Leighton House has to be one of my most favourite houses in London. Tucked away in a quiet, tree-lined residential road close to Holland Park and Kensington High Street, it is the former home and studio of leading Victorian painting, Frederic, Lord Leighton. Created as a “private palace of art” to showcase Leighton’s fine collection of paintings, sculpture and decorative art, the house was also a place where the artistic and cultural denizens of London, and beyond, could gather for soirées, lectures and other events. Read my full review for One Stop Arts here
Who or what inspired you to take up conducting and playing the harpsichord, and make it your career?
Being around other musicians and performing live music from childhood at home, in the church, at music schools and with good teachers inspired me to be a musician. Performing music has always been where I feel most comfortable, and the actual process of communicating with others through music lifts the spirits. When conducting from the harpsichord, the sound of the other instruments in the orchestra and singers around hits the soundboard of the harpsichord which becomes a melting pot where all these sounds go in and magic is made.
Who or what were the most important influences on your playing and conducting?
The most important influence is the music itself from the emotional and dramatic works of Handel, the energy of Vivaldi, the complexity of Bach and Palestrina, the freshness of Mozart, the complex rhythms of Messiaen, the richness of Wagner and much more, have always inspired and influenced me to learn more.
What have been the greatest challenges of your career so far?
The biggest challenge has always been to get funding to put on undiscovered early operas, pasticcios, masses, and other works and material I have researched and to record this material which really deserves a hearing. It is also a learning curve to get the means to make documentaries and films about this music, the history of it and the whole process of music making, which are all fascinating aspect
Which performances/compositions/recordings are you most proud of?
I have just recently conducted a recording for a CD of stunning music, some unrecorded material too which I am pleased about, from the 18th century Vauxhall Pleasure Gardens with London Early Opera, and fabulous producer Chris Alder, which I am eagerly waiting to hear. It was a wonderful process finding the music and putting it all together to recreate a magical night at the gardens.
Do you have a favourite concert venue to perform in?
I have many and love the variety I have performed in from large to the more intimate, including Southwark Cathedral, the Wigmore Hall, Handel House Museum, St George’s Basillica in Gozo, St Cecilia’s Hall, Edinburgh, the Pieta in Venice and Schloss Ambras in Innsbruck.
Favourite pieces to perform? Listen to?
I have always loved conducting Handel operas, Purcell masques, Vivaldi and Mozart operas.. they are all colourful with amazing text, word painting and harmonies. Conducting from the harpsichord centres me with the music in the very heart of the orchestra and the actual score of the work being performed. Again, I enjoy all the later repertoire I conduct from George Butterworth to Bernstein as it is all fabulous repertoire which I enjoy listening to as well.
Who are your favourite musicians?
Barenboim, McKerras, Brabbins, Hogwood, Alsop, Davies, Edwards, many conductors; also the historic Bernstein, and several baroque musicians… Catherine Mackintosh, Robert Woolley… where do we stop…the list goes on…
What is your most memorable concert experience?
Performing Vivaldi in the Pieta in Venice… an amazing place and also listening to Jordi Savall playing French divisions in his viol concert at St Nicholas Church in Galway by candlelight was extremely inspiring
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Every new day there is something new to learn and we are always students and must always be open to gaining new knowledge and to aspire to new things. Keep on focusing on where you are going and work hard and practice, practice….
What are you working on at the moment?
I am collating music, parts and scores and taking sectional rehearsals for the next recording project that I am conducting with London Early Opera and following concert tour next year.
What is your most treasured possession?
My glorious harpsichords: one is a double manual Franco Flemish Blanchet copy of a Ruckers – perfect for all kinds of repertoire with a lovely resonance in the bass – and the other is a single manual Italian harpsichord with a real brightness of sound and touch.
Bridget Cunningham is a prizewinning harpsichordist, conductor and early music specialist. Bridget is in demand to conduct choirs, orchestras, festivals and recordings throughout Europe and her performing experience includes conducting London Early Opera and Schola Pietatis Antonio Vivaldi and she conducts regularlyfrom the harpsichord at venues such as St Martin-in-the Fields, Grosvenor Chapel, St James’s Piccadilly and Southwark Cathedral. She has recently recorded a harpsichord album ‘Handel in Ireland’ and performed as a solo harpsichordist to Prince Charles at Buckingham Palace. She also regularly gives lecture recitals and broadcasts at Art Galleries and last year she opened the Watteau exhibition at the Royal Academy of Arts and gave a lecture recital on Handel and Watteau in 18thCentury London.She has recorded and presented BBC documentaries with the Orchestra of the Age of Enlightment and Vivaldi’s Women and the virginal and harpsichord music for the BBC 1 series ‘Elizabeth, the Virgin Queen’, How London Was Built and BBC’s ‘Messiah’. Radio broadcasts include Radio 3 and 4 King James’s Bible. Bridget has also just conducted London Early Opera’s CD Handel in Vauxhall Pleasure Gardens with producer Chris Alder.
In common with many leading figures in the arts and music world of this country, I am deeply concerned about Education Secretary Michael Gove’s plans to replace GCSE’s with the new English Baccalaureate (EBacc) which will not include ‘creative’ subjects such as art, design, drama and music.
Mr Gove has said that schools may still offer the arts as GCSE subjects alongside the EBacc, but the worry is that many schools simply will not have the resources to do this, and these subjects will become the preserve of independent schools and/or wealthy parents, who can afford private music, drama or art tuition for their children.
I was very fortunate at my secondary school (Rickmansworth School) to enjoy fantastic music and arts facilities, all free and in a state school. As well as enthusiastic and inspiring tuition by my music teacher (to whom I owe a huge debt of gratitude for encouraging my talent and excitement about the piano in particular, and music in general), I had the opportunity to play first desk clarinet in the school orchestra, harpsichord continuo in a Baroque group, and sing in the school choir. Thus, I experienced the great pleasure and joy that comes from shared music-making, the sense of satisfaction and self-fulfilment in progressing through my graded music exams (piano and clarinet), and the once-in-a-lifetime opportunity to perform at the Royal Albert Hall, as well as regular trips to concerts, and opera dress-rehearsals at Covent Garden, all of which broadened my cultural horizons.
My musical education at school still resonates with me, as I attempt to share my passion and excitement about music with my students.
Please don’t deny our children the opportunity to experience the same excitement. Sign the petition to secure the future of creativity in our schools here
Readers who enjoyed Peter Donohoe’s lively and very well-observed diary of his participation in the Tchaikovsky Competition in Moscow in 1982, published on his website earlier this year, and his selection of ’50 Great Pianists‘ as part of the BBC’s Piano Season, will relish his account of his visit to the Leeds International Piano Competition this year. In it, he discusses, in part, the merits of not coming first (Peter was himself joint silver medallist at the Tchaikovsky Competition, and has subsequently gone on to enjoy an acclaimed international career). Like his Moscow diary, this is a detailed and insightful account, which will appeal to anyone who has followed the competition with keen interest.
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