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

I never wanted to be a concert pianist. I’m a people person (at least I like to think so!) and the idea of spending hours upon hours practising in solitary to then go and give solo performances really wasn’t for me – but I knew that I wanted to make music. It was Paul McCreesh who inspired me to become a conductor – I really didn’t know what I wanted to do with my life until Paul conducted the Creation and Elijah projects at Chethams. He really understood the nature of working with young people. So many conductors would have turned up for the session and disappeared at the end, but Paul made an effort to talk and get to know the students, passing on stories and giving a real insight into life as a conductor. We got talking – and he has been a mentor and a friend ever since. I admire his attention to detail as well as his ability to craft performances that are ‘different.’ You always know you’re going to hear something special and unique at a McCreesh performance. It’s always about the music.

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

Organising concerts is hectic and stressful – there are so many elements that can go wrong, and then to top it all off you have to be able to switch from admin mode to conductor mode. I have spent hours on my phone trying to get musicians to be in the same place at the same time! The most satisfying moment usually comes during the concert interval when I think to myself ‘this is why I put myself through hell…’

Which performances are you most proud of?  

In 2010 I was employed by the BBC to be the conductor to Benjamin Till’s A Symphony for Yorkshire project. People from all walks of life turned up to be a part of this community event – over 200 musicians took part. Working in the recording studio had it’s highs and lows – one particular moment came when the professional musicians in the string orchestra decided to walk out as soon as the clock hit the end of the session. Things just hadn’t been going our way and we had about 30 seconds of music left to record – despite the offer of over-time pay being dished out they were adamant that they were leaving. The project turned out to be a huge success and eventually won a Prix de Circum and three RTS (Royal Television Society) awards. I’m proud of what the Yorkshire community achieved – we had a few issues, but for the most part, everyone’s enthusiasm was a joy to see!

The idea of working across more then one genre of arts is something that really interests me. With the Symphony for Yorkshire project, it was working with visuals and creating something for a TV audience –very different from anything you do in a concert hall.

Do you have a favourite concert venue to perform in?

Being a young conductor makes this question quite difficult to answer! When I’ve been to a few more, I’ll let you know!

Favourite pieces to listen to? 

I think I have a very open mind when it comes to what to listen to. But I have a particular affection for English choral music. Howells and Finzi are prime examples – their music is so sublime and very easy to get soaked into.

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

I think the most important thing when you are starting out is to make things happen for yourself. Too many people sit back and wait for the phone to ring – this is about entrepreneurship, getting out there and making your own opportunities. Hard work and sheer determination will get you a long way.

What are you working on at the moment? 

I’m currently working on ‘The Beethoven Piano Concerto Project’, which is an exciting and ambitious fundraiser for the Musicians Benevolent Fund. International concert pianist Martin Roscoe will be performing all five concertos in a single evening with an orchestra of past and present Royal Northern College of Music students. Supported by Pianist magazine and presented by John Suchet, this really promises to be one hell of a musical extravaganza! This adventure will take place on 5th October 2013 at the RNCM Concert Hall.

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

Somewhere with sun! (Only joking… although I wouldn’t complain!). The most important thing to me is that I’m working with top musicians to make fantastic music come to life.

What is your idea of perfect happiness? 

Can anyone really experience perfect happiness? Life is full of ups and downs – and in particular, I think the life of a musician is a roller coaster of emotions. I would love to discover perfect happiness, whatever that is, but I’m just unconvinced that it will happen!

What do you enjoy doing away from music? 

Music is my life and I wouldn’t have it any other way, but I do think it is necessary to find time to switch off. Doing non-musical things refreshes the mind. I am not a sporty person (unlike my sister who can’t get enough of it!) but I do have a particular fascination with the world of F1. I’ve been following this sport since I was a young child – the pinnacle of motorsport provides speed, determination, glamour, and an obvious desire to succeed. In many ways the workings of a Formula1 team is very similar to that of an orchestra. A lot of attention is given to the driver, but without the team around him he is nothing: the mechanics and designers all the way through to the physios and caterers!

Daniel Parkinson will conduct all five of Beethoven’s Piano Concertos in ‘The Beethoven Piano Concerto Project’ with acclaimed British pianist Martin Roscoe, introduced by John Suchet, to raise money for the Musicians’ Benevolent Fund. Tickets are on sale now. To book please visit www.beethovenpianoconcertos.co.uk

A former pupil of Chetham’s School of Music, and music graduate of the University of York, Daniel has been studying conducting with Mark Heron. He has also received tuition from Mark Stringer, Philippe Bach, Johannes Schlaefi, Russell Cowieson, Tim Reynish, Matthew Wood and Sasha Mäkilä. In 2013, Daniel will be joining the MMus Orchestral Conducting programme at the Royal Northern College of Music where he will study with Clark Rundell and Mark Heron.

Daniel has performed with a wide variety of ensembles including the North Cheshire Wind Orchestra, Liverpool Mozart Orchestra, University of York Chamber Orchestra, Chester Philharmonic Orchestra and the European Medical Students’ Orchestra and Choir. June 2012 saw Daniel conduct Chopin’s Piano Concerto No.2 in a version for piano and string orchestra with soloist Masayuki Tayama. This was the third of four performances given by Daniel and the Chester Chamber Orchestra. The most recent concert also featured the Chester Consort – a vocal ensemble made up of young professional singers from across the UK. He was the Associate Conductor of the Chester Philharmonic Orchestra for the 2011/2012 season.

Daniel was the conductor for ‘A Symphony for Yorkshire.’ This was commissioned by the BBC in the summer of 2010 and received nationwide coverage across television, radio and online. It has since won a Prix de Circum award and three RTS (Royal Television Society) awards. He has also worked for Youth Music Theatre UK (YMT:UK) and is the Musical Director for Codys Productions. His enthusiasm for promoting classical music to the younger generation recently saw him conduct an educational concert in Notting Hill. As well as featuring Prokofiev’s Peter and the Wolf, this event included a concert adaptation of the animated film, ‘The Mousehole Cat’ for orchestra, soprano and children’s choir.

Future engagements include concerts with Chester Philharmonic Orchestra and Stockport Symphony Orchestra as well as a ballet collaboration with KSDance Ltd. Autumn 2013 sees Daniel alongside international concert pianist Martin Roscoe in ‘The Beethoven Piano Concerto Project.’ All 5 Beethoven Piano Concertos will be performed in one evening to raise money for the Musicians Benevolent Fund. 

Daniel is a pianist at The Hammond School and KSDance Ltd.

www.danielparkinson.co.ukwww.beethovenpianoconcertos.co.uk

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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