Ludovic Zamor: The Classic Pianist Enchanting Audiences Around the World
There is something captivating and timeless about a classical pianist. They are the epitome of musical refinement, possessing artistry that can transport listeners to another time and place. While there are many different types of pianists, classical pianists have a certain magic about them that is undeniable. This is what makes Canadian-American Concert Pianist and Recording Artist Ludovic Zamor, a musician you need to know.
Ludovic started learning about music theory, tonal harmony, and the piano from his father at the tender age of 3. When he was seven years old, he started studying under Performance Major and Music Historian Karen Femia at the Frank & Camille’s School of Music. He gave his first solo recital at that same age. By 18, Ludovic had already appeared on stage at Carnegie Hall. Today, Ludovic plays with precision and grace and never fails to mesmerize his audiences.
In a brief interview, I got to speak to Ludovic about growing to love the piano, his musical influences, and more. Brilliant does not begin to describe who he is or what he has accomplished.
Thank you for taking the time out of your busy schedule to chat with me. You came to love the piano very early on in life. What inspired you to choose such a timeless and classic instrument?
I’d say what and who inspired me to choose the piano was my father. He was my first teacher and started me at 3. For as long as I can remember, he’d play in our living room Beethoven sonatas, or Chopin waltz’s on our Baldwin piano. Between his playing and all the records, CDs, and cassettes he would play for me to listen to, I learned how much gravity the piano had over other instruments.
What’s your favorite thing about being a classical pianist performer?
I think my favorite thing about being a concert pianist is after a show when all is settled and quiet and, I get approached by an audience member that was patient enough to wait until all the fray had passed to have a private and intimate conversation. And they share with me the feelings they had felt in their bones, how connected they were to the music, what was a buried memory that was uncovered because of a fleeting harmony they heard from me.
Who are some of your favorite classical pianists, and why?
To say a few, Vladimir Horowitz, Arthur Rubinstein, Martha Argerich, Khatia Buniatishvili, Evgeny Kissin, Valentina Lisitsa. I feel like listening to their recordings transported me to a different world. It’s their ability to share emotion through music, to be able to touch someone’s heart and affect them.
Who are some of your biggest musical influences, and how have they shaped how you play the piano?
I have four musical influences that shaped me. 1) my father was my first teacher and showed me the basics before he realized he needed to get me a proper teacher. 2) Karen Femia Amato taught me since I was seven years old. She put me on the path of being a technically and theoretically sound performer. Sometimes I sit in on her lessons as she teaches youngsters, and through that, I remember long-forgotten basics. 3) I’ve done several Masterclasses with him, Joe Graziose, a professional music adjudicator. With his critiques and advisement, I feel like my performances have become more intentional both in emotional context and technical stability 4) Avraham Sternklar, I like to call him my piano grandmaster. I have a master pupil relationship with him. The lineage of his teachers traces back to Busoni, who transcribed the aforementioned Chaconne, and further back to Liszt, Czerny, and even Beethoven. As I would study with him, I felt a responsibility to cherish the opportunity and show gratitude and appreciation to his vast knowledge. And in passing, I would hear stories of touring used to be and how he was throughout history.
How did you overcome any challenging pieces of music you learned to play?
The most challenging piece I’ve ever played was the, Études d’ execution transcendante d’après Paganini, S 140 Etude №6. To overcome its challenges and learn it, I found myself accepting that the piece wanted me dead. And I committed that to learn it, other things in life would have to die, and I would have to give up. For months I dedicated my attention to it and nothing else. I gave up warm sunny days outside, gave up some feeling in my fingertips. I would spend 5–6 hours at a time in a trance, working on single measures. There were moments that I would sit at the piano without touching it, staring at the music, with three different metronomes chirping at the same time, while I was focusing, trying to comprehend the piece’s polyrhythms. The original piece for violin was the only music I listened to, trying to capture the essence of what I what putting my whole self to. Every time I play it, I think to myself, I shorten my life by marginal amounts because of its physical demands.
How can I people connect with you?
People can connect with me by following my Instagram @ludoviczamor and follow my Facebook @ludoviczamor