Who or what inspired you to take up conducting and pursue a career in music?
I was born into a musical environment: my father, Bernard Rose, was a huge inspiration. He was a conductor, composer, scholar, organist, horn player, singer, inspirational teacher. I studied with him at Oxford and sang in his daily choir at Magdalen College, but before that I was a chorister at Salisbury Cathedral, as was my father, his brother and both my brothers. At Salisbury we had about 8 services a week, with about 12 rehearsals, from the age of 8-13. I remember thinking at the age of 12 or so that I wanted to be in music, and thought conducting would be good. My father sent me to have lunch with his old teacher at the Royal College of Music, Sir Adrian Boult, and Boult gently grilled me for over an hour over lunch, insisting that I should only pursue conducting if I really wanted it. This helped focus my mind. Leopold Stokowski used to stay frequently at our house from when I was very young, and I think this must have had an influence on me also. As soon as I went to Oxford I began serious conducting, having already taken on a small Oxfordshire choral society.
Who or what are the most significant influences on your musical life?
In the early days Christopher Dearnley, Organist at Salisbury Cathedral, and my first piano teacher, was a strong influence. Then at my senior school my teacher for A-level played me Stockhausen’s “Gesang der Juenglinge”. I was 15 years-old, and it blew my head off. I knew from that moment that I would dedicate much of my life to ‘living’ music.
When I left school I studied ’12-note music’ in Vienna with a former pupil of Arnold Schoenberg, and this has been a strong influence all my life. Whilst at Oxford I became fascinated by the conducting of Pierre Boulez, and used to go to watch him conduct. This was my main conducting influence.
What, for you, is the most challenging part of being a conductor? And the most fulfilling?
The most challenging aspect is inspiring musicians, professional, students or amateur, to create exciting musical sounds, and, hopefully, display their enjoyment of this to the audience. Certainly, it is very fulfilling teasing the written notes into audible sounds, whether it be medieval music, Classical or music of today.
As a conductor, how do you communicate your ideas about a work to the orchestra?
Through gesture as much as possible. When teaching conducting I stress the importance of “less talking is more music”. The fact that in the concert or recording venue at the moment of impact there is no speaking is a vital aspect of communication from conductor to musicians.
How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?
My first role as conductor is my being the representative of the composer in the room, from whatever period. I always do masses of research into the composer’s background at the time of composition, etc, before studying a work. I have had the pleasure of working directly with many hundreds of living composers, and I am a composer myself, so feel I am “on their side”! If the piece is not written out logically I do all I can to persuade the composer to make the scores as logical as possible.
Is there one work which you would love to conduct?
Stravinsky “Sacre de Printemps”
Do you have a favourite concert venue to perform in?
The Philharmonic Hall in St Petersburg, Russia, is unbelievable!
Who are your favourite musicians/composers?
There are too many to list. It goes from Perotin in the 1150s through to Machaut, Byrd, Tallis, Sheppard, Monteverdi, Bach, Mozart, Hummel, Beethoven, Mahler, Schoenberg, Berg, Webern, Stockhausen, Ligeti, Xenakis, Arvo Paert, Steve Reich…
As a musician, what is your definition of success?
Achieving a fine/masterful performance.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
The joy of performing at the highest possible standard; rehearsal, rehearsal, rehearsal!
Where would you like to be in 10 years’ time?
Still conducting and composing internationally
What is your idea of perfect happiness?
The morning after a great concert!
What is your most treasured possession?
The autograph score of Bach’s B Minor Mass
What is your present state of mind?
Good! I’ve just finished editing a new CD in Latvia and am preparing for my 70th birthday concert in April. I am a lucky person!
Gregory Rose’s 70th birthday concert is on 18 April 2018 at St John’s Smith Square. The programme includes several premieres, including a piece for solo voice with Loré Lixenberg and a new Violin Concerto, specially composed for the acclaimed violinist, Peter Sheppard Skærved.
Gregory Rose is particularly noted for his performances of the romantic and contemporary repertoires, having conducted over 300 premieres of orchestral, choral and ensemble music throughout Europe and the Far East. He studied violin, piano and singing as a young child and was a pupil of Hans Jelinek (Vienna Academy) and Egon Wellesz (Oxford University), both former students of Arnold Schoenberg, and of his father, the late Bernard Rose.
Gregory is Music Director of the Jupiter Orchestra, Jupiter Singers, Singcircle and CoMA London Ensemble. He has conducted many concerts and operas for Trinity College of Music, including concerts with the Contemporary Music Group, and operas by Poulenc, Stravinsky, Virgil Thomson, Scott Joplin, Berthold Goldschmidt, Samuel Barber, Nino Rota and Malcolm Williamson. He is a professor of conducting at Trinity Laban Conservatoire.
St John’s Smith Square announces OCCUPY THE PIANOS Festival 2018
Friday 20 -Sunday 22 April 2018
Celebrating two themes: Protest and The Journey Within
Including more than a dozen world premieres, a led meditation, a queer concert and Radulescu’s Icons in SJSS’s crypt (pianos laid on their sides with their action removed)
St John’s Smith Square is delighted to announce its third full Occupy the Pianos festival curated by pianist and composer Rolf Hind. The numerous concerts from 20-22 April are studded with many freshly-written works and radical takes on music and concert-giving, with new and radical piano music at its core.
The two themes this year are Protest (from the feminist angle in Maxwell Davies to the words of prisoners in Rzewski, from a plea for compassion to animals to radical rethinking of music making from a queer angle) and The Journey Within. These themes don’t merely relate to the music chosen but the manner of presentation: so the second main day – The Journey Within – will gradually dissolve into audience participation with everyone ending up downstairs in the cafe together, by way of a concert conducted as a led meditation with Eliza McCarthy.
Rolf Hind says of this year’s festival:
St Johns’s Smith Square is only a stone’s throw from Parliament Square, site of protest and agitation for hundreds of years. In keeping with our name, this year’s programming considers politics and protest. At the same time – reﬂecting the beautiful, serene space in which we ﬁnd ourselves in this church, the festival’s 2nd day will move towards spirituality and the journey within, offering new ways for the audience to encounter music and their experience of it.
There will be more than a dozen new works over the weekend, placing the focus on future directions for the piano, a focus also highlighted by the appearance of the extraordinary Magnetic Resonator piano in Rolf Hind’s Friday night recital. There has been a Call for Scores (Occupy the Pianos received over 100 new pieces in the past) and the weekend begins with a workshop on writing for the piano, with further pieces dropped into the weekend as surprises.
Increasing the sense of fluidity between events there will be two of Radulescu’s Icons housed in the crypt. These Icons are grand pianos laid on their sides which have had the action removed and are then played in unique ways. At the end of the festival there will be a chance for members of the public to improvise on these instruments themselves.
Don’t miss the concert “On a Queer Day” on 21st April at 4pm, where several pieces will be introduced by an investigation of what it means to play Bach queerly and later that evening at 7.30pm there is Kagel’s Staatstheater, a surreal theatre piece, funny, disturbing, and politically engaged, which takes apart the whole concert hall experience, and doesn’t really put it back together again!
Also on the 20th there is a must-see performance of Peter Maxwell Davies’ extraordinary glimpse into the mind of a mad, wronged woman – uniquely in this case the role of Miss Donnithorne is shared by two of our most exciting vocalists, Elaine Mitchener and Loré Lixenberg.
The musicians involved in Occupy the Pianos are hand-picked by Rolf Hind: creative, multi-faceted and collaborative.
As well as being wonderful players they are thoughtful and curious about repertoire, and willing to take part in different elements of the weekend which gives it a joyful, collegiate feel. In each festival new players are added to the mix, fascinating young players often at the beginning of their careers. Not necessarily the “prize-winners” but brilliant musicians with a distinctive edge and profile.
At the festival’s heart is an ever-growing team of brilliant musicians whose approach is outwardlooking, unconventional and curious. The collegiate communal spirit of that group has made Occupy the Pianos such an adventure. An adventure that continues…
– Rolf Hind
For more information & tickets please visit
Source: press release/ Jo Carpenter Music PR Consultancy
I’ve been watching some of the Winter Olympics coverage with interest, in particular the snowboarding and skiing. It’s easy to spot the winners – people like Chloe Kim and Redmond Gerard (both from the US team): they display effortless grace and flow in their gestures, and those who totally “own” the course seem to create a through-narrative of seamless movement from start to finish, which reminds me of watching someone like the British pianist Stephen Hough in concert. In short, they make it look easy.
As is often the way when I watch sport, I am struck by the similarities between sportspeople and musicians: that same effortless grace of the snowboarders and skiers is something we admire in highly-skilled musicians, and these are attributes, along with expression and communication, which make their performances thrilling and memorable.
Often when watching top sportspeople or musicians in action, we marvel at their “natural talent”. that ineffable, indescribable je ne sais quoi which places these people apart from the rest of us.
Top athletes are compelling because they embody the comparison-based achievement we….revere – fastest, strongest – and because they do so in a totally unambiguous way…..
Plus they’re beautiful: Jordan hanging in midair like a Chagall bride, Sampras laying down a touch volley at an angle that defies Euclid. And they’re inspiring…. Great athletes are profundity in motion
– David Foster Wallace
Like the rest of us, the BBC commentators for the Winter Olympics are clearly fascinated and impressed by these extraordinary human beings, and there is much talk of “natural talent” and a sense of hero-worship and awe in the language used to describe them and their exploits. As a society, we are obsessed with the “myth” of talent and we have a long-held a fascination with people we perceive to be “naturally talented”. From child prodigies to highly gifted performers and sports superstars, we view them as wonders of nature, imbued with enviable, raw natural talent.
What is the secret of these people’s talent? What is it that makes them so special, so different from the rest of us?
Unfortunately, for those obsessed with the myth of talent, the reality is altogether less exciting: notice how the BBC commentators rarely discuss these athletes’ training regimes. Why? Because talking about training is boring. To discuss something as pedestrian as training and practising removes the mystique surrounding these extraordinary individuals, and we would never want our sporting or musical heroes and heroines to appear “ordinary”. Would you rather watch Stephen Hough practising 70 repetitions of the same passage of Liszt at home in his studio or appearing in concert at Carnegie Hall?
Most of us are familiar with the “10,000 hours rule”, and while this theory has largely been debunked by more recent research, it serves to remind us that “putting the hours in” is a key factor in becoming extraordinarily proficient in a specific skill or field of study, be it playing chess, sport or musical performance. But it is not just about quantity of training; quality plays a more crucial role, for focused, intelligent and deliberate training or practise is what breeds results.
But what sparks the will to train in the first place?
Interest and the “rage to master”
If you haven’t got the interest, you won’t stick to the training regime. Sounds obvious, yet those who achieve what we call “expert status”, snowboarders and concert pianists alike, have an almost obsessive will to focus intensely on a specific subject, and will voraciously consume new information and acquire skills. Psychologists call this the “rage to master” and many top athletes and musicians can cite a specific moment, often in childhood, when the rage to master took hold, driving them to focus intently and intensely on their chosen activity.
Practice and training
To achieve a very high level of technical and artistic ability and success, regular, conscientious, and deliberate practice/training is crucial. This is not simply playing through your chosen repertoire or doing a few runs on the piste: doodling at the piano or pottering around at the snowdome does not bring success. Deliberate practice involves a hefty degree of goal-setting (daily, weekly, monthly and yearly, plus regular reviewing and adjustment of those goals), self-evaluation, criticial feedback, reflection, analysis of minute details (such as body position, gesture, fingering schemes etc, often using video or audio recordings), in addition to support and feedback from mentors, teachers, peers, colleagues and others. We know that repetitive practice is important to train the “muscle memory” or procedural memory, which allows Redmond Garard or Stephen Hough to perfectly execute the slopestyle trick or complex passage of music, not just once but over and over again. These are not mindless repetitions, however, but repetition with reflection, evaluation and adjustment, so that each subsequent repetition improves on the previous one. In addition to all of the above, the ability to see the “bigger picture” of the slope or piece of music and the attendant ability to make decisions, large and small, about technique, gesture, expression etc
Deliberate practice/training leads to noticeable progress and improvement which motivates one to keep practising, with enhanced satisfaction, reward and fulfilment. This creates a virtuous circle of positive feelings towards training and practising, which further motivates one to keep at the task.
Grit and determination
Grit is the disposition to pursue very long-term goals with passion and perseverance. And I want to emphasize the stamina quality of grit. Grit is sticking with things over the long term and then working very hard at it.
– Angela Duckworth
Some of us may start a training or practising regime with the very best of intentions, but soon fall by the wayside due to lack of focus, motivation, procrastination, and a whole host of other reasons (excuses!). Those at the top of their field have the determination to stick to the task, day in day out.
Mastery and the constant pursuit
Mastery is about embracing the role of the life-long student and dedicating oneself to the pursuit of excellence. Read more about mastery here
Nurture – the encouragement and support of family, teachers and mentors, coaches, colleagues and friends are important in fostering focus and determination in training.
When we consider all these factors, we truly appreciate how and why Olympic athletes and top-flight musicians are where they are professionally. We too can train and practise in the same way, using the same tools and focused mindset. We may not touch these exceptional individuals nor come close to their greatness, but we can still strive for excellence in what we do.
Inspiration is for amateurs — the rest of us just show up and get to work
– Chuck Close
‘How Tracy Austin Broke My Heart’ from Consider the Lobster And Other Essays – David Foster Wallace. Little, Brown & Company, 2008
Who or what inspired you to take up the viola, and pursue a career in music?
I come from a family of musicians; my mother was even playing concerts with me in her belly so I guess I’ve been drinking it all in since I was a bean. I began with the violin so the viola is a natural sibling instrument and I’m happily bilingual as both violinist and violist. I rarely think of my life as a musician in terms of a career, I just knew that music would hold the greatest challenges and rewards, and so there was no other path… here I am on it!
Who or what have been the most important influences on your musical life and career?
There many musicians to whom I’m thankful for inspiration, but if I think back to being drawn to improvisation as a child it is learning this skill that has had a powerful influence on my music-making and has opened many musical doors, sparking my curiosity at every stage.
What have been the greatest challenges of your career so far?
Learning to say no. And overcoming fear.
Which recordings are you most proud of?
I’m proud of the discs I’ve made with my group ZRI—we’re recorded both the Brahms Clarinet and Schubert C major quintets, re-scored to include santouri (dulcimer) and accordion to reconnect with the Hungarian, folk, and cafehaus traditions that inspired Johannes and Franz when they each went drinking in the Zum Roten Igel pub in Vienna and heard the gypsies play. We’re playing at Kings Place on April 8th with our brand new Charlie Chaplin live score and concert program!
Which particular works do you think you play best?
I’ll leave that for the audience to decide…
How do you make your repertoire choices from season to season?
Often I’m invited to play particular repertoire but if I’m in charge then I’ll choose a program according to the context in which it’ll be performed. The particular venue and kind of audience you expect is crucial for a choice of what to play and how to present a program. That’s not to say I’ll choose something that may be in an audience’s comfort zone—sometimes the most exciting concerts push those boundaries—but it’s always a consideration in planning. And the bottom line is it’s got to be something that I’m really into myself or else how can I expect anyone else to be?
Do you have a favourite concert venue to perform in and why?
I like to give concerts in weird and wild settings, and not necessarily traditional halls. But as far as more regular stage settings go, I love Wilton’s Music Hall in Shadwell—it’s a stunning Victorian music hall with a gorgeous natural acoustic. The Wanamaker Playhouse is also awesome: all wood, candle-lit, and perfect for a chamber group or solo.
Who are your favourite musicians?
How long have we got?! I like people who make music with risk and real-time flow, who have an individual voice and personality, who explore sound and colour, who like to groove…people who can captivate you with their imaginations. Magicians of sorts. Vladimir Horowitz, for example, or Bobby McFerrin.
What is your most memorable concert experience?
It’s impossible to choose! Playing with Malian rappers at a festival in Timbuktu? Leading Bjork’s string orchestra in the Albert Hall? String trios with my father and sister in an old Berlin Ballroom? Solo Bach in an underground cave in the south of France?…
As a musician, what is your definition of success?
When you are physically and imaginatively in the zone at a concert, when the flow of the music is bigger than you yet you are also standing at its helm… where your intuition is your guide, where you’re experiencing the music for the first time whether it’s from an old score or improvised… and when the audience are right there with you from start to finish.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Play with your mind and heart not your fingers. Learn to talk as well as sing on your instrument. And, to quote Charlie Parker: ‘If you don’t live it, it won’t come out your horn’!
What is your present state of mind?
I’m excited because I’m on a plane to the north of Norway where I’m spending 3 days working with some amazing folk musicians on a new Folk-meets-Baroque project.
Max Baillie performs in Time Line with Oliver Coates, Thomas Gould and Rakhi Singh on 28th February, part of the Time Unwrapped season at King’s Place.
A graduate of the Yehudi Menuhin School, Cambridge University, and Berlin’s UdK, violinist and violist Max Baillie leads a uniquely versatile career. He performs across a diverse spectrum of music spanning new commissions, improvisation, and collaborations with artists from all over the world. As a soloist and chamber musician he has performed on stages from the Royal Albert Hall to Glastonbury, from Mali to Moscow, and plays regularly for television and radio broadcast.
Max is a founding member of ZRI, Zum Roten Igel. The ensemble has toured to major festivals with its re-scored versions of the Brahms clarinet quintet and the Schubert C major quintet, including accordion and santouri (dulcimer). He also has a duo with his ‘cellist father Alexander Baillie with whom he recorded a disc of folk-influenced violin and cello duos earlier this year. Max also features regularly with Notes Inegales, an improvisation group which ventures into adventurous cross-cultural and cross-genre collaborations at its regular club night Club Inegales.
For over ten years Max held the Principal Viola position in the London-based group Aurora Orchestra, playing a major role in its creative path. He conceived and directed the first of Aurora’s Brazilian dance collaborations, featured as soloist in Julian Philips’ dedicated commission Maxamorphosis drawing on his background as a trained dancer, and in 2016 curated the first season of late night ‘Lock-in’ concerts at London’s Kings Place.
Max is partnered with the National Youth Orchestra of Britain to build an online educational resource for young string players, and is currently working with an animator to create a short film about how to approach solo Bach as part of his Bach Voyager project.
It is not that often a set of recordings comes along which is genuinely as much a revelation and surprise to the Bach initiate as this one. Wolfgang Rübsam’s current spate of recordings on his self-released ‘Counterpoint Records’ include the entire Well-Tempered Clavier (across 5 vols.), Art of Fugue and most recently a number of the Cello Suites (!), all of which are available only as downloads but thankfully in FLAC format as well as lossy MP3. They all feature an unfamiliar sound: the Lautenwerk or lute harpsichord, in this case one of only a few in existence, built by the fine and intrepid instrument maker, Keith Hill. Readers need look no further than Rübsam’s website for generous helpings of tracks from these CDs together with other recordings of Pachelbel, Buxtehude and Böhm (www.wolfgangrubsam.com/listen ). For me the recordings speak for themselves, and I have grown to like them even more over time, as well as slowly realising how far they go against the grain of traditional Bach keyboard interpretation. Those who are not instantly convinced may want to read on and reflect.
First let it be said that the Lautenwerk has a charm all of its own. The timbre outwardly resembles that of the buff stop that is featured on some harpsichords except that it is a lot fuller, mellow and, well, lute-like. Although notes die away rapidly a warm reverberation is created by a set of strings above that resonate in sympathy, rather like the effect contributed by the undamped final octave or so of strings on the piano. In fact, the ear does not seem to tire of this closely recorded sound as much as can be the case with the bright tone emitted by some conventional harpsichords, even after listening endlessly to it (on headphones). There is a gentle ease about it, matched by the ease and delight of the player. Sometimes the sound-world reminds me of arrangements of Renaissance polyphony for lute duet, and Rübsam manages to make the listener forget that this is actually a keyboard instrument, so nuanced is his touch.
The liberties the instrument itself seems to entice Rübsam towards, lead him beyond where most dare to tread in this very Germanic, learned repertoire. However, for me the results give a breath of fresh air to what can seem sometimes, even on the piano with all its dynamic variety, a rather trudging tradition of playing (I am thinking particularly of the fugues). In fact, I think this raises a whole heap of questions about how such music may have been brought to life by the player of an instrument where other parameters such as dynamics are so minimal. It is clear from the modern tendency to perform works like the Art of Fugue on strings and other combinations (not to mention piano) that the listener benefits from such individualisation of lines, yet Rübsam finds a viable and enchanting solution to this problem on the Lautenwerk by displacing one voice rhythmically from another resulting in a remarkably three-dimensional sense of the polyphony (Bradley Lehman has called his Bach ‘geodesic’), an effect that initially takes some getting used to.
This is nothing new for him. His two complete Bach organ cycles (particularly the later one for Naxos) show a subtle rhetorical approach to rhythm that, although requiring more concentration from the listener, is deeply rewarding in communicating the sense of metre, the stress of dissonances and light and shade of rhythmic groupings, and bears out repeated listens. This sensibility has been transmitted to the work of his students too, including Julia Brown’s brilliant Buxtehude complete organ series for Naxos. Rübsam himself also did quite a lot of piano recordings for Naxos that also show a distinctly free approach rarely heard in today’s pianistic Bach, saved from accusations of Romanticism by its accomplished ornamentation and deep awareness of style. The ornamentation on his Lautenwerk recordings is also very impressive and adds to the sense of freshness. Everything is on the table and there are no textbook solutions for Rübsam, who adds anything he chooses, before, on or after the beat. Hearing it is really thought-provoking, reminding me of the writings of Frederick Neumann, who has always criticised the dogmatic approach of some early music specialists in the light of contradictory evidence, emphasising the final arbiter of good taste over formula in this epoch, a concept reinforced in many treatises.
There is something luxuriant, deeply sensuous about this playing that I think reveals a kind of ultra-sensitive Bach that perhaps has been unfairly obscured from view by pianists and harpsichordists alike, but is now perhaps coming more into the open (a favourable comparison would be Richard Egarr’s WTC) even if historically one might speculate this to be closer to the performance traditions of the later Bach circle. Although we know of the importance of the clavichord to Bach, another instrument essentially lost to the modern concert world, it is interesting that the Lautenwerk also had a place close to Bach’s heart (two such instruments are listed in the inventory of his possessions at the time of his death) and these performances should perhaps make us think again about the expressive core of this music, its simultaneous expression of harmonic depth and contrapuntal complexity. I for one have never enjoyed the canons from The Art of Fugue so much as in the hands of this wise sage of Bach interpretation, who seems to care nothing for contemporary fashion and everything for the music, its world of overlapping voices and subtle comings and goings. It is fair to say you will find a whole universe here, the existence of which you might not even have suspected.
A 5CD version of WTC I+II by IFO Classics will be released first quarter of 2018. www.ifo-classics.de/index.php/startseite.html
Also worth reading: Rübsam’s notes on ‘horizontal music’ here : www.wolfgangrubsam.com/biography
Other reviews of Rübsam CDs:
A short video amalgamating various flexible versions of Bach’s C major Prelude from WTC 1 (including Rübsam’s): https://www.youtube.com/watch?v=q0ygnhv2FQ8
About the reviewer:
Dr Charles Tebbs is a freelance piano teacher, pianist, one-time harpsichordist, organist, and accordionist, recording fanatic (both making and listening to) who also composes from time to time (and is a recipient of two minor composition prizes). Special areas of interest include polyphonic music, jazz improvisation, historical keyboard performance practices from the 18th to early 20th century and early recordings. He has recorded a CD of Bach’s Goldberg Variations on piano and made numerous contributions to YouTube. Current plans include recording the entire Well-Tempered Clavier Book One on the piano in a temperament other than equal.
Between 20th – 23rd November this year, the brand new building at the Royal Birmingham Conservatoire will be alive with the sound of chamber music, all involving the piano. An array of leading international artists will share the platform with talented young musicians in a brand new event, directed by Daniel Tong (pianist and Head of Piano Chamber Music at the Conservatoire). Musical friends will be joining Daniel from across Europe for concerts, masterclasses and also a competition for young ensembles, more about which below. Given the wealth of such events for piano or string quartet, for instance, a celebration of chamber music with piano is overdue, especially given the keyboard’s place at the heart of so many great composers’ musical personality. Mozart, Beethoven, Schumann, Mendelssohn, Brahms and many more were all musicians with consummate mastery of the piano, speaking freely through their wonderful instrument.
The festival line-up is headlined by pianists Katya Apekisheva and John Thwaites, cellists Christoph Richter and Alice Neary, violinist Esther Hoppe and violist Robin Ireland, who are lined up to take part in concerts alongside the Gould Trio and London Bridge Trio. Together they will explore the chamber music of Brahms, Schumann, Felix and Fanny Mendelssohn, and present new works by Colin Matthews and James MacMillan. Concerts take place in two magnificent new performance spaces at the Conservatoire, opened this year: the larger Concert Hall for evening events and the more intimate Recital Hall for daytime performances. The same artists will work with students from Birmingham and beyond, as well as providing the jury for the competition.
Daniel Tong says: “Chamber music is a multi-layered medium, in the wealth and depth of its repertoire as well as the skills and characteristics required to realise it. It is music for sharing, both with one’s performing colleagues and the audience, and is therefore somewhat confessional. It is open to wide-ranging interpretation, despite often being put together by composers with great intellectual rigour. A competition in this discipline may therefore seem like a paradox, which is why our festival is as collegiate and inclusive as possible. We will make music together. Each competing ensemble will give a recital and take part in masterclasses. All jury members will also perform as part of the festival programme. The Royal Birmingham Conservatoire has put chamber music at its heart with inspiring results.”
The competition is set up to offer maximum benefit to the young competitors. After preliminary audition (all applicants will be heard, either live or by video if entering from outside the UK), eight ensembles will be invited to join the festival in November. Each will present their recital as part of the festival programme, take part in masterclasses, and three groups will progress to the final concert. The winning ensemble will be offered mentorship and a commercial recording with Resonus Classics, as well as engagements including London’s Wigmore Hall.
For more details about this unique and inspiring event, visit the festival website
Or email firstname.lastname@example.org