Ulaanbaatar, December 31, 2024 /MONTSAME/. MONTSAME Mongolian National News Agency which strives to “Bring Mongolia to the World and the World to Mongolia” has invited two distinguished and talented artists of Mongolia for an exclusive interview. These two famous artists have taken Mongolian art to the global stage and brought Mongolians closer to the classics of the world.

We are honored and humbled to introduce Pianist Tsolmon Tuvaan, People’s Artist of Mongolia, and Professor at the Mongolian National University of Arts and Culture, and Jigjiddorj Nanzaddorj, President of the World Morin Khuur Association, and Conductor and Concertmaster of the Morin Khuur Orchestra of Mongolia. They are true virtuosi of the Morin Khuur, the king of the Mongol music, and the Fortepiano, the king of world music.

Music, the wordless art, reaches human hearts across the continents in many ways we cannot predict, yet it possesses the magic to touch the deepest corners of the human soul, transcending all boundaries.

When I asked about how musicians define music, Pianist Tsolmon Tuvaan said, "I cannot define music in words. For me, music is a magnificent world that cannot be expressed with words." On the other hand, Morin Khuur Player Jigjiddorj Nanzaddorj said, "I do not dare to define music in the presence of Professor Tsolmon." This humble response of Jigjiddorj, a young rising "Star" of Mongolia, reflects deep respect and admiration for the esteemed artist who represents the pinnacle of Mongolian musical art and has dedicated her life to the world of music for many years. Our conversation unfolded in an atmosphere of honor and pride as we embarked on a journey to the boundless ocean of arts and music.

Thank you for accepting our invitation. I would like to address my first question to Professor Tsolmon. What does a pianist aspire?

Tsolmon Tuvaan: The goal of a pianist is colossal, encompassing a wide range of elements within a grand world. Among all musical instruments, the piano has the longest history and the most extensive repertoire. Every composer throughout history created works specifically for the piano. Many of the world's greatest composers were also exceptional pianists themselves.

I am a teacher and have taught many students. The piano repertoire is so rich. So, you cannot assign the same piece to every child. Therefore, to be a pianist, one must possess not only outstanding talent but also a high level of education. What does this education mean? It means being familiar with a vast array of music from beginning to end. I teach my students based on my feelings and understanding of the style of each piece. Thus, a piano teacher must first and foremost be a performer him or herself.

It seems problematic for someone who has not personally played those masterpieces for piano to teach students; one must truly feel them with their heart, body, and mind to effectively instruct others.

The musical instrument known worldwide as the Fortepiano has been beautifully rendered into the Mongolian language as "Tuguldur Khuur," the Perfect Musical Instrument. The history of this instrument, in its current design, dates back to the early 18th century. How and when was the piano invented?

Indeed, the name "Tuguldur Khuur" is a beautifully rendered Mongolian term. Discussing the origins of the piano will be a long story. However, if we speak about its current design, we arrive at the late 17th century and early 18th century. Until the time of Ludwig van Beethoven, the piano was quite small in size. It was from the era of Frédéric Chopin that the octaves became larger.

The history of the Morin Khuur dates back to ancient times too. According to recorded history, it is believed to have originated in the early 13th century. What stage of development is the Morin Khuur in today?

Jigjiddorj Nanzaddorj: The Morin Khuur is considered one of the earliest examples of bow instruments in the world. In Italy, there is a classical instrument known as the cello, while in Asia, the Morin Khuur has a notably ancient lineage among folk musical instruments, particularly among bow string instruments. However, there is no precise reference to its origins. The Morin Khuur is an ancient Mongolian musical instrument that has been inherited, playing Mongolian folk, such as traditional Mongol long songs and tatlagas [few chords of Morin Khuur].

In the 1940s, the famous Morin Khuur Player Jamiyan Gombodorj began transitioning Morin Khuur training from one-on-one lessons to classroom settings. Before that, the Morin Khuur was taught in private sessions at home.

Today, the Morin Khuur is in its prime stage of development. And we define it as a national classical musical instrument.

Thank you. Mongolians are people who remember and reflect on their journey to success by always associating themselves with their teachers. Who were the piano teachers that guided you, Professor Tsolmon?

Tsolmon Tuvaan: The Music and Dance College of Mongolia was established in 1957. The very first piano class was just a year above mine. I enrolled in the College in 1958. At that time, specialists from the Soviet Union taught at our College. My first teacher was Sergey Alexandrovich Ipatov, an exceptional instructor. He came from Moscow’s prestigious Central Music School (CMSh), which has trained many international competition winners. This shows how much attention was given to the Music and Dance College of Mongolia back then.

Our artistic director at the time was Gonchigsumlaa Sembe. I had a great affection for my teacher, Sergey Alexandrovich Ipatov. In sixth grade, 10 students were sent to the Soviet Union. I, along with five other students, went to what is now known as Saint Petersburg, where we studied for six years at a remarkable musical school at the Saint Petersburg Conservatory, which trained exceptionally talented students. There, I had the privilege of learning from my beloved teacher, Asya Yefimovna Rubina. She was an outstanding teacher. These teachers ignited my love for music and sparked my passion for it.

Our school in Saint Petersburg was an institution, one that had been preserved since the time of the Tsarist era. Both the school and the teachers were amazing. Each classroom had two grand pianos, and our sole focus was only studying. The students of this school were privileged to watch performances at the renowned Mariinsky Theatre, for free. I think this school gave me the greatest potential to become an artist.

Later, for my higher education, I studied at the Gnessin Academy in Moscow. There, I had another wonderful teacher, Maria Alexandrovna Gurvich, who spoke excellent French. The professionalism and education of my teachers were truly prodigious and admirable.

-So, you must have been among the very first Mongolian pianists to study abroad?

Tsolmon Tuvaan: Before my graduation, Honored Artist of Mongolia, Pianist Erdenechimeg Gonchigsumlaa, had completed her studies abroad. Many people might know her as the daughter of Gonchigsumlaa Sembe. Then, G. Zanaa, a Piano Teacher at the Mongolian State Conservatory, and I graduated together in 1975. I was immediately assigned to perform with the Mongolian Philharmonic. We had our hands full. As I came here to meet you, I was reminded of those times when we would perform in the wooden-floored building of the Philharmonic orchestra.

As for Morin Khuur Master Jigjiddorj Nanzaddorj, at what age did you begin playing the Morin Khuur, and who do you honor as your teacher?

I first picked up the Morin Khuur when I was just seven years old. The Music and Dance College of Mongolia starts enrolling students in the traditional music program from the fifth grade. My family lived in Erdenet City of Mongolia, where I spent my childhood. My parents were teachers when I was a pupil in a secondary school. Our primary school music teacher used to play the Morin Khuur. I began my studies in the Morin Khuur club in Erdenet City and studied under the guidance of my two teachers, Borolzoibaatar and Batsaikhan.

So, when I was the fifth grader, the National Contest for Young Morin Khuur Players took place in Erdenet, and I won the first place. The judge was Yo. Batbayar, a renowned educator and Honored Teacher of Mongolia, who was a student of Jamiyan Gombodorj and carried on his legacy of teaching. Mr. Batbayar decided to take me as his student. He said, "I will take this child as my student. Please bring him to me next year." As a result, I enrolled in the Music and Dance College when I was a sixth grader.

I studied under the guidance of my teacher Batbayar until I graduated from the College in 2013. I first performed on the stage of the Mongolian Philharmonic in 2008 as a 10th grader. Since then, I have traveled to many places and performed with my co-workers in the Mongolian Philharmonic.

One of the people who have greatly influenced and led me to professional artistry was the People's Artist of Mongolia Batchuluun Tsend, the Founder of the Morin Khuur Orchestra of Mongolia. He is, of course, one of my great teachers.

What is key to becoming a good Morin Khuur player: dedication and effort, talent, or persistence and hard work?

Jigjiddorj Nanzaddorj: To become a musician, of course, talent and a good ear are essential. When entering a music school, they conduct very thorough evaluations, even examining the fingers of the students. However, I believe the key to becoming a good musician is hard work. It requires considerable perseverance and many hours of practice. Students at the Music and Dance College of Mongolia often have less time for leisure compared to students at other schools. They focus on their academic subjects while simultaneously practicing their professional skills. Moreover, learning to play string instruments requires precise tuning of the tones, demanding better ear and sense than playing keyboard musical instruments.

Having a good ear and sense is essential to master string instruments. Then, what is important for mastering the piano?

Tsolmon Tuvaan: Indeed, talent is essential. Without talent, one cannot learn any musical art. However, talent itself is very nuanced. Not every child’s talent is the same. Some may have an exceptional ear for music but struggle to remember musical pieces, while others might not have exceptional musical ability but possess an extraordinary memory. Some children may have very skilled hands. Just as not everyone is the same, not all talents are alike. Just as people are diverse, so too are their talents. However, those with truly impressive innate talent are rare, born perhaps only once a century.

Thinking of my students who became talented musicians, I realize that passion and aspiration are the most important qualities. A person with own desires, ambitions, and drive will inevitably achieve his or her goals.

We were taught the importance of constant practice and diligence from our very first year in school. There was no room for excuses; if you hadn’t memorized your pieces or learned what you were supposed to, you didn’t have the right to step away from your musical instrument. As a young woman, I would date with my fiancé, watching movies and visiting beautiful places. But every time I thought about not having practiced, I felt a pang of guilt. It was only after returning home and putting in a bit of practice that I could find peace and feel a sense of relief. Therefore, to become a great pianist, you truly need both talent and hard work. This is nurtured by your environment, the support of your family and teachers, but not everyone possesses it in the same way.

You had such a strong passion for music….?

Yes, I had. My student Sayantsetseg Sangidorj also had that passion.

Your proud student Sayantsetseg Sangidorj has performed at many concerts in various countries. She has played at the Museum of the great pianist Richter in Moscow. Many of your students have performed on stages that are beyond the reach of ordinary people. Let's shift back to the conversation about you. It's said that your mother wanted you to become a doctor, is that right?

Yes. [smiles] My mother was one of Mongolia's first specialized ophthalmologists. She was a native Russian speaker. Music was not in her plans at all. So, while my mother went on a field trip to the countryside, my father enrolled me in the Music and Dance College of Mongolia.

Now, children are entering school at the age of 5. So, does this mean that they are being taught traditional musical instruments starting from this age too?

Based on when we entered school, it seems that they are learning traditional musical instruments from 7th grade. However...

Tsolmon Tuvaan: However, this also depends on the musical instrument. For example, students can start learning the violin from first grade. Violins come in different sizes, including small and medium ones. If we want to improve the Morin Khuur training, we need smaller Morin Khuurs suitable for children's ages. Otherwise, if we continue to use only standard-sized Morin Khuur, how can young learners effectively learn to play? Even piano lessons can now start as early as the age of two. In Japan, piano lessons begin at the age of three.

Jigjiddorj Nanzaddorj: Yes, children are developing much faster now. That's why the age at which they start learning music is getting younger and younger. Now, even very young children are learning to play music. That's what I meant when I said that the Morin Khuur is a “developing instrument.” Even the instrument itself is evolving. For example, Violoncello comes in various sizes, from a quarter to a full size. If we want to further develop the Morin Khuur, we must follow the example of other stringed instruments. Then, children could start learning the Morin Khuur from a much younger age.

What was the very first piece you learned to play on the Morin Khuur?

Jigjiddorj Nanzaddorj: I first learned simple and small pieces. Although I started learning the Morin Khuur from a young age, I wasn't playing impressively; I had only learned a couple of basic techniques. It was only after I entered a professional school that I learned more advanced pieces.

How resourceful an instrument is the Morin Khuur? How well can it play world classical music? 

Jigjiddorj Nanzaddorj: Initially, my teacher Jamiyan began playing western classical music on the Morin Khuur. Starting with such pieces as Robert Schumann's "Träumerei" and Anton Rubinstein's "Melody," he gradually incorporated them into the curriculum of Morin Khuur training. In general, I believe the goal was to start by teaching the Morin Khuur’s fingerings, the left-hand finger numbering, and classical music techniques to develop the left hand’s precision. While this was the initial focus, the formation of Morin Khuur ensemble, and later the orchestra led to a shift towards playing in ensemble and performing world-renowned classical pieces on the Morin Khuur on an international stage. This practice continues to evolve to date.

The feature of the Morin Khuur, distinguishing it apart from other stringed musical instruments, lies solely in its alive sound. This distinction stems from the nature of its bow. While traditional stringed musical instruments employ a horsehair bow to draw across the metal strings, the Morin Khuur uniquely uses a horsehair bow to draw across horsehair strings. Rather than trying to play classical compositions on the Morin Khuur to impress the global audience, I believe our efforts should be directed toward expanding and enriching the repertoire of this unique musical instrument, Morin Khuur.

As Professor Tsolmon has just highlighted, the piano has a rich repertoire that can offer different programs for every child, the Morin Khuur has only two textbooks composed by Teacher G. Jamiyan for practice. We need a much richer repertoire, including exercises, small-scale compositions, sonatas, concertos, ensemble pieces, and more.

Tsolmon Tuvaan: In reality, the development of any musical instrument begins with its repertoire. The Morin Khuur's repertoire has only recently started to include beautiful compositions. Maestro Batchuluun and I worked on this issue to enrich Morin Khuur's repertoire. Composers Sharav Byambasuren, Jantsannorov Natsag and others have created very beautiful pieces for the Morin Khuur. They have done a lot to enrich the Morin Khuur's repertoire.

When we listen to “Tsagaan Suvarga” [White Stupa] by Jantsannorov Natsag, it feels as if the music touches the deepest part of every Mongol heart, bringing a sense of tranquility, joy, and excitement. Would you agree that this is due to a unique characteristic of the Morin Khuur?

Jigjiddorj Nanzaddorj: If we play “Tsagaan Suvarga” on the violin, it doesn’t reach people’s hearts as deep as Morin Khuur. Nor will it have the same effect if we play it solely on the piano. So why does it resonate so deeply with people when played on the Morin Khuur and gratify the audience so well? It's because “Tsagaan Suvarga” was composed specifically for the Morin Khuur. Compositions made for a specific instrument sound exceptional. We must focus on this and continue developing the Morin Khuur, creating more pieces for it.

There are records on YouTube of children playing “Tsagaan Suvarga” on the piano. What are the unique characteristics of playing Mongolian melodies and tunes on a piano, an instrument traditionally used to play Western classical music?

Tsolmon Tuvaan: It all depends on the player. N. Jigjiddorj is absolutely right. No matter how beautifully a soprano sings a song written for a baritone, it won't strike a chord with the audience. Music is the same. Especially the sound of the Morin Khuur, which is deeply ingrained in the Mongolian heart and mind. The farther we are from our homeland, the more we feel moved and emotionally listening to the melodies of the Morin Khuur and traditional Mongol long songs. Even though I've played classical music for my whole life, for me, folk music always resides in my heart. 

So, there's no definite answer as to whether or not the magnificent music from the opera “Carmen”, beloved by cultured people worldwide, can be played on the Morin Khuur, right?

Jigjiddorj Nanzaddorj: I will just have to repeat myself. Georges Bizet composed “Carmen” for a classical orchestra, so no matter how beautifully it's played on the Morin Khuur, it won't match the original. However, N. Jantsannorov did arrange the “Carmen Suites” for the Morin Khuur Orchestra, and the Orchestra performed it. But it just doesn't compare to the original classical performance. It's interesting, but that's about it.

Tsolmon Tuvaan: I completely agree. I've listened to the original “Carmen Suites.” No matter how well it's played on the Morin Khuur, it just doesn't quite satisfy a trained ear. I think it might sound fine to someone who doesn't know much about music.

Jigjiddorj Nanzaddorj: Second, playing classical music on the Morin Khuur is a way to develop both the instrument and the Morin Khuur player's skills. However, surpassing a classical piece composed for a classical instrument is simply impossible.

There is a legend that the Morin Khuur originated from the love and respect people have for their horses, their precious steeds. Would it be correct to say that the Morin Khuur timbre produces such melodies that evoke feelings dear to the hearts of its listeners?

Absolutely! There are many interpretations. Researchers say that the Morin Khuur is an alive instrument with alive sound. The horsehair used for the bow and the two strings is directly taken from the tail of a living horse. Horsehair from a dead horse is not used. Recently, we've been replacing it with synthetic strings due to frequent travels, both domestically and internationally, and the varying climatic conditions. Initially, the Morin Khuur didn't have a wooden body. Its earliest ancestor had a body made of goat skin. The main soundboard, made of goat skin, was used until the 1950s and 1960s. Morin Khuur master Jamiyan, who first started touring internationally to participate in competitions, such as the World Festival of Youth and Students, faced challenges when playing it in humid conditions. The horsehair strings would loosen, and the body would become damaged. That's when a Russian luthier first created the modern Morin Khuur with a wooden body. Nowadays, goat skin can be treated and used, but the Morin Khuur with a wooden body has become more common.

Tsolmon Tuvaan: Mongolian climate is very dry, so, when a Morin Khuur is taken to a hot, humid place, it almost ceases to be a musical instrument.

Jigjiddorj Nanzaddorj: Synthetic strings have started to be used recently, and Mr. Chibulag of Inner Mongolia began playing with these strings. It's okay to play the Morin Khuur with horsehair strings in Mongolia. But when traveling abroad, it becomes risky. The sound quality can be affected by different climates. If the tune is unstable, how can you play in an orchestra? Since there are no metal components in this instrument, it produces a more natural sound. Therefore, researchers say that it sounds closer to the human heart.

Tsolmon Tuvaan: I'd like to add something. It's a very interesting question. When Mr. Chibulag first came to Mongolia in the early 1990s, I played indeed piano with him. His performance was incredibly emotional. He was sweating, and he even cried while playing. At that time, the hall of our Music and Dance College was filled with famous folk musicians, such as G. Jamiyan and Ts. Dashdulam. We were all astonished to see that music could be played with such emotion. Later, during a master class, we scolded a student for playing without showing any expression. Khangal Zundui, Batchuluun Tsend, and I were all there. Then, Z. Khangal came up with the idea of writing a concert. Khangal's concert was full of emotions. Since then, our performances have changed significantly. Mr. Chi Bulag provided a crucial impetus to us.

Jigjiddorj Nanzaddorj: Past July, we invited Mr. Chibulag to the International Festival of Morin Khuur in Umnogobi aimag of Mongolia. He's 81 years old now. I met him earlier this year in China and extended the invitation. He sent me a WeChat video of his first performance with Professor Tsolmon. It was a video of you when you were very young. You were playing “Tumen Aduunii Tuvurguun” [Gallop of Myriad Steed] and at the end of the video, you, Mr. Jamiyan Gombodorj and Mr. Zangad Baartuu came onto the stage. It's a great video.

Tsolmon Tuvaan: That's amazing, can you send me that video? I remember Chibulag was so moved during that performance that he even cried. The whole audience was crying, and Mr. Chibulag was wiping his sweat with a big towel. It was such a beautiful performance.

Not long ago, people thought the Morin Khuur player should be dressed in a deel [traditional Mongol attire] to play the Morin Khuur. It's nice to see Jigjiddorj playing the Morin Khuur in a suite. But can you play the piano while wearing a deel?"

In the past, we used to hold “Cultural Day” festivals. During one of them, a famous musician came from Moscow to perform. I was going to play "Uran Setgemj" by Khangal Zundui at a big concert in the Bolshoi Theater. Then, I saw the painter Urjnee wearing a traditional Mongol deel. Seeing him, I thought, “Since I'm playing a Mongolian piece, it should be fine to wear European clothing.” However, we usually wear black or white clothing for performances. We avoid wearing colorful clothes.

Was there a tradition or custom for pianists to avoid wearing colorful clothing?

I don't know. We never wore colorful clothes. I really admire a Chinese pianist, Yuja Wang. She's so famous and lives in Europe. Pianist Yuja Wang is very stylish, and her performances are incredible. Young people are really drawn to her. We lived through a very strict period in Russia, so we only wore black clothes. Or maybe a white shirt. That was it.

There are many great pianists in the world. What are the advantages of women playing the piano?

Honestly, I'm not sure about the advantages. It feels like the piano is more of a man's instrument because almost all composers are men. The only female composer I can think of is Soviet-Russian composer Sofia Gubaidulina. That's why, given that the composers are men, the performers should also be men. Some pieces require an immense range, strength, and a certain kind of power that's inherently masculine, with a beautiful, rich tone. However, women can bring a great deal of delicacy and nuance. Especially in smaller pieces, women can create something truly magical. Despite this, there are many great female pianists. Maria Yudina and Tatiana Nikolayeva were just as good as any man. 

There's a world-renowned pianist Martha Argerich who, even in her 80s, continues to amaze everyone. These people are truly gifted. They play the piano so well that it makes men envious. And speaking of pianists and composers, there are figures like Frédéric Chopin, Franz Liszt, and Sergei Rachmaninoff who were themselves exceptional pianists

Is there a difference between men and women players of the Morin Khuur?

Jigjiddorj Nanzaddorj: Of course, there is. The Morin Khuur is often considered a man's instrument too. There are still old men in western Mongolia who play the pieces of the Morin Khuur. I think men are better at producing various tones. However, after professional Morin Khuur training started, we had Uugantuya, the daughter of the composer Jantsannorov Natsag, join our Morin Khuur Orchestra. Together with her classmate Uyanga, they became the first female professional Morin Khuur players. So, women have only recently started playing professionally. They play beautifully, have become professional musicians, and are now part of the orchestra.

Tsolmon Tuvaan: Musicians can play in an orchestra, but a musician's true skill is revealed in a solo performance.

Memorizing and performing an entire 30–50-minute concert requires immense talent and skill.

Morin Khuur player Jigjiddorj has performed on many famous stages of the world. What was your most memorable performance?

I’ve performed on quite a few grand stages recently, and I even had the opportunity to play a solo. Most recently, I performed at the Sydney Opera House, the Concert Hall of the Mariinsky Theatre, and the NHK Hall in Japan—one of the top stages in the country—where I played two years ago. For a musician to represent the orchestra and perform a solo requires intense mental preparation and a huge responsibility.

The Emperor and the Empress of Japan attended our concert at NHK Hall in the winter of 2022. The Royal Couple doesn’t attend concerts often. Ours was the first concert after the pandemic. And it was very interesting for me why the Emperor and the Empress came to our concert.

When the Emperor was a Crown Prince, he visited Mongolia in 2005. The Crown Prince used to play the viola. It's common for royals to study classical music. During a performance dedicated to the Crown Prince at the State Opera and Ballet Academic Theatre of Mongolia, he played the viola with a Morin Khuur Orchestra of Mongolia. A woman named Sato Noriko, who organized numerous performances of our Morin Khuur Orchestra in Japan, was the one who pursued and arranged this event.

President of Mongolia Khurelsukh Ukhnaa attended our concert in Japan and sat with the Emperor of Japan. They sat in the entire two-hour performance. It’s apparently uncommon for the Emperor to stay for an entire concert, as he usually leaves halfway through. Right after the performance, the two Heads of State met, and the Emperor showed President Khurelsukh a photo of himself playing with the Morin Khuur Orchestra during the concert in Mongolia.

That's how wonderful art and music are, isn't it?

In 2011, the Morin Khuur Orchestra (then Ensemble) performed at the UNESCO headquarters in France. At that time, Sh. Altangerel, a spouse of Professor Tsolmon, was the Ambassador of Mongolia to the French Republic. I had the opportunity to perform a solo and met with Professor Tsolmon after the concert.

Tsolmon Tuvaan: Yes, you were so young back then.

Jigjiddorj Nanzaddorj: Yes, I was very young back then. From there, I went on to perform at the United Nations General Assembly Hall in New York, which was also a huge responsibility. Most recently, the Morin Khuur Orchestra played at the Palace of Versailles in France, and I had the honor of performing a solo piece composed by Khangal Zundui.

The Palace of Versailles isn't a place where just anyone can hold a concert, so it's truly an honor. Professor Tsolmon worked with some of the most talented artists, true stars in Mongolia. What performance stands out the most in your memory?

It was wonderful to perform a solo of Khangal’ Zundui’s composition on stage with the Bolshoi Theater orchestra upon graduation. When attending a training, a talented singer from Buryatia Dugar Dashiev came and said, “Sharav composed a beautiful song called “Aav Eej Hoyor Minu” [My Dear Father and Mother].” I was the first pianist to play that song. The studio of the Moscow Radio World Service was very famous. In that large studio, there was a radio orchestra of 60-70 people. They took a break and left. Suddenly, they took out the sheet with music of notes and had me play immediately. This was such a moment. I will never forget that. 

I participated in a major competition held in Sofia, Bulgaria, twice with the legendary Mongolian opera singer Urtnasan Khorloo. We came in the fourth.

I traveled to Tokyo with the first Mongolian classical artists, People’s Artists of Mongolia Oyun Yundendorj and Ganbaatar Ochirjantsan. The Japanese people loved Ganbaatar, so much, calling him “Ganbare.” “Ganbare” [Go for it! in english] is such a wonderful word. The Japanese people were amazed at us and asked, “Are all Mongolians like this?”

Yu. Oyun and O. Ganbaatar danced beautifully, while Jamiyandagva Baljinnyam watched us from behind. We were very successful in two big competitions. The piano was played solo, not with an orchestra. I played my piano right next to the stage, but unfortunately, there was no recording. It was a very large hall. This was in the 1970s.

Our artists have always proudly promoted Mongolia on the world stage. Congratulations again to you, distinguished artists of Mongolia. Lately, Mongolian children are achieving great success in international competitions. For you personally, who is your youngest student?

Tsolmon Tuvaan: I've recently taken on a new, very young student. This is our second year working together. She’s a great-granddaughter of the legendary Mongol Long Song singer Norovbanzad Namjil. This girl seems to have inherited Norovbanzad’s extraordinary talent. Her name is Oyundari, one of three daughters in her family. She’s an amazing child. Ten-year-old Oyundari started training piano at a very young age, at three. Her own teacher is also my student. Last year, Oyundari performed a solo concert at the Mongolian Philharmonic. She plans to perform again next year. She won several grand prizes in various competitions. This child is a true treasure, and I believe she will one day represent Mongolia with pride, raising the nation’s reputation to greater heights.

Mr. Jigjiddorj, have you had the chance to teach?

I haven't done much teaching. I tutor a few students privately. I work with some students who are in their senior years or those who are working on larger compositions, providing them with guidance. Setting up the hand position is a very delicate task. Yo. Batbayar, a teacher with many years of experience, would be better than me. I just graduated my first bachelor’s student, who started with me in his freshman year. He has become a marvelous musician.

Tsolmon Tuvaan: It's not ideal for a solo musician to become a teacher too early. In the past, there weren't many teachers available, so even though I was eager to develop my music, I was told to teach others. If you spend so many hours teaching, when do you find time to practice? Do you practice at night? I have a family, too. While you were busy caring for your family, the theater was always calling you in. Ultimately, if you want to develop a skilled musician, you should focus on raising a soloist. That's the most important aspect of musical training. Many people can play in an ensemble, but not everyone can be a successful soloist.

Mr. Jigjiddorj, how many Morin Khuurs do you have?

Musicians generally don't change their instruments very often. The sound actually improves over many years of playing, especially with stringed musical instruments, which become softer and more euphonious. For example, violins made by famous luthiers in the 1700s are worth 5-6 million dollars today. Tuvshintur, the son of People’s Artist of Mongolia Damchaa Banzar, graduated as a luthier in Italy. He crafted my Morin Khuur, and I have been using it for over 10 years.

We don’t usually change our main instrument. Over time, it becomes like a part of our body, and we know exactly how it will sound. It’s so personal that sometimes I think no one else could play it and get the same exact tone. Recently, the art of crafting instruments with leather bodies has been gaining momentum. Great Musical Instrument Crafter Ulambayar Doljin made me a traditional musical instrument with a leather cover and gifted it to me. So now, I have two Morin Khuurs.

Do you still have the first Morin Khuur you learned to play?

Yes, I do.

Professor Tsolmon, what was your first piano like?

Pianos were very rare, especially in rural areas, where there were none at all. Only a few were in Ulaanbaatar. German pianos hadn't been imported yet. There were just a few Russian pianos. I remember our family's first piano; it was a large, red Chinese piano, almost like a wardrobe. I used to practice on it. There was a Russian piano called "Krasny Oktyabr" back then. German pianos started coming in around 1960. The best pianos were made in Germany. All the schools I attended had German pianos. The famous Steinway is German, after all. Lately, Japanese pianos are gaining popularity. Yamaha is really good. Kawai has also become available. A Japanese friend gifted me a Samick piano from South Korea. He used to play it himself, and it's a beautiful instrument. I also have a Yamaha mid-sized grand piano.

Tsolmon Tuvaan: We have a Steinway at the Philharmonic. It was our dream piano. /laughs/

So, you're going to play the Steinway today…..

Tsolmon Tuvaan: Fabulous!

Have you ever played together?

Tsolmon Tuvaan: Never before.

Jigjiddorj Nanzaddorj: This will be the first time we play together after this interview. I’d like to take this opportunity to express our sincere gratitude to MONTSAME Mongolian National News Agency. It is an honor to be interviewed alongside my teacher, Professor Tsolmon, whom I and all classical musicians in Mongolia, deeply respect and admire. Today, at your request, we will be recording our joint performance. It’s a wonderful opportunity—thank you very much.

Your home stage and the Steinway await you.

Please join us through the link below to enjoy the music of the two virtuosi!

https://www.youtube.com/watch?v=aEbqNe5J1xw