Tag Archives: British pianist

Meet the Artist……Christopher Glynn, pianist & accompanist

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

I picked out tunes on our piano at home, then my grandfather showed me how to play showtunes by ear on his Hammond organ. My first professional jobs were as a church organist (including an inspiring year at Lincoln Cathedral), a jazz pianist in bars all over the Midlands, and a one-man backing-group for a Patsy Cline tribute act! I came to accompanying when singers at university started asked me to play for them in their recitals. I immediately loved the experience of playing in a duo and was fascinated the idea that it is possible to ‘play words’ as well as notes. I’m still fascinated by it now…

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

David Whittle (a music teacher at school), John Streets and Malcolm Martineau could hardly be more different, but were inspirational and incredibly generous teachers. I’ve also been influenced and inspired by many of the singers and musicians I’ve worked with. One of the first was Anthony Rolfe Johnson, whose straight-from-the-heart singing I will never forget.

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

The biggest challenge for a piano accompanist is also the most interesting part of the job: to reinvent constantly the way you play pieces you know well and have played many times to reflect new ideas brought to the table by different partners.

Which performance/recordings are you most proud of?

I’m excited about two I’ve just finished making, both of which will come out early next year. I’ve always loved his music of Percy Grainger and was thrilled when Claire Booth asked me to collaborate on a disc of his folksong arrangements. I also really enjoyed unearthing the little-known songs of Donald Swann (of Flanders and Swann fame, but also a ‘serious’ composer) for a recording with Felicity Lott, Kathryn Rudge, John Mark Ainsley and Roderick Williams.

Which particular works do you think you play best?

I find that very hard to answer and will have to leave it for others to judge!

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

A lot depends on what I’m invited to do by the singers and instrumentalists I work with – and it’s nice to be surprised. My own projects are often motivated by an interest in finding new ways to present old music, such as a recent venture to present the Schubert song cycles in new English translations by Jeremy Sams.

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

I love the Wigmore Hall for its unique atmosphere and audience. There is a special excitement to playing in Carnegie Hall, but I also love the modesty and intimacy of the Holywell Music Room in Oxford. I also really enjoy the wonderfully varied venues of the

Ryedale Festival that I’ve got to know so well – from Castle Howard to remote country churches.

Favourite pieces to listen to?

I love early English music, especially Tallis, Byrd, Gibbons and Purcell. Anything and everything by Bach, Mozart, Haydn and Schubert. Operas by Verdi and Janacek, string quartets by Bartok and Shostakovich, piano music by Chopin, Liszt, Mussorgsky, Debussy, Fauré and Ravel. Orchestral music by Elgar, Tchaikovsky, Sibelius, Bruckner, Mahler and anything recorded by Harry Christophers’ choir The Sixteen. Favourite albums by Leonard Cohen, Edith Piaf, The Smiths and Joni Mitchell. I also love musicals, my new favourite being Tim Minchin’s amazing Groundhog Day.

Who are your favourite musicians?

My musical heroes include Sviatoslav Richter, Alfred Cortot, Martha Argerich, Gerald Moore, Clara Haskil, Benjamin Brittten, Andras Schiff, Daniil Trifonov, Bernard Haitink, Trevor Pinnock, Jacqueline du Pre, Peter Schreier, Janet Baker, Maria Callas and Victoria de los Angeles.

What is your most memorable concert experience?

The experience of taking part in the Passion project with Streetwise Opera and The Sixteen was unforgettable. We staged Bach’s St Matthew Passion with professionals performing alongside people with experience of homelessness – the results were moving and inspiring.

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

‘Beauty is truth, truth beauty’. Learn how to read a score and acquire the technique you need. Then feel like you are improvising. Tell stories and paint pictures in music. Distrust anyone who thinks they have all the answers. Stay curious.

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

Still playing – and able to say I’ve done something to bring classical music to a wider audience. Also to have written my book and a hit musical (some way to go on both those last two!)

What is your idea of perfect happiness?

The sort that appears when you least expect it and aren’t looking for it.

What is your most treasured possession?

A first edition of Schubert’s Schwanengesang.

What do you enjoy doing most?

Spending time with my children and those closest to me. A pint in a good pub with a friend.

What is your present state of mind?

Excited, as I’m deep in planning for my festival – the Ryedale Festival – next year.

 

Christopher Glynn is a Grammy award-winning pianist and accompanist, working with leading singers, instrumentalists and ensembles in concerts, broadcasts and recordings throughout the world. He is also Artistic Director of the Ryedale Festival, programming around 60 events each year in the many beautiful and historic venues of Ryedale, North Yorkshire.

Described by The Times as having ‘beauties and insights aplenty’ and praised in Gramophone for his ‘breathtaking sensitivity’, Chris has performed with singers including Sir Thomas Allen, John Mark Ainsley, Sophie Bevan, Claire Booth, Susan Bullock, Allan Clayton, Lucy Crowe, Sophie Daneman, Bernarda Fink, Michael George, Anthony Rolfe Johnson, Christiane Karg, Jonas Kaufmann, Andrew Kennedy, Yvonne Kenny, Dame Felicity Lott, Christopher Maltman, Mark Padmore, Joan Rodgers, Kate Royal, Kathryn Rudge, Toby Spence, Bryn Terfel, Sir John Tomlinson, Robin Tritschler, Ailish Tynan, Roderick Williams, Catherine Wyn Rogers, Elizabeth Watts and many others.

He has also performed with instrumentalists including Julian Bliss, Andrej Bielow, Adrian Brendel, Michael Collins, Nicholas Daniel, David Garrett, Tine Thing Helseth, Daniel Hope and Steven Isserlis; with ensembles including the Elias, Heath, Fitzwilliam and Szymanowski Quartets, London Winds, Britten Sinfonia and Scottish Chamber Orchestra; and with choirs including The Sixteen.

Chris was born in Leicester and read music an organ scholar at New College, Oxford, before studying piano with John Streets in France and Malcolm Martineau at the Royal Academy of Music. His many awards include a Grammy, the accompaniment prize in the 2001 Kathleen Ferrier competition, the 2003 Gerald Moore award and the 2002 Geoffrey Parsons award.

Since making his debut at Wigmore Hall in 2001, Chris has performed in major concert venues and festivals throughout Europe and North America, and toured to Japan, China, Brazil, Sri Lanka, Russia and Canada. He has made over 20 recordings on labels including Hyperion, Decca, Erato, DG, Coro and Signum. He has also made many studio recordings and live broadcasts for BBC Radio 3.

Chris enjoys working with young musicians and is a Professor at the Royal College of Music, an Associate of the Royal Academy of Music, a coach for the Jette Parker Young Artist Programme at the Royal Opera House, and a course leader for the Samling Foundation. He has been an adjudicator for many international competitions.

Recent highlights include recording the piano soundtrack for the forthcoming film ‘Altamira’ (starring Antonio Banderas), the world premiere of a newly-discovered work by Mendelssohn on BBC Radio 4, performances at the BBC Proms, collaborations with the Richard Alston Dance Company and Rufus Wainwright, rediscovering the ‘serious’ songs of Donald Swann for a forthcoming CD, and ‘The Passion’ with The Sixteen and Streetwise Opera.

Future plans include a series of concerts entitled ‘Songbooks’ that he will curate for Wigmore Hall, Winterreise with Mark Padmore at the Endellion Festival, and a forthcoming CD of Grainger songs and piano pieces with Claire Booth. Chris will also join Toby Spence, Roderick Williams and Sir John Tomlinson for the first performances of new English translations he has commissioned from Jeremy Sams of Schubert’s song cycles.

 
(interview date: November 2016)

Meet the Artist……Joanna Macgregor, pianist

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

I played all kinds of instruments when I was young, but the piano is like a universe. You can use it to compose and to perform – it represents so many different styles of music from early French keyboard music and Bach, to Beethoven and John Cage, jazz and blues. I’ve always loved the piano, and loved listening to other pianists.
I’m devoted to practicing and studying music, mainly. It’s the physical and intellectual stamina it requires that I still find so exciting; I really enjoy talking a pencil and marking the score, and spending hours with a work. It’s allowed me to travel all over the world, which I never expected, as a performer. I love teaching, and collaborating with other artists and composers.

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

My mother had me when she was young, and I was her first piano student. She was very imaginative in her musical tastes: together we played Bach, Mozart, Dave Brubeck’s Take Five, Beatles songs, and gospel music. Being taken on by YCAT (Young Concert Artist Trust) in my twenties was a fantastic apprenticeship; I built up a big repertoire, and learnt to communicate with audiences.

David Sigall was also undoubtedly a major influence. He was my manager until he retired last year. He taught me to see the long game, and encouraged me to be a curator and artistic director. He seemed totally unfazed by anything I got up to, whether it was starting a record label, conducting or collaborating with world musicians.

I’ve also been heavily influenced by jazz musicians; the way they collaborate, make things happen, hang out together, and support each other’s gigs.

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

I’ve always loved playing at the BBC Proms – my first one was nearly thirty years ago! And broadcasting live is tough – you have to be on top of everything.
My most treasured memory is working with Pierre Boulez, twice; first on a European tour with the Philharmonia and later with the Chicago Symphony Orchestra. He was witty, warm, elegant, gossipy and just a gorgeous musician to be with, both on and offstage.

Which recordings are you most proud of?

Impossible to say, as they’re all flawed to my ears, of course. But for different reasons, Messiaen’s Vingt Regards; Deep River with the saxophonist Andy Sheppard, which explored music of the Deep South; and my most recent recording, the complete Chopin Mazurkas.

Very early on in my career I recorded Charles Ives’ First Sonata, an absolute epic, at Snape Maltings. I still love his music very deeply.

Which particular works do you think you perform best?

I seem to gravitate towards intense miniatures – Gubaidulina’s Musical Toys, Chopin Mazurkas – or huge cycles – Messiaen, Beethoven, Bach’s Well-Tempered Clavier. I like architecture; on the other hand I also like playing in the moment. I find so much music is a mixture of structure, and unfolding, like following a fork in the road.

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

It depends on the venues, and what I’d like to add to my repertoire. I still learn new pieces – this year it was Schubert’s last sonata in B flat, coupled with some late Liszt and Ligeti. I’m not at all rigid about the number of recital programmes or concertos I’ll carry around in any one season. It depends on all the other collaborations and new work I’m doing; I always seem to be working on new projects with poets or artists, as well as other musicians.

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

Many favourites – the Mozarteum in Salzburg, the Bimhuis in Amsterdam; the Wigmore Hall, the medieval hall at Dartington. Something to do with intense atmosphere and audiences.

Favourite pieces to perform?

I always love Bach and Beethoven; I love practising them. I’m heavily into Chopin’s fifty-eight mazurkas at the moment, played chronologically; rather like reading someone’s personal diary.

Who are your favourite musicians?

So many. The pianists I listen most to (at the moment) are Edwin Fischer, Rubinstein and Maria João Pires. I adore spending time with Alfred Brendel; I admire great improvisers and slip into their concerts all the time.

What is your most memorable concert experience?

Probably playing Shostakovich First Piano Concerto at the Last Night of the Proms – memorable for all kinds of reasons, including the controlled hysteria backstage. Being invited to play the Goldberg Variations at the Albert Hall by John Eliot Gardiner was pretty exciting for me.

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

Individuality, fearless talent, creativity, and the ability to design opportunities – fundamental to building a long career. The piano students at the Royal Academy of Music (as Head of Piano there I mentor them all) come with a very high degree of technical skill and musicianship. But I encourage them to develop other skills—curating, improvising, working with multimedia, commissioning composers, conducting from the keyboard, having a working knowledge of early keyboards—that will help them flourish at the beginning of their careers. Every summer we run a Piano Festival, which is largely curated now by the students themselves, and it’s a testament to their imagination and unstoppable energy.

 

Joanna MacGregor is one of the world’s most innovative musicians, appearing as a concert pianist, curator and collaborator. Head of Piano at the Royal Academy of Music and Professor of the University of London, Joanna MacGregor is also the Artistic Director of Dartington International Summer School & Festival.

As a solo artist Joanna has performed in over eighty countries and appeared with many eminent conductors – Pierre Boulez, Sir Colin Davis, Valery Gergiev, Sir Simon Rattle and Michael Tilson Thomas amongst them – and orchestras, including London Symphony and Sydney Symphony orchestras, Chicago, Melbourne and Oslo Philharmonic orchestras, the Berlin Symphony and Salzburg Camerata. She has premiered many landmark compositions, ranging from Sir Harrison Birtwistle and Django Bates to John Adams and James MacMillan. She performs regularly at major venues throughout the world, including Wigmore Hall, Southbank Centre and the Barbican in London, Sydney Opera House, Leipzig Gewandhaus, the Concertgebouw in Amsterdam and the Mozarteum in Salzburg.

 

British pianist Martin James Bartlett tops list of competitors in 2017 Van Cliburn Competition 

Top of the list of competitors is twenty-year-old British pianist Martin James Bartlett. Winner of BBC Young Musician of the Year in 2014, Martin now studies at the Royal College of Music.  

Martin James Bartlett

FORT WORTH, Texas, March 7, 2017—The Cliburn announces today the 30 competitors selected to participate in the Fifteenth Van Cliburn International Piano Competition, taking place May 25–June 10, 2017, at Bass Performance Hall in Fort Worth, Texas, USA.

Two hundred and ninety pianists submitted applications to participate in the 2017 Cliburn Competition, and 141 auditioned live in front of a five-member screening jury in London, Hannover, Budapest, Moscow, Seoul, New York, and Fort Worth in January and February 2017. 

After an exhilarating and quite thorough process, I am extremely happy with the 30 pianists who will come to the Cliburn Competition in Fort Worth this May. They are engaging and skilled, and—most important—will inspire and move you,” said Jacques Marquis, Cliburn president and CEO.

The 2017 Cliburn competitors hail from all over the world, representing 16 nations: Russia (6), South Korea (5), the United States (4), Canada* (3), Italy (2), Algeria*, Austria, China, Croatia, Germany, Hong Kong, Japan, Poland, Romania, Taiwan, and the United Kingdom (*one competitor has dual Algerian/Canadian citizenship, and both nations are counted here). There are 21 men and 9 women, and the competitors range in age from 18 to 30.

2017 CLIBURN COMPETITORS

Ages are as of June 10, 2017, the final day of the Competition.

Martin James Bartlett, United Kingdom, age 20

Sergey Belyavskiy, Russia, 23
Alina Bercu, Romania, 27

Kenneth Broberg, United States, 23

Luigi Carroccia, Italy, 25

Han Chen, Taiwan, 25

Rachel Cheung, Hong Kong, 25

Yury Favorin, Russia, 30

Madoka Fukami, Japan, 28

Mehdi Ghazi, Algeria/Canada, 28

Caterina Grewe, Germany, 29

Daniel Hsu, United States, 19

Alyosha Jurinic, Croatia, 28

Nikolay Khozyainov, Russia, 24

Dasol Kim, South Korea, 28

Honggi Kim, South Korea, 25

Su Yeon Kim, South Korea, 23

Julia Kociuban, Poland, 25

Rachel Kudo, United States, 30

EunAe Lee, South Korea, 29

Ilya Maximov, Russia, 30

Sun-A Park, United States, 29

Leonardo Pierdomenico, Italy, 24

Philipp Scheucher, Austria, 24

Ilya Shmukler, Russia, 22

Yutong Sun, China, 21 

Yekwon Sunwoo, South Korea, 28

Georgy Tchaidze, Russia, 29

Tristan Teo, Canada, 20

Tony Yike Yang, Canada, 18

ABOUT THE FIFTEENTH VAN CLIBURN INTERNATIONAL PIANO COMPETITION

Established in 1962, the quadrennial Van Cliburn International Piano Competition is widely recognized as “one of the world’s highest-visibility classical-music contests” (The Dallas Morning News) and remains committed to its original ideals of supporting and launching the careers of young pianists, ages 18–30. 

[source: press release]

(Picture: BBC)

Anthony Goldstone 1944-2017

A tribute from Divine Art Recordings

Described by The New York Times as “a man whose nature was designed with pianos in mind”, Anthony Goldstone was recognised as one of Britain’s most respected pianists. This exceptional musician passed away 2 January at the age of 72. As a major figure in the Divine Art Records catalogue (as well as recording for Toccata and previously Olympia and Gamut) both as a soloist and duo partner with his wife Caroline Clemmow, he will be very sadly missed. Held in the highest esteem by critics worldwide, for some reason he never quite achieved the international media recognition he deserved. Divine Art is currently working on Goldstone’s last solo recording which is likely to be released in the summer (“Piano at the Ballet, Vol. 2”) and also the re-release of the stunning 7-CD set of the complete works for piano duet by Franz Schubert, which when first issued by Olympia in 1999, established Goldstone and Clemmow as Britain’s leading piano duo.

Born in Liverpool, Anthony Goldstone studied at the Royal Manchester College of Music, now the RNCM, which later honoured him with a Fellowship, where his piano professor was Derrick Wyndham, and later in London with Maria Curcio, one of Schnabel’s greatest pupils – which incidentally makes him a sixth-generation pupil of Beethoven. Inspired by this wonderful heritage, Goldstone always regarded the classics and Romantics as being at the heart of his repertoire; this is illustrated by two specific CD projects: a series of rare Russian Romantics – Rebikov, Lyapunov, Arensky and Glière – and a series of six CDs devoted to the major solo works of Schubert which were very highly praised: “Goldstone is a native speaker of Schubert in the highest degree. This is perhaps the greatest version of the work [Sonata, D. 959] I have ever encountered, either live or on disc.” – Fanfare, USA. His series of solo CDs for Divine Art have ranged from Beethoven and Mozart to 20th century British composers (all with new completions and including many rarities and premiere recordings) to transcriptions from ballet and opera, all of which have received the highest accolades.

International prizes in Munich and Vienna and a Gulbenkian Fellowship launched him on a busy schedule of recitals and concertos. His travels took him to concert appearances in Europe, North and South America, Asia, Africa and Australasia, prestigious festival invitations and many broadcasts. Numerous London appearances included important solo recitals and Promenade Concerts, notably the 1976 Last Night, after which Benjamin Britten wrote to him, “Thank you most sincerely for that brilliant performance of my Diversions. I wish I could have been at the Royal Albert Hall to join in the cheers.” This was one of four Proms appearances.

Complementary to the mainstream repertoire was his avid interest in exploring intriguing musical byways – not only unknown works by acknowledged masters, leading to première recordings and performances of works by Parry, Sibelius, Bruch, Franck, Mendelssohn, Dvořák, Holst and many more but also unjustly neglected nineteenth-century composers such as Goetz, Herzogenberg, Alkan and Moscheles.

A personal reflection from Divine Art founder and CEO Stephen Sutton:

“Tony first told me of his illness back in the summer of 2016; it had developed rather quickly and long term treatments were scheduled, but sadly liver failure brought his life and creativity to an early end. Until the very last week, he was writing to me about his projects, retaining an amazing level of wit and even frivolity in what must have been extremely difficult circumstances, referring to the ongoing Schubert Duets project as ‘Sherbert Dips’.

I first met Tony and his wife Caroline, who I am also honoured to call a friend, in late 2000 (if I recall correctly without digging up files!) when he approached me about the release of his recordings of Schubert solo piano works; I believe he had been introduced by one of our other artists. Long story short – we issued three double CD sets of the Schubert Masterworks which received the most wonderful reviews, and led to my encouraging Tony and Caroline to submit more projects. This they did in spades: both solo and duo recordings appeared at the rate of two or three a year, forming the backbone of our piano repertoire. And while Tony was not enamoured of the avant-garde, his delight in finding unpublished manuscripts and unfinished pieces, which soon became new performing editions, matched our own ethos of expanding the recorded repertoire, not only in new music but from all ages. His completions of unfinished works by Schubert, Mozart and others also garnered much praise for the seamless ‘invisible joins’ – testament to Tony’s high skill as a composer. Through the years Tony and Caroline (though we met but infrequently) became very special to me; for the quality of musicianship and performance, but also efficiency and speed in providing detailed program notes – models of their type – that avoided the delays and foot-thick files that some projects seem to engender! Always a perfectionist, our main quibbles usually centered around whether an apostrophe in a certain typeface should be curly or straight. What most customers (and critics) have not realized, because we did not promote the fact, is that practically all of the Goldstone recordings were made by Tony himself at his local church of St John the Baptist, Alkborough, which has housed the couples’ twin Grotrian-Steinweg instruments for many years. To do this and be given so much praise for sound quality is another facet of Tony’s skill and dedication.

In the early spring of 2016 Tony presented his last solo recording; this will be released later this year as ‘Piano at the Ballet, volume 2’. (In fact, the contract for this project, which he signed last week, arrived in my office today – 4 January). Whilst still a fantastic performance by any standard, I could tell that it was not Tony at 100%. I said nothing but was less surprised to hear, some months later, of the illness that was afflicting him. As well, the 7-CD box set of Schubert’s Complete works for piano duet is in progress for release in early summer. Both recordings will be suitable memorials to a wonderful musician, and a lasting gift for Caroline.”

 

Meet the Artist……Natalie Burch

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

It was my mother who first took me off to piano lessons age five although I can’t really say it was a particular calling at that age – I’m fairly sure I was going to be Prime Minister. It was not until I was a bit older and not really practising enough that my mum made me sign a contract promising that I would practise every day or the piano and the lessons would be gone! It was only then that I began to realise just what an important part of my life music was and became determined to dedicate myself to it further. Actually pursuing a career in music was never a particular ambition, however, until age 16 I was on the Chetham’s Piano Summer School and one of the professors simply said ‘why are you not here?’. Well, I didn’t have an answer so the next year I enrolled as a student and haven’t looked back since!

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

I’ve been so lucky with my piano teachers over the years and they have all been hugely influential, but the person who really believed in my abilities as a pianist and really challenged me to be the best I could be, was John Railton. John was an astonishing man – with only one arm he managed to have a successful career as a pianist and conductor, recording for the BBC, conducting at the major concert halls and being the central point of many different communities music making. He had a total disregard for potential obstacles and just believed firmly that I would be a pianist – I really wouldn’t be here without him!

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

The biggest challenge for me is performance anxiety – I wouldn’t say I get crippling nerves but I have found it frustrating sometimes when I can’t achieve the same focus on the music because my mind is worrying about being worried! The challenge is to find techniques to control any anxiety and transform it from something destructive into a positive energy. As an accompanist I have also had to become very time efficient. Our job often involves learning lots of repertoire in very short periods of time and the ability to practise efficiently without getting injured is paramount.

Which performance/recordings are you most proud of?  

I recently launched the Devon Song Festival and I was so pleased with our inaugural concert. There was an unusual amount of pressure in organising the event, trying to keep the audience happy and performing but it went brilliantly and our reception was so enthusiastic. I’m so thrilled it was success and we can expand the festival next year.

Which particular works do you think you play best? 

I definitely feel most at home in the song repertoire, specifically German lieder and English song though I also love the sound world of cello and piano sonatas and am beginning to explore this further. I love playing with singers because I am able to find a deeper connection to the music when text is set. I rarely perform as a solo pianist these days but when I do it’s nearly always Russian: Rachmaninoff and Prokofiev being particular favourites!

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

Last year I played at the Wigmore Hall for the first time and I absolutely loved it. It’s such an intimate space and from the piano it feels perfect as a hall for song. There is incredible clarity in the acoustic and you can really challenge yourself as to how quiet you can play and what extremes of articulation you can reach. It of course helps that the piano is absolutely beautiful too!

Favourite pieces to perform? Listen to? 

This year I’ve been working on Stephen Hough’s ‘Other Love Songs’ (for a performance at Wigmore in May 2016) and it is just the most brilliant cycle. It was written as a companion piece for the Brahms Liebeslieder waltzes and really cleverly picks up on themes from the original work but set to a wonderful selection of texts covering all forms of love and emotions from the heart-breaking to the comic. My personal highlight in the performance comes near the end where the pianists get to join in singing and my part is mostly just hitting the piano!

Who are your favourite musicians? 

I’m lucky enough to be taught by one of my favourite musicians, Eugene Asti. I have huge admiration for his attention to detail and respect for the score and the history of every work he plays. Importantly it is not only theoretical but you can really hear all that detail in his playing and it brings the music to life amazingly. Another is Iain Burnside, his playing is so robust and clear and I find his recordings of English song especially moving in their simplicity.

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

I suppose as I’m still a student I would consider myself to be still aspiring! But I definitely think all young musicians need to think about more than just practise and performing. I’ve been working with Alisdair Hogarth recently and he has shown me the importance of being savvy when it comes to self-promotion and the commercial side of music making. He suggested that we should be spending as much time promoting performances and developing our career as we do practising. Whilst I can’t quite bring myself to do that just yet, I can see that when I leave music college, working hard to find performances and creating appealing programmes will be just as important as working on technique!

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

In ten years’ time I would like to be living in London enjoying a fledgling career as a song accompanist and working as a broadcaster for Radio 3. Basically, I would like to follow in the footsteps of Iain Burnside!

Originally from Devon, Natalie Burch initially studied with John Railton before moving to Manchester to study solo piano with Peter Lawson at Chetham’s School of Music. In 2014 she graduated with first class honors from King’s College London where she studied musicology and took lessons at the Royal Academy of Music with Daniel-Ben Pienaar and Andrew West.  Natalie is currently studying for a masters in accompaniment at the Guildhall School of Music & Drama under the tutelage of Eugene Asti and Andrew West.

Recent and future highlights include performing at the Wigmore Hall alongside Alisdair Hogarth and the Prince Consort, a new commission for the Leeds Lieder festival, rehearsal pianist for Tchaikowsky ‘Rococo Variations’ with Guy Johnston, a recital for the Elgar Society and a number of concerts and masterclasses as resident pianist for Opera Prelude.

Read more about Natalie here

 

 

Meet the artist……Rick Simpson, jazz pianist & composer

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

Hmm…that’s hard to say. I think by the time I knew I wanted to music I hadn’t really met anyone or seen any concerts – I just knew that I loved playing the piano and making up little tunes. It wasn’t really until I found Jazz that I knew exactly what it was that I wanted to be doing. Before that I was quite unfocused and split my time between doing the grades and playing music from musicals and coming up with my own arrangements of them. My old piano teacher used to give me hell for not playing what was on the page, but I think that I’d always enjoyed playing around with music made the transition into Jazz piano at the age of fifteen more comfortable.

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

My classical piano teacher at Guildhall, Laura Roberts, has probably had the biggest influence on my musical life. She’s been a close friend and ally over the years and even though we rarely see each other now she still has a big influence over me. She pulled me out of so many bad habits at the piano – before I met her I really had very little idea of how to play the piano properly so she really turned my life around. I’m still trying to work on the simple ideas she presented me ten years ago.

For Jazz if I had to name one figure it would be Keith Jarrett. He was my first real love in music and the first pianist I ever heard. I’d never listened to any famous classical pianists before, or really even any piano music in general and when I first heard Jarrett it was mind-blowing and I devoured everything I could get my hands on. What can I say about Jarrett that hasn’t already been said! To me he’s the biggest musical genius of all time. 

Other than Jarrett there came a time in my life around the age of 21 where I felt like the African-American lineage of Jazz Piano had a greater pull for me. Before then I was quite into the Bill Evans – Brad Mehldau – ECM sound, and I still love that, but the Duke Ellington, Thelonious Monk, Wynton Kelly, Herbie Hancock lineage really took over at some point. Its all beautiful and it ultimately all comes from the same place but I always want to keep on working on what is a Black American art form. Even though my own music comes from a lot of influences outside of Jazz I won’t ever stop trying to get together what Charlie Parker and Bud Powell were doing in the 1940s.

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

I think anxiety has held me back massively. Its only been in the last two years where I’ve felt happy on stage. I used to be a nervous wreck and it showed. That’s really held me back and I feel like I need to make up for lost time but I’m generally a lot happier and settled than I was in my early and mid-twenties.

How would you characterise your compositional language?

I would say that the music I’ve written over the last four or five years has come from not thinking of tonality or chords. None of the music from my new record has any chord symbols in it. I wanted to get away from the sound that I felt that I’d heard too much of in the London Jazz scene – music which has been clearly written with a single melody line over a set of sometimes quite bleak chords. Kenny Wheeler has been a huge influence on a lot of people in London but I had to get as far away from that sound as I could. When I write music these days the composition is first and the improvising is second. At some point I’ll go back to writing very small compositions that serve as vehicles for improvising but right now with my band Klammer the music is about the compositions.

How do you work?

I work very slowly, which is of great annoyance to me. I know some people who can write several tunes in one sitting, but I don’t think that works for me. I’ll write a couple of bars and then I’ll forget about it for days on end, and then come back to it and add a few more. I’d like to get things out faster but sometimes I think leaving things can cause you to come back afresh and take the music somewhere else. 

Often I think its helpful to know what you want to write before you start. That’s worked well for me in the past where I’ve wanted to write the fast tune/the ballad/the straight 8’s odd time tune, but these days I just sit and see what comes out.

Who are your favourite musicians/bands/composers?

Modern musicians/bands that pose a huge influence on me these days are Jason Moran, Django Bates, Matt Mitchell, Steve Lehman, Steve Coleman, Radiohead, Animal Collective, Deerhoof, John Hollenbeck, Wayne Shorter, Steve Reich, Liam Noble, people like that. I love hip hop, techno, ambient, singer-songwriter music too and it all runs together.
And from the past – Thelonious Monk, Stravinsky, Ravel, Bach, Schubert, Billie Holiday, Mahler, Messiaen.

What is your most memorable concert experience?

Seeing the Wayne Shorter Quartet playing music from outer space in 2006 at the Barbican Centre. It was without doubt the most incredible music I’ve ever heard. People in the audience were screaming during the encore, it was so super-charged. There’s a recording of it out there somewhere…That band is on the farthest outer edge of what’s possible. No one is doing what they can.

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

Ronnie Scott’s. It took me a long time to make peace with the piano – that piano kicked my ass! I had to really learn how to play grand pianos and its only been in the last two years where I’ve felt comfortable playing one – but now I love playing there. The atmosphere and sound are perfect and I would play there every week if I could. I’ve had some great gigs there recently with Leo Richardson’s Quartet and it just feels like the perfect place for that music.

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

Be friendly. Get your social skills together. Never, ever rely on what you perceive to be as your talent, its not enough. When I was younger I didn’t feel confident in some social situations and used to hope that I could just get by on my playing. You can’t – you have to go out there and meet people and make friends.

For Jazz musicians I’d say get as much together as you can. Don’t just do one thing, get it ALL together. It’s all as equally important and the more you have in your tool box the more exciting your improvising will be. It’s not fun when you know how someone is always going to sound. Jazz should be the sound of surprise. Tape yourself. Play classical music too, its all in there.

Other than that just practice as much as you can, see as much of life as you can and don’t worry if things don’t happen straight away. Never get lazy or complacent. When I was younger I noticed that some older musicians who I used to worship had done so and I vowed I would never slack off. The only person who can help you get better is yourself.

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

Still practicing and trying to get better. I still feel like a beginner and I still don’t feel like I’ve achieved anything and I don’t really want that feeling to go away. It keeps you moving. That said, if I’m still doing what I’ve done over the last few years in ten years time I’ll be very happy. I’d just like to do more of it and eventually move into teaching at one of the music colleges. I love this life and I just want it to last a long, long time!

Rick Simpson’s new album with his band Klammer is available now on the Two Rivers Records label

Rick Simpson is based in London playing a wide variety of music, and leads his own group playing original jazz music. Rick is a regular performer at Ronnie Scott’s, the 606 Jazz Club, Pizza Express Dean Street, The Vortex, The Bull’s Head, and he has appeared at larger UK venues such as the Royal Festival Hall and the Purcell Room. In 2008 Rick won a Yamaha Scholarship Prize for Outstanding Jazz Musicians. A recording of Rick’s band was put on the front cover of Jazzwise Magazine.
Since graduating from the Guildhall School of Music and Drama in 2008 he has performed with musicians such as Christian Scott, Eric Harland, Joe Sanders, Michael Janisch, Ernesto Simpson, Martin Speake, Earl Burness Travis, Stan Sulzmann, Jeff Williams and Brandon Allen as well as younger musicians in London. Rick plays in the ensembles of Jay Phelps, Tim Thornton, Tommy Andrews, Leo Richardson, Paul Riley, and US Jazz Singer Hailey Tuck amongst others

Rick also teaches on the prestigious MEhr Clef courses alongside Stan Sulzmann, Steve Waterman, Alan Barnes, Malcolm Edmonstone Mark Hodgson, Lee Gibson, Ursula Malewski and Martin France.

www.ricksimpsonjazz.com