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

When I started playing piano and clarinet at Gnessin Music School, Moscow,  my first influence for composing was my performance – playing music with very bright and talented musicians. The main trigger, however, was performing in Messiaen’s Quatuor pour la fin du temps together with cellist Alexander Knyazev. It was a profound experience which unveiled to me the mysterious and cathartic power of great music.

Who or what were the most significant influences on your musical life and career as a composer? 

Paradoxically enough I would refer to great performers rather then great composers: Vladimir Horowitz, Glenn Gould, Rostropovich, Jascha Heifetz and other masters. Through their art of interpretation of great music I discovered the link between their endeavour to rediscover the composer’s world as they saw it, and the composer’s world as the composer saw it in its entirety.

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

Any new work or project seems the greatest challenge at the beginning and less so nearer the end.

What are the special challenges/pleasures of working on a commissioned piece? 

To be focused on the specific task of forming the project and then… to share an excitement with parties involved.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras? 

Probably the most pleasurable experience for me which unifies all these types of musicians is to the opportunity to discover musicians and their ability to respond the music.

This premise is based on my belief in the uniqueness and versatility of every singer or a member of ensemble or orchestra.

Which works are you most proud of?  

There are few, among them are two the most recent choral works: Prayers for Mankind, the Divine Liturgy of St John Chrysostom, and 24 piano pieces  written in 24 different keys.

Do you have a favourite concert venue? 

I would leave it to the audience, however a good church acoustic always adds something extra to the performance.

Who are your favourite musicians/composers? 

People like Miles Davis, John McLaughlin, Glenn Gould and some Spanish Renaissance composers.

What is your most memorable concert experience? 

The recent London première of the Divine Liturgy with the choir Tenebrae.

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

Complete honesty in writing music. For performers – relentless striving in achieving the most eloquent and original interpretation of the music.

What are you working on at the moment? 

I have just finished writing a piece for VOCES8 and about to start revising my Second String Quartet which I wrote for the Tippett Quartet.

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

Alive and with my family

What is your idea of perfect happiness? 

Absence of unhappiness

What is your most treasured possession? 

My family.

What do you enjoy doing most? 

Making people smile

What is your present state of mind? 

Enlightened and connected with my inner self.

Born in Moscow in 1955, Alexander Levine studied piano from the age of six at the Gnessin Music School (Moscow), and later he took up the clarinet. Upon graduation he was offered a place at the Moscow Gnessin Music Academy where he studied from 1976-1980. During his college years he also held the position of Principal Guitar in the Orchestra of Russian National Radio and Television.

In the years that followed he established himself as a composer working in collaboration with a variety of highly acclaimed performers in Russia. His compositions won prestigious awards from the Russian National Radio and Television in 1989, 1990 and 1991.

Since 1992 Alexander Levine has lived in the United Kingdom.

In 1993 he was awarded the honored Wingate Foundation Scholarship to study in the Postgraduate Composition course at the Guildhall School of Music and Drama. In that year many of his compositions received awards and won prizes at various composers’ competitions.

In 1994, in recognition of his achievements, he was awarded the GSMD Bursary to continue his studies in the Advanced Postgraduate Composition. He also did his Master Degree (MA) in Composition at the GSMD in 1995, studying under Prof.Gary Carpenter and Simon Bainbridge.

In 1994 he was commissioned to write music for the Barbican production of War and Peace, directed by Peter Clough, which was performed by the GSMD Symphony Orchestra on stage. The Times wrote about this work: “It is not often you go to the theatre and get an orchestra thrown in: not providing cues for numbers but underscoring dialogue with a grand swell, like a soundtrack for the big screen.”

He also was engaged as music director for the restoration of The Beggar’s Opera and Love’s Labour’s Lost.

In the following years Alexander collaborated with various artists such as Maria Freedman, Christian Forshaw, Stanzeleit/Jacobson Duo, Darragh Morgan, Mary Dullea, Fidelio Trio, Konstantin Boyarsky, Jonathan Powell, Andrew McNeill, Bozidar Vukovic, Tippett Quartet, Orlando Consort, BBC Singers, 21st Century Choir, Tenebrae, Mariinsky Opera Choir. Russia State Orchestra “Novaia Rossia”, Bel Canto Chorus.

alexanderlevine.com

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

I have never thought of it as a career. It is something more than that.  As far back as I can remember music has been the thing in my life, is and will be.

Who or what were the most important influences on your composing? 

Dr. Gordon McPherson, Ravel, Morton Feldman, John Adams, Steve Reich, Sibelius, Takemitsu, Olav Anton Thommessen, Harrison Birtwistle, Bartok, Shostakovich, Talk Talk, Prefab Sprout, Bach, Admiral Fallow, A-ha, John Martyn, Ligeti, Koechlin, Satie, Nicole Lizee, Nancarrow, Mahler, Mozart, Beethoven, Webern, Yannis Kyriakides, John Cage, John Lautner, William Boyd, Steven Hall, Zoe Strachan, Primo Levi, Van Gogh, Rothko, Rembrandt, Pollock, Renee LeGrande, David Hockney, Stanley Kubrick, John Keats, Robert Burns, Norman McCaig, Wilfred Owen, Marion Colyer, Shakespeare, Star Trek, Sergei Leone, nature, travel, science and space flight.

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

Every piece offers its own challenges. If I were to pick one it would be the first proper piece I wrote for orchestra – Ridge A. It is all about the coldest, driest and calmest place on earth which was discovered in 2009.

I spent nine months writing it alongside the rest of my folio in the final year of my BMus  and the technical leap it required from me was significant. I studied a lot of the orchestral repertoire and sat in on orchestral rehearsals at college. I realised afterwards that Takemitsu and Sibelius were important influences on the piece.

Standing in front of eighty people and answering questions about your work is quite intimidating, but it was a great experience in the end. The orchestra played it beautifully. The conductor, Christian Kluxen, was fantastic and I hope I can work with him again.

Which compositions are you most proud of?

I was very proud to be commissioned by the Royal Scottish National Orchestra on their collaboration – ‘Heart of Govan’ – with CRAN Theatre to celebrate the peoples and history of Govan and their historic Govan Parish Church.

Also my piece ‘Sober Observer Sees (HD)’ to be selected by Ensemble Modern for performance in 2012.

Do you have a favourite concert venue to perform in? 

My favourite venue in Glasgow is The City Halls, which sound fantastic.

Favourite pieces to listen to? 

Ravel’s ‘Piano Trio in A Minor’ and ‘La Valse’, The ‘Adagietto’ from Mahler 5, Ligeti’s String Quartets, Thomessens ‘From Above’ and ‘Beyond Neon’ .

Who are your favourite musicians? 

Lots! Many for different reasons. I love Glen Gould, especially his recordings of Bach’s Goldberg Variations. Nina Simone is a very powerful performer.

I have been lucky enough to have had some incredible performances of my work and I am very grateful to the hard work and dedication shown by those musicians.

What is your most memorable concert experience? 

The guitarist Pavel Steidl visited the RCS twice and each concert, all solo guitar, were amazing.

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

Work hard, be true to yourself but admit to yourself when you know other people’s advice is valid. Always do what is best for the music, not yourself, and have fun. Only write music you love and write about what you want.

What are you working on at the moment?

I am currently making final edits on a 15 minute solo guitar work called ‘Treasures’. It is in three movements and is about the relationship between memory and objects, such as old photographs. It is dedicated to Anthony Winton.

I am about to start work on a new piece and there are a few projects in the pipeline.

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

Living on the coast of the Mediterranean and supporting myself by commissions!

Richard Greer was born and raised in Glasgow, Scotland where he has recently completed a Masters in Composition at the Royal Conservatoire of Scotland studying with Dr. Gordon McPherson.  His works have been performed by various individuals and ensembles, including Guitarist Sean Shibe, Soprano Claire Thompson, Trumpeter Andrew Connell-Smith, MusicLab, the Viridian Quartet, The Expedition, Red Note Ensemble, Said Ensemble, the RCS Symphony Orchestra, the Royal Scottish National Orchestra on their ‘Heart of Govan’ Project, and Ensemble Modern.

http://composergreer.co.uk/

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Who or what inspired you to take up the piano and composing, and make it your career? 

I salute my late mother for insisting that I continue with my piano studies despite my pre-Grade 1 tantrums. Once I’d got through the tricky first stage, there was no stopping me. As an adult, I decided to make music my career after three years studying marketing. This time without music showed me that my life would be barren without it. I had a eureka moment, signed up for a music degree at Southampton University and never looked back.

Who or what were the most important influences on your playing/composing? 

My father showed me that I could make anything from anything, and not to put up barriers in the creative process. This idea of creativity was inherent in my upbringing and has given me freedom in my songwriting to get across unique emotions and ideas in a powerful way. I have always been hooked on the craft of songwriting, using the millions of notes and words in my head and weaving them together. The process is much like conceiving and giving birth to a new life, spiritual and mechanical at the same time.

I was fortunate to be taught the piano by composer Debbi Parks. Debbi encouraged my creativity and I often played her my ideas in my lessons, learning the piano without pressure. Debbi has been a great source of inspiration to me and has also guided my career. We are both ISTD ballet pianists (Debbi wrote some of the ISTD music) and also improvise for the Royal Opera House’s ‘Chance to Dance’ education programme!

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

Balancing family life with creativity is always a challenge but my children are very grounding and balance is a good thing. Like most artists, I find it hard to self promote. I don’t have an agent and whilst I enjoy the freedom that brings, my ‘shy writer’ side is filled with dread when I have some new music to market.

Which performances/compositions/recordings are you most proud of?  

I am very proud of my 2012 album, ‘My Garden’. The title song was written about my children and I dedicated the album to them. I was delighted when Code: Marla remixed two of my songs and it’s amazing to hear piano based songs with beats and bass. I particularly love The Big Freeze remix. This song means a lot to me as it is about my recovery after a head-on car crash I had three years ago.

Do you have a favourite concert venue to perform in? 

I don’t perform extensively but every few months I sing at the Grey Lady in Tunbridge Wells. It’s a wonderful place and I have met many inspirational musicians there. The music scene in Tunbridge Wells is thriving and Paul Dunton has played a huge part in this, providing musicians like me with the opportunity to perform in a magical setting.

Favourite pieces to perform? Listen to? 

I love playing Debussy and the second Arabesque is my signature piece. Bach’s Preludes and Fugues are intriguing, beautiful and highly addictive. I have recently discovered a strange connection to the music of Shostakovich and am looking forward to trying out some of his piano works (any suggestions?). I listen to a wide range of music, from electronic, to classical, to folk. It’s all music!

Who are your favourite musicians? 

My favourite songwriters are Neil Hannon (Divine Comedy) and Martin Gore (Depeche Mode) and Trent Reznor. PJ Harvey, Tori Amos and Kate Bush have influenced me greatly and I see them as women of musical integrity and emotional depth. I am also in awe of any musician who is self taught and has learnt everything by ear. Such musicians seem to have great musical insight and intuition as well as incredible determination.

What is your most memorable concert experience? 

A charity piano recital I did to help me towards doing my diploma in 2011. As an unseasoned Classical performer I was well out of my comfort zone but I gained much from the experience. I find the phrase ‘no pain, no gain’ is very true of Classical piano but joy of a great performance (even to yourself in your own living room) is exhilarating.

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

Be authentic, have integrity, listen, don’t compare yourself to others, don’t rush. Remember why you love music.

What are you working on at the moment? 

A song for a wedding; I love commissions!

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

An Ivor Novello would be nice! I plan to have to have several more albums under my belt. I hope to continue and grow my work as a ballet pianist and also develop my work in music education as a music practitioner and piano teacher.

Piano-wise, I aim to become adept in Blues piano and also nail a few of the Chopin Études, the last of which will probably take the most time!

Frances Yonge is a songwriter, pianist, singer and improviser. She is also a creative musician for Royal Opera House Education and music practitioner.

Frances’ album My Garden is available now. Listen to sample tracks:

See more at: www.francesyonge.co.uk

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

My parents tell me that I started to learn music when I was 3 years old, so I had no choice but to become a musician! Apparently, when my parents and I were on holiday in France, one late afternoon we heard one of the “Orchestra in the Park” concerts. I stayed hypnotised for more than an hour and then announced that I wanted to play the violin. Soon after that I began to learn music and started to compose a few years later. I still have a clear memory of wanting to be like Beethoven when I was eight years old!

Who or what were the most important influences on your composing?

I have been inspired by many great composers from the past (including Bach, Beethoven, Brahms, Mozart, Schubert, Prokofiev, Stravinsky and many others) but can say that my greatest influence has been my father, who is an artist. We often discussed all aspects of creation and tried to find parallels between painting and music. Our discussions were immensely pleasing and challenging and I find that these abstract exchanges have helped me being the composer I am now.

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

The white empty page always has and always will be the greatest challenge of all. Maybe composing would not be such a great passion if it weren’t for the white page!

Which compositions are you most proud of?

I feel proud of having written pieces for many genres including orchestral, vocal, chamber music and solo instruments. But the first time I heard my orchestral piece The Big Bang and Creation of the Universe premiered at the Sheldonian Theatre in Oxford I felt really proud to have written what I felt was my first symphony. I am very attached, in particular, to the second movement, Peace, which has a natural flow and evokes so many deep human feelings and longings.

Do you have a favourite concert venue to perform in?

As long as I love the music and the musicians, it can be anywhere!

Favourite pieces to listen to?

It varies. At the moment I am very interested in writing concertos, so I have been listening to the Beethoven Piano Concertos a lot.

Who are your favourite musicians?

There are many great musicians I admire and am lucky to work with. During my formative years I spent a considerable amount of my time listening to some special recordings, which included the Menuhin/Furtwangler’s Beethoven Violin Concerto, the Oistrakh/Rostropovich Brahms’ Double Concerto, Rubinstein’s Chopin Ballades and Richter performing Schumann’s Fantasie opus 17. Having heard them so many times I can replay them in my head whenever I want to!

What is your most memorable concert experience?

I would have to say that this must be the concert, which made me want to become a musician when I was three years old. It must be lodged somewhere in my subconscious….!

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

Two ideas that complement each other: work on making yourself more than you are every day of your creative life (in other words, the artistic life is passionate Sisyphean work), and secondly trust your judgement and do not believe anyone else!

What are you working on at the moment?

I am currently writing a violin concerto for Dmitry Sitkovetsky to be premiered in February 2014.

What is your idea of perfect happiness?

Blue sky, beautiful music and my wife and daughters with me!

Interview date: March 2013