I gather that you have recently got married - congratulations! Did you have a wonderful day?
CW: Yes, it was absolutely lovely, thank you! We had a really happy time. The music was a particular highlight: during the service in Salisbury Cathedral we had a choir (made up of friends) with organ, and music by Finzi, Bruckner, and Messiaen. And at the party in the evening we had a live ten-piece swing band! Music was always our main priority...
You have chosen to play pieces by Mozart, Chopin, Grieg and Schumann at the Flavel. Tell me about your choices - are there any particular reasons for performing them at the Flavel?
CW: I discovered the Grieg pieces last winter - I found a book on my shelf of music, which I'd never opened, played through them and fell in love with them. They are so charming, fresh and witty; I don't know why they're not played more often. And I've just recorded the Schumann so it's nice to perform them after such concentrated work and preparation.
You have performed all over the world. Did any particular venue surprise you or stand out? Do you have any behind-the scenes stories?
CW: Well, I always love performing in the south of France, because the scenery is so beautiful and inspiring. Performing with the ECO in Mexico City's Palacio des Belles Artes was also fantastic - the stage 'curtain' was made by Tiffany's from nearly a million pieces of coloured glass. My recital in Beijing Concert Hall was quite an experience, partly because it was my first trip to China and I had food poisoning! Miraculously, my body knew when I had to perform and stopped being sick just for that one evening. And when I played in Kenya once, the piano had suffered from the heat and a crucial note had stuck. I had to transpose one of the movements to avoid the note!
You give recitals, perform with large orchestras, chamber orchestras and quartets. Do you have a preference for a particular type of performance?
CW: I couldn't choose - they all give me something different. Recitals are the most intense experiences for me, since I'm on my own and so deeply immersed in my own interpretation. But chamber music and concerto work are exciting and refreshing because they are collaborative - there's a certain sense that anything could happen on the night.
I see that you are interested in religions and faith. How is that integrated with your music?
CW: Generally, I feel that the search for the sublime, and for understanding of life, is central to both religions and music. But this year I've also been working on a project which has specifically brought together my interests in music and theology. 'Between Heaven and the Clouds: Messiaen 2015' is an exploration of Messiaen's piano masterpiece 'Vingt Regards sur l'Enfant-Jesus', in particular how the music originates in his strong Catholic faith. I've commissioned art and poetry responding to the theological ideas within the music and discussed Messiaen with some people who share his faith and others who don't. It's been fascinating.
You are interested in the Late Classical and Early Romantic periods of music - what is their particular appeal?
CW: Often in music of this period, there is a sense that the composer is still bound by Classical ideas of form, structure and style, but there is something more Romantic and uncontrollable bubbling beneath the surface. For me, this 'frontier', or meeting point, is wonderful to explore.
Cordelia is performing on Saturday 26th September.
For more information and to book tickets click here: http://theflavel.org.uk/TheFlavel.dll/WhatsOn?Programme=2333970
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