This week I attended my very first ‘happening’ at the somewhat unlikely venue of London’s St John’s Smith Square to celebrate the 70th birthday of American-British composer Stephen Montague. A ‘happening’ is generally defined as a spontaneous event where musicians and performers come together, and usually involves audience participation. The friend who joined me at the St John’s event has been to many happenings (at music festivals such as Supernormal) and was able to confirm after the event that it was indeed a “proper” happening. We retired to a greasy spoon caff off Horseferry Road, where, over mugs of steaming, brick-red tea and egg and chips, we discussed the event, which moved into a wider discussion about what makes a concert or performance.
‘A Dinner Party for John Cage’ at St John’s Smith Square
What I loved about the Stephen Montague event was its sense of spontaneity, how it began without fanfare or announcement (no applause for conductor, leader of the orchestra, etc, for there were none), and seemed to evolve over the space of around 50 minutes (in fact, a very clearly defined time-frame). It was as interesting watching the audience’s reaction as it was observing the performers (singers, string players, three pianists and an organist). There was the sense of several things going on at once, working on several layers and in different time frames, and yet at times, the seemingly disparate groups of musicians and performers came together to form a cohesive whole. The seating was arranged randomly; the audience was integral to the performance, and we were invited to wander around the space and actively participate.
Was it a concert? I thought so, because there was most definitely an audience and performers, and music, and these elements must co-exist to create that perfect circle (music-performer-audience) that is a concert.
The formal concert as we know it today, with all its etiquette and particular modes of behaviour – sitting in silence, knowing when to applaud, dressing up etc – did not really come into existence until the nineteenth century. Before that time people enjoyed music in many different settings, and performances were often a sideline or accompaniment to some other event such as a royal audience, religious ceremony, or banquet. In many ways, the Stephen Montague happening harked back to that earlier time, before we all got so het up about how we should behave at concerts. It was a liberating and instructive experience.
Who or what inspired you to take up editing and performing early music, and make it your career?
I took up a choral scholarship at Christ Church, Oxford on the basis that I seemed to be able to read music well enough and had an inoffensive highish tenor voice that was considered to be quite useful. Having spent my late teenage years obsessed with contemporary music, composing and playing the piano in Glasgow, it was a major culture shock for me to suddenly be catapulted into a hotbed of early music. Singing with the choir under Stephen Darlington, and with the academic interests I developed, under the influence of scholars such as John Milsom, Margaret Bent and David Maw, I began to realise that I enjoyed the music – and both the scholarship and performance in equal quantities. This is what made me realise that I wanted to run my own group (and not to necessarily conduct!), performing music that I love and am able to help bring to life, alongside musicians I respect and enjoy working with.
Who or what were the most important influences on your performing?
There have been many. Stephen Darlington at Christ Church is an enormously motivating director, who was always encouraging but gave me a strong sense of discipline which I desperately needed. John Milsom, who actually discouraged me from attempting to become ‘merely’ a singer (not that I’m good enough anyway!). Jeremy Summerly is such an effortlessly consummate musician and all-round excellent person to work with. He taught me that if the music’s good, then everything else is worthwhile. John Butt, who is currently my academic supervisor, is a paradigmatic figure in balancing performance and scholarship at the highest level. The other members of Oxford Baroque influence me a lot, both practically and ideologically. Without them, I’d probably have got a real job by now.
What have been the greatest challenges of your career so far?
Being able to convince myself that what I am doing is worth it! Financially, it’s not been easy and I’ve done all sorts of other work to put into my group, Oxford Baroque. Funding isn’t something that’s easy to come by these days, but if you believe it can happen, then you can only blame yourself if it doesn’t.
Which performances are you most proud of?
I think every time we perform as a group, we get better and better, so it’s always the last one.
Do you have a favourite concert venue to perform in?
Anywhere with good transport links and a decent pub nearby! Though I think the most impressive place I’ve performed recently was at Le château de Versailles. It’s such a beautiful venue that it distracts you from the ridiculously enormous acoustic.
Favourite pieces to perform? Listen to?
I love performing Schütz and Bach. There’s something – different about each of them, of course – about their sense of upholding attention to the text, but with a nuanced mode that brings something more to it, which I find hugely rewarding to sing. A lot of my colleagues are more diverse, but I’m a bit of a geek and collect lots of early music CDs. At the moment, I’m hooked on the Huelgas Ensemble’s Dufay disc, O Gemma Lux.
Who are your favourite musicians?
Lots of them.
What is your most memorable concert experience?
My most memorable concert experiences are probably not for the right sort of reasons. There was one on a Japanese tour, where at the rehearsal I suddenly realised I’d forgotten to pack black trousers and, without time to buy or commandeer a pair, had to perform in a pair of blue trousers.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
One of the obvious things that I notice is that professional musicians tend to be some of the most intelligent and educated people that I encounter, yet they normally work for relatively small financial rewards considering their skills and dedication. I remember spending a train journey between Oxford and London with Roderick Williams at a time when I was feeling a bit down on my luck. I’d just left Oxford and was puzzled why things weren’t suddenly taking off for me. After explaining how his own career had taken several years to develop, his advice was: ‘If you think the music’s worth it, then it probably is.’ This is a maxim that I like to think of every time I’ve had any doubts about what I’m doing. Also, that it’s important to respect those around you, however old or young they are. You learn quickly that everything is built around respect – for teachers, for fellow performers, for the music itself – and it’s imperative that you don’t get carried away with yourself. There’s always someone better than you out there, so be grateful for the opportunities you’re given.
What are you working on at the moment?
I’m currently doing my laundry between trips away. But more generally, I’ve recently started doing postgraduate research with John Butt at the University of Glasgow. I’m trying to balance this with running Oxford Baroque. At the moment, I’m planning, editing and rehearsing for our concert in the St John’s, Smith Square Christmas Festival on Tuesday 18 December, with the English Cornett and Sackbut Ensemble. I’ve edited quite a few ‘new’ pieces for this concert and am really looking forward to hearing how they come together with such a large ensemble!
Where would you like to be in 10 years’ time?
I would like to be able to balance an academic career with my own performing activities. As I realise that the teachers I’ve encountered are the ones who’ve switched me on to my passions, I’m becoming aware that I’ve enjoyed teaching in a university environment a lot so far and would welcome the chance to do more.
David Lee appears with Oxford Baroque in a concert on Monday 6th May as part of the Oxford Early Music Festival. Further details here
Oxford Baroque
David Lee graduated from the University of Oxford with a first class degree in Music, where he was a Choral Scholar at Christ Church and subsequently a Lay Clerk with New College Choir. Having worked closely with a number of eminent musicians and musicologists over the past few years, he has shown a particular enthusiasm and talent in working on music composed between the sixteenth and eighteenth centuries. He recently completed editing the English-texted anthems of Christopher Gibbons, accompanied by an in-depth commentary – a project which received a first class award from the University of Oxford. He works regularly as an editor for several professional groups. Alongside assisting All Souls fellow, Dr Margaret Bent in her research, which he combines with an increasingly busy career as a freelance singer, working in the UK and abroad with groups including the Academy of Ancient Music, Tenebrae, Oxford Camerata, Chapelle du Roi, Ludus Baroque and Suonar Cantando. David is currently dividing his time between Glasgow and London, whilst working on postgraduate research, editing sixteenth- and seventeenth-century German music, at the University of Glasgow, under the joint supervision of Prof. John Butt and Dr David McGuinness.
In addition to co-directing and singing for Oxford Baroque, David’s role with the group involves researching projects, editing the performing materials and managing the personnel for each programme.
Who or what inspired you to take up the piano and make it your career?
My grandmother taught music at school and my aunt is a pianist, so I was familiar with the piano, but it was presented as something of importance and treated as such, so I didn’t have much access to it. And I didn’t even know what it was called! Then my mother asked me if I wanted to take piano lessons. I said ‘yes’ because the name sounded somehow pretty and magical to me and I expected something – I was 3 or 4. I’m glad I said yes then! And all followed accordingly as I continued playing. There were few moments of difficulties but I’m glad to be where I am now. Playing he piano is my job but it is also my way of life, a form of being musician.
Who or what are the most important influences on your playing?
I had truly great teachers who taught me how to be not only a better musician and pianist but also a better human being. But my greatest influences have been always of my fellow musician friends.
What have been the greatest challenges of your career so far?
Everyday practice.
What are the particular challenges/excitements of working with an orchestra/ensemble?
It depends on the orchestras and ensemble, and also the pieces you are playing. Sometimes, the lack of rehearsal time, but this could also be an exciting factor.
Which recordings are you most proud of?
Well, my first commercial CD featuring Debussy and Takemitsu will be released on Claudio Records at the end of October! Claudio developed their cutting edge new recording system especially for these two composers and the venue, St Bartholomew’s in Brighton, and we had a wonderful instrument to play on too. The result is quite amazing, and we are very proud.
Do you have a favourite concert venue?
I don’t know many prestigious venues, which I I’m sure I could have listed here. But so far, the Wigmore Hall and Salle Gaveau in Paris are two of my favourite venues to perform in. Both halls provide the right balance between intimacy and distance, which allows both audience and performers to concentrate on the musical communication. I think for a live concert, you don’t necessarily need the perfect acoustics or instruments to achieve this.
Who are your favourite musicians?
I am a big fan of the conductor Esa-Pekka Salonen! I also admire the piano playing of the late Vlado Perlemuter. In fact it was he who encouraged me to come to Paris when I played Chopin’s 3rd Ballade for him when I was very young. I didn’t actually study with him, but stayed there in my formative years for nearly 7 years before settling in London, so it was important event and I have always liked his music since then.
What is your most memorable concert experience?
I would like all my concerts to be memorable and I remember every single performance I have given so far, as most of performers do, I believe. There is no storage limit for this kind of memory.
What is your favourite music to play? To listen to?
Debussy. I also love the sound of the oboe d’amore, so tend to get recordings which feature the instrument.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians/students?
To inspire and get inspired. Because I think inspiration is one of the most powerful ways of communication. I wouldn’t say ‘there is no inspiration’ as some of the greatest composers used to say.
What are you working on at the moment?
Scriabin Piano Sonatas for the next Claudio CD. Also Christian Mason’s ‘On Love and Death’ for soprano sax and piano.
What do you enjoy doing most?
I have recently started pastel drawings, mainly the portraits of my musician friends. It makes you realise so many things and you learn so much from it.
Born in Tokyo in 1972, Rika began playing the piano at the age of five, inspired by her pianist aunt Yoshiko Ogimi and encouraged by her mother who was an amateur violinist. Following the completion of her study at the Tokyo Metropolitan High School of Music and Fine Arts, she moved to Paris and took private lessons with Michel Béroff and Denis Pascal for three years. She also studied with Louis-Claude Thirion and obtained a 1er prix à l’unanimité (piano) and a gold medal (chamber music) from the Conservatoire de Boulogne-Billancourt.
She moved to London in 1995 and studied with Maria Curcio, the legendary pupil of Artur Schnabel for more than five years. Rika continued her study with Joan Havill and the late Paul Hamburger at the Guildhall School of Music and Drama and obtained her Postgraduate Diploma and Master’s Degree in music performance.
In 2006, she has completed her thesis on the music of Tōru Takemitsu entitled To the Edge of Sound: Tōru Takemitsu’s works for soloist and orchestra at the University of York. Her research interests broadly across the period of global musical exchange since the late 19th century. She is currently undertaking a research on the relation of music to the surrealism.
She is an advocate of new music and gave several world premieres in the UK and abroad. It is her great privilege to have worked with composers such as, Thomas Simaku and John Stringer – but also Evis Sammoutis, Ian Dickson, Christian Mason and many others.
She gave the first performance of her piano transcription of Takemitsu’s Requiem for string orchestra at St. Martin-in-the-fields in London to critical acclaim. Her new album featuring piano works by Debussy and Takemitsu is released on Claudio Records.
Rika Zayasu performs as a recitalist, soloist with orchestras, and chamber musician. Her recent appearances include London, Paris, and Tokyo. During the 2012/13 season, she will make several appearances in the UK, at the venues including St John’s Smith Square in London, West Road Concert Hall in Cambridge, and Sir Jack Lyon’s Concert Hall in York.
She currently lives in London with her husband and a Welsh springer spaniel.
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