Future Classic Women Awards – Anna Williams, Grammy Nominated Neave Trio 300123

Hello and welcome to the 5th edition of Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today on Future Classic Women Awards, we will be talking to Anna Williams. She's nominated with her Neve Trio for the next 65th Grammy Awards as Best Classical Chamber Music Album, Musical Remembrances. Hello! Hello, Anna. Hello. Hello, Anna. Where are you now, Anna? I'm speaking to you from Boston, from my kitchen in Boston, Massachusetts. Ah, super. So tell us a little bit, Anna. I mean, this is your first nomination for a Grammy Awards. Have you been at the Grammys before? I have not been to the Grammys before, and everybody is asking me the million-dollar question of what are you gonna wear, and I have no idea how to do it. Oh, that's true. That's so important. I'm sure you're gonna be fantastic. Uh, but yeah, it's quite a challenge, isn't it? And also the hair, everything, you know, hair, makeup, the nails, because people are looking at all details. And, you know, it's quite exciting. I mean, you are going with, um, the trio Nieves, Duque, Nieves. I, I know it's from a Gaelic name that means bright and radiant. So tell us, how did you choose this name? And then how did this trio came together with cellist Mikhail Veselov and pianist Erina Kamura? Absolutely. Yeah. So we— so, so yes, you're exactly right. The word is Niamh and in Gaelic it spelled very— yeah, and in Gaelic it's spelled very differently. So I think it's— if we were to spell it sort of the authentic quote unquote way, it would be N-I-A-M-H, I believe. So imagine how difficult that would be to read. That would be harder to get phonetically. So that's why we went with the spelling. But the story, yes, it does mean bright and radiant, but we actually didn't know that at the time that we chose it. We had this very formative experience when we were first playing together wherein we got to know this wonderful individual. His name was Bruce, and he would come to our concerts on a regular basis. And then unfortunately, he actually— had an accident that left him unable to come and actually left him unable to leave his hospital room. So when that happened, we started going to him and just doing what we could to brighten his day. And we'd visit and chat and play music and again, just sort of do what we could. And these visits became really, really powerful because we would play music, but then for us, kind of more importantly was the visiting afterwards where he would tell us stories about his life, you know, about before his accident, before he had been, you know, bedridden. And he would talk about his family and most notably he would talk about his daughter, of whom he was obviously such a proud dad. And her name was Niamh. Ah. So, yeah, yeah. So we chose the name because it really kind of encapsulated that, experience we had, you know, this sort of exchange and the unique way in which it can bring us together and how, you know, we were just bringing what we could and then he brought of himself so, so much. And we just felt, you know, whatever we did going forward, that that reminder of why, you know, we do what we do and how it can be powerful to connect us to one another, that that was what we wanted to carry forward. Amazing, amazing. So tell us, how did you start, you know, the trio with actually Mikhail and Ari? Were you studying together? Did you meet at some concerts? How did you meet? Yeah, so I, you know, we met in grad school here in Cambridge. Yes, so Misha is from St. Petersburg, Russia, and I'm actually from the Boston area, so we met here. And I was my usual chatty self, and I think he probably didn't know what to What? Um, so, but it's okay, he's fine. All these years later, cut to we're married, so it's okay, it worked. But, um, well, you know, yeah. And Eddie? Oh yes, and I was just gonna say, and Ari, we met at a music festival. And it just goes to show, you know, you never know when you're at these, at these festivals or sort of professional things, you just never know, you might the person sitting next to you in the cafeteria at the festival might wind up being the person you see at 4 o'clock in the morning at the airport every day or every week. That's amazing. But is Eri from Boston as well, or she's from somewhere else? She is not. She's originally from Hiroshima, Japan. And yeah, yeah, it was such an amazing place. We were able to visit one time as a trio, and I hope we're able to go back again soon. But yeah, so we're definitely from all different corners of the world, that's for sure. That is the most beautiful thing. I mean, music music has this incredible power of bringing people together, and then it doesn't matter which culture, language you come from, if you share, you know, if the music is talking to you, you can really do beautiful things like what you're doing with Mikhail and Ari. And tell me, is that influencing as well, maybe enriching actually, the choice of the repertoire that you might be performing? Oh, I think so. You know, I think we do have such a shared— well, you know, at this point we're a full-time ensemble, and We see each other every day. And like I said, at 4 o'clock in the airport sometimes when we have an early flight. But I definitely, definitely think our, you know, unique backgrounds and sort of influences, it makes it a richer experience because we all bring that to every rehearsal and performance. And then, you know, the excitement is coming together and finding what feels like a really authentic kind of take on a piece or, you know, like a most sort of alive version of of what we can say together as an ensemble. So certainly, I think, you know, I will also say that on top of music being, you know, such a great connector, so is laughter. And we laugh every day. Definitely, we have a lot of giggles. Ah. I would say, I'm not sure what someone might think looking in on rehearsals sometimes because there's a lot of giggling. Super. That's really wonderful. Well, tell me then about this album. I mean, were you— I mean, when you were recording it, were you thinking, oh my gosh, we've done something special. Maybe we could one day win a Grammy, for example. Or it was just a normal day in the office, if you like? Oh my God. Well, never in my wildest dreams would I have imagined that we'd be nominated for a Grammy. So no, I would not say that was something we were thinking of. I will say it was not a normal day at the office at all. So, you know, this album was really, really special to us for a lot of reasons. So, you know, it actually was postponed. The recording of it was postponed twice due to the pandemic because, yeah, because our amazing record label, Shandos Records, is based in England and we're based in Boston. So, you know, for all the reasons that we know, that we're all fully aware of, we were unable to travel for a while. During that time, it was, you know, we were like everyone else, of course, you know, in this moment where everything was scary and shutdown was happening and, you know, time was both fleeting and also standing still somehow, you know. And we had these, this sort of gift of this opportunity to really dive into these pieces and, you know, these pieces, unto themselves are such masterworks. Oh yeah. Right? Oh my gosh. Daunting, I would say, was definitely a word that I would assign. And, you know, I would say for sure there was a level of sort of, I will say for myself, intimidation approaching them because we have such admiration and respect for these works. And, you know, as we know with great masterworks, there's always more layers to, you know, explore in an interpretation. So, you know, We knew whatever we did, it would always be, you know, there's always more that one could do. But I will say that during the course of sitting with it over, you know, over this really tumultuous time for us all, it became a much more sort of relevant experience once we realized that, you know, not unlike what we were living through, each of these composers had their own sort of personal or even national in some cases sort of tumult that they were dealing with. So, you know, for instance, the Ravel Trio, which such an incredible work, like I don't know how many doctoral dissertations must have been written on it, but it's just such a work of staggering genius. And he wrote it in 5 weeks. Crazy. Which is— right? Isn't that just mind-boggling? I mean, so the, the reason for that wasn't just that he was on a deadline, it was that he was actually going off to serve in the Great War. Wow. So, right? I mean, so like that perspective of he must have known on some level, whether subconscious or not, he must have known that there was at least a chance that this could be the last thing that he would leave behind. And that, you know, it gives me chills to this moment sort of thinking of that because again, whether we were aware of it or, you know, focusing on it or not, obviously this is something we're all thinking of, especially during this time of, you know, how are we using our time and what, you know, we're not really guaranteed tomorrow and what are we leaving behind? So these sort of huge questions became much more personal and realized through these works, if that makes sense. So yeah, so we were working on them in that way during the pandemic. And then when we were finally able to go back to England and record in the beautiful Potten Hall, it was really, really special. We worked with the same producer, Jonathan Cooper. We love him so much. He's so wonderful. And we're, you know, we just adore him. He actually came to our wedding. So we really do love him. But, you know, yeah. And in this process, you know, there were moments, there was one really special moment for us all where we had gone through a take, I think it was actually of the Brahms, the third movement, which we just had a lot of really special kind of feelings about as a group. And we went through a take of it and, we didn't see the light come on. Usually the light will come on so that we know that, you know, the recording is done and we can, you know, fidget or make some noise and it won't be a problem. And the light didn't come on. So we were like, oh shoot, did we really mess that one up? Did we? We must have really messed up that take. And what happened was actually our wonderful producer, he was actually he actually was having some tears, which was so, so special to us, you know, that we could sort of share in that moment. Because, because it was sort of that kind of back to our sort of story of the name. It was that moment where the music was really touching something in all of us that was beyond words. So we had this moment where as a group, we had a literal group hug. And we're all sort of, I think, shedding these tears for you know, sort of the gratitude of the moment being together and this experience with these incredible works that, you know, felt so intimate and personal. Wonderful. Well, let's listen the first movement of Brahms' Piano Trio No. 1, the Allegro con brio from your Grammy-nominated album Music Remembrances. Wow, and this was Neve Trio, Brahms Trio No. 1, Opus 8, Allegro con Brio, performed by the Neve Trio, Grammy-nominated album Musical Remembrances. Anna, so Anna is the violinist of the trio together with her husband, uh, Mikhail, and pianist Erin Nakamura. Anna, how did you decide the title of the album, Musical Remembrances? Oh, great question. I mean, I think again it was really tied back to what we were connecting with most personally in this process, which was that idea of, you know, in this time we were made so fully aware of this you know, truth that I'm sure everybody is aware of on some level. But it was really brought to the fore of our thinking of, you know, what is it that we're leaving behind? And in each of these cases, you know, these composers in their own unique ways, certainly in very different ways, each of them. But I think they really were sort of wrestling with that question on some level. As well, sort of, you know, their legacy and relating to sort of their younger selves in some cases. You know, in the case of Brahms, among other things, this was a piece that he actually returned to and revised, whereas, you know— oh, and the other thing about it is that there are both editions that still exist, which is such a rarity for Brahms. He usually, you know, was known to sort of destroy something if he wasn't happy with it. But this, he actually kept the first edition and then returned to it to it. So it, yeah, and you know, it's such a profoundly beautiful and moving work and one that he wrote as both a young and mature composer. So it's, you know, as another example, it was, it's a piece among the three of them that really I think deals with what we were personally dealing with as well, which is this sense of, you know, what we're doing with our time, what we're leaving behind, and how we can make the most of our time and of whatever that may be. Yeah, absolutely. So I wondered— sorry, I missed you. So no worries, Anna. So I wondered, what do you think that Brahms composed this trio when he already met with Clara Schumann and Robert Schumann? Oh gosh, you know, I am, I'm the worst at keeping dates, and so I'm, I'm gonna plead the fifth because I'm gonna get the dates wrong. So I have no idea, but I, I know that you could, that you could really hear and feel that love and that earnestness, and it's just, you know, it's so compelling. And so it, you know, Brahms has this incredible way of being so personal and intimate while also being kind of larger than life. You know, it's this incredible balance that he manages to strike. And I don't, I don't understand how. It feels like the closest we have to magic, to be honest. Yeah, absolutely. It's really— Yeah, it's really— Sorry. Oh no, I was, I was Just— I was finished, yeah. Fantastic. No worries. No, you're right. I mean, I know for sure that Brahms met very early with Robert Schumann. That's when he brought in the first sonata. I think he brought as well the trio, who he might have composed it soon after. And definitely, you know, there is this incredible matureness that allowed him, you know, to have this very close relationship with both Robert and Clara. And you performed— you have another album that is called "Your Say," "Her Saying," that is about classical women composers. So Rebecca Clarke and Clara Schumann, that was as well competing for the Grammy Awards, I think in 2018. Am I right? Yeah, so I think maybe it was 2019. I'm not exactly— you know what, I'd have to look it up. I think it might be, but it's, yeah, her voice. 200 years from the birth of Clara Schumann. Right, right. Yes, 2019. Absolutely. Because that's when my album of Clara Schumann came out as well. That's why I know. There you go, there you go. That's why I'm prepared on these. You know, you know, absolutely. So talking about Clara Schumann, you know, and Brahms and Robert, um, and you know, how is it the life of being married to your, uh, trio partner, so to Michael, um, you know, is there time when you can separate work from, you know, the office time, if you like, from family time, or that just get blended and becomes a one thing? Oh my gosh, if you could see my face, it's— I have big smile. Be honest. Right? I mean, that's the million-dollar question. Well, okay, so And what's really lovely is we actually met through playing music together. And we were friends for a very long time and really got to know each other as really, really good friends through this process, which, you know, I think we're so lucky to do what we do on so many different fronts. And one of the ways is that it really kind of shows who you are, whether you want it or not. There's a— it provides a bit of a window into a person when they really, you know, where they're harder on their sleeves when they're playing, which certainly Misha does. I mean, I'm biased, but I'm his biggest fan. So there you go. I will say, you know, like everyone else, balance is a thing that we search for. But we really feel ultimately so lucky that we're on this journey together as a couple and that, you know, we do care so deeply for it. And getting to sort of have that journey together is is really special. So certainly we're like every married couple, but we do feel really, really lucky to get to, you know, to have those moments where you're like, oh, I was thinking about that phrase. I got excited about X, Y, or Z, you know, and to have that connection be part of our experience as a couple as well is pretty neat. So, well, yeah. Now I ask you a very, very provocative question. Okay. So I read that a friend of mine is a cellist, an amazing cellist, and he was writing on social media that he was at the gym and someone at the gym told him, you know, I love listening to classical music because it relaxes me. And he replied to him, I love classical music when I'm not listening to it. Because it relaxes me when I'm not listening to it. You see what I mean? Does this have the same effect on you, or you do listen to classical music for relaxing? Oh my gosh. So, okay, first of all, side note, everybody's favorite instrument is the cello. Can we just get that out of the way? That is a given. It's everybody's favorite instrument. So I'm sure your cellist friend, I'm sure, was approached also with, I love the cello. Of course, yeah. Yeah, so that's just a universal truth, um, which we all just have to deal with. I will say, I'm sure I'm among the majority of, of people who, you know, live their days so much in music. Again, such a blessing to be able to, no question. But yes, when you're listening to it, then it, it, you know, it triggers a certain part of your brain. Yes. For us professionally. Yeah, exactly, exactly. So it's sort of like, you know, I would imagine it's like a magician knowing, knowing how the magic trick works and sort of analyzing how, how a fellow magician is maybe, you know, pulling the rabbit out of the hat, you know. Um, so I, yeah, I would say I certainly will and do listen to music for inspiration, and it gets really exciting. And wow, I love how they— how did they do that there? That was such an amazing, you know, change in color. What an amazing character they bring out. Absolutely. But relaxing, I'm not sure I would say. Well, I would say if anything, it's sort of activating. Yeah. Yeah. Well, I have to say on a personal note, as a pianist, whenever I hear a piano, I cannot not listen to it. Somehow it's like a magnet. So even if someone is just practicing or whatever, you know, now there is pianos— I don't know in America, but in London, in the UK, we got pianos at the airport, we got pianos at the tube station, you know, at the metro, and people just stop and play. And so you have the child, you have an adult amateurs, you have some people that they are actually musicians or bad musicians. I cannot not listen, it's crazy. So I'm walking, you know, keeping my— I mean, it's It's wonderful to see that so many people enjoy it, but as a professional, there is that trick in there that comes into the brain. But I can listen to other instruments that can relax me, particularly symphonic music. And then something that I really discovered is really making me forget everything is when I listen to Mozart piano concertos by historical performance, you know, by Rubinstein. So I know that I cannot criticize, I cannot compete with him, with any modern pianist. I'm thinking I could do better, or oh, I could do worse. How does he do that? Or how does she do that? But with the, with the, with the legend like Rubinstein, you know, there's nothing you can do. And so you're just enjoying it. And it's just, so that, that's something that really, um, get me. Um, if I listen to Beethoven, no. Beethoven, Chopin, I cannot. But Mozart has something that just take me out of this world. Do you have any composer that take you out of this world that really makes you to just feel that you are on on a cloud, on a pink cloud? God, that's such a beautiful question. You know, I would say there are certain pieces, and I, you know, I think it might be— I would imagine it has a bit to do with sort of how you come into contact with a certain piece. If you have almost like a Proustian, you know, memory of, oh, I remember where I was when I, you know, first heard this in a way that was, you know, meaningful. So I would say, for instance, like the Beethoven violin concerto is so, oh, just sort of like you're saying with the Mozart, it's just such a different world and just so, oh, I don't, I'm coming up short in words because it sort of defies vocabulary, you know, of a different— You know, actually I did play with a violinist called Roberto Cani. We recorded piano sonatas by Beethoven. Beethoven. And at the same period when those two minor sonatas by Beethoven were composed, uh, there was also the two romances for orchestra. So I played the part of the orchestra in the album that we recorded together. And actually, that romance, that romance suddenly, you know, is just bringing me out as well. That's another one. Oh yes, it's so simple, and you think, where does that come from? And that's when you You think, gosh, the genius, no? Seven notes. Absolutely. Seven practices. Absolutely. And I think this is so often, I mean, isn't that the case? You know, where we get to sort of witness these, um, these works of genius that you're right, they're so often simple in terms of their, you know, their tools, what they're, you know, octaves and thirds, you know, I mean, that's when they're really kissed by mother inspiration, really. Yeah. Yes. And just, you know, we're— I think the sort of miraculous part really does take place in that simplicity where, how can it be so moving? You know, how can it touch this part of, you know, your, your kind of soul, really? Yeah, just by— just with this. Yeah. Well, let's be taken— let's get our breath taken away by Brahms adagio from the piano trio number 1. Ah, this is so beautiful. This is the adagio from the third, from the, the third movement of the Piano Trio No. 1 by Brahms, performed by the Grammy-nominated trio Niv with Mikhail Vasilov at the cello, pianist Irina Kamura at and violinist Anna Williams that is with us today on Future Classical Women Awards. Anna, so beautiful. I mean, I'm so sad we had to fade it away. To our audience and to our listener, I'm telling you, just go and look for the album because it's absolutely fantastic. Now, Anna, a question about you. Did you know when you were a child that you would become one day a concert violinist and you would go to the Grammys and maybe win a Grammy? Or did you plan to become an astronaut or a doctor, for example? Oh my gosh, absolutely not. Um, well, okay, so the, the way I started violin is actually sort of— it relates to your question, if you don't mind me telling the story super quickly. No. Okay, so I started, you know, as many of us do, I started as a young child. But the thing was, I was, you know, doing ballet lessons or other things like that when I was, you know, around 6. And so my mom was like, we don't need to do something else. We need to have time to be a little kid and all these good things. Okay, but at the same time, I had one of these very kind of normal, very adorable little, little little speech impediment that children sometimes have, right? Um, so I was getting, you know, teased a little bit by cousins and things like that. So my mom said, okay, fine, we can get it checked out. So I went to a speech therapist, and I don't remember this, but my mom sure does, um, where the speech therapist was not great with children. So she was sort of like, yeah, very strange. So She was sort of like, do you know that the way that you speak is so different from your friends and your classmates? And maybe they're— right, I know. And she said, you know, maybe they're thinking about you behind your back and all these things. Wow. So my mom was— I know, not who you really want to have talking to your 6-year-old, probably. Um, so, so my mom was horrified and she yanked me out of there and said, you know, to herself, she was like, how do I replace this memory with something positive. So she turned to me and she said, didn't you want to take violin lessons? And I was delighted. And I was like, yeah. So we literally walked down the street in Belmont, Massachusetts, where I'm from. And my mom, you know, we went to the local music school. And my mom said to the secretary at the front desk, she said, I don't know a thing about violin, but I just need a violin teacher who kind. And, um, this woman had— this secretary, bless her, she had beautiful instincts because she paired me with this wonderful violin teacher, Dubravka. And, um, I studied with her for 7 years. And, uh, wow, that's how it began. And I, I guess the reason I bring up this long-winded story— clearly the speech impediment went away, to the chagrin of everyone who has to hear me speak all the time. Well, you know, this is a wonderful story, and this is something that brings me to mind and makes me very angry. When you watch movies about classical musicians, they're always mean, don't you? There is always a mean teacher, there is always a crazy pianist, there is always someone crazy. And instead, you know, you, you went to violin lesson and you had this sweet fairy basically that taught you violin and made you to become a Grammy, you know, to then get the passion for it. So that's a wonderful story to share, and that should be shared even more often, you know. There is always this terror about music teacher, classical. And then, you know, as soon as you say the name, it sounds a little bit Russian, and the Russian school is famous for being particularly strict. Was she strict? Right, uh, was my teacher strict? Yeah, she was. So I will say again, this is someone else who was also at our wedding, so I have so much love for this woman. Um, she, uh, she's actually Croatian, and she was She was so nurturing and warm and just always, you know, I try to bring that spirit into any time I'm teaching as well as best I can, you know, emphasizing what's good, emphasizing what's working, and then building upon that. Because you're right, there's too much of this really harsh kind of focus on what is perceived as quote unquote perfection in what we do. And frankly, I don't believe it exists. I think perfection is such an empty premise. And, you know, so when we're, you know, both students and teachers, and, you know, really every, every teacher should still be a student to a degree, um, you know, when we're, when we're on this path with ourselves and with our students, just really emphasizing again, what it is that they're trying to say and bringing out their voice, not squelching it, not telling them how they're, you know, not like so-and-so, or not, you know, you don't sound like XYZ famous artist, but rather how do you bring something, um, how can we make this the most, um, authentic expression of the music through you? And, you know, using technology for that purpose, but not for the sake of quote unquote perfection, which I think, you know, again, that's really not why anyone that I know, you know, I don't think that's why we are excited to do what we do. It's really about that connection and communicating. Which actually is why I shared that story too, because you asked if I, you know, ever wanted to be something else. And I think that, you know, in anything that I've tried to do, it's always been about, you know, connection and, you know, whatever form, whether it was acting or other, you know, activities. This idea of communicating in a way that was so profound was something that in music I really fell in love with. Wonderful. Well, let's listen then. Something very beautiful that is the Ravel Trio in A minor from your album. Album, that is the second movement, pantoum, assez vif. Wow, and this was an extract of the second movement from Ravel Piano Trio performed by the Naïf trio that is currently nominated for Grammys, for the 65th Grammys, with their album Musical Remembrances. Um, beautiful. Anna, this is the last part of the interview, and in the last part normally we ask something, um, a bit more outside the music. So for example, do you have any hobby that you like apart from playing, you know, outside playing? Classical music. Absolutely. Yeah. I mean, I have to run every day pretty much. Yeah. And it's just, it's, you know, you were talking before about the idea of, you know, music being relaxing. To me, it really, it sort of is my version of that when not playing, because it sort of, it quiets everything down and gives that sort sort of, um, space mentally and then, uh, physically as well. So I love running and, um, uh, try to do it really, really every day. Um, have you ever tried the marathon? Have you ever tried the marathon? I have not yet, but my husband has. All right. And I don't know if that's more intimidating or more inspiring. It looks painful, I gotta say. It is, it is indeed. But I heard from a friend of mine that she took up, you know, running because she wanted to, um, to try this, uh, the half marathon actually for a very good cause. And she had a friend who was actually a teacher, you know, a trainer, so gave her all the right ways of preparing herself. And she told me somehow addictive, isn't it? So it gives you something as you were kind of of describing to us. Um, to be honest, I, I don't do any sport. That's fine, that is fine. I just play tennis that I shouldn't as a pianist, and I, I swim in winter that I shouldn't as a pianist again. Oh, I won't tell, I won't tell anyone. That's fine, it's a secret. Yeah, it's a secret. That's right. But running is a very good one. All right. And now, do you have any superstition before, you know, a performance or before doing a recording or anything? Like, or a favorite, you know, something that you have to wear, a color that you wouldn't wear on stage. Do you have any superstition? Oh my gosh, that is such a great question. I don't think anyone's ever asked me that. That's a great one. Gosh, I should have a good answer for you. You know, I don't really. I would say it's more of the reminder when you're walking on stage or into the studio that, you know, you're really— you're playing for one another, that it's really this incredible sort of, you know, musical— for lack of a better word, it's like a play that you're putting on, you know, and Yeah, and yeah, you know, like we all playing different roles at different times, etc. And, and that feeling when you're, when you're walking into a performance of, you know, I would imagine, um, a really, uh, really polished or a really, you know, uh, uh, wonderful actor would have the same sort of, uh, mindset of, you know, being present to one another and really responding, really listening, and having it be something that is happening in real time. It's not, you know, uh, oh, well, we rehearsed it this way, what is he doing? You know? Yeah. Um, so yeah, I wouldn't say a superstition so much, um, but I would say sort of, you know, coming back to, uh, the sort of, the sort of why every time you, you go in. Um, and that again, it's not about perfection because because I do not think that exists, but rather, you know, having as real a communicative experience as possible. Yeah, love it. All right, now other question, very challenging. Do you have any embarrassing moment that you can share with us for going on stage or being on stage or going to a concert venue? Something that went very wrong. Oh my God, well, that— so should we do a whole other interview lasting an hour for that? Give me a short one, and then next time after you win the Grammys, we talk again and we listen to more music. Oh my gosh, well, um, uh, oh my God, I'm trying to think of one that's actually Decent? Oh my goodness. I mean, of course we've all had the sort of wardrobe malfunctions. Not, you know, nothing too provocative, of course, but you know, little— Well, actually, we had a violinist, she had the zipper breaking while she was playing and she was hoping the dress wouldn't fall. You know, it was a stand-up, how do you say the— oh gosh, I can't say. The one that's out. Like a strapless? Yes, strapless dress, yes. And the zip on the back started opening. And she arrived till the end playing. Playing the violin with the elbow close to her bust. So yeah, that might happen, but not in your case. Okay. She's a real professional because she handled that beautifully. Absolutely. I mean, what I— on that front, so, you know, we're in this trio, two of us are married, and then our pianist is one of our best friends. And so we're very close, which brings me to my point of, you know, getting dressed is— Because I've had little issues here and there similar to the one you're describing, my pianist is like, okay, let me help. So the sort of ritual, I guess this is the closest thing to a superstitious ritual too. Oftentimes she has, she's actually taped my straps to my shoulders. Oh wow. And it was pointed out a couple times understandably that, um, you know, we needed to switch to a different form of tape because the, um, the Scotch we were using was, um, very shiny and looked not great on camera. So, all right, so things like that, um, certainly do happen. That's why this is a great thing, uh, but then the problem is that if something happened to the, the stripless dress, then, you know, you're, you're left naked Basically. So yeah, I do love stripless dresses because of the straps that they come down, and that's very annoying, isn't it? You're absolutely right, because, you know, if they come down, if they come down, you could either be having a little bit of a scandalous moment, or, or you could have that feeling of almost like a penguin where your, your shoulders are stuck and you can't get up. So, you know, what could you do? It's So yeah, it's not great, it's not great. I think, I think men have it easier in that regard, so, um, you know, good for them. All right, so now, do you have already some plans for, for example, touring with this album, or already thinking about the next project, or now it's all just thinking about what's gonna happen? Actually, I didn't ask you, where were you when they announced the nomination? Were you listening to it live? Oh gosh, no, I was not, because again, this was the furthest thing from my foggiest dreams. So no, no, no, no, no, I was not, I was not at all. I was actually, speaking to our earlier conversation, I had actually just gotten back from a run, and I was stretching, and I was getting ready to, you know, go on with the rest of our day of rehearsal and teaching as per usual, and Then my husband called. He was headed home. I figured it was about something, "Oh, we forgot to X, Y, or Z," or something physical. He said, "Congratulations." I said, "What? No, wait, what?" I guess he had somehow heard, and I was in total shock. I was very run-of-the-mill. I was literally getting back from a run, um, and, uh, you know, not— I'm glad there was no camera present, let's say that, because it wasn't a pretty picture. Wow, wow. Well, congratulations. I think, you know, the album is absolutely fantastic, although with the Grammys everyone is fantastic, and to be nominated is just incredible because, you know, how can you choose between beautiful and beautiful? They're all beautiful. Totally. It's so— it's just this— yeah, I'm not even thinking about, about the outcome because to me it's already beyond— it's just such an honor. And, you know, to know the other, um, you know, nominees and to— and the other, um, you know, people in our, in our, in the field, you know, in the classical field, we're just so honored because we're just, we're fans of everybody. So to be among them is just— it's, it's, it's wonderful. We're just really You know, couldn't ask for more. Listen to me, it's very well deserved. So let's finish our interview with the final movement of the Ravel piano trio performed by the Grammy-nominated album Musical Remembrance. Wow, and this was the last movement, finale, Anime from Ravel Trio in A minor, performed by the Grammy-nominated trio Naïf from their album Musical Remembrances. And thank you very much to our guest Anna Williams, the violinist of the Naïf trio, for the great chat and the beautiful music played today. Thank you so much for having me, it's been such a pleasure visiting with you. It was absolutely wonderful to have you as a guest. You've been listening to Future Classic Women Awards on Women's Radio Station live every day at 10 AM and 10 PM London time. And if you would like to listen to it again or catch up on our previous programs, you can head to my presenter's page, Stefania Passamonte/Future Classic Women Awards on womensradiostation.com. If you have any question that you would like to ask to our guest or nomination for our program, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. Thank you for listening.