Tag Archives: Meet the Artist

Meet the Artists…….Carducci Quartet

Completed by Michelle Fleming, 2nd Violin of the Carducci Quartet

The Carducci Quartet are

Matthew Denton, Violin

Michelle Fleming, Violin

Eoin Schmidt-Martin, Viola

Emma Denton, Cello

 

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

I think we were all inspired by family members really. 

Emma comes from a rather musical family and her grandmother, Anita Hewitt-Jones, who was a cellist, teacher and composer, began teaching Emma cello from the age of three. 

Eoin was inspired by his grandfather, who was an traditional Irish fiddler. 

I was inspired by my older siblings, who were all learning the violin – I think my parents got good value out of those little violins as all five children had their turn playing them!

Matthew’s parents were music teachers but he was particularly drawn to the violin when he heard the sound a busker was making on the street one day.

When it came to making a decision to make quartet playing our careers, Eoin and I were hugely influenced by the Vanbrugh Quartet, who were quartet-in-residence at University College Cork when we were growing up. We had, and still have immense admiration for them. For Matthew and Emma, studying in London and working closely with the Amadeus and Chilingirian Quartets while they studied in London was a very inspiring time. They had been playing in a quartet together since their early teens and those years in London really developed their love of the genre.

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

I think that the years immediately following graduation from music college are tough. We had come together from the Royal Academy, Royal College and Royal Northern College of Music and so we didn’t immediately have the strong support of any institution. Shortly afterwards, we became Bulldog Fellows and then Richard Carne Fellows at Trinity Laban and with the help of those managed to launch our career by winning the Kuhmo Chamber Music Competition in Finland and the Concert Artists Guild International Competition in New York. 

We had made a decision to only work as a quartet and avoid taking on freelance work individually and so the pressure was on to make a living as a quartet. As we are two married couples, we had no other income except for the quartet work so we were highly motivated!

Which performance/recordings are you most proud of?

A particular highlight for us was our Shostakovich15 project, in which we performed 10 complete cycles of Shostakovich’s 15 Quartets all around the world in 2015. It was very rewarding and absolutely fascinating to have Shostakovich as such a focus throughout that year. We still love each and every one of the quartets and always relish the opportunity to perform them.

Aside from that, we have had some wonderful opportunities to perform at some of the best chamber music halls in Europe and further afield and those are always exciting events…Carnegie Hall, Concertgebouw, Wigmore Hall etc…each of them has a very special atmosphere.

Recordings wise, we have done some lovely recordings for Signum in the last few years. We are really proud of our Shostakovich disc and are looking forward to recording the next instalment soon. We have had a wonderful time recording with some amazing musicians too – Nicholas Daniel, Julian Bliss, Emma Johnson, Gordon Jones and others.

Which particular works do you think you perform best?

Because of our immersion into the Quartets of Shostakovich a couple of years ago, we do feel an affinity for that music. We also play a lot of British and contemporary music and have been lucky enough to have had some fantastic works commissioned on our behalf. We do feel lucky to play a huge variety of repertoire though. We enjoy all sorts. We have always held Beethoven’s cycle up as the pinnacle of the quartet repertoire and find the works endlessly fascinating.

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

We have our own wish list which we combine with special requests we receive from concert organisers. It means we end up with quite a diverse mix of repertoire, and we do enjoy that.

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

We have some favourites, but they are quite varied – Highnam Church in Gloucestershire has an interesting history as it was Parry’s family’s church and we hold our annual festival there. Matthew and Emma were married there almost 20 years ago so it holds particularly fond memories for them. We always enjoy Wigmore Hall…the acoustic there has to be our absolute favourite and the audience is so warm and enthusiastic about string quartets.

Who are your favourite musicians?

It is difficult to choose! We have been influenced by so many from the past and from the present! We do feel honoured to collaborate with some older musicians whom we use to listen to as students.

What is your most memorable concert experience?

I think it has to be 9 August 2015, the 40th anniversary of Shostakovich’s death, when we performed all 15 of his quartets at the Sam Wanamaker Theatre, Shakespeare’s Globe in London. We had four concerts with no more than an hour in between each and the same audience with us from 11am until we finished at about 9pm. It was indescribable really – the intensity, the special rapport the audience had with us, the support, the elation and the fatigue at the end of it all! I think it took us about a week to get over it! We will never forget it and even now, two years on, we meet people who say, “I was there, at the Sam Wanamaker Theatre for Shostakovich15!”, and there is a connection there, as if we are forever kindred spirits!

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

Like every other area, the arts are becoming increasingly competitive and it isn’t easy to know how to get where you want to be. I suppose our advice would be to look at your strengths and think about all the possible paths you can take in order to make your career a success. Think outside the box. You will quite likely end up including many different elements to be a good musician. For us, the combination of performing, recording and educating provides us with a wonderful variety.

What is your present state of mind?

Happy! I love early summer for many reasons. The weather is getting warmer, the evenings are longer, the summer festivals are approaching and the quartet always has a busy but lovely time travelling around to them, school holidays are coming so we will get more time with our children…life is good!

Carducci Quartet perform music by Shostakovich, Glass, Part and Ravel at Music at Paxton on 15th July. Further information here

Described by The Strad as presenting “a masterclass in unanimity of musical purpose, in which severity could melt seamlessly into charm, and drama into geniality″, the Carducci Quartet is recognised as one of today’s most successful string quartets. Performing over 90 concerts worldwide each year the quartet also run their own recording label Carducci Classics; an annual festival in Highnam, Gloucester; and in September 2014, curated their first Carducci Festival in Castagneto-Carducci: the town from which they took their name.

www.carducciquartet.com

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……Steven Devine, harpsichordist & director


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

I started as a pianist – we had a piano at home and I just enjoyed the sensation of interacting with it. Things seemed to go OK and I got a place at Chetham’s School of Music. While I was there I discovered the harpsichord and started to learn it with David Francis whose enthusiasm and approach to the instrument and music suited me perfectly.

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

I think it’s been everyone I’ve ever made music with; the harpsichord is such a collaborative instrument and as we spend so much of our time improvising, everyone has an influence on what we do. Two teachers played a big part in my thinking about the instrument – David Francis and the late John Toll.

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

Maintaining my own musical personality whilst needing to work and pay the bills.

Which performance/recordings are you most proud of?

It’s always hard listening to my own recordings – the music is always developing so often recordings feel like an earlier statement of a work. Performances are very much more satisfying and I’m proud of every one I’ve done – even the not very good ones!

Which particular works do you think you play best?

I think that depends what I’m working on and on what instrument at any moment. Each new project needs immersion in the musical language and also a different approach to the specific instrument. Every different harpsichord/clavichord/piano needs listening to as well to bring out what they offer so I play best what I’m working on at any moment.

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

I try and have an idea of things that I’d like to get under my fingers in the next few years, but working with a record company and concert promoters has to be more flexible than simply what I’d like to work on next season.

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

The nature of the instruments I play means that smaller is better. The Wigmore Hall is, of course, ideal. However, any venue where the instrument is balanced with the acoustic is great.

Favourite pieces to perform? Listen to?

I love performing the Goldberg Variations – it’s such a journey for performe and audience.

Who are your favourite musicians?

Anyone that makes me think about the music first, and the performance next.

What is your most memorable concert experience?

So many spring to mind: but the most memorable ones are nearly always collaborations. There’s something special about sharing the experiences with other people.

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

Practice, train and develop yourself to be as flexible and adaptable as possible. You never know what a concert situation or instrument is going to bring. Treat each new factor as an enhancement of the music, rather than a hurdle that must be overcome. There is no “perfect” musical situation.

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

Doing what I do now and working with as many musicians across the world as I can!

What is your idea of perfect happiness?

At home in the garden with my family and a lovely glass of something.

 

Steven Devine enjoys a busy career as a music director and keyboard player working with some of the finest musicians.

Since 2007 Steven has been the harpsichordist with London Baroque in addition to his position as Co-Principal keyboard player with the Orchestra of the Age of Enlightenment. He is also the principal keyboard player for The Gonzaga Band, Apollo and Pan, The Classical Opera Company and performs regularly with many other groups around Europe. He has recorded over thirty discs with other artists and ensembles and made six solo recordings. His recording of Bach’s Goldberg Variations (Chandos Records) has been received critical acclaim – including Gramophone magazine describing it as “among the best”. Volumes 1 and 2 of the complete harpsichord works of Rameau (Resonus) have both received five-star reviews from BBC Music Magazine and Steven’s new recording of Bach’s Italian Concerto has been voted Classic FM’s Connoisseur’s choice.

He made his London conducting debut in 2002 at the Royal Albert Hall and is now a regular performer there – including making his Proms directing debut in August 2007 with the Orchestra of the Age of Enlightenment. He has conducted the Mozart Festival Orchestra in every major concert hall in the UK and also across Switzerland. Steven is Music Director for New Chamber Opera in Oxford and with them has performanced repertoire from Cavalli to Rossini. For the Dartington Festival Opera he has conducted Handel’s Orlando and Purcell’s Dido and Aeneas.

From 2016 Steven will be Curator of Early Music for the Norwegian Wind Ensemble and will complete his complete Rameau solo recording for Resonus Classics.

Meet the Artist……Madeleine Mitchell, violinist

madeleinemitchellviolinist__seated_

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 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 good voice, but aim to sing through my violin. I am very grateful to my parents, who were not at all wealthy, for giving me piano lessons from the age of 6, prioritising this 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 Galamain, and Dorothy DeLay. 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, 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, 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.

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, some of my favourite are the Mozart operas 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.

Support Madeleine Mitchell’s fundraising for her forthcoming album https://www.crowdfunder.co.uk/record-new-violin-works-madeleinemitchell/ which closes on 15th June at 5.30pm

Sat 1st July 7.30pm Madeleine Mitchell performs as soloist with the Bloomsbury Orchestra in Vaughan Williams The Lark Ascending and the premiere of Explorations of Themes of George Butterworth by Michael Turner at St James, Sussex Gardens, London W2 3UD http://www.bloomsburychamberorchestra.org.uk/ Tickets on the door £12 (£10 concs) or www.wegottickets.com

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, Bayerisher 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 and 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 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.  

 

 

 

Meet the Artist……Tamara Stefanovich, pianist

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

My parents couldn’t afford a babysitter, so I was attending concerts at the Belgrade Philharmonic from the ripe age of three months with a milk bottle – thus food became an important part of my musical life later on.

My older brother and sister already played violin and cello respectively, but it was in one of the concerts that I heard the Prokofiev Third Piano Concerto (as you see, a certain modernity was always a necessity for me) and I decided I was going to be a pianist, to the utter dismay of our neighbours who then had to endure the practicing of three instruments.

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

Bach, Beethoven, Brahms, Boulez, Thomas Mann, Rembrandt, all sharing a strength of disciplined thought and lack of self-indulgence.

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

My country (former Yugoslavia) was in multiple wars in the 1990´s. Having moved from the Curtis Institute of Music in Philadelphia to Cologne, I lost all concert bookings, the opportunity to travel freely and, most importantly, all financial help in the form of scholarships. Everything was annulled as sanctions were imposed on Serbia. My life subsisted on a couple of hundred Deutschmarks a month, working strange jobs, having not more then handful of concerts in almost a decade, eating once a day for prolonged moments of studying and traveling with considerable difficulties due to visa issues.I have never practiced as much as in those years.

But the question of changing the profession was a daily one. I worked but my work was not used – and for me not being useful is close to a sin.

Some years later I was offered series of concerts with Pierre Boulez’s Second Piano Sonata, which I had to learn, and it became my inspiration, the re-start of a career and a source of energy for now more then 15 years – the mix of courageous, revolting, poetic and young energy in this piece transformed me and gave me the hope that my talent could be useful.

Which performance/recordings are you most proud of?

Playing all Boulez piano works in a series of recitals in the USA, and traveling with my husband and 6 month-old baby was a tour de force like none other. Performing all 6 Bach Partitas in one evening in Germany, or Messiaen’s Turangalila Symphonie 10 times on 10 consecutive days are high on my list of excitements. Seeing Maestro Brendel giving me a standing ovation in London still gives me shivers. Accompanying Matthias Goerne were experiences with an intensity and beauty that is unmatchable.

My CD of Bach/Bartok (available online) is where I have produced the truest portrait so far of what is close and true to me as an artist.

Which particular works do you think you perform best?

The unpretentious ones that have a considerable complexity on all levels – emotional, structural, aural – and that represent a huge amount of challenge as well as surprise.

Bach, Boulez, Stockhausen, Ives, Szymanowski for the moment.

How do you make your repertoire choices from season to season?
In constant dialogue with organisers as it shouldn’t be about me, but teamwork between my given curiosity, possibilities of the instrument, hall, timing of the season and openness of the public for a given evening. Thankfully I have a wise agent who after 17 different programmes does ask if it is not just maybe a little bit too much of repertoire for one season.

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

Kolarac in Belgrade, loved by Richter as well.

Who are your favourite musicians?

The uncompromising ones – John Eliott Gardiner, Harnoncourt, Boulez, Richter, Oistrakh, Annie Fischer, Rosalyn Tureck, Matthias Goerne, Salonen.

What is your most memorable concert experience?

Hopefully the next one…..but recently having Maestro Pollini come to my recital in La Scala.

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

Think about what the role of a musician is today and how you can be at best useful for today’s society – for me certainly not playing only older repertoire, but thinking how to link music of all times and span it to extraordinary creations of today. Challenge yourself by not copying someone else’s path, and be more open to creation of today then re-creating old career structures. In short, less image more substance.

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

Admiring my, then, teenage son, finishing a literature degree and gaining a driver’s licence, completing all ashtanga yoga series.

What is your idea of perfect happiness?

Health

What is your most treasured possession?

My son

What is your present state of mind?

Gratefulness

Known for captivating interpretations of a wide repertoire, Tamara Stefanovich performs at the world’s major concert venues including Carnegie Hall New York, Berlin Philharmonie, Suntory Hall Tokyo and London’s Royal Albert and Wigmore Halls. She features in international festivals such as Lucerne, La Roque d’Antheron, Ravenna, Aldeburgh, Salzburger Festspiele, Styriarte Graz, Klavier-Festival Ruhr and Beethovenfest Bonn.

Highlights of the current season include her return to the Philharmonia Orchestra with Esa-Pekka Salonen, performances of Szymanowski’s Symphonie concertante on tour with the National Youth Orchestra Great Britain and the presentation of Quasi una fantasia and the Double concerto with the Ensemble Asko|Schönberg and Reinbert de Leeuw at Amsterdam’s Muziekgebouw as part of ECM’S complete recording of Kurtág’s works. She will give recitals at International Piano Series London, Musikfest Berlin, Milano Musica, Vienna’s Konzerthaus and Antwerp’s De Singel performing Stockhausen’s Mantra with Pierre-Laurent Aimard.

Tamara is cofounder and curator of the newly created festival “The Clearing” at Portland International Piano Series that will see her perform in recitals and work with young pianists and composers. Her appearance at the festival will be surrounded by recitals in Ithaca and Bellingham.

Recent engagements have included Tamara’s debut with the Sarasota Orchestra and performances with the Symphonieorchester des Bayerischen Rundfunks, MDR Symphonieorchester Leipzig, WDR Symphonieorchester Köln, Chamber Orchestra of Europe and Iceland Symphony Orchestra as well as an extensive US recital tour marking the 90th birthday of Pierre Boulez garnering exultant reviews such as that of The New York Times: “Ms. Stefanovich’s performance of Boulez’ second piano sonata was staggeringly brilliant”.

Stefanovich has appeared with orchestras including The Cleveland and Chicago Symphonies, London Symphony, London Philharmonic, Bamberger Symphoniker, Britten Sinfonia, Deutsche Kammerphilharmonie Bremen, Swedish Chamber Orchestra and London Sinfonietta.

Tamara Stefanovich has collaborated with conductors such as Vladimir Ashkenazy, Pierre Boulez, Osmo Vänskä, Susanna Mälkki, Vladimir Jurowski as well as leading composers including Peter Eötvös and György Kurtág. She regularly leads educational projects at London’s Barbican Centre, Philharmonie Köln and at Klavier-Festival Ruhr such as innovative online project of interactive pedagogical analyses of Boulez’ Notations: www.explorethescore.org

Her discography includes the Grammy-nominated recording of Bartók’s Concerto for Two Pianos, Percussion and Orchestra with Pierre-Laurent Aimard, Pierre Boulez and the London Symphony Orchestra for Deutsche Grammophon. Stefanovich has also recorded for the AVI and harmonia mundi labels, featuring new piano solo works by Thomas Larcher. Her latest recording of Hans Abrahamsen’s concerto for piano and orchestra and 10 studies for piano with WDR Symphonieorchester Köln released by Winter & Winter. In 2015 she recorded Kurtág’s ‘Quasi una Fantasia’ and the Double Concerto with Asko | Schönberg Ensemble and Reinbert de Leeuw for ECM.

Taught by Lili Petrović, Tamara Stefanovich became the youngest student at the University of Belgrade at the age of 13. As well as music, her broad university education encompassed several other disciplines – psychology, education. She also studied at the Curtis Institute with Claude Frank, and subsequently with Pierre-Laurent Aimard at the Hochschule Köln.

(Photo: Marco Borggreve)

Meet the Artist……Simon Vincent, composer

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

When I was growing up, my parents and brothers always played records in the house, ranging from opera and instrumental classical music through to rock and blues. I listened to the charts regularly as well as all the things my family played and started buying my own records from when I was about 5 years old.

I would spend hours with my head between the speakers of the stereo, captivated by the production and ‘sound stage’ of the recordings, and I would spend just as much time recording soundtracks from the TV and things outdoors. Although I used to enjoy making short cassette tape constructions as well as exploring the pedals and strings of the piano we had at home, it occurred to me quite late that I should attempt to develop my ideas into something more compositional, or even try and notate them.

In 1986 I went to the University of East Anglia to study languages. Once there I discovered its wonderful music department and thought that this would be a ‘once in a lifetime’ opportunity to explore music further. Inspired, quite literally, by Dave Brubeck’s example, I changed to study music and have never looked back. I have the composer Denis Smalley, my then teacher, to thank for opening my ears to so many unknown musical worlds and for setting excellent standards in both composition and performance.

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

I am always influenced by the things around me, as I like to keep my ears and eyes open. I hope that that will never change and I still enjoy keeping up to date with pop music and other dance and club-oriented things, something I was able to pursue professionally as a DJ for a while. But my musical life has also been influenced by any explorations of structure, space and narrative (political, spiritual or otherwise) that I find interesting, ranging from the buildings of Zaha Hadid and Denys Lasdun, the poetry of Adrienne Rich and Seamus Heaney, to the speeches of Martin Luther King Jr. to name but a few.

Musically Dave Brubeck’s daring improvisations and the intensity of his voice have certainly been a big influence on me, as has, for example, Miles Davis’ stunningly adventurous conception of sound. Karlheinz Stockhausen has, however, been perhaps the biggest influence. The clarity, playfulness, and the human quality of his composed/improvised music is something I learned from enormously. I have a postcard from him on which he wrote “balance your music!”, after he listened to one of my compositions. That’s something I’ve tried to adhere to.

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

Of all the challenges I suppose finding new paths, being original (but never at the expense of the quality and intention of the work) and ‘remaining true to myself’ are the greatest. Of course, they could easily become frustrating but I always see them as something positive, something that helps me grow and learn.

Getting pieces heard can however be frustrating as can the sadly often conservative programming of so-called ‘experimental’ concerts and festivals. The musical landscape has changed dramatically in the last 20 years, and so the challenge to be open to new spaces, open to the development of new musical languages but at the same to be true to oneself and to produce works of quality certainly doesn’t diminish in importance.

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

I really like working on commissioned pieces for two reasons: Firstly, if the piece is either for myself to perform or simply for electro-acoustic playback, I enjoy having free reign to explore what I need to explore; secondly if the work is for someone else, I very much enjoy being influenced, even slightly, by the tastes, characteristics and abilities of the performer in question. That way, the work becomes tailor-made in some aspects. Mr Gee’s Magical Trombone Case, a suite of 3 electro-acoustic miniatures commissioned by Principal RPO trombonist Matthew Gee, contains for example many of his performance gestures and my reflections on his sense of humour. It is a lot of fun to work with him.

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

I suppose very similar to the above. We are all humans and I love each player’s idiosyncrasies. Working with musicians in that way is a very human exchange and leads to an often unique experience and dynamic.

Of which works are you most proud?

‘Pride’ is a word I never use to describe my creative activities, or indeed myself as a whole. There are certainly compositions which I have feel have successfully reached the goal and expressed the message that I may have had in mind, and even though the very act of composition will sometimes take me in a new and surprising direction, I might still feel satisfied that some good work has been done, that the goal has been reached and the message successfully communicated. Such pieces might be 5 Portraits for Solo Piano (1992), Comma 02 (2006), Falling Man, Rising Woman (2015), and three very recent pieces from 2016 La Mia Coppa Trabocca for Piano & Electronics, Mr. Gee’s Magical Trombone Case and Stations of the Cross for Solo Piano.

How would you characterise your compositional language?

Searching, questioning.

How do you work?

Earlier in my career, I would compose 3-4 days per week, but now, I’m experiencing a flood of ideas that I have to get out. I can’t keep myself away from the studio or away from the piano, but I am organised and work methodically, even sometimes late into the night. I also like to work in isolation.

Who are your favourite musicians/composers?

There have been (and still are) so many but to name just a few: Dave Brubeck; Miles Davis; Karlheinz Stockhausen; Beethoven; Bartók; Haydn; Morton Feldman; Trevor Wishart; J.S. Bach (he scares me, in a good way); Mitsuko Uchida; Julius Drake; the very sound itself of acoustic and electro-acoustic instruments, which all have their own characteristics and personalities.

In my direct circle of friends, I would have to say Roland Fidezius and Rudi Fischerlehner, both members of The Occasional Trio. They are simply a joy and always an inspiration to work with. Also Tom Arthurs, who is without doubt one of the finest musicians I know. And finally Sophie Tassignon, an artist who uses her voice to create fantastic clouds of sound.

What is your most memorable concert experience?

Again, there have quite a few but to name two of them: A Brubeck concert in 1997 in Bath, where he took some breathtaking harmonic and rhythmic risks that I still remember clearly

to this day; Michael’s ‘Reise um die Erde’ from Stockhausen’s Donnerstag aus Licht which I saw performed in 2016 in Berlin. The music was so exquisite and touching, that I cried at the end of the concert and couldn’t speak for quite a few hours afterwards.

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

Explore, find your voice, and let no one stand in your way.

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

Composing and performing.

What is your idea of perfect happiness?

Peace and tranquility, a moment’s rest from everything, to be able to sit and watch the world. A meal together with friends. To work at the piano or in the studio and be inspired.

What is your most treasured possession?

My soul. It guides me and I treasure it dearly.

 

 

 

 

Nominated in 2014 for a Paul Hamlyn Award for Artists, Simon Vincent is a performer and composer of acoustic and electronic music, who has been challenging the boundaries of genre and musical expression with a highly personal language since the early 1990’s.

“Visionary and expressive”, “rich and surprising”, “beautiful music”, “intelligent”, “delicate”, “impressionistic”, “fresh”, “incredibly individual”, “masterful compositions”, Simon’s music has attracted praise and radio play from critics as varied as Ben Watson, Julian Cowley, Nick Luscombe, Massimo Ricci, Gilles Peterson, Mr. Scruff, Fourtet, AtJazz, and has been reviewed internationally in many publications including The Wire, De:Bug, Knowledge Magazine, Dragon Jazz, Extranormal and Kudos.

Releasing work on Erstwhile Records, EMANEM, L’innomable, Good Looking Records, as well as  own label Vision of Sound, Simon’s unique work has led to appearances worldwide at the Glastonbury Festival, Rotterdam Film Festival, Akademie der Künste (Berlin), ICA London, London Fashion Week, Club Transmediale (Berlin), National Museum (Stockholm), Progression Sessions (London), Huddersfield Contemporary Music Festival, Internationale Ferienkurse für Neue Musik (Darmstadt), Q-02 (Brussels), Visiones  Sonoras (Mexico City), Making New Waves (Budapest), >Sync 2013, as well as on Resonance FM, BBC Radio 3, Ministry of Sound Radio, and FM4-Austria among many others.

He started Vision Of Sound Records & Publishing in 1997 to promote his contemporary classical and experimental music, and is currently recording selected solo piano compositions for release in April 2017, as well as composing new works for London-based trombonist Matthew Gee and Malmö-based pianist Jesper Olsson.

 
 (photo: ©Anna Agliardi)

Meet the Artist……Vikingur Olafsson, pianist

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

I came to the piano quite early – when still in my mother’s womb! She’s a piano teacher and when 5 months pregnant with me, she played her diploma recital from Berlin university, so I was quite close to the keys from the beginning. I started playing the piano before being able to speak (I was admittedly rather slow when it came to forming words), and there are pictures of me playing the piano as soon as I was tall enough to reach for the keys, high above my head.

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

That would be my parents. My mother, the piano teacher, and my father who is a composer and architect. Mum introduced a lot of the classical and romantic repertoire to me, while dad brought 20th century music to my attention, relatively early on.

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

Finding my way after my study years in New York, moving to Europe with practically no professional connections and nothing going for me. I wanted to build my career without doing piano competitions and realized that I needed to become my own teacher and find my own way once I had finished school. So I had a lot of time for self-study and focused especially on the works of J.S. Bach, started my own record company and later also started a music festival in Reykjavík, and gradually began to get more and more invitations to play concerts. But it wasn’t always easy. Getting a manager seemed very difficult early on, I sent some CD’s and letters to different people and never got answers. I felt the business was simply impossible, that no one was listening, regardless of how you played or what you did. But bit by bit things started to happen and it helped me quite a lot when Alfred Brendel reassured me in 2012 by telling me that “it takes 15 years to become famous overnight”. I think that holds true for the great majority of International performers, but not many people talk about it.

Which performance/recordings are you most proud of?

It’s easy to look at everything one has done and only see the things that one would have liked to do differently in the present. I think we have to embrace the different phases of our artistic development and often I find that peformances from the past are considerably better than I had imagined and worried.

I’m rather happy about my Bach-Chopin album from 2011 with Partitas No 2 and 5 and the 24 preludes, I can listen to that disc and enjoy it. For concert performances, I’ll mention my first Rach 3 performance, from 2007 with Iceland Symphony and Rumon Gamba (on Youtube). I was actually very unhappy with myself after the concert but today I don’t really understand why.

Which particular works do you think you perform best?

Not for me to say, but I do feel very comfortable in the works of J.S. Bach and Ludvig van Beethoven.

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

I try to have a healthy balance of adding new concertos and recital works to my repertoire and to revisit works I’ve played before. I also try to commission and premiere a new Piano Concerto every 2-3 years. Right now, I’m actually more into revisiting works, but I’m still adding 3-4 piano concertos every season and probably 1-2 recital programmes.

Do you have a favourite concert venue to perform in and why? My favourite venue is Harpa in Reykjavík. I was honoured to perform the very first concert in the big hall in 2011, the Grieg Piano Concerto with Iceland Symphony and Vladimir Ashkenazy, and I still get this extra buzz of excitement when going on stage there. Besides, the acoustics are marvellous, the pianos great and backstage you have the view of the ocean and Mount Esja, my favourite mountain.

Who are your favourite musicians?

The ones who keep an open ear and never take anything for granted.

What is your most memorable concert experience?

The opening concert of Harpa Concert House in 2011.

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

I think the most important is to find a way to become your own teacher. For that you have to try to develop the skill to listen to yourself while you play as if you were sitting 15 meters away in the hall. Quite paradoxical. Nothing is better in this regard than recording yourself, whether at home or for an album release. But it can be painful and one always wants to practise just a little bit more before pressing the rec button and having to look in that musical mirror…

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

Alive and playing great music!

What is your most treasured possession?

My Steinway B model Grand Piano from 2009 and my gorgeous Longman and Broderip Square Piano from 1785.

What is your present state of mind?

I’m on an airplane as I write these answers, heading to Iceland. It’s 25th February and somehow I’ve already played 12 concerts this month. I’m a bit tired and am so looking forward to having 10 days of break!

Vikingur Olafsson’s CD of Philip Glass Piano Works is available now on the DG label

Possessing a rare combination of passionate musicality, explosive virtuosity and intellectual curiosity, Icelandic pianist Víkingur Ólafsson has won all the major prizes in his native country, including four Musician of the Year prizes at the Icelandic Music Awards as well as The Icelandic Optimism Prize.

Víkingur grew up in Iceland where he studied with Erla Stefánsdóttir and Peter Máté. He holds Bachelor’s and Master’s degrees from The Juilliard School, where he studied with Jerome Lowenthal and Robert McDonald.

Read Vikingur’s full biography

[Interview date: 25th February 2017}

 

(picture: Harrison Parrott)

Meet the Artist……Warwick Blair, composer

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

My sisters used to play this track by Danny Kaye called ‘Thumbelina’, at 33 and a third, it was originally a 45 RPM recording, but they played it at a much slower speed, and consequently it used to freak me out, it used to scare me. I was only 3 or 4 years old, but it was the idea of the transformation of material. It remains very important to me and it marked a milestone, and if we’re talking a thread, that’s definitely one.

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

Although I have worked with Xenakis, and studied with Andriessen and Gilius Bergeijk; perhaps those composers can be viewed as more abstract.The fact that I was brought up in a household where Chopin’s music was revered, and played constantly, is a significant influence, resulting in an appreciation of lyricism and perhaps gesture. When I was living in London in the late 80s, I saw Dead Can Dance play at Sadler’s Wells, again a definite high point, showing me the possibilities of integrating pop cultural influences with a more classical music sound world. This shows itself in my practice today in the collision of styles, demonstrating a search for a deeper meaning, where eclectic diversity and temporal associations offer exceptional musical freedoms, where all sound is equally relevant and musical hierarchies are leveled, so that something more abstract, more universal, can emerge.

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

Although I am ambitious, being a New Zealander living in New Zealand, trying to bring my music to the world, via the UK. As I grow older and realise “who” I am; a composer, I will never stop writing music and that is the journey that I must accept and am on.

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

Apart from the obvious financial and emotional reward of being asked to write a commissioned work, there is no difference between a commissioned work and a non- commissioned work in terms of pleasure; they are equally pleasurable.

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

The challenge of working with particular performers is an understanding of psychology (or sometimes psychiatry, ha ha). After all did not Ravel say performers are slaves?

Of which works are you most proud?

The work that I’m most proud of originates from 1985 called Dream State, an electronic work that is a precursor to Generative music, using the Japanese modular synthesizer, Roland System 700. I’m proud of it because it’s quite pioneering in a way. The instrumental work Electric (aka State of Being) is an opera dating from 2013, which had its world premiere at the Tête à Tête opera festival. The scene called ‘Love’, I find especially moving.

How would you characterise your compositional language?

My compositional language is quite eclectic, but broadly speaking folk or tonally influenced. There’s a sense of egalitarianism, as Louis Andriessen has said, I am working at a new kind of ‘world’ or ‘universal’ metaphysical musical language. Perhaps in a way, I’m trying to find the ‘truth’.

How do you work?

I use a variety of equipment to aid my compositional process, be it a computer, iPad, iPhone or pencil & paper. i use a lot of sampling techniques. there seems to be a conceptual approach that informs my technical processes.

Who are your favourite musicians/composers?

They tend to be mavericks, who exist outside an established or accepted system, but cross all styles, for instance whether it be pop, world or classical.

What is your most memorable concert experience?

Dead Can Dance 1988 at Sadler’s Wells.

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

Music should have a conceptual reason behind it, for instance we don’t need another string quartet to add to the canon and history of string quartets, but a work such as my Stars, a 24 hour work, could be said to have value from its very nature; it being unique, although inspired by (Gandharva music). To have something to say, to have a point of difference, not to follow the mainstream, and to listen to all sorts of music constantly. To never give up and keep going, and to share love with the world.

What is your present state of mind?
To share love with the world.

 

Warwick Blair Ensemble, featuring musicians from both UK and New Zealand, perform at Club Inégales (1 June), offering a unique insight into the work of the ‘enfant terrible’ of contemporary Antipodean music.

Hailing from New Zealand, Warwick Blair has a reputation of one of the most eminent composers New Zealand has produced in years. Having studied under Louis Andriessen and Iannis Xenakis, Blair’s music fuses classical and indigenous traditions with electronics in a mesmerizing minimalistic soundscape. In this London residency, he will examine the concept of memory, with the ability of the mind to retain certain information and yet reject other selective memories has fascinated the composer for many years. His performances will become his personal explorations of a musical palette that draws on various seemingly opposing genres or styles, creating a compelling and challenging soundscape.

The concerts will offer two his most eminent works, Melusine (2015) and Etuden (2014), both premiered last year during his Kingston University residency. While the former demonstrates the influence of Puccini’s lyrical melodies and Wagner’s pioneering chromaticism, but also draws on serialism, the avant-garde and contemporary songwriters, such as Lorde & Rowland S Howard, Etuden is a work that combines the influences of Chopin and Billie Holiday.

warwickblair.com

Meet the Artist……Ben Goldscheider

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

I started to play the cello at five years old as both my parents were professional string players and it seemed like the right thing to do. When I was six years old, I was diagnosed with the lung condition Bronchiectasis and this led to the decision that maybe taking up a brass instrument (with the added element of deep breathing!) would be a great way to strengthen my lungs. From there it was a case of playing in various orchestras, ensembles and listening to famous horn players which made me realise that pursuing a career in music was definitely the way forward for me.

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

My teacher at the Royal College of Music Junior Department, Sue Dent, was absolutely incredible for me in terms of developing as a musician both with and without the instrument. I studied with her for almost eight years before my idol, Radek Baborak, of whom I had listened to almost every recording and watched every YouTube video of, invited me to study with him in Berlin at the Barenboim-Said Academy. Aside from horn players, I was always very interested in the artistry of Rostropovich and listening to recordings made at a time before it was possible to edit them to perfection. This raw energy is something I really admire.

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

I think an on-going challenge and a challenge I will have for the rest of my career is to convince first the management and organisational side to music, then the wonderful audiences that the horn should be held in high regard as a solo instrument!

Which performance/recordings are you most proud of?

Performing in the Brass Category Final of the BBC Young Musician Competition for me was the single most enjoyable musical experience of my life. I had dreamt about being on that stage for years and had really prepared every single note of my programme as well as physically possible. To be rewarded with such an incredible response from both the live audience and then the people watching at home was just incredible,

Which particular works do you think you play best?

I think when it comes to very technically difficult and abstract contemporary music, I really enjoy taking the time to figure out the puzzle and think that it is an area of music where I feel most at ease performing.

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

As a young aspiring soloist, I tend to accept any invitation I get to play and more often than not, promoters already have a piece or programme in mind. Now and then it is possible to make requests and here I try and add concertos that people very rarely play and are most likely unknown to the audience.

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

I recently played in the KKL Concert Hall in Lucerne, Switzerland and before even stepping foot inside the unbelievable hall, had fallen in love with the town.

Favourite pieces to perform? Listen to?

One of my favourite pieces to perform is the Franz Strauss Nocturne for Horn and Piano. It is really quite cheesy but so satisfying to play and allows you to really express yourself to the audience. To listen to…will always be the Goldberg Variations by J.S Bach.

Who are your favourite musicians?

I have many favourite musicians both dead and alive! I think my teacher, Radek Baborak, is quite an extraordinary musician as is Daniel Barenboim and I am also fascinated by the wonderful percussionist Martin Grubinger.

What is your most memorable concert experience?

My debut at the Royal Albert Hall with the English Festival Orchestra was by far, for me, the most special concert I have ever been involved with. To walk out to a completely sold out RAH, with sound coming from all sides was just incredible. And then to see the audience’s faces light up with the Rondo of the third movement from Mozart’s 4th Horn Concerto was really special.

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

I think that something that is quite seriously overlooked in aspiring musicians and certainly something I overlooked is the simple fact that people should be in music and study music to enjoy it. The profession is too difficult anyway so at least enjoy making the music!

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

Easier said than done but I would love to be in a position where I was performing concertos with orchestras all over the world!

Described as “a musical Bear Grylls” (Huffington Post, May 2016), Ben has quickly emerged as one of the most exciting horn players of his generation. Winner of the Brass Category Final in the 2016 BBC Young Musician Competition, Ben went on reach the concerto finals at London’s Barbican Hall, where he performed Strauss Horn Concerto No. 2 with the BBC Symphony Orchestra under Mark Wigglesworth.

From October 2016, Ben has been studying with Radek Baborak at the Barenboim-Said Academy in Berlin. Keen to promote the horn as a solo instrument, he has recently recorded his debut CD with Willowhayne Records, featuring works by composers including Schumann, York Bowen, Kalevi Aho and Esa-Pekka Salonen. Upcoming concerto highlights include Strauss with the Lucerne Symphony Orchestra, Mozart with the European Union Chamber Orchestra and representing the British Council at the European Soloists Festival in Venezuala. Other recent notable highlights include a live broadcast on Austrian TV and Radio of the Mozart’s Fourth Horn Concerto with the mdw Chamber Orchestra and a solo recital at the Royal Albert Hall, Elgar Room. Ben has also been guest principal with the West Eastern Divan Orchestra under conductor Daniel Barenboim. 

In 2016, Ben won the Philip Jones Memorial Prize at the Royal Overseas League Annual Music Competition for most outstanding brass player, the Cox Memorial Prize and audience prize at the Eastbourne Symphony Orchestra Young Soloist Competition, second prize at the Leoš Janáček International Competition and second prize at the Bromsgrove International Musicians Competition. Ben was recently invited to participate in the International Music Academy for Soloists (Bückeberg Palace, Germany) and the International Summer Academy for Wind Soloists (Payerbach, Austria).

Born into a musical family, Ben began playing the horn aged nine, and commenced studies with Susan Dent at the Royal College of Music Junior Department two years later. At the age of 13, Ben was appointed principal horn of the National Youth Chamber Orchestra and, in 2014, principal horn of the National Youth Orchestra of Great Britain where he was awarded the John Fletcher Brass Prize for his contribution to the orchestra.  In 2012, he was the youngest participant in the London Symphony Orchestra Brass Academy. Ben has also played with the Philharmonia and collaborated with Dame Shirley Bassey on her 2015 Christmas Single.

Ben is grateful for support from Awards for Young Musicians, Dorothy Croft Trust for Young Musicians and EMI Music Sound Foundation. He is a June Emerson Wind Music Young Artist. As a result of his success in the BBC Young Musician Competition, Ben receives career guidance and diary management from the Young Classical Artists Trust.

Ben plays on a Gebr. Alexander 103 horn.

Meet the Artist……James Heather, composer

JamesHeather_ModulationsLandscape_byFabriceBourgelle

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

Ever since my family took on a second-hand piano from a friend when I was 9 I started to make music, I used to play with a box on my head to learn to play freely without looking at the keys, it must of looked weird! Around this time I played a simple part in a school performance, an older pupil commented on how easy it was, that pissed me off! It was a formative moment for me in trying to improve. Music was important from the start, something impossible to truly articulate in words, it had a profound effect on me, I realised its power to connect in what seemed like an honest way,

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

My Granny on my Dad’s side and my Grandad on my Mum’s. Both used to compose songs rather than just play others. My Grandad having a more rule-abiding approach to composition and my Granny being a bit a more improvisation side. I remember re-tuning a piano with my Grandad at age 12 into equal temperament and writing down frequencies to see if modern pianos were tuned as they should be. My Dad and Brother were also early influences, they used to share music with me from classical to punk to techno and beyond. I think its quite common in the early days of composing to want to please those people who influenced you, before you gain confidence to branch out further afield without always needing nods of approval.

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

The biggest frustration was probably losing confidence to share my compositions throughout my 20’s. I was starting to work as a publicist for some bonafide commercial and critically successful artists at the record label Ninja Tune, that took up time and also meant the bar was set higher in my head to the standard of a composition needed. Additionally I felt more detached from my family and friends after moving to London and finding my feet in a new city, so perhaps I became more introverted with my art. I now see this as a useful period, as I never stopped composing, even on cheap small keyboards due to the lack of space I was living in. Perhaps this period was needed to not get too comfortable early on and work on a sound without commercial pressure.

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

I am only just starting to release music commercially so commissioned pieces are hopefully something that will come more in future. I have provided pieces to people in the world of sync & publishing, they need hooks at more regular intervals and certain styles to be followed, I enjoyed that process in the refining of my arrangements for sure, perhaps less so having to do a certain style for market. Luckily I do melodic upbeat songs within the more complex dark compositions, so I think it’s not a compromise as such, just a slight re-angling of my sound with full sign-off from me on the brand it might be associated with. Years ago I was also asked to write a song for a key moment at a wedding with a brief and ex-ample song. People asking for your music to help on a special day is a definite pleasure.

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

In the school and college days I found this frustrating, as it was a competitive environment with indie bands of the time, and usually people didn’t have the work ethic to follow through what we would plan over a beer! It was one of the reasons I became a solo pia-nist, with occasional dabbles in working with friends who made “beats”. I am now reaching a stage where collaboration is something I am interested in again, I am interested in taking my sound into unexpected environments, I’ve just done some work with a well known elec-tronic producer and a RnB singer so I am looking forward to that coming out. I have noth-ing against the classical world, but I sense it could be a bit of a cul-de-sac if that’s all someone did, It’s important for me to be cross-genre as an artist in collaboration where possible.

Of which works are you most proud?

I think the “Water Sonatas” album I did as in 2015 helped me with a bit more visibility,. It was the first time I uploaded an album to the internet and told anyone, I just put it all up online and gave away mp3’s, it wasn’t on stores. The organic sharing of it among journalists and music industry people was confidence-building and made me think my music could travel further. This led to my first released work “Modulations: EP 1” which is out on June 9th, on Coldcut’s record label Ahead Of Our Time (an imprint of Ninja Tune) with an album to follow later in year. The art direction on both releases is by Suki and I love how beautiful it’s all going to look!

How would you characterise your compositional language?

I would say at the moment it’s a melodic language that modulates between keys freely but I want to explore a more dissonant language going forward, but one with a foot in harmony. My work has elements of soul and jazz in there too which clash subtly with a more classical framework. I want to explore this more too going forward. Within the DNA is a light and dark tension at play with hope bubbling beneath.

How do you work?

Ideally I have 48 hours with no distractions at home. In the morning I might not do any composing, I’ll do usual stuff like breakfast, watch TV, talk to friends and family and find excuses to put off the dusting! I might plan out roughly what i want to achieve in the compositions too, taken from notes I make during the week on feelings I’ve soaked up. As the day gets older and I feel I am reaching a peaceful state I will just play for hours, and record the bits I am most happy with. It has to feel like I am pushing new ground every time I step to the keys. Improvisation is something traditionally I feel comfortable in and never playing same thing the same way twice. More recently I have been relearning and fine-tuning my compositions from years of recording, looking back a little in order to have a set of songs people might recognise when playing live! I try to stop by 11pm so I can watch a bit of football to unwind from the creative zone and get my 8 hours kip!

Who are your favourite musicians/composers?

In the classical world I would say Beethoven, Debussy, Lisa Gerrard and Max Richter. I actually listen more to electronic and hip-hop music (among other styles) much more however these days. I like the rawness of Wiley and the consciousness of Roots Manuva and Jonwayne in the rap world. I also love Cinematic Orchestra, Young Fathers, Aphex Twin, Bonobo, PJ Harvey and Leon Vynehall form other genres, I could go on forever. I love mu-sic from every genre that feels like an honest explosion of the heart, whether thats conveying beauty or anger. To me my music is punk in spirit, but on first listen its anything but.

What is your most memorable concert experience?

The live world is something I was initially very shy with and not something I pursued, I am happy in isolation. But in the right environment I do play on occasion. I performed a Sofar Sounds recently, where invited people watch a gig in a house and it goes onto YouTube. That’s a cool vibe, but to play somewhere like The Barbican one day is something that I’ll aspire to. I am ambitious and want to push myself in the live arena, but at my own pace. I wish more places had acoustic pianos!

What do you consider to be the most important ideas and concepts to impart to as-piring musicians?

The fallacy of self-importance is not a cool thing and not sustainable to a peaceful inner core. Be confident with your art but be interested in others too. Be humble and bend the rules.

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

Making a living out of my compositions in a varied manner, from albums to collaborations to score work, helping other artists get the exposure they deserve and continuing a spiritual, loving path with my wife.

What is your idea of perfect happiness?

I believe in joy, somewhere between happy and unhappy where the pressure to be perfect has been eradicated and the lows of imperfection measured against perfection are a distant memory.

What is your most treasured possession?

I feel I can live without any of the few possessions I have, in that respect I’m down with the monks! Without access to the ability to compose music though makes me feel like a metal spring is being pushed down in my stomach however!

 

On June 9th contemporary pianist James Heather releases “Modulations: EP 1” via the Ninja Tune imprint Ahead Of Our Time, which is Coldcut’s re-launched playground for free expression and experimentation.

These sparse pieces ebb and flow, slowly enveloping the listener in a subtly subliminal fashion. Heather’s minimalist approach allows the instrument’s rhythmic, tonal and melodic capability to take centre stage, offering an intimate encounter with the piano and its player. “Modulations: EP 1” is the first in a series of EPs that showcase a versatile handling of assorted emotions and styles.

The seven tracks are drawn from Heather’s large bank of self-penned music, which were written and recorded at different times and in various headspaces. ‘EP 1’ will be followed by an album in the summer, which represents a more unified body of conceptual work

Further information 

James Heather is one of the new school set of ‘post classical’ artists flourishing in the wake of the long, steady but recently accelerated success of figureheads like Max Richter, Ben Lukas Boyson and Jóhann Johannsson, and the wider public’s overdue but now burgeoning relationship with this varied genre.