Who or what inspired you to take up piano and pursue a career in music?
Growing up, I was an avid collector of records (even cassettes, as they existed then!). I remember the first time listening to the Rachmaninoff concerti, and falling in love with the monumental scale of the music. I was also extremely fortunate to have an inspirational mentor during my early study – Emily Jeffrey, who made it possible for me to have a career.
Who or what were the most important influences on your musical life and career?
First, my teachers have been hugely important: Emily Jeffrey, as I already mentioned, and then Ronan O’Hora. I feel very lucky that both teachers allowed me to develop my own ideas. Masterclasses and performances with some wonderful masters have also been influential – in particular Richard Goode, Stephen Kovacevich, and Diego Masson. My family have also been incredibly supportive.
What have been the greatest challenges of your career so far?
I think it is the things that affects most musicians – having to learn a great deal of repertoire at short notice, keeping your artistic integrity at the forefront, and finding time to deal with the business side of the career. On a side note, learning statistics for my doctorate (examining musical memorisation) was perhaps the most unusual challenge!
Which performance/recordings are you most proud of?
I hope that all of my performances have some kind of meaning or importance. There are a few that stand out. Performing recitals on consecutive days (with different programmes!) at the Barbican and Royal Festival Hall was an exhilarating – and exhausting – experience. At the end of my postgraduate study I also performed Messiaen’s vast tone poem Des Canyons aux Etoiles with the Guildhall Sinfonia in Milton Court – an absolute privilege!
My debut album will be available soon, featuring the solo works of Boulez, Dutilleux and Messiaen. It’s an exciting project supported by the City Music Foundation.
Which particular works do you think you perform best?
I have an affinity for French 20th-century repertoire: Boulez Notations, Messiaen Des Canyons aux Etoiles, Dutilleux Sonata. Beethoven Sonatas are also the works I return to the most. Variety is important!
How do you make your repertoire choices from season to season?
There’s so much to choose! I generally try to pick one big work and try to build something interesting around it, often combining with some contemporary repertoire. Next up is Beethoven Op. 110.
Do you have a favourite concert venue to perform in and why?
I’m very fond of Milton Court – as it feels sort of like a second home from my study at Guildhall. The Bridgewater Hall and Wigmore Hall also.
Who are your favourite musicians?
Richard Goode, Pierre-Laurent Aimard, Oliver Knussen, Paul Simon
What is your most memorable concert experience?
Performing Stravinsky’s Les Noces in a huge barn in France with some wonderful colleagues stands out. It was so cold that everyone had to wear thick coats, and there was grain and machinery everywhere. Despite this, it was a great concert!
From a listener’s perspective, Pierre-Laurent Aimard’s performance of Messiaen’s Vingt Regards at Milton Court in 2016 was indescribable.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Be comfortable in your own skin, and keep learning!
What is your most treasured possession?
Friends and family.
Praised as a pianist of “huge intensity” (The Telegraph), Alexander Soares is developing a reputation as an artist of formidable technique and virtuosity, with performances of “diamond clarity and authority” (BBC Radio 3 ‘In Tune’). In 2015, his performance in the BBCSO / BBC Radio 3 ‘Boulez at 90’ celebrations received widespread critical acclaim in the press, described as a “brilliantly unbuttoned account” (The Sunday Times) and “most memorable of all” (The Financial Times). The 2014-15 season began with a BBC Radio 3 broadcast of the rarely heard piano repertoire of John Tavener, and included Alexander’s debuts at the Queen Elizabeth Hall and the Edinburgh Festival Fringe, the latter performance applauded for its “explosive sound world, pulling out a rich array of colour and texture” (The Herald). He was awarded 1st prize and Gold Medal in the prestigious Royal Overseas League Competition, and was subsequently selected as a 2015 Artist by City Music Foundation. 2016-17 highlights include returns to Wigmore Hall, St-Martin-in-the-fields, St. James’s Piccadilly, and Alexander’s debut in the USA.
Contemporary French repertoire forms a major part of Alexander’s programming. Since a U.K. première of Tristan Murail’s work in the BBCSO Total Immersion series, he has performed this repertoire in his debut recitals in the Royal Festival Hall, the Purcell Room, and the Bridgewater Hall. In 2014, he collaborated with Diego Masson performing Messiaen’s Des Canyons aux Étoiles in Milton Court Concert Hall. The following year, he performed Boulez’s Dérive with David Corkhill in LSO St. Luke’s. He worked with the renowned recording producer Andrew Keener to record his debut album of solo works by Boulez, Dutilleux and Messiaen.
A keen chamber musician, Alexander has performed on numerous occasions in the Barbican, working with notable artists such as Boris Brovtsyn and Alexander Baillie. Collaborating with violinist Mihaela Martin, he debuted in Spain at the Palacio de Festivales, Sala Argenta. He has also toured France, in venues including Auditorium St. Germain and Opéra Rouen, performing Stravinsky’s Les Noces on Pleyel’s original double grand pianos, manufactured in the late nineteenth century. Alexander has greatly benefitted from the guidance of pianists including Richard Goode, Stephen Kovacevich, Stephen Hough, and Steven Osborne.
Alexander graduated with first class honours from Clare College, University of Cambridge. He then pursued postgraduate studies with Ronan O’Hora at the Guildhall School of Music & Drama, achieving a Master’s with Distinction. In 2015 he completed a doctorate investigating memorisation strategies for contemporary piano repertoire, under the supervision of Professor Daniel Leech-Wilkinson. He is most grateful for generous support from the Guildhall School Trust, Help Musicians UK, Countess of Munster Trust, Martin Musical Scholarship Foundation, Park Lane Group and Making Music.