Junyan Chen was the winner of Second Prize & The Marion Thorpe Silver Medal, the Alexandra Dariescu Award for Work by a Woman Composer and the Yaltah Menuhin Award (Chamber Music Prize) at the Leeds International Piano Competition 2024. We sat down with Junyan to get the behind the scenes details on her life and career as a pianist.
Who inspired you to first start performing?
My family has always shared a deep passion for music. My mother was actually my very first piano teacher. Throughout my journey to becoming a professional pianist, I’ve been incredibly lucky to have supportive and inspiring people around me—teachers, fellow musicians, and friends. Each of them has played a role in motivating me. I find a lot of energy and ideas in my surroundings, whether it’s from other artists or from composers whose music resonates with me at a deep level.
What is your biggest achievement from your performance career so far?
I like to think that every achievement in my career is significant, but 2024 was a major milestone. Receiving recognition from my dream competition—the Leeds Piano Competition—and signing with Askonas Holt for representation has really solidified how I approach music. It underscores the importance of the hard work and dedication I’ve put into my craft.
What is your favourite part about performing? And your least favourite? Why?
I love the thrill and excitement—those nerves before going on stage. They reflect how prepared you are, and they remind me how special it is to share music I adore. Communicating directly with the audience through that music is one of the most wonderful experiences.
My least favorite part is the feeling of isolation that can happen on stage. You’re entirely responsible for everything that happens in your performance, which can create pressure and a certain degree of loneliness.
What advice would you have for upcoming artists wanting to follow in your footsteps?
Play music that genuinely captivates you. When you’re truly drawn to a piece, you’ll find yourself energized by the long hours of practice because you’re exploring something that speaks to you personally. Always remember to make music, rather than just playing the instrument. It’s a subtle but crucial difference—when you’re authentic in your choices, the result resonates much more deeply with both you and your listeners. Trust your instincts and maintain that artistic integrity.
What inspired your current programme? Do you feel an infinity to a particular composer/era and what draws you to them/it?
I often choose works that make me feel profoundly connected to the composers. I have a particular admiration for 20th-century composers—Bartók and Liszt are so exciting in this programme for their technical intensity and deep emotional range. Their music can be extremely challenging, but there’s tremendous beauty in the process of understanding and interpreting their compositions. Meanwhile, Bach and Beethoven are timeless in how they can be playful, fierce, elegant, and even jazzy at times. Their diversity of style and emotion has kept me enthralled ever since I first started playing their works.
What is the future of classical music? Do you think it’s still relevant to people today?
I believe classical music remains very much alive and essential. It continues to evolve through new interpretations, modern collaborations, and fresh programming. Audiences still connect with the timeless emotional truths embedded in these works. It’s a living art form, and I’m confident it will stay that way.
How do you hope the Harrogate audience responds to your concert?
I would love for them to fall in love with these pieces the way I have. I’m very excited to connect with everyone through the music—and to make new friends in the process.