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

My older sister began learning the harp when I was 2 years old so I grew up to the sounds of her playing which was the original inspiration to learn. I think since then I always knew I wanted to make it my career, as there was never anything which gave me that same thrill.

Who or what were the most important influences on your playing?

I’d have to say hearing recitals by famous Welsh harpists from a young age (especially Catrin Finch) inspired me to want to work harder and eventually become like them, and competing at the Welsh National Eisteddfod every year gave me a lot of national pride.

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

I think anyone who decides to become a musician knows that there will be a lot of hardships to go through, especially the beginning of your career – these last few years at music conservatoire have really put me through my paces as the level between playing in local competitions as a teenager and playing at conservatoire-standard competitions is huge.

Which performances are you most proud of?

I’m very self-deprecating and am always my harshest critic after a performance, but I think one of the few times when I came out of a concert feeling truly proud of my playing was after my concerto debut at Eton College, playing Gabriel Pierné’s Konzertstück with the school orchestra.

Do you have a favourite concert venue to perform in?

I’ve been studying at the Conservatorio Superior de Música de Aragón in Zaragoza since September and have played with the orchestra at the Sala Mozart del Auditorio de Zaragoza and it is just the most beautiful venue to perform in; the acoustics are fantastic and the size is perfect to make it feel impressive and yet still intimate.

Favourite pieces to perform? Listen to?

I’m a romantic at heart and love anything that makes the audience really feel something; my favourite composer to perform is Debussy (who I truly believe was writing for the harp when writing his piano pieces!) and my favourite to listen to is probably Messiaen.

Who are your favourite musicians?

My favourite harpists are Catrin Finch, who has revolutionised the harp and just always been an inspiring figure to me, and Marie-Pierre Langlamet, principal harpist of the Berlin Philharmonic with whom I was lucky enough to partake in a masterclass last year and whose playing for me is flawless and stunningly beautiful. I also have to include my teacher Gabriella Dall’Olio who has opened my eyes these last few years and never fails to astound me in her ability to create magical sounds on the harp. As far as non-classical musicians go, I love Sufjan Stevens, Björk, Arthur Russell, Bon Iver, and so many more, and hope to one day get a chance to play with artists such as these as well.

What is your most memorable concert experience?

I used to wear glasses when I was younger and once, after finishing a concert in Swansea when I stood up to take a bow, and my glasses fell off, so I reached down to pick them up but obviously without being able to see and in my state of nervousness and humiliation couldn’t find them… I guess it could have been worse; they could have fallen off during the performance!

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

One of my favourite things about teaching young children is their enthusiasm and sheer joy at being able to create stories and emotions through music; I think it is so easy to forget this joy as you get older, as music turns into just another way to make money and pay the bills. Sometimes it’s nice just to be a child again and play for the love of playing without worrying if it’s good enough to win this prize or to be successful in that audition.

What are you working on at the moment?

Currently I am trying to build my repertoire and am working on a lot of new pieces at once, which can get frustrating as the learning process can be tedious when all you want to do is be able to play the pieces! The pieces are C. P. E. Bach’s Sonata in G for harp, two Scarlatti sonatas (k208 and k209), Henriette Renié’s Legende, Berio’s Sequenza II for harp, the Prélude, Fugue et Variation originally for organ by César Franck, and with my trio we’re learning Sofia Gubaidulina’s Garten von Freuden und Traurigkeiten and the Sonata for harp, flute & viola by Debussy.

What do you enjoy doing most?

I love traveling, exploring new places and meeting new people, so hopefully one day I’ll have a career that allows me to go to all the places I’ve dreamed of going to.

Born in Cardiff in 1991 Tomos attended Ysgol Pencae, Llandaff, a Welsh medium primary school, where he studied harp and piano lessons from 5 years old. After four years as a choral scholar at The Cathedral School, Llandaff he gained a major music scholarship to Eton College on harp and piano where he studied with Helen Radice for the first three years and Sally Pryce for the final two.

Tomos was then awarded a scholarship to Trinity Laban Conservatoire of Music and Dance to study with Gabriella Dall’Olio. He is currently spending the 3rd year of his undergraduate degree on the Erasmus programme at the Conservatorio Superior de Música de Aragón in Zaragoza with Gloria Martinez, returning to London in June to complete his final year at Trinity Laban.

www.tomosxerri.co.uk

Tomos Xerri’s Facebook fan page

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

I salute my late mother for insisting that I continue with my piano studies despite my pre-Grade 1 tantrums. Once I’d got through the tricky first stage, there was no stopping me. As an adult, I decided to make music my career after three years studying marketing. This time without music showed me that my life would be barren without it. I had a eureka moment, signed up for a music degree at Southampton University and never looked back.

Who or what were the most important influences on your playing/composing? 

My father showed me that I could make anything from anything, and not to put up barriers in the creative process. This idea of creativity was inherent in my upbringing and has given me freedom in my songwriting to get across unique emotions and ideas in a powerful way. I have always been hooked on the craft of songwriting, using the millions of notes and words in my head and weaving them together. The process is much like conceiving and giving birth to a new life, spiritual and mechanical at the same time.

I was fortunate to be taught the piano by composer Debbi Parks. Debbi encouraged my creativity and I often played her my ideas in my lessons, learning the piano without pressure. Debbi has been a great source of inspiration to me and has also guided my career. We are both ISTD ballet pianists (Debbi wrote some of the ISTD music) and also improvise for the Royal Opera House’s ‘Chance to Dance’ education programme!

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

Balancing family life with creativity is always a challenge but my children are very grounding and balance is a good thing. Like most artists, I find it hard to self promote. I don’t have an agent and whilst I enjoy the freedom that brings, my ‘shy writer’ side is filled with dread when I have some new music to market.

Which performances/compositions/recordings are you most proud of?  

I am very proud of my 2012 album, ‘My Garden’. The title song was written about my children and I dedicated the album to them. I was delighted when Code: Marla remixed two of my songs and it’s amazing to hear piano based songs with beats and bass. I particularly love The Big Freeze remix. This song means a lot to me as it is about my recovery after a head-on car crash I had three years ago.

Do you have a favourite concert venue to perform in? 

I don’t perform extensively but every few months I sing at the Grey Lady in Tunbridge Wells. It’s a wonderful place and I have met many inspirational musicians there. The music scene in Tunbridge Wells is thriving and Paul Dunton has played a huge part in this, providing musicians like me with the opportunity to perform in a magical setting.

Favourite pieces to perform? Listen to? 

I love playing Debussy and the second Arabesque is my signature piece. Bach’s Preludes and Fugues are intriguing, beautiful and highly addictive. I have recently discovered a strange connection to the music of Shostakovich and am looking forward to trying out some of his piano works (any suggestions?). I listen to a wide range of music, from electronic, to classical, to folk. It’s all music!

Who are your favourite musicians? 

My favourite songwriters are Neil Hannon (Divine Comedy) and Martin Gore (Depeche Mode) and Trent Reznor. PJ Harvey, Tori Amos and Kate Bush have influenced me greatly and I see them as women of musical integrity and emotional depth. I am also in awe of any musician who is self taught and has learnt everything by ear. Such musicians seem to have great musical insight and intuition as well as incredible determination.

What is your most memorable concert experience? 

A charity piano recital I did to help me towards doing my diploma in 2011. As an unseasoned Classical performer I was well out of my comfort zone but I gained much from the experience. I find the phrase ‘no pain, no gain’ is very true of Classical piano but joy of a great performance (even to yourself in your own living room) is exhilarating.

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

Be authentic, have integrity, listen, don’t compare yourself to others, don’t rush. Remember why you love music.

What are you working on at the moment? 

A song for a wedding; I love commissions!

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

An Ivor Novello would be nice! I plan to have to have several more albums under my belt. I hope to continue and grow my work as a ballet pianist and also develop my work in music education as a music practitioner and piano teacher.

Piano-wise, I aim to become adept in Blues piano and also nail a few of the Chopin Études, the last of which will probably take the most time!

Frances Yonge is a songwriter, pianist, singer and improviser. She is also a creative musician for Royal Opera House Education and music practitioner.

Frances’ album My Garden is available now. Listen to sample tracks:

See more at: www.francesyonge.co.uk

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Download the free Sheet Music Direct App from iTunes

Many of us are lucky enough to own an iPad, and these devices are increasingly being used by musicians instead carrying around lots of heavy books of music. There is a great new free app from Sheet Music Direct which gives you access to thousands of scores of classical, jazz and pop music.

Whether you buy sheet music using the iPad app or directly from Sheet Music Direct‘s website, your library will be in sync everywhere — including all your previous purchases.

You can rehearse your scores by slowing down playback, using the in-built metronome or muting other parts so you can feel like part of the band.

If you who work with singers, or want to sing along with a piece you are playing, you can transpose scores to a different key, change instrument or note size — and, of course, you can revert back to your original settings anytime.

Sheet Music Direct are media partners of the South London Concert Series

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Judith Bingham (photo credit: Patrick Douglas Hamilton)

Who or what inspired you to take up composing, and make it your career? 

I started when I was very small – my mother said I was 4, but I don’t think she really knew. The attraction was its secrecy I think – I was already playing the piano, and liked the fact I could have a secret world that no-one else could influence. I think the person who influenced me to make it my career was Berlioz, my teacher and friend during my teen years when no-one else took me seriously.

Who or what were the most significant influences on your musical life and career as a composer? 

Apart from Berlioz, two people really encouraged me when I was young, Colin Davis and Hans Keller: both were very selfless with their time though, of course, I didn’t appreciate that until I was much older. I was very lucky to have Hans as a teacher, – his Viennese background with its rigors and psycho-analytical slant suited me very well. He had a hugely improving effect on my writing and was also very kind. Musical influences were The Fires of London, French Baroque music, and probably singing in big choirs.

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

Being a composer for a living is continuously challenging! But I think the biggest challenge is being truthful in a world that worships fashion. Inner voices make you doubt what you are doing but there is no Art without Truth. I think as I get older there is a challenge of being brave and fresh and not just doing what you know you’re good at.

What are the special challenges/pleasures of working on a commissioned piece? 

I like the fact that every commission inhabits a separate world, it’s a totally different project from the last. As I was a performer myself for so many years I love working with musicians – I know that sounds obvious, but it is such a magical experience, the transformation from the page to the open air. Trying to get it right – the act of fulfilling the brief – while remaining uncompromised is the great challenge, especially in church music where there are so many restrictions.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras? 

Whether they can do what you’ve written! That’s the heaven and hell of life for composers. All composers get a lot of bad or inadequate performances either through their own fault, – having written something that’s miles too hard for the commissioners – or short rehearsal time – or lack of empathy, or all three. A piece has to be very banal for people to get it straightaway, but often there isn’t enough rehearsal time for people to get beyond the stage of getting the notes right. This is the English disease. Often it isn’t to do with money but with a British distaste for too much emotional involvement. There is an idea that repeated performances take the place of rehearsal. But it’s tragic when people commission a big piece, only do it once, and spend most of the rehearsal time doing the Beethoven. The pleasure is when people really engage and go the extra mile – of course, they get more out of it this way, and the experience for everyone becomes extremely uplifting. The real magic happens when people feel free from worry about the notes and start to bring themselves to the performance, then the piece can really travel.

Which works are you most proud of?  

That would be a variable thing, and pride isn’t quite the right word, more a transient sort of satisfaction. But I would choose ‘The Ivory Tree’, a kind of dance drama I did for the Cathedral at Bury St. Edmunds. It was a project that went on for years and had some extremely fraught moments, but ended it fantastic performances.  I like mixing dance and singing, and would love to write an opera-ballet.

Who are your favourite musicians/composers? 

I am really eclectic with composers, though I have stopped listening to any sort of pop music. This might sound snobby, but it is more that there is only so much time. At the moment I’m listening to a lot of Prokofiev. He is a composer with enormous range, and I love the ambiguity of his music. I am trying listen more to women composers, as more and more music is being recorded now, alas, generally by women. I like the discovery of Italian baroque music by nuns, which is gorgeous. Favourite musicians: Roger Norrington, Philippe Herreweghe, Marc-André Hamelin, and people I’ve worked with – Stephen Farr, Tom Winpenny, Peter Skaerved Sheppard, Chamber Domaine, Andrew Carwood – too many to mention.

What is your most memorable concert experience? 

There are some terrible ones! But I can’t really do a league table of the good ones. When I was a student, performing in the Proms was overwhelming, especially Berlioz and Mahler. My first experience of the great roar of a full Albert Hall was extraordinary. Sometimes it is the small unrecorded events that stay with you, or a particular feeling of telepathy with other performers. You might expect big events, big names to be memorable. But it is often something more intimate where a transcendental kind of communication happens.

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

I like what Peter Maxwell Davies said to students: ‘my first piece of advice is – don’t listen to anything I say!’ or words to that effect. I think I would say that integrity matters: this is even more true in today’s world, where things are remembered for ever on the web. The more you dilute your ideas and your identity the less anyone will value what you do. In the (very) long run what people want from a composer is individuality, and truth. It doesn’t mean an easy life though. Develop your ideas – the music doesn’t think for you. Read and think, and develop ideas on the big mysteries of life. There’s a lot of junk out there: the world doesn’t need any more.

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

Still alive, please, and compos mentis.

What is your idea of perfect happiness?

No such thing.

What do you enjoy doing most?

Thinking, starting a new project, researching pet subjects.

What is your present state of mind?

Stressed as usual.

Born in Nottingham in 1952, and raised in Mansfield and Sheffield, Judith Bingham began composing as a small child, and then studied composing and singing at the Royal Academy of Music in London. She was awarded the Principal’s prize in 1971, and 6 years later the BBC Young Composer award. Recent composition prizes include: the Barlow Prize for a cappella music in 2004, two British Composer Awards in 2004 (choral and liturgical) one in 2006 (choral) and the instrumental award in 2008.

Read Judith’s full biography here
Interview date: October 2013