Who or what inspired you to take up composing, and make it your career?
I’ve always been interested in melody, and when I started to learn the piano at about 8 years old, as well as learning the standard repertoire, I was also fascinated by how melodies worked and wanted to compose my own tunes. It was much later, when I studied at music college, that I realised that I wanted it to be my career. Although I love playing the piano, I was much more interested in creating and composing my own music.
Who or what were the most significant influences on your musical life and career as a composer?
There were two big influences. One was a music teacher at the Junior department at Trinity College of Music, Philip Colman, who instilled a passion for music-making and a love of inprovisation which I’ve taken through into my professional life. The second was my composition tutor at Guildhall School of Music & Drama, Buxton Orr, who was an inspiring and brilliant teacher.
What have been the greatest challenges of your career so far?
Writing large scores in a very short space of time is always a challenge, but it’s something that I find much easier now than I did, say, 10 years ago. It’s a skill that is acquired with experience, and recently I scored a film called “The Whale” in just 3 weeks. The film had 45 minutes of orchestral music. My score for the film “Wilde” was written in just three and a half weeks, with around 60 minutes of orchestral music.
What are the special challenges/pleasures of working on a commissioned piece, and on film/tv scores?
The great delight of working on a film is that the inspiration is right in front of you, on the screen. It’s also hugely rewarding to hear your music performed by the very best orchestral musicians, usually as the ink is still drying on the manuscript paper! The challenges are always the time constraints – everything is composed to a deadline, and the deadlines seem to be getting tighter and tighter!
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
We are so fortunate in London to have the most talented musicians to perform our music. I am constantly amazed by the professionalism, skill, and musicality of our session musicians and orchestras. I’ve worked with a vast array of brilliant session musicians, and I have also recorded many times with the Royal Philharmonic Orchestra.
Which works are you most proud of?
I’m very proud of my score for the French film “Arsene Lupin”. It was an enormous challenge as there was over 2 hours of music in the film, and a huge variety of musical styles within the score too. We recorded over 3 days with the Royal Philharmonic Orchestra at Abbey Road Studios and it was wonderful hearing the score brought to life by the orchestra.
Do you have a favourite concert venue?
I’ve been very fortunate to have conducted at both the Royal Albert Hall and Cadogan Hall and I love both venues! I have a concert coming up with the Royal Philharmonic Orchestra on December 8th at Cadogan Hall which is always great fun. Come along! (Details here)
Who are your favourite musicians/composers?
I have many, but I do love the playing of Maxim Vengerov. He always tells a story with his performance which appeals to me as, when you’re composing for pictures, you are constantly aware of the story and the drama, and that the music must help the telling of the story.
What is your most memorable concert experience (as performer and/or as composer)?
The last concert Christmas concert that I conducted at Cadogan Hall with the RPO was wonderful. The hall was packed and the audience were very responsive – we even had them clapping along during the encore!
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
To be dedicated, hard-working and completely focussed on the music, whether playing it or writing it.
What do you enjoy doing most?
I enjoy being at the piano, writing music. It never loses its wonder and magic.
Sarajevo-born British pianist Ivana Gavric gave a lunchtime recital of great insight, emotional intensity, and colourful storytelling combined with musicality and pianism of the highest order at London’s Wigmore Hall on Thursday 28th November. The concert, part of Lisa Peacock Concert Management’s Lunchtime Showcase Recitals series, marked the launch of Ivana’s new disc of works by Grieg and multi award-winning British composer Cheryl Frances-Hoad for Champs Hill Records, a label which actively supports young artists. The Two Lyric Pieces by Cheryl Frances-Hoad received their London premiere at the concert.
Ivana opened her concert with Ravel’s Valses nobles et sentimentales, which the composer transcribed for piano in 1911. The work was presented in a concert of new music hosted by the Société Musicale Indépendante where the composers’ names were withheld to avoid favouritism or prejudice on the part of audience and critics. The Valses nobles et sentimentales were greeted with protests, cat-calls and booing, so acerbic was the harmonic and tonal palette, and only a handful of people correctly identified their composer. Ravel intended his Valses nobles et sentimentales to follow Schubert’s example (the 34 Valses Sentimentales D779 and 12 Valses nobles D969), creating a seamless suite of eight waltzes whose tonal colourings and harmonic complexities were already signposted in Gaspard de la Nuit (1908).
Ivana retained strong sense of the waltz rhythm throughout, and took the listener on a sensuous, romantic journey, conjuring up images of decadent Belle Epoque Paris and hinting at the Jazz Age to come. These stylish pieces were brought to life with subtle dynamic shadings, delicacy of touch (particularly evident in the final waltz), and sensitive articulation and pedalling. Moments of reflection were contrasted with bright exuberance in a performance rich in spontaneity, flexible yet convincing tempi, expression and musicality.
Janacek’s Piano Sonata 1.x.1905, “From the Street” signalled a complete change of mood, plumbing, as it does, the depths of melancholy with an aching poignancy in two movements entitled ‘Presentiment’ and ‘Death’ respectively. The incident which triggered the composition of this sonata was the death of a young worker during an anti-German demonstration on 1st October 1905. Ivana’s reading of this angry, agonised and profoundly emotional work was alert to the changing textures of Janacek’s writing, with fluid phrasing, and a convincing judgement of mood, tempo and tonal colour. The first movement was haunting, with a tolling bell motive at the opening to which Ivana brought a spare stridency, which served to underline the tragedy in inherent in the entire work.
The Two Lyric Pieces by Cheryl Frances-Hoad, receiving their London premiere at the concert, formed a neat bridge between Janacek and the works by Grieg which closed the concert. The first piece, In the Dew, was inspired by the third of Janacek’s In the Mists and his Piano Sonata, and makes use of harmonic material from the former, and melodic material from the latter. The composer intended the piece to be performed after the Sonata, described by the composer as “something of a palate cleanser” after the sombre mood of Janacek’s work, with twinkling sounds and an accessible tonal idiom. Winsome and folksy in its outer sections, the lyrical middle section recalled Messiaen in some of its harmonies.
The second piece, Contemplation, is “a meditation (or contemplation!) on a few bars from the second movement of Grieg’s Sonata Op 7 (bars 17-20)…….I simply elaborated upon Grieg’s chords” (Cheryl Frances-Hoad). The work had a wonderfully transparency, thoughtfully translated by Ivana’s precise and delicate touch, and her clear understanding of the serenity of the piece.
The handful of bars which inspired Cheryl Frances-Hoad came after two charming short pieces by Grieg. The Sonata, in four movements, was performed with great colour, poetry and spaciousness, vividly evoking the landscape and folk music of the composer’s native Norway. And for an encore, Ivana treated us to more Grieg, a bright and rousing Wedding Day at Troldhaugen bringing to a close a recital replete in transparent sound, varied tonal shadings, technical security and an acute musicality.
Ivana Gavric’s new recording Grieg: Piano Works is available now. Details here
Who or what inspired you to take up the piano, and make it your career?
Not my family, initially, although to their great credit my parents were always entirely supportive of me in any of my aspirations – and still are. A dear friend of the family, who lived round the corner from us at the time, was a great classical music lover and had a piano in her home. It was she who incited in me a real interest in classical music.
I had already begun to play the violin at my local primary school (this was by the time I was 8 years old), and she was getting in to the habit of practicing with me every day after school for 20 minutes. I remember being allowed to play on the piano for 10 minutes after my violin practice every day, and chatting to this lady about classical music: she was from Berlin, and I remember her enthusing me about the great German composers, mainly Schumann and Beethoven. Eventually I asked my Mum if I could start having piano lessons, and so they began in Elgin, the town of my birth, in 1995.
Years passed until I found myself in my third year at St Mary’s Music School in Edinburgh, working hard at the violin and keeping the piano ticking over although not taking it that seriously despite a recent victory at the Moray Piano Competition. Something happened around this time and I suddenly realised I couldn’t stand the prospect of making the violin my career – although I still maintain I had a real flair for the instrument and indeed could have succeeded as a session musician, I never found it that comfortable to play and I always felt a deeper connection with the piano. Somehow the piano suited me better: it seemed a more ‘independent’ instrument, you had total command of the music you were playing (I remember my teacher at the time, Margaret Wakeford, counselling me to ‘be your own conductor!’ when I played), and on the whole I much preferred the repertoire. It promised me a greater deal artistically, even if the career path was to be more precarious.
Who or what were the most important influences on your playing?
There are many people and many things, but one of the most important people has been Andrew Ball, whom I studied with at the Royal College of Music (London) for six consecutive years. It was his open-mindedness, his way of thinking about music and indeed his great knowledge of just about everything which has steered me in to becoming who I am artistically.
What have been the greatest challenges of your career so far?
I suppose this might be commonplace among all music college graduates in their mid-twenties, but it is the combination of attempting to make ends meet, whilst pursuing my artistic ambitions, and maintaining my artistic integrity in all that I do. Keeping up my standards of playing amidst a hectic life of teaching, rehearsing, performing and of course those interminable periods spent on trains is certainly a challenge!
Which performances are you most proud of?
Tricky! I have to say that some of my recitals as a student tend to stand out: I’m proud that I performed works by Elliott Carter and Stockhausen in the same recital, for instance, and that I felt completely involved in the music. Also, performances I gave of Reubke’s magnificent Piano Sonata in B-flat two years ago, a piece which has come to mean a lot to me. More recently, playing the Bach Keyboard Concerto in D minor with Sian Edwards in Milton Keynes in 2012 was extremely memorable. And of course, playing as part of my duo at our Wigmore Hall debut in November 2012 was very special. Being in the green room before stepping on stage was something in itself, just looking at all the signed photos of so many of ‘the greats’ gazing down on you makes you realise just what a privilege it is to be performing in that hall.
Do you have a favourite concert venue to perform in?
Favourites so far in my career have been: Wigmore Hall, for the acoustic (it’s perfect, that’s it). There have been a few stately homes and churches that were very comfortable to play in too. I really enjoyed the Pump Room in Bath
Favourite pieces to perform? Listen to?
Ask me in ten minutes and I’ll have changed my mind! These days I’m gravitating largely towards British Music. I have a real ‘thing’ for the Bridge Piano Sonata, the three Elgar chamber works too. The music of Kevin Volans interests me currently. As a performer, I strongly hope to get back in to contemporary music next season. It sounds trite, I suppose, but any music with a truly strong and vital message will surely grab me.
Who are your favourite musicians?
Glenn Gould, for his individuality, his refusal to compromise his artistic vision and integrity – I think that’s a very important thing. Whenever I hear piano rolls, or old records, of the now lost age of pianists I come away feeling totally inspired. I recently bought an LP of a piano roll of Moritz Rosenthal and some of the playing is mindblowing!
What is your most memorable concert experience?
There are many, but sometimes how people react to a performance I’ve given is what makes a concert particularly memorable. For example, after performing at the Dorking Halls in Surrey last season, a Russian lady came up to me in the foyer and gave me a little matrioska doll, as a way of saying ‘thank you’ for my performance of Scriabin’s Sonata No. 3. She was visibly moved (slightly choked), and it was the way she did it anonymously too which made the experience so potent. I keep the matroyshka on the bookshelves next to my piano: it reminds me of music’s power to enhance peoples lives, its possibilities, its importance.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Keep an open mind! You’re about to enter a field which is enormously competitive, a lot of people will be striving for the same goals. It pays to think outside the box a little. Try never to turn down opportunities, even if they seem irrelevant to your interests: I’ve pursued paths I never dreamt of pursuing (or particularly wanted to pursue), and I ended up with quite a few great concerts, or jobs, that I would never have got otherwise. And never lose sight of your artistic goals. Above all, have fun!
What are you working on at the moment?
The biggest project this year has been preparing the vast majority of Ronald Center’s piano music for recording. Ronald Center (1913-73) was an Aberdonian composer whose music has been incredibly neglected both during his lifetime and since his death. Aside from this, I’m preparing quite a lot of duo repertoire, namely works with violin – Sonatas by Grieg, Haydn, Hindemith and Janacek – and works with oboe – Sonatas by Poulenc and Dutilleux.
What is your present state of mind?
Positive!
Christopher Guild’s new recording of piano music by Ronald Center is available now on the Toccata Classics label. Further details including sample sound clips here
Born in Elgin in 1986 and brought up on Speyside, Christopher Guild studied piano and violin locally before entering St Mary’s Music School, Edinburgh aged 13. He returned to Morayshire one year later to take top honours in the Moray Piano Competition – a victory which sees him as the youngest ever winner to this day.
Christopher entered the Royal College of Music in 2005 as a Foundation Scholar, and remained there under the tutelage of Andrew Ball until 2011, successfully gaining a First Class BMus (Hons), and the MMus and Artist Diploma’s with Distinction. He now combines a busy schedule as a performer with extensive work as a teacher, and coaches students at Trinity Laban Conservatoire of Music and Dance where he is the Richard Carne Junior Fellow in Performance.
Christopher Guild acknowledges the following organisations for their invaluable support to his studies at the RCM: Dewar Arts Awards, the Robertson Scholarship Trust, the Alistair Maclachlan Memorial Trust, the Cross Trust, The Royal Caledonian Schools Trust, the Hope Scott Trust, the Arts and Humanities Research Council, the Sir James Caird Travelling Scholarships Trust, the RCM Foundation, a Michael Whittaker Scholarship, and an Ian Fleming Award Award administered by the Musician’s Benevolent Fund.
This week I gave a concert for my local music society, based at the National Physical Laboratory in Teddington. The Musical Society has been in existence since 1951 and is run by NPL staff for existing and former staff, offering a busy and varied programme of concerts throughout the year, with well-known and up and coming artists. This season I have heard excellent performances by Alice Pinto, Helen Burford, Nadav Herztka (premiering a new work by Freya Waley-Cohen) and Joseph Tong. The Society has a very nice 1911 Steinway and the audience is always very supportive and committed.
I have come late to performing. I did very little when I was at school – being a pianist meant I tended to be sidelined and one was encouraged to take up a second instrument in order to join the orchestra and, such is the way at school, be part of a team. Much as I enjoyed ensemble playing, the piano has always been my first love. After a long absence from the piano in my 20s and 30s, coming back to it seriously has been quite hard and I have had to “learn” how to be a performer.
I have learnt a great deal about performing from my own experience, having completed two Performance Diplomas in fairly quick succession, by observing performers at work in concerts, and through my many interviews and encounters with musicians. I think in order to be a successful performer one has to be clear that the performance is always going to be a completely different experience to playing at home. This may sound facile, but too many people think they can practise successfully at home and then simply step up to perform. The pianist Stephen Hough has written an interesting article on the importance of differentiating between the practice of practising and performing, both mentally and physically (read the full article here).
I believe performing is crucial for all musicians, at whatever level, and I actively encourage my students to perform – in concerts which I arrange for them, and at more informal performance platforms in my home. At one level, performing reminds us that music was created to be shared. At another, if we can perform successfully, it shows we have practised properly, thoughtfully and deeply, and learnt how to handle our anxiety. Students need to understand the difference between practising and performing so that they can “perform” in exams, festivals and competitions, as well as in concerts.
Never assume that a piece that goes well in the comfort of your own home or studio will go equally well, or better, in a concert environment. Therefore, it is important to practise performing by playing the pieces/s or complete programme through several times before that important performance. Many performers swear by the “three times” rule, and will often schedule several performances at regional venues and music societies before playing at a big London venue such as the Wigmore Hall or Southbank Centre. Even organising an informal concert at home (as I did ahead of my NPL Concert), or playing for a few piano friends, is useful. Doing these “dry runs” allows one to see how the progamme works and how the pieces fit together, gauge audience reactions, check for any insecurities and make adjustments in practise, Mistakes should not be regarded as disasters and should be used positively to make improvements/changes for the next performance. Complete play-throughs at home, alone, remain useful in advance of concert day.
One of the best pieces of advice I was given by a pianist friend ahead of my first diploma recital was to allow the brain and body to be rested. Don’t thrash through the practising the day before the concert, but practise quietly and slowly, or play other pieces. On the day of the concert, do not allow silly maxims such as “you’re only as good as your last performance” to cloud your perspective: remain positive and focussed, and look forward to sharing your music with the audience. In fact, the majority of people who attend concerts are there because they simply enjoy music: wrong notes and memory slips are not what stay in the listeners’ minds after the event. We all have something worthwhile to say through our music and that is what matters, ultimately.
After the concert enjoy the feedback from the audience and don’t “post-mortem” your performance too closely: what is done is done, and the best cure for negative thoughts or a post-concert flatness is to get back to the piano, start practising, and look forward to the next performance.
Excerpts from my NPL Concert on 26th November 2013
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