Why would a talented leading British composer include a document called a Failure CV on her website, alongside details of her extensive oeuvre and the many plaudits for her work?

British composer Cheryl Frances-Hoad is not alone in including such a document on her website. She prefaces it with the comment that “for every success I have, there are usually a LOT more failures that nobody ever gets to hear about”, and each entry on this Failure CV includes a note of how each project or submission turned out. On one level, it’s sobering reading – proof that composers (and musicians in general) must work hard and that success is often hard won. But it’s also rather inspiring and positive. Its honesty shows that Cheryl, and others like her, accept that a successful career trajectory is paved with many setbacks and failures, and it reveals a certain confidence which seems far more genuine than a list of accolades, prizes and press reviews.

The more usual kind of CV lists successes only, but this does not represent the bulk of one’s efforts. Nor does it acknowledge that failure is a necessary part of progress and without it, one cannot reflect on nor learn from those failures.

A composer can “hide” their failures. They need not mention the rejected funding applications nor the works which never got commissioned. A performing musician, however, exposes themselves to criticism in the very public forum of a live concert and errors will be remarked upon by audiences and critics. As musicians, failure can have a very profound effect on how we approach our music making and professional career. It can create feelings of personal humiliation which in turn may stifle our ability to learn and develop. Sadly for many of us, the “wrongness” of making mistakes is inculcated in us from a young age – by parents, teachers, and peers – and such prejudices combined with a constricted mindset lead us to blame and criticise ourselves for our failings

In fact, mistakes and slips in concert are a very tiny part of the “setback-reflect-progress” habit of the serious musician, who regards mistakes as positive learning opportunities rather than unresolved failures. Failure is part of creativity and mastery, and without it we cannot learn, explore, experiment, expand our horizons, and progress

It also fosters resilience and equips one with the tools to cope with the exigencies of one’s creative life. Being honest about failure is empowering, for oneself and for others, as it can help them deal with their own shortcomings and career setbacks, and encourage them to stick to the task.

What Cheryl Frances-Hoad’s Failure CV so neatly proves is that failure – and a willingness to learn from it – is a fundamental part of success: without those setbacks, Cheryl may never have reached the pre-eminent position she now holds in classical music in the UK and beyond.

Meet the Artist – Cheryl Frances-Hoad

Why would a talented leading British composer include a document called a Failure CV on her website, alongside details of her extensive oeuvre and the many plaudits for her work?

British composer Cheryl Frances-Hoad is not alone in including such a document on her website. She prefaces it with the comment that “for every success I have, there are usually a LOT more failures that nobody ever gets to hear about”, and each entry on this Failure CV includes a note of how each project or submission turned out. On one level, it’s sobering reading – proof that composers (and musicians in general) must work hard and that success is often hard won. But it’s also rather inspiring and positive. Its honesty shows that Cheryl, and others like her, accept that a successful career trajectory is paved with many setbacks and failures, and it reveals a certain confidence which seems far more genuine than a list of accolades, prizes and press reviews.

The more usual kind of CV lists successes only, but this does not represent the bulk of one’s efforts. Nor does it acknowledge that failure is a necessary part of progress and without it, one cannot reflect on nor learn from those failures.

A composer can “hide” their failures. They need not mention the rejected funding applications nor the works which never got commissioned. A performing musician, however, exposes themselves to criticism in the very public forum of a live concert and errors will be remarked upon by audiences and critics. As musicians, failure can have a very profound effect on how we approach our music making and professional career. It can create feelings of personal humiliation which in turn may stifle our ability to learn and develop. Sadly for many of us, the “wrongness” of making mistakes is inculcated in us from a young age – by parents, teachers, and peers – and such prejudices combined with a constricted mindset lead us to blame and criticise ourselves for our failings

In fact, mistakes and slips in concert are a very tiny part of the “setback-reflect-progress” habit of the serious musician, who regards mistakes as positive learning opportunities rather than unresolved failures. Failure is part of creativity and mastery, and without it we cannot learn, explore, experiment, expand our horizons, and progress

It also fosters resilience and equips one with the tools to cope with the exigencies of one’s creative life. Being honest about failure is empowering, for oneself and for others, as it can help them deal with their own shortcomings and career setbacks, and encourage them to stick to the task.

What Cheryl Frances-Hoad’s Failure CV so neatly proves is that failure – and a willingness to learn from it – is a fundamental part of success: without those setbacks, Cheryl may never have reached the pre-eminent position she now holds in classical music in the UK and beyond.

Meet the Artist – Cheryl Frances-Hoad

Headshot_AlexandraHarwood

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

I started writing music when I was four, so I have no memory of why this was! My mother said that when I was three, I would watch television, go to the piano and play the music I’d just heard. I also loved placing my favourite story-books on the piano and would make up accompaniments as I read them. When I started school (Bedales School) aged four, I had piano and theory lessons and the head of music encouraged me to compose musicals! I wrote my first musical, ‘The Wombles’ aged four, which the school produced and then during the rest of my school life there (until I was 18), I wrote several more musicals, which were all performed. I never questioned that I was anything other than a composer (even though I learned the piano and clarinet during those school years), except I had a secret fantasy to be a heart surgeon!! I was a huge film and television addict as a child, which I think laid the ground for my career as film composer.

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

Along the way I’ve had some incredible teachers to whom I am indebted for their guidance, encouragement and teaching and to list them all would take a whole page, but Melanie Fuller at Bedales and Joseph Horovitz, during my undergraduate study at the RCM gave me the most formative and solid foundation that I rely on still to this day. Milton Babbitt, when I did my Masters at the Juilliard School, gave me much worldly advice and shared his experience and knowledge, even though musically we were worlds apart. For concert/classical compositions, my most significant influences are Stravinksy, Prokofiev, Ravel, Britten, Shostakovich and Sondheim; put those all in a pot and stir them up and out comes something like me!

For my theatre and film compositions, it is normally the film or play, director and producer that will dictate what music is needed and I can write in a wide variety of styles, but in the end I think my melodic voice comes through.

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

As a classical composer, earning a living was by far the greatest challenge! And in my 40s it was juggling being a single parent of three children whilst trying to start a new path towards film composing. I owe my children everything for their eternal patience during the time I did a second Masters degree at the National Film and Television School and since then for practically having no mother available when I’m chained to my desk up against tight film deadlines!

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

It was a very unexpected moment when Leon Bosch commissioned me to write four pieces for I Musicanti’s 2017/18 concert series at St John’s Smiths Square. In my mind, I’d turned my back on writing concert music, once I’d decided to focus on being a film composer. Ironically, last year, in a recording session for a feature film that I scored for Disney, ‘Growing Up Wild’, Leon was in the session orchestra and discovered my music through that. His commissioning me was like life tapping me on the shoulder, making sure I did not forget my roots!

I have found writing concert music again frightening, as I’ve got so used to writing to picture and having a film to support. even if I prefer having those constraints!

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

For a commissioned piece, it’s important to know the ability of the players you are writing for, along with the planned time they have to rehearse. I think for a future life of any piece, it’s important for the musicians to know this is a piece they can program again and that it’s performable! With these particular commissions for I Musicanti, I am aware I have virtuosic musicians to write for, and I worry that I’d let them down by not writing something that gives them a platform to show their skills and gift. But at the same time, I have tried not to let this cloud my idea of what the piece should be as a whole.

There is no greater pleasure than hearing my work brought to life my real musicians and in the case of i musicanti, world-class musicians.

Of which works are you most proud?

There are a few pieces I wish could be performed again. I composed two pieces that had Royal premieres; a piano quintet for my father’s 70th birthday that was ‘Theme and Variations’ of Happy Birthday, performed in front of Prince Charles and a piece for chamber choir, ‘God of the Sea’ performed for Princess Margaret at Windsor.

I think the concert piece I am most proud of was my cantata ‘The Happy Prince’ which was performed with narrators, choir and orchestra at St John’s Smith’s Square in 1993. The reviews it received recommended it was performed at the Proms and that is still something I dream of. My father wrote the libretto and we would both love to hear it performed again.

How would you characterise your compositional language?

My concert work is melodic and probably the best description of its harmonic language would be neo-classical/bi-tonal.

How do you work?

I have a studio at home for my film composing, which involves a computer, screens and full size Roland RD700 weighted keyboard. But right behind me sits my Steinway Grand, which I bought in the New York Steinway showroom after I graduated from Juilliard. It’s my most treasured possession and signed inside by Steinway’s grandsons.

Most of my film work and all my concert work begins at the piano, with manuscript paper and pencil, and eventually gets put into the computer for editing.

Who are your favourite musicians/composers?

I have very eclectic taste and impossible to list all, but to name a few, other than my main influences I listed above, I’d include (in no particular order): Leonard Bernstein, John Williams, James Horner, Chet Baker, Bach and Stevie Wonder!

What is your most memorable concert experience?

Seeing Robert Carson’s production of Britten’s opera, ‘A Midsummer Night’s Dream’ in Aix-en-Provence’s open-air theatre in 1991. One of the most magical experiences I’ve ever had.

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

Perseverance, don’t listen to naysayers and keep a still centre!

What is your idea of perfect happiness?

Hanging out with my three grown up kids and dogs at home, wearing pjs and drinking cups of tea and watching a movie with them! This is always perfect happiness for me.

What is your most treasured possession?

My late mother’s wedding ring, that I wear, and my Steinway Grand piano.

What do you enjoy doing most?

I’m most at peace when I’m working.


Alexandra Harwood is an award-winning film composer, whose films have screened worldwide and include awards and nomination for BAFTA Cymru, BIFA, Anima Mundi, Edinburgh Film Festival, IDFA and Locarno.

After graduating from the Royal College of Music (Dip Mus) and then The Juilliard School (MA) Alexandra was composer in residence for the Juilliard Drama Division, during which time wrote for theatre productions in New York and England. Amongst numerous commissions that have been performed world wide are The Happy Prince (cantata for soloists, chorus and orchestra) libretto by Ronald Harwood, St John’s Smith’s Square, London; Untitled (voice and percussion) for Audra MacDonald, Avery Fisher Hall, NY; and  Sonatina (alto flute and pianoThe National Flute Convention, chosen repetoire,  2009,USA ; Theme and Variations-  written for Sir Ronald Harwood’s 70th Birthday, performed in the presence of HRH The Prince of Wales.

Experience in theatre and concert work led to taking an MA in film composition at the National Film and Television School, which began a career as a film composer.

Film scores include, Dancing in Circles (BAFTA Cymru winner 2015 dir. Kim Strobl), What A Performance! Pioneers of Popular Entertainment (BBC) , Z1 (BIFA winner 2013 dir. Gabriel Gauchet), Girlfriend in a Coma (BBC), Harry Potter Celebration (Warner Bros.), The Substitute (dir. Nathan Hughes-Berry), Satan Has a Bushy Tail (Film London. dir. Louis Paxton), Kids Say (Flourman Productions. dir. Lilian Fu), The Key (MewLab Productions. dir. Kim Noce and Shaun Clark), No Man’s Land (IDFA nomination 2013 dir. Michael Graverson), Four and Flat Frog (Inkymind Studios), Automatic Flesh (Ballet Rambert).

alexharwood.com

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

The piano was the biggest and loudest thing in the house so I turned to playing the piano and never looked back. Both my mum and dad worked on their own projects in life and so the concept of working for another was alien to me. A life in music was always on the cards and I just kept doing what I loved and after a few twists and turns, here I am.

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

I know it sounds cheesy but it’s just all and everything that’s going on in my life at the time. Who I meet. I don’t listen to music anywhere near as much as people may think but fill my days going down various rabbit holes usually around technology or some collaboration. Recently working on the play, Harry Potter and the Cursed Child,  I learned a LOT from Gareth Fry, the sound FX designer, that I found as a constant source of inspiration for the music. Growing up I loved going to raves and have always loved the energy but equally would the next evening go to hear a performance of some Arvo Paert. I’ve not really been someone so into lyrics. Perhaps the biggest influence on my lyrics was working with Guy Sigsworth when I was in the duo Frou Frou. Here I learned not just what it’s like to sing my lyrics, but actually more importantly what it’s like to listen to them. I’ve never just let anything go as as result since!

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

The music industry, the slowness of payments (if at all), not knowing what’s going to come in or how when I was signed to various labels over my first 10 years of my career. Later in life, with the development of the Mi.Mu gloves, it was funding and lack of resource to good advice in growing small businesses. All my creative endeavours I would never change but the business side is 90% tiresome when it comes to recorded music and flow of rights. I am actively hoping to help this shift toward a music industry that makes sense for music makers in the emergence of a music maker database via a decentralised Identity tool we call The Creative Passport.

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

The new set of limitations in each collaboration I find is actually that which drives my creativity the most, or learning a new subject matter. Time is also one of those limitations when you’re working with others but this is equally welcome. It’s the art of letting go and just sometimes being happy with being good enough rather than always going that extra last mile at 5 in the morning for a month. The diversity is what keeps me feeling alive and if there’s one constancy in my creative life, it’s that I’m always take on projects I literally know nothing about at first because I want to be taken to new places in my mind.

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

In my career I’ve always been able to choose the people I work with so I can honestly say I have had no real challenges, the pleasures are endless and if I find someone I really love to work with, I try my best to have an excuse to work with them again as the best combo is when you get to work with people you love to be with, not just find the collaborations challenging or interesting.

Of which works are you most proud?

It’s not just coz it’s my latest but I am very happy with the album of music from the Harry Potter and the Cursed Child play. It’s given me a real chance to share so much of my musicality in one body of work. It tested my theory skills in the many transitions between so many different tempos, key and time signatures as a result of weaving together 100 cues into a hopefully enjoyable album. I’ll probably never have another excuse quite like it to share so much past work in a new context. Also for many people they consider me a song writer yet here there is only a minute’s worth of lyrics amongst 78 minutes of music, so I get to shine a light on all the other parts of music making I so enjoy.

How would you characterise your compositional language?

I’m finding answering this question quite hard! I’ve never had to try and describe it before. A sound for me often has precedence in the studio above a chord structure and I tend to write and produce at the same time. I do seem to have lot of arpeggios in my work and for pop music, or whatever it is I write, it’s pretty dynamic. I do play with patterns and layers as I like to get a lot out of a motif. I get a bit tired of my old tricks and so actively seek out projects to help me move on, this could be working in a different country or taking on writing music for a different format or media.

How do you work?

I generally work alone on the music in my studio though enjoy collaboration with others greatly.  I work long hours at a stretch If I’m lucky and get into a flow. I’ve always done this in the small hours though with a child and so many projects outside of making music, I’ve had to get better and finding that flow on tap whenever I have half a moment spare! To be honest though, how I work or approach a song is often wildly different each time I start as usually the distance between pieces is months these days, I feel I almost have to learn how to do it all over again! The Harry Potter & The Cursed Child play is the first time in my life I’ve ever reused old work. I’ve always started from scratch, as I’ve never really got around to having a particular way of writing as even when something really works I am so forgetful I’d not remember to try it again.

Who are your favourite musicians/composers?

I find it quite exhausting and upsetting to know there’s so much music out there that I’d love but may never get to know. My friend told me the other day that it’d take 170 years of constant listening to everything on Spotify once and that’s nowhere even near all the music in the world to be discovered. To add to this I don’t make time to listen to music amongst everything else. I am lucky to know many incredible musicians and composers and just their creations alone sustains and enable me to enjoy the time I get to listen to music. Jon Hopkins always has me revelling in awe of his sound works and attention to detail, Improvisationally with live electronic music has to be the genius that is Tim Exile. Mica Levi I love as she’s written both film and pop music I’ve loved and I’m just discovering the tech prowess of Emilie Simon, so after I’ve listened to her music, I may add her to the list too!

As a musician, what is your definition of success?

To be sustained by your creative output but to never have to repeat yourself musically to generate more income.

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

Find things that interest you and see where it takes you. Say yes to things you feel are slightly out of your comfort zone often. Always complete a project if others are depending on you.

Where would you like to be in 10 years time?

I would like to be in a place where there is little to no admin in my life around getting work discovered and paid for. The inefficiency of the music industry and how little it really supports music makers irritates me so much. I hope in 10 years time The Creative Passport or something else will be helping to solve these issues. If there’s any musicians reading this and curious to know more, please go to myceliaformusic.org/creative-passport. And so with that, I long and live for flow in my creative, family, social and business lives, so they seamlessly coexist as often and effortlessly as possible.


Imogen Heap is a self-produced British recording artist. She has written and produced four solo albums, one as one half of Frou Frou, and has collaborated with countless and varied artists including Jeff Beck, Taylor Swift, Mika and Josh Groban. She has two Grammys, one for engineering and another for her contribution to Taylor Swift’s ‘1989’, and is also the recipient of the Ivor Novello Award, The Artist and Manager Pioneer award, the MPG Inspiration Award and an honorary Doctorate of Technology for her MI.MU Gloves work. Earlier this year she won a Drama Desk Award for Outstanding Music in a Play for Harry Potter and the Cursed Child, out now on Sony Classical.  In 2014 she envisioned a music industry ecosystem through Mycelia and released ‘Tiny Human’, the first song to use smart contracts on a blockchain. This month, Heap embarks on a year-long music and technology world tour.

imogenheap.com

(Photo: Emilio Madrid-Kruser)

 

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

The piano was the biggest and loudest thing in the house so I turned to playing the piano and never looked back. Both my mum and dad worked on their own projects in life and so the concept of working for another was alien to me. A life in music was always on the cards and I just kept doing what I loved and after a few twists and turns, here I am.

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

I know it sounds cheesy but it’s just all and everything that’s going on in my life at the time. Who I meet. I don’t listen to music anywhere near as much as people may think but fill my days going down various rabbit holes usually around technology or some collaboration. Recently working on the play, Harry Potter and the Cursed Child,  I learned a LOT from Gareth Fry, the sound FX designer, that I found as a constant source of inspiration for the music. Growing up I loved going to raves and have always loved the energy but equally would the next evening go to hear a performance of some Arvo Paert. I’ve not really been someone so into lyrics. Perhaps the biggest influence on my lyrics was working with Guy Sigsworth when I was in the duo Frou Frou. Here I learned not just what it’s like to sing my lyrics, but actually more importantly what it’s like to listen to them. I’ve never just let anything go as as result since!

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

The music industry, the slowness of payments (if at all), not knowing what’s going to come in or how when I was signed to various labels over my first 10 years of my career. Later in life, with the development of the Mi.Mu gloves, it was funding and lack of resource to good advice in growing small businesses. All my creative endeavours I would never change but the business side is 90% tiresome when it comes to recorded music and flow of rights. I am actively hoping to help this shift toward a music industry that makes sense for music makers in the emergence of a music maker database via a decentralised Identity tool we call The Creative Passport.

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

The new set of limitations in each collaboration I find is actually that which drives my creativity the most, or learning a new subject matter. Time is also one of those limitations when you’re working with others but this is equally welcome. It’s the art of letting go and just sometimes being happy with being good enough rather than always going that extra last mile at 5 in the morning for a month. The diversity is what keeps me feeling alive and if there’s one constancy in my creative life, it’s that I’m always take on projects I literally know nothing about at first because I want to be taken to new places in my mind.

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

In my career I’ve always been able to choose the people I work with so I can honestly say I have had no real challenges, the pleasures are endless and if I find someone I really love to work with, I try my best to have an excuse to work with them again as the best combo is when you get to work with people you love to be with, not just find the collaborations challenging or interesting.

Of which works are you most proud?

It’s not just coz it’s my latest but I am very happy with the album of music from the Harry Potter and the Cursed Child play. It’s given me a real chance to share so much of my musicality in one body of work. It tested my theory skills in the many transitions between so many different tempos, key and time signatures as a result of weaving together 100 cues into a hopefully enjoyable album. I’ll probably never have another excuse quite like it to share so much past work in a new context. Also for many people they consider me a song writer yet here there is only a minute’s worth of lyrics amongst 78 minutes of music, so I get to shine a light on all the other parts of music making I so enjoy.

How would you characterise your compositional language?

I’m finding answering this question quite hard! I’ve never had to try and describe it before. A sound for me often has precedence in the studio above a chord structure and I tend to write and produce at the same time. I do seem to have lot of arpeggios in my work and for pop music, or whatever it is I write, it’s pretty dynamic. I do play with patterns and layers as I like to get a lot out of a motif. I get a bit tired of my old tricks and so actively seek out projects to help me move on, this could be working in a different country or taking on writing music for a different format or media.

How do you work?

I generally work alone on the music in my studio though enjoy collaboration with others greatly.  I work long hours at a stretch If I’m lucky and get into a flow. I’ve always done this in the small hours though with a child and so many projects outside of making music, I’ve had to get better and finding that flow on tap whenever I have half a moment spare! To be honest though, how I work or approach a song is often wildly different each time I start as usually the distance between pieces is months these days, I feel I almost have to learn how to do it all over again! The Harry Potter & The Cursed Child play is the first time in my life I’ve ever reused old work. I’ve always started from scratch, as I’ve never really got around to having a particular way of writing as even when something really works I am so forgetful I’d not remember to try it again.

Who are your favourite musicians/composers?

I find it quite exhausting and upsetting to know there’s so much music out there that I’d love but may never get to know. My friend told me the other day that it’d take 170 years of constant listening to everything on Spotify once and that’s nowhere even near all the music in the world to be discovered. To add to this I don’t make time to listen to music amongst everything else. I am lucky to know many incredible musicians and composers and just their creations alone sustains and enable me to enjoy the time I get to listen to music. Jon Hopkins always has me revelling in awe of his sound works and attention to detail, Improvisationally with live electronic music has to be the genius that is Tim Exile. Mica Levi I love as she’s written both film and pop music I’ve loved and I’m just discovering the tech prowess of Emilie Simon, so after I’ve listened to her music, I may add her to the list too!

As a musician, what is your definition of success?

To be sustained by your creative output but to never have to repeat yourself musically to generate more income.

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

Find things that interest you and see where it takes you. Say yes to things you feel are slightly out of your comfort zone often. Always complete a project if others are depending on you.

Where would you like to be in 10 years time?

I would like to be in a place where there is little to no admin in my life around getting work discovered and paid for. The inefficiency of the music industry and how little it really supports music makers irritates me so much. I hope in 10 years time The Creative Passport or something else will be helping to solve these issues. If there’s any musicians reading this and curious to know more, please go to myceliaformusic.org/creative-passport. And so with that, I long and live for flow in my creative, family, social and business lives, so they seamlessly coexist as often and effortlessly as possible.


Imogen Heap is a self-produced British recording artist. She has written and produced four solo albums, one as one half of Frou Frou, and has collaborated with countless and varied artists including Jeff Beck, Taylor Swift, Mika and Josh Groban. She has two Grammys, one for engineering and another for her contribution to Taylor Swift’s ‘1989’, and is also the recipient of the Ivor Novello Award, The Artist and Manager Pioneer award, the MPG Inspiration Award and an honorary Doctorate of Technology for her MI.MU Gloves work. Earlier this year she won a Drama Desk Award for Outstanding Music in a Play for Harry Potter and the Cursed Child, out now on Sony Classical.  In 2014 she envisioned a music industry ecosystem through Mycelia and released ‘Tiny Human’, the first song to use smart contracts on a blockchain. This month, Heap embarks on a year-long music and technology world tour.

imogenheap.com

(Photo: Emilio Madrid-Kruser)

 

Clara Schumann Festival at St John’s Smith Square 22-24 February 2019

Celebrating the 200th Anniversary of her birth

On Fri 22 Feb – Sun 24 Feb 2019, St John’s Smith Square celebrates the 200th anniversary year of Clara Schumann’s birth. Born in Leipzig in 1819, Clara Schumann is remembered nowadays as the wife of Robert Schumann and close friend of Johannes Brahms. This three-day festival hopes to shed some light on the various facets of Clara’s life – her role as an international pianist, a mother, friend, and composer. Although a significant portion of her compositions are for solo piano, Clara did write 29 Lieder, most of which are not featured often enough in recital programmes.

On this note, the Clara Schumann Festival opens with a very rare opportunity to hear Clara’s complete published songs, 29 settings in total. Renowned Belgian soprano Sophie Karthäuser shares the programme with the rising English tenor Alessandro Fisher (Winner of 2016 Kathleen Ferrier Competion and BBC New Generation Artist), accompanied by Eugene Asti who recorded The Songs of Clara Schumann on the Hyperion label.

Continuing the Festival’s particular focus on Lieder, Saturday 23 Feb 2019 begins with a Lieder Masterclass led by Eugene Asti. St John’s Smith Square are delighted to welcome three emerging singer-pianist duos from Oxford Lieder Young Artists, each of whom will explore a work by Clara Schumann plus another piece associated with her.

In their early years of marriage, Robert and Clara devoted considerable time to the study of fugue and counterpoint, notably Bach’s complete Well-Tempered Clavier which Robert referred to as his “daily bread”. Suitably titled “The Old Masters” (a term used by Clara to refer to the likes of Bach and Handel), Saturday’s afternoon recital juxtaposes Bach’s Prelude and Fugue No. 3 in C sharp BWV848 (a staple piece from Clara’s recital repertoire) with three of Clara’s own works from 1845, all performed by Gamal Khamis (Winner of the accompaniment prizes at the 2017 Royal Overseas League and Ferrier Awards competitions). The concert ends with another piece that nods towards the Baroque – Brahms’ Handel Variations Op. 24 (dedicated to Clara), performed by Mishka Rushdie Momen whom Imogen Cooper has hailed as “a really compelling talent”, garnering high praise for her “rare ability to communicate the essential meaning of whatever she plays” (Richard Goode).

The second day of the Clara Schumann Festival concludes with familiar numbers from Robert’s Myrthen, which he presented to Clara as a gift on their wedding day, and some Rückert settings from Clara and Robert’s joint opus. Entitled “Clara & Robert”, this programme also includes Clara’s early Variations a Theme by Robert Schumann Op. 20. The second half of this concert follows a similar vein; Beethoven’s song cycle An die ferne Geliebte Op. 98, with its longing for a distant loved one, precedes Robert’s Fantasy in C which includes a brief quotation from the Beethoven cycle, undoubtedly penned with Clara in mind.

Considered one of her best works, Clara’s Piano Trio in G minor Op. 17 (her only piano trio) opens the last day of the festival. This one-hour recital, “Clara & Brahms”, pairs Clara’s lyrical trio with one of her personal favourites – Brahms’ dramatic and turbulent Piano Trio in C minor Op. 101. Both works will be performed by the Busch Trio (Winner of 2012 Royal Overseas League Competition, and Prize Winner at the 2013 International Schumann Chamber Music Award), of whom The Times wrote: “what impressed most was the group’s effortless musicianship and unity of thought and attack. The threesome even seemed to be breathing in synch.”

Felix Mendelssohn and his close friendship with the Schumanns (and Brahms) is celebrated in “The Mendelssohn Connection” on Sun 24 Feb 2019 3.30pm. The tight-knit nature of this friendship group is reflected by the opening works – 2 Brahms settings of poetry by Felix Schumann (son of Clara and Robert, who they named after Felix Mendelssohn). The rest of the programme consists solely of works by Felix Mendelssohn – a selection of Lieder; his Lieder ohne Worte Book 5 Op. 62 for solo piano (dedicated to Clara), with its well-known Ein Frühlingslied; and, to conclude, the stunning Piano Four Hands in A MWV T 4 ‘Allegro Brilliant’ Op. 92, which Clara and Felix played together in Leipzig.

The final concert begins with two pieces as a memento of her friendship with the violinist Joseph Joachim: firstly, Clara’s own 3 Romances, one of her more frequently performed works nowadays; and secondly, the F-A-E Sonata which the composers dedicated to Joseph. This piece was first played through at a friendly get together by Clara and Joseph at Clara’s home. Both works will be performed by members of the Busch Trio. The Clara Schumann Festival ends with Brahms’ Vier ernste Gesänge, written towards the end of his life. The songs were first played to a group of close friends at a private gathering immediately after Clara’s funeral. After the cycle was published, Brahms sent a copy to Clara’s daughter Marie Schumann. Accompanying the score was a letter in which Brahms wrote: “…You will not be able to play through these songs just now because the words would be too affecting. But I beg you to regard them… as a true memorial to your beloved mother.” Brahms passed away 11 months after Clara.

Beverley Vong, Festival Curator said:

“Many will recognise Clara Schumann as the wife of Robert Schumann. However, in reality, she seems to have been so much more: not only did she juggle an international solo career with being a mother of eight (a feat in itself), Clara inspired a huge amount of music and this short festival features only a fraction of it. Selections of Clara’s own output are featured alongside works by household names to whom she was muse, friend, and colleague. In an age when women endured endless inequalities, Clara Schumann displayed remarkable resilience, determination, and devotion to music.”

Full Concert Listings

Festival Pass £45

Concert ticket: £18 (£15), YF

Masterclass ticket: £10

Tel: +44 (0) 20 7222 1061


(Source: press release)