Yixiang Hou, 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?

When I was a child, a friend of my father gifted me a record of Rachmaninoff’s Third Piano Concerto, performed by Horowitz. Prior to this, although I enjoyed piano music, it hadn’t struck me as a lifelong pursuit. It was only after hearing this record that I realized the captivating magic of the piano. Horowitz’s enchanting performance mesmerized me, and from then on, I aspired to create such music myself. Becoming a pianist and producing beautiful music became my life’s pursuit. The most significant influences in my life have been many, especially my teachers like Zhang Qi, Chen Weiling, Zhou Ting, Wha Kyung Byun, Russell Sherman, and Ran Dank. They played a crucial role in my development. Without their dedication and guidance, I wouldn’t be who I am today.

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

In my career, the greatest challenge I faced was during a 2016 concert, where I was to perform Rachmaninoff’s Third Piano Concerto, conducted by the renowned Andrew Litton. During this period, due to intense practice, I suffered a muscle strain in my shoulder. I had to undergo daily rehabilitation and massage treatments at the hospital. I feared I might have to withdraw from the concert, which was incredibly important to me, as performing this piece with an orchestra, especially under a famous conductor, had always been a dream of mine. My teacher, Wha Kyung Byun, amidst her busy schedule, dedicated time every day to teach me this piece, continuously encouraging me. Under her careful guidance and by adopting a new playing technique, I was able to perform this piece, which had influenced my life goals since my childhood.

Which performances/recordings are you most proud of?

The recording I am most proud of is my debut album “Carnival.” In this album, I selected pieces from composers of different eras, showcasing a vast variety in styles. It includes technically challenging works like Alkan’s études, atonal music like Schoenberg’s compositions, and lesser-known pieces like Gibbons’ Pavan. My aim was to present a feast of diverse musical flavors to the audience.

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

I wouldn’t say that I am best at performing works by any specific composer. Rather, I feel a deeper resonance with certain composers’ music. For instance, I adore Rachmaninoff, especially his concertos. Not only is his music beautiful, but it was also Horowitz’s performances that made me fall in love with this composer. I am currently preparing to perform his complete set of études. I also have a fondness for Scriabin, particularly his sonatas. In fact, I recorded his Ninth Sonata in my first album.

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

I find inspiration from books and the scenery I encounter during my travels. From a young age, my parents bought me a wide range of books, from novels to world classics. Each book, to me, is like a different life experience, bringing varied inspirations that act as catalysts in my musical performance. For instance, when playing Alkan’s Étude Op. 39, No. 12, I think of Aesop’s Fables, and while performing Liszt’s Dante Sonata, Dante’s Divine Comedy comes to mind. I’m also passionate about photography and take time to capture beautiful scenes from different places. In my performances, I like to connect music with these visual images, infusing my music with more imagination.

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

In different concert seasons, I sometimes consider if it’s a commemorative year for a composer. I also select different pieces based on the venue and audience. If I have a concert in a particular country, I might include works by composers from that nation. At other times, I choose pieces that I’ve recently grown fond of. I explore lesser-known works, like recently I’ve been studying ‘Bagatelles’ by the Ukrainian composer Silvestrov, which is a truly wonderful piece.

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

My favourite concert venue is Carnegie Hall in New York City. It’s a renowned music hall I’ve known about since I was young, where many of the masters I admire have left their mark. The first time I performed at Carnegie Hall, I saw a photo of Horowitz backstage, who is one of my favorite pianists. Performing there makes me feel as if I’m engaging in a transcendent conversation with these pianists I admire, bridging across time and space.

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

To further expand the audience for classical music, a comprehensive and multifaceted approach is necessary. We must promote classical music education in schools and communities to cultivate appreciation from a young age. Innovating the format of performances is also crucial; integrating modern elements like multimedia and cross-genre collaborations can make classical concerts more appealing to younger audiences. Enhancing accessibility through online streaming, social media sharing, and offering affordable ticket options will make classical music more accessible to the general public. At the same time, we should also encourage the creation of new works. Modern composers, with a better understanding of contemporary tastes, can play a crucial role in attracting a wider audience. My second album embodies this approach, featuring new compositions from various composers.

What is your most memorable concert experience?

Once, after a performance in Japan, someone wrote me a letter expressing their love for my Bach interpretation. In that moment, I realized that music not only moves me but also touches others. This, to me, is the greatest joy.

As a musician, what is your definition of success?

As a child, my dream was to become a musician whose performances would grace the world’s most renowned concert stages. I aspired to create music that would not only be heard but also have the power to heal and uplift the spirits of my audience. This dream continually fuels my motivation, driving me towards the goal of becoming a successful musician defined by my ability to play music that touches hearts and evokes deep emotions. To me, this is the true measure of success as a musician.

What’s the one thing in the music industry we’re not talking about which you think we should be?

I believe we should be discussing more about leveraging modern technology to innovate and preserve this traditional art form. With technological advancements, there are numerous new ways to disseminate and perform classical music, such as offering immersive listening experiences through virtual and augmented reality, or using digital methods to preserve and restore ancient musical compositions. These technologies not only attract new audiences but also help us better understand and retain the historical and cultural value of music. Thus, the integration of classical music with modern technology poses a challenge to tradition but also presents an opportunity for innovation.

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

In the next ten years, I aspire to record a complete set of Beethoven’s Sonatas and some of my favourite works, such as Bach’s Goldberg Variations, and also to go on tour with these pieces. At the same time, I hope to touch people’s hearts with my performances, much like Mr. Russell Sherman does. As a teacher currently, I also wish to nurture and develop more outstanding students, contributing to the next generation of classical music talent.

What is your idea of perfect happiness?

As a pianist, my idea of perfect happiness is feeling the power and beauty of each note while sitting at the piano. It lies not just in the mastery of technique and a profound understanding of the compositions, but also in establishing an unspoken connection with the audience through music. Perfect happiness for me is when I am immersed in music, resonating with my piano keys and the audience, experiencing that harmony and resonance. Additionally, the ability to continually learn, grow, and share the magic of music with my students forms an essential part of my happiness.

What is your present state of mind?

Currently, my state of mind is one of focus and tranquility. Engaged in daily piano practice and teaching, I feel a continual growth on my musical journey. Being accompanied by music every day brings me a sense of fulfillment and contentment. Despite facing challenges and pressures, my love for music keeps me positive and focused.