Teodor Doré, pianist & composer

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?

Reflecting on the formative influences that shaped my artistic journey, I find myself drawn back to the profound impact of my grandfather, Vitaly Zaykoff. Although he was not a musician himself, his mastery as a sculptor and painter imbued him with an artistic spirit that transcended any single medium. He was a true artist in the broadest sense of the word. Some of my most cherished childhood memories involve assisting my grandfather in his studio, meticulously mixing clay and plaster for his sculptural creations. It was during these moments that he would impart his wisdom, engaging me in thought-provoking discussions about art, with a particular emphasis on the enduring legacy of Antiquity. While I was born into a family steeped in musical tradition – my mother a talented pianist and my grandmother a revered choir conductor and vocal teacher – it was my grandfather who ignited the initial spark of creativity within me. His influence, though not directly tied to music, instilled in me a deep appreciation for the artistic process and the power of creative expression. Through his guidance and our shared exploration of the visual arts, my grandfather imparted invaluable lessons that have resonated throughout my artistic endeavors. His unwavering passion and dedication to his craft served as a constant source of inspiration, shaping my own creative journey in profound and lasting ways.

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

Continuing my music career in London was the biggest challenge I faced, and I achieved this in March last year. Obtaining a Global Talent Visa, which took a year, is a significant challenge. It represents your chance and your right to be in the most important city for art in the world. The daily struggle to assert your artistic independence is a constant effort, with each day being a small step forward. The vast amount of information to be processed and the high professional standards to be maintained in London set a very high bar. However, it is precisely these challenges that drive true artistic development and progress. Real art thrives on strong challenges.

Which performances/recordings are you most proud of?

One recording that stands out as a particularly proud and meaningful achievement is my interpretation of Rachmaninoff’s works, titled ‘Rachmaninoff Variations” which will be released later this year. We had the incredible opportunity to record this album in October 2023 at the legendary Studio 2 of Abbey Road Studios. Just being in that hallowed space was an experience like no other. You can’t help but feel a profound connection to the countless musical giants who have walked those halls before you, leaving an indelible mark on the studio’s rich history. At the same time, there’s an awareness that you’re contributing to a legacy that will continue to inspire artists for generations to come. What made the experience truly special was the way music transcended all boundaries within those walls. In that sacred space, we were united not just with our fellow musicians, but with composers and listeners across all eras and cultures. Music became the great equalizer, a universal language that brought us together in a shared experience that defied the limitations of time and individual differences. It was inspiring and deeply moving experience to be part of that creative process, to feel the weight of musical history surrounding us while simultaneously being part of its ever-evolving tapestry. That’s the true power of music – its ability to unite us all, regardless of our backgrounds or personal journeys, in a celebration of the human spirit.”

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

If I had to single out one composer, whose works resonate most profoundly with me, it would undoubtedly be Sergei Rachmaninoff. This legendary Russian master is not only my personal favorite but also someone whose music I believe I understand and feel on a deep, almost spiritual level. Perhaps it is because, in many ways, Rachmaninoff’s own story as an émigré mirrors my own experience and journey. Within the depths of his compositions, I find echoes of the pain, the longing, and the all-encompassing love that I, too, have grappled with over the years as I’ve navigated my way through different cultures and homelands.

It was this profound connection that inspired me to explore how a contemporary composer might bring new insights and perspectives to Rachmaninoff’s already rich and timeless body of work. In my ‘Rachmaninoff Variations’ album, I aimed to create transcriptions of several of his iconic preludes and romances, reimagining them through the lens of various modern compositional techniques and harmonies drawn from diverse folk traditions.

Imagine these beloved works taking on new dimensions, with the addition of violin, cello, piano, and the haunting vocals of both academic and traditional Sufi singers. It is a true fusion of the old and the new, a dialogue between Rachmaninoff’s genius and the voices of our modern era.

At the heart of this conceptual album is a narrative thread woven from Rachmaninoff’s own diary entries, laying bare his anguish over the loss of his homeland, intertwined with the poignant words of contemporary emigrants who have faced similar struggles. It is a powerful exploration of the universal human experience of displacement and the resilience of the artistic spirit in the face of such adversity.

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

When I have free time in London, I enjoy walking in Battersea Park, which is just opposite my house, and where I find solace. On Tuesdays, if I’m in town, you can find me playing chess at one of the clubs on St James’s. My father is an international chess master, and he started teaching me the game when I was just four years old. If it weren’t for my mother’s insistence that I focus solely on music, I might have ended up following in my father’s footsteps, becoming a chess player or a surgeon, as he is.

Since childhood, I’ve been an avid reader, always surrounded by a vast library of classic literature that I’ve read cover to cover. Recently, I’ve developed a keen interest in authors from Latin America. After spending four years living in Barcelona and studying in Spanish at the Conservatorio del Liceu, I’ve discovered a vast world of literature in Spanish. I have a recital in Medellín in July, and I’m already excited to visit the places of my favorite writers in Colombia. Reading in the original language gives me special pleasure, so now my London library consists of books in English, Spanish, Italian, Russian, and Ukrainian.

I also love traveling immensely which is just as well as I have played over 150 concerts on five continents, which brings me immense joy and inspiration for my music. My latest album “Portraits of Cities,” launched in May at Ladbroke Hall, was born from my travels to Istanbul, Beirut, Barcelona, Mumbai, Helsinki, Bangkok, New York and Moscow – in each city I sought out musicians playing traditional instruments who could express the spirit of the city and reveal the cultural code of the place through their playing. When selecting musicians, I prioritized their professionalism and passion for music over their fame or popularity. The essence of this project was not only to showcase musical diversity and the unifying power of music but also to demonstrate equality among all participants. Therefore, all the musicians involved in the studio recordings worldwide – more than 30 in total – were chosen purely for their talent, without regard to any other factors. Unfortunately, today’s musicians often face the constraints of marketing and metrics, where participation in projects is driven more by pragmatism than by talent. As the project’s producer, it was crucial for me to break free from this commercialized system and prove that any talented musician could participate, even if they live in a small village of 50 people, don’t speak English, and are not featured in magazines or newspapers. Ultimately, it is the music that matters, and our commitment is to the art, not to statistics.

During a work trip to Beirut in 2022, where we were recording music for a film with local musicians, I was so inspired by the city’s spirit on the first day that I composed “Lebanese Waltz” in just two hours. I wanted to portray how I was drawn to and felt a connection to the East, which comes from my Crimean roots and my fascination with Crimean Tatar culture; I tried to touch the Lebanese life hidden from the eyes of outsiders, to understand and reflect on it. A couple of days later, we recorded it in the studio, even though our original goal was to record only the film score, so my inspiration led me to exceed our plans. Traveling gives me a tremendous creative impulse, and getting to know local people and their cultures deeply inspires me.

Another track, “Night in Bombay,” emerged from my extensive travels across various Indian cities. However, it was the Mumbai that captivated and inspired me the most. This vast, sleepless city is unlike any other metropolis. The sea breeze on my face, the rickshaws cruising the night streets, and the people – absolutely wonderful people who find beauty in small things like a colourful sari, a child’s smile, or a simple bowl of rice – left a profound impact on me. Their ability to appreciate the small joys in life, even amidst hardships, made me reflect on how Westerners often overlook such beauty. After this trip, I have become a different person, now able to see a unique beauty in myself and in others. The rack itself features the sitar, tabla and Indian harmonium, evokes the cities ineffable and mystical aura, interwoven with the sounds of nocturnal jungle insects and distant power plant beeps.

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

At concerts, I perform both classical pieces and my own compositions. So this often leads me to write the repertoire myself. It frequently happens that I release a new album every season, and everything aligns perfectly. Currently, I am working on a cycle of piano etudes titled “Mediterranean Etudes.”

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

Barcelona’s Real Academia de Bellas Artes de Sant Jordi holds a special place in my heart for its exquisite chamber concert hall. It’s not just a venue; it’s a treasure trove of artistic history, with luminaries like Dalí, Picasso, Miró, and Muntaner once honing their craft within its walls. Last year, I had the privilege of performing at the Theatre of Digital Arts Toda in Dubai. The immersive experience, with video screens enveloping the space, left me in awe. This seamless blend of multimedia and music not only heightened the audience’s perception but also hinted at the future direction of the concert industry.

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

It’s my conviction that we must dispel the misconception that contemporary composers solely produce music that’s inaccessible. We need to showcase that the rich legacy of the Romantic era persists and its traditions remain vibrant, untouched by avant-garde or dodecaphony movements. Demonstrating the relevance and allure of attending concerts featuring works by living composers is a pivotal aspect of my mission.

What is your most memorable concert experience?

In 2017 I participated in a concert in my native Crimea, held at Cape Choban-Kule. Procuring a piano from a nearby seaside village, we positioned it atop a slope. The Black Sea served as our primary backdrop, with an audience of 500 individuals joining us from various cities across Crimea. Notably, the cape lies just 100 kilometers from the birthplace of the renowned marine painter Ivan Aivazovsky. It was truly unforgettable, performing music amidst the symphony of the sea’s melodies while witnessing the mesmerizing sunset. This fusion of music and nature is an experience unmatched by any conventional concert hall. It ignites a profound desire to continue creating music, inspired by the harmony of the natural world.

As a musician, what is your definition of success?

Finding contentment in your own accomplishments, regardless of external opinions, and staying true to your creative vision. Striving to exceed your own expectations year after year, with each new album or piece of work. And being able to sustain yourself financially through your art.

What advice would you give to young/aspiring musicians?

Music is an art form whose fruits often take considerable time to ripen. Persevere, for as Winston Churchill famously said, “Never give up.”

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

In my perspective, it’s crucial to move beyond those 70 to 80 well-known works of deceased composers and explore new music. This should be our primary focus – to uncover fresh compositions that offer novel paths and meanings for listeners. Currently, it feels like people are stuck in a cycle of listening to the same music. However, noone is doing the same in other artforms, nobody will be watching the same films or reading the same books every month. Even in pop music, there’s a constant flux with performers and composers releasing new albums. Similar dynamism is essential for classical music; it’s vital for its vitality. If I desire some history, I can visit a museum, but I don’t want the concert hall to become stagnant.

Teodor Doré will be performing in Barcelona on 20 July. Lerici Festival will premiere his Suite Romana on 30 July.