The cultural ambassador Girma Yifrshewa

It’s hard to believe, when listening to him play, that Girma Yifradhewa didn’t see a piano until he was 16 years old. He didn’t even know how it sounded. Now Girma is invited all over the world to give concerts-a representative for Ethiopia in the world of classical music.

AS A CHILD GIRMA HAD A TALENT for the krar (a harp-like six-string Ethiopian traditional musical instrument) but on arrival at Yared Music School in Addis Ababa he fell in love with a new sound – the piano- and swore to leave the school unless he was allowed to switch instruments. ‘The krar is limited but the piano has a big variety of music to play.’ He says now. But at the time he just adored the sound and had no idea of the music that would come with it. At the age of 19, Girma won a scholarship to the Sofia State Conservatory of Music in Bulgaria: cultural support from one communist regime to another.

On arrival in Sofia, Girma was desperate to be taught piano but first had to learn a new language. In 1988, he was accepted at the Conservatory, but after only a year, in 1989, the communist regime collapsed and the scholarship disappeared. Those who could, left Bulgaria, and Girma went to Italy. Just as, at age 16, it was piano or nothing, so he was determined to return to his music school in Bulgaria. In Italy, Girma was introduced to the Christian Brothers a Catholic network which provides education and support for the poor -who had a piano that he could use for practice.
Having heard him play, the Christian Brothers wanted to help Girma and though surprised at his rejecting offers of a life in Canada, the US or Italy – they paid for him to complete his studies in Sofia. When he had finished, Girma again declined an offer of life in West to return to Ethiopia.

‘The only dark cloud when I returned to Ethiopia was that I had no piano,’ says Girma. He had one in his room in Bulgaria: a luxury, but a vital one for a pianist. When he finally left Italy, the Christian Brothers bought him a piano. They initially took him to the shop on the pretext of ‘selecting a piano for a friend’. ‘I touched every piano in the shop’. This beautiful gift is the piano he still has in his home, but its journey there was not smooth. Ehen the piano arrived at the airport in Addis Ababa, the customs officials confiscated it and told him that he had to pay import duty on this ‘luxury’, even though it was a gift which ought to be exempt. Girma had no money-onl y the piano and his talent. He went every day to visit the piano and to cover it against the elements. Each visit he found the cover had been removed. ‘The only thing I noticed on TV was the weather report. If it rained I would rush to the airport. I cried once when I saw it had rained on my uncovered piano. The customs officials couldn’t believe it; ‘He’s crying for wood!’ Clearly they had no idea what beautiful sound could be made by this piece of wood in Girma’s hands. The Christian Brothers wrote to the Ethiopian authorities: ‘you cannot imagine what a rich man you have, both culturally and imaginatively. He could have stayed abroad but he wanted to come home-and you squeeze him for money. How can a carpenter work without a hammer? A pianist needs a piano.’ The letter worked.

Back in Addis Ababa, several chance meetings with British people helped Girma pursue his career. Father Huw Thomas, from the Anglican Church, attended a concert given by Girma soon after his return to Ethiopia. Father Huw offered him space to live in return for playing piano in their weekly church services. Girma stayed there for two years. This helped him to house a newly-returned son and his newly-rescued piano-and he was forced to learn the Anglican hymns, which taught him about musical structure in composition. Though the Church, Girma met the then British Ambassador, Robin Christopher, who offered Girma the opportunity to practice on the grand piano in the embassy. This was a treat, especially as there are only a few grand pianos in Addis Ababa.(Girma longs to buy his own.) The ambassador also found funds to send Girma to study at the prestigious Royal Academy of Music in London under Processor Frank Wilbaut in 1997. ‘It was fantastic for my technique,’ Girma says, ’and I had a chance to really make the best of London.; He went to concerts as often as possible, ‘I thought if I was reach, this would be the place for me. I can get everything that I want, culturally’.

And his studies, though, Girma was determined to return to Ethiopia, but he increasingly finds that his work has more of an Audience outside Ethiopia than in his own country. ’I had a great chance to tour Africa twice as a cultural ambassador,’ he says. He had also performed in Australia, Italy, Germany and France. He is proud to represent Ethiopia: ‘I always think of my country, not my work, because I am not special. There are lots of pianists all over the world.’ People are often surprised when they find out where he is from: ‘Everybody is interested. From Ethiopia? Because it is something unusual-an Ethiopian who plays piano. Don’t you have problems with food and war and instability? And when they listen, they really they change their mind.’ Girma gave an interview to the BBC World Service, during which he played the grand piano in the basement of their Bush House headquarters. It was a treat for the piano, which is rarely requires by the repertoire of most ‘world music’ visitors to the World Service. ‘I was so proud to be interviewed by the BBC,’ Girma says. ‘I came back from London full of confidence’.

As well as performing the work of western Classical Masters, Girma writes his own compositions, which are Ethiopian motifs rewritten for classical piano. Is works can be heard on his most recent album, Elilta, and designed to ‘introduce piano music to the Ethiopian melodies to listeners in other countries.

Girma loves the opportunity to tour abroad, and to work with different musicians. ‘That’s how I grew up,’ he says, ’all these kinds of chances.’ Girma considers himself a man blessed by luck: ‘All my life goes with luck-accidental meeting with people’. But he’s far too modest: meeting him and hearing him play, it’s clear that talent, charm and determination have made all the difference.