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Who or what inspired you to pursue a career in music?

Music has always been a part of my life to the point that I could not envision a career outside of music. During my undergraduate study, I found myself more drawn to musicology than performance. However, it wasn’t until my PhD that I realised the power in forging a career that bridges both.

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

My parents encouraged me to pursue music. My professors at university opened up so many possibilities for what that path could look like. I found wonderful support during my study abroad year at McGill University. That is where I first learnt about the composer Florence Price. Studying the history of this incredible woman of African descent then opened up the career path I’m on now.

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

As I’ve begun to grow more into my identity as a pianist-scholar, one of the biggest challenges has been embracing public performance. Musicology has always felt much safer and a little more anonymous—the perfect match for my introvert self! But public performance has pushed me to embrace more open and vulnerable ways of communicating my passion.

Which performances/recordings are you most proud of?

I am most proud of my Four Women recording. The album focuses on four composers from the first half of the twentieth century: Florence Price, Vítězslava Kaprálová, Ethel Bilsland and Margaret Bonds. The album title alludes to Nina Simone’s 1966 song of the same name. I have always been so moved by Simone’s aspiration to become a classical pianist and wanted to bring her influence into the recording. Four Women is very autobiographical and represents my first real venture into communicating my passion with openness and vulnerability.

Which particular works do you think you perform best?

Florence Price’s Fantasie Negre and Vítězslava Kaprálová’s Dubnova Preludia (April Preludes), Op. 13.

As someone who champions music by women composers, how do you make your repertoire choices?

My repertoire choices are often inspired by the kind of research I’m doing. For example, my research on Florence Price and her Chicago community has led me to programme works by Chicagoan African-American women composers, past and present. Other times, my choices are inspired by collaborations. Working with violinist Er-Gene Kahng has broadened my repertoire to encompass more duo and chamber material by Price and her peers. I am also excited to be in the midst of preparing Doreen Carwithen’s Concerto for Piano and Strings as part of a collaboration with the Singapore-based organization Music For People.

What is your most memorable concert experience?

Earlier this year, I gave a recital at the Chicago Cultural Center. The programme was called Of Folk, Faith & Fellowship: Exploring Chicago’s African-American Women Composers. I performed Florence Price and Margaret Bonds alongside Regina Harris Baiocchi and Dolores White. Baoicchi and White are contemporary composers and it was such an honour to have them attend the concert. What’s more is that the Chicago Cultural Center used to be a library and Price and Bonds would regularly visit. The whole performance was so immersed in the wonderful history that it sought to present. It was an unforgettable experience.

As a musician, what is your definition of success?

Defining success became much easier once I formed a mission statement for my work as a musician. I recognized that my mission would evolve alongside my own creative growth. But as it stands, my mission is to challenge systems of oppression and amplify historically silenced voices. My success is defined by every opportunity I have to perform or record the music of marginalized composers, particularly as these moments are often grounded in even greater historical or cultural significance. And so, my definition of success stems from my ability to fulfil my mission.

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

To not be afraid to shape your path in your own image. Championing music by women composers has been empowering for me. And so, to aspiring musicians, I encourage you to embrace and involve your fullest self along your journey.

What is your present state of mind?

A mix of hopeful, excited, determined and eager.

Samantha Ege is a British scholar, pianist and educator. Her PhD (University of York) centres on the African-American composer Florence Price. As a concert pianist, Ege’s focus on women composers has led to performances in Singapore, Australia, the UK and the US Ege has also championed Florence Price’s repertoire alongside violinist Er-Gene Kahng with duo recitals in Singapore, Hong Kong and the US.

Ege released her debut album in May 2018 with Wave Theory Records, entitled Four Women: Music for solo piano by Florence Price, Vítězslava Kaprálová, Ethel Bilsland and Margaret Bonds. The album featured the world première recording of Bilsland’s The Birthday Party, which led to Ege preparing an edition of the suite, now published by Faber Music. Four Women has been described as “an impressive collection…performed with virtuosic assurance.” Ege has also been commended “for her goal to bring the music of these composers to greater public awareness.”

www.musicherstories.com

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Next to the Leeds International Piano Competition, Dudley International Piano Competition (DIPC) is this country’s oldest and most respected piano competition. Established in 1967, the DIPC celebrated its 50th anniversary in 2017. Previous winners and competitors include Benjamin Frith, Joanna Macgregor, Andrew Wilde, Alicja Fiderkiewicz, Peter Donohoe, Graham Scott and Paul Lewis, all of whom have gone of to enjoy successful international careers, and the competition offers young pianists an important career-enhancing opportunity. The competition finals take place in Symphony Hall Birmingham with the City of Birmingham Symphony Orchestra.

The next competition is scheduled for 2020 but DIPC needs a significant injection of funds (£12,000) in order to continue. Please consider supporting the DIPC fundraising campaign:

DONATE HERE

 

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Music seems to be everywhere, from cafés, pubs and restaurants to shops, hotels and stations, leaking out of other people’s headphones and earbuds, and more recently in banks and even the waiting room of my doctors’ surgery. We joke about muzak, “lift music”, “hotel lobby music”  and “musical wallpaper” – that particular genre of genre-less “easy listening” which quickly grates and irritates – but in recent years music in places where people congregate, often to socialise, seems to have become more and more intrusive.

I admit I am particularly noise-sensitive. This may be because I’m a musician, who in recent years has started to suffer from tinnitus, but I think it is more to do with the fact that when I go out to eat or to a pub or winebar I am nearly always with other people with whom I wish to socialise: “background music”, too often in the foreground these days, can be intrusive and distracting and is often so loud that it is almost impossible to have a normal conversation without shouting at one another.

The purveyors of such music (and there is a whole sector of the music industry associated with providing playlists for restaurants, bars and shops etc) and those who play it, claim that such music provides “atmosphere”. In the retail environment, music can and has been used to influence shoppers’ buying decisions, while classical music played in places where “yoofs” like to loiter is used to deter such people from hanging around.

I’m with Nigella Lawson on the subject of music in restaurants. In a recent article in The Telegraph she says that music “is utterly draining. And it drowns out the taste of the food”. It also prevents people from talking to one another during the course of a meal – and surely restaurateurs should be celebrating the convivial, social aspects of dining out? I prefer to hear the sounds of other diners, chatting, enjoying their meals and I have on occasion asked the waiting staff to turn down the music. Usually this is done swiftly and easily, without comment, but on one occasion I was rudely told by the waitress that the other diners “like the music”. I was tempted to ask the other diners whether this was the case….

Oh and don’t get me started on the subject of TV soundtracks…. There seems to be another whole arm of the music industry devoted to producing dramatic/atmospheric music to help “explain” the narrative, particularly in nature programmes featuring David Attenborough: shimmering darting motifs for shoals of shiny fish, a ponderous melody suggesting the power and weight of the elephant, chattering bird songs…. In programmes like The Great British Bake Off in the moments before the results of each round are announced the music moves from cheery to portentous, reminding us that Something Important Is About To Happen. As if we didn’t know…..! It strikes me that some programme makers think viewers cannot follow the action/content without some very obvious music to “tell the story” or “explain” what is happening.

Of course soundtracks can be original, imaginative and appropriate. It’s unusual to watch a film these days where there is no music at all – Joanna Hogg’s ‘Exhibition’ is one such example, where the lack of a soundtrack make the drama (which is itself very understated) all the more intense – and a carefully-crafted soundtrack can do a great deal to enhance the narrative and action. For me, the most recent notable example of this is the music for the film ‘The Favourite’, which was criticised by some purists for the “totally inappropriate” inclusion of music by Schumann and Schubert, which was used, very successfully in my humble opinion, to create a sense of foreboding (presumably these are the kinds of people who want music that is appropriate to the period – in fact, the soundtrack features music by Bach (J S and CPE), Handel and Vivaldi).

Go see the film and make your own judgement on this….

But in restaurants and bars, shops and public spaces, please let’s “turn it down” or “off”, and instead treat music with the respect it deserves: it is there to be listened to and enjoyed, not simply as background noise or “musical wallpaper”.

 

 

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Guest review by Adrian Ainsworth

What an exhilarating record this is. ‘Future Relics’ is the debut album from guitarist Kevin Daniel Cahill, and I think one of the reasons I love it so much is that it feels like it was made not only by a superb musician, but a great listener. As a result, it’s a great listen.

Reading a description of ‘Future Relics’ might initially make you think it’s more like two mini-albums or EPs gathered into one, as Cahill has assembled two very different ‘groups’ of pieces. One set is a series of classical commissions from composers he asked to write for the album, while theremaining tracks, written by Cahill himself, are rock instrumentals.

There’s certainly an intriguing legacy of ‘split personality’ albums in the rock world, where side one might have had the hits but side two was a playground. You might think of the ‘Abbey Road’ medley, or Berlin-era Bowie’s instrumentals on ‘Low’ and ‘Heroes’ – or even Kate Bush’s piece of audio-theatre, ‘The Ninth Wave’, taking up half of ‘Hounds of Love’. Others among you might come at this entirely differently, perhaps after a listen to fellow classical guitarist Sean Shibe’s recent ‘soft / LOUD’ album, half acoustic/ancient, half electric/modern.

But having identified these two separate sides of himself and his art, Cahill goes one step further and mixes them all up. Dovetailing the different styles of track in this way might seem, to coin a phrase, like a small step. But for the listener, it really is a series of giant leaps, with huge dynamic shifts from speaker-busting riffs and percussion to sparse, delicate picking. (The album is of course available digitally – so you can play any individual tracks you like, in any order you want. But as a measure of how important the sequencing is, I was interested to find that the only physical release of ‘Future Relics’ will be on cassette: the hardest format to ‘shuffle’…)So how and why does it work?

The album perhaps gestures most strongly towards the avant-garde with the commissioned tracks. Featuring Cahill solo, they are often steady and measured, almost at times with an improvisational, ‘working-things-out’ feel. The pieces are not in the least predictable, drawing all kinds of different timbres and harmonics from the guitarist. The combination of careful beauty and occasional savagery make you feel that whatever your accustomed style of player – from Xuefei Yang to Derek Bailey – something will resonate with you here. My personalfavourite of these is Ninfea Crutwell-Reade’s ‘Wallflower’ – slightly more fleet-footed, it starts with what sounds like a chiming lead line, only to use it to create cyclic rhythm, while a ‘true’ lead comes in simultaneously, keening, adding a ‘sheet’ of sound almost to ‘”Heroes”’ effect. Haunting yet joyful – a wonderful work.

Despite their immense heaviness at times, the rock numbers also deploy resources with real care and precision. Cahill provides most of the tracks’ heft, with hooks, riffs or drones as required, and gives generous periods in the spotlight to acrack team of fellow musicians. For example, violinist Abigail Young provides the exotic, hypnotic swirl central to ‘We’ve Taken Aqaba!’. On both this track and the fearsome ‘For Deckard’, Graham Costello plays the drums more or less as a lead instrument, driving the piece forward while constantly shifting patterns and rhythms and increasing the intensity. Cahill again finds melody in the metallic, fashioning distorted chords into tunes.

But it isn’t all strum und drang, with quieter electric pieces punctuating the album. The gorgeous, but propulsive shimmer of ‘They speak in never ending light / Resting place, God’s Acre (For Andra)’ manages to look both ways – towards the cyclic sound of ‘Wallflower’ and the more driven, agitated thrust of ‘For Deckard’. The expansive sound occasionally made me think of the peculiarly Scottish feel of ‘Big Music’ (as coined by the Waterboys’ Mike Scott) in whatever form that may take for you: whether it’s split-second echoes of Local Heroics,  or sudden bursts of barely-controlled Mogwai-style power.

Of course, it’s Cahill himself who is the unifying force across the whole record. He has shaped it – clearly he absorbs and goes on to write and play all the different styles of guitar music he loves. At the start of the album, we hear muffled voices and noise, as if the overall experience is going to represent a kind of ‘KDC FM’, with us moving between the various stations.

There’s also a strong sense that Cahill is channelling all these sources of inspiration into one style: his own. For all the reference points I’ve mentioned, throughout the album, he sounds like no-one other than himself – graceful, yet rhythmically robust on both the self-penned and commissioned material. I think the production is also a key element: ‘Future Relics’ is very concerned with the physicality and action of playing. We can hear the movement of hand and fingers against strings; the breathing; ambient hum and static – whatever’s going on, you feel like you’re in the room. This analogue touch will only be enhanced when played on a not-quite-silent cassette.

By representing his wide variety of musical passions, Cahill has made a bold record which will certainly introduce some listeners to styles of music they might not have been expecting. In doing so, however, he has in fact made an admirably coherent statement, demonstrating how one’s own work can successfully reflect many sides to the same person.

Rewarding; recommended.

Future Relics is released on 27 June. More information

Meet the Artist interview with Kevin Cahill