Artist of the Month - Milena Simović

• What first drew you to the viola, and how did your journey with the instrument begin?

I have always been an avid chamber musician and very quickly discovered I was drawn to the inner voices the most, to what makes the melody sing and how harmony structure supports it. It almost always falls down to the viola, but bringing out its own beautiful character in a group or on its own is what made this instrument a star in my early days as a chamber musician.

• Were there any particular moments or mentors that shaped your path as a violist?

I am a big fan of the old school, watching videos of pioneers of modern violin school in Russia and America is what I grew up with and what has essentially come to shape me as a musician. When i started playing the viola I learnt mostly by watching great cellists, especially with regard to forming a denser, more corpulent sound and consistent vibrato. I found the videos of David Oistrakh, Jacqueline du Pré most inspiring, for technique and musical approach, as well as Pinchas Zucherman’s performances and masterclasses.

• Is there a piece or composer that made you fall in love with music?

Anything Prokofiev, Beethoven, Brahms, Ravel or Schubert always transports me to a whole different dimension. I adore Britten! As a violist I came to enjoy music by York Bowen a lot, so untypically English and beautifully poetic.

• What does your typical practice routine look like, and how has it changed over time?

When I have time on my hands (not as often as I’d like) I prefer to start the day early with Galamian scales, continue with some Bach and onto the repertoire. This isn’t always the case so I take passages and double stops from pieces that I’ll perform soon as a starting point for a quick warm up.

I used to take ages to go through a piece, read it very slowly and dwell on it for, what seemed, forever. But living in London, where its own pace dictates how quickly, or rather, slowly, one lives, taught me to be quick on my feet (and fingers!). I came to learn that cultural differences do matter in the way we shape our day as well, mine is much more organised now and I find it repeatedly lacking in hours.

• How do you prepare mentally and physically for a big performance?

Having taken many years reading about and researching psychology of performing, I found that the most effective way to enjoy oneself on the stage is to mentally prepare for it days in advance. Envisaging every little detail, but also perfectly planning the day of the performance is, in my view, a key to a successful evening. We often overlook how much mental space this takes, we forget to allow ourselves to simply have fun and look at ourselves from the outside, audience’s perspective. Our audience is there to enjoy themselves, and simply accepting this two-way exchange is what relaxes the whole load. And don’t forget to breathe.

• Could you tell us about a recent or upcoming project you're especially excited about?

I’m extremely exited about joining the P.Y.F.Academy! It will be memorable!

• What have been some of your most memorable performances so far—and why?

All of my concerts hold a special place in my heart or mind. Some for not turning out the way I wanted them to, others for hitting that special place from which we tend to draw inspiration for future projects. I played quite a few concerts with Antonio Meneses which I’ll never forget. We spoke a lot about performance and technique, he was an incredibly humble and inspiring person, I’m grateful I had a chance to play with him.

• If you could go back and give advice to your 18-year-old self, what would you say?

Believe in yourself more. Most of the self-doubt is crippling, some of it serves the purpose of improving, but mostly it’s only self-damaging. Failure is an opportunity for a personal betterment.

• What do you think young musicians should focus on more in today’s musical world?

Cross-connection between genres and disciplines is the future of performance. The world’s stage is a very cramped space, we need to think quick on our feet.

• A composer you’d have dinner with?

Britten or Ravel.

• Dream collaboration (alive or dead)?

A match with Novak Djokovic. Not sure how I could contribute, but I’d think of a way!

• One piece you never get tired of playing?

Schubert string quintet.

• If not music—what would you be doing?

Neurosurgeon. Weird, I know.