Future Classic Women Awards – Belle Chen, Pianist

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. Today on Future Classic Women Awards, we will be talking to Belle Chen, an Australian Taiwanese pianist who has distinguished herself with their unique live performances and recorded works that are unbound to tradition after mixing classical music language across multiple genres through improvisation, electronics, extended technique and sound design. Hello, Belle. Hi, Stefania. Thank you for having me on the show. Thank you for coming. So tell us a little bit more. So you are about, you know, mixing classical music language with improvisation, electronics, extended technique. Let's say the, the big question straight away, do you consider yourself a classical pianist? That is a question that's quite hard to answer, I think. And a lot of people, you know, there's, there's huge discussions that always happen after I play. It's what genre do I belong in? And I think for me, my training was from classical, so the classical language is my core. But at the same time, I suppose my approach is very avant garde and experimental. And so, I don't know, maybe I'm a combination of both areas, I think. Yeah, I would say. So the improvisations, you're doing improvisations on classical ground, some of the song are completely original, but some others are coming starting from a classical point and then you are developing it. So would you consider yourself when you're doing the improvisations on a classical piece, like Chopin or Poulenc, like a composer or like a new approach? So like a modern version of the classical piece, for example. That is a fantastic question. And I think my approach ranges from sometimes, yeah, from a more composition point of view, sometimes a bit more as a collage artist or arrangement. So rearranging how Chopin is presented in a way through electronics and sound design. And I think the core vision that detects everything I do is actually how I could utilize the classical music language to tell the story that I want to tell. And so sometimes the elements that I use will be different depending on what stories I'm wishing to tell. So what would you think then of classical music today? Like, do you think there is still space for classical music as it is, as it used to be and like it will always be? Or do you think we should be more open, you know, and embrace more this new wave of classical music? I think there is huge potential for both. I think classical music as it is in the traditional sense, as how I first came in contact with it and fell in love with it, I think it will always exist. That's the reason why it's still being played now. And there will always be an audience for it. At the same time, I think what's wonderful about classical music is because it's so. It's open in a way, and it's open for people's interpretations that are specific to their time as well. And I know that today there are lots of people doing interesting things that came from this classical tradition that's kind of expanding on where they came from. And I think that's also very exciting. So straight on this answer. How did you decide to become a classical musician? And actually the classical musician that you are now. Oh, that's two separate questions. So I've always. I started learning piano when I was five. And, you know, I have an interesting childhood in that I moved several countries with my mother. And I remember the first place that we moved to, I was born in Taiwan, was New Zealand, and I didn't speak English at all. And so naturally, I think I was a bit, you know, at such a young age, I think I was quite shy. And I think the only thing that I did, the only activity that made me comfortable was playing music. And so it was always a very central part of me playing piano in classical music. And I went through, you know, what a lot of people do, for example, competitions, recitals, concerts, master classes and so on. And then I came to London. I decided to pursue a bigger scene and I came here. And I think London completely changed me in the people that I've met, the stimulation that's around in the artistic world. And also, I think I felt like because I was so far from home, I'm free. I'm not tied to having to do anything by anyone. And so I completely broke free of just deciding to do what I want to do musically as well. Yeah, indeed. London is a magical place for classical music. Though maybe people don't think about it and is really pushing classical music forward, isn't it? Yeah, absolutely. And there is another thing that you said that I like very much. I mean, not speaking the language and finding your voice through classical music. I do believe that classical music is quite an international language and can speak to anyone, you know, independently by the fact that my know classical music as well. So, for example, we decided to listen to a piece from your album, Mademoiselle. It's called Detour. Can you tell us more about this piece? So this piece is actually probably more like a collage. And the inspiration for this was, I believe that it's quite a common occurrence when you have to get to a place but you really don't want to. And so you work your hardest to find the longest detour to get there. So every step you take is bringing you closer, but at the same time, the reluctance of getting there is also stronger. So this piece is a collage. It came from kind of me sitting in the room, improvising and then going in and out of different excerpts from different composers and then eventually landing into Chopin's Nocturne. Wonderful. So let's listen to it then. Sam sa. Sa. And this was the tour played by and composed by Belton from her latest album, Mademoiselle. We will be back after a short break. WRS women's radio station Voice of Women Worldwide Sarah's Universal Soul Show. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on women's Radio station. Welcome back. I'm Russ Cain. You're listening to in conversation with on women's radio station. I'm Angie. And I'm Patsy and we're open. To see what other programs we have on women's radio station, head to our website womensradiostation.com hi, my name is Michelle Bartlett, the founder of Live Laugh Love Ladies Club. We're looking for ladies to link arms across the globe. This is a new vibrant brand connecting women socially. Our club members enjoy great food, fun and inspiring speakers while making friends of all generations. If you're a social butterfly in your community, this fast growing franchise may be for you. Or we invite national companies to advertise within our close network of members. Please visit Live laughloveladies Club. Are you looking to enhance your career? Are you looking to grow your business? Well then why not? Visit wearthecity.com wearthecity.com is a website for working women. It's full of inspirational stories of women that have been there, seen it and done it. We also feature events, women's networks and other articles that may help you to progress both in terms of your connections and business ideas. Visit wearethecity.com and take your business or career to the next level. Women's radio station Voice of Women Worldwide presents future Classic Women Awards nominees concert Friday 23rd November at 7pm hosted by me, Stefania Passamonte with some of the most amazing nominees that we heard so far on the program. It will be St. James Catholic Church, Marylebone. Please join us for a fantastic evening of classical music. 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 WRS Women's radio station Voice of Women Worldwide Women's radio station is a not for profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artist on the classical panorama. Today we're talking to Belle Chen, an Australian Taiwanese pianist with an eclectic profile and career. So, Belle, I read that you've been performing for BBC Radio 3, the 70th anniversary at Royal Festival Hole and at the Roundhouse to Cafe Otto and that you've been selected among the best new music for BBC introducing classical artists of of the year in 2016. That is quite amazing. So I wanted to ask you how important it is for an artist today to record an album because not many artists I can tell you, you know, inviting artists on the show, there is some amazing, brilliant performers out there and they still believe that it's more important to concentrate on the live performance and action recording. And some of them, they think that the recording is like caging the performance, you know, limiting the performance on what is just on the actual cd. For me, for example, from my personal point of view, it's an amazing tool to bring your music where you wouldn't expect it to go. So that means, you know, reaching audiences that you, you've never seen and they become your fun even before you go there. So for you as a composer and pianist, what do you think about recording? I think I agree with you. I think for me it all started with recording actually. And I can understand why some people can see kind of a recording as caging a performance, but in a way it's also really realistic snapshot of an artist at that exact point in time. And I think recordings are so important first of all, as you said, to reach the audience that may be on the other side of the world, especially in this age. But also it's important for an artist especially to look back, say in 50 years time. It's so important to trace these steps. For example, I always enjoy listening to Brendel's recording when he was younger. And, you know, I think people find it extremely important. And, you know, we're lucky that he recorded. And so I think recordings are absolutely very important. So what would you say then? It's the difference before between doing a performance live in front of an audience, or, for example, doing it on the radio or, you know, on the recording itself. Particularly because a lot of your music for what I gather is like improvisations, inspiration. So when that's the case and you don't have a live audience in front of you, what inspires you? Is the inspiration completely different? Yeah, I think it's a super. That's an extremely good question. I really enjoy playing live because I think that's a different situation. When playing live, as you would know, you feel the energy of the audience with you. And I think the experience is both. It's spontaneous and it's intimate. It's intimate to the people who are in the room, in the hall at that particular time. And it can never be repeated in that way. And so life is very interesting like that. And it's also when unexpected things happen that could be both amazing moments and both kind of like risky moments, but still as good because it's quite thrilling. With playing on radio, I always felt safe, actually. I felt safe because I felt like I know that it's been broadcasted to people, but at the same time I am by myself and I don't need to, you know, I can just be with myself, with my thoughts. And so maybe for the audience, their experience from listening on radio to me performing will be more going into what's inside my head when I'm alone, as opposed to interacting with the audience. And recording itself is quite different because when something's going on tape, when it's going on, you know, a recording, you know that you can do it several times. And already there's kind of a sense of the need to capture the best, which means, you know, you may do an hour of the same thing, same segments, but in different ways to try to find that best moment. And I kind of compare recording to kind of like sculpturing, where you can work on something for a very long time to get that very polished product. I have another very good question. Okay, modestly, we just had the album day, the first ever album day with all the major labels and the media, the radio and the televisions, etc. And we were talking about the importance of albums today compared to EPs or singles that come out, how important it is for you an album. And how do you create an album. Yeah. For example, the title Mademoiselle. And then you put We Heard the Variations ending up on Chopin, for example. And how do you make that together? That together. I think there's. Yeah, it's a very interesting time we're in because the way that people listen to music has changed so much. And so I think when people want results, there's a tendency to go for singles because then you can put in, you know, the marketing work and the promotion behind it. And I think to an extent that's also influenced how I work as well. Like, I'm currently working on the next album for next year called Departure, and already the approach is very different to Meta Miselle. When I was writing Miselle, it was conceived as one. The album is conceived as one long work, like a major work. And I was trying to design what the experience would be from the moment the audience joins from the first track to the very last. Whereas for this upcoming one, Departure, because there's an emphasis on each single track to be self contained as well as making sense within the whole kind of scope of the album, it's definitely a very different approach. And I don't know, like, I can't say which one's better or worse, but I can just say that it does impact kind of the way I write and work. And definitely each album is a different journey, isn't it? While a single journey just keep you there for a very short time, it doesn't manage to depict you as a whole in that moment, in that phase of your creativity, I think. So we want to listen to a piece from the album. Listen London. I'm very curious about this, this album. What can you tell us about how did decided? It's quite, you know, imperative. Listen London. It's quite literal. So listen. So listen London was an older work. It's in 2014. And that's when I first started working with sound design. And I created this album because I didn't know whether I could stay in London. I came from Australia, so naturally I had this Visa thing that I need to sort out. And I've grown to really falling in love with London. And I felt quite sad because I didn't know if I'd leave, whether I can come back. So I wanted to capture everything that I could remember that I experienced. And so naturally I went to the streets and, you know, recorded hours of field recordings of sounds and then try to reconstruct them with the classical language to create these feelings that I was experiencing. Fantastic. So of this album you decided to actually choose the track. Listen London First Impression. Can you tell us what's happening in this track? So this track depicts the very first impression of London, which is. Oh, it's stimulating sounds and the colours and the accents of people talking, the sirens, the pigeons. And with it, I chose PO LNC's Intermezzo because it has a sense of urgency and the music itself drives the whole momentum forward. And so I teamed this up with layers of field recording captured around central London to form this track. Beautiful. I love Poulenc as well. So let's listen to Lisin. London First Impression by Belchen. It. This is where the MA said we should. And this was Listen London First Impression from Listen London album by Belchen. We will be back after a short break. Welcome to women's Radio station, the voice of women worldwide. Hungry an average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's Radio Station, we want to hear from you. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism and my guest today is Karen Nunn. I listen to Women's Radio Station Women. The possibilities are endless. That's what makes us different. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. 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This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.jermynstreettheatre.co.uk. women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Station. Our guest today is Belle Chen, an Australian Taiwanese pianist with. With a dashing international career. Belle, we heard some of your most amazing music and we already got an idea of your superstyle. Now, I want to ask you, do you have anyone who inspired you to go in this direction or it's just, you know, coming all from you? I think the direction happened initially very organically. I just wanted to try because I was kind of in a rebellious phase. I was, you know, I just wanted to break free. But after that, along the way, I listened to a lot of, you know, artists, not necessarily from the classical genre. I listened to people like Brian Eno, Bjork, Affix Chin, lots and lots of people, Robert Glasper and, you know, I was learning from the other genres, potential techniques that can be used with the classical language as well, such as sampling, the use of electronics, ambient sound and so on. But in terms of role models, that really kind of helped me to feel safe in pursuing this path, I think would be kind of my going back to when I started at Royal Academy Music. My professors, that's Ian Fountain, he really kind of. He was very calm and supportive and he ensured that the classical side is strong enough as a foundation. Yeah. And so he never stopped me from pursuing this. And at the same time, Joanna McGregor was also, you know, she was a very inspirational force in that she was also. She is also a woman. And for her to say, yes, if you want to do this, just go do it. It's an amazing thing. Yeah, I know Jan Fontaine. I had the pleasure to study with him as well when I was in the Academy. He's so good. Yeah, A very sweet guy. I remember the first lesson, he kept saying, amazing. I was like, well, no, give me critics. Yeah, so, yes. Yeah. But he's a super. Yeah, that's what you need Isn't it? The. The teachers are the most safe safety net that can actually bump you up more, you know, to. To success. And Joanna, it's an inspiration for any pianist really today that is trying to break through, isn't it? Yeah, definitely. Yeah. So what was the worst or most challenging moment in your career, if you had any? I got like, there's been really tough moments, but I don't know, I kind of just like forget about it, so I don't keep it in my brain. That's a very good technique. Yeah. But I do. I do know that, you know, being a musician is difficult to start with and I think being in London and being a musician, that's like doubly difficult to. And then being a woman and being a musician, being in London and doing things that's not, you know, it's not genre definable. It comes with its own challenges, but it's also very good. And, you know, I've. I remember when I first started, I was. I did feel like I had to fight through a lot of criticism that was coming from a bit more traditional kind of people. And I can see why it's happening and that's completely fine. But I think to get through that without kind of being a bit messed up requires a lot of. Kind of. What do you call it? Strength. Yeah, totally. Yeah, absolutely. And short memory helps as well. Yeah. And what was the best or most exciting moment in your career that you can. Well, every opportunity I have to share my music and work, like right now is one. Like, I'm just happy that it's been shared. I don't know. Recently I played classical next, and for me it was, you know, coming. Continuing from what I was speaking before. To come from a place where people are like, no one, you know, why are you doing this to classical music? You know, no one's going to take you seriously. To then be able to share my music on an international stage to the main decision makers who, you know, put me on there. Yeah. It's a really nice sense of like, yes, actually. All that effort. I'm going the right direction, basically. Yeah. And people are listening to you. Exactly. That's so important. Yeah, yeah, totally. So what would you say to a younger inspiring student or to a younger self if you could go back, for example, if I were to say to a younger self, I would say, don't be afraid to be who you are and to just do what you want as a person and artistically. And, you know, even when people criticize, it's a very Short term thing, if your vision is strong, it doesn't quite matter in the long run. So I would say don't let anyone hold you back. Absolutely. I totally agree with that. Wonderful. Now we would like to listen to Green on Black from Mademoiselle. So what's Green on Black? I would think of White on Black, for example, on the piano keys. What's Green on Black? Yeah, it's a very abstract title. And I was trying to describe a very specific moment where, you know, how when, I don't know if you've experienced this, where you're by yourself and in a moment where you can just feel everything, like all your senses are heightened and suddenly the most tiniest noise and sound becomes very beautiful, it becomes amplified, and the colors that you wouldn't normally see, it becomes very clear. And that's what the inspiration for this track was. Fantastic. And what was Green then? Well, it's a personal thing. All right, I really want to listen to it. Let's listen to Green on from Mademoiselle by Belcher. Sa. And this was Green on Black from Mademoiselle by Belcher. Now, Belle, you talked about. About Brandel, the album when he was young. What were you listening? What do you like to listen the most of, Brandel? Beethoven. All right, so what's your. Do you play again? Just classical music sometime? Classical music without improvisations or. Okay. Or is it too difficult being at this stage of, you know, your artistry path? I do practice myself. That's what I work on when I'm at home. I still, you know, work on my chops. And I very much appreciate repertoire in terms of. In concert performances. I mean, I don't think I've played a traditional classical recital since many years. No, no, I wouldn't expect that. You can't because, I mean, now you can, but in the sense that you are now Belcher. And everybody's expecting that, although you could surprise people. So imagine that. Oh, wow, there's an idea. Yeah. But if you had to choose something that represents you the most, what would that be like? For example, been playing Polanco. You made these variations that end up on Chopin. Nocturne. What would be the most, you know, near to you in sense of spirit, maybe in terms of repertoire, I have an affirmity to Ravel. I think Ravel is someone that is quite close to who I am as a performer and a pianist as well. So I enjoy as well. And also Ravel is very evocative and I think that's wonderful. It's Just very close to what I am as a person. Yeah. So did you do any piece that end up on Javel or Variation or travel? I have not messed with it, beautiful as it is. Yeah, yeah. I think the closest I've done to it is to kind of have Soundscape before it and then going into Ravel. Yeah. All right, wonderful. Well, we will be talking more with Bel after a short break. WRS women's radio station, Voice of Women Worldwide, Sarah's Universal Soul Show. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on women's radio station. Welcome back, I'm Russ Cain. You're listening to in conversation with on women's radio Station. I'm Angie. And I'm Patsy. And we're open. To see what other programmes will we have on women's radio station, head to our website, womensradiostation.com hi, my name is Michelle Bartlett, the founder of Live Laugh Love Ladies Club. We're looking for ladies to link arms across the globe. This is a new vibrant brand connecting women socially. Our club members enjoy great food, fun and inspiring speakers while making friends of all generations. If you're a social butterfly in your community, this fast growing franchise may be for you. Or we invite national companies to advertise within our close network of members. Please visit LiveLaughladies Club. Are you looking to enhance your career? Are you looking to grow your business? Well then why not? Visit wearthecity.com wearthecity.com is a website for working women. It's full of inspirational stories of women that have been there, seen it and done it. We also feature events, women networks and other articles that may help you to progress both in terms of your connections and business ideas. Visit wearethecity.com and take your business or career to the next level. Women's radio station Voice of Women Worldwide presents future classic Women awards nominees concert Friday 20 on the 3rd of November at 7pm hosted by me, Stefania Passamonte with some of the most amazing nominees we heard so far on the program. It will be St. James Catholic Church, Marylebone. Please join us for a fantastic evening of classical music. 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 WRS Women's Radio Station. Voice of Women Worldwide women's radio station is a not for profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future classic women awards on women's radio stations. Our guest today is Belle Chan, the Australian pianist with a dashing international career. And so, Belle, now it's time for the odd questions. Okay, so what's your strangest hobby? To free your mind or relax if you're very. A strangest hobby. Hobby. Strangest hobby for my mind to relax. I don't know. I mean, like, I love traveling. I love talking to people. I really love talking to people and just finding their stories. You mean strangers talking to strangers? Yeah, everybody. And I kind of like to in my head construct what I think is a life story, but in my head it may be completely wrong. But, ah, that's good. I like that. So I get a lot of kind of like energy from that. But to relax. Do you relax? I don't know. I don't know. I don't think I do. Maybe like my life is just music and so I can't answer that question. Maybe I need help. I'm not sure. All right. And do you have any ritual or superstition before starting a new composition or going on stage? Oh, going on stage, definitely. So I always request chewing gum. Chewing gum? Peppermint tea and like peppermint chewing gum. And a banana. A pack of nuts, sparkling water and decaf coffee. Oh, my gosh. That's a quite the combination. Yeah. So I have this thing that I have to go through and then once I've done it, then I'm set. Okay. Yeah, it's good. You don't go on stage with the chewing gum, do you? I heard before. I heard before because I've forgotten to sing. I don't think it stops me. So it's okay because I'm not the singer. That's very funny. And so actually, talking of which, what would be the most funny or embarrassing moment you can recall on your performing career? Performing career. Oh, yeah. Okay. So when I was younger, I went through the phase of, you know, wearing high heels, which is, you know, it makes me look good, it makes me feel good and also makes me trip on the stage on myself. And that's happened several times. Unfortunately, my coordination is not very great. And so these days when I play, I just don't wear shoes at all. So I can feel a bit more connected. Okay. And not, you know, not having the risk to injure myself beforehand. Absolutely. Okay. That's quite funny. Yeah. No, we had others that actually they forgot their shoes and because they had long gown and they had to, you know, perform on tippy toes. I'll swap them. That's very funny. And what do you think about wearing gowns? You know, performers still wear the formal attire is to have the long dress and these type of things. Do you do that or because you're an experimental avant garde artist, you can break to that etiquette cat as well? I think in terms of fashion, I think in my mind, I think the fashion of what you wear has to suit the personality of the performer. And so I. I remember younger, when I was doing more traditional recitals, I was indeed wearing gowns. But the more that I do, you know, develop myself and discover myself as an artist, and the more my music changed, the less the gown suited what I was creating. And so I stopped wearing it, actually. So these days I just wear whatever feels right. Yeah, yeah, yeah. Absolutely. Any color in particular? I am big on black, but, yeah, black, you know, because I've seen some of your pictures performing, that's why. Okay, you already knew. Okay, I already knew. But, you know, I wanted to hear it from you. Sure. Okay. People don't see you right now. All right, so the last piece that you decided to play for us is Chasing the Chirinda palace from Departure. So from your upcoming album. So who is Chirinda palace? Or what is the Trinidad Palace? Sorry if I don't know. I didn't know either until I found. So a trinda palace is a breed of small Zimbabwe bird. It's native to Zimbabwe. It can be found on the eastern highlands of Zimbabwe and also Mozambique as well. And I was, you know, I have this habit of going through sound samples, archives to see what's, you know, catching my ear. And the call of this particular bird really spoke out to me because the way it chirps is really rhythmical. Like it chirps in triplets consistently. And so I decided to write a piece of kind of using the kalimba, which is a thumb piano, and multi layering it upon itself with the sound design to portray this feeling of chasing these barriers quite carefreely along the highlands. That's amazing. Yeah, I want to listen to it then. Okay. So Chasing the Chirinda palace from Departure From Belcher. Sam. Sa. Sa. And this was Chasing the Chirinda palace from departure. So from Belcher. So Belle, what's your upcoming collaboration, if you have any or most interesting concert coming up. So I'm working on my new album which is reimagining how the piano can be used and where it stands in terms of like the performance kind of context. And this album, which will be turned into a live show, is full of tracks that's inspired by the sounds of traditional music and instruments from around the world, but mostly utilizing the piano. So in these tracks I'll be bowing the piano to evoke the sounds of Erhu and using it as a percussion instrument as such, which is closely related to my previous work that I did with Beibei who was on the show before. But this time it's kind of my own compositions and more traditional music based. And yeah, I think that will make its premiere like in terms of the segments from it as part of the Chinese Arts now festival that will be in January next year. Okay, wonderful. Fantastic. I have a question. Do you see yourself composing with orchestra? I have been asked that two years ago and I remember two years ago I was like, what are you talking about? But now that you've asked me again, I actually would say yes, I think so, because I think the way that I'm developing is more towards composing, performing as well as collaging. And so I don't see any reason that's holding me back from making that step forward as well. Yeah, totally. I mean, in general, when you look at great composer, they all have amazing compositions with the orchestra as well, while when they just stay to the piano they are less. Let's consider, let's say like Clementi for example, he made amazing contribution to music. But sure to the piano music, but not for the orchestra. Okay, fantastic. Well, best of luck with everything. It was amazing talking to you today. If you have any questions that you would like to ask to our guest or nomination for our Future Classic Women awards, please email presentersmensradiostations.com or tweet us @womensradiostn for a chance to win two tickets at our concert of the finalist of the Future Classic Women Awards. In the meantime, please come and join us to the nominees concert on 23rd November at St James Church in Melbourne. More details on the women's radio Station's website and EventBridge where you can purchase the tickets. A big thanks to our guest Belle Chen for the great chat and beautiful music played today. You've been listening to Future Classic Women Awards on women's radio stations live every day at 10am and 10pm London time. If you'd like to listen to it again or catch up on our previous programs, please head to my presenters page. 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