This interview was edited by Andrea Di Giacomo

1) You are one of the most emerging and interesting accordionists of recent years. Can you tell us how you met the accordion, how you approached this instrument and what was your path of study of this instrument?

Thank you, that’s very kind. I started learning piano and violin when I was seven years old, when I was eleven my grandmother gave me a small accordion and I have been addicted ever since. At the age of fourteen I started studying with Djordje Gajic, my only accordion teacher.

2) How is the concert accordion seen by the Scottish people? What are the advantages or difficulties for a young student who wants to approach this instrument and a more sophisticated musical style?

The majority of people in Scotland associate the accordion with Scottish folk music, or ‘ceilidh’ music. It was used extensively for traditional dance music and made famous by people like Jimmy Shand. At one point he was No. 1 in the charts – above the Beatles!

The associations with French café music and the aforementioned can make people feel unsure about going to an accordion concert, but it only takes one exposure to classical accordion to remove these stereotypes.

3) You had the great privilege of playing at the Scottish Coronation of HM King Charles III. Tell us about this important experience?

I had already met and played for the King when I was at Conservatoire, and for this event I wanted to play Bach but the King wanted traditional Scottish music – so I arranged a Scottish tune in the style of Bach.

4) You are certainly an accordionist with a formidable technique. What is your approach to studying and how do you approach the preparation of a new piece or for a concert?

For me it’s important to practise scales and exercises – Czerny, Havlicek, Liszt, Tausig, Henselt etc. When learning a new piece I will first get an idea of the overall structure, then learn the notes and put in necessary fingerings. In general I find it faster to learn one page at a time before moving on. It also helps to mark bellows directions at an early stage in the learning process. Then there will be a lot of repetition, and practice without the instrument to explore the piece. This stage is more creative and I draw on experiences from life, art, literature and other music. The first performance is where The Journey really begins.

5) In addition to your concert career, you also dedicate yourself to transcriptions and arrangements for accordion. Which musical style do you feel you relate best to, and why?

I like what Sokolov said: “isn’t Bach romantic, isn’t Chopin classical?”

I enjoy making arrangements of music from the Baroque, Classical, Romantic and 20th Century eras, but only if I like the music. I don’t have a favourite style, I just like certain pieces and get the urge to play them. It’s very important that transcribing a piece is artistically justified, if it sounds better on piano I won’t play it.

6) Among your countless musical and concert experiences, both as a soloist and in chamber music or with important symphony orchestras, is there a performance to which you are particularly fond of?

I was satisfied with my performance at Wigmore Hall last June, and the project I enjoyed most recently was playing duets with Geneva Lewis – she’s an astonishing violinist and a true artist.

7) In your musical career there have certainly been important television and radio experiences, such as the prestigious participation in the BBC Radio 3 New Generation Artist. Have you ever thought about approaching the world of music and making your own album?

Yes, but I haven’t been in a rush because I feel like I’m still improving. I plan to do this in the coming year or two.

8) Are there any news or projects planned for the future of Ryan Corbett?

I just recorded Mikhail Pletnev’s concerto with BBC Symphony Orchestra at very short notice, and I’ll be playing a new accordion concerto by Jay Capperauld with the National Youth Orchestra of Scotland this summer. Other than that I’ll just be learning lots of repertoire for solo and chamber concerts, reading books, and riding my bike.