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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.

 

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1f-xbxgwWho or what inspired you to take up composing, and pursue a career in music?

I started composing as soon as I started learning the piano. Going to the theatre as a child was an important inspiration – I wanted to write theatre music, and still do. Serious composition started when I went to Chetham’s School of Music in Manchester for 6th form and I suppose I have never looked back.

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

Influences have come and gone over the years, but Stravinsky and Wagner have loomed large – somewhat disparate figures but as with most music there are connections under the skin. The early Stravinsky ballets naturally had a huge influence on me as a teenager, though now I would take Symphony of Psalms any day. Wagner came later. There is nothing like the sense of immersion you get from being in the middle of Tristan or Parsifal. In terms of teachers, each has had an important impact on me in different ways, although I’m especially grateful to Giles Swayne for teaching me to cut the crap – he is that rare thing, a composer completely without bullshit.

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

While I can’t think of anything specific, the sense that a piece hasn’t lived up to what I wanted it to be is always agonising. On the other hand, that’s what leads me to write the next one. They’re all steps along a road and I have no idea where it leads.

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

The greatest challenge and the greatest pleasure is that there is a deadline. The piece would never get finished without it.

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

More pleasures than challenges – knowing who or where I am writing for provides a focal point.

Of which works are you most proud?

I feel the work which has come closest to what I wanted it to be was a piece I wrote for a very good friend of mine, pianist Philip Sharp, called ‘Five Anatomical Sketches’. The music is unusually austere for me, but I felt that I was able to boil the material down to its expressive essence, and Phil performed it superbly.

How would you characterise your compositional language?

Communicative without compromise.

How do you work?

I compose whenever I can, I have no special routine. Time and space always yield better results. I also take frequent long walks to work ideas through. Many compositional breakthroughs have come on those long walks.

Who are your favourite musicians/composers?

I’ve already mentioned Stravinsky and Wagner as influences, and other musical loves include Chopin, Mahler, Adès, Beethoven, Adams, Britten, Monteverdi, and so on, and so on… In terms of performers, while I don’t have any particular favourites, I have recently been enjoying Boulez’s Mahler symphony recordings and also luxuriating in the voice of Iestyn Davies.

What is your most memorable concert experience?

As a performer, it was singing in the chorus for Walton’s ‘Belshazzar’s Feast’ at the Royal Festival Hall with the Chetham’s Symphony Orchestra, conducted by David Hill – who brought along the Bach Choir too. It is a silly piece in many ways, and yet it works so incredibly well and the ending is wonderfully ecstatic. As a listener, I will always remember my first Prom fondly, which was the BBC Scottish Symphony Orchestra conducted by Donald Runnicles performing Adams, Mozart and Strauss. I was swept away by the wonderful atmosphere and the wonderful repertoire.

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

I don’t like the phrase “be yourself” – I would rather say “do what you must do”. Have something to say and discover the best way in which to say it – that is the communicative impulse. I don’t mean communication in the lowest-common-denominator sense, I mean the sharing of music between humans on any scale. Writing and performing music is a way of saying “HERE I AM” and “HERE WE ARE”, nothing more and nothing less.

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

Writing music.

What is your idea of perfect happiness?

Companionship.

What do you enjoy doing most?

Hearing great music with great people in great places.

What is your present state of mind?

Existentially drowning.

Jonathan Woolgar is the joint Cambridge University Musical Society Composer in Residence for 2016-17. This includes writing a piece for the Cambridge University New Music Ensemble, which will be premiered on 2nd February 2017 and conducted by Patrick Bailey

Composer Jonathan Woolgar is particularly interested in music as drama and music for the stage, and his work draws from a wide range of musical experience, aiming to engage every kind of listener.

Jonathan has had works performed at the Bridgewater Hall and the Royal Albert Hall by ensembles such as Manchester Camerata, Onyx Brass, Aurora Orchestra and the Helsingborg Symphony Orchestra, as well as broadcast on BBC Radio 3. In 2010 he won the BBC Proms Young Composers’ Competition. His music has been recorded for commercial release by the choir of Fitzwilliam College, Cambridge, and he also enjoys close associations with contemporary music ensembles The Hermes Experiment and Khymerikal. Jonathan is Composer in Residence at Eton College for 2015-17, and will be Composer in Residence for the Cambridge University Musical Society in 2016-17. His one-woman opera, Scenes from the End, ran in London and Edinburgh this summer, while future projects include performances at St Mark’s Basilica, Venice and St John’s Smith Square.

Whilst currently based near London, Jonathan originally hails from Pontefract in West Yorkshire. He attended Chetham’s School of Music, Manchester from 2008-10, studying composition and conducting with Jeremy Pike and Gavin Wayte. From 2010-13 he read music at Fitzwilliam College, Cambridge where he graduated with First Class Honours and studied composition with Giles Swayne, going on to study with David Sawer at the Royal Academy of Music.

jonathanwoolgar.com

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

My mother was the one to introduce me to the wonderful world of music. I grew up in communist Romania, where kids didn’t have piano lessons as an after school thing but my Mum saved up lots of money and bought a beautiful mahogany upright. I got into the specialist music school in Iasi age 7 and had my debut with an orchestra 2 years later with Mozart D major concerto. I remember walking on stage, surrounded by adults, tripping over, conductor panicking, music stands falling, scores flying all over the place. My mum freezing in the first row. But I stood up, smiling and loved every single second of that performance. I came out and said “I want to become a concert pianist!”. I feel blessed to have had very encouraging people in my life, who believed in me and gave me a chance. I learnt from a very early age that hard work will always take you a long way. I don’t come from a musical family, therefore I didn’t have any expectation on how things should go. I didn’t set myself a target, I simply followed my intuition, learning from every situation and felt grateful for every opportunity that came my way. And the same as my falling, I learnt I can always stand back up and keep going.

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

My teachers have had the greatest influence on me, starting with my high-school teachers in Romania, to the late Mark Ray, Nelson Goerner, Alexander Melnikov, Dina Parakhina, Ronan O’Hora, Andras Schiff and Imogen Cooper. I have been incredibly privileged to study with fantastic musicians, who taught me not just about music, but enriched my life through advice on staying true to myself and always discovering new things. The thirst of knowledge and curiosity is one of the most beautiful things in life.

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

I believe we all find ourselves at crossroads at some point in our lives. The greatest challenge is to take the right path for you. I usually analyse and over-analyse and once I have taken a decision, that’s it! I try to never look back and believe in the power of instinct- after a lot of research has been done!

Which performance/recordings are you most proud of?

Every recording I have ever made is the result of hard work, a long time planning, creating a vision and sticking to a plan.This year saw the release of my concerto debut disc- Tchaikovsky Piano Concerto 1 with the Royal Philharmonic Orchestra on Signum Records coupled with the ‘Nutcracker Suite’ arranged by Pletnev. The joy of having my first concerto disc out is not easily put into words- honestly, a dream come true!

Which particular works do you think you play best?

I try to identify myself with whatever piece I am playing. I like reading about the story behind the music, I like to find out about the political situation of that time, where the composer was at the point in his life, what were his fears, his joys. The notes on the page are just the start of the journey.

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

I think long term. I like creating projects and putting programmes together that make sense. I am working on my Trilogy of Preludes at the moment, a project supported by the wonderful team at Champs Hill Records, who have very enthusiastically welcomed 3 CDs of complete preludes: vol I Chopin and Dutilleux, vol II Szymanowski and Shostakovich (both released) and vol III Fauré and Messiaen coming out next year. I enjoy introducing my audiences to new pieces, I like to challenge them with something they might not know they would love.

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

Every venue has its own personality, the same as pianos do. As a pianist, one has to adapt very quickly – I simply cannot describe how thrilling it is to step into a hall where so many of the great legends have played. There’s a huge pressure but in the same time there’s something humbling and magical about it.

Favourite pieces to perform? Listen to?

I love performing the Nutcracker Suite. I feel the versatility of the piano makes it possible to recreate the orchestral sound and it allows me to imagine all the magical world the story tells in a very intimate setting. I love listening to everything, from jazz to folk, pop to classical.

What is your most memorable concert experience?

Goodness me, where should I start?! Every concert is memorable, from a little hall in the middle of nowhere to the big giants. My first time at Carnegie Hall will always be the icing on the cake (and lots of the readers will know I love cake!). Getting a standing ovation at the Concertgebouw was quite something. My Buenos Aires concert in front of a packed 5000 seat hall (at lunchtime!) had me on my toes (I was told Beyoncé performed there the night before- make of that what you will!). Performing with youth orchestras is always truly rewarding- we all learn from each other and I always feel happy amongst them.

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

Always be true to yourself. Never give up. Always follow your dream- patience and perseverance will get you a long way. Never stop learning, from anyone and from every situation!

What is your idea of perfect happiness?

Being able to enjoy each moment as it comes, living in the present. Making a difference, standing up for what I believe in. Change lives through music!

What is your most treasured possession?

My piano.

What do you enjoy doing most?

Play my piano, communicate, bake, cycling with hubby, being with people.

What is your present state of mind?

I am truly grateful for everyone and everything I have around me. I feel blessed to be able to follow my dream.

 

From London’s Royal Albert Hall to Carnegie Hall in New York, the young Romanian pianist Alexandra Dariescu, recently named as one of 30 pianists under 30 destined for a spectacular career (International Piano Magazine), dazzles audiences worldwide with her effortless musicality and captivating stage presence.

Read more about Alexandra Dariescu here

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Who or what inspired you to pursue a career in music? 

It was my mother who first took me off to piano lessons age five although I can’t really say it was a particular calling at that age – I’m fairly sure I was going to be Prime Minister. It was not until I was a bit older and not really practising enough that my mum made me sign a contract promising that I would practise every day or the piano and the lessons would be gone! It was only then that I began to realise just what an important part of my life music was and became determined to dedicate myself to it further. Actually pursuing a career in music was never a particular ambition, however, until age 16 I was on the Chetham’s Piano Summer School and one of the professors simply said ‘why are you not here?’. Well, I didn’t have an answer so the next year I enrolled as a student and haven’t looked back since!

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

I’ve been so lucky with my piano teachers over the years and they have all been hugely influential, but the person who really believed in my abilities as a pianist and really challenged me to be the best I could be, was John Railton. John was an astonishing man – with only one arm he managed to have a successful career as a pianist and conductor, recording for the BBC, conducting at the major concert halls and being the central point of many different communities music making. He had a total disregard for potential obstacles and just believed firmly that I would be a pianist – I really wouldn’t be here without him!

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

The biggest challenge for me is performance anxiety – I wouldn’t say I get crippling nerves but I have found it frustrating sometimes when I can’t achieve the same focus on the music because my mind is worrying about being worried! The challenge is to find techniques to control any anxiety and transform it from something destructive into a positive energy. As an accompanist I have also had to become very time efficient. Our job often involves learning lots of repertoire in very short periods of time and the ability to practise efficiently without getting injured is paramount.

Which performance/recordings are you most proud of?  

I recently launched the Devon Song Festival and I was so pleased with our inaugural concert. There was an unusual amount of pressure in organising the event, trying to keep the audience happy and performing but it went brilliantly and our reception was so enthusiastic. I’m so thrilled it was success and we can expand the festival next year.

Which particular works do you think you play best? 

I definitely feel most at home in the song repertoire, specifically German lieder and English song though I also love the sound world of cello and piano sonatas and am beginning to explore this further. I love playing with singers because I am able to find a deeper connection to the music when text is set. I rarely perform as a solo pianist these days but when I do it’s nearly always Russian: Rachmaninoff and Prokofiev being particular favourites!

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

Last year I played at the Wigmore Hall for the first time and I absolutely loved it. It’s such an intimate space and from the piano it feels perfect as a hall for song. There is incredible clarity in the acoustic and you can really challenge yourself as to how quiet you can play and what extremes of articulation you can reach. It of course helps that the piano is absolutely beautiful too!

Favourite pieces to perform? Listen to? 

This year I’ve been working on Stephen Hough’s ‘Other Love Songs’ (for a performance at Wigmore in May 2016) and it is just the most brilliant cycle. It was written as a companion piece for the Brahms Liebeslieder waltzes and really cleverly picks up on themes from the original work but set to a wonderful selection of texts covering all forms of love and emotions from the heart-breaking to the comic. My personal highlight in the performance comes near the end where the pianists get to join in singing and my part is mostly just hitting the piano!

Who are your favourite musicians? 

I’m lucky enough to be taught by one of my favourite musicians, Eugene Asti. I have huge admiration for his attention to detail and respect for the score and the history of every work he plays. Importantly it is not only theoretical but you can really hear all that detail in his playing and it brings the music to life amazingly. Another is Iain Burnside, his playing is so robust and clear and I find his recordings of English song especially moving in their simplicity.

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

I suppose as I’m still a student I would consider myself to be still aspiring! But I definitely think all young musicians need to think about more than just practise and performing. I’ve been working with Alisdair Hogarth recently and he has shown me the importance of being savvy when it comes to self-promotion and the commercial side of music making. He suggested that we should be spending as much time promoting performances and developing our career as we do practising. Whilst I can’t quite bring myself to do that just yet, I can see that when I leave music college, working hard to find performances and creating appealing programmes will be just as important as working on technique!

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

In ten years’ time I would like to be living in London enjoying a fledgling career as a song accompanist and working as a broadcaster for Radio 3. Basically, I would like to follow in the footsteps of Iain Burnside!

Originally from Devon, Natalie Burch initially studied with John Railton before moving to Manchester to study solo piano with Peter Lawson at Chetham’s School of Music. In 2014 she graduated with first class honors from King’s College London where she studied musicology and took lessons at the Royal Academy of Music with Daniel-Ben Pienaar and Andrew West.  Natalie is currently studying for a masters in accompaniment at the Guildhall School of Music & Drama under the tutelage of Eugene Asti and Andrew West.

Recent and future highlights include performing at the Wigmore Hall alongside Alisdair Hogarth and the Prince Consort, a new commission for the Leeds Lieder festival, rehearsal pianist for Tchaikowsky ‘Rococo Variations’ with Guy Johnston, a recital for the Elgar Society and a number of concerts and masterclasses as resident pianist for Opera Prelude.

Read more about Natalie here