What exactly is so fascinating for you about Soler?

At first, it is the very special atmosphere that his music creates, which appeals to me. Something mystical, holy, pure, and meditative. Some sonatas are like a prayer. Then there are also elements that describe the life in Spain (the fiestas, dances, rhythms like Bolero, Polo, Jota, etc) – very colourful, lively, passionate, and proud. All this I discovered in Soler’s music. He has a very individual sensitivity, something natural. Motives are sometimes repeated ecstatically and at other times come to an end abruptly.

Two years ago, after having played Soler’s concerti for two pianos, I worked on the music of all solo sonatas, and I was really fascinated. This beautiful music was so simple, then there were these hidden surprises to be discovered. At first I thought that some harmonies and periods were printing errors, because the sound was so strange and new to me. Sometimes I even had doubts about whether Soler was really a genius or rather an unmusical composer – the process of working on his pieces was very intriguing, fascinating for me.

There is still no final edition of Soler’s sonatas as the research on his music has not yet been completed. There were indeed some printing errors, but for me the fascination lay in the „non-printing errors". There was also this simplicity, a hidden sensuality – something entirely new which captured me. I thought to myself: Why is this wonderful music played so rarely in public? And, last but not least, I was fascinated by Soler’s life in a monastery, a life in seclusion or even isolation.

At that time, I could identify with that kind of life, because during my intensive studies I lead a similar life, I was very much concentrated on myself. The work with Soler’s music gave some totally new „impulses" to me.

Soler uses church modes which I have always loved. Then one discovers very modern harmonies, which are sometimes even Satie-like (e.g. Sonata d-minor S.R. 24).

It is often stated that Soler was a student of Scarlatti, but this is not proved. There is hardly any material, not even a complete biography of Soler. This incomplete picture has always stimulated my phantasy.

Why do you play Soler on the grand piano in contrast to the cembalo or the fortepiano as is common practice?

To play Soler on the modern grand piano is more colourful, which for me represents the colourful life in Spain. I always had the piano sound as an inner image, after having heard Soler played on cembalo. Both cembalo and fortepiano are charming, too, but the piano (resp. the grand piano) offers a greater variety of nuances.

Soler knew a lot about the construction of musical instruments, and I am sure that – had he lived today – he would have constructed a more extravagant version of the modern piano.

For his student, Prince Gabriel, he constructed a totally new square stringed keyboard instrument, which he called „Afinador" or „Templante". By adding horizontal strings one could hear the difference between the smaller and the larger semi-tones and tones (e.g. g-flat and f-sharp), which is not possible with the modern well-temperated piano.

What are your plans for the near future?

This year, I play programmes with Schubert, Beethoven, and Debussy, but also programmes with Spanish composers on tours in Germany, France, Spain and the U.S.

I can also well imangine playing some jazz music.

There is some really interesing literature; at the moment I am working on Samuel Barber’s keyboard sonata. Samuel Barber’s music is hardly known here. He was an American with Russian ancestors. His music and especially this sonata represent for me a bridge between the continents.

I have plans to play a recital with maybe just two movements of the Barber sonata together with works of Copland and Rachmaninoff.

Ms. Hinrichs, you are frequently staying in New York, what is so attractive about this city for you?

First of all, it is a place where you can meet all kinds of people. I love the warm and open athmosphere, the various different mentalities – in my opinion there is a greater tolerance among the people there. In some respects, it is less hierarchic. I feel a greater freedom in my thoughts and emotions when I am there.

In Germany and in Western Europe in general, I feel that there is so much more envy. In America, and in New York in particular, there is even today more of an attitude of the pioneers, a bit of which would do us in Europe good, too. It is like a motor of art.

What are your thoughts about your career as a pianist?

For me it is a great gift to be able to express myself through music. I want to reach and touch people with my expression and my sound. Music is nothing permanent, nothing you can touch or hold in your hands like a painting or a sculpture. Music creates room for phantasy in the souls of the people, and music can touch people in a completely different way. Inner images can arise, sometimes visions, very individual pictures you „paint" while listening to music.

Debussy once said about his Estampes: „If you do not have enough money to afford to travel, you have to travel in your mind."

Music has something to do with inner vibrations, it leads a way to our subconscious. I find it very fascinating that I can create sounds with my body that touch the souls of others.

For me sensitivity and individual expression is the essential part in my interpretation of music. It is a kind of openness, a sensitive nerve that one can hear, which can go beyond the familiar bounds – of myself as well as of my audience.