This past Friday, Wesleyan had the honor of hosting world-class, Moscow-Conservatory-trained Ukrainian pianist Vadym Kholodenko for a performance in Crowell Concert Hall. Already highly accomplished at the age of 27, Kholodenko is in the midst of a United States tour following his first-place finish in the Van Cliburn Piano Competition this past November. A variety of students and residents from the surrounding area filled every seat in Crowell. To introduce the concert, Artist-in-Residence and University Organist Ronald Ebrecht spoke about the history of music at Wesleyan. Kholodenko then took the stage, beginning his concert with Nikolai Medtner’s “Forgotten Melodies, Op. 38.” This eclectic collection of short pieces drew on many of the structures common to the modern era, but mixed them with progressive explorations and syncopation that bordered on ragtime. Kholodenko slowed down with his next selection, Johannes Brahms’ “Four Ballades, Op. 10,” featuring an intensely beautiful traveling melody over powerful octaves in the left hand. After a brief intermission, Kholodenko returned to the piano to finish his performance with a collection of short, rocking Chopin Mazurkas (“Op. 63 No. 1 in B major,” “Op. 30 No. 2 in B minor,” “Four Mazurkas Op. 41,” and “Three Mazurkas Op. 50”) and finally “Scherzo No. 4 Op. 54 in E Major.”

On Thursday, the day before his performance, Kholodenko hosted a master class in Crowell. In this class, several pianists performed their pieces in a workshop for Kholodenko, who critiqued each player individually. Senior Mary Barrett ’14 played Brahms’ “Intermezzo, Op. 76, in B Flat Major.” I participated as well, playing Brahms’ “Rhapsody in G minor.” A younger local pianist also joined the group.

Prior to the master class, I had the opportunity to interview Kholodenko over the phone about his pianistic preferences, his other interests, and his recent ascent to stardom.

The Argus: How did you get into piano, and for how long have you been playing?

Vadym Kholodenko: I started at age six because my mom, she brought me to visit a special musical school in Kiev. And then I entered the Moscow Conservatory at age 18 and graduated in May 2013. At the Moscow Conservatory, I studied with the same teacher, Viera Gormostawa, for eight years.

A: Performance is a huge part of your life. How do you prepare for a concert?

VK: I feel that it is very special to be prepared. The day of the performance, I try to rest more and be very fresh. You know, just, good food is very important. Salad because I don’t want to be too full.

A: Do you feel nervous?

VK: Of course, every time. It’s like an additional round of competition. Now it’s my duty to play every time on a certain level. Of course the audience has high expectations and of course I have to fulfill them.

A: What do you like most about performing?

VK: You know, I like to be on stage really. It’s really interesting. It was what I’m afraid most of and what I love most. I would like to be on stage and probably at a certain point to teach. I [already] help my teacher with students.

A: Is this your first master class?

VK: No, actually I have done 10 or 15. Sometimes when I play in Europe or Russia, the organizers ask me to do this. I love to inspire students, it’s really a miracle for me.

A: What is your favorite era/composer to play?

VK: It’s really hard to me, I honestly like from very ancient times to rock and electronic. I feel more comfortable with Russian music, but I don’t know, one of my favorites is the Goldberg Variations by Bach. It’s really hard to say who is [my] favorite composer.

A: You recently took first prize at the Van Cliburn international piano competition. What was that experience like? What was the process?

VK: It’s like being onstage. It’s the most amazing experience because I got a prize. On the other hand, it’s not a pleasant experience. Everything was organized perfectly, but as a competition it’s not very pleasant. Each round I slept badly, there’s a lot of pressure. But, again, I got this prize, and of course I’m very proud to be one of the Van Cliburn winners.

We first applied online, there were close to 200 applications. Then they chose 154 live auditions around the world, and then they chose 30 competitors for the final rounds in Texas. It stands on the same level as the Tchaikovsky competition in Moscow.

A: I also understand you have played some chamber music. Do you prefer playing solo, with a chamber, or with an orchestra?

VK: I’d love to play, but now most of my concerts are recitals. I really miss chamber music, which I played before a lot. In my opinion, the best works are written for chamber music. Like Mozart and Beethoven. Mozart’s string quintet in G minor is my favorite music of all time. It’s already like Schubert or Schumann, it’s really [a] forecasting of future music.

A: When you aren’t playing or listening to classical music, to what are you listening?

VK: Right now, I’m very into old electronic music like [Gentle Giant] and Silver Apples. They are really cool. I love all rock music like Radiohead. [The King of Limbs] was a revelation for me. Just a few months ago I discovered it.

A: What do you like to do other than playing piano?

VK: I like to read books. You know, usually something practical, books about economy or history or philosophy, just to proceed self-education. Very rarely it’s fiction.

A: What do you find more difficult: learning the notes of a piece or perfecting your approach?

VK: Probably most difficult is that I don’t have enough time to open a true meaning. At first approach we can examine maybe five percent of what’s really in there. Just an example, last year I did an interesting project, I played all Beethoven Sonatas. I was like, I want to play this in 10 years, but I feel I can’t open more than 15 percent. My only goal is to bring to the audience what I feel is the truth in what I’m playing. Playing music consumes almost all your time.

A: How did you end up at Wesleyan for this performance?

VK: You know it was on my list of concerts. Honestly I don’t know what to expect. It doesn’t matter where I play, I prepare the same way, big school or small school.

A: How long do you want to continue as a professional pianist?

VK: As long as my health allows me to. I really hope for it to be a long [time].