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EVELINA DE LAIN TRIO (Piano, Flute and Cello) Virtuoso pianist and composer Evelina De Lain is a unique and multi-faceted artist, effectively blending classical performance, contemporary classical composition and jazz interpretation into an innovative and compelling concert style. This highly-skilled TRIO (featuring incredible flautist Alisa Klimanska and highly-accomplished cellist Frederique Legrand) merges arrangement, improvisation, art, vocal and instrumental performances creating an exclusive and sophisticated aural environment. The programme features a mix of classical, jazz and original music.

Saturday, 10 May 2014

PRESS RELEASE for Evelina De Lain Trio + Anthony Quinn's exhibition in Fitzrovia's Gallery Different

Evelina De Lain Trio concert at Gallery Different in Fitzrovia W1 is presented on May, 21st at 7pm together with Oscar Winner  Anthony Quinn's (1915-2001) Art exhibition. 

EVELINA DE LAIN TRIO (Piano, Flute and Cello)

Virtuoso pianist and composer Evelina De Lain is a unique and multi-faceted artist, effectively blending classical performance, contemporary classical composition and jazz interpretation into an innovative and compelling concert style.

This highly-skilled TRIO (featuring incredible flautist Alisa Klimanska and highly-accomplished cellist Frederique Legrand) merges arrangement, improvisation, art, vocal and instrumental performances creating an exclusive and sophisticated aural environment.

The programme features a mix of classical, jazz and original music. 

“What an honour... Your jazz interpretations stopped me in my tracks”. 

“Her own composition is a great piece of work. I love it!” 

“Evelina is rapidly inventing her own genre... She is a unique creation”. 
– MARK WATTERS, Five-time Emmy Award winning composer.

Unique brand of music!
– TONY REMY, guitarist, producer, composer.

You are a genius pianist! It's not just what you're playing it's what you're saying!
– ANDREW ROACHFORD, singer, pianist, composer, award-winning artist.

Best regards, Evelina De Lain Management. 
(Please, email evelinadelain.management@gmail.com to be added to the guestlist)

Continue for Press Release. 


Evening of Music and Art at Fitzrovia’s Gallery DIFFERENT: Evelina De Lain TRIO + ANTHONY QUINN’s exhibition

9 May 2015, LondonFor Immediate Release

On 21 May 2014 at 7 pm Gallery DIFFERENT will be hosting an evening of art and music showcasing a solo exhibition of late Oscar-winning actor ANTHONY QUINN's artwork, and performance of contemporary classical and jazz composer and singer EVELINA DE LAIN’s trio (with Frederique Legrand on cello and Alisa Klimanska on flute). The event is held as part of Gallery’s ART AND MUSIC series.

ANTHONY QUINN (1915 –2001) was a Mexican American actor, as well as a painter and writer. He won the Academy Award twice: for Viva Zapata! in 1952 and Lust for Life in 1956.  His work as an artist is less well-known, while his artworks are created with an extraordinary talent.
With Masters in Music from Kiev Conservatoire, Evelina performs classical recitals with the same ease as jazz and contemporary concerts. Having released three albums and two sheet music books, and with two new albums on the way, Evelina has already gained international recognition.

Five-time Emmy Award winning composer MARK WATTERS called her ‘a unique creation’ that is rapidly inventing her own genre’, while legendary American jazz singer TONY BENNETT said that her ‘jazz interpretations stopped him in his tracks”.

Having participated in A-List events, including top*[1] national exhibition opening and awards, Evelina has appeared before Prince Charles and Duchess of Cornwall, UK prime-ministers John Major and David Cameron, Prime Minister of France Francois Fillon, etc., legendary musicians Michael Jackson, Whitney Houston, Lionel Ritchie, etc., and award-winning actors, incl. Russell Crowe, Nicole Kidman, etc.

The tickets cost £15 and £12 (concessions) and can be purchased online at http://www.evelinadelaintrio.eventbrite.co.uk. There will also be a limited number of tickets at the door priced at £15.
For further information please contact Evelina De Lain at +447956002507 or management@evelinadelain.com


Frederique Legrand (Cello)
Having started playing the piano at the age of 3, Frederique went on to complete her diploma at the Valenciennes Conservatoire, to obtain Bachelor of Music Degree from the Royal College of Music, under the instruction of Alexander Boyarsky, and in 2009, to finish her Masters Degree at the Royal College, studying with Thomas Carroll. For the last three consecutive years, she was nominated as an RCM ‘Rising Star’, in addition to which she has been selected as the Mills Williams junior fellow and in 2012 finished her Artist Diploma. Frederique is a member of the Hera Quartet (Proms 2010, Wigmore Hall, Elgar Room, South Bank) and plays in several orchestras. In addition she works, composes and plays regularly with bands such as “Outside Royalty” (Rolling stones magazine, Sony “Pop law” distribution), Young Knives, Stephane Corbin, playing keyboard and electric cello for recordings and at festivals such as Glastonbury, V festival, Channel 4, BBC 3, Cranberries Tour 2010 etc.

Alisa Klimanska (Flute)
Having won a number of flute and chamber music competitions in her native Latvia, Alisa Klimanska has graduated from Guildhall School of Music and Drama, and is currently residing in London.

About Gallery DIFFERENT
Located in the heart of Fitzrovia, London, Gallery DIFFERENT presents contemporary painting, sculpture, drawing, print, photography and mixed media from BRITISH and INTERNATIONAL ARTISTS.

[1] Hundred Most Influential Women of the UK Award, Opening of Hollywood Costume Exhibition at V&A Museum, etc.

Monday, 6 February 2012

A story about my evolution as a composer.

I sit down to the piano regularly at nine-o'clock in the morning and Mesdames les Muses have learned to be on time for that rendezvous.
Pyotr Tchaikovsky.

Magic hands :)
I attempted my first improvisations when I was 7-8 years old, but I wasn't encouraged by my mum (who was also my teacher), she thought it would distract me from the classical music.
I wrote my first songs when I was 12-14, they were pop-ballads, it was my first "rebellion" against classical...
That's also when I started interpreting famous songs in different styles, reharmonizing most chords. 
When I discovered more about jazz at the age of 16 - I have started developing my own style straight away, writing my first instrumental piece that I called "Art No 1". (The next 4 "arts" followed shortly).At 17 I wrote "Pavana" (which appears on my debut album "The Girl With the Flaxen Hair. Continued..." - you can listen to it here: "Pavana" on Youtube). But still, in those years I was more focused on being a singer-songwriter and I wrote an incredible amount of songs from the age of 16 to 21, sometimes I would write 3-4 songs a day. I remember I used to travel a lot by trains in those days - and I wrote many songs on the train just looking at the passing landscapes...

When I started working abroad at 22 - I was very focused on developing my jazz skills and I didn't write that much anymore, spending more of my time learning American Songbook.
I abandoned classical music almost completely and only rarely played some popular compositions on request, preferring to focus solely on learning and performing jazz standards.
There were only a few instrumental tunes that I wrote in those years - two of them are on my CD - "The Circus of Life" and "Autumn" - check them out on youtube: "Circus of Life" (video)  and "Autumn" (Live) .

I really got back to writing piano compositions when I first came to the UK quite a few years ago and I was encouraged by a library music composer Jimmy Kaleth, who spotted my talent straight away.
That's when I wrote "Dark Angel" ( "Dark Angel" short animated film ) and a few other tunes that are still making their way into my future scheduled albums.
I kept writing a little when I went back to work on a cruise ship. I played in a place called Observatory - it had glass walls and while playing piano I could see all the beautiful sights.
That's how "Norwegian Fjords" and "Dolphin's dance" were born.
 "Norwegian Fjords" video   and Dolphin's Dance (live)

Writer's Block.
After getting back to London, I got a writer's block that lasted for about 3 years and it was quite scary for me, coz I felt that I wanted to write, but nothing was "coming out".
At this time I was listening to a lots of great music performed by my amazing colleagues, fantastic London musicians and they kept telling me to write, but I struggled. Now, looking back at it, it felt more like having an "incubation period" for my new style that was already conceived and needed some time to stay "inside" before it was born.
I was encouraged by my musician friends to check back to my classical roots and play some Debussy and maybe even improvise on it.
(they did notice that my style of improvisation had a lot of classial influence and they encouraged me to develop it).
I first rejected the idea, but later started renewing my knowledge of some classical pieces and realising that I'm missing that part of my life.

I love this Yamaha piano. 

At the time I was getting lots of education in psychological and coaching techniques and I've been applying them (on my own and with the help of my collegues) in an attempt to start my creative flow once again.
And it worked spectacularly.
One day my writer's block got "lifted" and my ability "came back with the vengeance".
I started writing on a completely new level, developing my own style that eventually earned me compliments from my colleagues, such as: "a composer in a class of their own", "unique style with classical influence", "updating 20th century harmonies with the touches of jazz" etc.
That's when I wrote the rest of my debut album "The Girl with the Flaxen Hair. Continued...".
It took me a while to decide if I want to develop my career as a composer-pianist or a jazz singer-pianist and after a very long consideration I decided to go with my composition first, preferring to put my "jazz side" on the back burner for now. I still do get to play a lots of jazz gigs, mostly with my special interpretations of jazz standards,  but when it comes to how I see myself and my career - I consider myself a composer/pianist.

Style and influences.

How would I describe my style?
Now I call it CLAZZ, but that definition didn't come to me till 2011.
At the beginning I'd consider myself polystylic - if you break it down - you'll see bits and pieces of many things that 20th century had to offer.
There's first of all - impressionism, then a slight bit of romanticism, an obvious link to modernism and postmodernism (a bit of minimalism), and of course jazz and, maybe, new age (whatever they mean when they say "new age music" :)).
For a while I setteled in "contemporary classical" and neoimpressionism category.
Sometimes my compositions are stylistically different even withing one project.
But I presume, they are kept together by my overall personal style of writing and performing.
I currently write a lot and I keep referring to classical form more and more, whilst keeping the content to other styles.
So, overall, I'd say - CLAZZ is the best definition for what I do. 

I'm now greatful that I endured many years of classical music education, because it seems to me that all that knowledge is deeply embedded into my subconscious and I never have to think about harmony or theory, the music seems to flow improvisationally, while still keeping the structure.

I like "breaking the rules" of classical harmony, so I often go for a dissonance - so favoured by the famous modernist composers.

Alfred Schnittke once said "My goal is to bring together serious music and light music, even if I break my neck doing so".
Well, I would not go as far as that, but I can certainly relate to what he was saying (and doing).
I have more harmonically complicated compositions and light compositions within the same project or I even combine a simple form with some unusual harmonies within one composition, so I guess in this way, I'm slightly similar in my idea to what Schnittke was talking about.

I guess, in my youth I was mostly impressed by Debussy, Ravel, Chopin, Skryabin, but the 2 greatest influences on me were Shostakovich and Schnittke.

People have been also saying that I'm similar in style to Erik Satie and Ryuichi Sakamoto, but I have to admit, that I found out about them only couple of years ago, so they didn't have any bearing on my development of the composition style, although surely I can see the similarities, which is a nice surprise because I fell in love with their music straight away. Even though they are separated by the century.


I was happy to release my debut album "The Girl With The Flaxen Hair. Continued..." which I can play solo, duo and trio (I arranged it for piano, viola and soprano sax/clarinet).
I hold this album dear to my heart and never get tired of playing it.
I released it with Sheet music book.
My book on a stand of my Yamaha P90, which I adore
It contains all the album compositions and 2 bonus pieces that are quite complicated.
You can take a look at my book here:

 Meanwhile, I had written 3 more albums in 2010.

One is an ambitious project called "Seasons and places" in which I was inspired by  Tchaikovsky's idea of a piano cycle dedicated to 12 months of the year.
Only I've taken it a step further and put each month in a different country.
So we have "August. Tango in Buenos-Aires", "September. Tokyo skies" or "January. En evening in Tchaikovsky hall, Moscow" and so on.
I have also extended it to 13 months - where 13th one is happening "En route to North Star".
(By the way, 13th month used to exist in roman times and was called "Undecember".)

The other album contains all the tunes that I deemed "simple" and it's not surprisingly called "It's that simple".
It consists of  piano/cello and vocal tunes that are not high brow at all and are very accessible. The albums are scheduled to be released in 2012-2013.

The third one was "12 Colourful Preludes" (released in 2011 together with the book).
Click here to see Preludes videos

12 Colourful Preludes. Artwork by A. Khrobostova.

How it all changed in 2011

It turned out to be the best creative year I've ever had in my life.
Firstly, after almost 12 years - I managed to return to classical music and surprisingly, I haven't lost most of my form. 
I was fortunate to play 22 concerts around USA and Canada where I performed classical as much as my own music and it was all very well received.

Then, as I already mentioned, I finished production for my "12 Colourful Preludes" - digipack and the book and I'm very happy with it.
I was extreemely fortunate to work with an amazing artist who created all the artwork for this cycle, Alexandra Khrobostova, check out her website, she's amazing!

In the middle of the year I started collaborating with a great viola player Katya Lazareva and I have arranged the preludes for piano and viola duo and we presented it at Schott Recital Room with great success.

Then I went on to write and arrange another cycle, this time - waltzes.
"Les Femmes Romantiques", it has 5 duo waltzes (piano and viola) and 7 trio waltzes (piano, viola and clarinet).
I can't be happier about collaborating with Karen O'Brien (clarinet/saxophone/flute player) who added so much to my music with her wonderful sound and amazing skills.

We launched an album in the very end of 2011 at the lively Christmas gig and it  went better than we could ever hope. :)

Click here to see all the waltzes videos!

Overall, I'd say 2011 was the year of CLAZZ. :)  

Example of my "geographical inspiration". :)

I've been analysing my music and I found it to be narrative in 99% of cases, i.e. depicting something. I'm greatly motivated by geography, many of my tunes are dedicated to various places. I've "drawn" cities and countries, I also talk about weather a lot - "sunny", "rainy", "autumn" etc. I like "painting pictures".

Fellini "I clowns" footage

Then, there are concepts or people that I'm "depicting", for example, my new composition is called "Ryuichi" and is inspired by the personality of Ryuichi Sakamoto...Or my "Circus of Life" is inspired by meditating about "what is a meaning of all this" in an existential crisis kind of way. :) 

My preludes are inspired by concepts of the Colour and Mood. 

And the waltzes are inspired by impressions, photographs, memories, haiku etc. 

My Jazz "persona" :)
I'm still keeping my passion for jazz and singing with a separate project that is called "Clazz. Volume one".
It's mostly arrangements of the very famous jazz standards but in a very unusual way.
It's still a secret so far and I don't wanna ruin a surprise yet, all I'm gonna say is that I'm very excited about it and I think i found a very clever idea that hasn't been overused. :)

You will probably start hearing bits and pieces from that project soon, but I'm looking to release it not earlier than in the middle of 2012, and it might be an orchestral project.

Things I've done from December 2009 till December 2011: 

Tuesday, 11 October 2011

Evelina De Lain in concert with Katya Lazareva (viola) on 28th of October in Central London.

Dear Friends !

It is my pleasure to invite you to my concert
at 7pm (doors: 6.30) on 28th of October in Central London at Schott Recital Room,
48, Great Marlborough street,
W1F 7BB.

I will be playing some famous classical
compositions and performing my new album "12 Colourful Preludes" with an amazing
viola player Katya Lazareva (Minsk).

The venue is very modern and intimate at
the same time and I hope we will have a lovely time together.

Please bring your friends and partners with you or pass the
flyer along to people who love classical and contemporary classical music.

The tickets are £10 but there's also
a £5 option for those of you who are low on the cash flow at the moment. :)

can get the tickets here:
here: 020 7534 0710.

Please, RSVP to me directly as well if
you can, so that I know how many people are coming because I'm planning to organise
some drinks. :)

I'm looking
forward to seeing you there and to celebrate my new beginnings with you.

Best wishes, Evelina.

Saturday 28nd October 2011, 7.00pm

Evelina De Lain -piano
"When my fingers touch the keys", - says pianist Evelina De Lain,
- "I speak my true language." 

The inspired jazz-classical
fusion artist makes her first appearance at the Schott Recital Room tonight, complementing
a number of jazz and contemporary events we have hosted in recent months. Her
performances combine interpretations of composers such as Satie and Debussy with
her own improvisations in a  contemporary jazz-classical style suggestive
of boundless space and reminiscence. Her album "The Girl with the Flaxen Hair.
came out (on disc and download) earlier this year as her international
profile continues to rise.
Tonight she includes works by Beethoven, Prokofiev
and Sakamoto and, in the second half, launches her new cycle "12 Colourful Preludes".
She also introduces her special guest violist Katya Lazareva - a student of Yuri
Bashmet from Minsk, Belarus - in new duet-interpretations of some of her already-known

Evelina will be here again on 24th November with renown saxophone player Tony Kofi.
Tickets - £10
(£5 concessions)
More information:

Wednesday, 31 August 2011

Things that make my life as a musician easier. No 3.

Tool no3. Sibelius.

"Lets take what we feel and write it all down."

I feel that since I got Sibelius and started creating sheet music - my understanding of myself and my writing process grew considerably.
It's one thing to listen to your own music, but it's completely another thing - to see it coming alive on the screen in front of you, and then on paper.
It's a been a little longer than a year since I started using Sibelius and now it's irreplaceable.

It's completely intuitive, very convenient in every way and it helps me to constantly develop my writing.

I usually record all my new compositions in midi, then I open this midi in Sibelius and edit it untill it looks like something you can play. :)

So far I've created 2 music books and numerous single compositions sheets.
But I'm looking forward to doing more.

I'm telling you, there's nothing like holding your own book in your hands. :)

And this is all possible thanks to Sibelius.

There's a concept called Dreyfus model of skille acquisition (click here to find out more).
And, in my opinion, when you write music intuitively - you are on a "Proficient" level.
But notating your music helps you rise to an "Expert" level.
You suddenly realise your patterns, your style, your favourite chords etc.
Listening to it and seeing it - are completely different things.

Since I started notating my music - I became much more in control of my writing and I can always rely on the inspiration to come when I need it, as opposed to being a "slave of the inspiration".

Things that make my life as a musician easier. No 2.

Tool no2. Midi. 
“Better to be a geek than an idiot.”

I don't know if I could really be a composer before the invention of midi.
Imagining Mozart composing in his head and then recording 70 orchestra parts on paper by hand with the candlelight - it's just scary.
Since I'm a pianist first and composer second - I write all of my music in improvisational way.
I usually get into "the right state of mind" and then I just play it all the way through.
And then I don't remember a thing about it!
So, I can't be any happier about the possibility to record all the music that comes to me - straight to midi.

In a strange way - sometimes that 1st take is the best one - and some of those first takes end up on a record.

I use Cubase for my recording, but people keep pressuring me to turn to Logic. 
But the thought of learning a new program is too much. :)
So I'm sticking with my "old friend" for now. :)

One of the biggest break-troughs in my composition - was an advice that I record absolutely everything that comes into my head into Cubase.  (It was quite a few years back).
Then I would listen to everything that came to me - and pick out the "worthy parts".
Eventually I trained myself (with the help of some psychological techniques) to figure out exactly when the good composition is "coming", so I switch my midi and my keyboard on - and I'm 100% sure that I'm gonna just write something "complete" (usually, no afterthought or editing necessary).

I call it "Improvisational Composition".

Things that make my life as a musician easier. No 1.

This post opens up a series of tiny accounts of the things I use in every day life that help me to be a composer and a performer.
It's gonna be about tools and gadgets mainly.  Some of them are pretty basic, but I'm gonna mention them anyway.

 Tool no1. Digital keyboard. 

“Pianos are such noble instruments – they’re either upright or grand.” 
Author Unknown 

Well, my piano is neither upright, nor grand, yet, I would still call it "noble". :)
There's only one digital piano I've owned in my life - it's Yamaha P-90.
I bought it in 2004 - and since then it's travelled with me through many cities and countries and it's never let me down.
I know Yamaha doesn't produce it anymore and probably they moved on to something more advanced, but I still can't part with my P-90.
My entire debut album  - "THE GIRL WITH THE FLAXEN HAIR, CONTINUED..."  was written and recorded on my Yamaha P-90.
I liked its sound better than any sampled pianos I've ever encountered.

It's great for practicing - you can turn the volume up and down or use your headphones and you don't bug your neighbours. Also, you obviously can use it as a midi keyboard.
And the touch is almost like a real piano, so it's great for practicing your recitals.

Of course, ideally I'd like to own a Yamaha grand, but I'm still waiting for an offer. :)
I really like Yamaha. It's pure quality.

Sunday, 29 August 2010

A story about my new cycle of preludes and exploring more of modernism.

“If you think about it, the word "composing" or "to compose", means "to put together". So, you have to know what to put together and what to leave out.”
Jan Hammer
 It's been quite some time since I wrote my last blog, I went on a great holiday and almost completed a new project.
Writing a new cycle made me think more about my style of composition and made me analyse how I come up with the ideas and what I like about my particular approach.
This cycle is called "12 Colourful Preludes" and it consists of 12 small preludes, each one of those has some variation of the word "colour" in their titles.
So it's not a about different colours (red, black, white etc), but it's more about the actual meaning of the colour - tone, hue, tinge, paint  or combination of colours like "monochrome", "pallette" etc.
Also I do not see colours in particular keys (like Scriabin), but I'm able to see colour in a particular piece of music or a note, but it can change depending on the mood.
And this cycle is about different moods and not different colours.
They are:
1. Block colour of C
2. Layered graphites of C sharp
3. Dreaming of wintery stills in D
4. Enigmatic palette of E flat
5. Clownish colourfulness of E
6. Violet shades of F
7. Breaking the rules of painting in F sharp
8. Transparent aquarels of G
9. Dramatic tones of A flat
10. Anxious tinges of A
11. Monochromes of B flat. 
12. Fairytale hues of B.


Sheet music is also on the way.
Here I'm answering some questions that I asked myself. :)
Erik Satie.
  • Why Erik Satie? I dedicate this cycle to Erik Satie who appeared to have been a "godfather" of this kind of composition, the one who inspired Debussy, Stravinsky, Ravel  - who in turn influenced me.
  • Why cycles? I think I've been writing short form for a long time, and now I'm ready for a much bigger form and the cycles are my transitional period. This is a second cycle I wrote (the first one is quite monumental, "Seasons and Places" which is still unreleased as I'm waiting for the right time), but this one is my favourite nowadays because I get to explore my modernistic part and I like the way it gets developed.
  • How was this cycle born? When I read more about  Satie in Wiki, I became so inspired that I wrote 7 preludes in the space of a few hours, it happened on 16th of August. And the other 3 pieces were preexisting compositions that didn't fit anywhere and were just waiting for their time. And the last 2 were born on 31st of August. :)
  • Why 12? For each note of the chromatic C scale. I wasn't strict about sharps or flats, I called black notes the way that I feel them, for example, I always feel A flat and never G sharp. And C sharp makes more sense to me than D flat. Et cetera. So I went with my feeling as opposed to the rules of classical chromatic harmony. :)
  • Are they tonal? Some of them are, and some - aren't, they are mostly named after the base note that they start with, but I'm not concerned with keeping the particular key, it's all about the mood of that very first note. I'm a big fan of the atonal or modulational (if that's a word!!) composition.
  • Major or minor? To me - those two are easily interchangeable, especially in impressionism, so I didn't label any prelude as major of minor (title-wise), except for the key signatures in sheet music. :)
  • How do you play them? The idea is - to perform cycle as a whole as it's programmatic and interconnected. But each prelude can still exist on their own, only their conceptual meaning would change 
Alexandra Khrobostova. "Psychodelic tree"
Artwork? Yes, this is a very exciting part! I'm collaborating with an amazing artist (painter) on this cycle and she's gonna draw all the original paintings for the CD and the music book. Her name is Alexandra Khrobostova and she's so multi-talented! This is one of my favourite paintings by her:  
    • Just piano? So far - yes, but I'm thinking of possible arranging an entire cycle for viola and piano, I have written a viola part for one of the preludes already, "Anxious tones of A".
    • Was it thought through? No, the writing of this preludes is completely improvisational and complete by playing a prelude through from the beginning to an end (I record them straight into midi as they come to me, so it's gonna be easier for me to create sheet music in Sibelius later), and only 2 of them have any minor "afterthought" additions or changes.
    I'm really looking forward to completing this work shortly and presenting it to you in audio, sheet music and live performances. :)
    It will all happen during the month of September and I'm planning the release for the end of September, beginning of October.