Did you take piano lessons at an early age?

LILYAN: I embarked on my piano journey at the tender age of 7, guided by my first book, “Teaching Little Fingers to Play,” which I still cherish. My musical education blossomed through private lessons, school classes, and continuous learning into adulthood. During those formative years, an old acoustic piano graced our home—a piano that wasn’t officially ours but became my faithful companion. It was on this instrument that I learned to translate raw emotion into music. Now, as a self-taught musician, I continue to explore the depths of expression through my compositions.

How did the idea for Lilyan’s Piano Stories come about?

LILYAN: The inspiration behind ‘Lilyan’s Piano Stories,’ originates from my childhood memories of musical tales. In the book “Teaching Little Fingers to Play,” each piece of music has a story behind it, along with its corresponding illustration that vividly portrays the narrative. Similarly, every composition in my collection carries its own unique storyline, accompanied by illustrations that capture moments like “The Postman,” “The Rain,” and “A Message”—which were the stories I liked the most from my little book. These beautiful musical stories have left an indelible mark, shaping my compositions.

Why do you use both a red rose and a lavender as symbols on your website, even though the red rose is the primary symbol of  ‘Lilyan’s Piano Stories’?

LILYAN: The red rose and lavender are deeply significant symbols in my musical journey. The red rose, the symbol of ‘Lilyan’s Piano Stories,’ represents the passion, love, and emotional intensity that permeate my compositions. On the other hand, the lavender, connected to the vision of a lavender sky I experienced in meditation, symbolizes inner peace, introspection, and celestial inspiration. The lavender rose is the spiritual call to follow music, while the red rose is the tangible music that emerges from my mind to the world, to the earth. Together, these flowers encapsulate the duality of my music: the emotional intensity of the rose and the spiritual serenity of the lavender, reflecting the duality between the sky-spirit and the earth. Through these symbols, I invite my listeners to explore both the depth of their emotions and the tranquility of their spirit.

How did your passion for music develop?

LILYAN: My passion for music blossomed in the schoolyard and the quiet corners where melodies lingered in the air. I was drawn to the piano, where I found joy in playing songs by ear, especially those I held close to my heart. One piece that left an indelible mark on me was “Nostalgy” by Paul de Senneville and Olivier Toussaint, interpreted by Richard Clayderman. Its enchanting melody spoke of longing and remembrance, weaving a spell of sweet melancholy that resonated with my own sensibilities. Over time, this piece became more than just a composition to me—it became a companion in my musical journey, a source of inspiration, and a touchstone for my creative expression.

How and when did you start composing music, and what inspired you?

LILYAN: Many years had passed since my fingers last danced across the piano keys. The loss of my cherished Pekingese dog created an emptiness that led me to seek solace in meditation. It was during these moments of deep reflection that I didn’t just imagine, but vividly saw with closed eyes, a breathtaking lavender sky. This wasn’t mere imagination; it was as if my inner sight unveiled a vortex of this mesmerizing hue. This profound visual experience, seen in the quiet darkness, rekindled my passion for the piano. One day, I found myself seated before the ivory keys, playing as if woven into the fabric of time. It wasn’t long before this reconnection with my inner world began to manifest in the form of music composition, a journey that continues to unfold to this day.

What time of the day do you find best for engaging with music?

LILYAN: I am drawn to music at any time, but especially at night. The night has always been magical to me. Playing the piano brings me immense joy and a sense of liberation. It’s a timeless moment where past, present, and future converge, creating a unique experience that resonates throughout the universe.

What are you musical influences?

LILYAN: Growing up, I was enchanted by classical music and revered composers like Chopin, Beethoven, Rachmaninoff, and Erik Satie. I also found a connection with the works of Paul de Senneville and Oliver Toussaint. Later, John Barry, Yanni, and now Ludovico Einaudi, Ennio Morricone, David Lanz, Hans Zimmer, Yiruma, Yann Tiersen and others have been significant inspirations.

Could you describe your music composition process?

LILYAN: Inspiration can strike unexpectedly, often in the stillness of the night. I hear melodies that persist until I translate them onto the piano. In those fleeting moments, I feel a profound connection with my inner self, which I describe as “Silent Melodies”. Once I’ve captured the melody, the music pauses… until the next inspiration emerges. 

Is that why you feel music chose you?

LILYAN: Indeed, I believe music found me. Despite abandoning the piano, I often dreamt of pianos with silent, broken keys—a recurring nightmare. Since returning to music, those dreams have ceased. As a child, I wanted to venture into composition, but I didn’t start composing until this period in my maturity. I leaned more toward playing melodies by ear, savoring the ones that resonated with me. Now, I can’t envision a life without music, even as I recognize there’s still much to learn.

Why did you step away from the piano if you enjoyed it so much?

LILYAN: Back then, I was often told that music wasn’t a viable career, merely a hobby. Gradually, I drifted away from it, and eventually, the music faded from my life. Being prone to migraines, which are exacerbated by sound, may have also played a role. I studied business administration and later pursued an MBA, which further distanced me from music during that time.

What is your musical style or musical genre?

LILYAN: My heart belongs to classical piano music, film soundtracks, and the works of contemporary minimalist and new age composers. I have a special fondness for the violin and cello within these genres. My style could be described as contemporary piano with a minimalist touch, inherently romantic, evoking true feelings and deep emotions. It’s music that invites introspection and daydreaming, timeless and in harmony with nature, offering relaxation. Defining the essence of my music is a challenge, but I believe my melodies are evocative, carrying a nostalgic quality. They are stories born from silence, whispered from my inner world, becoming a bridge between the tangible and the ethereal, inviting listeners on a journey of introspection, healing and dreams.

What are your favorite songs in classical music and contemporary piano composers?

LILYAN: “Nostalgy”, the first melody I fell in love with (performed by Richard Clayderman), by Paul de Senneville and Oliver Toussaint and Oliver Toussaint’s “Ballade pour Adeline”. Among classical composers, Beethoven’s “Moonlight Sonata” will always hold a special place in my heart. Chopin’s “Nocturne Op. 9 No.2” and “Nocturne in Bb Op.9 minor No. 1” are also favorites, along with Tommaso Albinoni’s “Adagio” in G minor, Bach’s “Air” on the G string (piano version), Satie’s “Gymnopédie No. 1-5”, Rachmaninoff’s “Rhapsody on a Theme of Paganini”, Handel/Halvorsen’s “Passacaglia”, and John Barry’s theme from the movie “Somewhere in Time”, among others. In the realm of contemporary piano music, I am moved by Ennio Morricone’s “Le Vent, Le Cri” and «Chi Mai», Ludovico Einaudi’s “Nuvole Bianche”, Yiruma’s “Kiss The Rain” and “River Flows in You”, Procol Harum’s “A Whiter Shade of Pale” (piano version), and David Lanz’s “Cristofori’s Dream”. Yanni’s “Reflections of Passion”, “Until The Last Moment”, and “One Man’s Dream” are also among my favorites.