your most treasured possession?

I have many, but if I had to pick one, it’s my scores. I have quite a few scores that were a gift from my professor at the Manhattan School of Music. Some of them are limited editions and have very weird and rare edits. Also, a photograph of my uncle that he gifted my wife and me at our wedding. And of course, my piano, which has been with me for 5 years since I arrived in New York and it’s something I plan to keep forever.

What is your present state of mind?

I’m grateful. I’m grateful for finding a partner with whom I can share everything and can always trust. It’s helped me so much with my music career. I’m grateful for all of the projects I’ve been working on, and having the time to practice and evolve. I’m grateful for my family back home in Cuba and in Mexico, who aren’t with me physically in New York but are along for every step of my journey.

Ahmed Alom’s debut album Exilio was released on 2 June 2023. It draws inspiration from his Cuban roots in a beautiful selection of piano works by past Hispanic composers who each suffered their own physical and emotional forms of exile.