Future Classic Women Awards – Nour Ayadi

Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. So, happy New Year. This is the first show of the 2020 and our guest is very special. The amazing Moroccan pianist, Noor Ayedi. The. Hi. Hello. Hello. How are you? I'm fine, thank you. I'm really happy to be here. Thank you for inviting me. Well, it's a pleasure to start the year with such a fantastic young talent. Noura is just 20 years old and she won the Courtau Prize last year at Col Normale in Paris and the Princess Lila Meyerm International Piano Competition. So you are now in London. You were studying in Paris at the Colle Normale. And when did you come to London? Well, I arrived in end of September. Actually, I'm here because I'm doing an exchange program, not in music, but in politics, because in parallel of my music studies, I study in Sciences Po in Paris. So I'm here for a couple of months and I'm having private piano lessons at the same tone here. May I ask you with. Yes, well, with Norman Fisher. Fantastic English talent. Yeah. Yes. And sometimes with Stephen Kovacevic. Fantastic. Okay, so how I know you were also invited to study at Royal Academy of Music? Why is it so important for a young pianist who is so successful in France, in Maroque as well, to come to London? Well, for me it was a way to enhance my knowledge and meet again new people, new atmospheres, new way of looking at classical music. London is a center of this, and I thought it was the great opportunity for me to come here and just learn as much as I could. Absolutely. So what's the biggest difference that you might say to us that you found between the French way of learning and the English way of learning? If there is any, of course. Well, it would be hard to say that there is a difference. Today we don't really speak about Russian school or French school. Everything is being combined and mixed. So it was not really a different way of teaching, but I think just every teacher has its own special way of transmitting the message and the knowledge. So I wouldn't say it's really different. Okay. And what do you think about the concert halls here in the uk, the amount of concerts? I think I was overwhelmed when I came first to the uk. It's amazing. I love it. I mean, I've been to the Royal Festival hall, to the Barbican center to see some recitals, and the amount of concerts Here are just so incredible. And that's amazing for us young pianists, young musicians to discover every day. We can just go to a concert any night, actually. And the prices are really good for students. So it's an aspect that I love about London. So what about yourself then? I know you came here to study political science, but at the same time you've been performing a lot. What have you been doing recently? Well, I have been having a lot of concerts because thanks to the quarter price. So I've been traveling a lot to France because I had many recitals there. I had a concert too in Vienna and masterclass there. So yeah, I've been traveling a lot. So maybe not spending too much time here. That's why I'm happy now to like finally stay and visit a bit. This is actually something very important just came out. And that's your new cd. Yes. Your debut album. Yes, my first solo cd, in fact. Yeah. So that's. Is that live from the Kurto Prize or you record it afterwards? I recorded it afterwards. This is the program that. With what you won at the Koto Prizes, almost all of. Except of Clara Schumann. And I played some Debussy for the quarter prize that I didn't record for the cd. Okay, so why did you decide to record Clara Schumann? You know, she's the godmother of this program. In a way. Clara is. The soundtrack of the program is one of her romances. And she's the one who inspired me to start this program and talk about women in classical music. So why Clara Schumann in your debut album? Well, first of all, I wanted to. To put her in parallel of Robert Schumann's work. And I found it really interesting. Second, I chose those variations to show another aspect of how to compose variations. Because Robert Schumann's are also kind of variations. He called them like that before calling them etudes. So actually, let's explain. In your album, you have the Symphonic Echidn by Schumann by Robert Schumann. And then the Variation by Clara Schumann on theme by Robert by her husband. And Etudes, they're actually. That means the symphonic studies. They're actually a set of variation on the first theme as well. So it's the two variations in parallel. Yes. And I also wanted to show that even if she. Because the theme she took was a theme from Robert Schumann's Bunte Bletter. I wanted to show that she was not just a wife, someone who take care of children and the family. She was even more than a pianist because she was performing. Concert pianist. Yeah, yeah, she's a composer and those variations are full of emotion and love and harmonically speaking, it's really rich. And I wanted to show that she has a place in that composition world. Absolutely. Well, let's start then listening to Noora Yedi performing Schumann Symphonic Etude Apostle. We will start with the first three. Sa. Sa. Sa. Sam. Foreign. Welcome to Women's Radio Station. Hello and welcome to future Classic Women awards with me, Stefania Passamonte on Women's Radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at Women's Radio station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Nicole Goodman. And I'm Lauren Mishkon and this is the Self Care Club podcast. 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You're listening to women's radio stations supporting women's well being. Women's radio stations creating a global network for the empowerment of women. And we want you to be involved. Join us on Instagram and Twitter womensradio station, that's Womens Radio STN or Facebook Women's radio station to keep up to date with all our exciting programs. Welcome back to future Classic Men awards on women's radio station. The program where we search for the most amazing new female artist on the classical panorama. Our guest today is wonderful pianist Noor Ayedi from Morocco. Noor, tell me, how did you decide to become a classical musician? Well, I think it kind of became naturally when I turned 14 or 15, I started going to master classes all around the world, Austria, France, Sweden. And I just felt it. I felt that I had something to say and that was the world where I could say something to people and speak to them to the deepest. Absolutely, yeah. That's a very good reason to do the job that we do, isn't it? Exactly. But you are from Morocco and classical music is not something that is part of the culture, if I may say that. So how did that become part of your life? Well, thanks to my parents, I could start working with an amazing professor, French teacher there, which is actually one of the best in Morocco. I've lived in Casablanca, so she has a great school there, which is actually the annex of the Ecole Normal there. She has been so good to me and we worked really hard, even though I was really young. So I just felt that it was the right thing to do. And she was pushing me always harder and harder and it became part of my culture. Even though in Morocco, of course, is not as spread as in Europe because classical music is not part of the roots, but it's still becoming better and there are new orchestras, much more concerts about classical music. Fantastic. Well, I have a friend of mine is actually someone who works with me who is from Morocco as well. And he studied not in Casablanca, but in another big conservatoire in Morocco. And he was telling me how it's actually, you know, getting more and more relevance in Morocco as well. I think most probably is the fact that music doesn't have cultural boundaries, but actually particularly classical music is something that can speak to different culture and different languages. As well. Exactly. That's what I could see. Even in Morocco, this is the kind of music that speaks to everyone. We don't need to be French or German to understand the music. It's something that is universal, the language that everyone can feel and understand. Is there any similarity, if you like, between the romantic language, for example, or the classical language, I don't know, and Moroccan music? Well, good question. I've been thinking a bit about it. Well, the classical world and Moroccan music may have some things in common. Maybe not the harmonies, because it's really different, but I may say it's more between maybe Spanish music, Moroccan music, for example, the Alban. It's the BC or. Yes, exactly. When I play that, for example, for my father, he really, like, finds some things to it and he just like, remember how it looks like the Moroccan music, you know? Yeah. When I was studying Albanit, Iberia, the sweet Iberia that is for. For the audience that doesn't know, is a composer from the beginning of the century, tune of the century, of the 20th century, who was using Spanish and particularly Arabs harmonies to put into the, you know, Spain is such a mix of culture, and so you had the richness and the beautiful colors of Spain put into the music. And they were telling me, well, you know, you are Italian, so you perfectly translate the passion that is behind the music. And then I went to study in Spain and actually I realized that I had wrong translation of it in a way. Do you have. Because you're Moroccan, do you feel a more affinity with the Spanish music, for example, or Ravel, you know, who was composing Alborada del Gracioso, you know, pieces that are rich in Arabian harmonies, if you like, compared to, I don't know, Bach or Beethoven or. This is like a pre. Concept that has nothing to do with the fact that you're a fantastic pianist and you can play whatever you want. Sincerely. Yeah. Like. Yeah. To be honest, the Spanish music, for example, I really. I understand, I feel close to it. This doesn't mean I can play it amazingly. No. I still have to study it, of course. That goes without saying. Also super difficult. Exactly. I can say that from experience. Experience, yeah. And when it comes to Beethoven, I don't think it's because I'm Moroccan that I don't feel more close. It's just about taste, I think. And I think any kind of music you have to study, for example, Beethoven, I thought it was really important for me to learn a bit of German because it's all closed, like the language, how it is written the science of it. And I think it's more about discovering new cultures. Even. Even though like Albany is just in Spain, it's just like really close to Morocco, I still needed to understand how he thought, how he was composing. So again, it's. It doesn't have any borders. Absolutely. Yeah, absolutely. So if you had to say that, is there a repertoire that goes closer to the heart of the audience when you perform in France, for example, or when you perform in Morocco? Oh, good question. Thank you. Yeah. Maybe I should think more about that. Really. Did you notice anything? Well, I don't really know, actually. I don't really know, but. But there is something. For example, I noticed when I went to study, I studied for a year in Paris at the Col Normal and you know, just doing perfection. Perfection mode. Right. And I noticed that I always had problem in performing Debussy, the French composer Debussy, Ravel, they always told me I was playing too much in a romantic way and I was supposed to be more French. And I was like, what that means, you know. And when I went to study in Paris, actually discovered what that meant. Yeah. And I. I found a different way of performing Debussy or Ravel and. And be more close to the composer, you know, intuitions and will, in a way, and actually playing better. And I noticed as well that the French composer were very much spread in the repertoire, in the concert halls, in the programming, compared to Germany, where is much more. You know, they have a special heart for Bach or Betho and for the German computer composer, you know. And I wouldn't say in Italy we. I think in Italy we are more open to everything because we don't have very much about Italian composers specific for the piano, in a way. Opera, forget it. It's just Italian opera. So that's what I mean. So, for example, if in France, when you play what's what do you know if you noticed that is more dear to the audience when you have to choose in your big repertoire, in your Perturo, of course you got many composers, you got many styles, but if you have to choose something that you know will be successful. Yeah, well, maybe I would say that the audience in a country like to listen to the music which is not necessarily from their country. For example, when I played the Schumann Symphonic Studies, it really spoke to French audience. And I think that, for example, in Germany people would love listening to some Debussy and some Ravel because they like to listen to something from outside their culture. But really, again, I wouldn't say that music has those borders. I would like really defend the idea that every music speaks to everyone and that's a very good idea. Well, let's start. Let's listen now to Clara Schumann, the Variation on a Theme by Robert Schumann, Opus 20 an extract. Sa. Sam. Welcome to the Women's Radio Station. Supporting women's well Being Women's Radio Station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. We aim to celebrate the individuality of every woman everywhere, providing opportunities and the platform for your voice. Visit our website womensradiostation.com for more information. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash, but just don't know where to start. @empowerandenrich.org you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me@empowerandenrich.org and let's change your future together. Do you want to be a doula? Would you like to support families through pregnancy, birth and the postnatal period? Do you have qualities of compassion, listening, caring and empowering? At Nurturing Birth we offer approved doula training courses across the UK which are facilitated by an award winning doula. Here you will learn more about the support you can offer, explore the doula role and think about how to set up your business. No need for previous qualifications. Find out more@nurturingbirth.co.uk hi, I'm Carolyn Van Beers. Please join me for a brand new show here on women's radio station. It's Mother's Hour. If, like me, you're a mum, juggling far too many balls and dropping most of them, this is definitely the show for you. We'll examine the highs and lows of motherhood and make sure you laugh out loud as we take on this challenging role together. With spoonfuls of advice, incredible stories. It will be refreshing, honest and funny. Look at being a mum. Are you struggling with money? Turn to us as a national charity, helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship or just unsure what benefits you may be entitled to. We can help visit turntous.org.uk welcome to the Women's Radio Station Supporting women's well being. Women's Radio Station can give voice to your brand. With a wide range of sponsorship opportunities, including individual programs, we can tailor your experience for you. For more information on how you can sponsor a Show, go to womensradiostation.com Women's radio station supporting women's wellbeing. Foreign. Welcome back to future Classic Women Awards on Women's Radio Station. Today we're talking to pianist Noor Ayedi. Noor, I was quite impressed by the fact that in your biography I read that you're not only being a super successful pianist at the beginning of your career, but you're also studying political science. So how is it to combine the two things? Well, it is first a lot of organization because I had to show and to show people that I could do both and to show myself that it could be possible. I have to admit that in the beginning it was really hard. I had lots of work and I didn't really expect the amount of work in the political world and even I needed to practice hours and hours. But it's, it's been two years and a half already and I have to say that we can do it. I could do it, so why not? And many people would tell me, why are you doing that? Is it too hard? You have to focus on music, you know that it's hard, a hard thing to do and it's hard to listen to that and keep doing what you're doing because everyone around you is saying you cannot do it. So mentally I needed to be strong and I could have the help of my family because they were really supporting me. So mentally it needs to be really, I needed to be sure about what I was doing and this is how I could do it until now. Is there, do you think the fact that you're studying politics helping in any way in understanding music? Because a lot of composers, they compose the pieces with the political idea behind think about Prokofiev, Stravinsky as well Chopin, just the revolutionary studies or you know, I mean the two things have never been that separated because politics, it's part of everybody's life. Definitely. Yeah. Those studies have brought me a lot. I mean, it's not only about political courses. I had philosophy lessons, history about the 20th, the 19th century, 21st century. So it's a whole, how can I say, general culture package. So he helped me actually. And I'm the kind of person that Needs to see around. And music is more than just music. It's all that is surrounding it. All those. Everything is intertwined. I mean, absolutely. I mean, how can you close your eyes and not see what's happening around you? And the same happened with the composers. And that give your idea why they would compose something that is specifically dramatic or less exactly. You, you mentioned Prokofiev, Stravinsky, they all lived, even the French composers. With the First World War, there is so many. Yeah. I think Messian was writing about what was happening in Paris at the time and that that would explain the sort of surreal because, you know, it was such a modern world and having that happening around you. Like, how is that possible? We're not in the middle age when people didn't know. Yeah. Even in Debussy's composition, we can see before 1914 and after 1914. I mean, just when there was the First World War, we can feel it in the music. So this political context is fundamental to understanding music. Yeah. And there is something that sometimes people don't know or don't understand, and we need to remind them is the fact that when you do music, you're not just playing an instrument for yourself, for the beauty of it, but you are playing to convey a message. Could be a message of love, could be a message of peace, could be a message of, you know, anger against whatever is happening in that moment. So not necessarily is the person individual life, but it's actually society as well. Exactly. And this is actually what I love also about that passion of playing music. You're on stage and you control time, you control the silence and emotions of people. Yeah. So I think you. You are a master here. You're. You're controlling time, which is like a superpower. I think it is indeed a superpower. Never thought about that. Because when you think about the children that they want to. To become superhero, that's what you are. Heroes. Yeah, absolutely. So what would you say was the most exciting moment in your career? Well, I had many, but I would mention maybe the quarter price because it was really an exciting experience and really challenging at the same time. But I had. I had a special moment and I came say I controlled the time when I played in that. You could feel it. Yeah, I could feel it. It was not a competition. It was something else. I just could feel that I wasn't there anymore. I wasn't important anymore. It was music and just everyone was higher and higher. I mean, it was something. I cannot even describe it. It's. It's like I Don't even have the words to describe it. It's more than music. But when you practiced before the competition, did you know you would have arrived to that level? Have you ever reached that level of Magical Treschendental, if you like, or it was quite special, like you were surprised by it? Well, I practice a lot, I have to admit. And I think when we reach a. A way of practicing in the detail and understanding everything in the, in the pieces, we, we reach a level where we can allow ourselves to, to just forget about technical problems, technical difficulties and. But there is also the magic of the moment. And this is something that happens in the moment. You don't really prepare it before. And this happened in the. There is another very special thing, is that you were the first woman, not only the first Moroccan woman, but first woman to win the competition. Yes. I mean, how is that possible? Well, yeah, how. That never happened before. Yeah, I don't know. And actually when I got the prize, I was really happy with it. But it was. You didn't think about. I didn't think about that yet. When I said, saw the articles, people started presenting me as the first one. I was like, oh, actually, yes, I didn't think about that. And I mean when you're there, you think you're just a pianist. You don't think about being a woman. Exactly. And I still do. I mean it's more about that. But yeah, I'm the first one. And yeah, it's a way to say that. Why not? It's not just about. Yeah, man being, you know, with a bag. Absolutely. Yeah, I, yeah, why not? And yeah, I have. We have to say that there are really many men in the. The world of piano. So yeah, we just. Still. Mainly men if you like. Yeah, mainly, yeah. So yeah, people are like really focused on that aspect of me winning that more than being a Moroccan, I think. And I just found it, yeah, really nice. Of course. But I think it's a way to say everyone can do it. Absolutely. Well, let's now listen to the Schumann Symphonic Etude opposite the Last Etude and the finale. Sa. Sam. Welcome to the women's radio station supporting women's well being. Women's radio station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. We aim to celebrate the individuality of every woman everywhere, providing opportunities and the platform for your voice. Visit our website womensradiostation.com for more information. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money do you clam up or get confused? Do you wish you could save more money or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash but just don't know where to start. @empowerandenrich.org you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me@empowerandenrich.org and let's change your future together. Do you want to be a doula? Would you like to support families through pregnancy, birth and the postnatal period? Do you have qualities of compassion, listening, caring and empowering? At Nurturing Birth we offer approved doula training courses across the UK which are facilitated by an award winning doula. Here you will learn more about the support you can offer, explore the doula role and think about how to set up your business. No need for previous qualifications. Find out more@nurturingbirth.co.uk hi, I'm Carolyn Van Beers. Please join me for a brand new show here on Women's radio station. It's Mother's Hour. If, like me, you're a mum juggling far too many balls and dropping most of them, this is definitely the show for you. We'll examine the highs and lows of motherhood and make sure you laugh out loud as we take on this challenging role together with spoonfuls of advice. Incredible stories. It will be refreshing, honest and funny. Look at being a mum. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk welcome to the women's radio station supporting women's well being Women's radio station can give voice to your brand. With a wide range of sponsorship opportunities including individual programs. We can tailor your experience for you. For more information on how you can sponsor a show, go to womensradiostation.com women's radio station supporting Women's wellbeing. Foreign. Welcome back to future Classic Women Awards on Women's Radio Station. Our guest today is pianist Noor Ayadi from Morocco. Fantastic pianist. She won the Courtau Prize and the Princess La Le Merian Competition that is in Morocco. Morocco and Again, you were the first woman to win that. First woman. I. I'm not sure, but first Moroccan. Yes. Ah, fantastic. So first with many things, but now it's time for the odd questions. So I'm gonna ask you if you have any strange hobby to free your mind or relax. Strange hobbit habit. Doesn't have to be strange, just a hobby. Okay. Well, I really like to watch TV shows. Why not? Oh, yeah, I have something. I love hip hop. Oh, beautiful. I go to dance classes from time to time. Oh, really? Yes. Hip hop, contemporary. But hip hop might be weird because of classical music, and I love that. I mean, it's just amazing for my body. Well, if I may share. I love hip hop too. I mean, there is something about hip hop. I think it's the rhythm. And because we are so much about rhythm with classical music too, people don't think about it. But for us, rhythm is so important. The pearls and everything. And hip hop is a way of actually free your mind for real. Because there is not much architecture, structure on top of it. And it's rhythm by cool melodies and. Yeah. And there is also freedom of dancing. You have to find your own, like, signature. And really, it helps me sometimes. And I love it. Oh, gosh, we need to go dancing together once. Definitely. Okay, so do you have any ritual or superstition before going on stage? Ritual? Yes. I sleep. I take a nap at least 30 minutes. Not just right before, but like two hours before. Okay. And I really find it useful. I mean, I need it. When I don't have that nap, I just feel it on stage. Superstition. Maybe not, but like a collar that you can't wear on stage. Yes, I can. Green. I cannot wear green. And this will be funny because I don't have an explanation. And the only explanation I have is that my teacher in Morocco told me not to wear a green dress or anything. The French, I know that the French, they have this thing about the green. So, for example, in Italy, the color you're not supposed to wear is violet. Oh, really? Yes. Okay. So never ever. So we had stories of, you know, opera singers sing or even soloists seeing someone dressed in violet in the front row and tell them, I'm not gonna start performing until that person goes out. I had competition where one of the judges was dressed in violet, and I hated it so much. It's like, there you go. But, you know, then you go out of it somehow. I mean, if I can, I avoid it. Yeah. Okay, well, these are beliefs. And yeah, like, I cannot wear green Even if, of course, it doesn't have any meaning, but by any sense, like, it's not rational. But yeah. Do you have any embarrassing moment or fun moment that you can record going on stage or fun moment or embarrassing one? Well, I don't think so, but maybe stressful one was when. Yeah, it was in chamber music concert and I had the scores. And it's just. It's so stressful when you can see the scores and see that the scores are not put in the right order and you're saying, like, how am I going to change them? Like. And it's so stressful and you're just thinking about that and not about music anymore. But yeah, eventually it went well. So you survive, you manage. Yeah, yeah, yeah. Actually, it's in those moments you feel and you just realize you know the music. It's just you have that backup plan with this course, but you actually know that. So do you play a lot of chamber music? Well, when I have time, I do. In Paris, I just had kind of some small groups we just created in the Conservatoire and in Ecole Normale. I love that because I love sight reading. So it's for me, like just a way to enjoy music and play. Okay, so what is your next project or concert or collaboration? Well, I have some concerts in February, March and end of January. I'm going to Nantes for the fall journey of Nantes. I will play two Beethoven recitals because of the 250th anniversary. Ah, wonderful. What's gonna be? It will be the Opus 101, Opus 81A, Les Adieux, and the two sonatas from 49, Opus 49. And I'm really happy because it's a festival where they just program only Beethoven. I will be having two recitals in Paris too, and be playing Chopin first Concerto in Paris too. Beautiful. I will go for the first time in Tokyo in Japan in May. Wow. Actually, this is the same festival of Naunt Folcione which will have concerts in Japan. So I will be playing Beethoven recitals too. Beautiful. But you play the four sonatas in just one concert or it's in one concert. That's long, isn't it? Well, it's almost an hour because the upper 49 are short sonatas. But it's still quite challenging. The 101 is long and then you have Les Adieux as well, so. So yes, it's more than an hour. With the repetition or not repetition, it will be an hour, I think. Yeah. 101 is like 20 minutes. Lizard like 15 or 20. Okay, yeah. Yeah. So for people don't know, but for us timing is very important. So you really look into that, including the applause, including the anchors intermission. I didn't ask you what's your favorite composer? I never asked that actually. But do you have a favorite one? I don't. Okay. Well now I cannot like just name one, but I think it's by period. Sometimes I just fall in love with some composer. Like when I, I started playing Schumann, I was like crazy about all his music. Robert Schumann. And I just, I just played that every time, every day. Just sight reading Chrysleriana. Every piece is kind of just. I cannot like mention one composer. But I do love German music, French music, everything Russian music. Okay, now the next piece we are gonna listen to is Petrushka Stravinsky. So this is his original transcription from the ballet Petrushka and is one of the most difficult pieces ever in the world, if you like, for piano. When did you start learning this piece? Well, together with my teacher Jacques Lagarde, we decided to start it, to start it a few months before, but it was almost 11 months or something. So it's been already a year now or more than a year and a year and a half because I know those are those kind of pieces like Gaspard de la Nuit by Ravel that you have to learn when you are young and then you know you have the time to mature in it. Yes. So Petrushka is something that will stay in your repertoire. Yeah. And it's the kind of piece you learn it by performing it, not only just practicing in your room or something, but you have to play in front of people every time. And every time it gets, it gets better. Well, let's listen to the first part of Petrushka with Noora Yadi. Wonderful. And this was Petrushka by Stravinsky with Noora Yadi at the piano. If you have any questions that you would like to ask to our guest or nomination for Future Classic Women awards, please email presenterswimmynsradiostation.com or tweet us. WomensRadioSMA. A big thanks to our guest pianist Noora Yadi for the great chat and the beautiful music played today. Thank you very much. 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