Category Archives: Meet the Artist

Meet the Artist……Bernard Hughes, composer

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

I started composing of my own accord at about the age of 8, without anyone particularly inspiring me or suggesting I do it. I just started writing things down on bits of manuscript paper lying around the house. I remember once making up a key signature which combined sharps and flats and showing it to my father, who said there was no such key signature. I didn’t understand why that was, or why I wasn’t allowed to make up my own key signature. As to making a career from music, that was never intended. Most people who write music stop at some point, and I just never stopped.

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

I had an influential music teacher called Gwynne Lewis when I was about 10. He didn’t especially inspire me to compose, but he communicated a love of music and the joy of being involved in music. I have had a number of excellent teachers along the way, but the inspiration above all has been Igor Stravinsky. I didn’t discover his music until the shockingly late age of 16 or 17, but once I heard the Rite of Spring I never looked back in my devotion to his music. First hearing the Symphony of Psalms was an unforgettable experience.

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

As with all composers, the challenge is to have your music heard. In this I have been pretty lucky, but every composer wants more and higher profile performances and commissions.

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

Having a particular occasion or performed in mind can really help to shape a piece. I had a commission that got more and more precise; in the end it had to be a wordless choral work based on a visual work of art by an artist I knew. And the piece turned out to be quite unusual as a result.

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

I’ve been lucky to work quite often with the BBC Singers. When you have a piece sung by them you can be confident they will get it right – working with children as I do much of the time, there is always the possibility for a collapse. But technical expertise is only half the battle; it is particularly fun to work with groups and individuals who enjoy the challenge of new music.

How would you describe your compositional language?

A question composers tend to dread. First, I would certainly say that my language is different from piece to piece, depending on the circumstances and context. Next, I would say that I am interested in using tonal materials in a non-tonal way, if tonality is interpreted narrowly as meaning music that has a sense of home key and a hierarchy of other keys, and that modulates away from and back to the home key. Under this narrow definition, Steve Reich’s music, for example, is not tonal, although it uses diatonic chords. This is a fertile ground for me (although my music sounds nothing like Reich). For example, my choral pieces often use diatonic chords, but I am rarely able to write a perfect cadence. I am also interested in the use of modes, such as the octatonic collection, or invented modes. In summary, my musical language tends to be a bit ‘safe’ for those who like hardcore modern music, and a little bit tricky for those who like straightforward ‘classical’ music.

How do you work?

I use a mixture of pen and paper and computer. I am at the tail-end of the generation trained pre-computer notation – I first got Sibelius in my 20s, when it was a new (and by today’s standards, primitive) software. I now don’t know how I ever managed without a computer. First thoughts for a piece usually come on my feet, either walking round the block or in the shower. Notes will often first come at the piano, sketched onto manuscript. I also often print out music at an intermediate stage and write onto the printout with amendments. I think it is so useful to have visible drafts – one of the downsides of a computer is that once you change a note, the original is gone. But the main use of the computer is for checking the pacing of a piece – which is, for me, the ultimate challenge. Do the events of the piece happen at the right psychological moment?

Which works are you most proud of?

It would have to be the two large-scale pieces I have written for the BBC Singers. ‘The Death of Balder’ in particular, is an original conception – a ‘radio opera’ for choir on a Norse myth – and I am happy with how it turned out, after a great deal of uncertainty while composing it.

Who are your favourite musicians/composers?

As mentioned above, I am a huge Stravinsky fan, and always will be. Of contemporary composers, I really love Judith Weir’s music (she is also an extremely kind and generous person), Magnus Lindberg, Thomas Adès, Julian Anderson and a French composer called Guillaume Connesson, who I only discovered through reviewing a CD.

What is your most memorable concert experience?

I was lucky enough, as a child living in Berlin in the 1980s, to be taken to hear the Berlin Philharmonic a few times. The two occasions I particularly remember were hearing Mendelssohn’s Violin Concerto and – the first time I went – Mozart’s Piano Concerto no 21. I was about 10 and both completely blew me away, just the sound of the orchestra, and I still love both pieces. I also remember, at one of those concerts, the second half being a Shostakovich symphony, which I hated; Shostakovich symphonies still don’t do it for me.

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

I think it is a responsibility of composers to listen widely, and to music that is not necessarily instantly amenable. I think too many people, young people in particular, are too narrow in their range of listening. In one sense there is no excuse for not listening widely – my excuse as a youngster was that it was difficult to access music, apart from Radio 3 and my local library’s tape collection. But the flip side is that there is so much music available now that it can be difficult to wade through it all. But it is important for composers to have open ears.

‘I Am The Song – Choral music by Bernard Hughes’ was released in April 2016 on the Signum Classics label. More information

‘The Knight Who Took All Day’ from the book by James Mayhew with music by Bernard Hughes will be performed on Sunday 29th January 2017 at Hertford Theatre, Hertford, conducted by Tom Hammond. More information

Bernard Hughes studied Music at St Catherine’s College, Oxford, graduating with a first-class degree. He subsequently studied composition at Goldsmiths College, London under Peter Dickinson, and privately with Param Vir. Bernard Hughes was awarded a PhD in Composition from Royal Holloway College, London, studying with Philip Cashian. Bernard Hughes is Composer-in-Residence at St Paul’s Girls’ School in London.

Bernard Hughes’s music has been broadcast on Radio 3 and King FM in Seattle, and he appeared as a conductor on the Channel 4 series Howard Goodall’s Twentieth Century Greats. Bernard writes regularly for theartsdesk cultural review website.

More about Bernard Hughes here

Meet the Artist……James Lisney

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

I have never seen playing the piano as a ‘career’; rather I started enjoying a life with music when my parents had the foresight to purchase a ‘cottage’ Pleyel piano for nineteen shillings. It had beautiful veneer inlay, brass candlesticks and a soundboard that could only cope with a pitch of A 430. This piano was a playground for improvisation and storytelling during a pretty easy-going childhood: a country school just down the road, plenty of woodlands to explore and sports facilities attached to my parents’ workplace. Music was always a natural part of life and I was lucky enough to be assessed by Gordon Jacob at the age of six for a bursary that provided lesson fees and assisted in the purchase of a really good Welmar piano.

We lived in a tiny semi-detached house and I felt particularly sorry for my family and neighbours who had to endure my doodling at the keyboard and, much later, large scale ‘noise’, such as produced by hard work on Brahms’ Concerto in D minor. My neighbour retaliated by playing Fur Elise – every day!

The first concert I attended was following a masterclass given by Sidney Harrison. He was full of amusing stories and played really popular repertoire with great care and taste (I heard him years later and I was pleased to note that his Liszt Liebestraum was really excellent). The next concert was supposed to be given by Clifford Curzon but ill health necessitated his replacement by John Ogdon (this must have been around 1969) with a typical programme of Beethoven’s final two sonatas, Ravel’s Gaspard de la Nuit, the Schumann Toccata and Balakirev’s Islamey.

On the radio there were musical encounters with Antony Hopkins (‘Talking about Music’), Semprini’s ‘Serenade’ – and Reginald Dixon on the cinema organ from Blackpool. Favourite early recordings included Serkin, Cyril Smith (playing the Dohnanyi Variations), Wilhelm Kempff, Solomon, Rostal and Schaefer, Eileen Joyce and The Beatles. Oh yes – I nearly forgot Danny Kaye.

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

My teachers. I cannot stress too much how important it is to have a really good start. There could have been none better than Jean Murphy, who combined great thoroughness with excitable inspiration (singing, dancing, trying to get my shoulders down and collapsing in giggles – what more could a young pupil want?)

Jean had studied with Phyllis Sellick and I was extremely fortunate to learn with her from around eleven years old for about a decade. An amazing artist, who took exceptional pains with preparation, tone, complete understanding of the music, a rich comprehension of how the body worked: I use her inspiration every single day. In addition, her memories of Vaughan Williams, Rachmaninoff, Bertrand Russell, the Sitwells, Solomon Cutner, Curzon – an apparently golden age – provided constant stimulus. When I was tiring from our long lessons, she would take me into the drawing room to listen to Horowitz’s left hand in Scarlatti or Scriabin, ‘Louis’ (Kentner) in Liszt, Rosalyn (Tureck) in Bach – a whole host of musicians that she seemed to either adore or know very well. Rosalyn Tureck was at the house on one visit and generously helped me with some Bach. Phyllis certainly gave me a sense of what musical Britain must have been like fifty years earlier: on one occasion, after we had worked on the Brahms D minor, she looked out the window and said that in the old days she would have phoned Henry Wood to see whether he would hear me. I am still waiting for the Proms to call……

After Phyllis came two more important teachers. John Barstow remains a strong friend and his gift was to broaden one’s appreciation of music and build confidence. Together we saw my first Parsifals (Reginald Goodall), Mahler Symphony of a Thousand (Pritchard), Alexander Nevsky (Rostropovich), Shostakovich String Quartet cycle (the Borodin Quartet) etc. All stirred into the mix of a love and respect for piano playing that was ultimately much ‘bigger’ than merely being a pianist. I believe it was Arrau who said that it was necessary to be ‘at least a virtuoso’ and John incorporated model playing with a wide range of musical images. We had very few lessons – but they were supplemented by discussions and shared musical experiences.

The last teacher was at a summer school in Nice in 1983. I was there courtesy of the Anglo-French Society, the first Perlemuter Scholar. The lessons were taken in the class of Dominique Merlet, a concise and accurate teacher who had the gift of the utmost support combined with the ability to demonstrate to an astonishing level. He was an example of what was possible, what was essential in terms of ability, knowledge and the craft to consider a life in music.

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

Pianistically, everything remains impossibly difficult and, ultimately, relatively easy. The music of Schubert and Beethoven remain my central marker – and everything they wrote appears to be frantically challenging and yet so completely natural, so human. The late sonatas of both of these masters provide constant challenges, opportunities to develop, but their early works, chamber music, song and miscellaneous pieces provide similar nutrition. It is as if their vision is in their musical DNA and that the explicit mysteries of the late works are implicit in every phrase of their lifetime’s work.

One of the biggest challenges of recent years has been my work on the music of Jan Vriend. Having heard me play the Beethoven ‘Cello Sonatas with the wonderful Alexander Baillie, Jan set about writing a bouquet of astonishing pieces for me. It is no exaggeration to equate this achievement with the late flowering in Debussy’s compositional life. Music of such vigour, virtuosity and concentration, it has really made me dig deep to cope with its complex language and strive to do justice to its amazing message. Having played Anatomy of Passion with Alexander Baillie, I am now benefitting from the process from preparing performances with my daughter Joy – she has grown up hearing Vriend’s music and appears to have absorbed it by osmosis. With Imagine the Mountain premiered with violinist Paul Barritt, JOY (written for ‘guess who?’), I have been amazingly blessed – and challenged. On top of this, my simple request for a piano triptych to emulate a set of Debussy’s Images or a book of Albeniz’s Iberia, resulted in the astonishing Meden Agan, with its exuberant ‘Erotica’ movement. I loved taking ‘Erotica’ to the Amsterdam Concertgebouw for my fiftieth birthday series – but this is music to build into the repertoire and live with for many years. Thank you Jan!

Which performance/recordings are you most proud of?

This is a very difficult one. I am permanently upbeat about my concerts (I enjoy performing immensely) – but also extremely critical. They are never ‘good enough’ but, at the same time, my vanity or standards are not what they are about – they are events for audience and performer alike; it’s ‘about the music’, not James Lisney.

Given that caveat, I recently heard some live playing from the late 80’s on Classic FM (an early Performer’s Platform kind of programme with Petroc Trelawny, and performed on a Boston piano and surrounded by office desks and computer screensavers). It was a set of Rachmaninoff transcriptions (Bach, Kreisler, Bizet and the like), and I was rather proud that I managed to deliver adequately in not the most glamorous of circumstances. That it was Rachmaninoff makes me extra proud as he is a composer of whom I am particularly fond.

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

I remember playing in the Ateneul Roman in Bucharest, one year after the end of Ceausescu. A Christmas concert – one of the first in many years – and I was playing Mozart K 488. The orchestra, amazing hall and spirit of the audience crystallised a remarkable musical experience.

I’ve played music by Beethoven and Jan Vriend at St George’s in Bristol and I think this is one of the United Kingdom’s best halls for the kind of music I play (along with the Arts Centre in Stamford – a gem!)

I also love non-standard and small halls. I have played almost one hundred and seventy times at the little concert hall at the Hindhead Music Centre (on the remarkable Steinway that dropped from the Covent Garden stage) and I regularly play at the Mosterdzaadje in Santpoort–Noord, the Netherlands. I recently opened the thirty-first season of Mosterdzaadje – a model of how a modest hall can be run simply, beautifully and with great warmth, providing music within a quiet suburb. No public subsidy – and no cuts.

When one can add the library at Wittem, the Palau de la Musica Catalana, Studio Music in Brightlingsea, my series at the Pittville Pump Room, Cheltenham etc I think I can say that I have completely failed to answer your question!

Favourite pieces to perform? Listen to?

Performing – (mostly) what I have chosen to play. Recently came back to the warhorse concertos of Grieg, Rachmaninoff and Tchaikovsky and they gave me a real buzz. If anyone out there wants to commission me for a Brahms concerto, please get in touch…

Listening to? Wagner and Mozart operas. If anyone out there wants to take me to Parsifal, please get in touch….

Who are your favourite musicians?

Well, there are many pianists but Gould, Arrau and Richter seem to be on a different level from the rest. After that, I would not want to be without Cherkassky, Tureck, Sokolov and special performances from the likes of Horowitz, Haskil, Ogdon and many more. I heard Ernest Levy recently and I thought his Beethoven and Liszt to be some of the most affecting and remarkable performances I have heard in many years.

What is your most memorable concert experience?

The Borodin Quartet playing the final two Shostakovich Quartets perhaps, or the awe-inspiring Richter playing Hindemith’s Ludus Tonalis in the Grange de Meslay. I was also lucky enough to visit Bayreuth………and then there are the performances that one comes across by so called ‘amateur’ pianists at summer schools or suchlike: little glimpses of heaven, pure music making, generously given.

In terms of my own performance, however, I have one choice: the Bremen ‘Konzert im Dunkeln’ Schubert recital I gave to raise money for stroke rehabilitation and to commemorate the centenary of Phyllis Sellick. This was at the fabulous Bremen Sendesaal – a venue that has a remarkable series of concerts that are given in the complete (and utter!) darkness. I will never forget coming out onto the stage to give my recital, the lights dimmed and the packed audience very excited by the novel idea. As the switch was thrown on the lights, plunging us into an all-enveloping black, the audience gasped as if they were at a fairground. It was a lesson to me in reaching out with music, without professional vanity and, on a practical level, how it is inner hearing that enables us to perform accurately and reliably rather than any visual cues.

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

Returning to my opening idea of not having a career, I also would advise musicians not to ‘aspire’. It is more a case of finding a way to live with this remarkable music, to enjoy and, if possible, to share it. Whether it is helping a small person to play First Tune by Barbara Kirkby Mason, my continuing struggles with Beethoven’s late sonatas or playing chamber music with colleagues, I can only advise that we enjoy the process.

If I read the question in terms of those who wish to dedicate a large proportion of their time to music (and even, on occasions, use it to pay the mortgage) then the advice is to spread as wide as possible. Improvise, compose, explore, teach, read, remain curious – and make your own mistakes. The cult of the teacher is not one that I subscribe to – try to build your own musical life, way of playing, whatever, from one’s own personality. Recently a wise friend said that he felt that Cherkassky’s great talent was to play every note entirely true to himself.

Oh yes – if you are going to depend upon music for a living, be prepared to work insanely hard, keep as fit as possible and it helps to have extremely good ‘chops’! (fingers!)

What is your present state of mind?

Very happy, keen to learn more music and determined to do it better. Advancing middle age is a great period in life, and taste, emotions, awareness seem to get deeper and more focussed. Arrau said that passion intensifies with age, and I can only agree with him – and try to emulate a little of what he achieved in terms of identification and self-fulfilment.

 

[Original interview date: 12 September 2013]

Meet the Artist……Jonathan Woolgar, composer

1f-xbxgwWho or what inspired you to take up composing, and pursue a career in music?

I started composing as soon as I started learning the piano. Going to the theatre as a child was an important inspiration – I wanted to write theatre music, and still do. Serious composition started when I went to Chetham’s School of Music in Manchester for 6th form and I suppose I have never looked back.

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

Influences have come and gone over the years, but Stravinsky and Wagner have loomed large – somewhat disparate figures but as with most music there are connections under the skin. The early Stravinsky ballets naturally had a huge influence on me as a teenager, though now I would take Symphony of Psalms any day. Wagner came later. There is nothing like the sense of immersion you get from being in the middle of Tristan or Parsifal. In terms of teachers, each has had an important impact on me in different ways, although I’m especially grateful to Giles Swayne for teaching me to cut the crap – he is that rare thing, a composer completely without bullshit.

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

While I can’t think of anything specific, the sense that a piece hasn’t lived up to what I wanted it to be is always agonising. On the other hand, that’s what leads me to write the next one. They’re all steps along a road and I have no idea where it leads.

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

The greatest challenge and the greatest pleasure is that there is a deadline. The piece would never get finished without it.

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

More pleasures than challenges – knowing who or where I am writing for provides a focal point.

Of which works are you most proud?

I feel the work which has come closest to what I wanted it to be was a piece I wrote for a very good friend of mine, pianist Philip Sharp, called ‘Five Anatomical Sketches’. The music is unusually austere for me, but I felt that I was able to boil the material down to its expressive essence, and Phil performed it superbly.

How would you characterise your compositional language?

Communicative without compromise.

How do you work?

I compose whenever I can, I have no special routine. Time and space always yield better results. I also take frequent long walks to work ideas through. Many compositional breakthroughs have come on those long walks.

Who are your favourite musicians/composers?

I’ve already mentioned Stravinsky and Wagner as influences, and other musical loves include Chopin, Mahler, Adès, Beethoven, Adams, Britten, Monteverdi, and so on, and so on… In terms of performers, while I don’t have any particular favourites, I have recently been enjoying Boulez’s Mahler symphony recordings and also luxuriating in the voice of Iestyn Davies.

What is your most memorable concert experience?

As a performer, it was singing in the chorus for Walton’s ‘Belshazzar’s Feast’ at the Royal Festival Hall with the Chetham’s Symphony Orchestra, conducted by David Hill – who brought along the Bach Choir too. It is a silly piece in many ways, and yet it works so incredibly well and the ending is wonderfully ecstatic. As a listener, I will always remember my first Prom fondly, which was the BBC Scottish Symphony Orchestra conducted by Donald Runnicles performing Adams, Mozart and Strauss. I was swept away by the wonderful atmosphere and the wonderful repertoire.

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

I don’t like the phrase “be yourself” – I would rather say “do what you must do”. Have something to say and discover the best way in which to say it – that is the communicative impulse. I don’t mean communication in the lowest-common-denominator sense, I mean the sharing of music between humans on any scale. Writing and performing music is a way of saying “HERE I AM” and “HERE WE ARE”, nothing more and nothing less.

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

Writing music.

What is your idea of perfect happiness?

Companionship.

What do you enjoy doing most?

Hearing great music with great people in great places.

What is your present state of mind?

Existentially drowning.

Jonathan Woolgar is the joint Cambridge University Musical Society Composer in Residence for 2016-17. This includes writing a piece for the Cambridge University New Music Ensemble, which will be premiered on 2nd February 2017 and conducted by Patrick Bailey

Composer Jonathan Woolgar is particularly interested in music as drama and music for the stage, and his work draws from a wide range of musical experience, aiming to engage every kind of listener.

Jonathan has had works performed at the Bridgewater Hall and the Royal Albert Hall by ensembles such as Manchester Camerata, Onyx Brass, Aurora Orchestra and the Helsingborg Symphony Orchestra, as well as broadcast on BBC Radio 3. In 2010 he won the BBC Proms Young Composers’ Competition. His music has been recorded for commercial release by the choir of Fitzwilliam College, Cambridge, and he also enjoys close associations with contemporary music ensembles The Hermes Experiment and Khymerikal. Jonathan is Composer in Residence at Eton College for 2015-17, and will be Composer in Residence for the Cambridge University Musical Society in 2016-17. His one-woman opera, Scenes from the End, ran in London and Edinburgh this summer, while future projects include performances at St Mark’s Basilica, Venice and St John’s Smith Square.

Whilst currently based near London, Jonathan originally hails from Pontefract in West Yorkshire. He attended Chetham’s School of Music, Manchester from 2008-10, studying composition and conducting with Jeremy Pike and Gavin Wayte. From 2010-13 he read music at Fitzwilliam College, Cambridge where he graduated with First Class Honours and studied composition with Giles Swayne, going on to study with David Sawer at the Royal Academy of Music.

jonathanwoolgar.com

Meet the Artist……Alexandra Dariescu, pianist

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

My mother was the one to introduce me to the wonderful world of music. I grew up in communist Romania, where kids didn’t have piano lessons as an after school thing but my Mum saved up lots of money and bought a beautiful mahogany upright. I got into the specialist music school in Iasi age 7 and had my debut with an orchestra 2 years later with Mozart D major concerto. I remember walking on stage, surrounded by adults, tripping over, conductor panicking, music stands falling, scores flying all over the place. My mum freezing in the first row. But I stood up, smiling and loved every single second of that performance. I came out and said “I want to become a concert pianist!”. I feel blessed to have had very encouraging people in my life, who believed in me and gave me a chance. I learnt from a very early age that hard work will always take you a long way. I don’t come from a musical family, therefore I didn’t have any expectation on how things should go. I didn’t set myself a target, I simply followed my intuition, learning from every situation and felt grateful for every opportunity that came my way. And the same as my falling, I learnt I can always stand back up and keep going.

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

My teachers have had the greatest influence on me, starting with my high-school teachers in Romania, to the late Mark Ray, Nelson Goerner, Alexander Melnikov, Dina Parakhina, Ronan O’Hora, Andras Schiff and Imogen Cooper. I have been incredibly privileged to study with fantastic musicians, who taught me not just about music, but enriched my life through advice on staying true to myself and always discovering new things. The thirst of knowledge and curiosity is one of the most beautiful things in life.

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

I believe we all find ourselves at crossroads at some point in our lives. The greatest challenge is to take the right path for you. I usually analyse and over-analyse and once I have taken a decision, that’s it! I try to never look back and believe in the power of instinct- after a lot of research has been done!

Which performance/recordings are you most proud of?

Every recording I have ever made is the result of hard work, a long time planning, creating a vision and sticking to a plan.This year saw the release of my concerto debut disc- Tchaikovsky Piano Concerto 1 with the Royal Philharmonic Orchestra on Signum Records coupled with the ‘Nutcracker Suite’ arranged by Pletnev. The joy of having my first concerto disc out is not easily put into words- honestly, a dream come true!

Which particular works do you think you play best?

I try to identify myself with whatever piece I am playing. I like reading about the story behind the music, I like to find out about the political situation of that time, where the composer was at the point in his life, what were his fears, his joys. The notes on the page are just the start of the journey.

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

I think long term. I like creating projects and putting programmes together that make sense. I am working on my Trilogy of Preludes at the moment, a project supported by the wonderful team at Champs Hill Records, who have very enthusiastically welcomed 3 CDs of complete preludes: vol I Chopin and Dutilleux, vol II Szymanowski and Shostakovich (both released) and vol III Fauré and Messiaen coming out next year. I enjoy introducing my audiences to new pieces, I like to challenge them with something they might not know they would love.

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

Every venue has its own personality, the same as pianos do. As a pianist, one has to adapt very quickly – I simply cannot describe how thrilling it is to step into a hall where so many of the great legends have played. There’s a huge pressure but in the same time there’s something humbling and magical about it.

Favourite pieces to perform? Listen to?

I love performing the Nutcracker Suite. I feel the versatility of the piano makes it possible to recreate the orchestral sound and it allows me to imagine all the magical world the story tells in a very intimate setting. I love listening to everything, from jazz to folk, pop to classical.

What is your most memorable concert experience?

Goodness me, where should I start?! Every concert is memorable, from a little hall in the middle of nowhere to the big giants. My first time at Carnegie Hall will always be the icing on the cake (and lots of the readers will know I love cake!). Getting a standing ovation at the Concertgebouw was quite something. My Buenos Aires concert in front of a packed 5000 seat hall (at lunchtime!) had me on my toes (I was told Beyoncé performed there the night before- make of that what you will!). Performing with youth orchestras is always truly rewarding- we all learn from each other and I always feel happy amongst them.

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

Always be true to yourself. Never give up. Always follow your dream- patience and perseverance will get you a long way. Never stop learning, from anyone and from every situation!

What is your idea of perfect happiness?

Being able to enjoy each moment as it comes, living in the present. Making a difference, standing up for what I believe in. Change lives through music!

What is your most treasured possession?

My piano.

What do you enjoy doing most?

Play my piano, communicate, bake, cycling with hubby, being with people.

What is your present state of mind?

I am truly grateful for everyone and everything I have around me. I feel blessed to be able to follow my dream.

 

From London’s Royal Albert Hall to Carnegie Hall in New York, the young Romanian pianist Alexandra Dariescu, recently named as one of 30 pianists under 30 destined for a spectacular career (International Piano Magazine), dazzles audiences worldwide with her effortless musicality and captivating stage presence.

Read more about Alexandra Dariescu here

Meet the Artist……Natalie Burch

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

It was my mother who first took me off to piano lessons age five although I can’t really say it was a particular calling at that age – I’m fairly sure I was going to be Prime Minister. It was not until I was a bit older and not really practising enough that my mum made me sign a contract promising that I would practise every day or the piano and the lessons would be gone! It was only then that I began to realise just what an important part of my life music was and became determined to dedicate myself to it further. Actually pursuing a career in music was never a particular ambition, however, until age 16 I was on the Chetham’s Piano Summer School and one of the professors simply said ‘why are you not here?’. Well, I didn’t have an answer so the next year I enrolled as a student and haven’t looked back since!

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

I’ve been so lucky with my piano teachers over the years and they have all been hugely influential, but the person who really believed in my abilities as a pianist and really challenged me to be the best I could be, was John Railton. John was an astonishing man – with only one arm he managed to have a successful career as a pianist and conductor, recording for the BBC, conducting at the major concert halls and being the central point of many different communities music making. He had a total disregard for potential obstacles and just believed firmly that I would be a pianist – I really wouldn’t be here without him!

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

The biggest challenge for me is performance anxiety – I wouldn’t say I get crippling nerves but I have found it frustrating sometimes when I can’t achieve the same focus on the music because my mind is worrying about being worried! The challenge is to find techniques to control any anxiety and transform it from something destructive into a positive energy. As an accompanist I have also had to become very time efficient. Our job often involves learning lots of repertoire in very short periods of time and the ability to practise efficiently without getting injured is paramount.

Which performance/recordings are you most proud of?  

I recently launched the Devon Song Festival and I was so pleased with our inaugural concert. There was an unusual amount of pressure in organising the event, trying to keep the audience happy and performing but it went brilliantly and our reception was so enthusiastic. I’m so thrilled it was success and we can expand the festival next year.

Which particular works do you think you play best? 

I definitely feel most at home in the song repertoire, specifically German lieder and English song though I also love the sound world of cello and piano sonatas and am beginning to explore this further. I love playing with singers because I am able to find a deeper connection to the music when text is set. I rarely perform as a solo pianist these days but when I do it’s nearly always Russian: Rachmaninoff and Prokofiev being particular favourites!

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

Last year I played at the Wigmore Hall for the first time and I absolutely loved it. It’s such an intimate space and from the piano it feels perfect as a hall for song. There is incredible clarity in the acoustic and you can really challenge yourself as to how quiet you can play and what extremes of articulation you can reach. It of course helps that the piano is absolutely beautiful too!

Favourite pieces to perform? Listen to? 

This year I’ve been working on Stephen Hough’s ‘Other Love Songs’ (for a performance at Wigmore in May 2016) and it is just the most brilliant cycle. It was written as a companion piece for the Brahms Liebeslieder waltzes and really cleverly picks up on themes from the original work but set to a wonderful selection of texts covering all forms of love and emotions from the heart-breaking to the comic. My personal highlight in the performance comes near the end where the pianists get to join in singing and my part is mostly just hitting the piano!

Who are your favourite musicians? 

I’m lucky enough to be taught by one of my favourite musicians, Eugene Asti. I have huge admiration for his attention to detail and respect for the score and the history of every work he plays. Importantly it is not only theoretical but you can really hear all that detail in his playing and it brings the music to life amazingly. Another is Iain Burnside, his playing is so robust and clear and I find his recordings of English song especially moving in their simplicity.

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

I suppose as I’m still a student I would consider myself to be still aspiring! But I definitely think all young musicians need to think about more than just practise and performing. I’ve been working with Alisdair Hogarth recently and he has shown me the importance of being savvy when it comes to self-promotion and the commercial side of music making. He suggested that we should be spending as much time promoting performances and developing our career as we do practising. Whilst I can’t quite bring myself to do that just yet, I can see that when I leave music college, working hard to find performances and creating appealing programmes will be just as important as working on technique!

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

In ten years’ time I would like to be living in London enjoying a fledgling career as a song accompanist and working as a broadcaster for Radio 3. Basically, I would like to follow in the footsteps of Iain Burnside!

Originally from Devon, Natalie Burch initially studied with John Railton before moving to Manchester to study solo piano with Peter Lawson at Chetham’s School of Music. In 2014 she graduated with first class honors from King’s College London where she studied musicology and took lessons at the Royal Academy of Music with Daniel-Ben Pienaar and Andrew West.  Natalie is currently studying for a masters in accompaniment at the Guildhall School of Music & Drama under the tutelage of Eugene Asti and Andrew West.

Recent and future highlights include performing at the Wigmore Hall alongside Alisdair Hogarth and the Prince Consort, a new commission for the Leeds Lieder festival, rehearsal pianist for Tchaikowsky ‘Rococo Variations’ with Guy Johnston, a recital for the Elgar Society and a number of concerts and masterclasses as resident pianist for Opera Prelude.

Read more about Natalie here

 

 

Meet the Artist……Ivo Pogorelich, pianist

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

It was my parents’ choice. One day they took me to the school of music and I had no say in it. I was even made to play violin for a while. Soon, however, it was established that violin and I were not made for each other.

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

Rather than influence there was a fateful moment in my life when I met a musician who taught me and trained me to play the piano and by doing that determined my future life. Later on I became her husband. Her name is Aliza Kezderadze.

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

Art is my profession, career is my occupation. There are two types of challenges and threats. The external ones should sometimes be ignored, at other times confronted. What comes from oneself however is different. The general principle I followed was not to chew more than I can swallow. In other words “less is more”!

Which performances/recordings are you most proud of?

These are two separate disciplines. Performance is, among other things, an act of a moment. On the recordings, all are my favourites and none is my favourite. All because of a tremendous effort that documenting music requires, none because I never listen to any of my recordings. Recently, I recorded two Beethoven Sonatas (available on IDAGIO idag.io/pogorelich). It seems I was able to express what was not expressed in that music before.

Which particular works do you think you perform best?

My loyalty goes to the composer I am occupied with. I do not have favourites.

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

I learn new pieces and I also play pieces I have played in the past.

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

There are various. Some of them are also blessed with spectacular acoustics like Teatro Cólon, Buenos Aires or Teatro alla Scala in Milan.

Who are your favourite musicians?

Generally I am fascinated by musicians of traditional folk music, particularly singers. My favourite pianist is Art Tatum, a taste shared by Rachmaninoff who reportedly never missed an opportunity to attend his performances. I also like Oscar Peterson.

I have never heard them in concert but people of African origin have rhythmical pulse unique to them. Music sounds so spontaneous when they play.

What is your most memorable concert experience?

It actually took place after one of the very noisy successes. There was a reception and it turned out that the host, a very prominent and powerful person, had celebrated his birthday by participating in the organization of the event. The entire society of the city was in the concert hall and a good many very well known faces at the reception. There was also a piano in the room and all of a sudden someone pointed to the piano with an inviting gesture, where it became clear that I was expected to accompany the “Happy Birthday to you” tune. I was mortified as I realized that I had never played the tune. So I bravely stood up and said “I am sorry but I do not have this piece in my repertoire”. The host was elated as no one in the room could imagine that I actually did not know the music. Everyone thought that it was cute and witty and they all applauded again.

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

Unfortunately there are not as many oranges in the world as there are glasses of orange juice we drink. Equally no advice of general character is good unless it is tested in practice. With all the best intentions of all of us and each of us, life is a lottery; however general principles are the same as I believe are implied in any professional activity. Self respect, modesty, determination being led in life by a clear heart and mind, could advance a person anyway. One must never forget that life is a struggle and one has to be ready.

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

Happy to be where I am, god willing; otherwise I would love to be in Somerset on a sunny day. Although I have lived in the UK for almost 20 years, I have never been there. The name to me as a foreigner evokes fairy tales, as it is acoustically reminiscent of summer and sunset. The name sounds so musical to me.

What is your idea of perfect happiness? 

The idea of perfect happiness is not seeking it on purpose.

What is your most treasured possession?

 I believe it is my imagination.

What is your present state of mind?

Right now I am sitting and observing half packed bags, being packed for a month long stay with concerts in China and Japan. As I can see the clothes, prepared for three distinct types of weather, very cold, moderate and hot and humid, I am trying to comprehend it.

Such is the life of an artist…..

Ivo Pogorelich’s new recording of Beethoven Piano Sonatas, No. 22 in F major op. 54 and No. 24 in F sharp major op. 78 are available exclusively on IDAGIO

Ivo Pogorelich was born in Belgrade in 1958, the son of a musician. He received his first piano lessons at the age of seven and went to Moscow at the age of twelve to study at the Central Special Music School and then at the Tchaikowsky Conservatory. In 1976 he began intensive studies with the renowned pianist and teacher Aliza Kezeradze, with whom he was married from 1980 until her untimely death in 1996. Mme. Kezeradze was able to transmit the spirit and matter of the school of Beethoven and Liszt, originated in Vienna and than carried through to the Conservatory of St. Petersburg, flourishing towards the end of the 19th and the beginning of the 20th. Century. Ivo Pogorelich won the first prize at the Alessandro Casagrande Competition at Terni (Italy) in 1978 and the first price at the Montreal International Music Competition in 1980. In October of the same year he entered the International Chopin Competition in Warsaw where, when prevented from participating in the final contest as a soloist with the orchestra, a fierce controversy resulted in the renowned Argentinian pianist Martha Argerich, a member of the jury, protesting and leaving the competition, joined by other members of the jury panel, with the words “He is a genius”. This event drew the attention of the whole musical world to the young pianist.

Ever since his debut recital in New York’s Carnegie Hall in 1981, Ivo Pogorelich has created a sensation with his performances in all the great concert halls throughout the world; starting in the U.S. and followed by performances on all four continents. He has received invitations to play with numerous major orchestras such as the Berlin and Vienna Philharmonic Orchestras, all the London Orchestras, the Chicago, Philadelphia, Boston, Los Angeles, New York Philharmonic Orchestras of the U.S. and major orchestras elsewhere. Wherever and whenever he plays, his stunning interpretations of the music confirm the originality of his talent and intellect. The New York Times once wrote “He played each note exactly, with such a feeling, such expression, he was an entire orchestra– it was as if he played 200 years ahead of our time”. In this spirit Ivo Pogorelich is known today as a poet of the instrument.

More about Ivo Pogorelich

 

Meet the Artist……Shiva Fesharecki, composer

shiva-feshareki-8-e1466601768353

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

I’ve always been obsessed with making music. I was improvising with pots and pans when I was a toddler and a small child. I had set-up a station in the corner of the kitchen that I would use to experiment with sounds. Since then, it’s simply been the same idea but in different contexts.

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

My everyday surroundings, the spaces I occupy, and my friends and family are my biggest influences. My idols are Eliane Radigue and James Tenney.

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

I constantly re-shape and re-think the way I compose and the contexts and people I work with. All in all it is hugely rewarding, but it also feels like I am starting from scratch all the time.

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

Challenges on working on commissions are making sure that the organisers and funders trust and respect your vision and don’t try to compromise it (although I do pick commissions carefully). The pleasure is having the space and time to be able to be truly creative on a daily basis and make a living out of it.

You’ve recently been announced as a London Music Masters Award Holder – tell us more about this?

It’s really amazing receiving this award, and it’s brilliant that it has been sculpted to suit each individual recipient in terms of the resources we receive from it. I have spent the last few years working in experimentation and as a collaborative composer; meeting loads of different people, experimenting in a whole host of settings, in different disciplines and different worlds, and constantly re-shaping and re-defining what I do. Thanks to London Music Masters, I now have the resources to refine my practise, and come back to my classical routes to compose a purely orchestral piece for the London Contemporary Orchestra, with a fresh new perspective due to all my explorations in other contexts.

I am also incredibly inspired by the creativity of children. Having worked in a variety of creative and educational settings with young people, and been massively influenced by the way they think, I am looking forward to applying my own ways of working with young people on the LMM Learning programme: I hope I can offer some interesting approaches.

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

I have this new rule now that I only work with people who are down to earth and easy to get on with, so that the creative process feels free and not rigid. I don’t really mind if they’re musicians or not, or what their background is, as long as they’re nice and we can form a bond. Only then can creativity flow and can we utilise each other’s strengths.

Of which works are you most proud?

I don’t really have a singular work that I am most proud of, but I am proud of the way I have grown immensely as a person and composer in the past year especially. I feel like I understand things more clearly and what things are truly important in life and art.

How would you characterise your compositional language?

Physical.

How do you work?

I try to change-up the way I compose constantly, so that nothing is ever on autopilot. Sometimes it’s with a manuscript, or at my turntables, or maybe I’m in a club dancing and composing at the same time. But my music is experiential, so I try to really mix-up my processes.

Who are your favourite musicians/composers?

I think my favourite artists are the people I have recently collaborated with such as Haroon Mirza. I am forever grateful for how he has transformed my attitude on art and experience.

What is your most memorable concert experience?

Probably performing my composition for turntables and orchestra at the Roundhouse in front of the LCO way back in 2010. We were all so young and relatively inexperienced then, yet so much drive, commitment and a unanimous want between us all to take risks. It was incredible. I didn’t know it was going to be such a big gig. People were queuing up literally round the roundhouse to try and get returns when I was arriving.

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

To stick to your ideas, have faith in them, and commit. Don’t waste your time getting frustrated. Go with the flow. Enjoy.

 

Shiva Feshareki (b. 1987) is a composer and turntablist working closely with the physicality of sound. With electronics, she focuses on sampling, as well as analogue and bespoke electrics that generate ‘real’ and pure sounds of electricity, over computer products. With acoustic instruments, she is concerned with the interaction of tone, orchestration, texture, movement and space. Since 2013, Shiva works mainly as a collaborative composer, and uses deep improvisation, explorations into different worlds, or chance events, to create her collaborative teams. She also works with children and young people in a variety of creative environments, and does seminars and projects at universities and music/art colleges.

A scholar and graduate of the Royal College of Music under Mark-Anthony Turnage, Shiva has awards ranging from the Royal Philharmonic Society Composition Prize, to British Composer Award shortlisted works. She has had performances at major UK venues such as the Royal Festival Hall, Royal Albert Hall, Institute of Contemporary Art, Barbican, Roundhouse, and has had working relationships with the London Philharmonic Orchestra, London Philharmonia, London Sinfonietta and London Contemporary Orchestra. She also works in and around a variety of contexts and bespoke environments to create spatialised site-specific works. Additionally, Shiva has worked and toured with musicians ranging from cellists Natalie Clein, Oliver Coates and Colin Alexander, to video-gamer/youtuber Freddie Wong, jazz organist Kit Downes and artists Simon Fisher-Turner and Haroon Mirza. She sometimes DJs, and presents experimental classical music on NTS Radio in Dalston.

Future projects include a realisation of Daphne Oram’s groundbreaking work ‘Still Point’ for Double Orchestra, 78 rpm vinyl discs and microphones in collaboration with composer and Oram-specialist James Bulley. ‘Still Point’ predates the work of an entire generation of composers and artists in its radical use of live electronics (including turntable manipulation and sampling with live orchestra) and is one of the earliest known examples of a work for turntables and orchestra.

London Music Masters

 

 

Meet the Artist……Robert Levin

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

My parents were great music lovers and the gramophone and radio were central to my early exposure to music.  My musical guardian angel was my maternal uncle, Benjamin Spieler, who studied clarinet at Juilliard with Prokofiev’s friend and colleague Simeon Bellison (principal clarinettist in the NY Phil) and pursued studies in flute, oboe, and clarinet and saxophone at the Paris Conservatory and bassoon at Columbia in New York.  He discovered that I had absolute pitch and arranged my musical education forthwith, chaperoning me to Fontainebleau to study with the legendary Nadia Boulanger.  It is impossible for me to express adequately my debt to him.

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

Nadia Boulanger and Sir Clifford Curzon when I was young; Felix Galimir and Rudolf Kolisch later on..

Which particular works do you think you perform best?

Let the listeners decide!  I have particular commitment to Viennese classical repertory, French music, and contemporary music, though the works I perform span the Elizabethan masters to the present.

What, for you, makes Mozart’s piano concerti special/significant in the canon of classical music?

They are operatic scenes, incorporating a breathtaking span of emotions that unfold under the guide of a masterful dramatist who perhaps is equalled only by Shakespeare.

What are the particular pleasures and challenges of Concertos 3 & 4 which you performed with Aurora orchestra as part of their Mozart’s Piano series at Kings Place?

The solo keyboard parts are written not by Mozart, but by expatriate composers living in Paris in the middle of the 18th century, together with C. P. E. Bach; Mozart supplied orchestral accompaniments, thereby transforming these movements into concertos.  It is fascinating to see how in doing this Mozart prepared himself for the task of composing instrumental concertos from scratch.  These are therefore works of apprenticeship.  From here Mozart develops the techniques of solo and tutti within aria form, transforming its structure to the domain of the instrumental concerto at the moment that he chafes against the static nature of opera seria and wants to have dramatic development WITHIN arias, not just BETWEEN them (in the recitatives, where the action typically happens in opera seria).

What is your most memorable concert experience?

There are many.  Hearing Gilels’ and Richter’s first recitals in New York.  Hearing Horowitz’s after his return to the concert platform.  Hearing Rudolf Serkin’s Hammerklavier sonata and Emperor concerto.  Hearing Curzon in solo and concerto repertoire.  Hearing Haitink conduct Bruckner 8 and Mahler 9.  And there then are my own experiences on stage—constant excitement, an endless learning curve, reveling in the exalted danger of risk-laden performances.

What advice would you give to anyone learning Mozart’s piano music?

Learn the grammar and the aesthetic, learn to discern the myriad character changes inherent in the fluid discourse, learn what is to learn, and then walk onstage and do what you must do to communicate this dizzying sensual world to an audience that will be forever changed by the message you bring to them.

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

Engagement with the musical narrative, character, drama, colour.  Be an actor—do for music what Meryl Streep does for the screen and the stage.

Mozart’s Piano, Aurora Orchestra’s monumental new five-year project offers audiences the rarest of opportunities: a complete cycle of the concertos, staged live in concert in the beautifully intimate surroundings of Hall One at Kings Place. Further information here

Pianist and Conductor Robert Levin has been heard throughout the United States, Europe, Australia and Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as Semyon Bychkov, James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Esa-Pekka Salonen. On period pianos he has appeared with the Academy of Ancient Music, English Baroque Soloists, Handel & Haydn Society, Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan, and Sir Roger Norrington.

Renowned for his improvised embellishments and cadenzas in Classical period repertoire, Robert Levin has made recordings for DG Archiv, CRI, Decca, Deutsche Grammophon, Deutsche Harmonia Mundi, ECM, New York Philomusica, Nonesuch, Philips and SONY Classical. These include a Mozart concerto cycle for Decca; a Beethoven concerto cycle for DG Archiv (including the world premiere recording of Beethoven’s arrangement of the Fourth Concerto for piano and string quintet); and the complete Bach harpsichord concertos with Helmuth Rilling, as well as the six English Suites (on piano) and both books of the Well-Tempered Clavier (on five keyboard instruments) as part of Hänssler’s 172-CD Edition Bachakademie. The first recording in a Mozart piano sonata cycle has also been released by Deutsche Harmonia Mundi.

A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works.  He is a renowned chamber musician and a noted theorist and musicologist. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and recorded and performed throughout the world. (source Rayfield Allied)

 
 

Meet the Artist……Peter Byrom-Smith, composer

qbk-joyqWho or what inspired you to take up composing, and pursue a career in music? 

As a child there was no real music in our house, or reading materials as such, mainly due to my mum’s mental illness. As a result of this, and of course other problems in the family, I didn’t actually speak or really communicate until about 6 or 7 years of age. However, I had obviously listened to much music, both radio broadcasts and recordings, mainly at schoolfriends’ houses, or at school itself, which I totally soaked up at each opportunity – everything from the Beatles and the Monkeys to Beethoven and Mancini. When I got my first musical instrument, a guitar which was purchased through a shopping catalogue operated by a friend’s mum, and for which I paid by doing potato picking on farms, and  as a newspaper delivery boy, I sort of just started playing back what I’d heard, improvising along the way of course, trying to pin down correct pitch, melody, rhythm, etc. of each song/piece until I’d got it as close as the original. I didn’t know what I was doing at the time of course.

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

From above, you can obviously see I didn’t have the possibility of music lessons, so I am completely self-taught in music. However, I studied very hard, seeking the knowledge of this strange craft known as music notation, and how to turn ideas in my head into something I and others might play one day – daydreams, maybe, but a very determined Yorkshire boy/man I became, constantly trying to hear/read more music all the time. Many musicians have been an influence, and still are, on my life really: Elgar, his struggle for recognition as an artist, plus his wonderful musical structures enchanted me early on; Neil Young, his stories of life in both his lyrics and musical arrangements, appealed to a young teenager in the 70’s; Gershwin, with his amazing cohesion of jazz and classical genres were to lead me to  carry on this ‘cross genre/culture’ idea in all my later work! Of course, as a fifteen year old boy I truly had no idea where I was going with this magical thing called music, with its strange terms, dots, lines all over the place, but I read everything from ABRSM theory books to  Antony Hopkins books on music and listening/analysis,etc and from Ferdinando Carulli’s great little book ‘Guitar Method’ to the symphonies of Mozart, etc. too – all an education. After school, I was determined to write music one way or another and now I had found a way of communicating my thoughts and feelings I was on a roll!!

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

When I left school at 15/16 years of age, I wasn’t sure how I would do it, but boy was I gonna try and write music as I thought it should sound, and whatever meant something to me,`i was really hoping that somehow people would understand my thoughts and what I was trying to say. Of course, easier said than done, but I learnt very quickly how to be flexible, playing in theatre pits, busking, pop bands, teaching, as well as giving recitals with my own music, I managed to build a small, very small, reputation on the large music scene in UK. Persevering however, I accepted my first true commission for a soundtrack to a lecture series at a local art school, which I both arranged and and multi tracked on two cassette players – a truly awful result I’m sure, but people liked and used it, so a win win situation, as people say now, eh. Of course, frustrations come as an artist, as you try to get to where you think your journey should take you, but as always in life, you carry on, taking rough with smooth and never regret artistic choices, or directions, as you always learn something from the experience – well I certainly did, and after over 40 years of being a composer I’m still getting a thrill and learn something new every work I produce.

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

I work in all genres of music: film, theatre, pop/rock music, animation, concert works,etc, and, or so, because of this cross genre working, I have worked and continue to work and learn from such a variety of musicians and their different backgrounds and approaches to music, its really a truly pleasurable experience and exciting, each time am opportunity occurs for me to share ideas and develop my thoughts into musical sounds form the performers. I am not very computer literate at all, I have no music software, and no idea how it works. When younger, I actually wrote all the parts out by hand, even the large orchestral works, brass band pieces and songs. Luckily, for me, I now have an assistant who I get to turn my stuff into files, which then can be emailed around the world the same day, which I find pretty amazing, although slightly confusing how it does so, at the same time! I am very lucky that I have found a career in something, i.e.; which is truly all I know about, and that people approach regularly for new works – now an animation, then a concerto, now a theatre piece, then an album for a rock band to arrange/produce,etc – all of both equal importance in the musical world and in my life.

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

I always approach my work in the same way now, as when I was a young boy. First of all, I try to arrange a meeting, face to face, as I don’t like the impersonal, remote meetings; phone, emails; Skype, etc, however, this can be impossible sometimes; for example, I have a long term project in Japan, and another project coming up in Poland, so will have to talk on Skype, etc, until each visit, but otherwise I’ll jump on a train – my favourite form of transport – and meet to discuss/talk through everything over either a lunchtime meal, or a few pints in the pub, as either way is very constructive to me! Meeting musicians, either in concert hall, or in the studio is always a pleasure and, to be honest, an honour too to me. I am very happy to enjoy what I do and also appreciate that I’m fortunate that I found how to both express my life, thoughts, emotions, etc, through music, whilst at the same time making a living at it too. This is important part of my philosophy, as coming from a working class background and growing up on a large council house estate in the north of England, I’m very proud of my roots, therefore wish to share with others! I’m also very lucky that all the musicians I work with from any of the genres, seem to respect my thoughts and expertise in composition, although of course, when it comes down to specific technical things like fingering, bowing, phrasing etc ,etc I am always totally in their hands – a genuine collaboration I like to think.

Of which works are you most proud? 

I have composed so much stuff over the years, and have been so lucky that nearly everything I’ve written has been either performed, recorded or broadcast at some point. So trying to pick a particular work out is very difficult, as you could imagine, but maybe I can quickly suggest a few that stick in mind. ‘Suffolk Serenade’ (mezzo,horn+strings) was a joint commission with my wife (writer Gillian) to write a ‘complimentary’ piece to Benjamin Britten’s ‘Serenade’ for the Britten centenary. At the interval, the concert was actually down in Suffolk of course, I was approached with a dilemma – the audience would like to hear it again! Yikes, I thought, as did the conductor too, as it lasted over 30mins in total – although, I may add the orchestra and conductor were very keen and seemed to like it thoroughly too. Anyway, that was amazing that an audience and musicians enjoyed my scribblings so much that they were willing to suffer more tonal distress….hee, hee, from me and was great for a premiere of a contemporary piece of music was accepted on first hearing. Another important piece was a work I wrote for the theatre entitled ‘The In Between Space’. I was composer in residence for Converge at the time, which helps provide student lessons in music, drama, dance, creative writing,etc,for people with mental health issues. I wrote the incidental music soundtrack and was invited to attend the two days of performances – truly wonderful they were too.The last one I choose is the most recent too. I am at present working on a joint project with Japanese composer Nobuya Monta; we are having joint concerts and recordings of our music,both in UK and Japan.On Sunday 17th July this year he visited the UK and we launched our first event: Concert and CD launch of ‘Heading for the Hills’ at Blueprint Studios ( where we recorded it) an album of Japanese and British music for string quartet. First the Strata String Quartet played a selection of the tracks from the CD, then, whilst the studio played back the whole album, we toasted a new adventure in Japanese/British musical culture which we hope to develop over the next few years. It took a lot organising, as you can imagine, bringing performers, studio and record label all together and on board for a journey which was developing as we went along – a truly musical adventure,but if you want it to happen, it will.

How would you characterise your compositional language?

I suppose my musical language is really a combination of many styles, it crosses many musical boundaries really. To be honest, I’ve never actually paid any attention to trying to write in any style at all, whatever comes out of my head I scribble down, then wait to hear the performance – either live or recorded. As I have worked with so many musicians and on so many projects over the years on numerous variety of commissions, I’ve no doubt been subconsciously influenced on what I’ve heard and learnt from each experience and each project – which is exactly what I did when I started at this composing malarkey I suppose. One thing I’m very certain of of though a lot of my individual voice emanates from Elgarian melody, jazz harmony and rock/folk rhythms – all styles of music I liked when I was a youngster and still enjoy listening/playing now too!

How do you work? 

When I receive a commission, for film, concert hall or studio work, I tend to think a lot about the project and meet with the performers to discuss my ideas. Collaboration is very important to me as a composer,sharing thoughts with the players is pretty inspiring to me,as we bounce around ideas off each other and I get to know them and likewise – this so important,I feel anyway. Then I think a little bit more, often walking around, or on my many train travels, until the piece is completed in my head and I have a clear vision of the finished work. I then sit down to use pen and paper to write the score; it doesn’t matter if it’s for full orchestra or a soundtrack for animation etc, I still like the intimacy and immediacy of ink and stave – transferring thought directly to paper. If I need to get score/parts to the other side of the world, I’ll get someone to turn my manuscript into computer ‘stuff’ and email it to players,otherwise I’ll pop in post, or better still, I’ll revisit them and hand over in person.

Who are your favourite musicians/composers? 

I love concerts and enjoy the ‘buzz’ even the tuning up at the beginning has always made the hairs on the back of neck stand up – although,alas, a few less hairs these days! I enjoy a wide variety of musical genres, but I suppose Elgar, Rodrigo, Michael Nyman, Neil Young, Led Zeppelin, Radiohead are all composers and musicians I enjoy listening to regularly and still get great inspiration from. I enjoy listening either live performances – which I much prefer – although I enjoy broadcasts and recordings too of course.I used to do a lot of teaching, which I really enjoyed and which taught me a lot, I actually think we learnt off one another, they from my knowledge and experience,me from their open minds,new exciting ideas, my students would bring along a selection of stuff they were enjoying,o ften from musicians I’d never heard of, which have become favourites, like Arcade Fire, and Einaudi too. Whilst I do a little teaching now, mainly as a guest lecturer at different universities/colleges, etc, I still find it invigorating to listen, explore and find new sources of musical sounds and ideas – I think this is very important for a composer.

What is your most memorable concert experience? 

Other than the excitement at my first rock concert aged 12, by prog-rock band Hawkwind, which was scary and amazing, in equal measure, I seem to remember one of the most memorable and truly overwhelming was a performance Elgar’s cello concerto – many years ago, at York University Central Hall. In the final, agitated fast movement, there occurs a refrain from the slow movement, of that delicious, hauntingly beautiful melody, which builds then dies away bit by bit. Well, in this performance as the slow theme dissipates to Elgar’s dynamic instruction, probably a ‘ppp’ the melody did just this and also something else, which I still can’t quite figure out how, but however the cello sings totally solo then ..gets, quieter ….quieter, quieter, slower……….then almost inaudible. At this moment I and I believe everyone else in the audience held their breath………then after what seems like ages the baton beats and were off for the final orchestral flourish and crashing last few bars. But,the few seconds took me to a really musical and totally magical place that I still recall, not all the concert, but that moment, and I wish I had experienced more of these moments in time – although I’ve been at a few others,close but not so sublime!

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

I think, just my personal thoughts these of course, that a musician should always strive to be themselves. Yes, learn from others, study the works of others, but please develop your own style. As composers, we feel we have something individual to say, so it’s very important that we develop our own voice to say and express this. Also, to enable this to happen I feel it’s very important to listen to as wide as possible, and practical, as much music from as varied sources and genres as possible. It’s very important to not become stagnant, or complacent in your music, audiences and musicians deserve better than this and more importantly so do you as a composer. I enjoy writing, listening and learning, still, absorbing from anywhere and everywhere; art, theatre, concerts, broadcasts, socialising, travel, all are very important to me to help keep my feet on the ground, except on a plane of course, but also keep my mind, eyes and especially my ears open and help me continue to work in the 21st Century.

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

I hope I’ll continue to learn more of the art of composing music from around this small world of ours. It’s a small, but beautiful planet with a wide variety of peoples and cultures and as the technology develops it brings both closer together and hopefully understand one another through art, and particularly in my case music.Sharing our musical ideas across the globe helps composers across the globe develop a new ‘palette’ from which to draw their individual colours to express. I for one, will strive for another ten years to do this. Continuing to have the opportunity to explore new new musical horizons, writing more compositions which cross the boundaries of musical genres.

What is your idea of perfect happiness?

Sitting in a pub beer garden drinking a nice glass of cold cider and eating a cheese ploughman’s with my wife; I believe the nicest things in life are often the simplest.

What is your most treasured possession? 

My Parker fountain pen, with which I sign all my finished scores.

‘Heading for the Hills’, Peter Byrom-Smith’s new album for string quartet is available now

Peter Byrom-Smith is an internationally renowned composer. Writing for and performing with many musicians from across a wide spectrum of genres, Peter’s musical journey has taken him on many trips around the world. His music has been performed, broadcast and recorded in U.K, Europe, Singapore,  Japan and U.S.A. by numerous musicians. He is as happy to have his music performed in small country churches as he is at Liverpool’s Philharmonic Hall. 

His music crosses boundaries: a melange of sounds, bringing together elgarian melody, jazz harmonies and rock rhythms. 

In an ever growing portfolio of work, which includes pieces written for full orchestra and chamber musicians. He also regularly works with pop/rock musicians, both in the studio and in live performance, as well as writing sound tracks for film and theatre.  Peter’s work is performed regularly and he receives frequent commissions for new music.  

www.peterbyromsmith.com

 

Meet the Artist…..Noriko Ogawa

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

My mother is a piano teacher. I used to crawl under the piano when my mother was teaching – I am talking about when I was not even a year old.  So, it was totally natural for me to take up piano lessons.  As for pursuing a career, I am still looking for the secret to succeed.  Quite honestly, I still feel like a music college student because the basics of my life have been the same (whether piano practise is done or not is a major issue of the day).

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

My mother Michiko for a start.  As for teachers, I am really grateful to two teachers, Mr. Hironaka who taught me in Japan and Benjamin Kaplan who coped with me in London.  Ben was the one who told me how to look at the music, how to analyse, and how to perform.

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

I cannot think of anything much off the top of my head. Coming from a family with a piano teacher with absolutely no connection to any ‘important’ people in Japan, let alone outside Japan, I feel I have done pretty OK.

Which performance/recordings are you most proud of? 

Recordings…. Takemitsu piano music because it was the first CD of the journey with Robert von Bahr and BIS (now, I have recorded 33 CDs with them!!!!).  I am proud of the most recent recording, SATIE with an 1890 Erard Piano.  I was asked to perform a recital on an Erard piano once.  I was reluctant because I am not a period instrument specialist, but the piano was so wonderful that I fell in love immediately.  As soon as I played the concert, I grabbed the arm of the owner of the instrument.  I asked him if I could use the piano for a CD recording. I am totally fascinated by Erik Satie at the moment. His music is raw, but the ideas he came up with are 20-30 years ahead of his time. I feel privileged to have this opportunity to re-discover his ability, to look into his musicality with more respect. Satie has been underestimated for a long time. Having the Erard for the recording has helped me to realise his genius approach, just because I love this particular instrument so very much!!

Which particular works do you think you perform best? 

Debussy, Takemitsu for sure because I like working on ‘beauty of sound’ at the piano.  And some Rachmaninov.  I say this because every time I work with Russian orchestra, they tell me I have a ‘quasi-Russian’ heart.  Personally, I like performing Schumann and Liszt very much and I have been including their pieces in my solo recitals this year because 2016 is marks anniversaries of their deaths [Schumann 1856, Liszt 1886]. They show me the depth of piano music. Very often, I am totally emotional and shaken by their music when I walk off the stage after a performance.

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

Nowadays, it is important to know ‘anniversaries’ of composers or any musical events.  When I find my favourite composers’ anniversaries, I feel as though I won a lottery.  It doesn’t mean I am worked up with it.  In reality, I speak to the promoters of concerts and build programmes.  So, each concert is unique.

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

I am one of the advisors of Muza Kawasaki Symphony Hall in Japan.  It is a magnificent concert hall.  Of course, Royal Festival Hall, Barbican, Wigmore, Cadogan, Kings Place in London are all very special to me.   Personally, I am happy wherever I am taken.  A school classroom can be a wonderful venue if I establish rapport with the audience.

Who are your favourite musicians? 

I like my close colleagues rather than superstars in the world. I get excited when I get to see what is so amazing about them close up – Peter Donohoe, Martin Roscoe, Kathryn Stott, Ronan O’Hora, Charles Owen, Katya Apekisheva to name a few.

What is your most memorable concert experience? 

When a huge black hairy spider came out from ‘between keys’ on the piano after I finished playing the first item.  The spider looked massive and dramatic against very white keys!

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

One has to go through very tough practising.  It is important to have that level of work to get out there.  On top of it, there are many things one has to have in order to make career. Noticing a moment of ‘chance’ is important. I am talking about all yjr practical bits. Of course, talent and enthusiasm have to be there too.

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

The same… if I can still manage the same things in 10 years from now, I would be delighted.

What is your idea of perfect happiness? 

Happiness is something every individual decides. I am happy when I am pottering around the house. Equally, I am very happy when I receive some good feedback from the audience. I nearly forgot to say this… I am very happy when a performance has gone well. But even happier when I have done my piano practice according to my plan (most of the time, everything gets delayed, I don’t complete my plan)

What is your most treasured possession?

I have been keeping my diary for the last 30 some years, nothing detailed, it is more like a log, just a record what I have done that day. I often think what would be my luxury on a desert island. Nail clippers!

www.norikoogawa.co.uk

Noriko Ogawa has achieved considerable renown throughout the world since her success at the Leeds International Piano Competition. Noriko’s “ravishingly poetic playing” (Telegraph) sets her apart from her contemporaries and acclaim for her complete Debussy series with BIS Records, confirms her as a fine Debussy specialist. Her Images Book I and II were chosen as the top recommendation ‘exquisite delicacy’, BBC Radio 3’s CD Review, January 2014. Noriko’s latest recording for BIS records is of solo piano music by Eric Satie.

Noriko appears with all the major European, Japanese and US orchestras including the Polish National Radio Symphony Orchestra, Tchaikovsky Symphony Orchestra of Moscow Radio, BBC Philharmonic Orchestra, Czech National Symphony Orchestra, St. Petersburg Symphony Orchestra, as well as the BBC Symphony Orchestra for the world premiere of Richard Dubugnon’s Piano Concerto. Noriko made her BBC Proms debut in August 2013 and appeared again in 2014 with the Endymion Ensemble. She was the Artistic Director for the Reflections on Debussy Festival 2012 at Bridgewater Hall. In 2015 she continued as Associate Artist for Ravel and Rachmaninov Festival.

As a recitalist and chamber musician, with her piano duet partner Kathryn Stott, Noriko has performed Malcolm Arnold’s Concerto for Two Pianos at the 2013 BBC Proms.

Noriko regularly judges the BBC Young Musician, Munich International Piano Competition, Honens International Piano Competition and the Scottish International Piano Competition. Noriko has been appointed as Chairperson of the Jury for Japan’s prestigious 10th Hamamatsu International Piano Competition in 2018.

Noriko’s Japanese translation of Susan Tomes’s book Out of Silence – a pianist’s yearbook has been reprinted due to popular demand.

Noriko is passionate about charity work, after the tsunami in Japan in 2011, she has raised over £40,000 for the British Red Cross Japan Tsunami Fund. Noriko founded Jamie’s Concerts a series for autistic children and parents and is a Cultural Ambassador for the National Autistic Society.

Noriko is a professor at Guildhall School of Music and Drama.