Having earned numerous distinctions both in Greece and abroad, pianist Nikos Zafranas has delivered recitals and taken part in chamber music concerts in various European countries, in South Africa, as well as in North America. What’s the key that unlocks the door to the international scene for a pianist? “It is such a multifaceted process that any attempt to draw a pattern would lead to a chaotic model. The competition is fierce, and anyone can come up with a personal definition of the “perfect” piano performance. However, there’s no such thing as perfection in nature – it is a pure invention of human imagination. An artist brings beauty into life, but this beauty is destined to remain artificial. We have every right to raise an eyebrow as to whether reality and a seeming perfection are truly compatible, but at the same time we continue to envision and strive for a life freed of problems, difficulties and failure, for a career driven by a series of made-up demands. A career so perfect that it ends up unnatural.”

Born in Thessaloniki, Zafranas obtained a Diploma in both Piano (under the guidance of Domna Evnouhidou) and Harmony in Greece, went on to have a Bachelor’s and Master’s Degree in Piano Performance at the University of Music and Performing Arts of Graz, in Austria, and concluded his PhD in Music Education at London’s Brunel University. Tracing the roots of his bond with the piano, he has no choice but to go way back in time: “I have been in love with the piano ever since I can remember myself. My mother has recollections of me persistently asking her to buy a piano so that I can start having lessons the soonest possible. At the age of four and a half, she gave way to my pleading, but it was really difficult to find a teacher. We were living back then in a small provincial town in the US, with a restaurant where customers could enjoy live piano music while dining. We paid a visit there and on our way out my mother asked the pianist whether he could have me as his pupil. To cut the long story short, this jazz pianist became my first teacher. We had a music notebook, where he transcribed (while listening to our family vinyl records) Greek melodies unknown to him, upon my request. He introduced me to the world of notes and passed on to me a profound love for music. It was only later that I fully grasped and appreciated the respect embedded in his attitude towards me.”

From his standpoint, every new recital is “an adventure, a challenge and a journey”. Through an in-depth knowledge of music and thanks to his solid background, it did not take him long to crystallize his goals and aspirations. “I rarely perform individual recitals. I always seek collaborations with other artists, taking part in permanent or occasional ensembles. I take delight in working alongside fellow musicians, as it’s a unique condition that allows you to co-exist, to communicate, and to evolve. The fundamental values of music cross paths with the basic virtues of life pursued by individuals and societies as a whole: personal growth, pluralism, self-esteem, and happiness. Our society’s prosperity depends on the ability of its citizens to pursue and accomplish these values. Therefore, society should provide its members with the knowledge and the opportunities for a meaningful life rather than a mere survival. As to my part, I feel compelled to share my rich experience in music.”

Even though solitude is no stranger to the life of a pianist, Nikos Zafranas cherishes companionship, communication, large ensembles and collaborations. He is a founding member in both the pianist group Piandaemonium and the Transcription Ensemble, while regularly joining forces with countertenor Nicholas Spanos. He has taken part in numerous opera productions hosted by the Thessaloniki Concert Hall and the Opera of Thessaloniki, teaming up with artists such as Renata Scotto, Agnes Baltsa, Elena Moşuc and Marina Voulogianni.

“Performing alongside an orchestra is one of the most unforgettable moments in the career of every pianist, as soloist works often bring out the technical and musical skills of the performer. On the other hand, the expectations rise to a higher level, as does the feeling of exposure and responsibility. As I perform, it is imperative to make my intentions clear to the maestro and the entire orchestra right from the start, by employing gestures and displaying every inch of my expressiveness. The pianist needs to communicate impeccably with the maestro in the blink of an eye – a goal easier said than done. In my first ever performance alongside an orchestra, at the age of 15, I recount having a disagreement with the maestro over the proper tempo. So, my introduction was really fast-paced, in total contrast with the orchestra!”

In his opinion, what is the quality that makes a good pianist? “It is difficult to single out just one quality, so I’ll name a handful: acute communication skills, speed of thought, adjustability, sensitivity, emotional engagement, and precision. Every time a pianist performs, the outcome of this performance cannot be defined beforehand. The pianist is not supposed to abide by rules and procedures, but to transform thought and knowledge into action. Therefore, a good pianist has no choice but to engage in soul-searching, and evolve in terms of technique, music skills and emotional maturity.”

In tandem with his career as a musician, Nikos Zafranas is currently teaching Music Education at AUTh’s School of Music Studies. His research interests revolve around cognitive development and music education, having appeared as a guest speaker in the 2011 TEDx Athens. “The education process can function both interpersonally and individually, the quality of the relation between teacher-student, teacher-music and student-music became my main point of focus. Music education is endowed with a different purpose when teachers aim at forging a meaningful relation with the students, as well as with music itself. It is only then that it can trigger a different experience, bound to remain unattainable if music teachers persist on focusing solely on sticto sensu musical results. On the contrary, a well-rounded relation could ignite a smooth and unforced progress within the activity of music”

Nikos Zafranas believes that music education can have an impact on the way we listen. “Comprehending how music works often demands a thorough processing of the signals we receive through our ears. Even if music stimuli are not processed in the same cerebral areas as language, it has been proven that the neural pathways activated in both cases are – at least partly – intersected. Having established that experience and heredity are the two factors that co-shape the neural circuits of our brain, it could be argued that our musical experiences, with which we become identified along the way, represent what we might call musical identity.”