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 […]
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.
For me, music is mainly about the visceral and the spiritual. The intellect is a useful tool along the way but, personally, in performance, I’m not that interested in beholding the intellect on stage. There are more vital things at stake and bigger risks to take.
When you can play what you like, in the way you like and with whom you like. When you have attained that, you have to stay curious, reinvent yourself and your repertoire all the time to prevent yourself becoming bored or burned out.
My music is tonally based but often makes use of the full panoply of harmonic possibilities from tonal/modal harmony/melody to bone crunching tone clusters and tone rows for dramatic effect. The musical structures are often based on the shapes of earlier centuries but modified to suit and exploit a modern format for each new commission.
Who or what inspired you to take up conducting and pursue a career in music? The decision to become a musician was a gradual one; my first post – as organist at Brixton prison when I was 16 – showed that it was possible to be paid for doing what I enjoyed – and […]