London, 2021
My focus in past reviews has often been on the composition or the production of a project, rather than the interpretation. It has therefore been a new challenge for me to write about the American performer and pianist Haley Myles, and her latest release The Complete Nocturnes — of Chopin, of course. In the case of this album, the particularity resides in the fact that the production is somehow Myles’ own interpretation of the music, in her own words her wish was to play Chopin as he intended. Myles is a Young Steinway Artist and has performed and recorded all twenty-one nocturnes on her own Steinway, and to respect the intentions of the Polish composer, in the intimate setting of her own living room. Producing it herself, she had complete control over the sound and the atmosphere. The result is quite unique and refreshing.
Evidently, the Nocturnes have been recorded by many and represent quite a challenge for a pianist. What is evident from the start of The Complete Nocturnes is that Myles manages to bring back some of the intentions of the performers of the mid-19th century and salon concerts; through both her interpretation and her production skills. She recorded the entire project in three days, in her own living room in France, and it has entirely been produced by her.
Like much of the most recent musical projects, The Complete Nocturnes is the result of the several lockdowns of the past year. And like many, Myles undertook a challenge; in order to connect with her audience and listeners, as well as provide herself with an opportunity to perform. Her Chopin Nocturne Project consisted in recording and releasing a nocturne once a week, until the set was eventually complete. Recording Chopin’s full nocturnes set is indeed a statement in one’s career.
Chopin is responsible for the development and popularisation of the nocturnes genre. A concept initially developed by the Irish composer Field, His pieces are well-known for their melodic content — a singing right-hand and an accompanying left-hand — and particular treatment of time. Chopin’s nocturnes’ primary characteristics are the free-flowing rhythm — a wish from the composer to reproduce the bel canto of Bellini.
Points that Myles understood quite well, and which are points of focus for her performance too. Her take on the pieces is authentic and natural; there is no feeling of rushing or pushing, rather emphasising the nocturnal aspect of the music. Myles plays a lot on dynamics and expression rather than technique or virtuosity. It is quite enjoyable to rediscover this familiar music without the veil of technicality, virtuosity and at times extremes of emotions. However, Myles’ interpretation is well-articulated and her control of time, rubato and nuances allows her to distinguish herself.
The recording, the production, transports the listener back in time. It is indeed a lot less polished than what one has gotten accustomed to, and there is an edge to it. It is this edge which makes it unique and worthy. It is a very modern way to approach classical recording and, coincidentally, as authentic as it can get.
Chopin’s Nocturnes have been recorded many times. So why do it again? Well in Myles situation, it is an artistic statement – most and foremost. One of authenticity. Indeed, the musician has prioritised authenticity in her approach and in the way she has decided to shape her sound and production. This is probably one of the most interesting aspect of The Complete Nocturnes.
Myles stated that Chopin and his Nocturnes were the initial reason why she had decided to start her performer career; these pieces represent the moment she understood what falling in love meant. Her love is palpable and indeed contagious.
London, 2021
During this interview, I change seats, place myself in front of another artist and ask him the questions I wish people asked me. Today, I speak to American pianist and performer Haley Myles who has just released her take on Chopin; The Complete Nocturnes, a well-known collection of pieces, yet approached freshly.
Haley, tell us a little bit about yourself.
I am a classical pianist and Young Steinway Artist. I grew up in the United States but currently live in the countryside just outside of Lyon, France. My happy place is in my living room, playing my Steinway, with my Pomchi — pomeranian chihuahua mix! — Rachmaninov, napping at my feet.
What about your latest project; why Chopin, why the Nocturnes?
In short, Chopin is the reason why I fell in love with the instrument. I was fifteen when I started playing the piano and I am very grateful for my first teacher, who encouraged and supported me despite my late start. A turning point for me was when my teacher showed me a recording of Yundi Li playing Chopin’s first nocturne, Op. 9 No. 1. Upon listening, I told myself — “This is what it means to fall in love.” From that moment, I was fully dedicated to finding my way as a professional pianist. During the pandemic I had the opportunity to explore many works and composers. I typically play classical and early romantic repertoire but decided to branch out and delve into works by Russian composers including Prokofiev, Shostakovich, and Rachmaninov. I suppose that after pursuing this new repertoire for several months, I wanted to “return home”. I had the desire to deeply explore the music that initially inspired me to become a musician, so I made the decision to revisit Chopin’s Nocturnes.
What are the challenges when recording such a standard of the classical repertoire? How did you approach adding your own personality to the music?
I am never concerned about “being different” or adding personality to the pieces I play. I simply do my best to expose their truth. When playing pieces, it is very important for me not to listen to others’ interpretations so that I can discover the “truth” for myself. I resonate deeply with Arrau, who placed an emphasis on being faithful to the text as well as maintaining relaxation in the body, which allows a connection to the soul and musical message. Arrau also believed that if you have a unique message, it is your purpose to deliver it, not to impress others. It is not the artist’s responsibility to be likable or impressive. My aim was to play Chopin as he intended.
How did you approach the shaping of your sound; both while performing and producing?
The Complete Nocturnes is the first album that I produced myself. I am very fortunate to have a Steinway & Sons M, which was just restored last year. I work with an amazing technician, and with his help, I was able to create the “piano of my dreams”. Even though my piano is smaller than a concert grand, I am always in awe of its power and wide range of dynamics and colour. I was inspired to record this album at home as Chopin intended these pieces to be performed in a salon-like setting. By recording this album at home and producing it myself, I had complete control over the sound and was able to maintain an intimate atmosphere.
What is the biggest challenge in recording Chopin’s complete Nocturnes?
Before recording this album, I had already embarked on my Chopin Nocturne Project, which consisted of recording one nocturne each week. Because I had worked on these pieces for three months before recording, I was able to record and produce the album in three days. It is essential for me as a musician to have time to “sit” with the repertoire I play. Even if there are not technical challenges, I often find that it can take months and even years to be truly comfortable performing a work and conveying its message.
Tell us about how you place yourself — a classical pianist, in 2021 — within our times?
I feel that this is perhaps the most difficult time to be a musician. After the pandemic, there has been an avalanche of recordings, as many musicians who could not perform decided to take their programmes to the studio. There are so many dedicated and talented young musicians who have a story to tell. The high number of musicians makes exposure increasingly difficult. My goal as a musician is simple — to connect with others. I enjoy performing because I can immediately establish a connection with an audience. This album, however, allows me to reach people who otherwise would have never heard me play. I believe that Chopin’s music, which always maintains an element of hope even in its despondent moments, has the ability to heal. So much love went into the creation of this album and I hope it brings listeners a moment of peace.
So after The Completes Nocturnes what’s next?
I am absolutely delighted that I will be performing again at the end of July, after a break of eighteen months! I continue to post videos of my playing every Friday, but am expanding to include other composers, such as Mozart and Schubert. Who knows — maybe these interpretations will develop into a future album!
Thanks very much Haley. Last one for the road — one book, one album, one film —, tell us about your latest cultural pearls?
I adore the classics and a few things come to mind. Book: The Picture of Dorian Gray by Oscar Wilde. Album: Cyprien Katsaris - Live at the Schubertiade Festival. Film: Anything featuring Audrey Hepburn!
Bouncing on Haley’s words, context is often the key to understanding a piece of art, and when it comes to Chopin it is all about how he connected, intimately, with his audience. Read my review of The Complete Nocturnes.