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

I took up piano as a hobby after my grandmother asked if I’d be interested in learning it. Growing up on a farm in southern Tasmania meant there wasn’t much else to do, so I said yes. I didn’t decide to pursue a career in music until the end of my school years, when the head of music suggested I apply for conservatoires in London.

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

Probably my dad and my teacher. The former because he is inadvertently responsible for much of my taste in music, and my teacher Joanna MacGregor because she allowed and helped me to take a path less travelled in my musical development (no repertoire is off-limits!), and instilled in me a passion for new music.

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

Moving to the other side of the world by myself at age 18.

Which performance/recordings are you most proud of?

I couldn’t say for certain, but in recent times I have been particularly pleased with a performance I gave of Michael Finnissy’s 2nd Piano Concerto with Ensemble x.y and An Assembly. Sometimes things do hold together when you need them to.

Which particular works do you think you play best?

I think I play modern/new music best, but I also like to think that I play Romantic-era works quite well too.

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


It depends on the concert and the context of the concert. One thing I hate vehemently is uninspired programming. A programme needs to be more than a series of pieces one after the other without connection other than ‘similarity’ or ‘contrast’. I like forming narratives, be it stylistic, historical, emotional etc. and I feel it is necessary to talk to an audience (either verbally or through your own programme notes) to offer this information, and offer an approach to listening. I strive to choose programmes that will be relevant to either the venue, the context of the concert or a featured piece. So this is primarily what drives my repertoire choices. It usually means I have to learn new pieces quite regularly, but that’s fine.

Who are your favourite musicians?

I couldn’t say, it would change from week to week or day to day even.

What is your most memorable concert experience?

I don’t know, mostly because I have a bad memory. Although I once did a certain concert with a certain friend of mine where between us we performed about two thirds of Boulez’s output for piano(s) and in retrospect it was a completely ridiculous idea and I have no idea how we pulled it off.

As a musician, what is your definition of success?

Owning a home.

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

Do things other than music at least as regularly as you do music.

What is your idea of perfect happiness?

I don’t know. But I think if I owned at least three pianos, and a celesta, and maybe throw in a few harpsichords and/or a clavichord and a few other things with keyboards I reckon that would do for a start. You could ask me again then.

Joseph Havlat performs at this year’s Dartington International Summer Festival.

Further information

Joseph Havlat was born in Hobart, Australia, and studied at the Royal Academy of Music in London under Prof. Joanna MacGregor from 2012 – 18. Joseph has performed in major concert venues around the UK and in Europe, America, Japan and Australia as a soloist and as part of chamber groups and orchestras. He is a keen sock enthusiast and chamber musician, performing frequently with multiple groups – Tritium (clarinet) trio, Trio Derazey, Duo Ex Libris as well as the LSO percussion ensemble, with whom he toured Japan in 2018 giving the premiere of a work by John Adams. Passionate about contemporary music, he is a founding member and artistic director of contemporary music collective Ensemble x.y and is also an avid composer, having written for the aforementioned ensembles, among others. Having now graduated from the Academy, he is there serving as a Piano fellow for 2018-19, having also been a Chamber music fellow for the previous year.



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Your father, Masaaki Suzuki, must have had a major impact on your musical development as a child. Can you tell us about this, and what else inspired you to pursue a career in music?

My father had a lot of influence on me as a musician, though I never actually studied with him properly apart from at the Tokyo University for Fine Arts and Music, when I was a student in Masaaki’s class. This was quite special in a way, as I was able to see the way he works, as every other student in the class. Whilst Masaaki introduced me to the world of Baroque music, I became inspired whilst studying composition at the University of Tokyo, where I became familiar with many fascinating contemporary composers. This is especially interesting to me as the composers are still living, so I am able to see the inspiration of their compositions, relating to the world I live in now.

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

Becoming Principal Conductor of the Bach Collegium Japan was a great challenge, as I was formerly the organist, and therefore my relationship with those I work with in the orchestra changed considerably. Every day presents new and exciting challenges that I look forward to tackling. Conducting an orchestra is pure fun for me!

You feature on numerous recordings with Bach Collegium Japan, and have recently been appointed their Principal Conductor. Which performances/recordings with Bach Collegium Japan are you most proud of?

The first would be ‘Bach: Cantata’s, Volume 28’ (BIS) my first recording as harpsichordist of the Bach Collegium Japan! I’m also proud of our Cantata’s Volume 44, where I played the solo part in Bach’s Organ Concerto.

Your new recording project with Antoine Tamestit sees you perform JS Bach’s three sonatas for Viola da Gamba and Harpsichord. What inspired you to take on this project?

Antoine and I have been very good friends for years, and share a love of sushi which always brings us together, and of course music. We have been talking about making a recording for a while, and it has been the greatest joy to finally work with him on this. The result has been so fruitful and I look forward to sharing this with people.

You will be making your debut at Edinburgh International Festival this season. What are you looking forward to about performing there?

I’m very happy to be returning to Edinburgh to make my debut at the International Festival. The press were very kind about my harpsichord playing last time I was here, and I’m of course looking forward to sampling Scotland’s famous whisky!

You seem to have a very busy workload! How do you make your repertoire choices from season to season?

I believe you have to enjoy making the music you choose to perform. I have always chosen music I love, and I’m happy with the results so far.

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

The Concertgebouw in Amsterdam is special to me as I used to live in this area. I always love visiting Tokyo’s Suntory Hall, and Wigmore Hall for its warm atmosphere.

As a musician, what is your definition of success?

I don’t have a definition of success, as such. I’m happy with the way my career is growing and developing, and believe musicians should always take a humble stance on their career. Acknowledging success might encourage you to stop striving as much, and there is always better music to be made!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? What advice would you give to a younger artist?

I once attended a masterclass given by the great Yo-Yo Ma who explained the three steps to becoming a musician. The first evolved around being confident and proud of what you are making. The second focused on overcoming your insecurities and inexperience as a young musician, and the third encouraged us to continue making music against all odds! I think this third step is the most important but also the most difficult.

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

After 10 more years I hope I am still making music and still happy!

Masato Suzuki’s recording with Antoine Tamestit of J S Bach’s three sonatas for Viola da Gamba and Harpsichord is released on 23 August 2019 on the Harmonia Mundi label

Masato Suzuki joins the Dunedin Consort in a performance of keyboard concertos by J S Bach at this year’s Edinburgh International Festival. Further information

A multifaceted musician, Masato Suzuki appears on the concert platform as conductor, organist, harpsichordist and composer. His conducting engagements have seen him work with orchestras such as the Bach Collegium Japan (as Principal conductor), Hiroshima Symphony, Kyushu Symphony, NHK Symphony, Tokyo Philharmonic, and the Yomiuri Nippon Symphony Orchestras, with repertoire from Haydn and Mozart to Ravel, Tchaikovsky and Schnittke. As organist and harpsichordist Suzuki’s relationships with ensembles such as Bach Collegium Japan as well as chamber music have taken him to major concert venues and festivals across Europe and the US. In the capacity of composer, Suzuki is published by Schott Japan and has recently received commissions from Sette Voci, Tokyo Musik Kreis and Yokohama Minato Mirai Hall among others.


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

For my tenth birthday I was taken to London for the first time to see ‘Joseph and the Amazing Technicolour Dreamcoat’ at the London Palladium, I loved the experience so much that in the programme I circled the name ‘Mike Reed – Musical Supervisor’ and ‘Mike Dixon – Musical Director’ and in my dodgy ten year old hand writing I wrote ‘this is what I want to be when I grow up’.

Cut to eight years later I was lucky enough to get a place at the Royal College of Music as a pianist, which was until that point my main passion in life. To support myself through college I got a job as a church organist in Chiswick, the first Sunday I played the Vicar said to me I like to introduce you to somebody who I think you might find useful, and in walked Mike Dixon. At that moment I thought it was the most incredible coincidence, until the following week once again after the church service the Vicar said to me there’s somebody else I’d like you to meet, and in walked Mike Reed. At that moment I realised coincidences wasn’t a part of this, the stars had aligned and I knew that as a ten year old child I had wished for something and it was going to come true.

Mike Dixon and Mike Reed were then generous enough over the next few years to introduce me to the world of musical theatre, and their inspiration is what turned me into the musician I am today.

Who or what are the most significant influences on your musical life?

Beside the two Mikes, I was lucky enough to work for many years with Russell Watson, who not only inspired me to bring classical music to a wider audience, but was also a guiding light on the complicated side of business in the music industry.

I’m a firm believer that music is something that grows deep inside and the earlier it can start the stronger the music is. I was also lucky to have this from an early age with my first music teacher at primary school, June Davenhill. Because of Mrs Davenhill’s approach to music education, I had a ‘duvet’ of music surrounding me from an early age, I strongly believe that was what sparked my musical journey, and without that education I’m sure that today I would simply be a business man.

What, for you, is the most challenging part of being a conductor? And the most fulfilling aspect?

The most challenging part is the divide between the orchestral musicians and the conductor; due to its nature, a conductor has to lead, and as I started conducting when I was 18 years old, I found many of the older orchestra players had an attitude with a leader who was considerably younger than them. This is slowly easing as I get older, but it’s still one of the factors of my profession.

However, when I conduct wonderful orchestras, who also have wonderfully accepting players, these are easily the most fulfilling aspects of my career.

As a conductor, how do you communicate your ideas about a work to the orchestra?

Like all difficult things in life I find the key to being successful is in its preparation: if I’m well prepared and confident when I communicate this to the orchestra they tend to follow me very well.

How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?

For me music is all about energy, music played technically well but with boredom in the eyes of the players, equals a bad performance. I wouldn’t dare try to tell experienced players who are infinitely more capable of making music on their instrument than I am, how to improve their playing. I see my role as the source of the energy in the music, and I’m the ringmaster trying to combine all the talents in front of me to make a harmonious sound.

Of course the composer’s writing has a lot to do with that, but nobody wants to hear the same performance of Beethoven’s 9th again and again and again, therefore for me it’s more about the interpretation and creating a special performance which the audience will remember.

Is there one work which you would love to conduct?

As I’m still a pianist as well, I sometimes get the opportunity to conduct from the piano, one of the pieces I’ve always wanted to do this with but haven’t had the chance yet, is Rachmaninoff’s piano concerto No 2

Do you have a favourite concert venue to perform in?

I’m lucky enough that I’ve conducted in some of the great venues in the world, namely Sydney Opera House, Singapore Esplanade and all of the major venues in the UK. My favourite however is still a joint tie with the Birmingham Symphony Hall (this is where I grew up and the venue has a special place in my heart) and of course the awe inspiring Royal Albert Hall. Admittedly the acoustics at the RAH are possibly some of the worst in the world but the atmosphere is second to none.

Who are your favourite musicians/composers?

I love the piano playing of Stephen Hough, the conducting and outreach work of Esa-Pekka Salonen, and the music of Ravel, Rachmaninoff, Gershwin, Eric Whitacre and Fauré to name but a few.

As a musician, what is your definition of success?

This is the easiest question of all; players who are enjoying their work equals audiences who enjoy their playing

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

Always think big. Always trust your gut instinct. Work hard but not at the expense of gaining life experience. Dive into the deep end and learn on the job. Be gracious to everyone you meet. And above all, realise that if you’re not enjoying the thing you’re doing, the people you are trying to please will never be satisfied.

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

For the past ten years I’ve been extremely grateful that I’ve never had a moment with no work, if I can say the same in ten years time I’ll be a happy man.

What is your idea of perfect happiness?

Being on a beach in Maldives whilst preparing some music for a concert, or composing/orchestrating for a forthcoming project (and probably with a g&t in my hand, with my wife next to me moaning I’m working, and my son tugging on me to play…!)

Robert Emery is a conductor, pianist, record producer and serial entrepreneur. He is lucky enough to travel the world; ranging from performances in London’s Royal Albert Hall, through to the Sydney Opera House. The Times called him ‘the eccentric barefooted maestro’ and the Mail quoted that ‘the assured baton was controlled by the rather energetic and brilliant conductor’.

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You trained as a dancer at the Rambert school, before pursuing a career in opera. Who or what inspired you to pursue a career in music?

I was working as a dancer in several brilliant opera companies – ENO, Grange Park, Garsington and Longborough Festival Opera – and while rehearsing I would watch the opera singers. I became utterly fascinated by them, how strong and how physical they were. They were like singing machines, totally embodied and so alive on stage like dancers but with this epic voice and no microphones. A lot of the opera singers I spoke to then told me they had started in dance or in musicals. They said that I should train first and pointed me in the direction of some brilliant teachers. I was afraid to ask them but I’m so glad that I did. I started auditioning then got some more confidence by training but I knew that singing wasn’t something I could turn away from. It was too late – I was utterly hooked, and I was encouraged by professionals. I would be mad not to at least try.

I know that you trained with Jenny Miller at Barefoot Opera. Can you tell me about the influence she has had on your musical life and career?

Working with Barefoot Opera was the most wonderful training for someone like me. Jenny’s mother danced with Rambert and having been incredibly influenced by dance all her life, Jenny understands movement instinctively. Barefoot’s training method draws on ensemble and physical theatre techniques. Jenny’s teaching is all about the responsive breath and connecting emotional and physical responses to classical voice training. As a dancer I had a lot of awareness of my physical body but none for my voice so I was really looking for a teacher who would accept where I had come from and see it as an asset rather than a hinderance. Working with Jenny gave me great freedom to explore my sound, she also gave me the opportunity to sing in my first opera, it was the second boy in the Magic Flute. The whole ethos of the company is to create embodied singers who can work in an ensemble almost like a dance company and that is what I really loved bout working with her. She brings together the most terrific coaches from the best opera companies and you get to work with them so intensely and in such a focused way I think in a way it was better than going to college. I got to learn how to do the job on the job.

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

For me I think one of the hardest things is rejection. We all have to audition (and thank goodness we do), I’ve had more no’s than I’ve had yes’s. Constantly having to pick yourself back up again and again, you would think it gets easier but it hurts to be rejected because it feels personal, but it isn’t. My mum always said what is right for you will come. If you don’t get a job you always have to think maybe it’s for the best.

You will sing the title role in one of Longborough Festival Opera’s main productions this summer. Can you tell us more about this production, and what you are looking forward to in taking on this role?

I was drawn to auditioning for La Calisto with Longborough as I know they are always pushing the boundaries with their young artist productions. I relish working with directors who don’t shy away from challenging their audience and who can utilise and push the skills I have to offer. Mathilde Lopez is making such exciting work and equally I knew that Lesley-Anne Sammons would bring something musically exquisite and unique to the fore. It’s hard to say any more until we get into rehearsals. I am sure that it won’t be what you’re expecting.

Which performance/recordings are you most proud of?

I am very proud and lucky that I got to perform the role of Sophie Scholl in ‘Kommilitonen!’ by Sir Peter Maxwell Davies with The Welsh National Youth Opera. It was a happy accident as I didn’t get cast in the role to begin with but that is also why it is so special to me. I had never sung a solo role before but I had people there who believed in me. Sometimes you need people to believe in you before you can believe in yourself. I knew this opportunity might not present itself again so I just grabbed it with both hands and had such a terrific time. It was the most thrilling show, with a huge cast of students of all ages, a magical promenade set, the audience immersed all around us. We got to tell this unbelievable true story. I also got nominated for best opera singer by the Wales theatre awards which was pretty cool and unexpected.

One of my favourite recording experiences was narrating over Madame Catharina Pratten’s Elfin’s Revels, for guitarist Jamie Akers. He is a fantastic musician who specialises in Baroque guitar. The album Le Donne e la Chitarra features unique recordings of neglected works by women composers of the 19th century.

Which particular works do you think you play best?

I love creating new roles. I think it’s really thrilling for a lot of artists to be created on. To invent, play and mould your own role is probably as good as it gets. Then you aren’t trying to measure up to anyone else’s performance. When you get to play someone for the first time and feel that audience reaction, it’s really exciting. Saying that, I love playing character roles. Parts that challenge me to behave in a way I wouldn’t naturally do.

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

I try to go for as much as I can, but I have to be very honest with myself. If I think I could truly do justice to a certain role then it’s a no brainer, I just go for it.

Do you have a favourite venue to perform in, and if so, why?

The Georgian Theatre Royale in Richmond. It is a typical eighteenth century playhouse built in 1788 and it’s a little treasure! The history of the building is so fascinating from the original scenery of woodland scenes painted in 1818 to the smell of the wings. It’s got that feeling like you’re walking back in time. I love the intimacy of the space and the way it supports you and makes you feel like you’re able to give each audience member a real eyeballing. We got to perform the Loves of Mars and Venus there last year with The Weaver Dance Company and Barefoot Opera. It’s the story of John Weaver and how he created the first British ballet in 1717. I got to play one of my heroines Hester Santlow. They call her “England’s first Ballerina”, but I love playing he because she could act, dance and sing. Today we call that a triple threat. She embodied it and she seemed to have lots of fun whilst doing it too.

Who are the favourite musicians, past and present?

Tom Waits, Victor Wooten, Henry Purcell, Maria Callas, Radiohead, Led Zepplin, Charlie Chaplin, Lotte Lenya, Joni Mitchell, Diana Damrau, Nina Simone…… the list goes on and so can I.

As a musician, what is your definition of success?

I have an aversion to the word success because to me it implies getting somewhere. Like winning an award or getting a certain revered job or role. We hear the word success a lot in our profession and though you may have success you many never be happy, fulfilled or satisfied. I try to remind myself that happiness comes from feeling a sense of inner pride and achievement within yourself that can’t be compared or measured by anyone else’s. Feeling like I’ve done the best job I could do gives me joy. Consistently showing up, working hard, and loving what you do.

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

Miles Davis said, “Do not fear mistakes. There are none.”

A lot of performers I have met feel as though they are frauds, it’s called Imposter Syndrome. You never feel as though you made it, but in a way if you are doing what you love, then you have.

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

Hopefully not under water.

Chiara Vinci sings the title role Longborough Festival Opera’s production of Francesco Cavalli’s La Calisto from 29 July to 3 August 2019. More information

Shortlisted in 2017 for Best Female Opera Singer by the Wales Theatre Awards, British Born Soprano Chiara Vinci originally trained as a dancer studying at The Rambert School of Ballet and Contemporary Dance and The Arts Educationl School in London before training with Jenny Miller, director of Barefoot Opera.

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

When I was growing up, there was always music playing in the house, and my parents started me on the recorder at 4, the piano at 5, and then the cello at 6. I was very lucky to start with a fantastic cello teacher (Marina Logie) who is a family friend and lives very close by. She really instilled a love and curiosity for music in me, and also set me up very well technically. When I began with my current teacher, Leonid Gorokhov, at 11, this feeling was encouraged even more, and I think that I have them both to thank for my career in music!

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

Apart from my two teachers, the pianist Alison Rhind (who coached me for several years) was incredibly important in my musical development. I am lucky to have worked with some amazing musicians who have very much influenced my playing and my development as a person, including Petr Limonov, Tom Poster, Huw Watkins, and Krzysztof Chorzelski.

Winning the BBC Young Musician Competition definitely shaped the trajectory of my career, and left me with a really special relationship with the BBC.

Which performance/recordings are you most proud of?

I am really proud of the CD ‘1948’ I recorded with Petr Limonov, as we took every effort to approach the project with great care and love for the music. I also am proud that I had the courage to wait until I felt I was ready to record my first CD, which isn’t always easy with the pressures of the music industry!

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

So far I am really enjoying exploring lots of different venues, but I think that the Wigmore Hall could come to have a special place in my heart. The acoustic is stunning, and its history of having hosted such incredible performers makes it very exciting to perform there!

Who are your favourite musicians?

That’s a very hard question, as I find inspiration in so many people’s playing (and there are so many insanely talented people around at the moment!). I’m a huge fan of the ‘old-style’ musicians including Heifetz, Szeryng, Shafran, Piatigorsky, Fritz Wunderlich and many more.

What is your most memorable concert experience?

I think that the final of the BBC Young Musician will always be up there with the most memorable performances for me, as it was the first time I had played with such a good orchestra and conductor, in such an amazing hall.

As a musician, what is your definition of success?

For me, it is to find, and stay true to, my own voice. Success is to never stop learning; complacency would be failure for me. I also think that being able to collaborate with people who inspire me is a form of success!

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

In 10 years I would like to have 10 years of exciting new experiences behind me, with lots of travel and playing in many different situations with different people. At that point I might consider getting a teaching position somewhere, but It’s too far ahead to know how my desires will change in the process!

What is your most treasured possession?

Definitely my cello. I am so so lucky to have been given a beautiful Ruggeri cello by some private benefactors. It makes (almost) every practice session a joy


Winner of the 2012 BBC Young Musician of the Year Competition, Laura van der Heijden has been making a name for herself as a very special emerging talent, captivating audiences and critics alike with her imaginative interpretations and probing musicianship.

Laura van der Heijden’s critically acclaimed debut album ‘1948’ (Champs Hill Records, 2018), with pianist Petr Limonov, focuses on music for cello and piano from the Soviet era, and has received BBC Music Magazine’s Newcomer of the Year award.

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

Music has always been a part of my life to the point that I could not envision a career outside of music. During my undergraduate study, I found myself more drawn to musicology than performance. However, it wasn’t until my PhD that I realised the power in forging a career that bridges both.

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

My parents encouraged me to pursue music. My professors at university opened up so many possibilities for what that path could look like. I found wonderful support during my study abroad year at McGill University. That is where I first learnt about the composer Florence Price. Studying the history of this incredible woman of African descent then opened up the career path I’m on now.

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

As I’ve begun to grow more into my identity as a pianist-scholar, one of the biggest challenges has been embracing public performance. Musicology has always felt much safer and a little more anonymous—the perfect match for my introvert self! But public performance has pushed me to embrace more open and vulnerable ways of communicating my passion.

Which performances/recordings are you most proud of?

I am most proud of my Four Women recording. The album focuses on four composers from the first half of the twentieth century: Florence Price, Vítězslava Kaprálová, Ethel Bilsland and Margaret Bonds. The album title alludes to Nina Simone’s 1966 song of the same name. I have always been so moved by Simone’s aspiration to become a classical pianist and wanted to bring her influence into the recording. Four Women is very autobiographical and represents my first real venture into communicating my passion with openness and vulnerability.

Which particular works do you think you perform best?

Florence Price’s Fantasie Negre and Vítězslava Kaprálová’s Dubnova Preludia (April Preludes), Op. 13.

As someone who champions music by women composers, how do you make your repertoire choices?

My repertoire choices are often inspired by the kind of research I’m doing. For example, my research on Florence Price and her Chicago community has led me to programme works by Chicagoan African-American women composers, past and present. Other times, my choices are inspired by collaborations. Working with violinist Er-Gene Kahng has broadened my repertoire to encompass more duo and chamber material by Price and her peers. I am also excited to be in the midst of preparing Doreen Carwithen’s Concerto for Piano and Strings as part of a collaboration with the Singapore-based organization Music For People.

What is your most memorable concert experience?

Earlier this year, I gave a recital at the Chicago Cultural Center. The programme was called Of Folk, Faith & Fellowship: Exploring Chicago’s African-American Women Composers. I performed Florence Price and Margaret Bonds alongside Regina Harris Baiocchi and Dolores White. Baoicchi and White are contemporary composers and it was such an honour to have them attend the concert. What’s more is that the Chicago Cultural Center used to be a library and Price and Bonds would regularly visit. The whole performance was so immersed in the wonderful history that it sought to present. It was an unforgettable experience.

As a musician, what is your definition of success?

Defining success became much easier once I formed a mission statement for my work as a musician. I recognized that my mission would evolve alongside my own creative growth. But as it stands, my mission is to challenge systems of oppression and amplify historically silenced voices. My success is defined by every opportunity I have to perform or record the music of marginalized composers, particularly as these moments are often grounded in even greater historical or cultural significance. And so, my definition of success stems from my ability to fulfil my mission.

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

To not be afraid to shape your path in your own image. Championing music by women composers has been empowering for me. And so, to aspiring musicians, I encourage you to embrace and involve your fullest self along your journey.

What is your present state of mind?

A mix of hopeful, excited, determined and eager.

Samantha Ege is a British scholar, pianist and educator. Her PhD (University of York) centres on the African-American composer Florence Price. As a concert pianist, Ege’s focus on women composers has led to performances in Singapore, Australia, the UK and the US Ege has also championed Florence Price’s repertoire alongside violinist Er-Gene Kahng with duo recitals in Singapore, Hong Kong and the US.

Ege released her debut album in May 2018 with Wave Theory Records, entitled Four Women: Music for solo piano by Florence Price, Vítězslava Kaprálová, Ethel Bilsland and Margaret Bonds. The album featured the world première recording of Bilsland’s The Birthday Party, which led to Ege preparing an edition of the suite, now published by Faber Music. Four Women has been described as “an impressive collection…performed with virtuosic assurance.” Ege has also been commended “for her goal to bring the music of these composers to greater public awareness.”


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