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This week I was delighted to attend the launch of an exciting new project celebrating the piano music of Olivier Messiaen, in particular his monumental and extraordinary Vingt Regards sur l’enfant Jesus (Twenty Contemplations of the Infant Jesus). The event was held at the beautiful Knightsbridge home of Lord and Lady Vernon Ellis, committed and active patrons of music and the arts. I was there as a guest of the pianist and director of the project, Cordelia Williams.

Olivier Messiaen

Messiaen’s music has a special appeal and fascination for many musicians, musicologists, scholars and listeners. He composed the Vingt Regards in 1944 when Paris was still under Nazi occupation, yet his music is suffused with love, wonder, awe, joy, colour, quiet contemplation, passion and, above all, faith.  Messiaen drew inspiration from many sources (including many non-musical sources): colour, paintings by Durer, Michelangelo and the Surrealist artist de Chirico, birdsong, religious tracts, Buddhist philosophy, physics and the ancient rhythms of Hindu and Greek music and poetry. Yet, despite these complex and often profound inspirations, his music is accessible, full of variety and often incredibly beautiful and sensitive.

Between Heaven and the Clouds is a special collaboration between pianist Cordelia Williams, artist Sophie Hacker and poet Michael Symmons Roberts. Three of Sophie’s paintings made in response to the three movements of the Vingt Regards which Cordelia performed, were on display on the stage around the piano, and the artist introduced the paintings, explaining her personal responses to the music. Michael Symmons Roberts introduced his poetry and talked about the extraordinary effect hearing Messiaen’s Quartet for the End of Time had had on him. His poems are a response to the music but also explore ideas of the birth of an exceptional infant in a city under occupation.

In the short concert, Cordelia performed three movements from the Vingt Regards – Première communion de la Vierge (“The Virgin’s first communion”), Noël (“Christmas”), and Regard de l’Esprit de joie (“Contemplation of the joyful Spirit”) – and Michael Symmons Roberts read his poems which related to these movements. Cordelia’s playing displayed a deep affinity for the music – at once vibrant and sensitive, subtly nuanced to highlight the rich harmonic palette which Messiaen uses to highlight particular colours and timbres in chords. The Regard de l’Esprit de joie was an energetic expression of joy, with distinct hints of Gershwin’s ‘I Got Rhythm’.

Cordelia Williams

‘Between Heaven & the Clouds: Messiaen 2015’ is not just a series of concerts. As Cordelia explained in her introduction, the music will be explored through performances, art and poetry, as well as through talks, a study day and other events “to encourage cross-discipline collaboration between artists and academics”. The project will explore Messiaen’s compositional style, his historical and musical contexts, and his rich variety of inspiration. For those who love Messiaen’s music, this will be a rare treat. And for those who have yet to discover his music, it will be a wonderful introduction.

More about the project here

Cordelia Williams will feature in a future ‘Meet the Artist’ interview

Making Sense of Messiaen – an earlier blog post on the Vingt Regards

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Who or what inspired you to take up the piano and make it your career? 

There was always a piano in the house, which we inherited from my great grandmother.  It was by no means a good instrument (quite a tired old upright) but I took to it immediately, apparently playing with both hands and picking out tunes before I began lessons as the age of 8.  I never practiced as such (at least not until I went to Chetham’s at 16), but just loved playing right from day one!

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

Bernard Roberts (my teacher at Chetham’s) lived and breathed music and was a constant source of inspiration.  He was a kind, warm person and never strict in the lessons – he really made me want to improve, but in a relaxed way and always with the pure love of music in mind.  Yonty Solomon at the RCM was also invaluable in my development.  He never talked about technique but the magic and colour in his playing is something I will never forget.

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

I found my first solo recording one of the greatest challenges so far.  I felt so uncomfortable when the red light went on, that it was such a stressful experience!  It taught me a lot about relaxation in performance and about the importance of focusing on the music, not just on accuracy!  Now having a few recordings under my belt, I feel much more relaxed in the studio and actually quite enjoy it.

Which performance/recordings are you most proud of? 

It’s always difficult to listen to one’s own recordings, but I am particularly satisfied with the two-volume set (on SOMM) I did with Hiro Takenouchi.  There are several world premieres of Delius works in arrangements for two pianos, recorded in the Adrian Boult Hall at the Birmingham Conservatoire.  I thoroughly enjoyed discovering these wonderful works and the two piano arrangements (while not coming close to replicating the orchestral sonorities) provide a special clarity and transparency.

Which particular works do you think you play best?

I love playing works by composer-pianists of the twentieth century, especially Rachmaninoff.  I’ve performed the Third Piano Concerto a number of times and despite the infamous technical challenges I feel at home in this repertoire and while I strive with every performance to find something better, Rachmaninoff’s world is one in which I always feel welcome.  At the other end of the spectrum, Beethoven’s early chamber works (especially the cello sonata and trios) provide such excitement and inspiration that they are always a joy to perform.

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

I guess this largely depends on who I am collaborating with (I play a lot of chamber music) and the requirements of concert promoters.  I have been part of a number of ‘composer immersion’ projects in recent seasons, such as a complete cycle of Brahms chamber music, all the Beethoven trios etc – a wonderful way to get inside the musical ‘journey’ of these great composers.  I also try to always include an element of lesser-known repertoire in all my performances so new ideas and discoveries feature high on my list of priorities when planning future concerts.

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

I have played in a number of wonderful halls (particularly the Royal Festival Hall and Wigmore Hall), but probably my favourite so far is Symphony Hall in Birmingham.  Despite being such a large venue, the feeling on stage is an intimate one and not at all intimidating, and the acoustic is the most satisfying of any of the larger halls I’ve played in.  St John’s Smith Square comes in a close second, with one of the finest Steinways ever!

Favourite pieces to perform? Listen to? 

I listen to quite a variety of music (not only classical but even – dare I say it – some musical theatre!) However as I spend most of my waking hours involved in music performance or teaching, I do appreciate silence when I am relaxing!  I love listening to the great orchestral repertoire (especially Mahler Symphonies) and opera also provides wonderful inspiration.

Who are your favourite musicians? 

I have always admired Martha Argerich – I once commented to one of my teachers that watching her performances had taught me more about technique and musicality than any of my teachers – I don’t think this went down so well!  I’ve been to quite a number of her live performances and am always struck by the way she communicates raw emotion and energy, and by the fact that she is so humble in person.  For me, she epitomizes the musician as communicator.

What is your most memorable concert experience? 

There have been so many!  That said, I particularly enjoyed a performance of Rachmaninoff’s Third Concerto a few years ago with a wonderful amateur orchestra in London, the Corinthian Chamber Orchestra.  I love performing – especially in chamber music and concertos – and the performances with amateur groups have often been the most satisfying.  I’ve played with some wonderful amateur orchestras and the fact that the musicians are there out of choice rather than to earn money means that they are constantly striving for higher standards and love every moment – something that is quite infectious!

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

Having recently returned from three weeks teaching on a course for 14-18 year olds, one thought that is very much on my mind right now is that aspiring musicians must learn how to listen to their own playing.  We spend a good deal of time playing and of course we hear the sounds, but how often do we actually listen and analyse the sounds we are producing?  I often encourage my students to record their performances and they are frequently shocked by what they hear!

What are you working on at the moment? 

I am working on some interesting repertoire for a new solo album – further details to be announced soon!  I am also learning some new piano quartets (Walton, Mendelssohn, Beethoven, Fauré, Mozart) and revising the Franck Quintet for a performance with the Edinburgh Quartet later this year.  Next year is Scriabin’s anniversary year and as such I will be playing his concerto in several performances, so this is also on my long practice list!

You have been Artistic Director of Conway Hall Sunday Concerts since 2008.  Tell us more about this.
As I had no experience whatsoever at the outset, it was a steep learning curve and was so grateful to be given the opportunity to see the music business from the other side!  The concert series has gone from strength to strength and we now programme around 27 concerts per season by some of the finest chamber music groups around.  We also have generous support from several distinguished patrons including Timothy West and Prunella Scales and pianist, Stephen Hough.  Working at Conway Hall is hugely challenging as well as rewarding, but I greatly value this variety in my career.

Where would you like to be in 10 years’ time? 

Doing exactly what I’m doing now, but at an even higher level and performing even more often.

What is your idea of perfect happiness?

A life in which I can enjoy what I love most – making music – and with plenty of time for relaxing and spending time with people close to me, and my beloved dachshund, Fergus!

What is your most treasured possession? 

Probably my Steinway Model D.  It’s a great instrument and constantly maturing, so makes practicing a pleasure!

What do you enjoy doing most? 

When not performing, I enjoy eating!  I love discovering new cuisines, and spend rather too much money on eating out at exquisite restaurants.

What is your present state of mind? 

Excited.  I’m discovering lots of new repertoire at the moment – it’s always great to have this freshness.

Conway Hall Sunday Concerts

Recognised as an exciting performer of the new generation, Steinway Artist Simon Callaghan’s recent schedule has included Wigmore Hall, Royal Festival Hall, Bridgewater Hall, Birmingham Symphony Hall, Liverpool Philharmonic Hall, and St David’s Hall, Cardiff. His engagements have taken him all over the UK, throughout Europe and to the US, Canada, Japan, South Korea, Malaysia and Thailand. He has also broadcast on BBC Radio 3, ITV and BBC Television. In September 2013 he took up the Anthony Saltmarsh Junior Fellowship at the Royal College of Music.

Following his highly successful release of English piano music on the Belgian De Rode Pomp label (featuring several world premières), Simon Callaghan’s collaboration with SOMM Recordings began in 2012 with two volumes of Delius Orchestral Music in arrangements for two pianos, with Hiroaki Takenouchi. Receiving great critical acclaim, the BBC Music Magazine commented that “Simon Callaghan and Hiroaki Takenouchi… play with such love, panache and exact synchronisation.” Simon’s burgeoning relationship with SOMM has led to two further volumes of Brahms chamber music with award-winning cellist James Barralet, violinist Anna-Liisa Bezrodny and violist Hannah Strijbos (including the first recording of all the Hungarian Dances in Barralet’s arrangement for ‘cello and piano). He also recorded a highly-acclaimed disc of violin sonatas with Midori Komachi and will release a further solo album in spring 2015.

Simon Callaghan’s busy performing schedule has included two residencies at the Banff Centre (Canada), rare performances of Michael Tippett’s Piano Concerto and the Third Concerto of Nikolay Medtner (the first in the UK since 1946). He has also collaborated with Prunella Scales, Ilona Domnich, Timothy West, Jack Liebeck, Thomas Gould, Raphael Wallfisch and the Maggini, Sacconi, Carducci and Coull Quartets in a broad range of repertoire. Simon is a founder member of the Werther Ensemble, brought together at the inaugural Whittington International Chamber Music Festival 2013. Recent and forthcoming projects for this ensemble include recitals throughout the UK, a complete cycle of the chamber music of Brahms, a return to the Whittington Festival playing works by Mendelssohn and a three-concert series at St John’s, Smith Square, exploring the jewels of the piano quartet repertoire. Together with pianist Hiroaki Takenouchi, Simon is also part of the Parnassius Piano Duo, which has a particular interest in championing lesser-known English works, particularly those of Parry and Sterndale Bennett.

As a teacher, Simon is Head of Piano of the Ingenium Music Academy (Winchester), a member of the faculty at Harrow School, and has given masterclasses around the world, most recently in Malaysia and Thailand. He is also Artistic Director of the renowned Conway Hall Sunday Concerts (London), the longest-running chamber music series in Europe. Alongside this work he is co-producer of MusicUpClose, a highly successful series in collaboration with sound collective, introducing non-musicians to the world of classical music. Following his studies at Chetham’s School of Music with Bernard Roberts, Simon was awarded a full scholarship to study with Yonty Solomon at the Royal College of Music, from where he graduated with first class honours and won numerous prizes.

simoncallaghan.com

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British concert pianist Daniel Grimwood is fundraising to save this historic piano, an 1850s Erard, similar to the type and make of piano Chopin, Liszt, Clara Schumann and others would have known and performed on.

Here Daniel explains why this piano is important in the study, understanding and performance of mid-nineteenth century piano music:

These instruments offer an unclouded sonority, separation of register and clarity which enliven music of the 19th Century in a magical way. Hearing music performed on the instruments for which it was written is always illuminating; it opens up aspects of a score which can often seem nonsensical on modern pianos.

See Daniel talk about and perform Liszt on a similar instrument:

Daniel is fundraising via Kickstarter. You can read all about the project, watch a video presentation and make a pledge by visiting his Kickstarter page.

Please consider supporting this interesting and worthwhile project. Historic pianos like this Erard can teach us a great deal about how music was composed and performed. They are also beautiful pieces of furniture in their own right.

Meet the Artist……Daniel Grimwood

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Acclaimed pianist and chamber musician Susan Tomes is also an engaging writer. I have enjoyed her previous books and her blog, which offer interesting and revealing insights into the daily life of a classical musician and her personal thoughts on the many facets of music making. Her latest book, Sleeping in Temples, continues this, focusing on subjects such as the exigencies of finding the right concert clothes to coughing and other noises made by audiences, the physical and mental strains placed on musicians in their working life, and the pleasure people gain from attending concerts.

The title comes from an Ancient Greek habit of sleeping in temples in the hope that the powerful atmosphere would “incubate dreams”. In her final chapter, Susan explains that throughout her musical life her own version of “sleeping in temples” has been the privilege of spending time with the “sacred texts” of the music of Bach, Mozart, Beethoven, Schubert et al, the challenges of living and working with this music, and her great love of it, and its ability to take us on powerful emotional journeys and through varied and contrasting landscapes.

In a series of essays and musings, Susan reveals the joys and challenges of her career as well as discussing some perennial issues surrounding classical music and the musician’s day-to-day life, including what ‘interpretation’ really means, the effects of daily practise on one’s character, the benefits and burdens of memorisation, the influence of significant teachers, and the links between music and health. In one chapter she explores the fascinating dynamics that exist within a chamber ensemble and debunks the myth that the members of a string quartet, for example, are the greatest of friends outside the rehearsal room and concert hall. Another chapter ponders the (misguided) attitude that classical music “is not for everyone” (an attitude I encounter regularly and have done since an early age, having always been interested and engaged in classical music), and the pleasure and relief of connecting with like-minded people at university. The light-heartedly titled chapter ‘Fashion Parade’ explores the performer’s attire and the importance of finding the right shoes (for pedalling) and dress. The chapter has a more serious intent, however, as “appropriate” concert attire and the way solo musicians and orchestras dress is the subject of continued debate and has an impact on the way the music and the musicians are perceived by the audience: it shouldn’t matter – after all, the music is the most important thing – but somehow it does. In ‘Bullfrogs’, Susan examines that perennial irritant – coughing at concerts – and the performer’s own anxieties if struck down with a cold or cough and how adrenaline can miraculously “cure” a cold for the duration of a concert (another experience I can identify with, having played my diploma recital last April with a dreadful chest infection). The book also describes some of the challenges facing classical musicians today, including the effect of high quality recordings on live performance.

Sensitively and articulately written, this absorbing and insightful book will delight and inspire musicians and music lovers, and indeed anyone with an interest in classical music. Highly recommended – put it on your Christmas list.

Sleeping in Temples – Susan Tomes. £19.99. Published October 2014. ISBN 9781843839750. Full details here

Susan Tomes’ website and blog