Who or what inspired you to take up the piano and composing, and pursue a career in music?
I grew up in a musical household as my mother was a piano teacher. She taught me piano and I also played viola and violin, and for as long as I can remember I knew wanted a career in music. I think I first started composing because improvising new melodies and harmonies made practising my scales more interesting!
Who or what were the most important influences on your musical life and career?
Many and varied. I was fortunate enough to have an excellent musical education with many good teachers, starting with my mother. My secondary school, Dame Alice Owen’s, had a very strong music department and I attended Trinity College of Music, Junior Department on Saturdays. I also played the viola in Hertfordshire County Youth Orchestra. I then went on to study music at Oxford and composition at King’s College, London.
More recently, I joined CoMA (Contemporary Music for All) in 2005, playing the piano in CoMA London Ensemble which is a contemporary music group open to all instruments and all abilities. Initially I thought that CoMA would be a good way to provide composing opportunities, but I enjoyed playing the piano in the ensemble so much that I started to realise that I had more of a passion for playing than composing, particularly the excitement of playing contemporary music. CoMA has taught me more about contemporary music than my master’s degree in composition and I have discovered many wonderful composers and explored their solo piano music, including Paul Burnell, Joanna Lee and Dave Smith whose works appear on my latest CD.
What have been the greatest challenges of your career so far?
The greatest challenge for me has been working out how to find my niche as a musician in the first place. I always knew I wanted a career in music and after graduating I worked for several years in music organisations alongside some composing and teaching. However I always felt that I wanted to spend more time making music myself. When I had the opportunity to switch to part time hours in my administrative work I was able to think seriously about what career I really wanted and how to get there, and that’s when I realised that I wanted to focus on piano.
While I had always taken piano seriously I knew that converting this into a full-time career would require a concentrated period of study and that’s when I got in touch with my teacher Thalia Myers. Under her guidance I threw myself into getting my playing up to a standard where I could forge a career as a pianist.
Embarking on a career as a professional pianist in ones thirties rather than twenties has its challenges, but I believe that a richness of musical and life experiences informs my playing, providing me with something a little different to offer audiences.
Which performance/recordings are you most proud of?
My first CD, Dream Rotation, which I recorded in November 2013 and which has recently come out. Dream Rotation is a collection of six contemporary works by composers I know. Four of the works were in fact written for me to play, two of which are dedicated to me. Five are premiere recordings.
I had at the back of my mind that I would like to record some of the repertoire I had been working on. I decided to go for it in 2013 when I discovered I was expecting a baby in early 2014 and I knew that my practising time would be reduced afterwards. I recorded the six works in one day in November 2013 at the Jacqueline du Pré music building in Oxford with the excellent recording engineer Adaq Khan. In the run-up to the day I had to put a lot of work into learning the works to a standard I was happy with and I had three other concerts during that two-week period. All while being seven months pregnant! The recording day itself was enormous fun and went more smoothly than I could have hoped for, then all the editing and admin that goes into bringing a CD out was done during 2014 in bits of time snatched in between looking after my little boy.
Which particular works do you think you play best?
As I am always learning new things and developing as a player it tends to be whatever I’ve performed most recently. I love playing contemporary music and I actually find standard repertoire quite daunting because there are so many interpretations already out there. I also love playing in ensembles and orchestras and regard this aspect of my playing as just as important as my solo playing.
How do you make your repertoire choices from season to season?
In a variety of ways. Depending on what concerts are coming up I may look for a piece for a particular occasion or others might make a specific request. In addition, composers often send me their works, which I welcome although I also warn them that their pieces will go on to a large pile on my piano and there’s no guarantee of a performance! I have discovered that male composers are much less shy about sending pieces to performers than female composers. Women take note!
As a composer, who are the major influences on your work?
A tough question! Every piece is different and I have sometimes noticed that each piece has something of whatever I’ve been listening to and playing at the time. In recent years this means CoMA repertoire, particularly the use of aleotoric notation such as indefinite pitches and rhythms and generally thinking outside the box. Composers such as Howard Cheesman, Joanna Lee, Stephen Montague and Dave Smith all think creatively about what the performers are required to do and how to express that in a notation which will be understood.
Do you find your composing informs your performing and vice versa?
Absolutely! In terms of playing it is useful to think about what kind of sound the composer was aiming for in any particular texture and to imagine each passage as if it were written for voice, and as if it were written for orchestra, as well as how it is actually written for piano. Understanding the structure of a piece and how the material develops is essential in planning a performance.
It is imperative for composers to understand their music from the point of view of a performer because it is only the performer who can actually bring the music to life. Since I have been playing contemporary music I have thought much more carefully about writing music for the instruments playing it and notating from the performer’s point of view. I think the music I have written as a result of this has greater clarity and I have been much more careful about how things are notated.
You have a special interest in contemporary repertoire and new music. What are the special pleasures and challenges of working with this repertoire?
Bringing a piece to life for the very first time is a wonderful experience. I love the feeling of discovering a piece I didn’t know before and with a brand new piece there is the added feeling of being the first to discover it. Think of your favourite piece of music and imagine being the first person to hear it!
Performers who concentrate on mainstream repertoire rely on a filtering process by which the best works survived and the less successful ones didn’t, whereas performing contemporary music involves being part of this filtering process. I find this exciting and rewarding but it does require patience because one has to engage with the less successful pieces as well as the gems. Patience is also required when working on a piece for the first time because there are invariably teething problems requiring a dialogue with the composer. Again, I enjoy this but it does require patience.
Do you have a favourite concert venue to perform in and why?
I have given several recitals at the Schott recital room in central London. I like the intimacy of this venue which enables the performer to engage with the audience. So many concerts are in churches and other large venues where the audience can hide at the back. Having said that, I am very much looking forward to performing at St. Cuthbert’s Church NW6 on 27 September. It is a modern building with a wooden interior and is beautifully proportioned inside. The concert is to celebrate the arrival of a new piano and launch of their concert series and I think it is going to turn out to be a popular chamber music venue.
Favourite pieces to perform? Listen to?
I have a few pieces which I come back to regularly because they work so well in performance. Gabriel Jackson Angelorum is one I have performed many times as it is so satisfying to communicate to the audience, whether they are regular listeners of contemporary music or completely new to it. The pieces on my CD, particularly Joanna Lee Atta and Hopper and Paul Burnell 3 Plain Pieces fall in to the same category. Another piece I loved performing and hope to perform again is Patrick Nunn Music of the Spheres which includes electronic sounds taken from data from Voyager spacecraft as it flew past the planets. Great fun!
To listen to, I have several favourite composers including Bartok, Messiaen, Ravel and Schumann but really I love all classical music from Bach to Birtwistle.
Who are your favourite musicians?
Goodness, how long have we got? I think I’m just going to pick out a few musicians who have inspired me somehow for various reasons.
The pianist Mary Dullea is quite special. I have heard her and taken masterclasses with her at CoMA summer schools and her playing displays a really sensitive and intelligent musicianship as well as formidable technique. I am also a fan of the pianist Nicholas Hodges whose mastery of counterpoint makes sense of the most complex of Birtwistle’s piano works.
There are a number of living composers who I count amongst my favourites. Aside from the composers I have previously mentioned, I love the music of Phil Cashian. He has written a number of pieces for CoMA which work really well and he always uses fresh textures and has a wonderful ear for harmony. Julian Anderson and George Benjamin are also favourite composers of mine.
What is your most memorable concert experience?
My first recital at the Schott recital room in September 2011 was very special as it was my first recital after I started studying piano seriously again. I played a set of twelve waltzes by Schubert, a short piece by Phil Cashian called Slow Air, Gabriel Jackson’s Angelorum and Schumann Kinderszenen. Unfortunately the event was tinged with sadness because, having taught me to play the piano in the first place and provided so much support over the years, my mother was not there to hear it as she had died earlier that year.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
General musicianship is so important. Develop a good sense of rhythm, pitch and harmony and everything else will be much easier. Taking part in a variety of musical activities, particular singing in a choir but also playing in an orchestra, accompanying, composing, arranging and improvising all helps to build a rounded musician.
Where would you like to be in 10 years’ time?
I would like to be able to play a scale in thirds with one hand and for it to sound beautifully smooth.
What is your idea of perfect happiness?
The things around me here at home: my lovely piano, wonderful husband, brilliant son and Maestro the cat. Not necessarily in that order!
What is your most treasured possession?
It would have to be the piano. What else? It is my first real piano. Until five years ago I only had a digital piano which is no replacement for the real thing. When I got married my in-laws gave us a proper piano as a wedding present. It was the best possible thing anyone could have given me. We chose a Boston upright UP132. When it arrived I realised that all I wanted to do was play the piano and I followed the course which has led me to where I am today.
What do you enjoy doing most?
Playing the piano, spending time with the people I love, eating and sleeping. Not necessarily in that order!
What is your present state of mind?
My mind is in many places at once nowadays as I try to get so much done in so little free time.