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

I had been a chorister in kings college choir and after my voice broke, kindly, my then head of music encouraged me to think about going for a choral scholarship back to kings choir as an undergraduate. So in many respects it’s all David Petit’s fault I suppose

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

There are always so many people who pass through a singer’s life, teachers and coaches, conductors and choir directors, that in a way the influences are myriad. But I’d say listening and talking to Anthony Rolfe Johnson, and taking his advice, was probably the most influential period of my career. He ordered me out of the back row of the chorus and encouraged me to go solo.

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

I think going from a bass to a bass/baritone and even to baritone was the most significant challenge of my career. I used to sing the arias with all the low notes but never found huge satisfaction from them. My then teacher Diane Forlano just said to me that she’d never thought I was a bass so we started working on my upper register and I began to find vocal happiness.

Which performance/recordings are you most proud of? 

The performances/recordings of which I’m most proud will always be those that have been the hardest for me to fulfil. My two solo discs have brought me delight and shredded nerves in equal measure. Falstaff, Wozzeck, Beckmesser and Alberich in das Rheingold have presented me more problems and sleepless nights than I care to remember but the most fun to have achieved and to look back upon.

Which particular works do you think you play best?

Usually the evil bastards give me the most enjoyment, but then I love those roles like the Protector in Written on Skin and Golaud in Pelleas and Melisande, which have a complex psychological component to them. Having said that, I love the comedy of Falstaff and the sincerity of Sharpless in Butterfly and Balstrode in Grimes. The pot of gold lies in the combination of all these characters.

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

I wish I could say that I make choices of which repertoire to sing and when, but my career to date has been a bit more director led than that. If a director with whom I have a good relationship asks me for a role I’ll generally accept it as I know it’ll be interesting and challenging and that’s what gets me up in the morning.

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

I think most of us singers tend to like to perform in halls that have provided us with wonderful memories. Berlin Philharmonie because I got to sing with the peerless Berlin Philharmonic, de Doelen in Rotterdam because of three unforgettable Bach Matthew Passions with the Rotterdam Philharmonic. Then there was the exceptional experience of Alan Gilbert’s farewell concert of das Rheingold in David Geffin Hall with the NYPHIL. I could go on…

Who are your favourite musicians?

My favourite musicians tend to be the ones who challenge me the most, from Jonny Cohen with whom I’ve recorded my two solo discs to Vladimir Jurowski who showed me the brilliance of Wozzeck. Leonard Bernstein who explained the symphony orchestra to all us nerds in 70’s to Emmanuelle Haim, my baroque fairy godmother. Sir Simon Rattle for his never ending quest for the soul to Aaron Neville’s simple sincerity.

What is your most memorable concert experience?

I think my most memorable concerts in recent times were these: The concert that Arcangelo and I gave at Milton Court was a great experience for me as it reminded me so powerfully the importance of communication. I found myself almost choked with emotion as I sang the most beautiful of Handel’s arias(Fra l’ombre) and really for the first time wholly connecting with it emotionally. Then there was das Rheingold with NYPHIL last June which was a personal triumph. Never have I felt so utterly engaged in a performance.

As a musician, what is your definition of success?

Communicating the meaning/substance – the “everything” of the role or song to an audience in the most imaginative, creative and truthful way possible. If you can do all that and make it sound ravishing as well, you’ve done your job!

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

I always say to all aspiring musicians/singers alike, never stop using your imagination. Never stop digging, leave no stone unturned in finding something more to say. Just singing the words and the tune is never enough.

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

I’d still like to be digging away trying to keep folk entertained and stimulated.

What is your idea of perfect happiness?

It would have to be just being with my wonderful family, walking with the dog or cooking, or just laughing and making great memories.

Christopher Purves’ new disc of Handel’s Finest Aria’s for Base Voice, Vol 2, with Arcangelo and Jonathan Cohen, is available now on the Hyperion label. Further information

Christopher Purves has received much praise for his acclaimed interpretations of a diverse and eclectic range of roles and repertoire. A choral scholar at King’s College, Cambridge, Purves went on to become a member of experimental rock group Harvey and the Wallbangers. He has since developed a highly successful career on both the operatic and concert stages, in great demand with leading opera houses and orchestras around the world.

christopherpurves.com

(photo: Chris Gloag)

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A recent conversation with a pianist friend of mine (who, incidentally, is probably the best advocate I know for amateur pianism, such is her devotion to the piano and its repertoire), during which my friend described a festival adjudicator who implied that she should not be playing works like a Chopin Ballade, reminded me of an attitude which exists, and persists, amongst some professional musicians (and indeed a few amateurs too) and teachers that certain repertoire is for professional or advanced pianists only. This is of course rubbish: no repertoire should be considered “off limits” or the exclusive preserve of the professional. The music was written to be played, whether in the privacy of one’s home or to a full house at Carnegie Hall

Prior to the nineteenth century, most music was written for and performed in the court or the church but there was also instructional music (for example by JS and CPE Bach) to help the keyboard player improve their understanding of technique etc (later taken up in the nineteenth century by Chopin, for example, in his Études). J S Bach’s Clavier Übung (literally ‘Keyboard Practice’) includes the six keyboard Partitas, the Italian Concerto and Overture in the French Style, and the Goldberg Variations – all wonderful works which regularly appear in concerts and are enjoyed by pianists the world over. All these works were written to be played at home as part of one’s keyboard study, and I cannot imagine Bach would consider his splendid music to be “off limits” to amateur players – nor Chopin either!

By the nineteenth century, the piano had improved significantly and by the mid-nineteenth century advanced manufacturing techniques meant pianos could be produced more quickly and cheaply. The instrument became an important member of the household and composers responded to its popularity by writing smaller scale works, “albumblatt”, miniatures and duets, specifically aimed at the “at home” or amateur player. Many of these works are now staples of concert programmes.

As pianists we are terribly spoilt for choice. We have a vast repertoire to explore, and today composers continue to add to that repertoire, which means we also have brand new music to explore and play. And in my experience, composers are pleased if you actively seek out their music to play (and preferably purchase it too). OK, so it’s not as prestigious as having it premiered by a leading artist, but that the music is being played and perhaps shared with others via piano clubs, self-organised recitals etc means the music is getting out there.

Don’t let anyone tell you you’re “not worthy” of this fantastic repertoire, that you shouldn’t attempt a Chopin Ballade, a late Beethoven or Schubert Sonata, Liszt’s Dante Sonata or Ravel’s Gaspard de la Nuit.

The music is there to be played – just go and bloody well play it!

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All ten of these pieces have moved me, inspired me or comforted me at some time in my life. Having placed them together into a playlist I realise many of them are quite melancholic! But, for me, they also contain hope and beauty, which I find is a magical combination in a piece of music

 

Alexander’s music has become known for its striking beauty and originality. Described by Positive News as “not jazz, not classical, not improvised, but a glimpse of something new”, and by ClassicFM as “refreshingly original”, it isn’t easily described or placed into a genre. 

Born into a family of artists, he moved at the age of nineteen from the central lowlands of Scotland to the north coast, and it was here on the windswept shores of the Moray Firth that he completed his debut collection for solo piano, Sketches Of Light. Discovered by ClassicFM in 2013 and placed as Album of the Week, the Sketches became instantly popular and have since been aired extensively across the station. The album was re-released by Decca Records in 2014 and has featured widely across TV and Radio.

In 2016 he released Portraits of Earth, his second collection for solo piano, “dedicated”, in Alexander’s own words, “to the beautiful place we all share; the living world we call Earth”.

April 2018 saw the release of his much-awaited third album ‘Journey to Nidaros’. The album was composed spontaneously during a 650km solitary pilgrimage across Norway, offering a remarkable musical journal of his experiences:

“I imagined it to be a time of swimming in rivers, exploring mountains and deep-green forests. It ended up being all of these things, but with the added unimagined discovery of music, which gradually emerged from the pianos I found on the path.”

Meet the Artist interview with Alexander Chapman Campbell

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The Royal College of Music (RCM) has a strong tradition of pianists who have established themselves on the international stage in song and chamber music. Perhaps the most famous is Benjamin Britten who is often remembered for his duo performances with Peter Pears. Other song pianists who studied at the RCM include Julius Drake and Malcolm Martineau whilst Roger Vignoles is the current Prince Consort Professor, a position that Geoffrey Parsons also held.

In recent years both Gary Matthewman and Alisdair Hogarth have distinguished themselves as song pianists of note and there is a long list of former RCM students who have excelled as chamber musicians including Katya Apekisheva, Alisdair Beatson and Danny Driver. More recently, students have had successes in national and international competitions including Ian Tindale who won the pianist prize at both the Wigmore Hall Song Competition 2017 and Ferrier Competition and Gamal Khamis who won the pianist prize at the 2017 Ferrier Competition.

For those wanting to specialise in piano accompaniment, the RCM has a robust Masters course led by pianist Simon Lepper. During the two years of training, pianists not only develop a broad knowledge of the instrumental duo, chamber and song repertoire but they are introduced to the skills of being a répetiteur, ballet pianist, continuo player, orchestral pianist and vocal coach.

Previously-named the Masters in Piano Accompaniment, those beginning the course in the 2019/20 academic year will be following the Masters in Collaborative Piano. The renaming reflects the diversity of the course and the changing perception of what it is to be a pianist who follows a predominantly ‘non-solo’ career. For many years it has been thought that the term ‘collaborative piano’ was coined by the American, Samuel Sanders. However, it appeared much earlier and closer to our shores in a paper written in 1930 by the Irish pianist and composer Hamilton Harty. Below is a quote from ‘The Art of Pianoforte Accompaniment’ which offers a compelling argument for the change of name.

‘The chief cause for the neglect of the art of accompaniment is to be found in the absurd and unfortunate title of ‘Accompanist’, with all that it implies. Whatever may have been the justification for this name in the darkest early Victorian ages, it is now nothing but a stupid and misleading misnomer for a musician who is called upon to exhibit very rare and special qualities. “Collaborator” would be more explanatory and a much more desirable description…’

He goes on to expound both the practical and artistic benefits of following such a career path.

‘It is only common sense, then, to study a branch that will not only furnish one with at least a sufficiency to live on, but which will bring to one’s life the utmost musical pleasure and interest.’

ffwuzu-ySimon Lepper, Collaborative Piano Co-ordinator at the RCM, explains: ‘The renaming of the Royal College of Music’s piano accompaniment course reflects the evolving role of the collaborative musician, recognising their breadth of skill and acknowledging the diversity of opportunities on offer to those pursuing this rewarding career.’

Applications for the Royal College of Music’s Masters programme are open now. Information on courses and how to apply can be found on the RCM website at www.rcm.ac.uk/courses/postgraduate.

For further information about Collaborative Piano at the Royal College of Music please contact Simon Lepper (Collaborative Piano co-ordinator) simon.lepper@rcm.ac.uk

www.simonlepper.com