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

Although I’d learnt a number of instruments, I first got really passionate about taking music further when I discovered contemporary music and the unique thrill of composition. During my undergrad years at the University of Sydney (while studying a number of other things including Mathematics and Philosophy), my energies became increasingly focussed on performance, playing the works of composers of today (and particularly those I knew as fellow students). Although a lot has changed, this remains the focus of my work, and it’s inspiring to work at the cutting edge of the art form.

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

I had a series of great teachers from my late teens onwards: my teacher in Australia, Ransford Elsley, had some eccentric ideas about technique, including that all the tools for playing Messiaen or Xenakis could be found in Chopin’s Etudes. Rolf Hind, my teacher at the Royal Academy of Music in London, taught me a lot about the art of interpretation, but also about being an artist – he has a holistic approach to his work and life (including yoga, meditation and veganism) which I’ve found inspirational. And he remains a great friend and mentor.

I’d also need to mention some of the greatest teachers of all have been my chamber music colleagues, especially the members of Ensemble Offspring, who I’ve not played with for 14 years, as well as duo partners like Thomas Adés, Brett Dean, Neil Heyde and Rolf Hind.

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

As my career has grown, the biggest challenge has been juggling a busy schedule – not just learning the repertoire, but pitching to promoters, negotiating contracts, marketing, getting composers organised, fundraising, my research/lecturing position at Royal Holloway.… and also trying to eat, sleep and exercise and have a life outside of work.

Which performance/recordings are you most proud of?

The big piano and multimedia tours I’ve done in the last few years: Dark Twin, Cyborg Pianist and now currently, Piano Ex Machina, are my proudest achievements – they’ve been major creative projects, often featuring 6-8 new works by leading composers (including most recently, Alexander Schubert) all innovating new ways of combining the piano with new technologies, and they’ll all really connected with audiences internationally and played to festivals and series like Huddersfield Contemporary Music Festival, Klang Festival (Copenhagen), Transistor Festival (Mälmo), Podium Festival (Esslingen) Melbourne Festival and Unerhörte Musik Berlin.

And I remain very proud of the double concerto I performed, alongside Rolf Hind, by Beat Furrer (under his baton) with the London Sinfonietta at the Queen Elizabeth Hall – a career highlight.

Which particular works do you think you play best?

The works I think work best for me are often tailored to me by composers – a lot of recent works by Alexander Schubert, Adam de la Cour, Neil Luck, Claudia Molitor, Christopher Fox, Scott McLaughlin and others have all worked with my love of extended techniques, of integrating theatre into performance, interaction with film and interactive media, wild changes in tone (from incredibly intense to light and comic) as well as referencing my abilities to play a lot of key works from the canon.

I still enjoy playing a lot of those major canonical works, particularly 20th century works like Ravel’s Gaspard de la Nuit, Bartok’s 2nd piano concerto, John Adams’ Phrygian Gates, John Cage’s Sonatas and Interludes and lots of Messiaen. And I also feel an affinity for Baroque and pre-Baroque repertoire, which I’ve started including in mixed programmes – a recent one combining British contemporary works, with 17th-18th century composers like John Bull, William Byrd, Orland Gibbons and Henry Purcell worked particularly well.

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

I’ll be talking to dozens of composers at any point, with each collaboration often taking years of gestation – at the moment the general theme has been screen cultures including film, TV, video games and the internet, and it often becomes clear as I talk to them how these programmes will emerge (and how they might be combined with existing works with similar concerns).

Other programmes (like my Ancient/Modern British keyboard music project) start with a clear vision and quite a few works already arranged, and then it’s about commissioning to complete the missing pieces of the project. And as someone who performs a lot of chamber and ensemble repertoire, a lot of programming choices are made collaboratively, and there’s often a lot of different factors to juggle.

One thing that’s important in all these decisions is to consider how diverse the composers represented on these programmes are. I don’t like quotas, but if you’re only programming music written by cis white men, you need to consider whether you’re exacerbating structural inequalities in the industry, and also missing out on a lot of great music.

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

Melbourne Recital Centre has the wonderful Salon space. Excellent acoustic (that can be adjusted to a very fine degree), excellent choice of pianos, excellent tech (including the best projector I’ve ever used), and excellent staff. And of course, the audience is a big part of it, and I’ve had a great reception from sell-out crowds there over many years.

Who are your favourite musicians?

There are so many inspirational performers I know in new music: pianists Rolf Hind, Vicky Chow, Adam Tendler, Philip Thomas, Sebastian Berweck, Siwan Rhys, Eliza McCarthy; vocalists Lore Lixenberg, Jane Sheldon, Jessica Azsodi; string players Mira Benjamin, Brett Dean, Anton Lukoszevieze; wind players Peter Knight, Heather Roche, Carla Rees; and percussionists Claire Edwardes, Eugene Ughetti, Joby Burgess and Colin Currie.

In terms of pianists specifically, there are so many great ones who are a constant source of inspiration, like Glenn Gould, Alfred Cortot, Ignaz Friedman, Leon Fleisher, Sviatoslav Richter, Vladamir Sofronitsky, Samson François as well as iconic new music pianists like

David Tudor, Roger Woodward and Yuji Takahashi, and improvisers like Keith Jarrett, Chick Corea and Ryuichi Sakamoto.

And when it comes to composers it’s a long list of favourites, and if they’re on my list I try to meet them and find a way to collaborate.

What is your most memorable concert experience?

Playing John Cage’s Sonatas and Interludes at Melbourne Festival, and becoming completely hypnotised by the prepared piano sounds – you only really hear this piece when you’ve got all the preparations exactly right, and in a really great acoustic space, so it was a disembodied experience, like I was playing the work and enjoying listening as a member of the audience at the same time.

As a musician, what is your definition of success?

Success, in any of the arts, is a really problematic concept. Is it about living from your work? Or about reaching a wide range of audiences? Or about being respected by your peers? Or the impact you have on other musicians (including the next generations)? Or about the quality and originality of the work itself? It’s all these things to some degree, and these are all questions that I keep in mind when planning projects.

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

1. Find your métier – find something new and unique to bring to the art form, and make that your focus.

2. Don’t be afraid of failure – it’s more important to take risks than always stay in your comfort zone.

3. Go to concerts – it’s how you learn about music, and how you meet musicians and develop your networks.

4. Always act professionally – learn your part, turn up on time, answer emails promptly, meet deadlines, contribute your share to collaborative work, be honest when there’s a problem, pay anyone working for you on time, and behave with respect and decency to your colleagues.

5. Have a life outside of music – study other subjects (or like me, other degrees). Take an interest in visual art, cinema, theatre, literature, science, anything else! Be politically aware and active. And have some friends who aren’t musicians.

What is your most treasured possession?

My cameras. I love cinema and photography in all its forms, and love taking photos of friends and colleagues, and of the behind the scenes work of musicians. There’s something quite magical about capturing a specific and fleeting moment in time, and distilling its essence, which could be considered the flipside to a musical performance: existing across time, and yet ephemeral.

Pianist, Zubin Kanga has performed at many international festivals including the BBC Proms, Cheltenham Festival, London Contemporary Music Festival, Huddersfield Contemporary Music Festival (UK), ISCM World New Music Days, Metropolis New Music Festival, Melbourne Festival, Sydney Festival, Four Winds Festival, BIFEM (Australia), IRCAM Manifeste Festival, Mars aux Musées Festival (France) and Borealis Festival (Norway) as well as appearing as soloist with the London Sinfonietta and the Melbourne Symphony Orchestra. He will be Artistic Associate at the 2018 Bendigo International Festival of Exploratory Music. 

Zubin’s international touring projects focus around the extension of the pianist through interactive multimedia, including live and fixed electronics, film, live video, motion sensors, and AI. He has collaborated with many of the world’s leading composers including Thomas Adès, Michael Finnissy, George Benjamin, Steve Reich, Beat Furrer, Liza Lim, Michel van der Aa and Stefan Prins and premiered more than 80 new works. He is a member of Ensemble Offspring, one of Australia’s leading contemporary music ensembles, as well as the Marysas Trio, which performs across Europe. He has also performed with Ensemble Plus-Minus, Endymion Ensemble, Halcyon, Synergy Percussion, and the Kreutzer Quartet, as well as performing piano duos with Rolf Hind and Thomas Adès.

Zubin has won many prizes including the 2012 Art Music Award for ‘Performance of the Year (NSW)’, the Michael Kieran Harvey Scholarship, the ABC Limelight Award for Best Newcomer and the Greta Parkinson Prize from the Royal Academy of Music. His recent recordings include Not Music Yet for Hospital Recordings, Orfordness for Metier (UK) and Piano Inside Out for Move Records, which was nominated for Best Classical Album at the Australian Independent Music Awards.

A Masters and PhD graduate of the Royal Academy of Music, London, Zubin recently finished a post as post-doctoral researcher at the University of Nice and IRCAM, Paris and is currently the Leverhulme Research Fellow at Royal Holloway, University of London, as well as a Research Fellow at the Royal Academy of Music, London and the Sydney Conservatorium of Music.  He was the convenor of the Inventing Gestures symposium in the 2015 Manifeste Festival at IRCAM and was the guest editor for a special issue on new interactive technologies in music for Contemporary Music Review.

zubinkanga.com

Artist photo by Richard Hedger

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‘Verbs’ is a collection of 24 Preludes for left hand only by composer Kathleen Ryan. Commissioned by her friend and colleague American pianist and Steinway Artist, Keith Porter-Snell, the unifying theme of this suite of miniatures is the idea of verbs, one for each prelude to convey an individual quality of energy and motion, with titles such as Wait, Crackle, Drift, Bloom, Murmur, Tease, Tangle and Bless.

Keith Porter-Snell

The repertoire for the left hand alone is wide, including most famously Scriabin’s Prelude and Nocturne, Op 9, Ravel’s Concerto for the Left Hand (composed for the pianist Paul Wittgenstein, who lost his right arm during the First War) and studies by Godowsky and others. Many pianists use left hand studies and pieces to improve their technique (the left hand often being the weaker hand for naturally right-handed pianists); others are forced to turn to left hand repertoire for reasons of injury. After suffering a repetitive motion injury to his right hand some years ago, Keith Porter-Snell withdrew from performing to concentrate on his teaching career, while also developing an interest in left hand repertoire. He relaunched his performing career in 2006, specialising in piano music for the left hand alone.

By skillfully switching between the high and low registers of the piano and utilising full textures and bright or unexpected harmonies, Ryan creates the illusion of two hands playing. Coupled with Keith’s clean, lucid and sensitively articulated sound and the wonderfully echoey acoustic of Monkton Coombe School (where the album was recorded in May 2013), these preludes hark back to earlier antecedents by Debussy, Rachmaninov, Chopin and J S Bach in their variety and appeal, creating an album rich in contrasts. Ryan’s composing style is eclectic, referencing jazz, contemporary classical, traditional classical, and American folk songs and hymns: Play, for example, is a vibrant anthem, redolent of sacred harp singing, while other Preludes are more contemplative, tender and wistful (Forgive, Bloom).  Push is energetic and rumbling, suggesting bustling city life, Bounce scampers playfully around the keyboard with jazzy syncopations and colourful harmonies, and Tangle is redolent of some of Prokofiev’s more introspective ‘Visions Fugitives’. The album closes with the meditative Bless.

This interesting and appealing project is a celebration of left hand repertoire, a musical friendship, and the art of the Prelude and the miniature. Recommended.

‘Verbs’ is available from iTunes and other online music stores.

Meet the Artist……Keith Porter-Snell

A History of Left-Hand Piano

Kathleen Ryan’s Meet the Artist interview will be published soon.

 

 

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

I hadn’t considered composing as a career until relatively late in life: at university. When I was younger I was very inspired by the first organ teacher that I had, and I wanted to be like her and teach music to young people. By the time I arrived at university I was both interested in contemporary music and aware that, as an organist, I wasn’t involved in a lot of the activities that most music students are—orchestras and the like—so was looking for something that reflected my interests. I’d had a traumatic time doing my performance diploma and was convinced that performing would never be for me, but I also believed that composition was a matter of innate ability and not hard work (as many students do at 18). It was only when, encouraged by my lecturer, I entered—and won!—the Huddersfield Contemporary Music Festival Young Composers’ Competition that I began to imagine that there might be some sort of future in it for me.

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

The lecturer who invited me to enter the competition that I have mentioned, Dr Mic Spencer at the University of Leeds, was a significant influence on my musical development, in particular because he was willing to lend me so many CDs, books and scores when I expressed an interest in New Music. By doing so he allowed me to listen to and learn about music which would have otherwise been completely inaccessible including most of the (at the time) more recent developments in Europe which are so rarely, if ever, performed or even mentioned in the UK. This music in itself was a huge influence on me and opened my ears to so many more possibilities than I had previously considered.

The composer Chris Newman was also a big influence on my work; I greatly admire the music and the art that he makes, and in discussing both my work and his ideas with me he encouraged me to be uncompromising in my work and ideas.

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

The most challenging time for me was a couple of years ago when I was travelling all the time, teaching in a lot of different places, and struggling to find time to work on pieces. However, this also taught me a lot of skills which help me to work under pressure now. The image of the composer toiling away in a darkened room is very much not the reality! The most challenging project I worked on was probably the opera, green angel, that I wrote from 2010-2011 with librettist and theatre director Adam Strickson. The challenges here were working collaboratively, working in the theatre which was also new to me then, and producing such a long work (75 minutes in total). The opera also went through a very intensive rehearsal process: 6 days from the first rehearsal until the opening performance and this was a completely unfamiliar way of working for me as well. However, the musicians that we worked with were all excellent and extremely dedicated which made all the difference.

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

The most recent commission that I have worked on was from the Clothworkers Consort of Leeds. The commission was for a new choral piece that also celebrated the centenary of the discovery of crystallography by William Lawrence and William Henry Bragg. The challenge with such a commission is not just to respond to the brief which involves learning a whole lot of new things about something that you haven’t previously thought about—in this case, about Chemistry—but also to respond in such a way that there is a meaningful relationship between the impetus for the commission and the resultant music. This means that each time it is necessary to re-think one’s approach to composition as a discipline; it’s not sufficient just to draw upon techniques and ideas from the past. This is both difficult, sometimes incredibly so, but also extremely satisfying and rewarding.

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

There are different challenges when working with all sorts of musicians, and I’m really lucky because most of the time I’m now working with musicians who are either contemporary music specialists or people who are extremely enthusiastic about and dedicated to the pieces that they perform. I really enjoy working with pianist Ian Pace, who has performed two of my works, not least because as well as being an excellent pianist he is also extremely insightful about the music that he performs. A lot of my work involved open or graphic approaches to notation, and I’ve also really enjoyed working with specialist performers on this type of piece. It can be a challenge to present this type of notation to unfamiliar performers. Recently I’ve worked with the group Vocal Constructivists on the piece concerto and with trombonist Gail Brand on the piece ‘entoptic landscape’. When musicians like these are so skilled at working with the type of notational challenges I present to them there’s the opportunity for dialogue and rewarding exchange which also helps me to go further as a composer.

Which works are you most proud of?  

This is a difficult question to answer! Usually, the most recent music I’ve written represents best my current thinking about music and composition, so in this case it would be the piece a common method, written for the Clothworkers Consort of Leeds, which I’ve most recently finished. I’m also extremely proud of the piece ‘/’(h)weTH’ which is a collaborate and multi-media piece that I wrote in 2012 with US visual artist R. Armstrong. This collaboration really challenged me to extend and develop my ideas and this was perhaps a turning point for me in the way that I approach many aspects of my work.

Do you have a favourite concert venue? 

I really enjoy when music is performed in unfamiliar places. I like the idea than any spaces can be re-purposed to become musical, and that the concert hall can become part of the staging of a work itself. In September 2013 Ian Pace performed my piano piece, i am but one small instrument, at the festival Firenze Suona Contemporanea (http://www.flamensemble.com/en/) which takes place in the Bargello Museum which is actually a mediaeval prison that has become an art museum. The concerts take place in the open-air atrium at the centre of the building. This is perhaps one of my favourite ever concert venues.

As an organist my favourite place to perform at the moment is St Laurence Church in Catford. This church was built in 1968 and has beautiful modern architecture and stained glass. It doesn’t house a very big organ but the instrument is quite powerful for its size and makes a great sound. This is the venue for the ‘Automatronic’ (http://automatronic.co.uk) concert series for organ and electronics that I organise with Huw Morgan and Michael Bonaventure .

Who are your favourite musicians/composers? 

This is another difficult question. All of the composers that I work with as an organist are important to me; some of the best experiences I have relating to music are when others share their ideas with me, and the kind of collaborations I have had with some of the composers whose music I perform are very important.

For many years as a student the music of Mathias Spahlinger was usually very close to the top of my CD pile. I also love to listen to the music of Sainkho Namtchylak, particularly the way her compositions and performances include so many influences and that she is so  confident in presenting her ideas.

What is your most memorable concert experience? 

Perhaps some of the most memorable experiences that I have had were of hearing live performances for the first time of large works by composers I had only heard on CD at the Huddersfield Contemporary Music Festival. A particular example that stands out is the world premiere of Concertini by Helmut Lachenmann. But I can think of many examples of fantastic live music experiences, perhaps most recently at the ‘free range’ experimental music series in Canterbury (http://free-range.co) last week. This weekly concert series is memorable every time I go to it, and although so much of contemporary music culture seems based around recordings these days I think that live music is still most important.

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

The most important thing for any musicians to do, students or otherwise, is to listen to—and try to come to understand—as much music as possible, and particularly unfamiliar music. This is an idea that I come back to in my own life very often: it’s not possible to spend too much time discovering new music. In addition, I always try to impress on the student composers that I work with the importance of learning technique. Techniques can always be re-worked and re-purposed and, no matter what type of music you want to compose, being able to manipulate sounds and ideas—and to take these from one setting and use them in another—will always help to realise your ideas. Finally, I try to encourage all students to consider compositional practice in a similar way to instrumental practice: do some every day, do warm-up exercises, do a lot that no-one will ever get to hear. Often we think that instrumental performance takes a lot of hard work but expect composers to be brilliant as a result of inspiration and nothing more. Nothing will take you further as a composer as much as hard work!

What are you working on at the moment? 

At the moment I’m preparing to take the programme of organ and electronics pieces on tour. The tour is co-produced by Sound and Music and is a great opportunity to perform the music that I’ve been learning as a performer. The next compositional project is more collaborative work with Adam Strickson (who I worked on the opera with). The piece is still very much in the developmental and ideas stage, but should be finished by the summer.

What do you enjoy doing most? 

Most of my time is spent composing, performing, or teaching music, so I’m glad that I enjoy this. Outside of music-related work I love cooking, particularly for other people. I think that good food is an important part of having a fulfilling life as a musician.

Lauren Redhead is a composer, performer, and musicologist from the North of England. Her music has been performed by international artists such as Ian Pace, the Nieuw Ensemble, Trio Atem, Philip Thomas, BL!NDMAN ensemble and rarescale, and she has received commissions from Yorkshire Forward, the Huddersfield Contemporary Music Festival, Making Music and the PRSF for Music, and Octopus Collective with the Arts Council of England. Her opera, green angel, was premiered in January 2011 with the support of the Arts Council of England. Her music has been performed at Huddersfield Contemporary Music Festival, Gaudeamus Muziekweek, the London Ear Festival, and many locations throughout the UK and Europe. In 2013, her work was be performed in the, Belgium, Italy, Austria, the London Ear Festival, the London Contemporary Music Festival and the Full of Noises Festival in Barrow. In 2014 she will be involved in the Sounds New Festival as a composer and performer. A CD of her chamber works entitled tactile figures was released on the engraved glass label in 2012, and further works will be released on CD in 2014.

As an organ performer she has premiered notable works of experimental music by Chris Newman, Nick Williams, John Lely, and Scott McLaughlin, amongst others. Lauren is actively involved in promoting and commissioning new works for organ and electronics and graphic and open notation works for the organ. In 2013 she made her debut organ performance in North America at Wesleyan University and appeared at the Huddersfield Contemporary Music Festival. She co-curates the ‘Automatronic’ concert series for organ and electronics with Huw Morgan and Michael Bonaventure. In 2014 she will tour her organ and electronics programme throughout the UK with the support of Sound and Music.

 

Pianist Ian Pace performs Lauren Redhead’s i am but one small instrument on 16th June at Deptford Town Hall, London SE14. Full details here

weblog.laurenredhead.eu

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Acclaimed French pianist Pascal Rogé gave a lunchtime recital at Wigmore Hall on Monday featuring works by three towering figures of French piano music – Debussy, Ravel and Poulenc. The hour-long concert afforded the audience a wonderful opportunity to enjoy the most wondrous pianism, from the graceful, subtly nuanced soundworld of Debussy’s Suite bergamasque to Ravel’s glittering Sonatine and closing with Poulenc’s vivid and characterful Les soirées de Nazelles.

Parisian-born Rogé has a deep affinity with these composers, with countless celebrated performances and an impressive discography. I have enjoyed Rogé’s pianism on disc and have for a long time wanted to hear him live.

Debussy’s Suite bergamasque was written in 1890 and owes much to the poet Paul Verlaine and his Fêtes galantes.Verlaine in turn was inspired by the painter Watteau, whose works evoked the elegant and frivolous pleasures of eighteenth-century French society, and his poems – and Debussy’s Suite – also draw inspiration from the Italian Comedia del’arte.

Debussy’s writing is subtle and elusive in rhythm and harmony, with an undercurrent of sadness and poignancy which runs through the four movements. Roge’s lucid playing highlighted many of the details, layers and nuances in the music which other performers may overlook, too keen to emphasise the “impressionistic” nature of Debussy’s writing (a term which the composer himself despised). There was vibrancy too, in the ‘Prelude’ and the ‘Passepied’, emphasised by sensitive pedalling and a clear sense of line. No muddy soundwashes here, ‘Clair de Lune’ seemed to float, suspended and shimmering, yet with a gorgeous clarity too.

When Ravel composed his Sonatine he had already completed Jeux d’Eau, an inspired addition to the impressionist repertoire of the piano, and it seemed unlikely he would turn back to a classical antecedent. However, he was tempted by a competition for the first movement of a sonatina: as it turned out, he was the only entrant. The delicate figurations, which act as an accompaniment (together with the bass line) in the first movement, clearly show the influence of the “running water” arpeggiated figures of Jeux d’Eau.

As in the Debussy, so in Ravel Rogé displayed remarkable precision combined with sensitivity in touch, articulation, tonal shading, phrasing and voicing, all coupled with an astonishing control of the piano which results in the most delicious, sparkling palette of sounds and colours. His magical sense of timing and spare rubato in the opening movement was, for me, one of the most wondrous moments in the entire recital.

In contrast to the intricate traceries of Ravel and Debussy’s kaleidoscopic soundworld, Poulenc’s Les Soirées des Nazelles was bold and spirited, full of improvisatory passages and rapid shifts of mood, dynamic and tempo. Rogé gave a rich and full-blooded performance, which really brought the virtuosic nature of this suite to life.

Satie’s rarely heard Gnossienne No. 5 was the encore – voluptuous in tone, simple and tasteful, a delight!

 

Meet the Artist……Pascal Rogé

(picture credit: Mary Robert)