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

Hearing the Scherzo from Bruckner 7th Symphony on radio. I was 16 or so, heading for veterinary college; it was very much an “I can’t live without doing this’ rather than a “I must do this” moment.

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

Seeing as musicians need a proper grounding and a healthy ambition, it has to be my teachers – Lilly Phillips and David Strange – for their grounding, and the conductor of my local youth orchestra – Mark Gooding – for encouraging ambition. More recently the pianist Oliver Davies has been a huge influence, revealing that musicianship, not just technique, is teachable as well as inherent.

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

Performing in front of colleagues – always has been and always will be!

Which performances/recordings are you most proud of?

I’m most proud of the work I programme myself – those projects are like children, you nurture them and feel responsibility for their outcome. And like children they can be very hard work and take off in unexpected directions – but are always worth it and so instil real pride. My recent discs of Piatti operatic fantasies are examples of that.

Which particular works do you think you perform best?

I hope it’s the repertoire I love the most; but to be honest it’s also probably the repertoire I don’t take that seriously, because the pressure’s off and then it’s easier to ‘play’. I enjoy technical challenges but I hope cantabile is my stronger suit.

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

Usually by answering the phone and saying yes! But when I’m lucky enough to be programming myself then it’s still often pragmatic choices, based on the venue, the audience and any other concerts around that time. I try to mix novel with staple, and always work with the assumption that you can’t second guess an audience’s taste, so go with sincerely chosen works.

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

The Barber Institute in Birmingham for its acoustic and Bargemusic in New York for its quirkiness (especially when a police boat speeds past)

What is your most memorable concert experience?

A London Sinfonietta concert in the Carnegie Hall where Oliver Knussen, conducting, turned to the audience after a world premiere and said “new works should never be heard just once – you’re now going to hear that again” and we repeated the whole piece. It was electrifying – he had us and the audience in the palm of his hand.

As a musician, what is your definition of success?

Easy – when the composer is happy.

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

Learn to teach yourself. Assimiliate don’t imitate. And always beware not seeing the wood for the trees.

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

Anywhere that’s covid-free, pollution-free and culture-rich

What is your present state of mind?

Simultaneously elated (so much family time) and terrified (no concerts)

Adrian Bradbury’s latest CD ‘Alfredo Piatti: The Operatic Fantasies, Volume Two’ is out on the Meridian label, available from Presto Classical


Adrian Bradbury is a British cellist, recognized especially for his contribution to contemporary music (Royal Philharmonic Society chamber award, Composers Ensemble), teaching (Cello Tutor, National Youth Orchestra of GB) and musician science (research published by the Royal Society)

 

 

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

My career in music has been an organic process of embracing a variety of opportunities that have unfolded as a result of my training as a multi-instrumentalist/ composer and following my intuition. The turning point in pursuing my musical career in particular happened during my years studying composition at Trinity Laban Conservatoire of Music and Dance, where I met a wide range of musicians and had several professional opportunities that opened the door to a continuous flow of experiences to date.

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

My Mum (who decided I should start piano lessons at 4 years old), Sweet Honey In The Rock, David Smith (my principal piano teacher), Sue Sutherly & David Kennedy (my cello teachers), Stevie Wonder, Trinity Laban, Bach, Courtney Pine, Nitin Sawhney and Anoushka Shankar.

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

Moments of my own self-imposed limited thinking.

Which performances/recordings are you most proud of?

My debut album Road Runner

Which particular works do you think you perform best?

Roxanne

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

Every show is unique. I consider the venue, audience, music I have in my repertoire, whether it’s a solo or band show and then shape the performance accordingly.

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

King’s Place, London. It’s a beautiful venue in my hometown with great sound, two versatile rooms that are able to accommodate the range of my musical styles and the capacity is just right for me (intimate but big enough). I’ve had so many incredible pivotal performances there across my career and memories to last a lifetime.

What is your most memorable concert experience?

Performing my song ‘Ain’t I A Woman?’ at the Apollo Theater in Harlem, NYC, becoming the only non-American to win an entire season of Amateur Night Live.

As a musician, what is your definition of success?

A stream of exciting musical opportunities that facilitate artistic growth and truly enjoying the music you’re creating and sharing.

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

  • Hearing your own inner voice, following your intuition as an artist.
  • Creative discipline – having a practice to enable development and excellence.
  • Recording your output so you can reflect and move forward with confidence.

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

In 10 years time, I see myself engaging in a portfolio of amazing creative experiences including:

  • Creating an extraordinary multi-disciplinary live show and touring the world with
    my band, dancers and crew.
  • Composing music for theatre, dance and film.
  • Running a record label that supports release of music by other artists as well as
    my own.
  • Curating several music festivals worldwide.
  • Collaborating with some of my musical heroes including Sting, Anita Baker,
    Erykah Badu, Bjork and Take Six.
  • Composing for and performing with several orchestras including the London
    Symphony Orchestra, Chineke!, BBC Symphony Orchestra and Metropole Orkest

What is your idea of perfect happiness?

Internal and external peace and fulfilment in all aspects of life in the present moment.

What is your most treasured possession?

Reuben, my cello.

What is your present state of mind?

Calm.


Singer, songwriter, cellist Ayanna Witter-Johnson is a rare exception to the rule that classical and alternative r&b music cannot successfully coexist.

Graduating with a first from both Trinity Laban Conservatoire of Music and Dance and the Manhattan School of Music, Ayanna was a participant in the London Symphony Orchestra’s Panufnik Young Composers Scheme and become an Emerging Artist in Residence at London’s Southbank Centre. She was a featured artist with Courtney Pine’s Afropeans: Jazz Warriors and became the only non-American to win Amateur Night Live at the legendary Apollo Theatre in Harlem, NYC.

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

When I was growing up, there was always music playing in the house, and my parents started me on the recorder at 4, the piano at 5, and then the cello at 6. I was very lucky to start with a fantastic cello teacher (Marina Logie) who is a family friend and lives very close by. She really instilled a love and curiosity for music in me, and also set me up very well technically. When I began with my current teacher, Leonid Gorokhov, at 11, this feeling was encouraged even more, and I think that I have them both to thank for my career in music!

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

Apart from my two teachers, the pianist Alison Rhind (who coached me for several years) was incredibly important in my musical development. I am lucky to have worked with some amazing musicians who have very much influenced my playing and my development as a person, including Petr Limonov, Tom Poster, Huw Watkins, and Krzysztof Chorzelski.

Winning the BBC Young Musician Competition definitely shaped the trajectory of my career, and left me with a really special relationship with the BBC.

Which performance/recordings are you most proud of?

I am really proud of the CD ‘1948’ I recorded with Petr Limonov, as we took every effort to approach the project with great care and love for the music. I also am proud that I had the courage to wait until I felt I was ready to record my first CD, which isn’t always easy with the pressures of the music industry!

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

So far I am really enjoying exploring lots of different venues, but I think that the Wigmore Hall could come to have a special place in my heart. The acoustic is stunning, and its history of having hosted such incredible performers makes it very exciting to perform there!

Who are your favourite musicians?

That’s a very hard question, as I find inspiration in so many people’s playing (and there are so many insanely talented people around at the moment!). I’m a huge fan of the ‘old-style’ musicians including Heifetz, Szeryng, Shafran, Piatigorsky, Fritz Wunderlich and many more.

What is your most memorable concert experience?

I think that the final of the BBC Young Musician will always be up there with the most memorable performances for me, as it was the first time I had played with such a good orchestra and conductor, in such an amazing hall.

As a musician, what is your definition of success?

For me, it is to find, and stay true to, my own voice. Success is to never stop learning; complacency would be failure for me. I also think that being able to collaborate with people who inspire me is a form of success!

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

In 10 years I would like to have 10 years of exciting new experiences behind me, with lots of travel and playing in many different situations with different people. At that point I might consider getting a teaching position somewhere, but It’s too far ahead to know how my desires will change in the process!

What is your most treasured possession?

Definitely my cello. I am so so lucky to have been given a beautiful Ruggeri cello by some private benefactors. It makes (almost) every practice session a joy

 


Winner of the 2012 BBC Young Musician of the Year Competition, Laura van der Heijden has been making a name for herself as a very special emerging talent, captivating audiences and critics alike with her imaginative interpretations and probing musicianship.

Laura van der Heijden’s critically acclaimed debut album ‘1948’ (Champs Hill Records, 2018), with pianist Petr Limonov, focuses on music for cello and piano from the Soviet era, and has received BBC Music Magazine’s Newcomer of the Year award.

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Guest review by Adrian Ainsworth

The latest brilliant release from cellist-composer Jo Quail is an album that speaks of mirrors, doubles and opposites. Always an artist that convinces equally whether one views her music as avant-garde classical or underground electronica, ‘Exsolve’ is Jo’s most perfect expression yet of how to create pieces that somehow inhabit, yet defy genre at the same time.

I’m sure this is also what makes her music such a pleasure to write about – as I have done frequently, including CD liner notes. Jo builds her compositions around electric cello, fed into a loop station that she simultaneously operates like a second instrument – allowing her to play almost all her material live, solo, standing (her feet dancing across the pedals as she creates layer upon layer of rhythm and melody).

But from first note to last, ‘Exsolve’ thrives on creative tension, looking inward and examining head-on this marriage of ancient/acoustic and modern/electronic. As instrumentals so often do, Jo’s music always becomes ‘visual’ for me, provoking images, memories even, in my mind. Water is a recurring motif in earlier JQ track titles, and here I inescapably thought of Turner’s ship caught in the Snow Storm. Throughout, it felt like something was breaking through, a kind of sonic or atmospheric disruption – depending on your personal tastes, this could be as menacing as Cthulhu or as exhilarating as a cloudburst.

New tunings and new sounds help to make this a classic ‘headphones’ record, as Jo explores distortion and percussive techniques to conjure a military drum tattoo or a doom-laden bass riff from her cello. When listening, you really are surrounded: the music closes in, each of the three lengthy tracks building not necessarily in volume, but in presence, intensity (‘Exsolve’ was produced by Chris Fielding and mastered by James Griffith: plaudits to them for the album’s fearsome clarity).

Another creative pair of ‘opposites’ the album reflects is the personal with the collaborative. For such a self-sufficient performer, Jo has always featured guests on her albums and sought to programme live events with full bands or classical performers. ‘Exsolve’ welcomes three visitors, who play a crucial role on one piece each. Dan Capp and Nik Sampson both contribute heroically exciting guitar parts, while Lucie Dehli adds her supernaturally fluid vocalese in an unforgettable cameo. But while these guest appearances gesture towards extreme metal and even jazz, they blend perfectly into the array of unearthly sounds already coming from the cello.

Classical and metal really are ‘twinned’ here, in a way quite distinct from, say, hard rock bands using orchestras or string sections for added bombast (not that there’s a problem with that!). Album by album, Jo has been assembling tracks more like parts of suites or sequences, and ‘Exsolve’ – with its three ‘movements’ that are both coherent stand-alone pieces, but which all contribute and develop towards a key central idea – can almost feel like a concerto for cello and studio. In this respect, it’s a genuinely avant-garde classical achievement. Yet, at the same time, it reaches a powerful heaviness borne of thunderous riffs and insistent hooks. In other words, it rocks.

If ‘Exsolve’ tells me a story, it’s of these two genres almost struggling for supremacy within Jo’s music. The balance shifts this way and that. The insistent, cyclic guitar that takes control of ‘Forge’ gives way to the acoustic ‘Of Two Forms’ section. The dancing pizzicato of ‘Mandrel Cantus’ breaks into atonal soloing, distorted cello riffs and a final guitar explosion – but then its steady comedown progression dissolves into the chiming, Pärt-like coda. Finally, however, ‘Causleen’s Wheel’ brings matters to a head, its keening melody and agitated reel leading to a seismic shift and temporary sonic limbo, before the finale crashes through. No guitars this time: the cello supplies the heaviness, the electricity, and ultimately the full force of the wordless vocal is unleashed, resolving the conflict and bringing equilibrium with a triumphant, euphoric female battle cry.

A fascinating and beautiful listen, as always. And especially here, addictive, cathartic.

https://www.youtube.com/watch?v=vZHZl2ARMfI

(Video edit of ‘Mandrel Cantus’, filmed by Simon Kallas and Michael Fletcher.)

Jo releases her music independently, so you can buy physical and/or digital versions of ‘Exsolve’ – along with all her earlier work – directly from Bandcamp. Dive in here. [link: https://joquail.bandcamp.com/]


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

Having had a brief and disastrous career on the piano aged five (6 lessons and the teacher sacked me for being ‘totally unmusical’), when I was seven I heard a cellist, loved the sound, and announced I would be a professional one day with my own helicopter. I’m still saving up.

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

I have been influenced by many things around me in my life – famous cellists of course (Yo-Yo Ma, Rostropovich, Casals etc), but also by Russians and their approach, by my wife, Viktoria Mullova and her uncompromisingly pure and selfless approach to music-making. But there are two influences that are not so obvious. I grew up on the Beatles and the aspect of their output I find most fascinating is that they did everything with love – at least until the last year or two – and this really shows in their music. George Harrison remarked that whenever any of them had an idea the response would always be ‘yes’ from the rest of the band, and that philosophy I aspire to – the positivity, inclusivity and humanity at the centre of the music. Also, I was profoundly influenced by watching the film The Thin Red Line. I was in a hotel room in Sydney and watched this brilliantly made war film and it completely destroyed me – I was a weeping wreck by the end, and the thing that exercised me most was, ‘what can I do to respond to this’? It just felt so impossible to do nothing, but what can a cellist do in the face of the inhumanity of our world? The only thing I could come up with was that I must practice and play with more heart, more dedication, and challenge myself every day to do better – in short to do my utmost every day to become the best I possibly can and help to add a happy and fulfilled grain of sand to the beach of the world. It is a lifelong task and one I take seriously, although I’m aware of how small one man’s contribution is, but that film was a deep inspiration.

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

Working with my physiotherapist to overcome a skiing injury, and a hypnotherapist to overcome stage nerves were big mountains to climb.

Which performance/recordings are you most proud of? 

I’m probably most proud of the last concerto performances before a short sabbatical I took this year. The cello concerto by HK Gruber is one of the hardest every written and I played it with the BBC Phil and Gruber conducting at Bridgewater Hall. I had such a good time playing. The orchestra were just awesome, Bridgewater Hall is very kind to cellos and I was very happy. Then a few weeks later I had 3 performances of Tavener’s The Protecting Veil in Mexico in beautiful halls where I felt totally free and comfortable onstage – Stephen Layton conducted like a dream so that I was absolutely liberated to make music without having to worry about anything. Heaven.

Which particular works do you think you perform best? 

The Protecting Veil is a special one for me (see above), because I don’t approach it as a piece of classical music, but more from my experience of Indian classical music and improvisation – it was the music of India that inspired John Tavener as he was writing it. I enjoy playing it SO much!

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

Pretty random really – sometimes just because people ask me, and sometimes I decide what I want to play on a whim.

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

Dartington Great Hall, Wigmore Hall, St George’s Brandon Hill Bristol, Beethovenhaus in Bonn, the new hall in Cremona…well, quite a few – places where the cello can really sing.

Favourite pieces to perform? Listen to? 

Right now it’s all about gorgeous Brazilian music – Egberto Gismonti, Jobim, Danilo Caymmi, Milton Nascimento, Elis Regina, Chico Buarque. And of course Bach is always there in the centre, recently inspired by reading John Eliot Gardiner’s brilliant book, Music in the Castle of Heaven.

Who are your favourite musicians? 

Carlos Kleiber, The Beatles, Beethoven, Bach, Ella Fitzgerald, Annie Lennox, Glenn Gould, Bernstein, Casals, Stevie Wonder – well, hundreds of them really…

What is your most memorable concert experience?

Mahler 9 with the Berlin Philharmonic and Abbado at the Proms in 1991. I would have laughed if you had told me that one day I would raise his wonderful son, Misha. Life is beautifully unpredictable.

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

So long as it is done with with true sincerity from the heart, you are on the right track.

As a musician, what is your definition of success?

Success is making the sound that comes out of the cello the same as the one in my head.

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

Anywhere with family and friends.

What is your idea of perfect happiness? 

Being anywhere with family and friends.

What is your most treasured possession? 

My cello, of course.

What do you enjoy doing most? Breathing.

What is your present state of mind? 

Sitting on a train, passing a beautiful river, ducks flying overhead in formation. All is good.


Matthew Barley is internationally known as cellist, improviser, arranger, music animateur, and Artistic Director of Between The Notes. His musical world is focused on projects that connect people in different ways, blurring the boundaries that never really existed between genres and people.

As a soloist and chamber musician he has performed in over 50 countries, including appearances with the BBC Scottish (Volkov) and Philharmonic (Hazlewood), the Melbourne Symphony (Tortelier), New Zealand Symphony (Tan Dun), Hong Kong Sinfonietta, Netherland Radio Symphony (Stenz), Czech Philharmonic, Vienna Radio Symphony, Kremerata Baltica, Royal Liverpool Philharmonic, Royal Scottish National (Alsop), and London Chamber Orchestra. He has performed at festivals in Lucerne, Schleswig-Holstein, Bonn-Beethovenfest, Hong Kong, Lanaudiere, Abu Dhabi, Krakow, City of London and in recent seasons has performed at some of the world’s great concert halls: London’s Wigmore Hall, Royal Albert Hall, Amsterdam’s Concertgebouw, Kumho Hall in Korea, Pablo Casals Hall in Tokyo, The Rudolfinium In Prague, and the Teatro Colon in Buenos Aires. A key aspect of his recitals is mixing repertoire in unusual ways, pairing Bach suites with jazz and improvisation. He is particularly interested in music with electronics, having commissioned works from many composers including Dai Fujikura, Peter Wiegold, DJ Bee, John Metcalfe and Jan Bang. He has given other premieres of pieces written for him by James MacMillan, Thomas Larcher, Detlev Glanert, John Woolrich, and Fraser Trainer.

Read more here

(artist photo © Nick White)

Julian Lloyd Webber, acclaimed cellist and Principal of the newly rebuilt Royal Birmingham Conservatoire, on inspiration, passion and the importance of music education

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

I always loved the sound of the cello and I found it a very natural instrument to play – unlike the piano which my mother attempted to teach me. Therein lies a lesson: never learn an instrument from your parents!

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

I wanted to play the cello professionally after I heard the great Russian cellist Rostropovich in concert.

What have been the greatest challenges of your career?

Every performance is a challenge.

You are a passionate advocate of music education? Why do you feel we need proper provision for music education in our schools?

Children deserve a wider education than just a few narrow subjects. They should leave school knowing a lot about the world – and that includes its culture.

As Principal of Royal Birmingham Conservatoire, how do you see this institution’s role in the context of music education in the UK and beyond, and the wider society of the city of Birmingham and the UK in general?

Birmingham is a fantastic city with a great future – soon Londoners will realise that they can have a far better lifestyle for much less cost in Birmingham. Unfortunately that will be the end of the city’s comparatively low property prices. The Royal Conservatoire will be at the heart of the city. We have five performance spaces and we will be running an extensive programme of concerts of every kind of music.

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

Keep thinking for yourself and never lose your passion for what you do.

As a musician, what is your definition of success?

Bringing music to as many people as possible.
Professor Julian Lloyd Webber is the Principal of Birmingham Conservatoire. Widely regarded as one of the finest musicians of his generation and described by Strad magazine as ‘the doyen of British cellists’, Julian Lloyd Webber has enjoyed one of the most creative and successful careers in classical music today. As founder of the British Government’s In Harmony programme and the Chair of Sistema England, he continues to promote personal and community development in some of England’s most deprived areas. He was elected Fellow of the Royal College of Music in 1994 and – in recognition of his lifelong devotion to the music of Elgar – he was elected President of the Elgar Society in 2009.

At the age of sixteen Julian Lloyd Webber won a scholarship to the Royal College of Music and he completed his studies in Geneva with the renowned cellist, Pierre Fournier. Since then he has collaborated with an extraordinary array of musicians from Lord Yehudi Menuhin, Lorin Maazel and Sir Georg Solti to Elton John and Stephane Grappelli.

Julian Lloyd Webber has premiered more than sixty works for cello and he has inspired new compositions from composers as diverse as Joaquin Rodrigo and Malcolm Arnold to Philip Glass, James MacMillan and – most recently – Eric Whitacre. His many recordings have received worldwide acclaim: his Brit-award winning Elgar Concerto conducted by Lord Menuhin was chosen as the finest ever version by BBC Music Magazine and his coupling of Britten’s Cello Symphony and Walton’s Concerto with the Academy of St Martin in the Fields conducted by Sir Neville Marriner was described by Gramophone magazine as being “beyond any rival”. He has also recorded several highly successful CDs of shorter pieces including Cello Song, Unexpected Songs and – together with Jiaxin Lloyd Webber – A Tale of Two Cellos: “It would be difficult to find better performances of this kind of repertoire anywhere on records of today or yesterday” – Gramophone.

Julian is married to fellow cellist Jiaxin Cheng. He was the London Underground’s first official busker and he was the only classical musician chosen to perform at the Closing Ceremony of Olympics 2012. In April 2014 Julian received the Incorporated Society of Musician’s annual Distinguished Musician Award.

www.julianlloydwebber.com