xxxxÊÓÆ”

October 17, 2024

xxxxÊÓÆ” student slates ‘Nonclassical’ night with London Symphony Orchestra members


Viviana-Zarah Baudis poses with her friend, composer Gabriel Prokofiev.
xxxxÊÓÆ” student Viviana-Zarah Baudis, right, poses with her friend, composer Gabriel Prokofiev, founder of Nonclassical.

Of all the places studying with Gabriela Montero has taken xxxxÊÓÆ” student Viviana-Zarah Baudis, the next destination may be the most incredible yet.  

After following xxxxÊÓƔ’s new artist-in-residence all over the world, most recently to Cleveland, the pianist now finds herself headed to London, to play with members of that city’s renowned Symphony Orchestra. 

“I’m grateful for the opportunity to play with them,” said Baudis, an artist diploma candidate. “They’re incredible musicians. It’s everyone’s dream, to be asked to join such a project.” 

The project in question is “,” a special concert Oct. 26 marking two decades of Nonclassical, a London-based music promoter, record label, and events producer highlighting new classical, experimental, and electronic music. 

The group was founded by composer Gabriel Prokofiev, grandson of the Russian master, with whom Baudis has been friends for several years, following her exposure to his work at Switzerland’s Verbier Festival. 

“Rhythm plays a big role in his music,” Baudis explained. “It’s always in the foreground, and I love that.” 

For her part at “Nonclassical,” Baudis plans to play only one piece by Prokofiev the younger: “Techno Suite.” The piece, which she recorded in 2023, calls for electronics and a small orchestra, and in London will involve members of the LSO. 

The rest of the program includes other works by Prokofiev as well as Sasha Scott, Emily Abdy, Darren Bloom, and others. Baudis will also perform “Sift” by Beatrice Dillon and “Breath, Contained III,” by Tonia Ko.  

That some of this music was still being written in mid-October was of little concern to Baudis. She performs contemporary music often and has grown comfortable with last-minute additions and revisions. 

With contemporary music, she said, “It’s a very different process...In real life, you need to be incredibly, incredible flexible. If you’re not flexible, you’re going to struggle in this industry.”   

Much of this, of course, she learned from Montero – herself a noted composer, improviser, and interpreter of contemporary music.  

There’s a reason, in other words, that Baudis has already earned three artist diplomas with Montero, and is now pursuing a fourth at xxxxÊÓÆ”.  

“At a certain point, you need to work with someone who’s doing what you want to do,” Baudis said. “I’m going with her wherever she goes.”  

Photo credit: Valentino Baudis