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Musicians will be familiar with this image of an iceberg. The tip, the visible part, represents our public persona and the music we perform and share with others, while the mass which is hidden below the surface of the water represents the many hours of practise, study and preparation which enable us to perform. Anyone who believes that music flows effortlessly from the musician’s body or who thinks it is “easy” should consider this illustration below and its metaphor.

But what if we allowed others a glimpse into our practise rooms, to watch us practising, working, refining and finessing our music, to sit in on rehearsals with colleagues, and to observe the long and detailed process that goes into making a concert which may only last for 90 minutes?

In a college of art and design in the US, students are being encouraged to do just that – to offer up their work-in-progress, their rough drafts and preliminary designs, even their mistakes, for scrutiny by others in a new exhibition called ‘Permission to Fail’. We are used in exhibitions, books and concerts to seeing and hearing the finished article and I think this often makes viewers and listeners rather complacent, or even ignorant, about the long and involved creative processes which go into producing a work of art or preparing a piece of music for performance. It is all the working out, the sketching, redrawing, practising and pondering which enables us to unleash our creativity, and by learning from our mistakes and our “workings out”, we reach a finished product wrought from a special mixture of curiosity, exploration, trial and error, hard graft, and imagination.

Music practise is usually undertaken alone and in private, except when colleagues come together to rehearse ahead of a concert. Do we really want others to see us sweating over a knotty section, swearing at that passage which always trips us up, hear 50 repetitions of the same section, practising to make the music permanent and perfect? There is however a great curiosity about how musicians, and other creative people, work: I find this often manifests itself in (sometimes daft) questions about “finding the time” and much exclaiming about the amount of time one spends doing it. Then there is the ongoing “not a proper job” aspect of being a musician (or writer or artist) whereby because one loves what one is doing it can’t possibly be serious or commercial, and that practising, or drafting a synopsis or sketching out a painting, is somehow self-indulgent and without value. The pianist Valentina Lisitsa filmed her practise sessions and it was the huge popularity of these video clips that enabled her to relaunch her career. In a way, these films proved that she was a fallible human being, and offered a glimpse into her world as a working musician, which made it more comprehensible to those outside the profession.

Many art exhibitions these days will include the artist’s ephemera, including notebooks, sketchbooks and scrapbooks. Of course for most artists, these books were private, not for public consumption and were the artist’s way of recording ideas to be worked up later in the studio: they were never intended to be shown to the public, yet they offer fascinating insights into the working practices, processes and mindset of a creative person. They also reinforce the fact that creativity is not just about the finished product, it is also about the journey to get there. I think it’s important that we as practitioners of a creative activity appreciate the the joys and frustrations, the mistakes and the eureka moments which we must go through, and to regard all of these as important staging points on the journey. The “10,000 hours rule” has largely been debunked, with an emphasis now placed more firmly on quality rather than quantity of practise. That said, one does need to put in the hours and practising should be habitual, concentrated and thoughtful.

I’ve never regarded my practising as some mystic art, to be kept secret and hidden. I’d much rather people better understand the process involved in learning and finessing music instead of saying daft things to me like “it’s amazing how it just comes out of your fingers” and “How do you do it?”. This is why I share my practise habits with my students, so that they understand that while we might undertake the practising alone, we are in fact engaged in a shared activity – creating music.

Further reading:

How Creativity is Helped by Failure

Accountability in Practice – article by pianist and teacher Graham Fitch

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‘Tis the season for “top 10” and “best of” the year lists (indeed, such is the popularity of these lists that it would appear that every music critic at The Guardian has issued their own Top 10 Concert/Operas of 2015).

Once again, I have enjoyed a busy year of concerts, reviewing 21 concerts in London for Bachtrack.com, plus various concerts at St John’s Smith Square, the 1901 Arts Club, St Mary’s Perivale and my local music society in Teddington.

“Hits” of 2015 include all five Prokofiev Piano Concertos in a single concert at the Proms, a musical marathon for the orchestra (LSO) and audience alike, with particularly fine performances by Daniil Trifonov and Arcadi Volodos. Other stand out Proms were Sibelius first and second symphonies, Thierry Escaich playing the Albert Hall organ, and Bernard Haitink conducting the Chamber Orchestra of Europe in Mozart’s Piano Concert K488, with Maria Joao Pires as soloist (an exquisitely measured and elegant performance), and Schubert’s ‘Great’ C Major Symphony, D944. My enjoyment of many of the Proms I attended this year was undoubtedly enhanced by my concert companions.

At the Wigmore, Garrick Ohlsson’s Skryabin Focus residency proved enlightening and insightful, with Ohlsson revealing himself as a sensitive and colouful interpreter of this curious, sensuous and often totally over the top music. This was definitely an opportunity to surrender oneself to the composer’s unique soundworld in the hands of a most capable and modest pianist.

Another revealing concert was given by Antonii Baryshevskyi, winner of the Arthur Rubinstein International Piano Master Competition. He presented an engaging programme which made interesting links between Scarlatti and Ligeti, together with music by Chopin, Messiaen and Schumann which revealed Baryshevskyi to be a pianist at home with a wide variety of repertoire and styles.

Maria Joao Pires gave a delightfully intimate and atmospheric joint concert with one of her protegés, Pavel Kolesnikov, in music by Beethoven, Schubert and Schumann (both solo works and music for piano 4 hands).

One of the most eagerly anticipated concerts of 2015 – and not necessarily for all the right reasons – was Ivo Pogorelich’s “this is not a comeback” concert at the Festival Hall in February. It was a curious curate’s egg of an evening, with some very uneven, eccentric and clumsy playing combined with a blistering and masterful rendition of the Brahms Paganini Variations. The critics were universally damning, yet I felt rather sad that Pogorelich had been submitted to such vitriol. Whatever one may think about the quality of his playing, together with some very strange interaction with the page turner, it was undoubtedly an “interesting” concert, and somewhat refreshing to hear such personal piano playing as opposed to the “louder faster” school of pianism one encounters rather too often these days…..

Talking of which, against my better judgement I decided to hear Lang Lang at the Royal Albert Hall, and for me the first time I’d heard the Chinese poster boy pianist since 2002. There were flashes of insight and sensitivity, particularly in the slow movement of the Bach Italian Concerto, but the Chopin Scherzi were a vehicle for his trademark flashy, overblown virtuosity, the subtlety of Chopin’s writing lost in a whirlwind of noise and velocity. ‘The Seasons’ by Tchaikovsky was simply the wrong repertoire for the size of venue, but here there were also moments of beauty and hints of a more mature approach.

Which leads me to my “miss” of 2015, the much-lauded young Polish Canadian pianist Jan Lisiecki who played much by Mozart, Mendelssohn, Liszt and Chopin’s Opus 25 Etudes at the Wigmore Hall in October. I had read much about Lisiecki, very fulsome and often gushing praise and I was curious to hear him live. Sadly, most of his concert was a display of youthful arrogance and immaturity which manifested itself in some very ugly and unsubtle playing. Jan is only 20 and he has plenty of time to develop as an artist – and I sincerely hope he does.

In addition, I’ve also enjoyed fine performances this year by Jeremy Denk, Murray Perahia, Stephen Hough (including the premiere of his new Piano Sonata), Marc-André Hamelin, Yevgeny Sudbin, François-Frédéric Guy, Peter Donohoe, Steven Osborne and Warren Mailley-Smith. 2016 seems set to begin on a high with concerts at the Wigmore by Pavel Kolesnikov, Steven Osborne, Piotr Anderszewski, Denis Kozukhin, and the continuation of Warren Mailley-Smith’s survey of Chopin’s complete piano music at St John’s Smith Square, a lovely venue for piano music. Further ahead in 2016, I am very much looking forward to Andras Schiff’s ‘Last Sonatas’ programmes at the Wigmore, exploring the final three sonatas of Haydn, Mozart, Beethoven and Schubert, and Daniil Trifonov in June. There is much to enjoy in 2016 and I think my concert diary is likely to be as busy as it has been this year.

Link to all my Bachtrack reviews and articles

Wigmore Hall

International Piano Series

St John’s Smith Square

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

Naomi Sullivan: Heather Sullivan (my mother). My family all play music, although I’m the only person who pursued it as a career. My mother gave us recorder lessons, then I played flute until I got irritated that it felt so quiet compared to the brass band playing we all did. I tried a friend’s tenor saxophone, which seemed more cathartic and I’ve stuck with it. I still uphold that my siblings are far more talented than me, but they are possibly a little wiser, (as to finances).

Neil McGovern: The sound of the saxophone was something that really struck me as a young child. It really drew me in and appealed to me though I hadn’t actually heard it very much. Pursuing a career in music felt like the right decision for a long time. Performing became very normal and pursuing excellence in this was always a great aim for me.

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

Naomi: Jim Muirhead taught me at Chetham’s and suggested auditioning at the Royal College of Music. Which is why I ended up studying with Kyle Horch who is still hugely influential in both my teaching and playing. I spent a year at Northwestern University and studied with Fred Hemke. His sense of fun, knowledge and presence is ever so powerful. I can’t imagine a better list of teachers, three very different but all brilliant, kind and inspiring musicians.

Also, all the music I listened to growing up has to be an important factor. I suppose it builds a strong sense of musical connection that becomes a lasting and positive part of your essence or sense of self, if that’s not too whimsical.

And as I get longer in the tooth, my students constantly surprise, challenge, motivate and amuse me. I’ve been very lucky.

Neil: All my teachers – Kyle Horch, Alistair Parnell, and those who gave me so much in the early years too. My parents provided the material and financial means to study music, but primarily they were relentless encouragers and supporters. The interests, and often the intensity of certain fellow students significantly shaped my own musical goals and directions.

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

Naomi: Other than paying the bills? Not giving up or running away from being so regularly out of one’s comfort zone. The unrealistic expectations you can put on yourself and the self-criticism that can go with that.

Neil: I feel very blessed to have been able to work in music since the day I finished Music College. Not everyone in life will like you or how you play, that’s fairly obvious. Sometimes fatigue or illness can hamper performances, other times it can strangely help them! I think learning to say no to certain things is hard, often musicians idolise the gig, the concert above anything else, no matter how poorly paid or uninspiring it actually is. Trying to maintain some values and purpose in what you’re doing is probably the hardest thing. There’s an awful lot of cynicism and jaded feeling around which is easy to slip into.

Which performance/recordings are you most proud of?

Naomi: I am quietly confident that the ultimate Syzygy performance is yet to come… Away from the quartet, I have really enjoyed playing with duo partner, Masahito Sugihara and am proud that we always managed to find energy to play despite always being on a demanding schedule. We’ve had some good adventures. I am grateful for his friendship, musicianship, generosity and patience.

Neil: I’ve come away from the majority of performances happy with the overall impact. Unusual performances stand out, such as Syzygy’s concert in a National Portrait Gallery room playing music specifically related to the artwork there. The Huddersfield Contemporary Music Festival was a wonderful surprise because we were on so early in the day and were expecting a couple of enthusiasts only in the audience, but the place was packed and the atmosphere buzzing. Recordings can be very difficult, with the tyrannical expectation of perfection looming over every session, but Syzygy’s Maslanka recording has been a really great experience for me personally, because of the exceptional talent of my friends in the quartet and the mastery of the producer, Simon Hall who made everything come together so well.

Which particular works do you think you play best? 

Naomi: Speaking for Syzygy, I think we all like playing extrovert, intense pieces and when we’re all on the same wavelength in regard to energy and enjoyment, I do think it makes for better chamber music.  But the saxophone is a remarkable instrument in it’s potential to create such an extreme range of sounds, colours and voices, it’s quite difficult to pick one genre or particular work.

Neil: Syzygy really is at its best with involved and cutting edge repertoire. The group really got its teeth into the Xenakis quartet (Xas) early on and this sort of set the precedent for playing difficult and substantial music. The concentration and connection involved when playing together is quite remarkable – I remember this feeling especially during intensive rehearsals of the Andriessen quartet ‘Facing Death’, but also with the Maslanka’s ‘Songs…’.

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

Naomi: It normally comes from either a new commission, or finding a theme we feel works. And can vary, depending on who has asked us to play. I like concerts or projects that have a theme or offer the chance to draw on and learn from other art forms – literature, art, architecture. This is particularly useful when playing so much contemporary music.

Neil: I think we’re always looking for something new and unusual, trying to contribute something of note to the canon. Hopefully over time there will be more and more great works for saxophone quartet. We make decisions based on the music we really feel is worthwhile.

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

Naomi: Performing in informal or unusual venues currently seems popular way of engaging with wider audiences. I definitely feel more at home in informal environments (especially those with a flattering acoustic), where people are free to listen or not. Such as the National Gallery or Royal Academy of Arts. Syzygy played at Proud in Camden once, that was an interesting night.

Neil: I think the soon to be demolished Adrian Boult Hall will always be a special place to me, it’s where Syzygy first performed live and where we recorded the Maslanka.

Favourite pieces to perform? Listen to? 

Naomi: I’m not sure I have a favourite as it depends on so many factors, i.e. what one is doing or if one needs to have a mood brightener or a good wallow. I suppose one of my favourite aspects of music (listening/performing) is its ability to trigger extremely powerful memories, emotions and connections through abstract sounds. Or performing when you feel fully immersed in a feeling of energised focus, full involvement, and enjoyment. It makes things better. If you’re cooking, you cook better with Dr. John to listen to.

Neil: To perform: probably Joe Cutler’s ‘Screaming 229a’. To listen to I would say Alex Buess’ ‘ata-9’.

Who are your favourite musicians? 

Naomi: Again, it’s very hard to be specific but the first musician’s that spring to mind include: Flaming Oh, John Cage, Robert Wyatt, Margaret Price, Nick Drake, Frans Brüggen, Archie Shepp, Horovitz and all my chamber music friends.

Neil: I love a German avant-garde jazz group called ‘Der Rote Bereich’, and also harpsichordist Elisabeth Chojnacka, but really there are too many to name.

What is your most memorable concert experience?

Naomi: With regard to Syzygy, a few years ago we played on the Southbank as part of the Park Lane Group Young Artist’s Series. The programme was challenging (Xennakis:  Xas  and David  Bedford’s  Fridiof Kennings) and called for us to use 13 saxophones and a tambourine. There was a full audience, which is always a refreshing surprise at saxophone concert. I remember feeling the best sort of nervous – when you feel as prepared as you can be and excited about the music you’re playing.

Neil: Having finished a soundcheck for a gig, walking out of the venue’s front door only to be greeted by Animal Rights protestors chanting “Blood, blood, blood on your hands,” at us. Quite bewildering.

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

Naomi: Find your own way and try to work out what part of the music industry suits you and how you can contribute something. However, try not to say ‘no’ to any opportunity as I suppose we find our own voice from our experiences. Be proactive, communicative, curious, don’t loose energy and don’t always take things too seriously. You really can’t please everyone; you can only do your best. But try to be honest with yourself as to what your ‘best’ is.

Neil: Work really hard and keep going. Develop good taste and play music that has some substance to it.

What is your idea of perfect happiness? 

Naomi: Finding my house keys when I believe they are lost. Especially if I think I’ve left the oven on.

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

Neil: As a group, I’d like Syzygy to have made a number of recordings and had some great new music written for saxophone quartet. I think we’ve scratched the surface of what the group is capable of, but there’s potentially so much more.

What do you enjoy doing most?

Naomi: Playing chamber music.

Naomi Sullivan is Soprano Saxophone in Syzygy Quartet.

Neil McGovern is Baritone Saxophone in Syzygy Quartet.

Syzygy Quartet’s album Songs for the Coming Day by David Maslanka is available to buy from Amazon now. Read a review here

Syzygy saxophone quartet were formed after playing together at the 2009 World Saxophone Congress in Bangkok with the London Saxophone Ensemble. The quartet was established with the aim to promote and perform established contemporary works, alongside new music written especially for the ensemble.
Syzygy’s debut performance was in the Adrian Boult Hall, Birmingham, as part of the Frontiers & Andriessen Festival, where they performed Louis Andriessen’s Facing Death. Since then the quartet have gone on to perform at major chamber concert venues across the UK, including performances at the Huddersfield Contemporary Music Festival, and at the Purcell Room as part of the Park Lane Group Young Artists New Year Series. They made their debut at St Martin-in-the-Fields in July 2012 and have performed at the National Portrait Gallery and the Royal Academy of Art. They have also conducted workshops and performed at Chetham’s School of Music, Trinity College of Music, and Birmingham Conservatoire.

They recently recorded their debut CD, being the only ensemble in Europe to be awarded the performing and recording rights for David Maslanka’s ‘Songs for the Coming Day’, a captivating work which will be released in the near future. They were supported by the Help Musicians UK (formerly MBF) from whom they received an Emerging Excellence award.

http://syzygyquartet.co.uk/wp/