Hire Dr Sasha Valeri Millwood MA (Cantab.) MMus (GSMD) PhD (Glas.)

Q: What do your clients love most about your performances?

Among the most common themes in the praise I have received from clients are the creativity, excitement, and versatility of my performances, which often include music they have never heard before, as well as improvised interludes. As an accompanist, I have often been praised for the confidence and reliability I project, even when sight-reading.

Q: Which venues have you performed at in the past?

As a pianist, I have performed at the Wigmore Hall, the Royal College of Music, Blüthner showrooms (London), West Road Concert Hall (Cambridge), Craxton Studios (London), Regent Hall (London), Burgh House (Hampstead, London), Chelmsford Cathedral, and many other venues in London and farther afield.

Q: Which artists have you been most influenced by?

As an intellectual and artist of independent and open-minded spirit, I have been influenced (and continue to be influenced) by many artists (whether contemporary or from the past), but endeavour to be original in my own artistic praxis. You can get an idea of some of these influences from my biography (too many to list individually here).

Q: What is the most high profile gig you've performed?

I have performed twice at the Wigmore Hall (and had a composition premièred there on a separate occasion).

Q: What if my timings change after I've booked you?

Please tell me as soon as possible, even if not 100% sure about the need to change timings. I will endeavour to accommodate changes, provided they are amenable to my diary. There may be a surcharge, especially if accommodating your changes would incur financial loss or further expense on my part (e.g.: amending an advance train ticket or hotel booking).

Q: Can you provide an iPod/DJ service before and between your sets?

I can improvise interludes at the pianoforte between each work on the programme/set. As a pianist, I can play continuously for over an hour. Since my offering is based on live performance, I do not provide a DJ service, since that is no longer live! However, I am happy to liaise with any other performer(s) and/or DJs you engage (if applicable).

Q: How much time do you need to set up?

For solo-pianoforte engagements: if you have a pianoforte (with a stool) at the venue, and the instrument is not locked/covered, I could, in theory, just turn up and start playing immediately. Ideally, I would have a few minutes alone with the pianoforte to warm-up and test the acoustic of the venue.

Q: If I have a piano at my venue, are you happy to perform on that?

Yes (in fact, this is my preferred option). To obtain the most musically satisfying results, please ensure that it is in working order. Ideally, you should arrange to have it tuned shortly before the event (at a top concert venue, the pianoforte is tuned before every performance using it, but I appreciate that this would be beyond the budget of most places).

Q: Can I pick the songs you play from the set list?

Yes, of course you can (but please be aware that, for civil wedding/partnership ceremonies, you may be subject to legal restrictions precluding religious music). I am also happy to learn and play new music not already in my wide-ranging repertoire, as long as you can provide sheet music (preferably in advance, but I am always up for sight-reading).

Q: Are you able to bring your own piano or keyboard?

Ideally, I prefer to play on a working acoustic pianoforte provided by the venue. However, if that is not available, I can bring an electronic substitute, although this will be less musically satisfying and will incur a (potentially substantial) surcharge to reflect the (potentially significant) additional time and cost of transport and setup.

Check availability and get a free quote now - no commitment to book

From£312.50

1 hour

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1-3 of 6 videos

Splintering - Robert Coleridge

Storm Tide - Enid Luff

‘Dead Still’ and ‘Another Life’ -- Michiko Shimanuki

About Sasha Valeri

pianist with wide repertoire including works by living composers, and who can improvise in diverse styles for over an hour without stopping!

Pianist

Brentwood

Public liability insurance of £10 million

Verified profile

A confident sight-reader and fluent improviser, I am the répétiteur (staff pianist) at Edge Hill University and the regular pianist for the London New Wind Festival, performing a wide range of contemporary classical music and musical theatre. In recent years, I have also played with/for various other prestigious ensembles and institutions, including the Royal Scottish National Orchestra (as harpsichordist) and the University of Glasgow (as accompanist). A graduate of the University of Cambridge (where one of the papers for which I studied was the Advanced Keyboard Skills paper) and the Guildhall School of Music & Drama (where I studied Interpretation through Improvisation with Prof. David Dolan for two years), I am an experienced soloist, chamber musician, improviser, accompanist, pit-band player, and répétitur. I have worked with musicians of various abilities (from the complete beginner to Andrew Kennedy) and in various contexts (including examinations, professional recitals, competitions, auditions, and functions that require background music). In many cases, I have had to sight-read a part, so I know how to deliver good results in situations with limited/no rehearsal time. I am a member of the Incorporated Society of Musicians. I can improvise elaborations and interludes in various styles, either as a soloist or in collaboration with other performers. Given sufficient preparation time, I can also realise figured bass (including on harpsichord or chamber organ), and even transpose works of a reasonably tonal character. That said, I hasten to add that (unsurprisingly, seeing as I am a composer myself) I would be delighted to play more modern repertoire, too. I have experience accompanying a range of instruments, voices, and repertoire, including atonal and serial music. A sympathetic chamber musician, I prioritise listening and maintaining good ensemble over burying one’s head in the notes: a good accompanist covers up the other player’s slips and mistakes in performance. However, having worked as a répétitur on several operatic productions, I am also familiar with the contrasting demands of that role, where the priority is to follow the conductor and furnish clear cues for the singers.

Sasha Valeri

5 out of 5

1 verified review

Satisfaction

5.0

Professionalism

5.0

Communication

5.0

Punctuality

5.0

Sasha Valeri's Reviews

5 out of 5

it was a pleasure having Sasha playing at our event.

[Millwood] improvised links between the pieces; apparently a common practice in the 18th century. I wonder if this could be revived in the 21st century – I'm a big fan of improvisation.

I fondly remember listening to your improvisation at Gregor's Nae Ball back in 2014 [sic -- it was actually 2013]

Read all 4 reviews

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Sasha Valeri's Song list

**NB: if you are hiring me as a solo pianist, please enquire for details of my solo repertoire and experience** (I am always keen to expand my wide-ranging repertoire, so **please feel free to make requests**) -- below are some of the **ensemble** pieces I have performed as a pianist in the past (this is only a selection):

DOROTHEE EBERHARDT-LUTZ: Campion

JUDITH BAILEY: Scherzo for John

RUTH GIPPS: Reverie, WoO2

MICHIKO SHIMANUKI: Remembering Robert Coleridge

ELIZABETH MACONCHY: Three Bagatelles

JULIA USHER: The Old Man of the Sea

RUTH GIPPS: Sonata for alto trombone and piano, op.80

PAUL PATTERSON: last movement of Phoenix Sonata, op.102a

JOHN PALMER: Of Shadows Unveiled

OLIVER IREDALE SEARLE: Moose Antler Fly

SIMON DESORGHER: The Mature Person’s Guide to the Flute

ZACH GULABOFF DAVIS: Crash

IAN STEPHENS: Bassoon Sonata (complete)

DOUGLAS HEDWIG: Trombone Sonata “Antarā”

JEFFREY HOLMES: Niflheim

STEPHEN GIBSON: Concertino for Horn and Strings (version with piano accompaniment)

JOSEPH JONES: Sonatina for Horn and Piano, op.41

MARCÍLIO ONOFRE: Nocturne I.a

FAURÉ: Elégie, op.24

SAINT-SAËNS: Allegro appassionato, op.43

BACH: 4th movement (‘Allegro’) of Sonata BWV1017

HAYDN: Violin Concerto in C major, 3rd movement (‘Presto’)

CHAMINADE: Romanza op.31/2

BEETHOVEN: Romanze in F major, op.50

MOZART: 1st movement (‘Allegro moderato’) of Violin Sonata in B-flat major K.378

TCHAIKOVSKY: 2nd movement (‘Canzonetta’) of the Violin Concerto, op.35

PROKOFIEV: 1st movement of Pianoforte Concerto no.3, in C major, op.26 (as accompanist playing orchestral reduction)

LENNOX BERKELEY: Sonatina for oboe and pianoforte, op.61

ANTHONY PAYNE: The Enchantress Plays

NICOLAS BACRI: Sonatina Lirica op.108/1 for clarinet and pianoforte

FRANK BAYFORD: Thaxted Evening, op.63

COLIN BAYLISS: Conversation Piece, B154

CECILIA MCDOWALL: Eleven

STEPHEN GIBSON: 17th (‘Perpetual Mobile’), 19th (‘Night Music’), 20th (‘Galop’), 21st (‘Gothic Horseman’), 22nd ('Folk Song'), 23rd ('Rumba'), & 24th ('Fanfare 2') of the Bagatelles for horn and pianoforte

DOROTHEE EBERHARDT-LUTZ: Chiaroscuro

ANTHONY GREEN: Loch Mallachie

SIMON DESORGHER: ‘Kandinskoscope’, ‘Waves’, & ‘Sparks Fly’ (from Five Miniature Sound Paintings)

VILLOLDO arr. BIRTEL: El Choclo

GENZMER: 'Allegro' (4th movement) from Sonatine No.1, GeWV225

CLARA SCHUMANN: Romanze in G minor for pianoforte and violin op.22 no.2

HANDEL: 'Allegro' (2nd movement) from Sonata in D major HWV371

PAGANINI: Variations on One String on a Theme by Rossini

TCHAIKOVSKY: Pezzo Capriccioso, op. 62

SHOSTAKOVICH: 'cello concerto No.1 in E-flat major, op.107 (complete) (as pianist in orchestral reduction)

MEL-BONIS: 'Scherzo' (2nd movement) from Sonata for flute and pianoforte

attrib. C.P.E. BACH: 'Allegro' (1st movement) from Sonata in G minor, BWV1020

EUGÈNE GOOSSENS: Scherzo Fantasque

EDMUND RUBBRA: Sonata in C for oboe and pianoforte, op.100 (complete)

EUGÈNE GOOSSENS: Vieille Chanson à Boire

RUTH GIPPS: Honey‐Coloured Cow, op.3d

RUTH GIPPS: Triton, op.60

RUTH GIPPS: The Riders of Rohan, op.69

JOHN GARDNER: Romanza, op.8

WILFRID MELLERS: Galliard for trombone and pianoforte

PRIAULX RAINIER: Suite for clarinet and pianoforte

LUTYENS: Footfalls, op.128

LUTYENS: Fantasie Trio, op.55

EDMUND RUBBRA: Meditazioni Sopra 'Coeurs Désolés', op.67 (in version for flute and pianoforte)

RUTH GIPPS: Sonata in G Minor op.5a (for oboe and pianoforte)

RUTH GIPPS: Sonatina op.56 (for horn and pianoforte)

RUTH GIPPS: The Pony Cart, op.75

EUGÈNE GOOSSENS: Pastorale et Arlequinade, op.41

EUGÈNE GOOSSENS: Islamite Dance

LENNOX BERKELEY: Trio for flute, oboe and pianoforte

HUGH SHRAPNEL: Sonata for clarinet and piano

PETER LAWSON: Song of the Green-Winged Orchid

ERNST KRENEK: Five Pieces for trombone and piano, op.198

PATRICK BURGAN: Thème et Variations pour clarinette en si-bémol et piano ['Theme and Variations for clarinet in B-flat and pianoforte']

COLIN BAYLISS: I Have Forsaken the World

STEFAN HEUCKE: Zur Zeit der letzten Posaune ('At the last Trump')

MICHIKO KAWAGOE: Vicissitudes

JAMES MACMILLAN: Sabre Dance (6th piece in 'Northern Skies', for 'cello and pianoforte)

ROBERT COLERIDGE: Even Song for flute and pianoforte

DAMASE: Rhapsodie pour cor et orchestra (as arranged for horn and pianoforte)

MUSGRAVE: Music for Horn and Piano

BRAHMS: Violin Sonata No.2 in A major, op.100, last movement ['Allegretto grazioso (quasi andante)'] [performed as pianist]

BRAHMS: Violin Sonata No.3 in D minor, op.108, last movement ['Presto agitato'] [performed as pianist]

GOLDRICH AND HEISLER: 'Alto Lament'

ELGAR: 'In Haven'

ELGAR: 'Where corals lie'

ELGAR: 'Like to a damask Rose'

ELGAR: 'Rondel'

OFFENBACH: Barcarolle [the famous one, for two voices, which I transposed down a minor 3rd]

JEROME KERN: 'Can't help lovin' dat man'

COLE PORTER: 'Night and Day'

RODGERS AND HAMMERSTEIN: 'Grand Night for Singing'

C.P.E. BACH: Sonata in G major for flute and continuo, Wq133 (complete) [performed on pianoforte, realising the figured bass in performance]

CHOPIN: Variations on a theme by Rossini (for flute & pianoforte)

CHAMINADE: Concertino, op.107

RUTTER: Suite Antique for flute & pianoforte (complete)

FRANÇAIX: 2nd, 3rd, & 5th of the Five Exotic Dances

MASSENET: Meditation from Thaïs (as arranged for violin and pianoforte) [peformed as pianist]

BRUCH: Kol Nidrei

HAYDN: Violin Concerto in G major, 1st movement

GORB: Serenad... [harpsichord part]

FORBES: People and Statuary [harpsichord part]

BUTLER: Correspondence [harpsichord part]

LUTOSLAWSKI: Dance Preludes, 1st & 2nd movements

SIBELIUS: Violin Concerto, 1st movement [performed as pianist]

RACHMANINOFF: 'cello sonata in G minor, op.19, first 3 movements ('Lento — Allegro moderato', 'Allegro scherzando', and 'Andante')

IAN CLARKE: The Mad Hatter

IAN CLARKE: Hypnosis

GRIEG: Violin sonata, op. 8, 2nd movement [performed as pianist]

WILLIAMS: 'Remembrances' (from Schindler's List)

BACH: E-major violin concerto (BWV1042), 3rd movement [performed as pianist]

BACH: A-minor violin concerto (BWV1041), 1st movement

BERNSTEIN: Glitter and be Gay (from Candide)

PUCCINI: Un Bel Di Vedremo (from Madame Butterfly)

CHARPENTIER: Louise

BERLIOZ: Le Spectre de la Rose

HANDEL: So Shall the Lute and Harp Awake

BRAHMS: Regenlied

FAURÉ: La Rose

BRITTEN: Let the florid music praise!

STRAUSS: Das Rosenband

MESSIAEN: Bail avec Mi (from Chants de Terre et de ciel)

LEHMANN: Magdalen at Michael's Gate

SCHOENBERG: Phantasy, op. 47 [performed as pianist]

MESSIAEN: last movement of Quatuor pour la fin de temps [performed as pianist]

ELGAR: Salut d'amour [performed as pianist]

HINDEMITH: Flute Sonata (complete)

FAURÉ: Fantaisie ['Fantasy'], op.79 (complete)

BRITTEN: A Midsummer Night's Dream [as répétitur]

BRITTEN: Lucretia [as répétitur];

BRITTEN: first 2 songs from Winter Words

MUSICAL THEATRE [as pit-band pianist]: Beauty & the Beast

MUSICAL THEATRE [as pit-band pianist]: Half A Sixpence

MUSICAL THEATRE [as pit-band pianist]: Joseph!

SCHUBERT: Abschied

SCHUBERT: Der Doppelgänger

SCHUBERT: Die Stadt

SCHUMANN: 'Im wunderschönen Monat Mai', 'Aus meinen Tränen sprießen', 'Die Rose, die Lilie, die Taube, die Sonne', and 'Wenn ich in deine Augen seh' (first four songs from Dichterliebe)

DE FALLA: 'El Paño Moruno' and 'Nana' (from the Siete Canciones Populares)

MENDELSSOHN: first two movements of pianoforte trio in D minor [performed as pianist]

STRAUSS: Allerseelen (have transposed in the past)

BRAHMS: Dämmrung Senkte Sich Von Oben

POULENC: Clarinet Sonata (complete)

Sasha Valeri's Prices

Note: prices may vary based on travel distance. For an exact quote, click “Check availability”.

Performance duration	Price
Short performance (up to 15 min)	£312.50
Up to 1 hour	£312.50
Up to 2 hours	£312.50
Up to 3 hours	£312.50

Accompaniment for amateur events (<1 hour)

For accompanying at examinations, competitions, auditions, amateur performances, and amateur recordings, provided that the duration (including warm-ups, sound checks, &c.) does not exceed one hour

£45

Customer questions

What do your clients love most about your performances?

Among the most common themes in the praise I have received from clients are the creativity, excitement, and versatility of my performances, which often include music they have never heard before, as well as improvised interludes. As an accompanist, I have often been praised for the confidence and reliability I project, even when sight-reading.

Which venues have you performed at in the past?

As a pianist, I have performed at the Wigmore Hall, the Royal College of Music, Blüthner showrooms (London), West Road Concert Hall (Cambridge), Craxton Studios (London), Regent Hall (London), Burgh House (Hampstead, London), Chelmsford Cathedral, and many other venues in London and farther afield.

Which artists have you been most influenced by?

As an intellectual and artist of independent and open-minded spirit, I have been influenced (and continue to be influenced) by many artists (whether contemporary or from the past), but endeavour to be original in my own artistic praxis. You can get an idea of some of these influences from my biography (too many to list individually here).

What is the most high profile gig you've performed?

I have performed twice at the Wigmore Hall (and had a composition premièred there on a separate occasion).

What if my timings change after I've booked you?

Please tell me as soon as possible, even if not 100% sure about the need to change timings. I will endeavour to accommodate changes, provided they are amenable to my diary. There may be a surcharge, especially if accommodating your changes would incur financial loss or further expense on my part (e.g.: amending an advance train ticket or hotel booking).

Can you provide an iPod/DJ service before and between your sets?

I can improvise interludes at the pianoforte between each work on the programme/set. As a pianist, I can play continuously for over an hour. Since my offering is based on live performance, I do not provide a DJ service, since that is no longer live! However, I am happy to liaise with any other performer(s) and/or DJs you engage (if applicable).

How much time do you need to set up?

For solo-pianoforte engagements: if you have a pianoforte (with a stool) at the venue, and the instrument is not locked/covered, I could, in theory, just turn up and start playing immediately. Ideally, I would have a few minutes alone with the pianoforte to warm-up and test the acoustic of the venue.

If I have a piano at my venue, are you happy to perform on that?

Yes (in fact, this is my preferred option). To obtain the most musically satisfying results, please ensure that it is in working order. Ideally, you should arrange to have it tuned shortly before the event (at a top concert venue, the pianoforte is tuned before every performance using it, but I appreciate that this would be beyond the budget of most places).

Can I pick the songs you play from the set list?

Yes, of course you can (but please be aware that, for civil wedding/partnership ceremonies, you may be subject to legal restrictions precluding religious music). I am also happy to learn and play new music not already in my wide-ranging repertoire, as long as you can provide sheet music (preferably in advance, but I am always up for sight-reading).

Are you able to bring your own piano or keyboard?

Ideally, I prefer to play on a working acoustic pianoforte provided by the venue. However, if that is not available, I can bring an electronic substitute, although this will be less musically satisfying and will incur a (potentially substantial) surcharge to reflect the (potentially significant) additional time and cost of transport and setup.

Can you learn song requests before the event?

Yes, if you can provide sheet music (then again, I can sometimes make a plausible reconstruction from recordings!). You can send it in advance (hard copy or PDF) or even bring it on the day (must be hard copy) -- I am always up for the challenge of playing unfamiliar music with no notice (I do this a lot when accompanying auditions). Try me!

Musicianship

Genres:

Classical, Baroque, Contemporary classical, Musical theatre, Opera, Avant garde, Experimental

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Instruments:

piano, Composer, Repetiteur, Piano, Orchestrator, Harpsichord

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Event types:

Concert, Wedding, Funeral / Memorial service, Private event, Corporate event, Theatre / Show, Birthday party, Christmas party, Virtual event, Charity event, Recording session

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Other skills:

Composer, Orchestrator, Arranger, Transcription, Fluent improviser, Fluent sight-reader, Repetiteur, Perfect pitch, Instrumental teaching, Theory teaching, Composition teaching, Musicologist, Accompanist

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