Tatiana Svetlova, composer

Who or what are the most significant influences on your musical life and career as a composer?

As a child, I spent a great deal of time attending ballets and operas (with some initial resistance on my part!), as my mother was a dancer and my grandfather’s brother was the opera singer Alexander Dashkov. I spent many hours in the theatre — both in rehearsals and simply wandering around, absorbing the drama of life (my mother later ran the Riga Drama Theatre).

In Riga, Latvia, we have an extraordinary tradition of choral singing. The “Song and Dance” Festival, where 40,000 performers participate, has always been very close to my heart. This tradition dates back to 1873 and is so culturally significant that it has been recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.

As a child, I always sang in a choir, and I believe it is one of the best ways to teach children the foundations of harmony.

I am, of course, greatly inspired by many composers. I love playing J.C. Bach daily and take particular pleasure in Mozart, Chopin, Schubert, Brahms, Schumann, Debussy (the list goes on!), among others. I often “get distracted” for hours playing music that fascinates me. I also love reading composers ’biographies — they are an incredible source of insight and understanding.

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

My greatest challenge is also my greatest strength. I have always run a multitude of projects — and sometimes there simply are not enough hours in the day.

What are the special challenges/pleasures of working on a commissioned piece?

It is always fascinating to work with a specific brief. I was recently asked to compose a piece entitled “Six Steps to the Tristan Chord”. This short piano work opened up a whole new world and was certainly a challenge, as there are infinite possibilities regarding where one might ultimately go musically. Evelyne Berezovsky performed it recently, and I hope to see it performed soon.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?

A composition only truly comes alive when performed live, so relationships with musicians are essential. I have been very fortunate to work with Edna Stern and Evelyne Berezovsky over the years. I always look forward to hearing their first interpretations of what I have written — it is an incredibly fruitful collaboration. I remember writing Sonnet No. 1 on the Theme of Bach’s Chaconne. I produced countless versions and kept rewriting it. Both Edna and Evelyne performed it, and I was still dissatisfied with how it came out, so I wrote a new version for each of them. At one point, Edna told me she preferred the original, without any changes. I left it for a while, and when she later performed the original version again, I realised she was right — I loved it.

Of which works are you most proud?

Nothing immediately comes to mind, which suggests that perhaps I have not yet written that work.

How would you characterise your compositional language?

I would say it is “from heart to heart”.

How do you work?

When writing for piano, I almost always begin at the piano. The exceptions are rare and usually occur during walks or while driving. I then record the sung idea on my phone immediately so as not to forget it. I greatly value the interpretations of Edna Stern and Evelyne Berezovsky. Their artistry highlights passages that may require further refinement. I appreciate hearing what resonates with them and what may not be as effective. So the final draft usually comes after I hear the recorded piece.

I am currently working on an opera, and the process is entirely different. I spent considerable time reflecting on the plot, musical texture, climactic points, and the emotional palette of each scene before putting pen to paper or hands to the piano. During a train journey from Salzburg to Vienna, I sketched the entire synopsis and structure, including fragments of arias. One and a half years later, that sketch remains largely unchanged and continues to guide the work. For this project, the music develops slowly and is built layer by layer. Sometimes the vocal line comes first, sometimes the orchestral setting, and at other times planning the dramatic expression takes precedence. I keep several sketchbooks — some lined for musical notation and others blank for conceptual ideas.

As a musician, what is your definition of success?

Success is the uncompromising pursuit of one’s artistic obsession — daily! But not only: I recently experienced a kind of epiphany in which I clearly realised what I wish to pursue artistically, and this has become the subject of the opera I am composing. Each morning, I begin with a cup of coffee and a pot of lemon, ginger, and cinnamon tea. I call this “an audience with myself” — or “a meeting for one” — with a notepad and pen (I also have a piano piece by this name!) . I redefine what truly matters on a daily basis and have kept such a journal since my teenage years. What can be perceived as “success” by others is not important.

Each person goes through a realisation of what “success” means for them. And for me, the key is to look inwards. There are some fundamental truths that no one can take away from you and concentrating on those truths (whatever they may be) matters. So doing what you want to do at any time is success (for me). Having great relationships with those you see daily is another form of success. And specifically, as a composer , one is blessed to be able to imagine the next work and then realise it, see it come to live and be performed.

What advice would you give to young or aspiring composers?

Follow your wildest artistic dreams and build a close-knit circle of supporters — write for them. What do you feel needs to be done to grow classical music’s audiences? It is crucial to engage young audiences — and by young, I mean very young: from babies to kindergarten age. Music is a language, and the earlier one is exposed to it, the more natural it feels. I have created a school programme available to schools, bringing inspiring musicians to ignite children’s imaginations. Children love it, as do schools and parents. We have seen remarkable results and plan to expand it further. The intention is for parents to help fund these initiatives. We also created a classical music show called Carnival Party! together with Edna Stern. We are currently developing the accompanying animation and plan to bring it to schools and cinemas in 2026/2027, with Edna performing Schumann’s Carnaval live on stage.

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

There is a great professional difficulty for unrepresented musicians. Mosaic Seasons recently conducted research with Oxford University exploring some of these issues. The findings supported my hypothesis that over 60% of working musicians (possibly more) do not have agents or managers, which is a significant problem. The research also demonstrated that even the largest agencies can represent only around 100+ musicians effectively — in a world where there are millions of artists. As a result, we see a kind of “silent monopoly” in major concert halls, where a relatively small group of artists appears repeatedly. This system, largely shaped in the latter part of the 20th century, is long overdue for change. We have created Mosaic Seasons as an alternative to offer artists that have a strong artistic vision and great programmes to become part of our community. We are also committed to creating programmes featuring a collective of living composers and our first concert will take place on 14th march 2026 at Bechstein Hall.

What is your idea of perfect happiness?

For me, happiness is a state of mind. It is knowing exactly what makes one satisfied and fulfilled and trying to do it every day. Perfect happiness is multi coloured – 1000 shades of happiness depending on what drives me today!

And critically, I am convinced that no person or external circumstance can truly make you happy. Ultimately, it is the person within your own mind who holds that power.

What is your most treasured possession?

My 1977 Steinway grand piano.

What do you enjoy doing most?

Long walks by the sea; spending time with loved ones; playing the piano and composing; reading and writing; attending theatre, concerts and cinemas; discovering new places; and watching my footballer son score goals!

Mosaic Season’s ‘Music of Our Time: A celebration of contemporary piano works at Bechstein Hall, London, takes place on Saturday 14 March 2026. Pianists Edna Stern, Evelyne Berezovsky, and Louis-Victor Bak will perform a range of works by living composers, including Tatiana Svetlova, who is also the Founder & Artistic Director of Mosaic Seasons.

Find out more bechsteinhall.com/events/music-of-our-time