Polish piano-prodigy and synth-maestro Hania Rani has exploded onto the neoclassical scene in the last few years with a prolific amount of work, bringing some much-needed diversity to a previously male-centric genre made famous by the likes of Nils Frahm and Ólafur Arnalds. She’s just collaborated with the latter for his some kind of peace piano reworks project, alongside luminaries such as Dustin O’Halloran and Sophie Hutchings. Rani reveals her upcoming third solo album with a theme of ghosts and spirits, how she was losing interest in music until seeing a Nils Frahm YouTube video, and talks about her very special, first full-band show last summer at Les Invalides, Paris, the resting place of Napoleon.
Born on the Baltic coast of Poland in the city of Gdańsk, Rani studied piano and music in Warsaw and then Berlin, and now splits most of her time between the two capital cities.
Perhaps the reason why her work seems so prolific is that after many years of releasing collaborative works, particularly with cellist and close friend Dobrawa Czocher, Rani did not release a solo album until 2019 with Esja.
As if making up for lost time, four albums quickly followed within three years: Home, Music For Film and Theatre, Inner Symphonies (her second album with Czocher) and her original score for Venice: Infinitely Avantgarde.
After overcoming a slightly dodgy Wi-Fi connection, Rani appears via Zoom back in Gdańsk where she is visiting.
Headliner asks about her presumably intense piano studies from childhood — most artists in the neoclassical scene are much more known for their compositional skill which they play themselves on the piano, more so than any virtuosic playing on the instrument. Rani and Nils Frahm (who is one of her biggest inspirations), are by far two of the most advanced piano players among this crop of artists.
“I started playing when I was seven,” she says. “It was a very long education process and in Poland, we have quite professional music schools. There are a couple of music schools which mix regular subjects with music, and you have to choose your instrument when you are seven. And I quickly realised that I liked it a lot and I really wanted to be a famous classical pianist. So I was practicing a lot, doing competitions and some master classes.”