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I was delighted to return to Trinity-Laban Conservatoire of Music and Dance in Greenwich, where I took my Diploma exams, to attend pianist Stephen Gott’s end of year recital on 6th June. Stephen has just completed his second year at Trinity-Laban, and in the three years since I first met him (we share the same piano teacher), I have heard his playing develop and mature.

Students at Trinity-Laban (and other conservatoires) are expected to present an end of year recital with a programme of contrasting moods, styles and tempi to a panel of examiners, and an audience, in effect as a professional concert. After a short introduction about the pieces he was going to play, Stephen opened his recital with Gershwin’s Three Preludes, composed two years after Rhapsody in Blue. The first and third Preludes were taken at a boisterous tempo, Stephen handling the unusual rhythms in both adeptly, and making light of other technical challenges in these pieces, including crossed hands and octave passages. The middle movement, with its nods to ‘Summertime’ from Porgy and Bess, was taken at a more relaxed tempo (perhaps not relaxed enough for this “blues lullaby”, but effective nonetheless), with some sensitive highlighting of the different melodic lines in the right hand and a toe-tapping middle section. Taken as a whole, the Three Preludes made for a bold and challenging opening.

Chopin’s Étude Op 10. No. 12 in C minor, the ‘Revolutionary’, was written around the time of Poland’s unsuccessful uprising against Russia, and reflected the composer’s deep distress over the events in his homeland. In common with Chopin’s other Études (Opp 10 and 25), the piece offers significant technical challenges to the pianist, in particular the relentless left hand semiquavers and cross-rhythms in the right. Stephen rose to the challenge of the piece with a rousing tempo and good attention to detail to create a spirited reading of one of Chopin’s most famous works.

Beethoven’s Piano Sonata, Op 2 No. 1 pays homage to Mozart, in its first movement opening theme, which recalls the main theme of the finale of Mozart’s G minor Symphony, and its elegant, operatic Adagio. Stephen’s performance had plenty of colour and energy, graceful articulation in the slow movement, and a strong sense of forward propulsion in the final movement. A couple of anxious moments where the tempo was slightly rushed were offset by lyrical playing in the Adagio and Minuet and Trio, and overall, I felt it was a convincing account.

Stephen ended his recital with Liszt’s transcription of Isolde’s Liebestod (“love death”) from the closing scene from Wagner’s Tristan und Isolde, during which Isolde grieves over the body of her lover, Tristan. In his transcription, Liszt stripped out the vocal parts and some of the orchestral music as well, while retaining the impact of Wagner’s original. Stephen seemed particularly at home in this music, offering an authoritative reading, which showed an understanding of the narrative of the piece, its tragedy and its ecstasy. Well-shaped melodic lines, sensitive dynamic shading, and close attention to detail brought the piece to life with conviction and passion.

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(photo © Katherine Bryan)

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

I played the piano from a very young age, as my mother was a pianist. After a couple of years, I was allowed to take up another instrument of my choice. I’d seen a girl playing the flute in our village, and as a girly 7 year old its shiny appearance appealed to me! After that, the whole way of playing the flute seemed to be an extension of me… A natural voice for expression, which even at an early age was very powerful and something I found myself almost addicted to. I had a some wonderful teachers who encouraged me along the way. I think it’s important to have that support as a child, people to tell you whether what you are doing is special and worth taking further.

 

 

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

My teacher when I was a teenager, Gitte Marcusson. She was and still is someone I totally trust. I didn’t listen to many flute recordings growing up, but my teacher at the Juilliard, Carol Wincenc, definitely had a big influence on my playing style. She is such a soulful player. Now, I find that it’s singers, violinists, cellists and all sorts of different musicians that inspire me.

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

Getting the flute taken seriously as a solo instrument. It can be so compelling and powerful when played really well, but a lot of the repertoire isn’t well known, and that can put people off.

Which performances/recordings are you most proud of? 

I am very proud of the two concerto albums. I am so happy to feel that I have put the flute on the map as a solo instrument, and brought repertoire that I am passionate about to new audiences.

Do you have a favourite concert venue to perform in? 

Living in Scotland, I am spoilt with some fabulous concert halls which I get to play in every week with the RSNO. Edinburgh’s Usher Hall is definitely one of my favourites.

Favourite pieces to perform? Listen to? 

French flute music is magical to perform because of all the colour and nuance possibilities contained in every phrase. I also love new American repertoire, and the Rouse Concerto on my latest disc is just fabulous, such a powerful piece of music. With my orchestral hat on, performing any of Brahms Symphonies would definitely be near the top of my list, along with virtually anything by Prokofiev, who would probably be my desert island composer! Music that I listen to is a different story – a complete variety of styles! I love country, folk and soul music.

Who are your favourite musicians? 

There are lots! I feel lucky to have worked with some absolutely terrific conductors. Neeme Jarvi is a favourite. He can convey a musical feeling to 80 people simply by a twitch of his shoulder and a special twinkle in his eye! Instrumentalists such as pianist Steven Osborne,  cellist Truls Mørk, and violinist Frank Peter Zimmermann to name a few, all make the instrument secondary to the music. They are all totally natural music makers. I also once saw Beyoncė live in concert in Los Angeles…. She was so good, an incredible performer – 2 hours of non-stop singing and dancing, and not a note out of tune. She was flawless!

What is your most memorable concert experience? 

A wonderful Nielsen Concerto with the Helsinki Philharmonic Orchestra from a few years ago stands out…. I can’t even really say why, but I remember coming off stage and thinking, yes that was how I wanted it to be! Live performance can give you such an adrenalin rush, it’s fantastic.

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

Play music first and your instrument second. Don’t let the difficulties or limitations of an instrument dictate what you say with it.

What are you working on at the moment? 

My album has just launched, so I am preparing for some recitals surrounding that. At the  same time I’m making sure I’m on top of the orchestral repertoire I have coming up. We’re playing Petroushka this week, which has some fabulous but tricky flute solos! It’s hard work juggling the solo and orchestral playing, but I love the challenge of the two different skills.

What is your idea of perfect happiness? 

Good food and wine, good friends, and laughing so much that it hurts!

What is your most treasured possession? 

My beagle Ralph. He is the cutest, funniest little dog in the world, and always makes me smile after a long day rehearsing! If I could take him on stage with me, I would, but he would probably head out into the audience sniffing for food!

What do you enjoy doing most?

Other than playing, I love fashion – shoes and accessories in particular. I’d love to design some!

What is your present state of mind? 

Positive. It’s always good to be positive!

Katherine’s new album of flute Concertos by Christopher Rouse and Jacques Ibert was released in May on the Linn Records label. Details and full tracking listing here

Katherine Bryan performs works from her new album, as well as music by Copland, Poulenc and Liebermann at Gray’s Inn Chapel on Tuesday 25th June. Full details here

Katherine Bryan made her concerto debut at the age of 15 with Daniel Harding and the Academy of St. Martin-in-the-Fields in London and later made her US concerto debut at the Lincoln Centre with the Julliard Orchestra. She has since performed as soloist with the Helsinki Philharmonic, Royal Scottish National, Halle, Nurnberger Symphoniker, New York Philharmonic and English Baroque orchestras.

Katherine Bryan’s full biography

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SEBHow long have you been playing the piano? 

25 years – since I was about five.

What kind of repertoire do you enjoy playing, and listening to? 

My big love is the middle-late Romantic period.  But pretty much anything by Beethoven, Liszt or Rachmaninov is heaven to me!

How do you make the time to practise? Do you enjoy practising? 

I find it very difficult, actually – as you get older, there’s so much else to get in the way.  I learned pretty early on that I’m terrible at making myself do anything, so it has to be something I desperately want to do.  Oddly enough, when it’s to enable me to play something I love, it’s not a problem at all!  I’ve pretty much never practised scales and exercises, except for exams, but at least I can appreciate their use these days, so I do try and force myself to battle through some Hanon exercises every now and then!

Have you participated in any masterclasses/piano courses/festivals? What have you gained from this experience? 

I was fortunate enough to attend music college as a piano student for a while, before leaving to pursue a different career, so I had the opportunity to participate and attend loads of masterclasses.  They’re the most daunting, rewarding, terrifying, exhilarating, useful thing you can do.  Everyone in that room speaks exactly the same musical language, and, without exception, you’ll come away with some ideas you never would have thought of on your own.

If you are taking piano lessons what do you find a) most enjoyable and b) most challenging about your lessons? 

For me, the most enjoyable thing about piano lessons is the opportunity to play for and with someone whose musical opinions and knowledge I respect and admire.  It sounds clichéd, but a piano teacher is much more than a teacher; mine have always pretty much been life mentors too.  Every emotion or difficulty you will ever experience in life is perfectly encapsulated somewhere in musical form.  Discussing it and experiencing it with someone else is actually a terribly intimate thing to do.  This is brilliant when you’re on the same wavelength as your teacher, but it’s why you need to find the teacher that’s right *for you*.

What are the special challenges of preparing for a piano exam as an adult? 

I finished my grade exams by the time I left school.  There has been a gap of 10 years or so, and I’ve finally decided to go for the DipABRSM and ATCL exams at some point in the near future.  I never used to worry about whether I was good enough, or whether I’d look an idiot, but these fears creep in as you get older, particularly if you stop being used to playing in public and for different people.  I have a memory of coming to a halt and completely drying up in front of Stephen Hough from when I was at music college – one of the most embarrassing moments of my life (although he is loveliness personified!).  It keeps creeping back in when I play in public, and it’s something I’m going to have to work through!

Has taking piano lessons as an adult enhanced any other areas of your life? 

Definitely.  Music encompasses all, in my opinion, and the older you get, the more you’ve experienced and can put into the music, and vice versa.  Music, and an appreciation for it, has got me through some very difficult times.  It’s all very well being able to rattle through Liszt’s Piano Sonata when you’re 15, but do you *understand* it?  Very occasionally, there are people not of this world (I’m looking at you, Evgeny Kissin!) who do, but for the rest of us mere mortals, a deep understanding and love for music, and life, comes only with age.

Do you play with other musicians? If so, what are the particular pleasures and challenges of ensemble work? 

I don’t at the moment, and it’s something I’m really missing.  The problem with being a pianist, though, is that it’s much harder to find ensemble work – people only generally ever need one at a time!

Do you perform? What do you enjoy/dislike about performing? 

I haven’t performed in public for some years, and it’s something I’m really going to try and correct in the very near future.  It terrifies me, but in a good way, I think.  I must find a church with a decent piano or something and book the hall.  Rather pathetically, I do keep a couple of concertos under my fingers “just in case” an opportunity to play with an orchestra ever magically presents itself!

What advice would you give to other adults who are considering taking up the piano or resuming lessons? 

If I had a pound for everyone who, upon finding out that I play the piano, tells me that they wish they’d kept up childhood lessons, I’d have, well, at least twenty pounds!  I always say the same thing: “Do it!”  And I mean it.  They will immediately protest that they “aren’t musical”, or “don’t have the time”, or “are too old”.  All of these things are utter rubbish.  I truly believe that everyone has the ability to play something.  Some of us are incredibly lucky and find the right instrument when we’re a child, or the right instrument finds us, but if you haven’t yet, you should bloomin’ well do something about it!  Now!  Go online and find someone.  What’s the worst that can happen?  The right instrument for you may well not be the piano, but you can be absolutely certain that it’s out there, somewhere.

If you could play one piece, what would it be? 

Oh, gosh!  So many!  I’d love to be able to play Ravel’s Gaspard de la Nuit.  I saw Ashkenazy play it when I was a teenager, and it’s mesmerised me ever since.

 

Simon began piano lessons at the age of five, after what he is assured were months of “pester-power”.  His later formative lessons were with the late and very-much-missed Tony Cross of Birmingham Conservatoire, following whose sad death, and after further excellent tuition from Margaret Newman of Trinity College of Music, Simon decided that piano playing was going to be a large part of his future.

In 2000, Simon gained a place to study piano at the Royal Northern College of Music, before sadly finding the experience too suffocating and leaving to pursue a more “normal” career, whilst maintaining a deep love for the instrument.

Simon lives in Birmingham, and is currently seriously considering gaining the necessary qualifications to change careers from law to piano teaching in the long term.  His hobbies include cooking, gardening, and flying light aircraft on the rare occasions that funds allow.