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

My great-grandmother, Freda Loaring, was a significant influence and I was lucky enough to know her for the first few years of my life. She must have been an able amateur pianist as I have inherited her scores of works including the Grieg Concerto with her own markings. She played for Santangelo’s Orchestra in Guernsey which often accompanied visiting singers and silent films at the old Royal Hotel. She encouraged my sister to play and once she had been playing for a while, I showed an interest in starting too.

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

Every one of my teachers has had a huge impact on my playing. Mervyn Grand’s teaching back in Guernsey motivated me and he and his son Sebastian (a pianist, now a great friend of mine and an exceptional conductor) were one of the major early inspirations that turned a hobby into a career. I studied with Murray McLachlan for six years at Chetham’s and RNCM and he really worked wonders on my technique and the way I thought about music and artistry more broadly. In America I’ve studied with Boris Berman and James Giles. I think what I’ve learned most from them is a more nuanced sensitivity to different styles and, physically, how to find appropriate sounds and colours for those styles.

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

Everyone tells you that music is competitive as a profession, so this comes as no surprise, but I think the greatest challenge so far for me has been the gradual realisation that there’s not a ‘divine’ justice determining success. I think I used to believe that if you worked hard enough and played well enough then someone would look after you and see that you got where you deserve to. I now realise that you’ve got to go out and make it happen for yourself. That might seem obvious, but it has been a gradual learning curve.

Which performances/recordings are you most proud  and which works do you think you perform best?

In terms of live performances, I have very fond memories of performing Rachmaninoff’s five works for piano and orchestra with Guernsey Sinfonietta and with Stockport Symphony Orchestra. I’ve always felt a very immediate connection with Rachmaninoff’s music, as many young musicians do, but as I have gotten older that connection has only deepened. This gives me the courage of my convictions. I feel I have an authentic and meaningful personal approach and can be more authoritative as a result.

When recording Tchaikovsky’s The Seasons and Ireland’s Sarnia, I set out to record a disc that comes as close to a live recording as possible. This approach, together with the possibilities offered by the piano and acoustic at Chethams’ Stoller Hall, allowed me to find sounds and colours that I am happy to hear back (once in a while).

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

Programming is a delicate balance between what I feel I can play with personal authenticity and conviction, what the promoter(s) might want and what the audience might like to hear. It is also sometimes quite practical, for instance prioritising larger Romantic masterpieces like Liszt’s Sonata, Schumann’s Fantasie, Chopin’s Preludes and Brahms’ F minor Sonata so as to get them in my fingers and to start a journey with these pieces sooner rather than later. This has sometimes led to very unusual and ambitious programmes. One of these included Ireland’s Sarnia, Beethoven Sonata Opus 110, Stravinsky’s Three Movements from Petrushka and Liszt’s B minor Sonata in one evening!

Most of all I look for music that I like and that means something to me, and I try to thread a theme through the programme if I can. I also like creating global tonal schemes through a programme. Ideally all of these concerns come together in the same programme!

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

I love playing on home ground. I’m very proud of my island home of Guernsey and I’m lucky to be able to return home to play for a very supportive and appreciative audience in one of the country’s best acoustics for piano and chamber music at St James. I also just love the place itself. It’s not surprising that it has inspired artists from Pierre-Auguste Renoir and Victor Hugo to John Ireland, Julie Andrews and Oliver Reed.

What is your most memorable concert experience?

Performing in Wigmore Hall in 2016. Of course, it’s a great hall for solo piano music but you can’t help but be inspired by the history. Backstage, the framed photographs and signatures from great musicians of the past and present are both humbling and inspiring.

As a musician, what is your definition of success?

This is a difficult question to answer but I think, if we are honest, there is an ideal and a practical answer to this. Ideally, a successful musician is one that stays true to themselves and to their artistry. Someone that ‘successfully’ connects to others in their performances, in their teaching and in everyday life. Practically, if you can make enough to continue striving for this ideal then I’d say you’re a successful musician.

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

As a teacher, I am always working towards the independence of my students. There are day to day concerns like how to analyse a problematic passage and practice it more efficiently on their own and how to make interpretative decisions more independently, but eventually the student needs to be equipped with a sure sense of self (and what it means, to them, to be an artist) in order to be a happy and successful musician. Artistry for me is about inward truth, outward connection and continual striving and I try to share that with my students.

Tom Hick’s recording of John Ireland’s Sarnia and Tchaikovsky’s The Seasons is available now


Hailed as an artist of ‘magnificent pianism’ with an ‘engaging personality,’ Guernsey-born pianist Tom Hicks has gained first prize in competitions including the Wales International Piano Competition, the Croydon Piano Concerto Competition and the EPTA UK Piano Competition and was also a finalist in the New York International Piano Competition and a semi-finalist in the Ferruccio Busoni International Competition. In addition, Tom has won awards such as the Richards’ Prize for Piano and Musicianship and the Dennis Midwood Keyboard Prize from Chetham’s School of Music; the Faculty of Humanities Outstanding Academic Achievement Award, the Keith Elcombe Prize for Best Overall Performance and three Proctor-Gregg Performance Prizes from the University of Manchester; and the Gold Medal Award and Peter Frankl Piano Prize from the Royal Northern College of Music.

Read more

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

I had this little toy keyboard-glock thing when I was little and, apparently, I would relentlessly play Twinkle Twinkle Little Star on repeat on it…using only fingers 4 and 5. My parents weren’t musicians but suspected it would be sensible to find a teacher for me before I got into any strange habits!

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

My parents were incredibly supportive for which I will be eternally grateful. We also had a wide variety of musical genres playing in our home. I also had a primary school music teacher who encouraged me to be broad from the very start. He let me start an ensemble of children blowing across pen lids and he gave us a slot in a concert!

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

Self-doubt is my biggest enemy. I received some pretty damning assessments of my pianism and musicianship from some teachers along the way advising me to search for a career elsewhere and those comments still haunt me, regardless of any success I may enjoy. On a lighter note, as I like to keep myself varied and versatile, the constant “hat changing” from role to role takes a fair amount of concentration. There’s a reason people choose to specialise and I am endeavouring to match each person’s standard in each of their home territories! But I wouldn’t change it!!

Which particular works do you think you play best?

I have a particular love for Debussy and French music. My very first piano teacher taught me that if I couldn’t get the sound I wanted out of a piano, that was down to me and I had to keep searching. This led to an endless thirst for finding sounds. I love contemporary music for the same reason. I also enjoy playing music which pulls on the breadth of styles I am familiar with.

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

I often don’t! I am often asked to play particular programmes based around certain themes. I recently performed a programme of works written for me for piano and various micro-computers!

Do you have a favourite concert venue and why?

I do love the Wigmore Hall. As well as the beautiful acoustic, there is something about its dimensions, the stage, the lighting, which makes you feel both near enough and far enough away from the audience while having a wonderful connection with any fellow performers on stage.

Who are your favourite musicians?

I love a good explosion like Martha Argerich. And Mitsuko Uchida just oozes generosity and sincerity.

What is your most memorable concert experience?

Unfortunately, the one which springs to mind is where I had a wardrobe malfunction! I started my Scarlatti Sonata and one strap slipped down my shoulder, then the other… I could feel the audience holding their breath…for all the wrong reasons!

As a musician, what is your definition of success?

Finding the perfect connection between you, the composer and the audience (and the space and the piano) and balancing what needs to be communicated between all of these.

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

That you can only offer what you have to offer. Feed yourself in every way possible, work as hard as possible, and always give everything you can. You must not expect any less of yourself…but you also cannot expect any more.

Where would you like to be in 10 years time?

In 10 years time, I would like to have a life full of a whole range of musical things, some of which I don’t want to be able to guess! I’d also like to have redressed my work-life balance…!

What is your idea of perfect happiness?

My idea of perfect happiness is the above and having person/people to share that with. Moments of absolute creative activity interspersed with thoughtless silliness and some complete stillness.

What is your present state of mind?

My present state of mind is currently noisy! I find it difficult to switch off; finding internal silence is a constant endeavour.


As a multi-genre chamber musician, orchestral pianist and music director, Yshani has performed at venues including Wigmore Hall, Queen Elizabeth Hall, the Amsterdam Concertgebouw, Barbican Theatre and various West End Theatres. She has performed at events including the Oxford Lieder Festival, Kammer Klang and Live at the London Palladium and with such varied artists as City of Birmingham Symphony Orchestra, Mahogany Opera and Nina Conti.

Read more

What inspired you to take up piano and pursue a career in music?

In an odd way, music itself. I was eleven, still at primary school, when I wanted to explore some extra-curricular interests, something to call my own, and I was drawn to the piano in the corner of the assembly hall that one of the teachers used to play to lead us in songs. In addition, a couple of my close friends took piano lessons, so it felt like a natural course for me to take. I asked my mum if I could start piano lessons at school, but she reluctantly said no, having just been made redundant from her job as a result of the financial crisis.

I decided to get creative, so I drew a keyboard onto some pieces of paper, and I began to follow music theory lessons online; I started cross-referencing the sounds of notes, scales, and chords with the visual patterns on my paper, until I could begin to her those sounds in my head, when I could then pick out some easy pieces. I found the internet was an invaluable resource when it came to understanding how music worked, but it was also my first introduction to classical music. I didn’t come from a musical family at all, and the only classical music I heard was the odd offering from an advert, so when I discovered such a vast selection of music, across Bach, Debussy, and Rachmaninov to name some of my favourites at the time, I resolved then to play those pieces myself; I’m proud that I’ve ticked off a few, but I’m still working my way through the list!

I worked like this on my own for six months, until my mum managed to raise enough money from friends to pay for my first piano lessons at school. I would pass my Grade 1 exam with Distinction after only four hours of tuition, practising at home still on my paper keyboard; the excitement of performing, even if only to the examiner, encouraged me never to look back. I have tried to retain that childlike curiosity and delight as I continue to work through my repertoire now.

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

I came quite late to the piano, so there was a lot of catching up I needed to do if I were to realise my ambitions of a career in performance. I spent the much of my teens scrambling for opportunities to practise on real pianos. I would wake up at 5:30 in the morning to ensure I got to school by 7am, when the gates opened, as the Head of Music there allowed me to practise on the school’s grand piano whenever it was not in use. I would fit in about an hour and a half’s worth of practice in the morning, followed by the total time of another hour of my mid-morning break and lunch, and another long stretch after school, normally until the caretaker kicked me out. I would get home for dinner, but I would rarely get to sleep before 1am, due to work I had to do for both my school commitments and mental practice… and added to all this, I was continually bullied by my father, who refused to support my musical efforts. I don’t think I’ve been pushed quite so physically or mentally since the three years I followed that daily routine.

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

I have had a news article about Lucas Debargue on my wall for several years, whose story renews my spirits when things get tough. I am grateful for the encouragement and advice of my piano teachers, particularly Soojin Kim, who encouraged me as I first turned my attention towards a career in music, and Charles Owen, my current piano teacher at the Guildhall School of Music and Drama, who inspires me every week. I must also thank the Head of Music at my secondary school, Johanna Martin, and William Fong and Mary-Kate Gill at the Purcell School, for all their guidance and support. I am forever thankful, though, for my mum, whose love and belief in me has helped me every step of the way.

Which performance are you most proud of?

I was awarded the opportunity in my second and final year at the Purcell School to perform at the Milton Court Concert Hall at Guildhall, where I performed Berg’s Sonata Op 1. I relished the musical, mental, and emotional challenges of such an incredible piece — I had to learn to look at music in very different ways — and it felt like a culmination of everything I achieved there. I’ve enjoyed more performances of the work since, and I think back to that concert every time I play it.

Which particular works do you think you play best?

I doubt I’ll ever figure that one out, but I’m happy to spend my life trying.

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

I always look for something that will push me towards greater playing; after all, what is a musician without the curiosity to learn? I like to include a mix of repertoire favourites with less familiar works, which I hope leaves the audience with two interesting experiences: hearing the classics in new and different contexts, and discovering music within the wider history of the musical catalogue. I like to incorporate a single unifying thread into my recital programmes too, although I don’t always share exactly what that is!

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

Milton Court, St John’s Smith Square, and the Fazioli Concert Hall in Italy are among my favourites — have you tried those pianos?! I’ve had some really lovely experiences at several other venues, however, simply because the people there were so caring and welcoming, which makes all the difference as the nerves begin to set in.

Who are your favourite musicians?

Aaaah, there are far too many! I’ll have to mention Alfred Brendel, Martha Argerich, Robert Levin, Pierre-Laurent Aimard, Claudio Abbado, Mariss Jansons, Dame Janet Baker, Diana Damrau… I’m afraid this list could go on quite a bit longer!

What is your most memorable concert experience?

I was once asked to play a short recital as part of an outdoor arts festival. I took to the stage, and as I sat down to play Bach, a young boy at the front shouted “Beethoven!”, so I played Beethoven for him instead. I ended up taking requests from the audience for the whole recital as they shouted out the names of different composers after each piece. I never got to play any Bach, but I did get a taste of the ‘rock star’ life, or at least as close as I can expect to get!

As a musician, what is your definition of success?

As a human, to be happy. As a musician, to be human.

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

Listen, in every sense; I can’t begin to explain how important that is.

I’ve found you can’t just wait to be inspired, rather you need to find inspiration from within, and that comes from the love of music; if you find new ways to love music, you’ll find new ways to be inspired.

Finally, another item from my bedroom wall:

“I was obliged to be industrious. Whoever is equally industrious will succeed equally well…”

— Johann Sebastian Bach

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

If all goes well, at the piano.

What is your most treasured possession?

My Yamaha b1 SG2.

What is your present state of mind?

Excited. Inspired. Happy.


Andrew Garrido began learning the piano at the age of eleven, in 2010; lacking funds to afford lessons or an instrument, he drew a keyboard onto paper and learnt from YouTube for six months before his first piano lesson. He began study with Danielle Salamon upon his entrance to the prestigious Purcell School only five years later in September 2015, where he was awarded the Senior Piano Prize and Senior Academic Music Prize in 2017; Andrew obtained a Licentiate Diploma from Trinity College London (LTCL) that August.

Read more

Andrew Garrido also hosts a podcast series Scores and More

 

 

(Photo Paul Cochrane)

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

The reason I started playing the guitar was John Denver. I loved his songs from the age of five and that put the idea of learning the guitar into my head. I started having lessons when I was seven. From my mid-teens I was set on studying music at university and then heading abroad for further study and to hopefully establish a career. I always loved making music both as a guitarist and on my second study instrument – percussion. I never seriously considered doing anything else.

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

My teachers John Casey (at home in Perth, Western Australia) and Gordon Crosskey (at the Royal Northern College of Music). John Williams and Julian Bream were the two guitarists I listened to the most when I was growing up. Many of my colleagues have been influential and inspirational as well: Paul Tanner (percussionist from Perth), David Juritz (violin), Roger Bigley (viola) and many more.

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

Just establishing a career is extremely challenging and involves some degree of luck. Capitalising on those moments of good fortune is an important skill too! Getting a foothold at the beginning of your career can be very difficult. I was very lucky to be offered a recording for Nimbus Records circuitously via Michael Tippett early in my career and that gave me a strong start.

Which performances/recordings are you most proud of?

Recording concertos is a huge privilege and was an opportunity I appreciated greatly. For Chandos Records I recorded all three solo Rodrigo guitar concertos with the BBC Phil and on another disc, three English concertos (Arnold, Berkeley and Walton) with Richard Hickox and the Northern Sinfonia. Recording with the very lovely, late Alison Stephens (mandolin) was a joy. I was proud of coming up with the idea behind the Chandos Records CD ‘Music from the Novels of Louis de Bernieres’ which sold really well when it came out in October 1999 at the height of the popularity of ‘Captain Corelli’s Mandolin’.

Which particular works do you think you perform best?

I really don’t know how to answer that! I try to do my best with all of the repertoire that I play. I love playing Bach in particular but I enjoy all of the music, chamber, concerto and solo that I perform. The only piece I would absolutely avoid playing again is Kurze Schatten II by Brian Ferneyhough.

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

My solo repertoire evolves over time but I am always learning new chamber music. Having played percussion for many years as a second study, I really love playing with other people in groups of all sizes. I have regularly performed with strings, voices, percussion, mandolin, accordion, saxophone and flute over the years and have had shorter associations with the kanun (Middle-Eastern lap harp type of thing!) and other styles of guitar (metal, lap-slide). My repertoire choices are partially influenced by projects on the go or in development while my solo recital repertoire also develops depending on requirements of certain promoters, commissions and my own areas of interest.

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

The best and most rewarding venues to play in on the guitar tend to be small, resonant spaces such as small churches. I’ve played in exquisite college chapels in Cambridge and Oxford, comparable churches all over the UK and then of course stunning venues such as the Wigmore Hall. My favourite type of venue would be any beautiful space with a lovely, resonant acoustic, with absolute silence all around.

What is your most memorable concert experience?

It’s tricky to single out one but playing in the Royal Albert Hall would have to be up there, performing Rodrigo’s famous Concierto de Aranjuez.

As a musician, what is your definition of success?

Being well prepared and giving something close to your best performance.

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

There are many different elements that go in to building a successful career. How to practice, thinking positively, relaxing while playing, the importance of pulse both in terms of shaping interpretations and also as the key tool in communicating with other musicians. Other issues include working effectively with colleagues, developing relationships with promoters, being imaginative and innovative with programme development and collaborative projects. Most of all, remembering to love what you are doing and to savour every moment.

What is your most treasured possession?

If I am thinking in terms of what to leave when I’m gone, it would have to be my 2011 Greg Smallman guitar. I was extremely fortunate to win my first Smallman in 1993 in Darwin, Australia and the current one is my third. They are beautiful, lyrical instruments. At a more personal level I absolutely treasure photos I have of my kids, and also photos of surfing holidays with some of my friends from Perth. Although I haven’t lived in Australia since 1990, some of my friends from school and university are my closest friends and the photos of our time together are some of the most precious things I have.

As part of the London Mozart Player’s “At home with LMP” series, Craig Ogden will launch the first of LMP’s ‘Saturday Sessions’ live-streamed from his home via the LMP’s Facebook page at 7pm on Saturday 28th March.  Ogden will bring the soothing sounds of the classical guitar right to your living room with a relaxing performance of much-loved classics from the guitar repertoire, including Scarlatti’s Sonata in E major and excerpts from Rodrigo’s Concierto de Aranjuez: www.londonmozartplayers.com/athome

 


Australian born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. In 2004, he became the youngest instrumentalist to receive a Fellowship Award from the Royal Northern College of Music in Manchester.

One of the UK’s most recorded guitarists, his recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim.

Read more

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

My career in music has been an organic process of embracing a variety of opportunities that have unfolded as a result of my training as a multi-instrumentalist/ composer and following my intuition. The turning point in pursuing my musical career in particular happened during my years studying composition at Trinity Laban Conservatoire of Music and Dance, where I met a wide range of musicians and had several professional opportunities that opened the door to a continuous flow of experiences to date.

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

My Mum (who decided I should start piano lessons at 4 years old), Sweet Honey In The Rock, David Smith (my principal piano teacher), Sue Sutherly & David Kennedy (my cello teachers), Stevie Wonder, Trinity Laban, Bach, Courtney Pine, Nitin Sawhney and Anoushka Shankar.

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

Moments of my own self-imposed limited thinking.

Which performances/recordings are you most proud of?

My debut album Road Runner

Which particular works do you think you perform best?

Roxanne

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

Every show is unique. I consider the venue, audience, music I have in my repertoire, whether it’s a solo or band show and then shape the performance accordingly.

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

King’s Place, London. It’s a beautiful venue in my hometown with great sound, two versatile rooms that are able to accommodate the range of my musical styles and the capacity is just right for me (intimate but big enough). I’ve had so many incredible pivotal performances there across my career and memories to last a lifetime.

What is your most memorable concert experience?

Performing my song ‘Ain’t I A Woman?’ at the Apollo Theater in Harlem, NYC, becoming the only non-American to win an entire season of Amateur Night Live.

As a musician, what is your definition of success?

A stream of exciting musical opportunities that facilitate artistic growth and truly enjoying the music you’re creating and sharing.

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

  • Hearing your own inner voice, following your intuition as an artist.
  • Creative discipline – having a practice to enable development and excellence.
  • Recording your output so you can reflect and move forward with confidence.

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

In 10 years time, I see myself engaging in a portfolio of amazing creative experiences including:

  • Creating an extraordinary multi-disciplinary live show and touring the world with
    my band, dancers and crew.
  • Composing music for theatre, dance and film.
  • Running a record label that supports release of music by other artists as well as
    my own.
  • Curating several music festivals worldwide.
  • Collaborating with some of my musical heroes including Sting, Anita Baker,
    Erykah Badu, Bjork and Take Six.
  • Composing for and performing with several orchestras including the London
    Symphony Orchestra, Chineke!, BBC Symphony Orchestra and Metropole Orkest

What is your idea of perfect happiness?

Internal and external peace and fulfilment in all aspects of life in the present moment.

What is your most treasured possession?

Reuben, my cello.

What is your present state of mind?

Calm.


Singer, songwriter, cellist Ayanna Witter-Johnson is a rare exception to the rule that classical and alternative r&b music cannot successfully coexist.

Graduating with a first from both Trinity Laban Conservatoire of Music and Dance and the Manhattan School of Music, Ayanna was a participant in the London Symphony Orchestra’s Panufnik Young Composers Scheme and become an Emerging Artist in Residence at London’s Southbank Centre. She was a featured artist with Courtney Pine’s Afropeans: Jazz Warriors and became the only non-American to win Amateur Night Live at the legendary Apollo Theatre in Harlem, NYC.

Read more

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

I was always a musical child; I used to sing a lot in choirs before playing the violin; this has had a big influence on my playing.  I’m not sure what made me want to play the violin, but I remember that it was something I nagged my parents to do for about a year before I finally started aged eight. Once I had my hands on one, I knew that I would be able to play the thing!  Once it became clear that I had something special, the choice of career was made for me!

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

I had a wonderful friendship and working relationship with my one and only teacher Mateja Marinkovic. I was very lucky to find a teacher at that top-level from the first lesson, so violinistically he was my biggest influence. Since then it has been making wonderful collaborations with other like-minded musicians.  I have always had a very strong musical instinct; later on in my career though teaching at the Royal Academy of Music I have had to unpick why I feel things in this strong way in order to explain it to others!

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

Learning to play the violin to a world-class level is undoubtedly the most challenging thing I have ever experienced! We have to sacrifice so much as youngsters to get there, missing out on childish fun and shedding a lot of blood, sweat and tears.  Still, it was worth it in the long run.

It’s 25 years since I made my debut with the Hallé Orchestra, and another significant challenge is to continually evolve and develop yourself over time so as not to become stale. For me, that has meant pushing myself to try new things and taking risks with repertoire that other players shy away from.

I have always challenged myself to be the best I can and in order to evolve I have also had to be creative, from the founding of my Music, Science and Arts Festival in Oxford (www.OxfordMayMusic.co.uk) to recently being given the role as Artistic Director for the Australian Festival of Chamber Music (www.afcm.com.au). These roles take me out of being a just a player into a whole new creative world.

Which performances/recordings are you most proud of?

I am very proud of the three recordings I made for Hyperion of the complete Bruch works for violin and orchestra with the BBC Symphony Orchestra and Martyn Brabbins. In particular, the recording of Bruch Violin Concerto no. 2 is very close to my heart.  I’m also very excited by my latest recording of the Schoenberg and Brahms violin concertos (Orchid Classics). The Schoenberg was an incredible adventure to learn and get to grips with.  I have made some lovely movie soundtracks, and as I imagine music in terms of storytelling, the imagery and music make such a powerful combination; the soundtrack to Jane Eyre written by Dario Marianelli still makes me cry!

Which particular works do you think you perform best?

I have probably enjoyed performing Brahms Violin Sonatas with my regular collaborator Katya Apekisheva the most out of any of the smaller scale repertoire. In terms of concertos, I adore Mendelssohn Concerto, and I could play it over and over again without tiring of it. I love Brahms and Dvorak Concertos too. I have also had a great time performing more contemporary concertos like those by Magnus Lindberg (no 1) and Brett Dean.

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

This happens kind of organically. Some things are requests from promoters (for instance an unusual concerto), others more ideas that come together because of a particular theme.  I am happy to juggle lots of repertoire, so sometimes there is no rhyme or reason!

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

In London I would say the Wigmore Hall is the most special – you can hear a pin drop!  Out of London where the best halls in the UK are, I particularly love Symphony Hall in Birmingham and Usher Hall in Edinburgh. The hall becomes an extension of the instrument, so the best halls allow the violin to fully vibrate and give a warmth to the sound, and the hall gives feedback to the musicians.

What is your most memorable concert experience?

I have always said that as a British soloist, you haven’t made it until you have played a Prom concert. This happened for me in 2015 when I played Paganini’s La Campanella with the BBC Concert Orchestra, and I’m looking forward to the next one!

Performing in Leipzig Gewandhaus with MDR Orchestra a few years ago was magical. My father’s side of the family came from Germany but fled the Nazis, and I could feel my (long dead) grandfather in the room; he would have been so proud!

As a musician, what is your definition of success?

See above re the Prom!

But, also I think longevity is a sign of success in the musical world, continuing to evolve and perform into your middle age (I’m getting there!) and then later is a real sign of success and stamina…

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

For me, integrity as a musician is the most important asset.  We are the voice of the composer, the notes didn’t accidentally land up on the page, so we have to justify every sound we make. No notes left behind!

What is your most treasured possession?

I have two; one is my incredible Guadagnini violin, a life partner that I have played for over twenty years. The other is my dog Mollie – although sometimes I think I am her possession.

Jack Liebeck’s new recording of the Schoenberg and Brahms violin concertos is available now on the Orchid Classics label.


Violinist, director and festival director Jack Liebeck, possesses “flawless technical mastery” and a “beguiling silvery tone” (BBC Music Magazine). Jack has been named as the Royal Academy of Music’s first Émile Sauret Professor of Violin and as the new Artistic Director of the Australian Festival of Chamber Music from 2021. Jack’s playing embraces the worlds of elegant chamber-chic Mozart through to the impassioned mastery required to frame Brett Dean The Lost Art of Letter Writing. His fascination with all things scientific has included performing the world premiere of Dario Marianelli’s Voyager Violin Concerto and led to his most recent collaboration, A Brief History of Time, with Professor Brian Cox and Benjamin Northey. This new violin concerto was commissioned for Jack by Melbourne Symphony Orchestra from regular collaborator and composer Paul Dean, and is written in commemoration of Professor Stephen Hawking; A Brief History of Time received its world premiere in November 2019.

Read more

 

Image credit: Kaupo Kikkas