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The only magazine dedicated to contemporary classical music culture in the UK and Ireland
Celebrating and showcasing performers and composers

 

I’m really excited about this project, a new magazine focusing exclusively on contemporary classical music

We have a vibrant culture of contemporary classical music here in the UK and Ireland – full of committed performers, composers and supporters – and it would be great to see contemporary classical music understood and enjoyed more widely alongside its sister arts. Sounds Like Now will be a focal point and a cultural hub where people can:

  • Get to know the performers – what they’re doing, how they approach and what they think about the music and culture
  • Get to know the composers, established and new – what makes them tick?
  • Get to know the music, from those who know and love it
  • Find out what’s being performed, where and when
  • Find new repertoire including the latest publisher releases and selections by expert musicians
  • Find new recordings and get help discovering what’s already out there

If you’re a performer, composer, producer or promoter of new music, then Sounds Like Now will be there to share and celebrate your work. It will include;

  • Profiles of key performers and composers
  • Essays and reports from artists and commentators
  • Guides to key ideas and current trends in contemporary music
  • Interviews
  • Concert reviews and previews
  • Recording reviews
  • New music releases from publishers
  • Thorough UK-& Ireland-wide event listings
  • Q & A with contemporary music lovers outside the sector

Sounds Like Now will be an outward-looking publication which encourages more musicians and listeners to venture into the wonderfully rich and rewarding world of contemporary music.

Sounds Like Now will be a bi-monthly print and digital publication, available by subscription.

So whether you’re a seasoned new-music-head or wanting to venture in and could do with a guide, Sounds Like Now is for you!  Visit the Sounds Like Now crowdfunding page to find out how you can be part of this exciting new project.

www.soundslikenow.net

 

 

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Later this year, Divine Art will release a sumptuous collection of works for solo piano/chamber duos performed by pianist Elspeth Wyllie, with other fine soloists. ‘English Romantics’ will include works by Elgar, Bowen, Leighton, Ireland, Rubbra and Sackman.
Elspeth Wyllie performs throughout the UK as a soloist, chamber musician and accompanist. She appears most regularly with three trios – the Métier Ensemble (flute, cello, piano), the Hepplewhite Piano Trio (violin, cello, piano), and the Amalie Trio (mezzo, viola, piano). In the studio, she has played for recording sessions at Abbey Road, AIR and Dean Street Studios, and for Novello publications. Wyllie attended St Mary’s Music School, Edinburgh, read music at the University of Oxford (studying piano with Raymond Fischer), and trained professionally at the Royal Academy of Music, London (with teachers Andrew West and Colin Stone). She has enjoyed lessons and masterclasses with many wonderful musicians, including Malcolm Martineau, Julius Drake, Susan Tomes and Tasmin Little. She was supported during her studies by the Oldhurst Charitable Trust and has won various prizes, including the RAM Club Prize, the Vivien Langrish Prize, Evelyn German Prize and J E Reckitt Award. Alongside performing, Wyllie works with amateur and professional choirs, and as a teacher, coach and accompanist.


Wyllie will be joined by Claire Overbury, flute (guest with the RPO and the Hallé Orchestra and member of the Métier Ensemble); Hetti Price, cello (who performs at the Southbank Centre and has often been featured on BBC Radio3 ‘In Tune’, and is a member of the Hepplewhite Piano Trio); Alexa Beattie, viola (guest with the Munich Chamber Orchestra and Bavarian Philharmonic, has had ensemble appearances with Lisa Batiashvili and Kim Kashkashian and is a member of the Amalie Trio); Catherine Backhouse, mezzo-soprano (Britten-Pears Young Artist 2015, appearances with the Scottish Chamber Orchestra and Garsington Opera, and a member of the Amalie Trio).

‘English Romantics’ will be released in CD and digital formats on the Divine Art label (catalog no. DDA 25145).

Full CD programme

EDWARD ELGAR: Variations on an Original Theme, Op. 36 (Enigma Variations), in the composer’s own solo piano transcription

EDWIN YORK BOWEN: Sonata for Flute and Piano, Op. 120

KENNETH LEIGHTON: Elegy for Cello and Piano

JOHN IRELAND: Sonata fragment (premiere recording)

EDMUND RUBBRA: Two Sonnets by William Alabaster, Op. 87

NICHOLAS SACKMAN: Folio

(Source: Divine Art press release)

 Meet the Artist……Elspeth Wyllie

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I recently visited Vienna, a city which I fell in love with on my first visit in 2015. At the risk of sounding incredibly bossy, if you are a musician you have to visit Vienna. It is the city of Mozart, Beethoven, Schubert, Brahms, Mahler, Schoenberg, Berg and more. It boasts two fine concert halls with world-class resident orchestras, two opera houses, and beautiful churches where music is performed regularly. The place positively oozes culture from every pore: its galleries and museums contain some of the finest collections of art I have ever seen, and its imperial buildings (from the time of the Hapsburgs) are beautifully maintained. You can visit the homes of Mozart, Beethoven, Schubert, Schoenberg….. and pay your personal homage to the great composers at the main cemetery.

Schubert’s glasses

During my visit I overdosed on Secessionist art, walked the elegant boulevards in glorious and unexpectedly warm early spring sunshine, ate wurst from a stand behind the opera house, drank beer in a bierkeller, visited the (alleged) birthplace of Schubert (a tiny two-room museum with a touching display of mementos including his little round glasses), rode round the Ringstrasse on a retro tram, drank more beer, ate more wurst, attended a Sunday morning concert at the Konzerthaus, saw Dürer’s exquisite drawing of the hare, drank coffee with a colleague from HelloStage at a proper Viennese coffee house, toured Mozart’s house in the old city, and vowed I would return in the winter.

When I returned to London, replete with Weissbier, Mozartkugeln and kasekrainer, I felt that for the five days of my stay in Vienna I had steeped myself in its culture. When I practised music by Schubert I recalled the trip to his birthplace, a short tram ride from Schottenring to an area which was probably countryside in his day. My practising was coloured by recollections of the sounds and sights of Vienna – the noise of people (most obviously around St Stephen’s cathedral), the steady clop of horses’ hooves (you can take a horse-drawn carriage tour of the old city), the rattle and chime of the trams, the timbre and rhythm of conversations in cafes and bars. I’m a romantic at heart and it meant a lot to me to be able to walk the streets that Mozart, Beethoven and Schubert may have walked before me. When I returned to my piano and my practising, I felt I had a better handle on the music of these great Austrian composers, my understanding of their cultural background and their music deepened by my visit to their city.

Cutting oneself off from normal life by spending hours and hours in the practise room is not healthy. Aside from the law of diminishing returns (after about 3 hours you stop taking in information and are simply “typing” the music), it is important to remember that the composers whose music we love and revere were normal people too – and we can connect better to them and their music if we go out and live life, just as they did. As as student of mine remarked recently on the prospect of attending a specialist music school, “I’m not sure I could hack it, with all that practising. I’d want a social life too!”. And she’s right, because having a social life, meeting friends, going out together, eating and drinking, going to the theatre, the cinema, art exhibitions, reading trashy novels, falling in love, falling out of love, all feeds into our cultural and creative landscape to nourish and inform our music-making.

By the same token, placing the composers on high pedestals and turning them into demi-gods sets up expectations which we can never hope to fulfil, because we will never feel we can “do justice” to their music. Instead, treat them as ordinary people – they too had love affairs, went out drinking with mates, and enjoyed a good meal with friends and colleagues – but respect what they give us in their scores and show fidelity to the wonderful literature they have left us.

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

My journey into conducting was slightly unusual: I became interested in music ‘accidentally ‘ aged around 10, thanks to some Sibelius and Beethoven on vinyl, and the only classic music in my parents’ collection. No music was made at home, no family member encouraged it, I was just fascinated. A neighbour heard I was interested and offered me free trombone lessons as he had been a professional, so that instrument became my first outlet. I just knew I wanted to conduct too, and put on a charity concert aged 16 (Fauré Requiem), then gained a place to study trombone at the RAM. I played in orchestras, early music ensembles, theatre and chamber groups until my early 30’s when conducting took over, thanks to a Junior Fellowship at Trinity Laban Conservatoire, funded and appointed by Sir Charles Mackerras. This is the short version! But perhaps differently to a number of others in my profession, I didn’t formally study conducting, and I didn’t do an undergrad at Oxbridge. That would have been nice.

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

People who have supported me over the years include Sir Charles Mackerras, and the composers Matthew Taylor and James Francis Brown. Each have done so in very different ways, but each have inspired me through their all-consuming passion for music, their artistic integrity, and (perhaps more important than anything else) simple ‘gestures of friendship’. Also, outside of the purely music world the theatre director Peter Avery, who has opened my eyes to so many things about performance, art and life in general.

In terms of musical influences, I feel I am still discovering them day by day. In terms of interpretation I have been fascinated by many involved with ‘historically informed practices’, such as Harnoncourt, Mackerras, Herreweghe etc. More recently I have observed fascinating work being done by Sakari Oramo and Ivan Fischer, who seem to have no fear about introducing imagination and experimentation into their work with the exceptional musicians they lead: The Budapest Festival Orchestra’s appearance at the Southbank centre earlier this year may just have been the best concert-going experience of my life – despite my not agreeing with some of the interpretation! The sense of engagement in their performance, and the generosity with which they delivered the music, was just exceptional.

In the recorded sphere, I have noticed how many times I listen to Sir Neville Marriner and feel he has hit tempi spot-on. Also listening and watching online, Andrew Manze seems to offer fascinating perspectives: I want to get to one of his live performances now.

I have also been hugely inspired by people I have seen combining what I loosely call ‘theatre pratices’ with stunning all-round musicianship: I have watched them work utter magic on younger people at the Ingenium Academy Summer School (an International Summer School for musicians held in Winchester). There have been many, but those I have worked with more closely include Matthew Sharp and Dominic Peckham. I think their styles are the future of music education, frankly.

An unexpected inspiration has also come through my work in Palestine with the Edward Said National Conservatory of Music and Palestine Youth Orchestra: My eyes have been opened not only to the reality of the Palestine – Israel conflict, but also how much we can assume here in the West that we ‘own’ classical music. Wait until you hear these guys play….

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

Trying to swap from one genre (playing) to another (conducting) in a profession where people pigeon-hole each other mercilessly. What on earth would I know about string playing, for example?! And working with non-professionals and youth orchestras as often as I do, I know that others will assume that my approach wouldn’t transfer into working with established professional ensembles.

Also something I have only realised relatively recently , which is that conducting appears to be quite an upper/upper-middle class business. I’m state educated, from the West Midlands and don’t have family connections in music, arts management or banking. People talk a lot about how being female is a barrier to becoming a conductor, but actually I think there’s a much greater demographic/class barrier in the way.

Which performances are you most proud of?

A number with my ensemble sound collective: A performance of Britten’s Serenade for tenor, horn and strings in 2014 at the Little Missenden Festival with Robert Murray lingers in the memory, also world and London premières of music by Matthew Taylor – most recently his Concerto for Flute and Orchestra with Daniel Pailthorpe; a UK première of a super-funky overture by Carl Nielsen Amor øg Digteren (with Sinfonia Tamesa) and the first performances of a secular oratorio by Rachel Stott about William Blake, Companion of Angels.

I have been quite proud of performances of Sibelius Symphony No.7 with Sinfonia Tamesa, Beethoven’s Eroica with sound collective and the Fifth Symphony with the Palestine Youth Orchestra. Just a few weeks ago I was privileged to accompany cellist Matthew Sharp and the Hertford Symphony Orchestra in an extraordinary performance of the Dvorák concerto.  I’m not sure the roof is back on the concert hall yet.

As well as the above, projects that stand out for different reasons include a production of Kurt Weill’s Die Dreigroschenoper in London and Berlin with a cast of over 60’s who had never sung before in public, and an outreach project with sound collective in Somerset, where teenagers composed companion pieces to Stravinsky’s The Soldiers Tale.

Which particular works do you think you perform best?

I think my main strength lies in conducting symphonic repertoire. Sibelius, Beethoven, Brahms, Nielsen and Dvorák – with Schumann in development at the moment – are all composers with whom I feel a great affinity. I try very hard to get close to what they intended, and pray I can spend the rest of my life doing so. I also love tone poems with a solid narrative; Tschaik Romeo & Juliet, Sibelius Pohjola’s Daughter… That sort of dramatic, fantastical stuff!

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

There are so many variables in the business of programming, from soloists you want to work with through to acknowledging composer anniversaries. I find myself now working two years ahead to ensure I have enough time to properly think, and properly research new ideas.Sadly, money comes into it too: Late Romantic and 20th century works are often expensive, with music hire and PRS to consider but also all those wonderful colourful instruments that cost a bomb, such as percussion, harp, celeste, vibraphone…and if that piece isn’t some form of guaranteed box office winner, you can be in real trouble. In a conversation with someone recently who was railing about the conservative programming that’s prevalent and  the need for the classical music business to take up an alternative approach to programming, I felt it appropriate to (slightly misquote) Bill Clinton’s election campaign strategist in 1992: It’s the economy, stupid.One thing I try to do is ensure each season has a balance with music that is new to me, and if possible something brand-new. I also try to ensure that I have allowed nothing onto programmes that I don’t have huge enthusiasm for – it’s absolutely fatal for conductors to end up rehearsing and performing music that means nothing to them. It never goes well when that happens, believe me.

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

Symphony Hall in Birmingham is a fabulous space which, as huge as it is, feels intimate and warm to perform in. I’d also like to return to the Philharmomie in Luxembourg and Vienna’s Musikverein as a conductor, having loved playing in both halls.

Favourite pieces to perform? Listen to?

There isn’t much to beat a Beethoven Symphony in terms of energy, drive and sheer joy in performance. Also Sibelius. I would love to do more opera in the future, having got a huge emotional kick out of Poulenc’s Dialogues des Carmélites, Puccini’s La bohème and Stravinsky’s The Rake’s Progress when I had chance to conduct them.To listen to….I really couldn’t choose a one single ‘Desert Island disc’, so as a cop out I think the music I no longer get the chance to perform: Bach, Monteverdi, Gabrieli.

Who are your favourite musicians?

The ones who genuinely care, and who genuinely put themselves last and the music first. You won’t that find many out there, but they do exist.

What is your most memorable concert experience?

It’s hard to choose as performances come with so many different aspects – the music, the perfomers, the venue, and of course those rare ones where something magical occurs and everyone just feels it.But (also with a really driven and energetic Beethoven 5 during the concert as a part of the memory) I don’t think I will ever forget giving a concert with the Palestine Youth Orchestra in Amman, Jordan, during the Gaza conflict of 2014. The concert was given in aid of the Edward Said music school in Gaza, and afterwards I was interviewed by Gaza Television, who asked me to send a message to the people there who had watched the concert….I forget now what I actually said, but I do remember thinking any words could not have conveyed the humanity inside Beethoven’s music.

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

  • Sing
  • Read books around your subject, such as history and literature (conductors)
  • Sing first, practice second (instrumentalists, conductors)
  • Ignore the cynicism which is so prevalent and easy to join in with’ but be realistic about what you can achieve in non-commercial music, unless you have a private income
  • Sing
  • Don’t work for less than you know you should – you devalue it for everyone else as well as yourself when you do
  • Understand how harmony works
  • Do some more singing

Tom Hammond is Co-Artistic Director of the Hertfordshire Festival of Music. Further details here

Appointed by Sir Charles Mackerras as the first Junior Fellow in conducting at Trinity Laban Conservatoire, Tom Hammond has  developed a rich and musically diverse career that encompasses working with top-flight  professionals, youth orchestras, non-professionals, and devising and leading education and outreach projects. 

Winning awards and critical acclaim en route, Tom has built a reputation for developing ensembles musically and artistically, whilst encouraging thoughtful programming, championing new music and developing relationships with outstanding soloists. In 2011 Tom was appointed an Associate of the Royal Academy of Music, in recognition of his achievements in conducting.

Tom Hammond is Artistic Director of sound collective, Music Director of Sinfonia Tamesa, the Essex Symphony Orchestra and the Hertford Symphony Orchestra, a Principal Conductor at the Ingenium Academy International Summer School, Guest Conductor of the Palestine Youth Orchestra, and Principal Conductor and Music Director of the Yorkshire Young Sinfonia.

Soloists with whom Tom has collaborated include Øystein Baadsvik, Philippa Barton, Dimi Bawab, Richard Birchall, Jonathan Byers, Simon Callaghan, Jonathan Dormand, Sadie Fields, Susana Gaspar, Christopher Guild, Amy Green, Emma Halnan, Pamela Hay, Anna Harvey, Fenella Humphreys, Boyan Ivanov, Matthew Jones, Amanda Lake, David le Page, James Mainwaring, Elisabeth Meister, Robert Murray, Mohamed Najem, Daniel Pailthorpe, Olivia Ray, Catriona Scott, Alicja Smietana, Veronika Shoot, William Stafford, Matthew Sharp, Reem Talhami and Andrew Zolinsky.

www.tom-hammond.org.uk

Twitter : @tomhammond music