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Stephen Hough’s recent comments about changing the length and format of classical music concerts by ditching the interval and perhaps starting concerts earlier or later in the evening has generated a lively discussion. And rightly so, because those of us who care about classical music should be concerned about keeping this wonderfully and incredibly varied art form alive and kicking. In his article for the Radio Times, Hough expresses his concerns about attracting a younger audience to classical music and notes that there is no one simple solution to attract more people to concerts.

It strikes me that whenever young people are mentioned in the context of classical music, a whole host of commentators immediately respond by saying that “it’s all about education“. They cite the woeful provision for music education in our state primary and secondary schools (true), the fact that music lessons are often the preserve of the better off (also generally true, sadly) and that our children need to be educated to understand and appreciate classical music.

As I’ve mentioned several times before on this site, I was fortunate in that I had a very good musical education as a child, initiated first by my parents, who were keen concert-goers and music lovers, and subsequently through excellent music provision and teachers at both primary and secondary school (both state schools). My enjoyment and interest in classical music was inculcated at a young age and has stayed with me: I have not, as one friend suggested, grown to love classical music as I’ve got older, only that my tastes change as I explore more repertoire. I was very very lucky – privileged, in fact – in my musical education.

The debate about music provision in our state schools is ongoing and no one seems to have the solution. Various musical celebrities such as Nicola Benedetti and James Rhodes have initiated projects to try and right this terrible wrong, and I applaud anyone who cares enough to encourage our children to enjoy classical music, in and out of school. And Stephen Hough’s ideas should not be dismissed out of hand, just because they might run counter to established ways of doing things in classical music.

But we need to be careful how we frame “educating young people to like/enjoy/appreciate classical music”. As a Twitter colleague of mine said in response to Stephen Hough’s article:

Too often, whenever people start saying “Education” is the important factor, it sounds coercive

We should not seek to “programme” people, whatever their age, to like classical music. Let us not forget that the word “teach” comes from the Old English tæcan which means to “show”, “present” or “point out”. As a music teacher, I agree with my colleague and fellow blogger Andrew Eales, who suggests in his post in response to Stephen Hough’s comments, “When it comes to generating enthusiasm for classical music (and any other genre for that matter) the responsibility truly lies with those who perform and teach it.”. Andrew then goes on to offer some simple and creative ways in which to engage young people with classical music and which do not involve sitting a bunch of 6 year olds in a classroom and force-feeding them Beethoven and Bach.

It’s very easy – and lazy – to blame the young for all the ills in our society, and debates such as music education are too often, in my experience, loaded with a sense of entitlement or superiority – that the role of educators is to produce people who think and do things our way, rather than exploring ways to engage young people. Maybe one of the first things we need to do is shift the vocabulary from “tell” to “show”, “present” or “point out”……

I don’t have all the answers either. But in my very small way as a private music teacher, and via this blog and my other musical activities, I hope I am making a contribution, albeit a tiny one…..

Further reading

No More Loo Breaks – Stephen Hough’s original article in the Radio Times magazine (PDF file)

Stephen Hough: no more loo breaks? – Article by Andrew Eales/Piano Dao

Nicola Benedetti: Every young person in Britain should be made to study classical music

 

 

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it20may20have20been20album20front20cover201500This new album celebrates the piano music of British composer Paul Burnell, spanning 30 years. Paul had recorded and produced previous albums himself, but in this instance he decided it was time to work with another musician, the pianist, composer and recording engineer James Bacon who runs the Piano Recording Studio. The music was recorded on a Bosendorfer Phoenix Imperial 290, fitted with the Phoenix agraffe system pioneered by Richard Dain at Hurstwood Farm Pianos, which gives the piano greater sustain and clarity of sound, especially in the high registers. This makes it ideal for Burnell’s piano music, much of which explores the timbre and sonic possibilities of the piano rather than melody per se.

“Unembellished, unfussy, unsophisticated…..and short” – Burnell’s own programme note for his Plain Pieces, a triptych dedicated to pianist Natalie Bleicher, could be applied to all the music on this album, though I would hesitate to use the word “unsophisticated”. Short, unfussy these pieces might be, but there is sophistication in the careful placing of notes to create subtle shadings, unexpected harmonies and suspended sounds. “Minimalist” is a description which immediately springs to mind on first hearing Burnell’s music, but this is not the frenetic (sometimes irritatingly so) repetitious minimalism of Philip Glass or Michael Nyman, but rather the more contemplative and spare minimalism of composers such as Lawrence Crane, whom Burnell cites as important influence (It May Have Been, Just Before Dawn). The more up-tempo pieces here (Pacer Nos, 1, 2 and 3) owe more to Howard Skempton (another significant influence) in the use of changing chords and sequences to create energy and climactic episodes. There are also echoes of that other great American minimalist, Steve Reich, in Standing in the Rain. Composed in the mid-1980s, the piece features a persistent rhythmic figure redolent of Reich’s Clapping Music and similar compositions.

Paul was kind enough to send me copies of the scores of the pieces featured on this album and it has been a pleasure to explore the music both through listening and playing. The music is accessible (roughly Grade 3-7) and attractive, but not simplistic (see my earlier comments about sophistication) and it takes a skilled and thoughtful pianist to create the considered sounds which Burnell’s music requires. This music also offers the piano student a good introduction to minimalism and provides a jumping off point for further exploration of this genre.

James Bacon brings the works to life on this recording with clarity, sensitivity and creativity – adding a drone to 2 Ping – combined with his technical expertise in the field of recording and sound engineering, and superb state-of-the-art equipment.

Recommended.

‘It May Have Been’ is available from iTunes, Amazon and other retailers as a download or CD, and can also be streamed on Spotify.

Paul Burnell’s Meet the Artist interview will be published shortly.

 

 

 

 

 

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charlesowen-steinway-810x540

Who or what inspired you to take up piano, and pursue a career in music?

I gravitated quite instinctively towards the little cottage upright piano which we had at home when I was a child. Neither of my parents are musicians – vicar and teacher respectively – but both love music and encouraged my earliest fumbling attempts at the keyboard!

There was never an actual moment when I decided to pursue a career in music. It all happened very organically from the earliest lessons with a Hampshire County Award teacher  followed by a place at the inspirational Yehudi Menuhin School and then onto the Royal College of Music. I’ve never had any real doubts or regrets about following the musical path

Who or what have been the most important influences on your musical life and career?

Two exceptional pianists have guided my playing and approach to the piano and music making in general:

The wonderful Russian pedagogue Irina Zaritskaya taught me at the RCM in the early 1990s. She revealed and shared her special secrets into achieving pianistic fluency, a huge variety of touches and rich musical imagery. Her warm personality coupled with a generosity of spirit are qualities I remember and treasure.

I later had the privilege of working closely with Imogen Cooper on a wide range of repertoire. Imogen’s focus, intellect and sheer intensity of listening are truly exceptional. She demanded a greater sense of ‘digging deep’ into the scores, really focusing on long lines, balance of sound, projection, colour and style. All of the qualities that make her own playing so memorable and remarkable’

What have been the greatest challenges of your career so far?

For me these are threefold:

Studying, developing and maintaining a huge range of music is a challenge for the vast majority of pianists. Tackling certain epic works such as Bach’s ‘Goldberg Variations’ or Brahms’ 2nd Piano Concerto stand out in my mind as particularly demanding but immensely rewarding experiences.

The ability to cope with long journeys, strange environments and a wide range of different instruments, whilst always aiming to deliver the best performances is a perennial challenge!

Keeping a sense of long term perspective in one’s aims as a musician. Managing leaner times, dealing with difficult aspects of the music profession, remaining motivated and hopeful whilst keeping the flickering flame of that essential love of music alive and well’

Which performance/recordings are you most proud of? 

It is difficult to be truly proud of any particular performance or recording as so many aspects can always be improved upon.

Having said that, certain concerts where all the elements seem to combine do remain in my memory. Recent positive concert experiences include a Wigmore Hall performance of the Brahms Piano Quintet with the Takács Quartet, the Beethoven concertos at the magical St Endellion Summer Festival in Cornwall and a concert from last summer’s Ryedale Festival where I played the Goldberg Variations to a rapt, packed audience in one of Yorkshire’s grandest stately homes.

In terms of recordings, my have fond memories of a beautiful September weekend in Barnes when I recorded a solo Poulenc disc at St Paul’s School with super views across the Thames. I had just met my partner and was ‘walking on air’ at the time of the sessions. All that was back in 2003!

Which particular works do you think you play best?

Another impossibly embarrassing question! If forced to answer, I would mention the Debussy Preludes, Bach Partitas, some of the big Schubert sonatas and of course my beloved Janáček.

How do you make your repertoire choices from season to season?

I am not one of those musicians who has a clear plan for their whole playing career in terms of repertoire. Perhaps I should try to be!

I gravitate towards certain composers and their works rather as you may pick up a book from your packed library shelves. There is a little bit of divination going on here.

My aim is to constantly learn new works, to react to the suggestions of others and to regularly revisit pieces from earlier in life. Returning to these with new experiences and musical knowledge is one of the best aspects of being a full time musician. I’m becoming increasingly interested in contemporary music and feel excited to have recently worked with/recorded music by Jonathan Dove, James Macmillan and Nico Muhly

Do you have a favourite concert venue to perform in and why?

The Wigmore Hall for its sublime acoustics, stunning pianos and sheer history

Favourite pieces to perform? Listen to?

Concerto wise, I love to perform any of the five Beethoven, also the Schumann and Bartok’s 3rd. Plenty of two piano works are a thrill to play, particularly Ravel’s La Valse and the Rachmaninoff Suites. As a listener my list is utterly endless –  Bach Brandenburg concertos, Janacek operas, Mahler, Sibelius symphonies, Schubert & Schumann lieder, Joni Mitchell, David Bowie, Rufus Wainwright…

Who are your favourite musicians?

Alfred Brendel, Radu Lupu, Murray Perahia, Martha Argerich, Andras Schiff, Brigitte Fassbaender, Gerald Finley. Of those no longer with us – Carlos Kleiber, Claudio Abbado, Jacqueline du Pré to name just a handful

What is your most memorable concert experience?

Impossible to select just one! Perhaps the most unexpected was a performance in the South of France at the En Blanc et Noir Festival, Lagrasse where pianists perform in a semi covered, stone market place. I was giving my first ever concert of Liszt’s Anneés de Pelerinage, Switzerland and whilst launching into the octave deluge of ‘Orage’, a genuine summer storm raged overhead complete with crashing thunder and flashes of lightning. Perfect timing, coincidence and choreography!’

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Commitment, passion, patience and a sense of giving your all to the works of the truly wonderful composers who enrich our lives.

On a practical front, each musician needs to acquire the essential knowledge of musical building blocks – harmonic movement, structure/architecture, a feeling for melodic shaping, precise rhythmic grasp – whilst constantly developing their abilities to listen closely to what is actually coming out of the instrument!

What is your idea of perfect happiness?

Having clear headspace and a mind free of extraneous worries

What is your most treasured possession?

My 2009 Steinway Model B Piano

Charles Owen is co-Artistic Director of the London Piano Festival

Charles Owen is recognised as one of the finest British pianists of his generation with an extensive series of performances and recordings to his name.

Charles has appeared at London’s Barbican and Queen Elizabeth Hall and regularly gives recitals at the Wigmore Hall and Kings Place. Internationally he has performed at the Lincoln Center, Weill/Carnegie Hall, the Brahms Saal in Vienna’s Musikverein, the Paris Musée d’Orsay, and the Moscow Conservatoire.

His chamber music partners include Adrian Brendel, Nicholas Daniel, Augustin Hadelich, Chloë Hanslip, Julian Rachlin and Mark Padmore as well as the Carducci, Elias, Takács and Vertavo Quartets. In addition he has an established piano duo partnership with Katya Apekisheva with whom he has recorded the duo versions of Stravinsky’s Rite of Spring and Petrushka

Charles studied in London at the Yehudi Menuhin School, the Royal College of Music with Irina Zaritskaya and later furthered his studies with Imogen Cooper and Valeria Szervánszky. He has won numerous awards, including the Silver Medal at the Scottish International Piano Competition (1995) and the 1997 Parkhouse Award with the violinist Katharine Gowers. A regular guest at many leading festivals such as Aldeburgh, Bath, Cheltenham, Leicester and West Cork , Charles has also performed concertos with the Philharmonia, Royal Scottish National, London Philharmonic and the Moscow State Academic Symphony orchestras.

Charles’ solo recordings include discs of piano music by Janácek, Poulenc and the complete Nocturnes and Barcarolles by Fauré. Together with Natalie Clein, he has recorded cello and piano sonatas by Brahms, Schubert Rachmaninov and Chopin for EMI.

Charles Owen is a Professor of piano at the Guildhall School of Music and Drama in London.

www.charlesowen.net

 

(photo: John Batten)

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British pianist Stephen Hough has sparked a lively debate by suggesting in an article that classical concerts could be “shorter” to attract younger or new audiences, or allow venues and musicians to offer two concerts in one evening. He has also hinted that intervals could be ditched in favour of a performance lasting around 70 minutes, and that concerts could start at different times (in the UK the standard start time for an evening concert is 7.30pm) perhaps to allow two performances in the same evening. Reactions online to these suggestions have ranged from outrage (at the thought of anyone messing around with the “traditional concert format”) to applause (for creative thinking).

In fact what Stephen Hough is suggesting is not that new. Many musicians, ensembles, orchestras and venues have been experimenting with different ways of presenting classical music for some time, from rush-hour concerts at 6.30pm to Wigmore Lates, 45-minute lunchtime concerts or lecture-recitals. Earlier this year I met and interviewed John Landor whose innovative Meet the Music concerts allow audience members to get right up close and personal with the musicians and the music, literally, while the Orchestra of the Age of Enlightenment has for some time offered concerts in pubs and late-night “speed-dating” sessions where the audience can meet the musicians after the performance.

Trying to encourage “young people” to come to classical music concerts is an ongoing preoccupation of ………well, anyone with an opinion on the future of classical music, it would appear. There seems to be a current misconception about young people that because they are used to the instant gratification of the internet and platforms like YouTube, Spotify, Netflix et al, they are incapable of sitting through a concert or performance lasting more than 30 minutes, maximum, in one go. Personally, I think it is less to do with this and more to do with education – or lack thereof – that has inculcated in them the idea that classical music is “boring”.

Personally, I have never had a problem with the length of concerts. I think this is partly due to the fact that from a very young age I was taken to concerts and opera at which I was asked by my parents to sit quietly and attentively. In fact, my mother used to say to me that it was “very rude to yawn or fidget” during the performance “because the musicians can see you and will be offended if they think you’re not listening properly!”. Having been on the other side of the stage, so to speak, as a performer in recent years, I am not so sure she was right (I tend not to look at the audience, as a pianist, until I stand to bow), but I think her comments certainly taught me to be a well-mannered and attentive concert goer. In over 40 years of concert going I have only twice fallen asleep during a concert, once during a Prom which I had rushed up the M3 in the car to get to (and I also fell asleep momentarily at the wheel of the car during the journey). I also feel slightly embarrassed if I leave during the interval (again, something I rarely do).

The length of a concert is dictated by many factors, including the programme of music being performed, type of venue, and time of day. Sometimes performers like to run a whole 70-90-minute programme without a break (Pierre-Laurent Aimard did this a few year’s ago with his Liszt Project cycle at the Southbank), and certain works, such as Messiaen’s Vingt Regards, are best performed (in my humble opinion) without a break to allow listener, and performer, to appreciate the arc of the narrative. But some repertoire is very demanding for the soloist and an interval may be necessary not only for the performer/s to have a break, a pee and a drink, and regroup before going back on stage, but also for the audience to pause and reflect on what they have heard, have a break, chat with friends and go back for the second half with refreshed ears and mind.

And I think it’s easy to forget too that for many people going to a concert is very much a social experience: it’s not just about the music, though of course that is the greater part of the evening, but it is also about meeting friends, sharing the excitement of live music, the conversations afterwards about what you heard.

Other factors dictate how long one can last in the auditorium, such as comfort of seats (Cadogan Hall has the comfiest seats in London), climate (the Royal Albert Hall can sometimes be unbearably hot and airless), and quality of the “social areas” (bars, foyers etc).

So I think what Stephen Hough is really suggesting is that it’s important to keep thinking of creative and exciting ways to present classical music. Concerts may be short or long, with or without interval, or formal dress. Performers may speak to the audience beforehand, or be interviewed, or maybe there is a pre-concert talk, or a post-concert Q&A session. We don’t need “gimmicks” to sell classical music – and most young people can spot a gimmick which has been thought up by a focus group or a bunch of middle aged people trying (and failing) to get on down with the kids. The most important thing is not to patronise audiences or talk down to them.

This is a very interesting discussion – feel free to leave your thoughts on this subject in the comments box below.

Meet the Artist……Stephen Hough

Readers may be interested in the Music Marathon project at St John’s Smith Square, London which takes place over the weekend of 17 and 18 September as part of Open House London 2016. Soloists, choirs and ensembles will perform over a 24-hour period while the doors of St John’s will be open during the entire weekend to allow people to come in and explore the building, while also enjoying performances by a wide range of musicians (I will be performing there from 1.15-1.30pm on Saturday 17 September).