At the piano with Phylis Sellick (1911-2007) by Clara Rodriguez

In Caracas, when I was 16 years of age, together with my mother, we saw a newspaper advert for a competition that would take place a week later. The prize was a scholarship to study at the Royal College of Music in London. With my teacher’s support I entered it and went along to the Escuela de Música Superior José Angle Lamas, the oldest of all the music conservatories of Venezuela with a long tradition producing wonderful composers.

The then directors of the Senior and Junior Departments of The Royal College of Music had been flown in specially to judge the competition. I remember playing Bach Prelude and Fugue in A minor from Book 2 of the 48, Chopin Etude Op. 10 No 1 and Reflets dans l’eau by Debussy. After some theory and aural exams, it was decided that six scholarships would be given to junior musicians: two pianists, one guitarist, one violinist, one recorder and one horn player . This must have been in May and by the 12th of September we were landing in Heathrow!

I was told on arrival, that Barbara Boissard and Michael Gough Matthews had thought that I should study under Phyllis Sellick and that that same evening I would be able to see her on TV as she was judging the final of the Leeds Piano Competition.

Phyllis Sellick was stunning! Everybody seemed to know her, even people I talked to in the streets, asking for directions as I got lost a few times in South Kensington-Knightsbridge-High St. Kensington! In a way, to me this was not surprising as I thought: “It’s normal, I am in Europe, here everything has to do with classical music, and piano” I remember people telling me that she was very good on Mozart and that her husband had been a very well-known pianist too but that she was the most musical of the two. (Sorry Cyril!)



From the very first moment I met her at the RCM I bathed in a warmth and kindness that never changed in the 28 years I knew her.

The first thing that amazed me was her hands that were so soft, padded, very wide and with a wonderfully lifted little finger knuckle. The perfect hand for the piano.

She patiently, with great care, love, tact and a wonderful insight guided me and taught me the Art of playing the piano. I still go by her teachings, every day! I also do my best to pass on all that knowledge to my pupils.

I remember trying to tell myself: “this is it! This will be my profession” as up to then I had thought I would finish my piano degree in Venezuela and I would also go to university to study sociology.

I used to call her Miss Sellick until she told me: “Phyllis, please!”, she used to call me “Little Clara

Phyllis, used to say to me: “This is a world class conservatory, so you must play like a world class pianist” She would also talk about being a “professional pianist” an important concept that Cyril Smith and herself had with great determination fulfilled during their time.

During the first term with her one day she asked me “How long do you practice a day?” to which I must have answered trying to be impressive “two hours”, she said “you must do five” so, with a clock in front of me I started doing this, of course!

I used to have weekly lessons with her on Wednesdays and Junior Department lessons on Saturdays.

Very early on she entered me for a concerto competition where I played Mozart’s KV 595, and before that took place, she kindly organized a concert in her beautiful house of Fife Road, East Sheen, where I met many of my piano classmates that came from all over the world: Marta from Peru, Eva from Germany, Kim from New Zealand, Noriko from Japan, David from the USA, Karen and James from the UK. Norberto and Héctor, from Argentina, would kindly accompany me on the orchestral reductions and they would come to the teaching room at the end of my lessons to translate to Spanish any important message Phyllis wanted to make sure I understood as my English was non-existent.

Then I made many more friends that studied under her and admired her, Andrew, the Cann sisters, Geofrey, Ann, Liz, Amanda, Adrian, Dominic, Ian…it is impossible to mention them all right now!

Phyllis and co

Amanda Hurton, Phyllis Sellick, Marta Encinas, Clara Rodriguez, Eva Alexander

She had both a practical and a methodical way of living life and being in a “bubble” of love for music; she once told me that she only needed “piano music and coffee to live.”

Once, her car was stolen and the greatest chagrin was that the thief had taken away the whole collection of  “Edition Musica Budapest”  of the Sacarlatti Sonatas with it.

She was such a kind teacher, always thinking of how she could help her students solve problems. She would give me a phonecall when I least expected it, to tell me something about a particular bar that I should play “pp” or how I should join a yoga class to help relax my shoulders.

One day she arranged for five pupils to come to my lesson to sing Bach Fugue in C sharp minor from Book 1 so I could conduct them and listen to all the voices. That was an exhilarating experience!

My studies with her were full of wonderful pianistic revelations, for instance, the idea that the piano is a percussion instrument and that we pianists, must make it “sing” as well as making long lines, connecting every note so that there is coherence in the phrasing, is a challenge.

This work of filigree was something Phyllis instilled in me even deeper. I have to say that I had had excellent tuition in Venezuela from my first teacher Guiomar Narváez and masterclasses from Regina Smendzianka from Poland, plus my own interest in playing in a way that did not produced unwanted accents, but it was under Phyllis’s light that I went on developing this side of my playing.

Phyllis at 10

Phyllis at the age of ten

Phyllis Sellick was born in Ilford, Essex, started to play the piano by ear at the age of three and had her first music lesson on her fifth birthday, she would say that going up the escalator on the tube was the best thing of going to the lessons plus when the teacher played with her. Four years later she won the Daily Mirrors “Pip, Squeak and Wilfred” contest for young musicians and was awarded two years’ private tuition with Cuthbert Whitemore, subsequently winning an open scholarship to continue her studies with him at the Royal Academy of Music. Thanks to her mentors, she later studied with Isidor Philipp in Paris, a pupil of George Mathias, who in turn had studied with Frederic Chopin, a fact that always fascinated us, her pupils, who are fifth generation Chopin’s students!

During her stay in Paris, Phyllis played for Maurice Ravel and studied many of his works with him, making recordings of some of his pieces on 78 RPM. I am very proud to have studied with her some Ravel works including the Concerto in G which she came to hear when I performed it at ST. John’s Smith Square.

For us, her students, it was so important that Phyllis and Cyril had had a formidably close friendship with Sergei Rachmaninoff. I think that Phyllis had a deep affinity with his music and its interpretation. She felt real musical passion and made me try to convey it in performances, all with a “steely” control! Very difficult to manage as sometimes the music moved me so much that I was not capable to produce any sounds from my hands! When I was about 7, I remember telling my mum how a piece from Ana Magdalena Bach’s book had made me cry. So, all these feelings had to be curbed in order to play the piano!

You can watch a film by Mark Lonsdale “Clara Rodriguez at the piano with Phylis Sellick” here:  Youtube

I now realize how hard it must have been for her that at the height of his solo concert career her husband lost the use of the left hand down to having had two strokes. How much support she must have given him, so they could start a new career playing the four-hand repertoire with three hands. Arranging many pieces and having many works composed for them.


Cyril and Phyllis on the steps of the Albert Memorial. Kensington Gardens

I immensely enjoyed listening to her stories about their efforts during the war such as their concert tours in Portugal and in India. How uncomfortable many situations were, from insects biting their hands during performances to seeing the most shocking social contrasts in those societies.


Cyril and Phyllis in a broacasting studio in India

She braved the air raids, playing Beethoven fourth piano concerto near where a bomb fell jerking the piano up and down, ending her story thus: “fortunately I was able to continue playing”.

Or when she learnt to drive ambulances or those amazing stories during The Blitz when Cyril and her had to go to Broadcasting House to play Mozart D major Sonata, live,  having to run through the London streets under “a good deal of shrapnel” to take the tube- where people were getting ready to sleep on the platforms – to play the Mozart divinely!

On another occasion she had to go to sleep in the BBC to be woken up at 2.00 am to play the incredibly difficult Ravel Toccata for the World Service, “it felt like death” she said to me.

Phyllis Sellick, Cyril Smith and Brahms

Cyril, Brahms and Phyllis

Another beautiful story was the one of their trip to Ireland, their son accustomed to hear: “this month we have not got enough money because concerts have been scarce” the little boy was very distressed to see the Irish children wearing no shoes and with anger said: “their parents should play more concerts!


Graham, Phyllis, Cyril and Claire

Sir Henry Wood insisted that they should play together and they performed together at The Proms in 1941, making many international tours and recordings as a duo. Composers such as Ralph Vaughan Williams (Introduction and Fugue ‘For Phyllis and Cyril’) and Lennox Berkeley wrote music specially for them. Malcolm Arnold (Concerto for Piano 3 Hands and Orchestra, Op. 104, sometimes known as Concerto for Phyllis and Cyril).

Phyllis and Cyril were awarded OBEs in 1971.

Once I wrote a card to her in which I said that she had the highest standards of piano playing I have ever known and she replied that she would, “on sad days”, remember that thought.

I used to go to play for her until she was well into her eighties before my recitals or recordings. Her opinion was very significant for me. She went to all my major London concerts and would very sweetly give me a call the next day, invariably I would be thinking how many things should have been better played, she would give me lots of encouragement and often said: “I am your number one fan” in which case I would say that we belonged to the mutual admiration society.

She broke first her thumb and then her wrist and I remember seeing her trying to train her hand again by doing basic excercises and even playing Beethoven third piano concerto at the Fairfield Halls in Croydon successfully but not many other concerts were possible as her hand had been badly damaged unfortunately.


Queen Elizabeth being presented a bouquet by Phyllis at the Royal Festival Hall. 1952


In 2002 she appeared on the BBC radio programme Desert Island Discs. One of her choices was Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini to which she added “I would like Cyril to play it”. I remember the presenter asking her also, “How do you teach?” and she said: “I listen to the students and then tell them what I think” We both laughed when I pointed out how simple she made everything sound.

She died in Kingston in 2007.


Clara Rodríguez is interviewed by Pianist Magazine’s editor Erica Worth. April-May 2014 issue

Pianist at Work issue 77 (April/May 2014)

Interview with CLARA RODRIGUEZ

Pianist readers love it when we present Spanish repertoire inside the Scores. And as you’ll see, we feature Albeniz’s ‘Granada’ inside this issue. We speak to Venezuelan born pianist Clara Rodriguez, an expert in the field of Spanish and Latin American piano repertoire

Tell us a bit about your past and how you fell into the groove of playing and performing Spanish/Latin American repertoire?

I started studying music at the age of 6, in Venezuela as in most Latin countries, we have a preliminary year studying solfeggio (the “sol-fa” method of reading music) which next to musical dictation and theory gives us a base upon which we can start learning an instrument. At 7 I was introduced to my first piano teacher, Guiomar Narvaez who is a passionate advocate of both the traditional piano repertoire and of the Venezuelan and Latin American output. To be honest, as a child I loved playing lots of Bach, Scarlatti, Mozart, Beethoven, Chopin and Debussy and only connected to the more popular Latin styles later on although here I have to point out that I found great depth in the children pieces by Venezuelan authors I was given to learn from the very beginning, works by Flor Roffe, Antonio Estevez, Inocente Carreño, Teresa Carreño, Alberto Grau, Modesta Bor, Moisès Molerio, Antonio Lauro were all learnt with great care and love. I actually met some of those wonderful composers in my childhood and I remember them with much affection.

During my adolescence I listened to many songs and also was lucky to see how performers and public were so much in love with performing, listening or dancing the popular Latin American repertoire. All that fascinated me and made me want to convey all that energy in my piano playing.


You grew up in Caracas, but moved to London to study at the RCM. Who did you study with? And how did they influence your playing?

I was a teenager going to secondary (high) school in sunny Caracas and in the afternoons I used to go to music conservatoire, when suddenly I saw an advert on the newspaper: auditions would be held the following week (in Venezuela things happen suddenly or never! Hehehe!), I prepared as much as I could and presented in front of Michael Gough Matthews and Barbara Boissard, the then Directors of The Royal College of Music, a programme of pieces that included Bach Prelude and Fugue from the Book II of “The 48”, Chopin Study Op. 10 No 1 and some other works. I was given a scholarship to come to London and it was decided that I would have Phyllis Sellick as piano teacher. The first time I saw Phyllis was on TV because she was part of the jury of the Leeds Piano Competition. She was an immense artist, generous and demanding, she had the highest standard of piano playing that I have ever come across, her musicianship was always directed towards the beauty of sound, contrasts in mood and the deep understanding and interpretation of the score. Absolute respect towards the composer`s ideas was a rule. In a word: Phyllis taught me The ART of piano playing ; she is always on my mind when I am learning pieces. I actually apply her approach to nearly everything I play.

We know that you of course play the ‘classics’ too, such as Beethoven, Bach and so on. Are they both equally important in your piano life?

They are part of my daily life. I could not live without them!!!

Do you think you have to be of Spanish/Latin American origin to play these composers well?

Not any more! It is a learning curve of course and one must listen to as much music as one possibly can and then make the pieces your own. One has to be aware of where the accents fall in the phrase, (that`s the secret!)  It is very different to the European feel where nearly always the accents will be on the first beat. One has to understand too that every dance has its own characteristics. Rhythms such as 6/8 and ¾ are usually found alternatively in those dances or sometimes to the right hand 5/8 rhythm of a Venezuelan Merengue you will have to fit in a ¾ rhythm with the left! You have to start to feel these rhythms in your body.

Do you think there’s a lot of this type of repertoire out there that is underrated or unheard of? Tell me about some gems? And how can readers of Pianist find these works?

There`s a wealth of pieces out there to be explored, the main problem is that they are not all published or accessible. I`m in the process of making piano albums with lovely repertoire to alleviate this situation .I have also made CDs (Nimbus Records) of  music that had never been recorded before and that the public loves, the music by Teresa Carreño, Moisès Moleiro or Federico Ruiz are gems to me.

I`ll keep you posted about the editions!

 Any suggested listening or watching?

In Spanish music Alicia De La Rocha is still the reference, listen to her Iberia Suite recordings.

Another excellent example is guitarist John Williams who is Australian and has studied Venezuelan music extensively.

Without being too chauvinist I would invite Pianist Magazine readers to visit my Youtube Channel, I have added some live concert performances (not yet found on CD) of music by different Latin American composers that I hope you will enjoy.

What techniques does a pianist need in order to play such composers as Albeniz, Granados, Ginastera etc?

Imagination! Visualize the vast Latin American landscapes, read Spanish poetry, go to see Goya paintings and flamenco dancing in order to understand where all this stems from.

You will need to have steely fingers for the fiery dances and silky paddy ones for the cantabiles. I think that what I am trying to say is that you need to produce different “colours” in your piano sound

 With regards to your playing, do you have technical challenges/difficulties?

I would say that EVERY piece one plays is a challenge. I take ages learning pieces I`m afraid. When I`m starting one it might happen that I think ”I`ll learn this really quickly” but then when I`m halfway learning it I begin to think that I`m really far from really knowing it…it is complicated! Some technically challenging pieces are sometimes easier to practice and therefore they “get into your fingers” better than slow more abstract one where there`s not much physical memory.

On our covermount CD, we have placed the track La Dulzura de tu Rostro, by Ramon Delgado Palacios, from your Venezuela album. Tell us a bit about that piece.

Thank you for choosing such a beautiful piece. I find that the waltz La dulzura de tu rostro by Ramòn Delgado Palacios (1863-1902) defines musically the 19th century in Venezuela for its romanticism and lyrical expressiveness combined with a typical Venezuelan lilt given by the rhythmical figure present on the accompaniment.Ramón Delgado Palacios was a notable pianist and a renowned teacher. He had studied at the Paris Conservatoire with a pupil of Chopin. Besides playing the piano, he also played the organ with such mastery that the Caraqueñas , attended the 10 a.m. mass at San Francisco Church, in great number just to hear his playing. Delgado Palacios wrote 45 piano pieces and 17 for orchestra, chamber music and vocal works.

I recorded this piece on my “Venezuela” (CD NI6122); in this album you can find a collection of pieces by 18 different composers spanning three centuries of composition, the pieces are all based on the three main Venezuelan popular genres: the waltz, the joropo and the merengue.

Can you name 5 piano pieces that are a ‘must’ for the amateur pianist to learn – of an intermediate grade 4-6 standard?

Federico Ruiz : La peruanita (or any of the Pieces for Children under 100 years of age – Spartan Press)

Ernesto Lecuona: Alhambra (Suite Andalucia)

Heitor Villa-Lobos: Any of the Prole do bebe pieces

Alberto Ginastera: Danza de la moza donosa

Enrique Granados: Oriental No 3 (Danzas españolas)

What are you up to this year?

This year I have been invited to play concerti con orchestras from El Sistema that is celebrating its 39th anniversary, this is a lovely project because as you know they have a fantastic high level but they are also eager to learn from you and are very flexible and open to new ideas. I will also play solo recitals with my usual mixture of European and Latin American music in the programmes.

Tell us about your summer festival in Caracas? How did that come about?

I was involved in the purchase of a beautiful Steinway Concert Grand that went from the Royal Festival Hall to Caracas`s Teresa Carreño Theatre. On this piano many concerts were played and features on many recordings made by the greatest international pianists. Given these characteristics I created a festival in Caracas that I have called “A legendary piano” last year. For this year`s edition I am very excited to announce that four different orchestras will participate, twelve piano concerti will be performed by different pianists, recitals and master classes will also be part of this festival.

How much of your ‘pianist’ life is about teaching? Do you enjoy it? Do you learn from it?

I enjoy teaching very much, I teach lovely people of all ages that usually become my friends in the long run. I also love teaching at the Junior Department of the Royal College of Music my very talented students.

We hear that you will be recording a Villa Lobos CD. We know little about his solo piano music. Tell us if there’s some accessible stuff to learn?

The pieces I`ll be recording soon are very difficult but as I mentioned above there are short interesting and lively pieces in the suite Prole do Bébé also in the Cirandinhas.


How many hours a day do you practice?

It all depends on the programmes I am preparing and on the demands external activities will allow but on easy days 3 hours will seem ok and sometimes 8 hours on a day aren`t enough.

 What piano do you own?

 A Steinway model O from 1911. I love it!

Any particular goals/dreams?

Play many concerts!

 Festival un Piano de Leyenda de Caracas address mail

Erica Worth

Pianist Magazine

Photography by Antolín Sánchez