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

My mother was a woodwind teacher, so music was always in the house. She used to sit me at the piano in my highchair and I’d happily play away to myself as a baby. When I was potty trained, I asked for a recorder as my reward which I then learnt to play the same day. I could read music before I could write. I chose the clarinet because my arms weren’t long enough to play flute and I didn’t like the look of the curved head flute! I was six when I started clarinet and never really looked back.

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

There have been a few major influences who have really influenced and supported my career development.

The late flautist Sebastien Bell was Head of Woodwind at the Royal Academy of Music when I was a student. He understood my developing passion for contemporary music and bass clarinet and gave me a huge amount of encouragement to go my own way. I can’t thank him enough for that and he taught me so much about playing new music.

Whilst a student at the Royal Academy, I wrote to Czech bass clarinettist Josef Horak who developed the bass clarinet into a solo instrument in the 1950s. At that time I had little repertoire or knowledge of the bass clarinet world. He would send me piles of music, CDs, past concert programmes and set me off on the journey I am on today.

And of course, we have our godfather of bass clarinet Harry Sparnaay who died last year. I regret never studying with him, but the help and support I got from him whilst doing my PhD was just incredible. His influence lives on today in myself and all of my bass clarinet colleagues.

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

Specialising in contemporary music means that the greatest challenges appear several times a year and never stop arriving! It may be in a new work written for you that you have to master or an existing work that pushes your technique. I’ve had many moments of opening a score and thinking that I’d never in a million years be able to play the piece. Luckily I’ve been determined and it’s a great feeling to overcome these challenges and see works all the way to performance and recordings!

Which performance/recordings are you most proud of?

I am the clarinettist with Northern Ireland’s Hard Rain Solist Ensemble. I’m incredibly proud to be in this ensemble which specialises in performing core contemporary repertoire and commissioning and promoting Northern Irish and Irish composers. Every one of the concerts we do is a massive achievement and it’s like a second family to be with.

I also work with my bass clarinet and piano duo SCAW and rarescale. I’ve recorded with both and love my work with both ensembles.

I just have a new recording of Strauss, Beethoven and Glinka works out on the Hyperion label. I know it’s surprised people as I’m playing clarinet on the CD. Recorded three years ago, it was at a different part of my career, but pushed my playing skills in a different way.

Which particular works do you think you play best?

I love contemporary music where you have to discover the music as you learn a piece. If you can find the music, untraditional phases, melodies, thematic material in such a piece and engage an audience in your interpretation, then I think that is mission accomplished. I love the music of composers such as Franco Donatoni. You can live with his music for years and it still keeps revealing new exciting secrets each time you play his pieces.

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

As a contemporary music specialist, your programme choices are often influenced by who is writing for you at the time. I’m recently working with composers writing for contrabass clarinet and these pieces will feature in future programmes along with currently unwritten works.

I also like to perform core contemporary music within a programme of music writen for me and always have projects of existing repertoire on the stand. I currently have Monolog, by Isang Yun for solo bass clarinet, Ombra for solo contrabass clarinet, by Franco Donatoni and Bug for solo clarinet, by Bruno Mantovani on the go.

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

I don’t think I have a favourite, but I enjoy playing in small and intimate venues and also in rural places where there is limited access to live music. I’ve had some fantastic experiences playing on small Scottish islands over the years.

Who are your favourite musicians?

Gosh – that’s a hard question, as there are so many! I love all types of music and there are players in all genres I appreciate. I like musicians who are able to express emotion and a sense of enjoyment with their music. Be it a player like Pat Methany who plays from the heart, the jazz playing of bass clarinet greats like Eric Dolphy and Bennie Maupin who make you appreciate the bass clarinet for where the contemporary side has partly come from. And then of course, the late Harry Sparnnay, our godfather of bass clarinet for all he achieved and for just being the greatest bass clarinettist ever to live!

What is your most memorable concert experience?

My first solo bass clarinet recital in the Purcell Room was special because it was a defining moment for me when I was being accepted in the UK for being a bass clarinettist. It was also one of the scariest concerts I’ve ever done as the repertoire of Donatoni, Cardew and Marc Yeats was some of the most difficult repertoire I’d ever performed and on a prestigious stage.

As a musician, what is your definition of success?

When you find yourself and your direction as a player. As a bass clarinet specialist, it’s nice to be respected for what I do and to have people from all over the world contact me to ask questions or to ask to study with me. Publishing my multiphonic book was a special moment for me, because it was the final step in a huge project and enabled me to contribute to an area of bass clarinet development that needed clarification.

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

Be yourself and follow your own ambition. Some players want to play in an orchestra, some want to play chamber music and some want to be soloists. Grab all the opportunities you can whilst studying and consider all the options. Being an orchestral player, a chamber musician, a soloist or a combination of all is great, but ultimately never be afraid to specialise if that is what you want to do.

Until around eighteen months ago, I was still under pressure to pursue orchestral auditions and yet, deep down I knew I didn’t want too. I love doing occasional orchestral work, but I love contemporary solo, chamber music and also my university and research work much more. At that recent point in my life, I dug my heels in and made some firm decisions about what I wanted and what was right for me, and have never been happier.

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

Hopefully still playing, premiering new works and teaching at university/conservatoire level. I teach at RNCM and am Director of Performance at Sheffield Univeristy, so I intend to work hard to develop both of these roles and courses. I’m also planning further research and want to write at least one more academic book.

What is your idea of perfect happiness?

Sitting down somewhere on the Isle of Raasay, Scotland where I have a cottage and looking at the sea and views to Skye and appreciating the peace that comes with it. Sometimes the silence or simple sounds of nature is as great as music and is a very humbling experience that puts life into perspective.

What is your most treasured possession?

Two things! My cottage on Raasay. I purchased it ten years ago sight unseen on an island I’d never been too. It’s the best thing I ever did!

The other is my contrabass clarinet which is known as ‘the beast’. It’s been amazing to learn this instrument over the past year and to start to commission works for it.

What is your present state of mind?

I’m doing what I love to do which is playing contemporary music, teaching at Sheffield University and RNCM and preparing some research projects. I also have some fantastic contemporary music ensembles I play with. I’m very content knowing that I’ve achieved that.


Sarah Watts studied clarinet at the Royal Academy of Music with Angela Malsbury and Victoria Soames Samek (bass clarinet). Sarah then decided to specialise in the bass clarinet and continued her studies at the Rotterdam Conservatorium bass clarinet with Henri Bok, funded by the Countess of Munster Musical Trust and a Leverhulme Trust Studentship. Sarah was awarded the Exxon prize for the best classical music student in Rotterdam.

Successes include: Winner, UK Howarth Clarinet Competition 2000; Winner, Hawkes Clarinet Prize (RAM) 2001; Winner, Sir Arthur Bliss Chamber Music Prize (RAM) 2000; Winner of wind section and Faber Prize, UK Performing Australian Music competition, 2001 (her clarinet and bass clarinet recital was broadcast on ABC radio); Finalist, Wind section, Royal Overseas League Competition 2000.   Sarah has performed clarinet concertos with the Royal Academy of Music Sinfonia, European Union Youth Wind Orchestra and the Nottingham Orchestra of the Restoration.

Sarah specialises on the bass clarinet and has gained an international reputation as an artist, teacher and researcher on the instrument. She has performed solo repertoire across the UK, Ireland, Asia, Europe and the Americas and has attracted composers including Sir Harrison Birtwistle, Piers Hellawell and William Sweeney to write works for her. In January 2003, Sarah performed a solo bass clarinet recital in London’s Purcell Room as part of the Park Lane Group Young Artist Series.  

Sarah teaches bass clarinet at the Royal Northern College of Music and clarinet at Nottingham University. She is Associate in Music Performance and Director of MA Performance at Sheffield University. Sarah hosts bass clarinet and clarinet courses on the Isle of Raasay in Scotland and runs and tutors on other wind chamber music courses in the UK and France. Sarah has given workshops on bass clarinet technique at many establishments including the Royal Academy of Music, Trinity College of Music, The Royal Welsh College of Music, The Royal Northern College of Music, The Royal Irish Academy of Music, Keele University and Edinburgh University.

Sarah performs with Hard Rain Ensemble, rarescale and SCAW.

Sarah has completed a PhD in bass clarinet multiphonic analysis at Keele University and has published ‘Spectral Immersions; A Comprehensive Guide to the Theory and Practice of Bass Clarinet Multiphonics’ via Metropolis publishers.

Sarah is a Selmer artist, a Vandoren UK artist and a Silverstein Ligature artist.

In 2016, she was made an assocaite of the Royal Academy of Music, London.

sarahkwatts.co.uk

 

 

(photo: David Carslaw)

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

I had been a chorister in kings college choir and after my voice broke, kindly, my then head of music encouraged me to think about going for a choral scholarship back to kings choir as an undergraduate. So in many respects it’s all David Petit’s fault I suppose

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

There are always so many people who pass through a singer’s life, teachers and coaches, conductors and choir directors, that in a way the influences are myriad. But I’d say listening and talking to Anthony Rolfe Johnson, and taking his advice, was probably the most influential period of my career. He ordered me out of the back row of the chorus and encouraged me to go solo.

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

I think going from a bass to a bass/baritone and even to baritone was the most significant challenge of my career. I used to sing the arias with all the low notes but never found huge satisfaction from them. My then teacher Diane Forlano just said to me that she’d never thought I was a bass so we started working on my upper register and I began to find vocal happiness.

Which performance/recordings are you most proud of? 

The performances/recordings of which I’m most proud will always be those that have been the hardest for me to fulfil. My two solo discs have brought me delight and shredded nerves in equal measure. Falstaff, Wozzeck, Beckmesser and Alberich in das Rheingold have presented me more problems and sleepless nights than I care to remember but the most fun to have achieved and to look back upon.

Which particular works do you think you play best?

Usually the evil bastards give me the most enjoyment, but then I love those roles like the Protector in Written on Skin and Golaud in Pelleas and Melisande, which have a complex psychological component to them. Having said that, I love the comedy of Falstaff and the sincerity of Sharpless in Butterfly and Balstrode in Grimes. The pot of gold lies in the combination of all these characters.

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

I wish I could say that I make choices of which repertoire to sing and when, but my career to date has been a bit more director led than that. If a director with whom I have a good relationship asks me for a role I’ll generally accept it as I know it’ll be interesting and challenging and that’s what gets me up in the morning.

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

I think most of us singers tend to like to perform in halls that have provided us with wonderful memories. Berlin Philharmonie because I got to sing with the peerless Berlin Philharmonic, de Doelen in Rotterdam because of three unforgettable Bach Matthew Passions with the Rotterdam Philharmonic. Then there was the exceptional experience of Alan Gilbert’s farewell concert of das Rheingold in David Geffin Hall with the NYPHIL. I could go on…

Who are your favourite musicians?

My favourite musicians tend to be the ones who challenge me the most, from Jonny Cohen with whom I’ve recorded my two solo discs to Vladimir Jurowski who showed me the brilliance of Wozzeck. Leonard Bernstein who explained the symphony orchestra to all us nerds in 70’s to Emmanuelle Haim, my baroque fairy godmother. Sir Simon Rattle for his never ending quest for the soul to Aaron Neville’s simple sincerity.

What is your most memorable concert experience?

I think my most memorable concerts in recent times were these: The concert that Arcangelo and I gave at Milton Court was a great experience for me as it reminded me so powerfully the importance of communication. I found myself almost choked with emotion as I sang the most beautiful of Handel’s arias(Fra l’ombre) and really for the first time wholly connecting with it emotionally. Then there was das Rheingold with NYPHIL last June which was a personal triumph. Never have I felt so utterly engaged in a performance.

As a musician, what is your definition of success?

Communicating the meaning/substance – the “everything” of the role or song to an audience in the most imaginative, creative and truthful way possible. If you can do all that and make it sound ravishing as well, you’ve done your job!

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

I always say to all aspiring musicians/singers alike, never stop using your imagination. Never stop digging, leave no stone unturned in finding something more to say. Just singing the words and the tune is never enough.

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

I’d still like to be digging away trying to keep folk entertained and stimulated.

What is your idea of perfect happiness?

It would have to be just being with my wonderful family, walking with the dog or cooking, or just laughing and making great memories.

Christopher Purves’ new disc of Handel’s Finest Aria’s for Base Voice, Vol 2, with Arcangelo and Jonathan Cohen, is available now on the Hyperion label. Further information


Christopher Purves has received much praise for his acclaimed interpretations of a diverse and eclectic range of roles and repertoire. A choral scholar at King’s College, Cambridge, Purves went on to become a member of experimental rock group Harvey and the Wallbangers. He has since developed a highly successful career on both the operatic and concert stages, in great demand with leading opera houses and orchestras around the world.

christopherpurves.com

(photo: Chris Gloag)

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

I was born and educated in the United States in the middle of the last century. My father was an excellent pianist and a college professor of music and humanities. He taught in a number of small colleges and universities when I was growing up so we lived in numerous towns and cities covering a 3000 mile circuit around America: New York, Michigan, Idaho, New Mexico, West Virginia, and Florida. My mother was a modest amateur pianist who loved playing hymns and sat patiently with me in my early years of practicing the piano.

As children my younger brother, sister and I were encouraged to be creative, play instruments, sports, try new things, experiment, take chances and not be afraid to fail. My father was also a talented arranger and did a number of works for choirs, small ensembles, and marching bands. His enthusiasm for everything else Life had to offer had a profound influence on me not only as a musician but as someone who continues to enjoy an active life, playing sports, travel and adventure.

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

Probably the biggest single factor in becoming a musician and composer was a summer music camp 1957 while my father was studying for his doctorate at Florida State University (Tallahassee). Each summer the School of Music had a 6 week Summer Music Camp which attracted around 300 teenage musicians not only from Florida but the neighbouring states of Georgia, Alabama and Mississippi. At 14 I’d become a decent pianist and was advancing on the French horn. The FSU Music Camp was a combination of hard work during the day and wonderful evenings of concerts, dances, barbecues, and pool parties. The array of excellent large ensembles, choirs, theory and harmony lessons, conducting, and creative exercises were prelude to exciting evenings of hot, humid, hormonal socialising and mandatory cold showers. It was the perfect balance. I was excited and learned a lot.

One memorable occasion was a visit to our beginners’ conducting class by Ernst von Dohnanyi, a professor at FSU. He was a lovely old man who clearly enjoyed being around young people. We were told he was Brahms’s favourite pupil and were mightily impressed. He radiated a kind of old world mystery with his heavy Hungarian accent but also radiated a musty, old man’s whiff at close range during the lessons. His heavy accent made his musical life and friendship with Brahms all the more real and exciting. He showed us how to beat in 2/4, 3/4, 4/4 and 6/8 time and told us to keep our shoulders down, our heads up with eyes on the orchestra, not the score. One day, to our amusement, he gave us a treat- how to conduct 5/4- ever so exotic in 1957.

My father later studied conducting with Dohnanyi and I was allowed to sit in on some of his seminars. It’s a pity I didn’t write down some of Dohnanyi’s comments particularly about conducting Brahms. I remember his comments often ran something like: “In zu score it’s written ‘Andante’, but Johannes always liked to take ziss section a little faster, like ziss. Johannes said he’d vished he could change za tempo mark but of course it vus permanently printed… zo No, not possible.” I later studied piano, conducting and composition at Florida State University, then Ohio State University both of which gave me an excellent foundation I only grew to really appreciate later on.

A Fulbright Fellowship to Warsaw, Poland, 1972-74, behind the Iron Curtain, had a profound influence on me. I worked in the Experimental Music Studio of Polish Radio, Warsaw which at that time was an amazing state-of-the-art electronic studio. Through that and the annual Warsaw Autumn Festivals I met most of the outstanding composers in that part of the Soviet Bloc at the time: Penderecki, Lutoslawski, Gorecki, Pärt, Schnittke, and many more. The Warsaw Autumn Festivals of 1972, ’73, ’74 radically changed my compositional outlook. Each festival was filled with one bone-crunching cluster piece after another and the festival lasted for a solid two weeks! I went to every concert- four a day. I was burnt toast by the end.

What saved me in my final festival (1974) was an English group called Intermodulation. Their performance of Terry Riley’s ‘Dorian Winds’ lifted me out of the clusters up into the clouds. Finally music that spoke to me, and I embraced it full frontal. It was a kind of instant white flag of surrender to the other side. My ‘Paramell’ (1974) for muted trombone and muted piano soon followed- modal and pulse driven. Later, meeting, working, and touring with John Cage completed my eclectic musical education by adding the ultimate tool to my musical toolbox- the idea of chance operations and experimentation. Ironically now is that I’ve moved back to revisit some of the earlier Polish influences in an effort to broaden further my harmonic and textural palette. So, like Henry Cowell, I want to live in the whole world of music, not just one corner.

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

The greatest challenge for any freelance person is surely earning a decent living. I’ve been freelancing in Britain and touring worldwide since 1974. Unfortunately the freelance profession has not gotten easier and, in fact, seems much harder, more competitive, and more difficult than ever. In the 1970s and 80s the BBC, Arts Council, and festivals all had much more money. My earnings from Performing Rights then were always a third to half my annual income. Over the past 40 years, in spite of more performances than ever, those PRS earnings have dwindled to irrelevance.

As a pianist I did lots of studio recordings and broadcasts for the BBC and many European stations. I had non-stop grants and commissions which seemed rather easier to come by then. Commission money now is definitely in shorter supply with far more of us chasing the dwindling sources. The challenge as a freelance composer is to earn a living using the expert skills we have all developed and dearly paid for over the years, and not to flip burgers at MacDonald’s to make ends meet. The arrival of Brexit does not look like a promising solution.

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

The challenge of a commissioned piece is usually the brief, the time frame and negotiating a proper fee. I like having a decent brief because it makes the first few decisions easy- the size of the ensemble, the duration, the context, the venue, and of course the deadline.

Where it can be a challenge is when the brief is too specific and uninspiring. My recent 40 min. orchestral score for David Bintley’s ‘The King Dances’ for the Birmingham Royal Ballet was an excellent combination of an exciting topic, a good scenario, and almost complete artistic freedom to do what I wished compositionally. The choreographer even wanted to use 10 minutes of music I’d already written for another occasion. The BRB commission was a delight, exciting, wonderfully realised by choreographer, lighting designer (Peter Mumford), and the costumes & staging artist (Katrina Lindsay). We even had generous rehearsal time for the production. The result? An extremely happy and rewarding experience. (See the BBC TV film of the making of the ballet – The King Who Invented Ballet which at c. 58:40 min has the complete performance of BRB performance of ballet, ‘The King Dances’). The downside however was the rather modest commission fee for 6 month’s hard work and not nearly enough money for copying the score and parts which had to come out of my fee.

The opposite end of the spectrum was an extremely well-paid commission for a 3 minute brass quintet. The commissioner in this case dictated a nightmare scenario: the mini piece which they stipulated was to reflect/echo the commissioning institution’s strengths in “medicine, science & technology, climate change, environmental sustainability, astrophysics, culture, human behavior, and philosophical beliefs.” A jaw-dropping brief for a 3-minute processional! The real passion-killer, however, was it had to be no harder than Grade 5 since the musical talents of their university students were modest! Now there was a true challenge (!), but all part of earning a living as a freelance composer. I managed to write the work and it worked. Fortunately no one asked me which notes were “astrophysics”, “medicine” or “climate change”.

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

I think every composer has people, ensembles and venues they like to work with, and certainly some you never wish to see again. I worked for many years in a duo with the pianist Philip Mead, a first rate musician and educator. We travelled all over Europe and North America touring programmes of new music and electronics. It was great fun and always exciting to perform together.

My work with John Lubbock and his OSJ chamber orchestra was always a complete pleasure and the source of several exciting commissions and recordings. The Smith Quartet is another ensemble that has been wonderful over the years, the results of which are two excellent recordings.

I have always had a good relationship with the BBC Symphony and working with them is always exciting and rewarding. The Royal Ballet Sinfonia with Paul Murphy was a wonderful experience because of Paul’s enthusiasm, expertise, and their brilliant realisation of ‘The King Dances’.

Venues are also vitally important. My ongoing relationship with Richard Heason, Artistic Director of St Johns, Smith Square, for example, has been absolutely exemplary in his enthusiastic production of large scale events for both my 70th and now 75th birthday concerts amongst the other collaborations.

With all these associations the enjoyment comes from the people who understand what you are trying to do and who work with you enthusiastically to help you realise just that. It is a symbiotic relationship so when we feed each other properly the results can be magical.

How would you describe your compositional language?

My music is tonally based but often makes use of the full panoply of harmonic possibilities from tonal/modal harmony/melody to bone crunching tone clusters and tone rows for dramatic effect. The musical structures are often based on the shapes of earlier centuries but modified to suit and exploit a modern format for each new commission.

How do you work?

Mornings are my best, most creative time. I get up early (05:30) and work 5 – 6 hours taking a short break every hour or so. I work on A3 landscape manuscript paper with a 2B mechanical lead pencil and a large pointed eraser. I hear the music in my head but check it on a keyboard. I have good concentration so can write under almost any conditions. I’ve never missed a deadline. Afternoons and evening are used for business work, copying music, promotion, meetings etc. I love having the evenings off going to the cinema, a concert, theatre, or out to eat.

Which works are you most proud of?

Most composers give birth to many ‘children’. A parent probably should not have favourites but with so many children, we all do! As in real Life, some kids just turn out better than others no matter how much time you put into their house-training, manners, education and grooming.

Of the nearly 200 or so ‘children’ I have, those who have turned out best are my String Quartet No. 1: in memoriam Barry Anderson & Tomasz Sikorski (with electronics), At the White Edge of Phrygia (chamber orch), Southern Lament (piano- for Stephen Kovacevich), Requiem: The Trumpets Sounded Calling Them to the Other Side (soprano, orchestra, chorus, fog horns), Varshavian Spring (chorus, orch), The King Dances (orchestra score for the ballet), A Dinner Party for John Cage (theatrical event for 12 singers in a chaotic chance determined dinner), Wilful Chants, (BBC Prom commission for the BBC Symphony Chorus, London Brass and O Duo percussion), Snakebite (chamber orch), Dark Sun – August, 1945 (large orch, chorus, radios), Haiku (piano, electronics, tape), Paramell (muted trombone and muted piano), Paramell V (2 pianos), and Christmas Triptych (sop, baritone, chorus, orchestra). I like many of the others but some still need a little more grooming and my detailed attention before I let them out to play too often. And yes, I should really try and visit them more often too.

As a musician, what is your definition of “success”?

For me success is writing a piece of music I’m proud of and having those feelings re-enforced by an enthusiastic audience response. My goal is to reach out to an audience and reel them in to a place they may never have been. Seduction is perhaps the best word. And it flies in the face of an attitude in the 1960s where it was popular to say “who cares if they listen!” as Milton Babbitt and the post Webern movement declared. For them, alas, the audience voted with their feet at the exit. I’d much prefer an audience on their feet at the end.

Who are your favourite musicians/composers?

Pianists: Stephen Kovacevich in full flight playing solo, chamber works, concertos of core repertoire. Rubenstein and Ashkenazy playing Chopin, Marc Andre Hamelin playing anything hard, Philip Mead playing my music, and Fats Waller, Jelly Roll Morton, Duke Ellington, Cecil Taylor, and Dave Brubeck doing their thing.

Conductors: Toscanini, Solti, Bernstein, John Lubbock, Gregory Rose, Stephen Jackson, Grant Llewellyn, Paul Murphy, Sian Edwards.

Composers: Gesualdo, JS and CPE Bach, Berlioz, Brahms, Wagner, Tchaikovsky, Mussorgsky, Stravinsky, Berg, Webern, Ives, Bartok, Henry Cowell, Gershwin, Varese, Cage, Nancarrow, Duke Ellington, Miles Davis, Hoagy Carmichael, Tomasz Sikorski, Terry Riley, Steve Reich, Bob Dillon, Stephen Sondheim, John Adams, Louis Andriessen, and Helmut Lachenmann.

What is your most memorable concert experience?

Playing the European premiere of Henry Cowell’s Concerto for Piano and Orchestra on the Huddersfield Music Festival and breaking 9 strings with my forearm clusters in the opening movement.

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

The first 10,000 hours I figure gets you through the basics for stepping into this profession. The next 10,000 listening to music, analysis, and engaging with other art forms gives you insight, bench marks, and perspective. The next 10,000 consolidates the first two and takes you to a higher level but not to the top. The very top is determined by an X Factor which is the mysterious Joker card. Nobody can explain why some up there are the winners while similar, or better talents, can be the ‘also-rans’. What is sure, however, is that it always takes longer than you think to get where you want to go and the path is full of wrong turns and traps! The trajectory of your professional career is a marathon, not a sprint. Keeping your eyes on the horizon but working hard on the daily detail is vital. Infernal desire and dogged tenacity as much as talent can be the key that unlocks that X Factor and deals you the Joker when it counts most.

If all you want is just a little fun in music, ignore all this. That works too, and you may lead a happier, more balanced life. Professional musicians have a rather chequered history in the ‘happy relationships’ department which makes interesting reading post-mortem but not at the time.

What is your idea of perfect happiness?

Having a well paid commission to write something I’ve always wanted to write for instrumentalists, singers, conductor and a large ensemble of my choosing for an exciting venue that is to die for. Perform it, tour it, then record it with the ideal post concert location an exotic hideaway with the one you love overlooking a warm sea in the Caribbean or a rocky perch on the Amalfi coast.

My schedule? Work 5 hours in the morning, lunch al fresco, a couple sets of tennis, afternoon drinks into the sunset, a candle lit dinner for two, something visually and musically stimulating in the evening, and a late-night cocktail on a moonlit sea followed by an erotic poem in bed.

What is your most treasured possession?

My memory.

What do you enjoy doing most?

Try to imagine.

What is your present state of mind?

The ancient Arabic saying: “Live for this day, for tomorrow is only a dream, and yesterday, only a memory.”

Stephen Montague celebrates his 75th birthday with a weekend of special concerts at St John’s Smith Square, London, including several premieres. Further information here


Stephen Montague was born Syracuse, New York, 1943 and studied at Florida State and Ohio State Universities followed by two years in Warsaw, Poland as a Fulbright Scholar (1972-74). Since 1974 he has been based in London where he works as a freelance composer, pianist, and conductor but tours world-wide.
Major commissions include London Symphony Orchestra, BBC Proms, London’s Southbank and Barbican Centres, Birmingham Royal Ballet, Warsaw Autumn Festival, Paris, Singapore, and Hong Kong festivals. Conducting work has included the London Sinfonietta, City of London Sinfonia, Danish Chamber Orchestra, Bournemouth Symphony and many others.

 

 

Armenian-American conductor Tigran Arakelyan, creator of the Off The Podium podcast series, interviews Frances Wilson, founder and author of The Cross-Eyed Pianist, about her unusual path into piano teaching, the creation of the blog, concert reviewing, “changing the vocabulary” in teaching, and more…..

More about Off The Podium and links to other podcasts in the series here

Polish-Hungarian pianist Piotr Anderszewski was photographed and interviewed by Humans of New York, a blog (and bestselling book) featuring portraits and interviews collected on the streets of New York City. Founded in November 2010 by photographer Brandon Stanton, the blog has a huge following via social media.

Piotr Anderszewski, a pianist I much admire in particular for his sensitive and thoughtful approach to the keyboard music of J S Bach, is a famously perfectionist and selective about the music he plays. By his own admission, he “cannot play just anything” and chooses to perform only those composers he feels a strong urge to play. By the standards of most pianists active today his repertoire is regarded as “narrow”, but it is this limited focus which results in playing which is both fastidious (without fussiness) and spontaneous, and such spontaneity is clearly the result of a long association with the music coupled with a patient, thoughtful study of it. I was fortunate to meet Mr Anderszewski after his Wigmore Hall concert in February 2016: he was quietly-spoken and modest in accepting glowing praise for his playing. During the green room conversation, he mentioned taking a sabbatical in order to study some new repertoire and that he might soon be “getting to know” Schubert better, something I look forward to with great interest when he returns to the concert platform.

Speaking to Humans of New York, Anderszewski offers insights into the life of the concert pianist, performing and his approach to interpretation and communication with his audiences.


Piotr Anderszewski 25th anniversary concert at Wigmorr Hall