barley-matthew-299

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)

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

When my father gave me the possibility to try a cello, everything went naturally its own way. There has never been a moment of decision-making.

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

All my teachers, mostly Eberhard Feltz; Nikolaus Harnoncourt and many musicians I’ve played with, including Janine Jansen, Gidon Kremer, the Quatuor Ébène and Alexander Lonquich to name a few.

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

The next concert.

Which performance/recordings are you most proud of? 

None.

Which particular works do you think you perform best?

That way of thinking prevents you from making music.

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

There are a lot of pieces that speak to you at different times. It is not always easy to judge the amount of time you need to bring them to life. Being aware of that amount, you choose the music that you want to spend your life with and grow.

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

Musikverein in Vienna, Concertgebouw in Amsterdam and the Philharmonie in Warsaw. They have a special spirit, they support and inspire you to give your best.

Who are your favourite musicians?

I very much admire Alexander Lonquich for his integrity, the Quatuor Ebène for the diversity and devotion in their work, Janine Jansen for her utmost urgency. Playing with them feels like the best thing you can do.

What is your most memorable concert experience?

Schubert Quintet with the Quatuor Ebene, Goldberg Variations and Brahms c-minor piano Quartet with Janine Jansen come to my mind. Listening to rehearsals with Nikolaus Harnoncourt.

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

Integrity and curiosity. Accepting failures as an inspiration to grow. Sharing something that unites everyone.

What is your idea of perfect happiness?

The concert experiences mentioned above.

What is your most treasured possession?

Love.


Renowned worldwide for his musical integrity and effortless virtuosity German-French cellist Nicolas Altstaedt is one of the most sought after and versatile artists today. As a soloist and conductor he enthralls audiences with repertoire spanning from the baroque to the contemporary.

Read more at:

www.nicolas-altstaedt.com

(photo: Marco Borggreve)

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

Juicy low notes, an absent cello-playing father, Tchaikovsky’s Romeo & Juliet/Star Wars (for my 6-year old purveyor, a concert without these items on the programme just didn’t cut it), Verdi’s Falstaff (aged 6, I played the Page Boy in a stellar cast of AMAZING British singers conducted by Roger Norrington and directed by Jonathan Miller – the horn call that heralded Nanetta and Fenton’s night-time tryst and the magic of the ‘nymphs, elves’ music completely spell-bound me – music IS magic, after all).

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

Robert Le Page – two of his one-man shows ‘back in the day’: The Far Side of the Moon and The Andersen Project. Intimate, epic, harnessing cutting edge technology but all about the human touch. I thought, ‘I’m going to do this for classical music, in my own way.

Kneehigh Theatre – especially ‘The Bacchae’ and ‘Tristan and Iseult’. I went to see ‘The Bacchae’ with a legendary hangover and found its descent into a murderous rave world completely intoxicating – classic text meets visceral imagination (meets my legendary hangover) = THAT’S how to communicate something ‘from the canon’. And then I was lucky enough to work with them briefly, during which time Emma Rice sorted me out a couple of tickets for their sold out run of ‘Tristan and Iseult’ at the Cottesloe [at the National Theatre, London]. I went with the woman who became my wife. I couldn’t talk about the show for weeks afterwards without weeping.

Shakespeare – I really like nights out with fabulous art that somehow tend towards the condition of a Shakespeare play – where Hamlet needs his Gravediggers, Macbeth his Drunken Porter and King Lear his Fool. I’m being simplistic/dualistic (child of the binary/digital age)…but I hope you know what I mean. Clearly, the earthy and ethereal, bawdy and transcendent, unhinged and rational, ‘tragical-comical-historical-pastoral’ exist ‘cheek by jowl’ in works from the classical music canon…I find they rarely get a chance to breathe like that, though. Something to do, I think, with an overweening concern for propriety in the performance of classical music. Obviously, the really great music itself from the canon isn’t concerned with propriety (even if it is concerned with poise/balance/proportion etc) – it’s too busy being about important things like people, the world, meaning, expression.

So, Shakespeare is a kind of touchstone and guru/shaman in my own adventures.

My extraordinary teachers (Kate Beare, Alexander Baillie, Boris Pergamenschikow, Ulla Blom, Sam Kenyon).

Those cello-playing ‘animals’, where the cello-playing disappears – Shafran, Rostropovich, Harrell.

George London (Canadian bass-baritone), Dmitri Hvorostovsky (Russian baritone – my cello teacher, Boris Pergamenschikow, would give me tapes of Hvorostovsky singing Russian romances…I wore it out).

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

Negotiating the feudal system inherent in the classical music industry in the UK – I’m still not especially adept at it! I have an aesthetic that’s deeply rooted in connection, communication, the transformative potential of music being performed RIGHT NOW. That can make me seem like a Wild Man sometimes! When that meets an aesthetic that’s rooted in the academic, amateur, choral tradition, impartial and dispassionate (profile the BBC and its various ‘voices’, for instance) – excellent qualities though they are! – it can take some neuro-linguistic adjustment to chime. For me, music is mainly about the visceral and the spiritual. The intellect is a useful tool along the way but, personally, in performance, I’m not that interested in beholding the intellect on stage. There are more vital things at stake and bigger risks to take.

Which performance/recordings are you most proud of?

Ooooofff. Today…John Tavener’s The Fool at the QEH. It’s a mighty kind of dramatic cantata that he wrote for me to sing and play.

Recordings-wise, the one that’s out on February 16 (and then the solo disc coming out in April…obvs!). The Feb 16 recording is the world premiere recording of Hans Gál’s glorious Cello Concertino, along with his epic solo sonata and solo suite. Simon Fox-Gál produced it and he has captured the cello sound AMAZINGLY!

(And I also have to mention my recording of Errollyn Wallen’s fabulous/fiendish cello concerto – she’s a wonderful composer, extraordinary person and dear friend, and her cello concerto has deeply touched SO MANY listeners).

Which particular works do you think you play best?

For better or for worse, I think my nature and talents – such as they are – are good at connecting with and communicating works with big hearts, innate drama and an invitation to some kind of extremity in them. I like to go the ledge beyond the edge and report back. Don Quixote, Penderecki 2nd Cello Concerto, Rachmaninov Sonata – that’s today’s Top Three.

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

Generally by saying ‘yes’ and going to where the excitement is.

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

Victoria Hall in Geneva is exquisite, grand yet intimate. But actually, I find I’m less and less fussy – about acoustics, stage orientation etc. My job is to lay it on the line and ‘only connect’ and as long as I can see/hear, be seen/heard, then I’m really happy to get on with that.

Who are your favourite musicians?

So many of my inspiring colleagues. I’m lucky to work with some of the greatest musicians I know – brimming with generosity, creativity, virtuosity. They make me better.

What is your most memorable concert experience?

When I was 19, I gave the first ‘from memory’ performance of Tavener’s ‘The Protecting Veil’ in Trinity College Chapel, Cambridge. The intensity of the silence that followed that sublime piece was unforgettable.

As a musician, what is your definition of success?

Keeping going – adventurously, hungrily, positively – like the Great White Shark on the first page of Peter Benchley’s JAWS…carving out time and space to manifest my creative dreams…paying the bills.

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

Well, I did some ‘improvisation’ workshops and a performance with my band ZRI at the Yehudi Menuhin School last week. It was UNFORGETTABLE. The essence of what we offered was: accept and build, grow your own artist, honour your curiosity by continuing to take creative risks. The reaction we received was mind-blowing. These particular students were craving these kinds of ideas, concepts, approaches and tools. I think it’s time to bring our music education up to date. It’s possible to balance vision and provenance and train young musicians for a career right now.

Matthew Sharp performs with the Northern Chamber Orchestra on 9 March 2018 at Stockport Town Hall, and at the Glossop Music Festival during June 2018. 

Matthew’s new recording of Hans Gál’s Cello Concertino (world premiere recording), Solo Sonata, Solo Suite with the English Symphony Orchestra and Kenneth Woods (conductor) is released on February 16, 2018 on the Avie Records label. Further information and preview tracks here

Matthew’s solo album ‘Rough Magic’ is released by Edition Peters Sounds, April 2018. Devotional Music by Wagner, Rachmaninov, Ravel, Messiaen, Piazzolla, Golijov, Sollima, Wallen, Jeff Buckley and works written for Matthew by John Tavener, Emily Hall and James Francis Brown

Sneak preview – Sollima’s Lamentatio (mp3)


Matthew Sharp is internationally recognised as both a compelling classical artist and a fearless pioneer. His adventures in and through music and across disciplines are ‘unrivalled’ and ‘unprecedented’, balancing provenance and vision in a unique and potent way.

He studied cello with Boris Pergamenschikow in Cologne, voice with Ulla Blom in Stockholm and English at Trinity College, Cambridge. He was taken to Jacqueline du Pré when he was 12, Galina Vishnewskaya when he was 18 and studied chamber music with the Amadeus Quartet. He performs at major venues and festivals worldwide as solo cellist, baritone, actor and director.

Matthew has appeared as solo performer with the RPO, LPO, RLPO, CBSO, Orchestra of Opera North, SCO, EUCO, ESO, NCO, Manchester Camerata, Orchestra of the Swan, Orchestra X, Arensky Chamber Orchestra, and Ural Philharmonic.

In opera, he has performed principal roles for Opera North, ROH, Almeida Opera and Mahogany Opera Group, amongst many others.

In theatre, he has performed principal roles at the Young Vic and National Theatre Studio, collaborated with Kneehigh, Complicité and, most recently, with legendary illustrator and film-maker, Dave McKean.

He has recorded for Sony, EMI, Decca, Naxos, Somm, NMC, Avie and Whirlwind and appeared in recital as both cellist and singer at Wigmore Hall, SBC and Salle Gaveau.

 

www.matthewsharp.net

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

My parents have a music school, Harpenden Musicale, where we grew up. Music was always going on around the house and inevitably it rubbed off on me and my siblings. The cello has been there as long as I can remember and I simply can’t imagine life without it. We would try all sorts of instruments in the music shop (where my grandmother worked until she was around 90 years old!), but the cello kept my attention most. One day we were in our local town and a lady came up to my mother and started to chat. I didn’t really recognise her and she asked how I was getting on with my new cello teacher. I responded enthusiastically, “Oh, much better than the last”, only to discover that she was my previous teacher! The real turning point was when I was 16 and went to Tanglewood in the States for 8 weeks. I heard the Boston Symphony Orchestra perform each week with soloists from all over the world and heard many great chamber concerts. I enjoyed this experience so much that when I returned home I worked harder than ever and two years later won the BBC Young Musician competition.

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

I was fortunate to study with teachers from the same musical tradition, including Nicholas Jones at Chetham’s, Steven Doane at the Eastman School of Music in the States, and Steven Isserlis and David Waterman at IMS Prussia Cove. All of these mentors studied with a wonderfully eccentric musical guru called Jane Cowan at the London Cello Centre and later at her home in Scotland. She was a formidable influence on all of them and her wisdom lives on. Their influence has been so infectious that I now play on covered gut strings and I often hear them on my shoulders when I’m working with students at the Royal Academy of Music. I also studied privately with Ralph Kirshbaum, Bernard Greenhouse and have more recently been playing Bach for Anner Bylsma.

Tell us more about your new album……

Tecchler’s Cello: From Cambridge to Rome has been an ongoing adventure for the past couple of years. My cello turned 300 and thanks to some support from a sponsor, I commissioned 3 new works to celebrate this landmark. One thing led to another and we turned this seed of an idea into a recording that captured a variety of works on a journey to historical places that have meaning in my musical life. We started in Kings College Chapel, where I was a chorister in the 90s, moved on to Hatfield House where I curate a festival, to the Royal Academy of Music where I have a small class, and to the Wigmore Hall where I often perform. We finally ended up in Rome where the cello was made. It was quite an operation, but we have captured the journey on film and in recording and are gradually releasing the tracks towards the full release in September. There’s plenty of variety on there and I hope the narrative comes across with all the repertoire, musical collaborations and places that have meaning in the cello’s current existence. I couldn’t have done this without the support of so many people who got involved and supported our endeavours. One of the highlights was meeting the man who unknowingly owned the space where David Tecchler use to work in Rome, which is now a garage. Stefano opened up the old studio and we had a performance there as well as in the Pamphilj Palace where we invited guests from the UK to come and support the recording. The icing on the cake was recording Respighi’s Adagio con Variazioni with the Accademia di Santa Cecilia which culminated the journey earlier this year.

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

I was catapulted into the profession from the age of 19 and the biggest challenge early on in my career was learning repertoire for the first time for important concerts. For example, I remember performing the Walton Concerto live on radio which was the first time I’d performed it with orchestra, but I’ve also performed the Elgar Concerto live on TV opening the BBC Proms in 2001 and broke a string during the live final of the BBC competition! These were immense challenges, as was premiering a new cello Concerto last year by Charlotte Bray at the Proms. But one thrives off these opportunities and it’s what continues to spur you on every day to learn from the past, live in the present, and dream for the future.

Which performance/recordings are you most proud of?

My debut recital CD with Kathryn Stott is a happy memory, although I haven’t listened to it for years. The disc includes 3 British composers; Frank Bridge, Benjamin Britten and Mark Anthony Turnage. I’m Godfather to Mark’s son, Milo, and we recorded a piece that Mark wrote for Milo’s christening alongside the Sonata of Bridge and Britten. Kathy’s experience is so vast that being my first recording I was grateful to have her guidance and support throughout. I’m now greatly looking forward to releasing this latest CD – it has captured my current journey and has lots of variety on the disc including works by Barrière, Beethoven, Respighi and 3 new commissions.

Which particular works do you think you perform best?

I like to think I’m performing whatever music is in front of me as best I can. It’s hard to answer this question, but I give everything to whatever music I’m communicating in the moment. Premiering a new work is always thrilling because nobody can compare it to another performance and everyone is hearing it for the first time. This is always refreshing and alive. On the other hand, performing the Bach Suites or Beethoven Sonatas is quite terrifying because not only are these works revered by cellists, but they are also so well known and often performed.

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

Some things are planned and others are asked for by promoters. As the years go by, there are certain works I’m more and more keen to get round to performing. For example, works like the Grieg and Franck Sonatas. Next season I’ve been asked to perform two concertos which are new to me by Kabalevsky and Martinu. I’ve also been asked to record Holst’s Invocation, which is also new to me. I’m looking forward to a festival celebrating Schumann and playing most of his chamber repertoire throughout the week including the Piano Trios, Piano Quartet and Quintet.

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

I’ve been fortunate to perform in many great concert halls in London, Paris, Berlin and Tokyo, but I think that the Concertgebouw in Amsterdam is a particularly special hall. There’s so much history there and the setting and acoustic is a real inspiration to all musicians. I also like the Birmingham Symphony Hall and Bridgewater Hall. If only London could get a new concert hall, although we are lucky with the Wigmore Hall!

Who are your favourite musicians?

I grew up listening to many cellists from Casals to Tortelier, Rostropovich, Du Pré, Fournier, Feuermann etc etc and then living cellists including Yo Yo Ma, Truls Mørk and Steven Isserlis. What an incredible crop from the past and present! I think artists like these have helped to inspire the current generation of cellists that have been emerging in recent years. I also grew up listening to the Beaux Art Trio, Amadeus Quartet and, on the other side of the spectrum, to Sting! Now one can turn to YouTube and not only hear, but also see all these unique artists in action, which is a pleasure to tap into from time to time.

What is your most memorable concert experience?

I think it was when I was a member of the National Youth Orchestra performing Britten’s Young Person’s Guide to the Orchestra and Shostakovich’s 10th Symphony with Rostropovich at the helm at the BBC Proms. That concert knocked all of us youngsters sideways! There are a few particularly special experiences that I can think of. One other I could mention was performing Messiaen’s Quartet for the End of Time in the Concertgebouw with Michael Collins, Kathryn Stott and Isabelle van Keulen when I was 20 years old. This was a great honour, to perform such an extraordinary work with musicians I looked up to in this setting at the beginning of my career.

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

I think you need to find music from deep within you. Parents, teachers and friends are a big part of your development, but you need to love what you do if it is going to be sustainable in the future. Have fun, read music with friends, work hard and find a teacher who you connect with. Concentrate during your practice session, particularly if schoolwork is taking up much time (and not least sport!). Know what you need to work on and improve. Be patient – this is not a sprint, but a marathon and with daily practice and commitment with the right sort of guidance you will feed off the improvements and be motivated to continue to develop as an artist and a musician. Listen to lots of music and influences, go to concerts and read about composers’ lives. Enjoy your music making and don’t be too hard on yourself. Forget how you’ve learnt things when you go on stage and liberate yourself to live in the moment.

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

Living in a family home with a music studio at the end of the garden continuing to thrive off music!

Tecchler’s Cello: from Cambridge to Rome

Guy Johnston and Friends

Works by Barriere, Beethoven, Respighi, Ola Gjeilo and 3 new commissions by David Matthews, Mark Simpson and Charlotte Bray

Tom Poster, piano
Magnus Johnston, violin
Sheku Kanneh-Mason, cello

The Choir of King’s College, Cambridge
Directed by Stephen Cleobury

The Orchestra of the Accademia di Santa Cecilia
Directed by Carlo Rizzari

Released 8 September 2017

Taster video

 

guy-johnston.com

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

My father is an amateur violinist and has been playing in string quartets with friends all his life. At the age of two I was allowed to sit in the room when they were rehearsing and I was obsessed with the cello and have been ever since.

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

I was extraordinarily lucky with my first cello teacher. I started the piano with my mum, who taught me to read music and was then introduced to my teacher, Dicky Boeke, at the age of six, but didn’t start with her until I was eight as she was so busy. She taught me for 10 years, and not just about cello; it was about art, literature, opera. She helped me audition for the great Dutch cellist Anner Bylsma and I studied with him for two years from the age of 17-19. I have been on my own since then, apart from a year of studies in the US and an unforgettable summer course with William Pleeth in Aldeburgh.

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

I consider my career to have reached its middle length so far, and I still have two decades to go. So of course there are ups and downs and disappointments – everybody has these. One challenge could be physical in terms of injury; however I have been very lucky in that sense. Practising and the relationship with your instrument keeps you inspired.

Which performance/recordings are you most proud of?

My last recordings, although I still hope to keep improving and being more expressive. I’m now at two-thirds of my recording project doing all the sonatas by Schubert and Brahms which include many violin pieces and on the last release is the 2nd Brahms violin sonata, which I believe is a world premiere recording. I also recorded Schubert’s Fantasy for violin and piano, which is technically a very intimidating piece, so getting my teeth into that was great, very stimulating and I am very happy with it. Some recordings just have very happy memories, for instance doing The Walton Concerto with Sydney Symphony Orchestra 7 or 8 years ago in Sydney Opera House, that most glamorous and gorgeous place.

Which particular works do you think you perform best?

I am always happy performing concertos with orchestras, however the Beethoven Cello Sonatas are particularly rewarding to perform, brimming with energy and lyricism, as they are.

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

As I said, I have embarked on this enormous recording project with the Schubert and Brahms pieces so they will appear on my recital program, concertos are up to orchestras that invite me to play and then there are occasional collaborations in chamber music programs, in trio, quartet, quintet or sextet repertoire, but also projects like the one I’m doing next month with a singer and a pianist.

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

I mentioned Sydney Opera House; however another example is the new Melbourne Recital Centre, a stunningly beautiful place in which to perform and listen to music. I will be doing three recitals on three consecutive days in August: Beethoven, Brahms and Bach marathons, a bit of a milestone week for me.

Who are your favourite musicians?

My all-time favourite musician is a singer, Dietrich Fischer-Dieskau, the German baritone. As a teenager I started collecting his albums and still collect today. He is a supreme musician and a fantastically inspiring singer to listen to. I also really respect and enjoy listening to the American cellist YoYo Ma.

What is your most memorable concert experience?

The Walton Concerto with Sydney Symphony Orchestra in Sydney Opera House, but it could also be Teatro Colon in Buenos Aires. In fact it’s hard to say. I enjoyed Paxton last year for example.

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

I am a professor in a German Musikhochschule and I try to inspire and discipline the students; however what musicians might not realise is that they must work as creative artists. They are of course recreating scores that composers delivered, but it is very important for them to do that with creativity. They must consider traditions, what they mean, and how important and unimportant they are. Also creativity in how you practise and make things better. It is important to keep muscles supple and continue to practise in that way. Also to simply enjoy alternative approaches to keeping your mind fresh.

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

My wife is English so maybe living in the UK once we have raised our kids in Holland.

What is your idea of perfect happiness?

That includes other people around you, conversation and good food.

What is your most treasured possession?

Other than my cello, nothing in the material sense.

What is your present state of mind?

I have just been working as a jury member in Brussels which was an intense period, so I am recovering from that. I am looking forward to the summer festivals, which include Music at Paxton, and also to catching up with my colleagues and working with them. I am also looking forward to going to my little basement cellar to practise!

Pieter Wispelwey performs at Music at Paxton this summer and will also be giving a masterclass:

Sunday 23 July 1.30pm, cello masterclass

An opportunity for advanced students of all ages to learn and gain insight into Bach’s Cello Suites from an acknowledged master. 

Please note places are strictly limited. For further information and application details, please contact info@musicatpaxton.co.uk by 01 June 2017.

Tickets £10.00 (concessions free entry) – unreserved.

NB: free to ticket holders for the evening concert.

Sunday 23 July 7.30pm Pieter Wispelwey in concert

J S Bach Three Suites for solo cello – No 3 in C, No 4 in E flat & No 5 in C minor

Full details and tickets

Pieter Wispelwey is equally at ease on the modern or period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in repertoire ranging from JS Bach to Schnittke, Elliott Carter and works composed for him.

Highlights of the 16-17 season include a play-direct project with the Sydney Symphony Orchestra, a performance of the complete Bach suites at Auditorium de Lyon and the City Recital Hall in Sydney, performances of Tavener’s Svyati with the Flanders Radio Choir and two recitals at King’s Place in London as part of their ‘Cello Unwrapped’ season. Pieter will also give series of extraordinary recitals at the Melbourne Recital Centre as part their Great Performer Series, where he will perform the complete Bach Suites, Beethoven’s complete works for cello and piano, and the two cello sonatas by Brahms over the course of three consecutive evenings.

Pieter Wispelwey enjoys chamber music collaborations and regular duo partners include pianists Cédric Tiberghien and Alasdair Beatson and he appears as a guest artist with a number of string quartets including the Australian String Quartet.

Wispelwey’s career spans five continents and he has appeared as soloist with many of the world’s leading orchestras including the Boston Symphony, Dallas Symphony, St Paul’s Chamber Orchestra, NHK Symphony, Yomiuri Nippon, Tokyo Philharmonic, Sapporo Symphony, Sydney Symphony, London Philharmonic, Hallé Orchestra, BBC Symphony, BBC Scottish Symphony, Orchestra of the Age of Enlightenment, Academy of Ancient Music, Gewandhaus Orchester Leipzig, Danish National Radio Symphony, Budapest Festival Orchestra and Camerata Salzburg. Conductor collaborations include Ivan Fischer, Esa-Pekka Salonen, Herbert Blomstedt, Yannick Nézet-Séguin, Jeffrey Tate, Kent Nagano, Sir Neville Marriner, Philippe Herreweghe, Vassily Sinaisky, Vladimir Jurowski, Louis Langrée, Marc Minkowski, Ton Koopman and Sir Roger Norrington.

With regular recital appearances in London (Wigmore Hall), Paris (Châtelet, Louvre), Amsterdam (Concertgebouw, Muziekgebouw), Brussels (Bozar), Berlin (Konzerthaus), Milan (Societta del Quartetto), Buenos Aires (Teatro Colon), Sydney (The Utzon Room), Los Angeles (Walt Disney Hall) and New York (Lincoln Center), Wispelwey has established a reputation as one of the most charismatic recitalists on the circuit

In 2012 Wispelwey celebrated his 50th birthday by embarking on a project showcasing the Bach Cello Suites. He recorded the complete Suites for the third time, released on the label ‘Evil Penguin Classics’. The box set also includes a DVD featuring illustrated debates on the interpretation of the Bach Suites with eminent Bach scholars Laurence Dreyfus and John Butt. A major strand of his recital performances is his performances of the complete suites during the course of one evening, an accomplishment that has attracted major critical acclaim throughout Europe and the US. “On paper it is a feat requiring brilliance, stamina and perhaps a bit of hubris. In practice Mr. Wispelwey proved himself impressively up to the challenge, offering performances as eloquent as they were provocative” ( New York Times).

Pieter Wispelwey’s impressive discography of over 20 albums, available on Channel Classic, Onyx and Evil Penguin Classics, has attracted major international awards. His most recent concerto release features the C.P.E. Bach’s Cello Concerto in A major with the Musikkollegium Winterthur, whilst he is also midway through an imaginative project to record the complete duo repertoire of Schubert and Brahms. Other recent releases include Lalo’s Cello Concerto, Saint-Saen’s Concerto no.2 and the Britten Cello Symphony with Seikyo Kim and the Flanders Symphony Orchestra, Walton’s Cello Concerto (Sydney Symphony/Jeffrey Tate), Prokofiev’s Symphonie Concertante (Rotterdam Philharmonic/Vassily Sinaisky.

Born in Haarlem, The Netherlands, Wispelwey’ studied with Dicky Boeke and Anner Bylsma in Amsterdam and later with Paul Katz in the USA and William Pleeth in the UK.
Pieter Wispelwey plays on a 1760 Giovanni Battista Guadagnini cello and a 1710 Rombouts baroque cello.

www.pieterwispelwey.com

(photo credit: Carolien Sikkenk)

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

Genetic predisposition! My dad was a cellist in the WDR Symphony Orchestra in Cologne. I didn’t however start playing the cello until I was 12 years old. When I was younger I always had a natural interest in the piano and at about 7 or 8 we got an electronic keyboard which quickly became my favourite toy. However for some reason still unbeknown to me, my parents never arranged formal piano lessons for me so I was almost entirely self-taught and didn’t have a proper piano lesson until I got to the RCM, by which time I was playing Beethoven Sonatas and all sorts of repertoire with far more enthusiasm than proper training!

At around 10 or 11 my parents suggested I should take up another instrument and I distinctly remember not thinking very much at all of the idea at the time (I just wanted to play the piano!), so I didn’t really get going on the cello for quite some time. Gradually the interest grew, but it wasn’t really until I started having lessons with Raphael Wallfisch at 15 that something clicked and I decided that this was what I wanted to do. Of course by that point I was so far behind everyone else that I had to do what other people would do in 10 years in 2! I worked incredibly hard and got into music college at 17, first in Hannover and then in London at the RCM.

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

I think my time at the RCM was hugely influential in terms of opening my eyes to the huge range of possibilities one has as a musician. Growing up and studying in Germany that wasn’t high on the agenda – you were expected to get an orchestral job and that was certainly the done thing in my own family! (My dad worked in the same orchestra for 43 years!) I think I am temperamentally wholly unsuited to knowing my schedule 12 months in advance, so discovering that your career can encompass many different aspects of performing and teaching was great and I ran with it. There is certainly no lack of diversity in my career now and I rarely know my full schedule even one week in advance!

As a cellist I think I always have soaked up influences not only from my teachers but also from many fantastic players (of all instruments) I have had the privilege of working with and that’s very much an ongoing process. I think it’s hugely important to be able to look at any piece of music you play not just through the prism of your own instrument, but to have a much wider base of knowledge and inspiration to drawn upon.

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

At the moment my greatest challenge is trying to find the perfect cello. This is hugely complicated by the fact that I am quite tall, but have absolutely tiny hands! Trying to find an instrument with the right proportions that also has the power and the quality to project in a large hall and keep up with the amazing instruments I am regularly surrounded by, is like trying to find a needle in a haystack. So far I found one perfect match – regrettably about £200,000 above budget!

Apart from that, the never-ending challenge is trying to keep on top of all my commitments (concerts, rehearsals, practice, travelling, students, managing a concert series etc…) and still have some sort of home life and down-time. Especially when your partner leads exactly the same life, trying to arrange going out for lunch or dinner, let alone a proper holiday, becomes a major logistical task! (And the laundry basket is constantly overflowing…)

Which performance/recordings are you most proud of?

Hmmm…tricky! I think playing Shostakovich’s second Piano Trio at the Purcell Room a few years ago would have to be up there. It’s such a scary piece for any cellist, so to do it well in a very pressurised environment was a huge relief.

Which particular works do you think you play best?

I think whatever I really get my teeth into, but very often that happens to be 20th century music.

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

Unfortunately I have found the choice to be less and less mine! In more than 10 years of touring the UK chamber music scene with my trio I found that, no matter what pieces we offered – and there were many, what promoters asked for remained largely unchanged. The repertoire favourites, sure to bring in a capacity audience, with only occasional forays into anything more adventurous.

So last year I took matters into my own hands and founded ChamberMusicBox, a London concert series where people only find out what’s on the programme as the concert unfolds! This year we have a pool of 25 fantastic players and each and every concert is a completely mixed bag of music for strings, woodwind, piano and occasionally even voice. I have had to learn phenomenal amounts of notes since the series began, but it is so satisfying!

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

I have been fortunate to perform in so many fantastic halls around the world, including some amazing brand new ones in Asia, but I think one of my favourite halls to play in would have to be Zurich’s Tonhalle. Both the small as well as the large hall have wonderful acoustics.

Favourite pieces to perform? Listen to?

One piece I never get tired of playing is Schnittke’s Piano Trio. It was actually the first trio I played at the RCM, and what was supposed to be a one-off concert actually started off my chamber music career path. We were incredibly fortunate to work on the piece with the late Alexander Ivashkin, Schnittke’s close friend and biographer, who brought the story behind the piece to live so vividly that it has ever since remained one of my very favourite works to perform. Sadly Sasha Ivashkin died three years ago, but everything he shared with us goes on stage with me every time I get to play it. It’s the most emotionally draining piece, but I just love it.

As a listener I am absolutely addicted to opera and singing in general.

Who are your favourite musicians?

Again, singers feature very heavily in that list: Placido Domingo, Jessye Norman, the great Italian bass Ferruccio Furlanetto, and many great singers of the 20th century such as Mirella Freni.

As a cellist growing up I have always had huge admiration for Leonard Rose. His playing was everything cello playing should be. But there are so many other players I love, too many to mention.

What is your most memorable concert experience?

I think I would have to go with the most comical one of my career to date here! Several years ago I played at a festival in Sussex on a hot July day. At the time I was (yet again!) trying out a very nice Italian cello which I considered buying and this cello happened to be fitted with a certain type of mechanical metal pegs (they have largely gone out of fashion – thankfully!) which really didn’t seem to like going from a hot car into a cold church. Less than an hour before the concert the first peg started to slip. And the next. And another. No amount of tuning, pushing or shoving would keep these pegs in place and half an hour before the concert I had to admit my predicament to the organiser. He calmly told me not to worry and that he’d quickly nip home to fetch a cello he had. Fifteen minutes later he returned with a cello rather peculiar in colour and even more peculiar in sound. I had no choice but to play the concert on this cello. Only afterwards was I told its history: bought for £2 in an antique shop in Plymouth, it was completely stripped of its original varnish and repainted in a different colour – with fence paint!

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

Being a great player isn’t enough to guarantee you a great career! Today’s music profession demands so much more of those who enter it and I think as teachers we have a responsibility to be very open and honest about that. I would encourage aspiring musicians to be incredibly proactive and open-minded as to where their career path as performers may lead as, quite frequently, it will be somewhere totally different from where you thought it would lead when you entered college. Of course the reality is that, especially in London, you are eventually likely to be combining numerous different types of work, from chamber music to sessions, orchestral freelancing, teaching etc… You need to be extremely adaptable.

What do you enjoy doing most?

Cooking for those around me! I can regularly be found in the kitchen late at night after a concert cooking for whoever happens to be sat around our dining table at the time.

 

Since graduating with honours from the Royal College of Music in 2007, Julia Morneweg has quickly established a remarkably versatile career as a soloist, chamber musician and orchestral player.

The recipient of an EMI Music Foundation Award, she made her London concerto debut in 2006 performing the Elgar Concerto at St John’s Smith Square which immediately led to further engagements including a performance of Haydn’s C major Concerto with the International Mahler Orchestra at the same venue as well as Elgar with the Ternopol Philharmonic Orchestra in the Ukraine. Other concerto performances have included Lalo in London and Vivaldi in Cologne. As a recitalist she has appeared around the UK, Belgium, Italy, Germany and at venues such as the Purcell Room, Oxford’s Holywell Music Rooms, Trieste Opera House, St. Martin in the Fields, the National Gallery, the Victoria and Albert Museum as well as the 2007 Charterhouse Festival (by invitation of renowned flautist Susan Milan) and the Tacoma International Music Festival, USA when she was only 16. Most recent festival appearances have included the Leamington, Lower Machen, Uckfield and Shipley Arts Festivals. Julia has collaborated with many renowned artists including Shlomo Mintz, Anna Kandinskaya, Mikhail Bereznitsky, Joan Enric Lluna, Sergei Podobedov, Kathron Sturrock, and Oleg Poliansky to name a few.

Julia Morneweg’s full biography