Faculty & Workshops 2025
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By Povilas Jarmala
GINTARAS JANUŠEVIČIUS
PIANIST & PEDAGOGUE
Individual Piano Lessons
"Starting on the Right Note: Insight and Advice into the First Career Steps"
"Piano's Toughest Passages as a Practice Routine"
"One Piece, Many Stories: A New Approach to Concert Programming"
"Concert in the Dark"
Gintaras Januševičius has built an exemplary multifaceted career as a piano performer, pedagogue, narrator, and event producer. His conceptual recitals have taken him on tours all around Europe as well as the USA, PR China, Japan, and Brazil. His festival appearances include the Chopin Festival in Duszniki-Zdroj, Mozartfest Würzburg, Festival Besançon, and Dresdner Musikfestspiele to name just a few.
Leading a private piano studio since 2012, in 2020 he joined the staff of his alma mater, the HMTM Hannover. In addition to his stage and pedagogical careers, Januševičius founded and directed several music competitions, international piano academies, and numerous concert series. More information available here.
- What is your personal approach to teaching?
In my opinion, a great teacher must be capable of recognizing each student's individual potential and ideas, and must also be willing to share their knowledge and tools to help the student develop an outstanding stage act. My goal is to nurture a diverse range of artists with unique stories and voices, empowering them to reach as many audiences as they desire. In my view, no piece of music has just one definitive interpretation - every new interpretation has a right to exist, provided it is executed with exceptional quality.
- Alongside your piano lessons, you offer several group workshops. What would be their subjects this year?
I’m particularly excited about this year’s program. One of my favorite topics, concert and recital programming, will be introduced as a three-part interactive workshop involving research and creativity. Based on positive feedback from previous workshops on exercise and efficient practice, this year I’ll present a new kind of practice routine - one designed for maximum efficiency and with the potential to save a tremendous amount of time. Additionally, I’ll host a talk on the first career steps and the realities that aspiring 21st-century pianists must understand before embarking on their journeys. Finally, for the sixth time, the "Concert in the Dark" will showcase the evolution of interpretation.
By Jonas Šopa
JULIJA BAGDONAVIČIŪTĖ
PIANIST
"Contemporary Repertoire on the Competition Stage"
- Why is it important for today’s pianists to stay updated with new piano compositions?
The compositions being created today offer performers the opportunity to gain a deeper understanding of the cultural and social contexts that surround us and the themes that prevail in our time. Regardless of the artistic discipline, contemporary art provides a lens through which we can better understand the environment we live in - and the audiences we wish to invite to our concert halls. The inherent interdisciplinarity of contemporary music allows performers to use artistic expression to address important, complex issues. This dialogue with modern themes enriches the performer and elevates the art of performance to a new level.
- Does learning a modern composition enhance a pianist’s overall musicality?
Absolutely. I can understand why contemporary music sometimes provokes a kind of “rejection” reaction: its musical texts are often difficult to interpret at first glance, and memorable melodic lines or recurring motifs may be absent, which makes the learning process more challenging. Mastering these works demands patience, perseverance, and a methodical approach.
However, these challenges make the performer more versatile and adaptable to different musical situations. The success of this type of repertoire often depends on how deeply the performer has explored and internalized the work’s nuances. This opens a wide space for creativity, enabling performers to create “beauty” even in places where it seems impossible.
Julija Bagdonavičiūtė is a graduate of both the Lithuanian Academy of Music and Theatre and the Hannover University of Music, Drama, and Media. She actively performs as a soloist and as a member of the Meta Piano Trio, which recently toured Lithuania and gave performances in Austria, Portugal, Germany, and Estonia.
Bagdonavičiūtė is a prolific interpreter of contemporary repertoire with a particular interest in interdisciplinary art projects. Her recent highlights include a Concerto and installation for piano and a piece of furniture as well as (C)AM(E)R(A) for piano, two video cameras, and seven objects. She is the recipient of the 2021 Ernst von Siemens Scholarship for the promotion of contemporary music. In 2025, in collaboration with the Lithuanian Music Information Centre, she will release her debut album, which is dedicated to the works of Lithuanian composers.
By Daniela Zedda
GIULIO BIDDAU
PIANIST & RESEARCHER
Domenico Scarlatti on the Piano
Giulio Biddau has successfully combined a concert career with musicological studies. He completed his piano studies at the Conservatory of Cagliari, where he later assumed a professorship and became head of the keyboard department. He is currently on leave to pursue a doctorate in musicology at the Zurich University of the Arts (ZHdK) and the University of Music and Performing Arts Graz (KUG).
Biddau is the recipient of numerous piano competition awards, including the “Concorso Casagrande” and the “José Iturbi” competition. He has performed in prestigious venues such as the Konzerthaus Berlin, the Palau de la Música in Valencia, and the Oriental Art Center in Shanghai. His stage partners include the Accademia di Santa Cecilia and Les Siècles, to name but a few. His discography includes the complete recording of Gabriel Fauré’s Barcarolles (Aparté), the piano works of Respighi (Evidence), and the sonatas of Scarlatti (Aparté).
This is the fifth lecture in our academy series, dedicated to exploring the unique legacies of great composers and their unmistakable signatures in the world of music. In 2025, we turn our attention to one of the most fascinating and prolific figures of the Baroque era, Domenico Scarlatti, and delve into the interpretation of his remarkable sonatas for piano. Leading us on this journey is the renowned pianist, scholar, and educator Giulio Biddau. With years of experience performing and researching Scarlatti’s music, Giulio has not only recorded an extensive repertoire of these sonatas but has also become one of Europe’s foremost interpreters and lecturers on the subject.
- What advice would you give to someone taking their first steps in performing Scarlatti and seeking a deeper understanding of interpretation?
I would recommend reading the preface to the "Essercizi". One can truly sense the freedom and joy this music conveys. It is important to reflect on the meaning of Scarlatti’s phrase “ingenious jesting with art” and his closing words, Vivi felice - “live happy.” These words offer valuable insight into the spirit of his music and suggest an approach that embraces both virtuosity and playfulness.
- What are the most common mistakes in interpreting Scarlatti’s music?
The worst mistakes are playing with excessive staccato and attempting to imitate the harpsichord. In fact, we are no longer certain that the sonatas were meant to be played on a harpsichord rather than on a Cristofori fortepiano. Another issue I strongly dislike is the lack of flexibility in many performances. Scarlatti’s style is still closely connected to the Frescobaldi tradition, which requires a sense of rhythmic freedom and expressiveness. Overly rigid interpretations fail to capture the essence of his music.
By Mindaugas Mikulėnas
GERŪTA GRINIŪTĖ
TV & RADIO PRESENTER
"Stage Presence and Presentation"
- How important for a pianist or any music artist is the ability to speak fluently in public?
I think if you want to be understood correctly, broadcast some information, or just try to get along with the audience, it’s a good idea to practice public speaking. In general it’s quite useful when you communicate with the world. Everybody can speak fluently in public - it’s just a matter of practice.
- Many young artists nowadays have doubts whether they should try presenting their programmes. Is bad presentation capable of ruining a concert experience for the audience?
Even if the artist performs wonderfully, bad presentation can surely leave too many questions or even a bad taste in the mouths of the audience. Don’t get me wrong - sometimes it’s really best to let the music talk. But in many cases you should be prepared. I have seen young artists prepare speeches and read them from the paper in a silent and shy manner - this might even leave an impression that one was forced to present despite own wishes. The artist feels bad, the audience feels bad and no one really needs it.
Generally, it is always a good advice to remember why one chose to perform that particular piece for this particular audience. If the artists knows that "why", he or she will be able to channel it into the enthusiasm and passion. The audience waits for the artist with support, looking forward to hear something fresh, new, and authentic. Trust yourself and trust your audience and you will both enjoy a memorable evening.
Gerūta Griniūtė is well known to audiences as the presenter and juror of the Lithuanian national pre-selection of the Eurovision Song Contest, as well from her work on numerous shows on the Lithuanian National Radio and Television ("Dainų Dainelė", "Nacionalinė Ekspedicija") and LRT KLASIKA ("Mūza ant Peties", "Bazinis Akordas").
She graduated from the National M. K. Čiurlionis School of Arts as a pianist and received her Bachelor of Piano Performance at the Lithuanian Academy for Music and Theater. She went on to obtain a masters degree in analytic journalism at the Vilnius University. In addition to her TV and radio credits she is also an acclaimed presenter at most important Lithuanian festivals and competitions.
LINA KRĖPŠTAITĖ
PIANIST & EVENT PRODUCER
"Beyond the Hours at the Instrument: What Else is Needed for a Career"
Lina Krėpštaitė has been working in cultural management since 2003, when she joined the organizing team of the prominent Pažaislis Music Festival. Currently working there as a Project Curator, Lina is responsible for program development, networking with artists and local partners, preparation of publicity materials, and project implementation.
Krėpštaitė combines her cultural management activities with her musical career. In 2011, she founded the Kaunas Piano Trio, with which she performs both in Lithuania and abroad. Her discography includes collaborations with the baritone Giedrius Prunskus and the Kaunas String Quartet. She is currently working on a CD of works by one of the most prominent contemporary Lithuanian composers, Zita Bružaitė, which is set to be released in spring 2025.
- Can pianists showcase their personality and artistry through their portfolio?
It is said that the moment someone enters a room, we immediately form an opinion about them. It might not necessarily be accurate, but whatever that opinion is, our brains are often very reluctant to change it later. I believe that a performer’s portfolio functions as their “entrance into the room,” so it is crucial that, from the moment a listener or concert organizer opens it, they receive the right information - or, in other words, the information the musician consciously wants to convey. We should always remember that changing a first impression is very difficult, which is why we must dedicate maximum attention to the quality of the portfolio.
- What is the value of performing unpaid concerts early in a career?
For a musician’s career, I see three essential elements: the highest level of musical and professional mastery, a strong network of quality contacts, and a loyal audience community. For a young performer, every concert and participation in various events can be a fantastic opportunity to grow in all of these areas. Therefore, I view such performances as a wise investment in one’s future.
By Chris Day
MACDARA Ó SEIREADÁIN
CLARINETIST & PERFORMANCE COACH
"Psychology as a Backbone to a Stage Career"
Personal Coaching Sessions
- Why do you think performance psychology is essential for the modern pianist’s success?
For the modern musician, the mental aspect is as important to success as the physical side. Performance psychology is essential because it helps us perform to the best of our abilities, regardless of circumstances or distractions. It equips us with the skills to deal with disappointments, recover from mistakes, embrace the right mindset, and make the stage a place we enjoy being on, rather than fear.
- What advice would you give to a pianist who needs to recover mentally after a bad performance?
The most important part is to separate the role of the performer persona from the personal self. As musicians, we can be obsessed with perfection, and in almost every performance, there will be things we would like to change. Often, we are guilty of attaching our self-worth to our performances, thinking that a “bad performance” makes us bad people. This is very destructive, which is why recognizing that you are more than just a performer is paramount.
Additionally, it is wise to perform again as soon as you can. The longer we wait after a performance we are unhappy with, the more we may fear getting back on stage. Performing in the days following, whether in public or just for friends, helps us replace the negative concert experience with a more recent, positive one. It also helps us prove to ourselves that we are resilient and that no matter what happens, we will keep going.
Macdara Ó Seireadáin is a native of Dublin and a First Class Honours graduate of both the HMTM Hannover and the Royal Irish Academy of Music. In 2019, after holding orchestral positions in Austria and Germany, he joined the RTÉ Concert Orchestra as principal clarinet. In addition to this he is a member of the Dublin-based Ficino Ensemble with whom he has recorded several acclaimed CDs.
A multiple prizewinner, in 2010 Ó Seireadáin won the inaugural Irish Freemasons Young Musician of the Year competition and has performed throughout Europe, the USA, Canada, China, Chile, and India. Alongside a busy performing career, he lectures on performance psychology and has coached musicians worldwide to orchestral audition and competition successes.
SPECIAL GUEST
HAIOU ZHANG
PIANIST
KPM Young Pianist's Podcast: "Pianist in the XXI Century"
Haiou Zhang is regarded as one of the finest pianists of his generation. The Grand Prix winner of the fifth Vladimir Horowitz International Piano Competition launched his career in 2005/06 with celebrated performances at the Braunschweig Classix Festival and has since appeared on stages around the world.
In recent years, he has performed at venues such as Bechstein Hall in London, the Brucknerhaus in Linz, the Elbphilharmonie in Hamburg, the Shanghai Concert Hall, the Berliner Philharmonie, and the Gewandhaus in Leipzig, to name but a few. His musical collaborations include performances with the NDR Radiophilharmonie, the Leipzig Philharmonic Orchestra, the Orchestre Royal de Chambre de Wallonie, the Jerusalem Symphony Orchestra, and the Beijing Symphony Orchestra. He also serves as a visiting piano professor at the Nanhai Conservatory of Music and the University of Arts Inner Mongolia in China.
The newest KPM workshop format is an upgrade of our Roundtable Discussions. This time, our aim is to produce a podcast fully moderated by our students. Our guest is the acclaimed Chinese pianist Haiou Zhang. He will receive exactly 25 questions, as each active participant will be asked to take the initiative and lead the discussion on one topic. Mr. Zhang will gladly share his experiences, gathered both on the world’s stages and behind the scenes, as he has built an exemplary pianistic career and an extensive network.
- How do you think personal habits have helped you maintain consistent progress in your career?
First, I always try to keep a structured system in mind. Having a clear workflow and an organized approach helps me stay efficient and focused on my goals. Second, I make a conscious effort to avoid postponing tasks. Instead of saying “I’ll do it later,” I prioritize getting things done immediately whenever possible. Procrastination can easily become a roadblock, so I believe in acting promptly. Lastly, I am constantly researching and mapping out my professional landscape - understanding who is who in the industry, staying informed about key players, and strategically aligning my goals accordingly.
- What do managers and agencies typically look for in potential clients?
Managers and agencies generally seek clients who demonstrate stability and financial capability. Having a reliable budget is important because it allows for sustainable career development and project execution. They also look for artists with strong infrastructure - meaning musicians who have the capacity and platform to facilitate diverse collaborations and industry exchanges. Lastly, deep roots in their local or regional scene are highly valued. Artists with a strong presence in their home market often have a solid fan base and industry connections, making them more attractive to managers and agencies looking to invest in long-term potential.
DAIVA PALUBINSKAITĖ
FITNESS TRAINER
Pilates for Pianists
- How can Pilates exercises help pianists?
The unique exercise system practiced during Pilates sessions was developed by the legendary physiotherapist Joseph H. Pilates. His method is notable for strengthening the deep muscles of the body. Moreover, the calm nature of Pilates sessions makes them suitable and beneficial for people of all ages and fitness levels, including athletes and musicians. Pilates is considered one of the safest forms of training. It helps alleviate various pains in the lower back, shoulders, and neck. It gradually strengthens the core muscles, with special attention to the muscles that support the spine. It also teaches proper breathing techniques.
- What can our students expect during the session?
Pilates is an ideal workout for those trying exercise for the first time as well as for athletes looking to improve their performance. Since all movements are performed slowly and with controlled precision, Pilates delivers long-lasting results. For these reasons, it is especially recommended for people whose professions involve prolonged sitting. During the session, we will focus on proper posture and perform fundamental deep muscle strengthening exercises, incorporating specialized equipment as needed.
Daiva Palubinskaitė is a highly experienced group fitness trainer with 25 years of professional practice. She holds a Bachelor’s degree in Choreography and a Master’s degree in Physical Education Pedagogy from Klaipėda University. Certified by Stott Pilates in London, she specializes in Pilates for various groups. Additionally, she is an experienced yoga teacher certified at the TTC500 level by Shivananda Vedanta Yoga.
Palubinskaitė is the founder and trainer at the wellness studio Ginsvė and serves as a lecturer at Klaipėda State University of Applied Sciences and the Lithuanian Academy of Music and Theatre. Her teaching subjects include anatomy and injury prevention, physical activity organization, healthy living, and creative movement for preschool children. She has authored publications on various health-related topics.
