Participant No. 3 Professional category
Kleja Kasubaite. Lithuania/Ukraine

Nationality: Lithuanian
Age: 11
Country/State/City Lithuania/Ukraine
Music School: Kyiv V.Kosenko music school
Professor: Viktoria Diubenko
How long have you been playing piano/from what age: Since 1 st of September 2016


I am KLĖJA KAŠUBAITĖ (11 years old). I am Lithuanian, but more than a half of my life I’ve spent abroad – my dad is Lithuanian diplomat, so we have to change place and countries time to time. We moved to Ukraine in 2018, and since then I live and study in Kyiv, Pechersk International School and V. Kosenko Music School (Viktoria’s Diubenko piano class).
I started playing piano in 2016 and since then started to participate in the competitions — gained not only great experience, but also won titles of many international competitions in piano solo and piano duo categories (in USA, Russia, Malta, Indonesia, France, Italy, Austria, Spain, Switzerland, Ukraine, Serbia, Germany, Hungary, Poland, Lithuania, Estonia, Latvia).
My list of achievements includes 6 Grand Prix and 30 first places in Piano Solo category; plus 18 first places and 6 Grand Prix in a Piano Duo category with my elder sister Kaja. Performed with 5 chamber and symphony orchestras in Lithuania, Latvia and Ukraine (conductors M.Bergs, V.Redya, M.Lysenko, M.Barkauskas, T.Ambrozaitis). Participated in recognized
international music festivals in Lithuania — “M.K.Čiurlionis Festival”, “World Voices”, “St. George’s art season”, “Kaunas Philharmony Festival for Young Performers”, also in the festival in Belarus, Brest “January’s musical evenings”, performed at the Royal Palace in Warsaw (Poland). My debut at the Lithuanian Philharmonic in Vilnius happened in November 2021, at the famous International Piano Festival, under patronage of great Lithuanian Maestra Mūza Rubackytė. I am also cooperating with two foundations — the
Foundation of the President of Ukraine Leonid Kuchma and the Foundation by Mstislav Rostropovich for talented children. For high artistic achievements I was awarded the Letter of Honours of the President of Ukraine, as well as two times awarded the MAXIMA scholarship and the title of «Lithuanian Maximalist». In 2020 and 2021 twice became the
winner of the scholarship of the Mayor of Kyiv city V.Klychko.


J.S.Bach. Prelude and Fugue E major, WTC1, BWV854;
F.Schubert. Impromtu op.90 No.2;
M.Glinka/M.Balakirev. L’Alouette.
H.Villa-Lobos. “O, Polichinello!”

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  1. Very talented girl. I like the Prelude despite of a bit more pedal sometimes. In the main theme of Fugue you shouldn’t make so strong accent on the third beat despite of many pupils in the music schools playing like that. Actually it’s not the accent it’s the Tenuto ( wrote by Mugellini by the way not by Bach ). And even if you play this version of the touches ( which is not bad I think ) you need to relax your hand on this tenuto not to clench. And Before that fis you should articulate e! very well. There are just two notes but if you play as I advised you it’s absolutely different meaning of the music playing. In our Judge panel we have a genius maestro Mikhail Arkadev who makes a Great job in YouTube. I recommend to you find his tutorials and listen to them 20min every single day. You even can practice one hour less) but watch Arkadev 20min. more. The result of this approach will surprise you very much in a very short period of time.

    In Schubert right hand should pour like a stream. You should think off the beat in the right hand here: 231-231, but not 123-123. Anyway good teacher job in the middle part.

    In the L’Alouette” I’d prefer more deeply touch and playing it without any accents. I’m sure you can perform it much better considering with your huge talent.

    “O, Polichinello” performed very well. Maybe you should to intonate more the melody in the middle part ( the same story with the “L’Alouette” )

    Will be happy to see you on the next PianoArt competition and follow your professional career!

  2. In the Prelude there is a bit more pedal sometimes. (jeste li mislili a bit too much pedal sometimes, ili it needs a bit more pedal?)
    You play the Fugue too fast for me.

    The streaming, scalic figures of the opening of the Impromptu require wrist flexibility and suppleness, the wrist acting as a shock absorber to help shape the phrasing here. While the music is marked ‘Allegro’, there despite the tempo, this is not a moto perpetuo exercise in the manner of Czerny! It is Impromptu, and by its very name it suggests romanticism rather than rigour. You can use tempo rubato between sections to build the structure of the performance. Sometimes you play too much pedal.

    The Glinka/Balakirev composition makes a good study in bel canto pianism. Difficulty lies in shaping the seemingly simple tune and bringing it out to the foreground amidst all the runs. And the challenge is the melody when it is split between the hands. The accompaniment of the left hand is too loud.

    In “O, Polichinello!” you need more contrasts.

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