What inspired you to form WEPIANO after graduating from the Moscow Conservatory? How did your individual solo careers influence the creation of your duo?
By the time we graduated from the conservatory, we had already been together as a couple for seven years. We had long wanted to try performing together, but we kept postponing it due to solo concerts and competitions.
However, in 2022, we decided to live somewhere warm and moved to Bali, which had been my wife’s dream for a long time. While in Bali, we actively started performing as a duo and in collaboration with the ballet show Freedballet. So, you could say we were inspired by circumstances.
We created numerous ballet arrangements for two pianos—both academic transcriptions and completely new interpretations of classical masterpieces in the epic cinematic classical crossover genre. When we play on two grand pianos or four hands, and a full symphony orchestra with soundtrack-style sound effects comes from the speakers, the experience becomes truly immersive. Unfortunately, we have only one release in this style so far—Vivaldi Summer (Reimagined) —since we’ve been constantly engaged in creating and performing new music.
How would you describe the core philosophy behind WEPIANO’s music?
Music must touch people's hearts and souls—that's what matters most. That is the core value that unites us—our foundation. Beyond that, we are quite multifaceted. Our roots lie in classical music, and nothing moves us more than the music of the Romantics, especially Rachmaninoff.
At the same time, even though we deeply appreciate the greatness of classical music, our goal is to to bring classical music closer to a wider audience and we are working on creating a program that immerses people in emotions, making them fall in love with the music. Something like a musical performance with lighting, a scripted narrative, and, of course, the music itself.
One thing I can say for sure is that we do not relate to the idea that some pianists have—of making themselves invisible, as if only the composer matters while the performer is a nobody.
How do you maintain your creative synergy as a couple and as musical partners?
When we perform something and it turns out well, it’s amplified by the fact that your partner is right there with you on stage. That sense of teamwork is incredibly supportive, something you don’t get when performing solo. By the way, the nervousness is also much less, it feels like you’re sharing the nerves. It’s also great that when we work on recordings, we have at least two highly professional musicians’ opinions, which definitely strengthens the final result.
Of course, every pianist is a soloist with their own ego. Everyone has their own idea of how to play better, how to phrase better, how to interpret logically, and so on. BUT we are gradually growing and learning how to interact with each other better in order to achieve the best result. The most important thing is to remind each other that we share the same goal, to achieve the best possible outcome, whether it’s a new original piece, a transcription, or a performance of classical repertoire.
What is your daily practice routine like?
I (Dmitrii) sit down at the piano every day, regardless of whether there are upcoming concerts or not. I also teach online, preparing Chinese students for entrance exams to the Moscow Conservatory, so I kind of have to be in shape everytime.
In the past three years, I have also incorporated composition and improvisation into my routine. I realized that traditional classical practice—where you only refine someone else’s works without creating anything new—was no longer enough for me.
Aisa prefers working toward specific goals—preparing for concerts or recordings—so she practices when there’s a concrete task at hand.
Since we are freelancers with no fixed job, when we do prepare for concerts, we wake up and practice almost all day—from morning until late at night. We alternate between solo practice, where each of us learns our parts, and rehearsing together. The only breaks we take are for meals, coffee, and the gym. Without exercise, it's easy to experience emotional burnout or depression from such high-intensity work.
Who are some composers or musicians that have inspired you the most over the years? Do you have a favorite composer, and if so, what draws you to their work?
When it comes to pianists, we have a similar list of favorites: Mikhail Pletnev, Vladimir Horowitz, Arcadi Volodos.
These pianists are on a completely different level. They have an incredible mastery of time, sound, and phrasing. It feels as if they are performing their own music. It’s no coincidence that each of them also composed or made transcriptions. Their approach to performance is different—more like a co-creative process where the pianist is a co-composer of the music being played.
And, of course, Martha Argerich—her extraordinary energy and phenomenal technique set her apart from all other "mortal" pianists.
As for composers, Rachmaninoff is our absolute favorite. I (Dmitrii) grew up in a place where Rachmaninoff spent a significant part of his life. In a way, we could say there’s a kind of "cult" of Rachmaninoff in our world.
But most importantly, his music touches the soul instantly. His melodies seem endless. His harmonies pierce the heart. His pianism is unmatched. This is music that resonates from the very first notes.
And of course, geniuses like Mozart and Bach are incredibly important to us; we constantly turn to their music.
Do you have a favorite piano brand or model? What qualities do you look for in an instrument?
I would name 3 brands:
Yamaha – because their keyboards are generally more even and predictable, even if it’s unfamiliar piano.
Shigeru Kawai – it maintains a consistently soft and pleasant sound in any setting. Playing it is pure pleasure.
Steinway model D. If you're lucky enough to play a well-regulated grandpiano, you can sound even better than you actually play.
For digital pianos, we like Kawai CN models. They have excellent keyboards, making practice enjoyable—especially when paired with a good VST plugin for realistic sound.For digital pianos, we like Kawai CN models. We own two of them. They have excellent keyboards, making practice enjoyable—especially when paired with a good VST plugin for realistic sound.
Can you tell us about your experience recording the Harry Potter Suite for Two Pianos?
First, a bit about how this music came to be. My wife and I are huge Harry Potter fans—we have a tradition of rewatching all the films every winter. After moving to Bali, we needed to improve our English, so we started reading Harry Potter in the original language.
Rewatching the movies, we realized how deeply some of John Williams' themes resonated with us. We didn’t want to play simple, uninspired piano reductions. Instead, we were inspired to create something that truly spoke to us—something in the spirit of Liszt and Rachmaninoff but with Williams’ legendary themes. That’s how these pieces were born. We knew that the music had turned out truly amazing, and we wanted to record it. (A big thanks to our friend, composer Miroslav Chernousov, for his help with the arrangements.)
The entire project took over a year, from composing the music in December 2023 to releasing the final piece on March 3, 2025.
And here’s an exclusive secret that no one knows:
We recorded this album at home in Bali, using VST plugins. The reason is simple—recording this music on high-quality grand pianos in a professional studio, with mastering and all, would be incredibly expensive. We simply didn’t have the resources for that. But we did have the desire to create and share our music, so we worked with what we had—our Kawai CN 29 digital piano and a DAW with virtual instruments.
Not a single person who listened to the release realized it wasn’t recorded on an acoustic grand piano.
Which performance has been the most memorable for you so far, and why?
A good memory: performing at The Star in Singapore—a 5,000-seat venue with top-tier equipment. The quality of the setup, the professionalism of the team, the giant screens on stage—it was unforgettable.
A bad memory: a disastrous concert in Bali, organized by an inexperienced promoter. The sound equipment and microphones arrived 90 minutes late. The audience was left waiting with no explanation, and we had to step on stage ourselves to tell them what was happening.It was really upsetting, a real blow, especially since our posters with our faces, social media ads, and the WEPIANO brand were everywhere. The concert eventually started two hours late, without a soundcheck. Despite all of this, most of the audience were very warm and understanding, reaching out to us on social media and offering their support.
To make matters worse, the organizer never paid us—not for that show, nor for the previous one.
Advice for young artists: Always sign a contract for every performance and demand an advance payment of at least 20%.
Can you share a bit about any upcoming projects, performances, or compositions you’re excited about?
We just released A Window to the Past on March 3—a deeply emotional theme by John Williams with medieval undertones. In my opinion it’s the coolest track from Harry Potter suite. The most emotional and powerful.
We are also working on:
A lullaby album—a mix of original pieces and classical lullabies, recorded on an acoustic grand with felt.
A two-piano Nutcracker suite—an expanded version with our own transcriptions. Major part of suite from N. Ecomomou version, and several our own transcriptions.
We are working on A music-theater show—a production that immerses audiences emotionally into classical and original music through scripted storytelling and lighting effects.