Kate Liu on Finding Individual Identity through Dialogue with the Greats

Winning not only the admiration of the Polish audience during the 2015 International Chopin Competition but also the praise of the esteemed Garrick Ohlsson, Kate Liu has managed to establish herself as one of the foremost interpreters of Chopin of this generation.

Was it the certain way she played that captivated audiences? Or was it the spirit of the person whose sincere outflow of personality exemplified Chopin’s romanticism?

There is, of course, the simple answer that the two are inseparable. In Liu’s playing, there is a sense of being fully consumed by the music, something that manifests visibly with her trancelike demeanor as she performs. Simultaneously, there is also the sense that she makes something specific to her out of the music, like a conduit that draws from a source while adding a distinct personality.

We are fortunate that Liu had the time to share some of her thoughts and insights on music with Veniccio.com's writer Joseph Verallo.

Born in Singapore, Liu was immediately recognized for her talent when, just two years after beginning her first piano lessons, she was admitted to the gifted music program at the Yamaha Music School. At the age of 8, she would move to America, where she would later study in prestigious schools like the Music Institute of Chicago, the Curtis Institute of Music, and the Juilliard School.

A certain romanticism characterizes Liu’s musicianship. You see this not only in performances, but also in interviews where she expresses her admiration for that specific era of classical music. In fact, when asked what piece would best induct a casual listener into the world of classical music, Liu replied,

“I would maybe choose something like Rachmaninoff's Concerto No. 2!”

Among the many things that contributed to her artistic growth, Liu shared how listening was a big part of her life. “I think really the only significant element that informed me of my interpretations is the recordings I used to (and still do) listen to as a child growing up,” the pianist said.

Liu particularly showed an interesting inclination toward recordings of a much older generation of pianists, saying,

“Of course, one hears many different recordings by different artists, just by searching naturally as well as in an effort to experience various styles, but I found myself listening largely to artists like Gilels, Richter, Horowitz, among others. That is where my personal preferences evolved, and certain nuances found their way into my own playing.”

Although it was her performances of Chopin in the Chopin competition that garnered her present fame, Liu has also given wonderful performances of other composers. One which notably comes to mind is her latest recording, released last year with Orchid Classics, featuring the music of Beethoven and Brahms.

Throughout history, there has been a tendency to place Brahms and Beethoven on neighboring pedestals. Both share an emotional richness that  maintains its composure, not completely descending into the depths of despair and romantic frenzy that the likes of Liszt and Chopin do. Touching on their similarities, Liu remarked, “somehow both composers have impacted me in similar ways,” further sharing,

“I have always felt that they create music that completely transcends this world, in both a spiritual and profound sense, and there is a philosophical nature that I am very drawn to.”

The 2025 recording features Beethoven’s Sonata No. 31 in A-flat, Op. 110 and Brahms’ Sonata No. 3 in F Minor, Op. 5. “Both these sonatas are works that I have lived with for many years,” Liu said,

“The Beethoven Op. 110, in particular, has been a long-time companion, even before I began working on it; I fell in love with it when I was younger and had always considered it to be my favorite of Beethoven’s sonatas. The Brahms I didn’t get to know until much later, but similarly, its monumental scale and emotional gravity captivated me immediately.”

Sharing her advice for studying these composers, Liu emphasized the need to pay close attention to the composer’s markings, as they indicate his intentions, as well as providing insights into his style. Yet amid navigating through the composer’s world, Liu also expressed how personal identity emerges between the gaps of what can or cannot be known about the composer. She shares,

“An interpretation is always personal, and how one decides to treat every detail emotionally is unique to each performer.”

Ultimately, when learning a piece, she returns to what grounds her as the performer she is today: recordings.

“But another thing I find equally important to do when learning a new piece is to listen to many different recordings. There are always more possibilities than one can imagine, and endless inspiration one can find in great artists’ interpretations.”

The fascinating thing about Liu is that, despite her individuality as an artist, she persists in stating that she owes a great debt to performers of the past via their recorded output. Perhaps individuality can be seen not as an isolated thing, but as a dialogue, particularly with the great figures who have come before.

Dialogue plays another important role for Liu such as with her concert duos with 2025 Chopin Competition gold medalist Eric Lu. On the experience of performing as a duo, Liu spoke,

“In a solo program, there is no one to rely on but yourself, and so all the details and the act of performing fall solely on you, which is incredibly exposing. But even though in a duo there is another person to have dialogue with, there are certain ensemble challenges and musical decisions that have to be worked out.”

Alongside her solo and duo performances, Liu has hinted at possible projects in the future, saying, “I am looking forward to and planning to make another recording sometime this year.”