Tag Archives: female musician

Meet the Artist……Lisa Smirnova, pianist

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Who or what inspired you to take up the piano and pursue a career in music?
It was an coincidence that I took up the piano. But later I chose independently to pursue a career as a musician, because I noticed that nothing other than making
music made me feel great.

Who or what were the most important influences on your musical life and career?
Practically, it was my teacher Karl Heinz Kaemmerling, and my wonderful colleague, the violinist Benjamin Schmid – both during my studies at Mozarteum in Salzburg. Exposure to Friedrich Gulda and Nikolaus Harnoncourt were turning
points and led to greater inspiration for my musical understanding.

You are performing in the London Piano Festival this October – tell us more about this?
I loved Katya and Charles’ idea of performing what one likes most, and immediately said “yes”. Repertoire from the baroque and classical periods is my best repertoire. My interests and performing style have nothing to do with the “Russian piano school”, and I am deeply convinced that the modern piano offers the widest range of possibilities to create the sound appropriate for these works.
So I chose three composers: Scarlatti – his sonatas, of which there are so many, are one better than the next and always perfect for a discovery. Mozart is simply my favourite composer – I feel very close not only to his music, but to his entire personality. And Handel’s Suite is part of my award winning recording project for ECM.

What have been the greatest challenges of your career so far?
To start up from absolute zero with no money whatsoever. And to realize later on, that it is not only the musicianship, but Marketing and PR that you have to put your efforts in – a very disappointing discovery.

Which performance/recordings are you most proud of?
The already mentioned Handel Suites for ECM, and the brand new Mozart Piano Concerti with my New Classic Ensemble Vienna – we just recorded and produced them for the Austrian Broadcasting Corporation.

Which particular works do you think you perform best?
Mozart Piano Concerti

How do you make your repertoire choices from season to season?
It is a mixture between requests from promoters and the works I would like to study or perform again – I try to find challenging combinations.

Do you have a favourite concert venue to perform in and why?
The Concertgebouw Amsterdam. Everything feels perfect to me: The size, the acoustics, they always had a wonderful piano when I played…. and the red carpet on the stairs when you come down on stage feels like Hollywood….

Who are your favourite musicians?
Glenn Gould, Maria Callas, Friedrich Gulda, Nikolaus Harnoncourt, Andras Schiff

What is your most memorable concert experience?
The one when my “plan” with a certain piece of music worked out, and fortunately there have been many.


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

To be honest, I don’t know, as I am still learning something new myself each day.

What is your idea of perfect happiness?
Happiness is the flow to be so entirely occupied with what you do at the moment that nothing else exists. Naturally this cannot last your whole life, but also happiness cannot.

What is your most treasured possession?
My time.

Lisa Smirnova performs in the 2017 London Piano Festival at Kings Place in two concerts on 7 October. Further information and tickets here


Austrian-Russian pianist Lisa Smirnova is an internationally recognized concert artist renowned for her interpretations of baroque and Classical repertoire. The Frankfurter Allgemeine Zeitung recently remarked that her “sense of style, use of phrasing and ornamentation and tempi, that make the piano an instrument of harmony of vibrating strings, gave her performance its transcendent and unmistakable character.”
(picture © Lisa Smirnova)

Meet the Artist……Joanna Macgregor, pianist

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

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

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

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

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

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

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

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

Which recordings are you most proud of?

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

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

Which particular works do you think you perform best?

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

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

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

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

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

Favourite pieces to perform?

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

Who are your favourite musicians?

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

What is your most memorable concert experience?

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

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

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

 

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

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

 

Meet the Artist……Madeleine Mitchell, violinist

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

Although neither of my parents were musicians, they were both very musical and liked to listen to classical music, so we often had BBC Radio 3 on at home and recordings of violin concerti by Elgar with Menuhin and Sibelius by both Heifetz and Ginette Neveu, were important influences. Apparently they discovered I was musical because the Sunday school teacher told my parents I was leading the singing at the age of 3!! Actually I don’t have such a great voice, but aim to sing through my violin. I am very grateful to my parents, who were not at all wealthy, for prioritising giving me piano lessons from the age of 6, over material things – they used to make some of our clothes and furniture and were generally very creative, which has imbued my life. I took up the violin 3 years later at school in shared lessons and was offered a Junior Exhibition to the Royal College of Music on both instruments and later a Foundation Scholarship to the RCM with a violin bought for me by my parents for £20. I had thoughts of becoming a composer when I was quite young and enjoyed harmony and music theory but my passion for the violin took over – I loved the possibilities, it’s such an expressive instrument and this is what made me pursue a career as a violinist.

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

I was lucky to be awarded the Fulbright/ITT Fellowship to study for a master’s degree in New York for 2 years with some very fine teachers – Donald Weilerstein (then leader of the Cleveland Quartet and a most inspiring musician), Sylvia Rosenberg, a real artist who’d studied with Nadia Boulanger as well as Ivan Galamian, and Dorothy DeLay at Juilliard and the Aspen Festival. But I later learnt as much from Jean Gibson – that “your body is your instrument” – to be free to channel and express the music. When I tour I’m likely to be be found in an art gallery; I find looking at paintings from Rembrandt and Vermeer to Cezanne, Monet and some abstract expressionists, very enriching.

Some of my most extraordinary musical influences in performing have been with Norbert Brainin and Ivry Gitlis. Being the violinist/violist in the Fires of London at the start of my career led me to meet all sorts of composers who then wrote works for me, such as Brian Elias, which has been a significant thread through my musical life.

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

Funding and fundraising (for which we are not trained) has become more and more difficult. I feel so passionately about being a musician and not selling my soul so there’s time to devote to one’s art, that in order to do so, I’ve often lived quite frugally. My generation were supported in our studies whereas now it has become more difficult with tuition fees, living costs and buying an instrument. To be a fine musician requires great sensitivity and yet in daily life it’s challenging not to be too sensitive and affected by things. I also think there is not enough appreciation that artists can improve with age! I think my playing has gradually developed over time. There’s a lot of emphasis on the latest talent of course, but you can take on too much at that stage when you’re flavour of the month whereas later on, where you know the music better, you can return to works with added experience and perhaps wisdom.

Which performance/recordings are you most proud of?

The Grammy-nominated Lou Harrison Violin Concerto with Percussion Orchestra (‘FiddleSticks’ album with new works for violin and percussion), my NMC Artist Series disc ‘In Sunlight: Pieces for Madeleine Mitchell’ with a range of works written for me by composers including James MacMillan, Michael Nyman, Nigel Osborne etc., and a personal collection of favourites – ‘Violin Songs’. I’d very much like to pay tribute here to the pianist Andrew Ball, my musical partner for some 20 years in concerts, broadcasts and 3 albums.

Which particular works do you think you play best?

There is so much fine music I like to play. Perhaps late romantic/early 20C works like Bruch Violin Concerto, Franck and Elgar violin sonatas and the more lyrical contemporary works suit me best however.

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

It depends on what I may be asked to perform, when I’m able to devise programmes or perhaps premiere a new piece. I’ve always loved putting programmes together, aiming for a good balance and being attuned to the situation – the audience or the occasion. I have eclectic tastes and enjoy playing a wide range of music from c1700 to the present and sometimes combining with the other arts.

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

Wigmore Hall, of course because of the sound and the atmosphere, also St. George’s Bristol, Djanogly Hall Nottingham and Carnegie Hall, but also venues such as some country churches – I was invited to be artistic director of a summer series called Music in Quiet Places with chamber music which was very special.

What is your most memorable concert experience?

Too many to list but my Century of British Music recital for the Queen’s Diamond Jubilee, both in Rome and in the US, receiving standing ovations and the first performance I gave of Messiaen Quatuor pour la fin du temps in the group I formed with pianist Joanna MacGregor in a special 6th century church, St Illtyd’s, which led to performances at the BBC Proms and a recording at Snape Maltings.

As a musician, what is your definition of success?

I think to be able to say you’ve played your best, reached audiences in all sorts of places with the music and enjoyed it.

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

To aim to be a well rounded, cultivated musician, to have your eyes and ears open beyond your own instrument and to the other arts, nature and so on.

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

Still playing well and perhaps in a wonderful chamber group.

What is your most treasured possession?

My violin, which has been my companion in concerts in some 50 countries and my hearing and vision. Although not my possession, my life treasure is my daughter.

What do you enjoy doing most?

I enjoy playing music I love, to the best of my ability and I very much enjoy travelling (including swimming in warm seas). Listening to music, from Mozart operas to Jazz, but I also cherish silence – the most profound I ever experienced was in the Namib dessert when I was on tour giving concerts for the British Council.

What is your present state of mind?

Grateful, thinking back over all the things I’ve done, people I’ve met and worked with, amazing places I’ve visited through music and to Frances Wilson for hosting this interesting series.

MADELEINE MITCHELL has been described by The Times as ‘one of the UK’s liveliest musical forces’ (and) ‘foremost violinists’. Her performances as a soloist and chamber musician in some 50 countries in a wide repertoire are frequently broadcast including the BBC Proms, ABC, Bayerischer Rundfunk and Italian TV. She has given many recitals in major venues including Lincoln Center New York, Wigmore and South Bank Centre London, Vienna, Moscow, Singapore, Seoul Centre for the Arts and Sydney Opera House. She’s performed as soloist with orchestras including the Royal Philharmonic, Czech Radio, St Petersburg Philharmonic and most recently the BBC National Orchestra of Wales, in the concerto written for her by Guto Puw, which will be included on her forthcoming album, Violin Muse, of world premiere recordings by established UK composers, for Divine Art.

Mitchell’s acclaimed discography for which she has been nominated for Grammy and BBC Music Awards, includes works written for her by composers such as James MacMillan and the popular ‘Violin Songs’ – Classic FM CD of the week. She has also championed early 20C British music in performance internationally and in recordings. A highly creative artist, Madeleine devised the Red Violin festival under Lord Menuhin’s patronage, the first international eclectic celebration of the fiddle across the arts. She’s also created programmes with poetry and unique collaborations with voices and solo violin with percussion and has been Director of the London Chamber Ensemble for many years. Madeleine Mitchell won the Tagore Gold Medal as Foundation Scholar at the Royal College of Music where she is a Professor and the prestigious Fulbright/ITT Fellowship to the Eastman and Juilliard Schools in the USA, where she regularly returns to give concerts and master classes.

www.madeleinemitchell.com

Meet the Artist……Julia Morneweg, cellist

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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

Meet the Artist……Miriam Kitchener, percussionist

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

I was introduced to music at a very early age and so it was instilled in me right from the start. I began with piano lessons, however at the age of 9 I decided that the drum kit was my true calling, and the rest is history!

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

I have had many inspirational teachers throughout my education who have nurtured my musical learning in many different ways and have all influenced me in my musical life and career.

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

The greatest challenge for me is becoming accomplished on as many different percussion instruments as I can – there are so many to choose from!

Which performance/recordings are you most proud of?

As part of a percussion quartet, we spent a day recording three pieces in November 2016 in preparation for a competition in May. We encountered many unusual setbacks in the lead up to the recording and on the recording day itself including a power cut, despite this I feel that we did a really great job and I’m really looking forward to hearing the results.

Which particular works do you think you play best?

I really enjoy the performance aspect of being a soloist and find that the more unusual the piece of the music, the more I enjoy it and therefore the better I play it! At the moment, I’m working on a piece for body percussion and mime called Ceci n’est pas une Balle. It’s a really energetic piece that requires a lot of audience interaction and is really exciting to perform.

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

I choose repertoire based on what I appreciate listening to and what I feel will work best with my musical personality. Above all, I choose pieces that I know I will enjoy playing and performing to an audience.

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

For orchestral playing, I really enjoy the atmosphere of Birmingham’s Symphony Hall, the vast space is thrilling to perform in. Small solo venues can also have the same thrilling effect, with much more intimacy between performer and audience.

Favourite pieces to perform? Listen to?

I’ve recently been introduced to an array of traditional Irish folk music and am enjoying both listening to and playing along to (with the aid of my bodhran) some awesome tunes. There are lots of great bands/artists on the Irish scene who mix traditional tunes with contemporary beats, some great ones to listen to are: Donal Lunny, Flook, Kila, and Planxty.

Who are your favourite musicians?

My favourite musicians are the percussionists and educators who I have had the chance to meet and work with during my education. These are the people who I can consolidate about my career and who will give honest and accountable opinions. They are the musicians who work tirelessly day in day out to make a success of their own careers, they are exceptional players and can give some of the best advice a fellow musician could ask for.

What is your most memorable concert experience?

This would probably have to be my very first visit to the proms when I was a younger. The vastness of The Royal Albert Hall was mesmerising and I can remember being particularly in awe when the orchestra played The Storm from Britten’s Four Sea Interludes.

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

Make yourself as versatile a musician as you possibly can. There are so many opportunities out there for musicians to take, not just as a performer. Immerse yourself in all aspects of music, from community work to concert organising, from being a session musician to creating your own folk band. Do as much as you can and experience as much as you can, while you can. Above all, make sure that you continue to enjoy all that you do!

What do you enjoy doing most?

Aside from all things musical, I enjoy going rock climbing and bouldering as often as I can. It’s great fun and important to occasionally take myself away from the musical world.
Miriam graduated from Birmingham Conservatoire in June 2016 with a First Class Honours degree in Music Performance; she is now studying for her Master’s degree at the same establishment. Miriam has worked with many percussion teachers and educators from around the world including Adrian Spillett, Alexej Gerassimez, Ney Rosauro and Colin Currie to name but a few. Miriam is a versatile percussionist with interests stretching from the Irish Bodhrán to the music of Latin America; from orchestral playing to solo repertoire. Miriam also has keen interests in learning and participation projects within the wider community and the arts management that surrounds them.

 

Meet the Artist……Heike Matthiesen, guitarist

 

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

Growing up in an opera family it sounds strange to fall in love with guitar, but all my life I was fascinated with Spain and Spanish music. I learnt piano from earliest childhood – and I could have stayed with it playing Granados, Albeniz etc, but I guess it was the attraction of this instrument that you can hold in your arms, carry with you and physically feel the vibrations that made me want to become a guitarist. Nothing between you and the sounds your fingers make with the strings, no bow or other “tools” to start the vibrations and it is the most “touching” instrument existing!

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

Without the courage of my first teacher, Professor Heinz Teuchtert who later confessed that he liked the interesting case to bring a complete musician with no experience on the guitar within one year from zero to University I would not answer your questions today. I had my first guitar lesson with 18!! I soon started to work as chamber musician and to play all kind of plucked instruments in opera houses. Then I met Pepe Romero who changed my life completely, turning me into a full soloist!

Musically I always feel my opera roots, it is all about singing with your instrument!!!

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

To handle all the rejections you receive when you start to become a freelance indie-classical, between clear “No” to you or to the guitar itself. And I write hundreds mails to presenters and promoters around the world every year…. It is a big challenge not to take it personal. My mantra: “Every “no” brings me closer to the next “yes”

Which performance/recordings are you most proud of?

It was a highlight to be part of the opening festival of the Salzburger Festspiele last year- I am proud to play at all the places which are devoted to music and where very few guitarists appear. We have a vivid culture of guitar festivals but it is like an “ivory tower”, I am so happy of my concerts in “real world” feeling like an ambassador for classical guitar.

Recordings? You can’t really earn money with CDs anymore, so why not do something idealistic? I will be very proud of the newest, featuring female composers.

Which particular works do you think you perform best?

No secret, I LOVE Spanish music (and almost no concert without ‘Recuerdos de la Alhambra’)…. and I am trying more and more to connect my roots of opera and all my piano years with guitar.

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

Some programs stay for years, just with exchanging some pieces. Yes, and people book me again with similar programs because the loved it and guitar recitals still are rare in many concert series, so they love to repeat what worked once. It is different from piano world I guess.. I have tried to offer a big variety of programs in the last ten years, but I got almost no bookings for example with tango or really contemporary music, so it is by far to much work to keep them in my portfolio. Maybe it also that I am already considered specialist for Spanish music and those hyper-classical programs. And it is music I deeply love, so I am in the happy position that the music I get booked the most is the music I love to play the most!

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

I LOVE venues with historic flair, especially castles – they add a magical atmosphere to the music!

Favourite pieces to perform? Listen to?

Recuerdos de la Alhambra already became my signature piece, playing it in almost every concert and never getting tired of it…

To listen to I need regular doses of Mozart and all kind of operas!

Who are your favourite musicians?

Emil Gilels, Artur Rubinstein, Marta Argerich, Tzimon Barto, Fritz Wunderlich (eternal: Dichterliebe), Maria Callas, Nathan Milstein, Julian Bream and of course Pepe Romero.

When I pack my bags for concerts I listen to Vicente Amigo or Yasmin Levy!

What is your most memorable concert experience?

The moment when I was completely alone in the Alte Oper Frankfurt preparing my banjo etc for Shostakovitch Jazz Suite, and Tzimon Barto came on stage and played his encore for the evening, the Albeniz ‘Tango’, just for me with a smile, a magic gift of pure beauty.

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

Oh my god, I hope you know what you are doing to your life: Insecurity (also financially), difficult family life, loneliness— and on the other hand magic experiences, inspiration, pure bliss. Be prepared for a wild rollercoaster that will challenge you in all aspects of your life and your personality .

So the most important advice: Treat yourself like if you were an olympic athlete, you are your own coach, mental coach, cook and doctor!

Where would you like to be in 10 years time?

I will be performing regularly in the small halls in the big venues – and in 40 years I hope to be the “grand old dame of the guitar” still playing concerts with the unbelievable wisdom of age.

What do you enjoy doing most?

Spectacular answer: Playing guitar!!!!

What is your present state of mind?

Balanced, full of courage, happy and completely addicted to this wonderful crazy life.

Heike Matthiesen is one of Germany’s leading guitarists whose virtuosity and spirited performance, coupled with a charismatic stage presence, are regularly highlighted by the press.

Born in Braunschweig, she received comprehensive musical training on the piano at an early age and only took up the guitar when she was 18. About a year later, she started studying at the Frankfurt Conservatory. Pepe Romero, who taught her for several years, was the formative influence on her playing.

In addition, she attended a large number of master classes, inter alia with Manuel Barrueco, David Russel, Roland Dyens, Alvaro Pierri and Leo Brouwer.

Apart from her solo commitments, Heike Matthiesen regularly performs with chamber music ensembles, and since 1997 she has been closely affiliated with Villa Musica Mainz. She has appeared with Los Romeros and, in 2005, recorded a CD with the Spanish Art Guitar Quartet (“Bolero”, NCA).

Heike Matthiesen has performed in many different countries, including the US, Russia, Japan, China, France, Spain, Italy, Poland, Iceland, Austria and Bulgaria, and is a very welcome guest at festivals and in guitar concert series.

She has had two recordings with Tyrolis, on “Sol y luna” with a Spanish-South American repertoire and “Tristemusette”, an internationally acclaimed portrait of Roland Dyens.

heikematthiesen.com