For the latest amateur classical music listings in and around Portsmouth, including Fareham, Petersfield, Chichester, Havant and Hayling Island

Lunchtime live recital by Karen Kingsley at St Thomas’ Cathedral

Watch Karen playing on St Thomas’ Cathedral’s Facebook page, see link below.

Karen’s programme consists of two piano sonatas by Ludwig van Beethoven. Firstly, his Sonata in F minor, Op. 2 no. 1 (Allegro – Adagio – Menuetto and Trio – Prestissimo). Secondly, his Sonata in E, Op. 109 (Vivace ma non troppo – Adagio espressivo – Prestissimo – Andante Molto cantabile ed espressivo).


Chichester Music Society: David Owen Norris: ‘A path of his own discovery’: Beethoven at the piano

Wed 9 Dec 2020 7:30pm, Chapel of the Ascension, Bishop Otter Campus, University of Chichester

David Owen Norris is a pianist, composer and broadcaster. He won the Prize of the City of Geneva in the Geneva Competition, and the Accompanist’s Prize at Leeds; and since his appointment to the prestigious Gilmore Artist Award, has performed all across the world, with four appearances in the BBC Proms, concert tours of Europe, Australia and North America, including performances at Sydney Opera House, the Kennedy Centre, Lincoln Centre, Ravinia Festival Chicago, the South Bank Centre etc. and a discography of 60 commercial CDs including his own Piano Concerto with the BBC Concert Orchestra, and his oratorio Prayerbook. His other compositions include a Symphony, a Piano Sonata, the oratorio Turning Points, and the multi-media tribute to the passing seasons, HengeMusic.

His Chord of the Week programmes on BBC2 television were a popular feature of the Proms for six years. His Perfect Pianists is often shown on BBC4. He has contributed to programmes on Parry, Vaughan Williams, Mendelssohn & Elgar, including ninety minutes on BBC2 dedicated to Elgar’s Piano Concerto, with a full, filmed performance with the BBCSO. His first TV presentation, The Real Thing? from 1990, was hailed by the Daily Telegraph as ‘the most literate and probing programme on music for many years’, and his most recent Chord of the Week was reviewed by the Observer as ‘the most consistently intelligent three minutes you’ll watch on this or any other television this year’. The Beethoven 9 app for which he wrote the book and the analyses won the Best Music App Award.

His many radio presentations have included the Playlist series on Radio 4, and In Tune and The Works on radio 3, where he made his 28th appearance on Building a Library last December. Recordings recently released include Mozart on fortepiano for Hyperion, featured in the New York Times, and the complete Chamber Music of Grace Williams, which was a Guardian CD of the Week. He will shortly conclude his complete survey of Sir Arthur Sullivan’s songs on Chandos.

In this evening’s lecture/recital David Owen Norris begins by tracing the development of Beethoven’s stylistic traits from the variations: triple-time Adagios, such a metrical minefield for performers throughout his work; the ridiculous jokes, the baffling dynamic shifts, the exploitation of each end of the keyboard, even the boldness of tonality – all is here in embryo.

He then turns his attention to Beethoven’s two most remarkable sonatas composed before deafness put an end to his performing career: the Sonate Pathétique, Op. 13 (1799) and the Fantasy-Sonata Op.27 No.2 (1802 – the Moonlight Sonata). Op.13 shows us how Beethoven’s pianism came out of his harpsichord playing – the first edition describes it as being ‘for harpsichord or pianoforte’, and Beethoven arranged many of its details with that in mind. The Moonlight, from the same year as the Heiligenstadt Testament, Beethoven’s open letter of despair to the world, can be read as a personal response to the onset of deafness – it is dedicated to the pupil he had hitherto hoped to marry.


“Beethoven the Revolutionary” with Angela Zanders

This year we are celebrating the 250th anniversary of Beethoven’s birth and I shall be giving a lecture-recital on ‘Beethoven the Revolutionary’ on 14th October at 7.30pm for the Chichester Music Society, held at the Chapel of the Ascension, Chichester University.

The event will be live-streamed so that you can watch it free of charge on your PC or another device. Read more on the concert page below.

If you wish to attend, tickets must be purchased in advance – details are available on the CMS website.

 


Erin on a High Note!

Chichester Music Group welcomed back Erin Alexander [soprano] and Nick Miller [piano] on 29 September to the Society’s first “socially distanced” concert at the University of Chichester, which was also live-streamed. This was a new experience for both the performers and the audience and, given these unusual circumstances, it was an enjoyable experience for all.

This concert was entitled “On a High Note”, which tells the story of soprano Graziella Scuitti, a contemporary of Maria Callas. Erin Alexander played the Italian singer, and she expertly maintained an effective Italian accent when in role. Nick Miller was an adept interviewer and they both created a believable platform, as they developed the life of Graziella Sciutti.

Graziella Scuitti’s stage career began in 1951 as she sang the role of Elisetta, the woman in The Telephone, which Erin performed with humour and skill, and then she sang songs from the characters that became Scuitti’s celebrated favourites, which during her career she performed over a hundred times each, Susanna, Despina, Rosina and Musetta.

The audience therefore enjoyed a wide selection of arias from Bach, Mozart, Verdi, Rossini, and Puccini. Erin Alexander’s performance was engagingly dramatic, and she sang with a very self-possessed vibrancy, particularly rising to the challenge of singing in the character of another opera singer. This was an extremely rewarding performance.

The accompaniment by Nick Miller was very supportive yet so buoyant that it led to a highly effective performance by both musicians. They are to be congratulated for producing a near to perfection performance both musically, as well as in the acting necessary to make the format of the evening believable. The small audience that was allowed were very appreciative.

At the short interval the Chairman of the Chichester Music Society, Chris Hough, explained that this concert was dedicated to Chris Coote, the Society’s Treasurer, who unfortunately had just tragically died after a short illness. He said, “This was a concert that Chris Coote would have loved. He was especially committed to the development of young, gifted artists and took a keen interest in our Charity and its work. Chris had many friends in the musical world, especially in the Chichester and Bognor Regis music scene. His financial skills as an actuary, and musical temperament gave CMS an excellent treasurer. He was a talented accompanist and a fine musician. We shall miss his wit, his friendship and expertise. Erin and Nick have produced a torrent of lovely music which we have all thoroughly enjoyed. They are to be congratulated.”

Erin Alexander then closed the concert with a poignant performance of the piece when she had first met Chris Coote at a Showcase Concert Competition. This was the competition which Erin had won. She said he was one of those rare individuals who always had time for her, was always ready to provide help and advice, and as she said “he was so generous, with his time, his love, his soul, particularly for all of us young musicians, and even offered accommodation at his home when she was performing.”


Soprano Erin Alexander to sing for Chichester Music Society

Chichester Music Society (formerly Funtington Music Group) welcome back Erin Alexander (soprano) with Nick Miller (piano) for a show which was to have been their first under their new name in June.

Erin and Nick will present On A High Note, the story of soprano Graziella Sciutti. The singer was a contemporary of Maria Callas and helped pioneer the movement of opera singers becoming actors. Erin will sing the arias by Mozart, Verdi, and Rossini which made Sciutti’s career.

The recital will be in Chichester University’s Chapel of the Ascension on Tuesday, September 29 at 7.30pm.

Read more at the link below.

If you click through to the concert page, you can read details about how to access the livestream of this concert.

Read a review.


“Discovering Women Composers” With Angela Zanders

A ten-week online music appreciation course, starting on Monday 21 or Wednesday 23 September.

Women have been composing extraordinary music throughout history, yet only now in the 21st century is much of this music being heard and appreciated for the first time.

On this course, Angela explores the stories of numerous women composers who have been forgotten by history, illustrating her talks with some of the sublime and inspiring music which deserves a valued place in the classical music repertoire.

See the poster for details and how to register.


Live music returns to West Meon

While the ongoing Covid-19 crisis has forced the Primrose Piano Quartet to scale back on its plans for the 10th Anniversary West Meon Music Festival in September, the quartet is now going ahead with its alternative “mini-festival”.

West Meon Church is happy to host a socially-distanced audience of up to 65 for three concerts on 11th and 12th September, and with Government confirmation that indoor concerts can take place from 15 August, this means that – barring a sudden spike in Covid-19 cases and an ad hoc lockdown – live chamber music will be heard again in the district.

“Like all self-employed musicians we have seen every one of our scheduled concerts cancelled since lockdown began in March,” says Andrew Fuller, the quartet’s cellist and festival musical director. “We’ve missed performing just as much as our audiences have missed listening to live music.”

The three short concerts (no intervals to avoid unnecessary social contact among the audience) on Friday evening, Saturday afternoon and Saturday evening will include such favourites as Mozart’s Piano Quartet in E-flat and Beethoven’s String Trio in G major. Saturday afternoon’s concert is a tribute to the plight of the musician in lockdown with each member of the quartet performing their favourite solo works – including a Bach cello suite and chaconne for violin, one of Brahms’ piano intermezzo and Stravinsky’s Elegy for Viola. There will also be a distinct French flavour to the programmes with works by Fauré and Chausson reflecting the quartet’s next planned CD to be released in 2021.

Full details of the concert programmes can be found on the festival website (click the link below) with online booking now available for tickets at £15 for main aisle seats and £12 for side aisles. Given the limited number of seats available, early booking is recommended and concert-goers will need to indicate whether they are booking tickets for a single household or bubble to meet track and trace guidelines and allow seats to be pre-allocated. If you are unable to book online then please contact the box office on 01489 891055 for alternative options.

For those looking further ahead the planned “10th-anniversary” festival will now be held from 9-12 September 2021 when guests will include clarinettist Michael Collins, guitarist Laura Snowden and BBC Young Musician Strings winner 2018, cellist Maxim Calver.

The Primrose Piano Quartet is one the country’s leading ensembles and its acclaimed discography includes classical favourites as well as many unjustly neglected works by early 20th century British composers such as Dunhill, Quilter, Bax and Frank Bridge. Their major commissions include piano quartets written for them by Sir Peter Maxwell Davies and Anthony Payne. The quartet appears regularly in London at King’s Place and the Conway Hall and has recently toured Denmark, Germany and Bulgaria.

Named after the great Scottish violist William Primrose, who himself played in the Festival Piano Quartet, the Primrose has been selected for the Making Music Concert Promoters’ Network in 2004/5, 2011/2012, 2014/2015 and 2017/18. Its latest recording of the complete Brahms piano quartets, made in Vienna on authentic pianos of the period, has been highly recommended on Radio 3’s “Record Review”.

Susanne Stanzeleit – Violin
Dorothea Vogel – Viola
Andrew Fuller – Cello
John Thwaites – Piano

www.primrosepianoquartet.org.uk


Profile: Jack Davies, pianist and teacher

Who and/or what have been the most important influences on your musical career or interest in music?

One of my earliest memories of falling in love with classical music was when I use to visit my grandparents’ house at the weekends. They had the film Fantasia and I use to sit there for hours transfixed by the music and the animations (I still find the Night on Bald Mountain video a bit terrifying to this day!). I use to also sit and play their piano from a very young age until my grandad organised for me to have lessons at the age of 5. I continued taking lessons through school, and it wasn’t until I met the fantastic Valentina Seferinova at A-level at South Downs College that I really ramped up my practising, putting in the hours so that I could be good enough to get into music college to study for a music degree.

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

When I started my degree at the RNCM it was a shock to go from being a big fish in a small pond, to a very small fish in an enormous ocean! I quickly realised the amount of work I needed to put in and it took me a good 2 years to get to a place where I began to felt comfortable with my own playing.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Playing the piano can be solitary so I’ve relished the opportunities I’ve had to make music with others. When I started secondary school I joined a steel band which opened up my eyes to a whole new world of music from the Caribbean. The social element of this band was fantastic and I have built strong friendships form that time with friends I still see today. During my time at the RNCM, my principal study tutor was also head of chamber music, and introduced me to some brilliant musicians at the college. I enjoyed collaborating with them in duo and trio settings and also had the honour of winning the Christopher Rowlands Chamber Music Prize in my final year. Organising rehearsals can be tricky, especially when musicians typically have many other jobs/commitments going on, but sites like doodle.com can help work out when everyone is free.

Which works/performances are you most proud of?

My final recital at the RNCM was worth 50% of my whole degree (due to doing an exchange year in Helsinki). This was a 1-hour public recital from memory including music by Bach-Busoni, Rachmaninoff and Bach. I was really nervous but luckily I managed to pull it off relatively unscathed!

Another musical achievement I am really proud of is organising a Eurovision themed singing competition for the primary school I am working in. Each class had to choose a song that had been performed at Eurovision and learn the words and dance moves for the competition. The children loved it and it was a great way to get the children singing and listening to music in a way which they hadn’t done before.

Are there any composers with whom you feel a particular affinity?

Rachmaninoff saw me through my teen years and got me really hooked on classical music! I remember hearing his 3rd piano concerto for the first time and becoming immediately obsessed! I also really like Bach’s keyboard works, particularly his two books of preludes and fugues.

Which works do you think you perform best? 

I really like performing Bach. I love sitting down and experimenting with different ways to phrase and articulate his music.

What are your most memorable concert experiences?

When I was in a steel band, I loved performing at Notting Hill Carnival’s Panorama steel band competition. There were thousands of people in the audience and the atmosphere was like nothing I’ve ever experienced before. My most memorable concert was watching Frankie Valli perform at the O2 a few years ago. The fact that he can still nail all of those high notes and perform with such energy to an enormous venue is incredible!

What advice would you give to those who are considering a career in music?

Go for it, but remember that it’s highly competitive and you really need to put in the hours, dedication and focus to make a career out of it. Make sure you gain as many skills related to music as possible (sight-reading, jazz, improvisation, singing and teaching) so you can have a portfolio career. You’ll likely end up doing something in music that you didn’t intend on doing so don’t be ‘snobby’ about taking on work that you feel is below your level of training (especially when you’re starting out)!

A career in music takes a long time to build; 90% of the work I have been given (performing/teaching) has been through the relationships I have built within the industry over the years.

Finally, don’t neglect the business side of being a musician. You need to know how to market yourself, negotiate contracts, manage your own finances and be able to deal with a whole host of different people and their unique personalities in a professional and likeable manner.

How would you define success as a musician?

I would say that as long as you’re making music, and that makes you happy, then you’re successful. If you want to share that with other people then that’s also great, and if you can make money on top of that then even better! Personally, I have had great pleasure in bringing classical music to young people. I have recently introduced a music curriculum at my school based on the principles of Kodály, which is highly systematic, practical and engaging. Seeing the impact this approach has had on their level of engagement with music has been an absolute joy and something I am keen to expand on across the city of Portsmouth in the future.

What do you enjoy doing most?

Discovering new music! I love it when I’m listening through albums and artists and I come across a song/piece of music that really gets to me. Recent discoveries have been the artist ‘YEBBA’ and the music from the musical ‘Dear Evan Hansen’.

Here is a link to a recording of me trying to play some Liszt.

About Jack

Jack Davies is a primary school teacher and music leader at Berewood Primary School in Waterlooville, and has worked as a music specialist working for Portsmouth Music Service. He has a private teaching studio, the Solent Music School, in Portchester. He enjoys going to live concerts and musicals, running and attempting overly ambitious DIY projects.


Profile: Vincent Iyengar, conductor, viola player and pianist

Who and/or what have been the most important influences on your musical career or interest in music?

I certainly started early – I loved to sing as a baby, and used to tinker about on my grandmother’s piano, starting with lessons at the age of 5 on “the perfect instrument”.

I was told to take up the viola by my secondary school. Its unpredictable gut strings and the consequent difficulty of keeping it in tune, and the aches and pains that it induced made it hard work at the beginning. But playing it on a youth orchestra holiday course with Arthur Davison turned everything about it to a positive.

My father wanted me to be an engineer, but I studied music and maths at Royal Holloway, followed by a PGCE, with an additional Licentiate Diploma from Trinity College, London. There was a big demand for maths teachers at the time, but after 8 years of doing that I decided to throw myself into a musical career and became Director of Music at St Catherine’s (British Embassy) School in Athens. This gave me great scope to arrange ensembles and concerts.

Returning to England six years later, I went on to obtain a Masters’ degree with distinction from Southampton University in philosophy of mind. I subsequently furthered my interest in the Kodály and Dalcroze principles as effective approaches to musical understanding. Dalcroze is a holistic, kinaesthetic and multisensory method which emphasises feeling the music (rhythm, pitch, structure, phrasing, etc.) in both mind and body using movement as well as improvisation and solfege. I took a certificate level qualification, permitting me to teach it. Concurrent with this I deepened my understanding of the Kodály approach to music learning, obtaining Advanced Kodály Musicianship with distinction.

Both of these methods help with playing, performance, sight-singing, how to convey expression and so on. Read more about the principles of these philosophies.

I also improved my choral and orchestral conducting with the help of Sing for Pleasure, the Association of British Choral Directors and Peter Stark, Professor of Conducting at the Royal College of Music and later became music director of the Solent City Chorus from 2014-17.

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

Overcoming performance nerves.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Achieving an integrated sound, being part of a whole, not being in the spotlight, yet being essential to the overall output.

Which works or performances are you most proud of?

Building up the orchestras in Greece, enabling children of expatriates to play music to a high standard, giving public performances at the British Council and other cultural venues. Also conducting Solent City Chorus at the Gosport Festival and at the annual Barbershop conventions in Harrogate, Llandudno and Bournemouth. Directing various school musicals, such as an unabridged Oliver, which, though performed by 9-12 year-olds, was considered by audience members to be of a higher standard than the local operatic society.

Are there any composers with whom you feel a particular affinity?

Brahms has both an intellectual and an emotional appeal. For the same reason I also love Bach. In addition I find Debussy’s music highly original. Rebecca Clarke stands out for me among women composers for her deep romanticism and being a viola player too and Chevalier de St Georges amongst black composers as rivalling Mozart.

Which works do you think you perform best?

I think I can put on a good performance of Brahms’ Intermezzo 118, no. 2 on the piano. On viola, I enjoy playing works by Vaughan-Williams. Like many people I tend to practise works I enjoy.

What are your most memorable concert experiences?

As a listener, I cannot forget attending the Banff Festival in Canada, where Mendelssohn’s Piano trio in D minor was being played by two well-known musicians, Menahem Pressler, Tsuyoshi Tsutsumi and a hitherto unheard of brilliant 20-year-old: every phrase was interesting and the whole audience rose to its feet and cheered for five minutes at its conclusion!

As a performer, one of my more memorable concert experience was being asked to lead the violas at the at the last minute at the Northcott theatre in Exeter in a concert in which John Lill played Rachmaninov’s 2nd piano concerto to a packed audience, followed by a performance of Vaughan Williams 5th Symphony with its lovely viola solo. Other performances that stick in my mind was playing the theme from Love Story on solo viola as part of the Asian Development Bank’s 40th anniversary celebrations in Manila and also conducting my own composition, The St Catherine’s Variations, with my orchestra in Greece.

What advice would you give to those who are considering a career in music?

Be eclectic in your tastes, don’t narrow down your interests or skills. And develop your business acumen: you’ll need to be able to make connections and market yourself. All that’s anyway going to be pretty useful if you find you need to alter your career away from music.

How are you keeping yourself usefully occupied and sane under lockdown?

I’ve been able to make use of lockdown to do some more practising, besides, I’ve been able to develop my online teaching offering. Away from music, I’ve done much more walking and reading than I would have done. So I have not been at all unhappy.

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

I would like to have rolled out my classes to more lower-income families. I am becoming increasingly interested in effective altruism and am conscious that I am probably in the luckiest 1-2% of humanity. Almost all people can learn and progress musically, yet our musical culture and skills are often passed around between middle-class communities. It would be better to use whatever abilities I have to improve the outlook of those less fortunate than myself. I shall investigate the possibility of setting up a not-for-profit organisation, but I am open to other suggestions.

About Vincent

Vincent plays piano and viola and very much enjoys playing in orchestral gigs. He plays for the Solent Symphony Orchestra, the Havant Symphony Orchestra, the Charity Symphony Orchestra and for choral societies and other orchestras when needed.

He has 12 years’ experience as a general supply teacher in primary and secondary schools, and 17 years’ experience teaching class music in primary age range schools, including 12 years teaching Early Years Foundation Stage music within schools.

Vincent also teaches violin, viola and piano.

Vincent started the ‘Education through Music’ music school in 2016 at the request of a parent who had been searching on the internet for a Kodály trained teacher. He is enjoying working with families to introduce the Kodály and Dalcroze teaching principles to very young children, helping them to develop a lifelong appreciation of music, and supporting their overall development.

When not kept busy with his lifelong passion for music, Vincent enjoys mountain trekking, travel, and learning foreign languages.

To find out more about Vincent, see https://educationthroughmusic.net.

 


Petworth Festival – free online concert to celebrate what should have been the 42nd Petworth Festival

With the 42nd Festival due to have opened on Tuesday 14 July, the Petworth Festival team are proud to announce an online event that will run throughout the festival fortnight, at the end of which a further announcement will be made about the extended 2020 Petworth Festival Special which will take place in October to include the 10th Anniversary Literary Week.

Between 7.30pm on Tuesday 14 July and midnight on Saturday 1 August, at any point you will be able to catch an online mini-concert that is being specially recorded in St Mary’s Church, a three-part celebration that features two remarkable sets of students from the Royal Academy of Music and one of the festival’s all-time favourite performers, the piano genius, Harry the Piano. Each will give sparkling, short performances to remind us all of the wonderful chemistry between live music and the festival’s beautiful ‘home’ venue.

The concert will be made available free of charge, but as Festival Artistic Director Stewart Collins makes clear, ‘there is of course no such thing as a free lunch – or in this case, a completely free concert. It will come as no surprise to anyone to hear that the cancellation of the summer’s festival has come at a very significant cost, and that whilst many of our wonderful supporters and sponsors have ensured that the damage isn’t fatal, we do urgently need to raise funds to minimise the impact both this year and into the future. We sadly had to cancel the biggest planned expansion of events aimed at the wider community this summer, but hopefully a successful appeal alongside July’s online event will ensure that we can resuscitate plans in 2021.’

You can log on to watch the summer special through the festival’s website, www.petworthfestival.org.uk.

Further info on the performers:
Further information:
Harry the Piano http://www.harrythepiano.com/welcome.php
Harry Rylance http://harryrylance.com/
Voreios Trio http://www.stbrides.com/music/2020/02/voreios-trio.php


Profile: Steve Venn, piano tuner

Steve (or Stephen – he doesn’t mind which!) doesn’t come from a traditional music background. Quite by contrast, he went to art college where he specialised in pottery, and he subsequently ran a hand-made pottery business for over 15 years. But he has played the guitar from the age of ten, sometimes in folk bands, so has always been involved in some way with musical performance.

He loves making and mending things, including guitars, having taught himself how to work in wood. So it was opportune that once he closed his pottery business in the 1990s he obtained an apprenticeship to become a piano tuner with Marcus Roberts and Gerry Salway of Roberts Pianos fame. This involved spending as much time as possible at his shop in Southsea, tuning a wide variety of the pianos that passed through the business. After 3 years or so in addition to many domestic clients, he was tuning pianos on board the cross-channel ferries, and for some of the concerts at Portsmouth Guildhall.

A lot of reading also helped Steve gain an understanding of the theory of tuning and the techniques needed for repair and adjustment of pianos. Essentially, tuning is a matter of listening for the beats caused by the conflicting harmonics of different notes when played together, then making the necessary adjustments to the pitch.

There’s a skill in bringing out the best from each piano, taking into account its inherent limitations. Indeed, one of the great challenges is to be able to deal with each instrument’s idiosyncrasies and imperfections! And there’s the art of dealing with a concert piano, sometimes played very forcefully but which needs its tuning to be as stable as possible.

Piano tuners need to be craftspeople as well as have a musical bent. They need to be capable of repairing the instrument while away from the workshop. A whole range of specialist tools are needed, including the tuning lever, wedges/mutes to silence the strings you don’t want to hear, and a variety of adjustment and voicing tools.

These days a smartphone with an app like Verituner can also be very helpful to calculate the tuning to perfectly match each piano’s unique scaling. This sort of device, Steve believes, is not a replacement for traditional, aural tuning but can be a valuable extra tool for getting the best possible results.

He’s had the benefit of having joined the Pianoforte Tuners Association. He has sat its admission test, which is pretty exacting, and covers both tuning and repairs.

He has wide tastes in music, from folk through to Classical and Baroque (especially Bach) and a fair bit of jazz. He says that Bach is so inventive, and much of his music suits his preference for more intimate, smaller-scale performances.

There are some great college courses on offer for those who would like to come into this profession. There’s a three-year course at Lincoln College and a one-year course at Northampton.

He says that the industry is welcoming, and a good way in is to (as he himself did) obtain an apprenticeship to build up your knowledge. However with fewer piano shops and workshops around these days, this could be a little more difficult than it once was.

To check out Steve Venn’s piano tuning service, visit his website https://vennpianos.co.uk.

A full member of the Pianoforte Tuners Association, Stephen Venn is an experienced Concert Tuner/Technician. He has carried out the piano tuning and maintenance for the main concert venue in Portsmouth for over 26 years, as well as contract tunings for the major London piano companies when hiring pianos to this area. Other clients include Brittany Ferries, a number of schools and colleges, and The Royal Marines School of Music.


Profile: David Russell, composer, singer and pianist

Who have been the main influencers on your decision to spend so much time in musical activity?

I come from a musical family: both my parents played the piano (though my father learnt to play by ear in the “knees up Mother Brown” style!); I have a twin brother who played violin and a sister who played recorder and then clarinet – I chose the piano since it was in the one room which had heating. I was fortunate to be the only student studying music at A-level so obtained 1:1 tuition.

When I moved to Chichester, I quickly joined the Chichester Singers, where I met my wife Judith. We both are still proudly singing with the choir. She also persuaded me to join CAOS – the Chichester Amateur Operatic Society, where I enjoyed lead roles, initially in Gilbert & Sullivan operettas and then later in classic musicals, such as Oklahoma and Annie Get Your Gun.

I had started writing songs with my original landlord, Norman Barrett, who was a singer at the Selsey holiday camps in his spare time. We continued to spend many years composing songs, sometimes of a religious nature, sometimes pop ballads – and after he died, and I retired, I’ve concentrated on 4-part choral pieces, including entering Christmas Carols in the BBC Radio 3 annual competition.

About 14 years ago I was lucky enough to join Chichester Voices (CV), a 20 strong chamber choir. Their MD Andrew Naylor has been incredibly supportive in encouraging performances of my compositions, and I still sing bass with them. As my twin conducts a choir in Keyworth, Nottingham, I also have an outlet in the Midlands for my pieces!

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

My biggest musical challenge was probably as MD of CAOS in the 1980s directing The Mikado in the Minerva Theatre. It came as bit of a shock trying to conduct an orchestra when the performer on stage decides to sing at their own tempo, or pauses suddenly in the middle of a patter song!

Many years later the Corpus Christi Amateur Dramatic Society (CCADS) put on the first production of Aspects of Love outside London at the New Theatre Royal in Portsmouth, and I was MD. Although this was to great acclaim, it was jolly hard work to accommodate one of the quite edgy 7/4-time Lloyd Webber choruses, and then play one of the 2-piano parts for the week of the show.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Collaboration for me started at an early age, where I’d play piano and violin sonatas with my brother Colin. It gives great pleasure to appreciate the nuances of accompanying or playing a duet, and piano duets with friends remain a great delight. Over the years I’ve come to appreciate more and more the supporting role of the accompanist, whether for a singer or instrumentalist, and particularly treasure the time in rehearsal preparing for a recital. It’s great to share the innate musicality of performing with musicians of high calibre.

I’ve enjoyed singing with Cavatina, an a cappella 4-part group, based in Barnham. We singers are wonderfully exposed, but there’s a spine-tingling impact when it all comes together.

I’ve partnered up with David Bathurst to tell the story of Flanders and Swan, impersonating Donald Swann at the piano, which has engendered so many laughs, and some vivid memories for audience members who saw them live! At the other end of the spectrum, performing a piece like Verdi’s Requiem with a large choir and orchestra is all-encompassing and emotionally rewarding.

How would you describe your musical language?

I describe them as melody-driven ballads, many of which have had orchestral arrangements added by Tony Pegler, a close friend and superb musician. My religious music compositions are in a modern style, not too far removed from John Rutter.

How do you work?

I sit at the piano with a laptop nearby with composing software on it. I’ve just completed a setting of The Silver Swan (originally by Orlando Gibbons) and an Ubi Caritas in 4-part SATB for CV.

Which works/performances are you most proud of?

I wrote a 4-part anthem for my daughter Lizzie’s wedding entitled My True Love Hath my Heart which was a joy and privilege.

I’ve arranged songs such as Céline Dion’s All By Myself and Jerome Kern’s The Way You Look Tonight for my a cappella group.

With CAOS I’ve most enjoyed acting as Eisenstein, in Die Fledermaus, and as Jud Fry in Oklahoma, both in the Minerva Theatre.

I’ve been the bass soloist in Fauré’s Requiem with the Chichester Singers at a singing day, and performed the role of the Captain of the Pinafore in a staged concert of HMS Pinafore in Chichester Cathedral, under the legendary Kenneth Alwyn.

Are there any composers with whom you feel a particular affinity?

I have a particular love for (late) Romantic composers such as Brahms, Mahler and Elgar (particularly his The Dream of Gerontius), but also love contemporary choral music by composers such as Whitacre and Lauridsen.

Which works do you think you perform best?

The comic songs with David Bathurst telling the story of Flanders and Swan: I seem to excel when good comic timing is needed, and I can just about manage the tongue-twisters of Tom Lehrer, such as Poisoning Pigeons in the Park.

What is your most memorable concert experience?

Singing A Great and Glorious Victory by Jonathan Willcocks in a Martin Luther King Jr. Day concert with a selection of singers from the Chichester Singers and in Carnegie Hall, New York in 2013. It was amazing to stand on the same stage where the Beatles performed and where Tchaikovsky had conducted the inaugural concert.

Singing The Dream of Gerontius with the Chichester Singers and Dame Janet Baker in Chichester Cathedral.

Watching La Traviata in Sydney Opera House during a trip to New Zealand and Australia.

What advice would you give to those who are considering a career in music?

It’s not a career that is well rewarded financially, unless you are extremely talented (or lucky), but it is one that’s well rewarded emotionally. And music engenders close friendships: you drop your guard, wear your heart on your sleeve, and openly acknowledge to the others in your group what the whole experience is doing to you. If you choose a separate, enjoyable career, then non-professional music-making can be nearly as fulfilling, in my experience, and probably less stressful!

How would you define success as a musician/composer?

It’s important for there to be mutual respect among peers. It’s also vital to be able to communicate with the audience – happiness is contagious. Finally, live events cannot be replicated by virtual performances, so do support the former when it becomes possible again.

How are you keeping yourself usefully occupied and sane during lockdown?

I’ve been busier than ever: I’ve written 4 pieces since the middle of March. But I am missing the special pleasure of group choral singing….

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

Still writing, playing and singing. In Chichester!

What is your idea of perfect happiness?

Sharing the music that I love, either as a performer or listener. It gives me great personal pleasure to know that, for example, my brother might be performing a Verdi Requiem in Nottingham on the same evening as my sister in York and myself in Chichester! Similarly, I have a happy memory of seeing my daughter and her husband performing Elijah in the Barbican – 30 years after my wife Judith and I performed it as a young married couple. Family music-making, as family itself, is so important to me.

What is your most treasured possession?

My refurbished Rogers upright piano from 1929 which was a wedding present to Judith and myself from Judith’s mother.

What do you enjoy doing most?

Composing and singing, playing golf and croquet, spending time with our grandchildren, and enjoying wine – including on monthly Monday afternoons with the U3A Wine Appreciation Group, now I’ve stepped into the unseen world of retirement!

What is your present state of mind?

Happy, and in a good position to remind myself how lucky I am. I feel that I’m still able to make the most of the opportunities I am presented with and I’m looking forward to again enjoying the camaraderie of choral singing – and hugging the grandchildren.

Things I would like to recommend

Concerts for the Singers and Voices are in abeyance at present but please check out recent lockdown performances on YouTube, such as by The Chichester Singers.

Theatre companies have been dreadfully affected by the current crisis, so I would urge you to help support local groups, if possible, again by checking websites of CCADS and the Chichester Festival Theatre, amongst others. These groups have released videos of popular productions for free to air viewing.

David Russell lives in Fishbourne and is a retired Chartered Surveyor who has spent as much of his spare time as possible in non-professional music-making. He is a composer and pianist and is a Life Member of CAOS Musical Productions; he has sung with Chichester Singers for over 40 years and with Chichester Voices for nearly 15; is a member of Cavatina, and is currently Musical Director of Just Us – a concert party performing treasured memories from shows and musical comedy for Care Homes and Charities.


Profile – Ben Lathbury, choral conductor, concert pianist and lecturer

Who or what were the main influences on your decision to pursue a career in music?

Right from a young age I was good at the piano, though at one stage I did fancy becoming a paramedic or a doctor. My uncle Tony was (and still is) a paramedic and I think I wanted to be one ever since I could say it! I read for an Undergraduate and subsequently a Master’s degree in Music Performance at the University of Chichester, followed by a PGCE and four years teaching Performing Arts at the Chichester Free School.

Whilst I was studying at Chichester, I was most fortunate in having mentors for piano in Duncan Honeybourne and Jonathan Plowright. Why were they so good? Going to university, I think I’d suffered something of a setback after initially being rejected from Music College. Duncan did a tremendous job building my confidence back up, and then when I started with Jonathan in my 3rd year and Masters year, he balanced me back in the other direction, myself having possibly become a little too over-confident and cocky! They’re also both superb pianists who were very generous with their time. I’d also like to mention the excellent input from my academic advisor Arthur Robson who has helped me to make inspiring choices of repertoire and who has guided me on conducting skills.

So how did it all develop from here?

In 2015 I was appointed Director of Music at Holy Trinity Church, Bosham. One thing led to another, and I have steadily built up my portfolio of musical activities, as described in my bio below. It’s all very varied and enjoyable.

How would you describe your musical language?

Stephen Hough once said, “the notes are the language, but as a performer, you must speak your own words.” I am always looking to bring something new to the table, and to take risks, especially if the work is well-known.

I’ve adopted this approach recently when I conducted Messiah with Portsmouth Festival Choir in March. I listened to many recordings of it, which made me make innovative choices over things like grace notes, tempi, dynamics and general musical colourings.

And what about your latest repertoire?

I’ve enjoyed making my daily music videos, as described below. Listen to #31 Hello (The Book of Mormon) which bears out my love of musical theatre, all 10 voices! Or listen to #42 Kiss the Bairns, which I have been rehearsing with two of my choirs recently. I’m thrilled that Eric Whitacre loved my rendering of his piece This Marriage (#22).

Pulling this all together every day has been a challenge technically and vocally – there’s only so long one can sing falsetto! But on occasion I have enlisted the support from friends, such as music student Kiera in #29 and #45.

What is your most memorable concert experience?

Rachmaninov has been a huge influence on me since the age of 15. I was thrilled to have performed his Piano Concerto No.2 in Bosham church to a packed audience last year.

I also regularly perform in the Chichester Chamber Ensemble with Natalia Corolscaia (violin) and Laura Ritchie (cello), which is a great pleasure. As a pianist, I didn’t have a huge amount of opportunities when I was growing up to play in an ensemble setting, so being able to work with other really high calibre musicians in my professional life is a real pleasure. One of our biggest challenges has probably been Mendelssohn’s Piano Trio, which we have performed three times together and is always a joy.

What advice would you give to those who are considering a career in music?

Don’t be afraid to take on other work to subsidise what you love to do, especially when you are starting out. You’ve got to try many different things and put yourself out there widely, so perseverance is a virtue. There are so many different things one can do as a musician, be it performing, teaching, conducting, composing; the list goes on. One of the things I love about my particular work pattern is that it’s very rare for two days to be the same in any given week. As somebody who occasionally has a short attention span, this works well for me!

I used to think that doing gigs for free was something that should never ever be done under any circumstances. The reality is it’s far more complicated than that. The key thing to keep in mind, though, is not to undersell yourself, and to value your time accordingly. I might agree to do a gig for free if it is going to be “professionally valuable” – an opportunity to play an exceptional piano, for example, or to ingratiate myself with a colleague or employer.

But I would warn people against falling into the trap of a generic “working for exposure”; I haven’t tried it myself, but I have it on good authority that exposure won’t pay your mortgage. Professional musicians should be paid, and regularly accepting work that doesn’t pay undermines our industry – one that is generally quite poorly paid anyway.

How would you define success as a musician?

I’m a strong advocate of the philosophy that success is categorically not defined by how much money one earns. If I did think that, I wouldn’t have become a musician. There’s an almost moronically simplistic notion that so much of our capitalist society seems to live by that is “whoever gets out with the most money at the end is the winner”.

For me, success is being able to pick and choose what one does and still be comfortable. I probably spend 20-30 hours a week (depending on the time of year) actively “working” as a musician in some capacity or other, and manage quite comfortably. This gives me time to pursue other interests I have, such as magic, computer programming and writing (some of which doubles up as work from time to time insofar as they generate income), as well as giving me the time to give clear focus and dedication to my personal relationships, especially with my wife and stepson.

Music for Lockdown

During the lockdown, I have pledged to produce one music video on YouTube each day.
https://www.youtube.com/playlist?list=PL2H-nDfO9k4PoKNX6au4LGvVVLDUMOnck
Or see https://www.chichester-piano.co.uk/music-for-lockdown.

They comprise solo piano works, choral classics and even some musical theatre favourites.

These are mainly as a way of maintaining some semblance of normality and also to give me something to do. As the lockdown has gone on, the videos have gradually become more complex, starting out with solo piano pieces, moving onto solo singing pieces and now even 4-part choral harmony and one-man polyphony.

The choral videos, in particular, have proven to be very popular, and it’s really pleasing to see them bringing joy to so many people at this very challenging time, especially given that so many people are cut off from making music in whatever capacity they are used to.

Since my performing and conducting work has taken a substantial hit since the lockdown, I have set up a Patreon page in the hope that some people may be willing and able to help support me through this challenging time.

https://www.patreon.com/musicforlockdown

 

Ben Lathbury is an award-winning musician, originally from the Midlands. Following early success in numerous competitions, Ben moved to Sussex in 2006 to study at the University of Chichester, where he established himself as a pianist of considerable talent.

In 2009, Ben received a scholarship to fund his Master’s degree in Music Performance, studying with international pianist Jonathan Plowright. Since its completion, Ben has won a number of competitions, given dozens of solo recitals and has appeared as a special guest soloist with orchestras across the UK. He has been recognized as a champion of 20th century American repertoire; his interpretation of Leroy Anderson’s Concerto in C garnered critical acclaim and his performances of Gershwin’s Rhapsody in Blue earned him a nomination for “Best Classical Act” in the 2017 Guide Awards and have been hailed as “magnificent”.

In addition to his talent as a pianist, Ben is widely respected as a choral conductor, organist, and singer. Recent engagements have included performances of Handel’s Messiah, Vierne’s Messe Solennelle, Fauré’s & Rutter’s Requiems, Stainer’s Crucifixion and Mendelssohn’s Hymn of Praise. He is Director of Music at Holy Trinity Church in Bosham and Musical Director for a number of local choral groups. In 2016, Ben founded the Music in Bosham recital series and in May 2018 he was appointed to the post of Musical Director for Portsmouth Festival Choir. In 2019 he became an Associate Lecturer in Piano at the University of Chichester.


Today, Ben lives in Rose Green with his wife Megan, stepson Dylan, their dog Hermione and their two cats, Persephone & Ozymandias. In his spare time, Ben enjoys theatre, chess, writing and computer programming. He has a particular passion for choral and piano music featured in video games and often incorporates such works into his programmes.


Profile: Ann Pinhey, conductor

Who or what were the main influences on your decision to pursue a career in music?

I won a scholarship to Godolphin and Latymer School in Hammersmith, London, and was introduced to music by a very enthusiastic teacher, so I began piano lessons at 13. Whilst at school, I was introduced to the music of Benjamin Britten, as the English Opera Group used to come to the Lyric Theatre, Hammersmith. I vividly remember hearing The Rape of Lucretia with Kathleen Ferrier. Let’s make an opera was also great fun. I can still remember some of the audience participation songs! I used to go to the Proms frequently and stand in the Arena for 2 shillings!

I studied piano and organ at the Guildhall School of Music for a year, before I abandoned the graduate course. While I was there, I was asked by a fellow student, Buxton Orr, if I would copy out a piece of music for his composition class the following day with Benjamin Frankel, who was a prolific film composer. The latter looked at the music and said,” Did you do this? It’s beautiful. Do you want a job?” Thus began my career as a professional music copyist when everything was done by hand. Computers did not exist in those days!

Most of my work was copying the orchestral parts for film scores such as The Bridge on the River Kwai and The Inn of the Sixth Happiness. It was all great fun. I remember being taken out to lunch by Malcolm Arnold. He was smoking a huge Churchillian cigar. I told him I loved the smell of cigars. He clicked his fingers at the waiter and said,” Get the young lady a cigar!” A huge one appeared. Two puffs and I was as green as grass, but I took the cigar home!

I also worked for Novello and Boosey and Hawkes. For the latter I worked on tracing paper with a special pen, as the work had to look exactly like printed music. I also worked for Donald Swann, Sir Charles Mackerras and Sir John Eliot Gardner. I sang under the latter when he was conductor of the Portsmouth Festival Choir in the 1970s, a memorable experience!

Later I became orchestral manager for the Leppard Ensemble. Raymond Leppard had just come down from Cambridge and formed his small chamber orchestra, which eventually merged with the Goldsburgh Orchestra to become the English Chamber Orchestra in 1960. I vividly remember a concert that Raymond gave at the Wigmore Hall where he was the pianist – and conductor – in a Mozart piano concerto. I turned the pages for him…nerve racking!

So how did it all develop from here?

After getting married, I moved to Compton, near Petersfield. I became a teacher at Lavant House, a girls’ independent school, where I remained for many years. I was head of the Junior Department and taught all subjects. Eventually I became Director of Music.

In the 1980s I became music critic of the Petersfield Herald and until quite recently, was the music critic of the Petersfield Post, a paper which no longer appears to print reviews of concerts! It is difficult being a music critic for a local paper, as you often have to review the performances of people you know. I do have high standards and people are at liberty to disagree with me!

What about your choral work?

Although I’ve never studied conducting, I was persuaded to take over the Harting Choral Society in the late 1970s. I went on to conduct the Meon Consort and the Thursday Singers. In 1984 I formed the small choral group, Musica Sacra. We performed within a 20-mile radius of Petersfield, giving free concerts for over 15 years and raising over £20,000 for charity. We performed more than 300 works by more than 100 composers, often singing the music of Charpentier, whose music I had transcribed from the composer’s original manuscripts.

After Musica Sacra was disbanded in 1999, I set up the Petersfield Chamber Choir in 2000, which ran for 13 years.

In 2014 I formed the Gemini Consort. It is a group of 12 experienced musicians, who all sing and some of whom play instruments. The aim is to use all their talents. The music performed ranges from the Baroque to the present day and includes music by Handel, Mozart, Poulenc and Britten. We love works written by Arvo Pärt, James MacMillan and Cecilia McDowall. The solo instruments are recorder, flute and trumpet.

Which works or performances are you most proud of?

The highlight for me was a performance of the Bach St Matthew Passion which I conducted in 2010 with the Petersfield Chamber Choir and Orchestra. It was a massive undertaking, but was a great success, so much so that I decided to do the St John Passion the following year! All soloists came from the choir and the orchestra was made up of local musicians.

Of the St Matthew Passion, Jonathan Willcocks wrote, “The line of music-lovers waiting on Saturday night outside St Peter’s Church in the hope that “return” tickets might become available suggested that something rather special was happening…the true laurel leaves must rest with Ann Pinhey, whose concept and planning in every detail this memorable evening was”.

Are there any composers with whom you feel a particular affinity?

While at school I was introduced to the music of Benjamin Britten when my music teacher played his Young Person’s Guide to the Orchestra. I find his music deeply moving, exciting and gripping. I’ve performed all his choral works. While conducting with Musica Sacra, I developed a love of Charpentier, in particular. I love the operas of Janáček. Handel wrote some great music for voice, such as the duets in Julius Caesar.

What is your most memorable concert experience?

My most memorable performance was seeing Raymond Leppard conduct his realisation of Monteverdi’s Coronation of Poppea at Glyndebourne in the 1960s. It was the first time I had heard anything by the composer. I was transfixed! I love it and have performed a great deal of his music ever since!

And what about your love of painting?

In 1989 I took up a new hobby, painting. I am totally self-taught and began with watercolours. I moved on to collages and am now immersed in working with alcohol ink on plastic paper and acrylic pouring work.

Tell me about your fund-raising activities.

All my concerts have enjoyed free admission (apart from the 2 Passions, as I had to pay the orchestra and so charge a small amount for tickets, although £1,000 was still collected for The Rosemary Foundation as the audience left!). The retiring collection has always been given to local charities, for whom I have raised over £55,000. We now donate solely to The Rosemary Foundation. So far we have given it £20,000 – a most worthy cause.

Follow Ann on Instagram.


Profile: Geoff Porter, conductor, singer, pianist and organist

Who or what were the main influences on your decision to pursue a career in music?

I was fortunate to be at The Kings’ School, Ely, which was strong in music. I also attended The Mackenzie School of Music and Drama in Cambridge for singing lessons. Subsequently, I secured key roles as a tenor in The Magic Flute by the Ely Opera Group and in A Country Girl by the St. Ives Operatic Society.

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

Dr Arthur Wills, Organist of Ely Cathedral and Director of Music at The Kings’ School, taught me piano. At The Teacher Training College at Milton, Portsmouth, Margaret Jewell (Head of Music Department) persuaded me to switch from maths to music and Hugh Davis (Assistant Organist at Portsmouth Cathedral and conductor of the Portsmouth Choral Union), my tutor, arranged for me to have singing lessons in London, under the tutelage of the tenor, Gerald English.

Hugh also encouraged me to join The Cathedral Choir and I was appointed to Portsmouth Grammar School as Director of Music for The Lower School. Later, I became Director of Music at St Albans, Havant, where pupils – and I – became accustomed to brass band practice at 8 o’clock in the morning!

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

I have been engaged as a tenor soloist for many local choirs. This has led to several memorable and challenging performances, including The Messiah with the Drayton Choral Society (later the Portsmouth Baroque Choir) at Portsmouth Guildhall. Whilst Director of Music at St James’ Church, Emsworth, I arranged broadcasts for TV and radio, including Songs of Praise. On two occasions, I sang Eisenstein in Die Fledermaus with The South Downs Music Society at the King’s Theatre, Southsea.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Singing with others in a group or choir is always rewarding. As a director, it is so satisfying to see how far people can be encouraged to come on a journey of musical improvement.

How would you describe your musical language?

As a soloist, I liked to bring out the emotion and drama of a piece. As a conductor, I try to work on contrasts of dynamics, rhythm and melody.

How do you work?

I like to choose and conduct pieces that will demonstrate the performers’ strengths, with suitable, but challenging material, which I hope the audience will enjoy.

Which works/performances are you most proud of?

I’ve already mentioned Die Fledermaus. I deputised for Raymond Calcraft as director of music with the Highbury Singers which became the Renaissance Choir. In 1986, in the Queen Elizabeth Hall, London, I conducted the choir in the pre-performance rehearsal of hitherto unperformed works by Guerrero and Rodrigo, who himself was present.

To raise money for Stansted House, I have arranged forty Musical Evenings there in The Music Room. In 2013, I set up Los Ladrones, a vocal quintet. This group specializes in the revival of gems of Victorian and Edwardian British Musical Theatre and especially the lesser-known works of Arthur Sullivan.

Are there any composers with whom you feel a particular affinity?

I enjoy the music of Handel and have performed as a soloist in The Messiah 13 times. I was a founder member of Havant Light Opera in 1978 with whom I have directed works by Arthur Sullivan, an under-rated composer who wrote many fine pieces, both with and without Gilbert. I have been MD for The Mikado with both Littlehampton and Chichester Operatic Societies.

What is your most memorable concert experience?

13 choirs (over 600 voices) were involved in The 2016 London Welsh Festival of Male Choirs at the Royal Albert Hall. In preparation for this, I navigated The Solent Male Voice Choir through rehearsals, when seven songs had to be sung in Welsh, by heart.

What advice would you give to those who are considering a career in music?

As an amateur, try out lots of different sizes of groups and types of music-making, taking any opportunity to perform solos.

How would you define success as a musician/composer?

Simply seeing both performers and the audience enjoying a concert.

What are your immediate plans?

After several happy years with The Solent Male Voice Choir, I’m excited about the prospect of conducting The Hampshire Police Male Voice Choir and directing them in the Cornwall International Male Voice Choir Festival in 2021.


Profile: Angela Zanders, pianist and lecturer

Angela Zanders was born in London and started piano lessons with her father, New Zealand pianist, Douglas Zanders. She went on to study at The Purcell School, Trinity College of Music and Goldsmiths’ College, University of London. She also won an Austrian Government Scholarship for study at the Hochschule für Musik, Vienna. At Trinity College, where she studied with Joseph Weingarten, Angela won many competitions and awards. She later studied chamber music with Murray Perahia, William Pleeth and Raphael Wallfisch.

Angela has performed all over the UK, including venues such as London’s Wigmore Hall, South Bank, St. Martin’s-in-the-Fields and at St. David’s Hall in Cardiff. She has broadcast for BBC Radio 3 and has given performances throughout Europe and in Australia and New Zealand, both as soloist and accompanist and as pianist in the Solarek Piano Trio, which she formed in 1992. For ten years Angela was accompanist at the Centre for Young Musicians in London. She does a great deal of freelance accompanying and has worked with many internationally acclaimed singers and instrumentalists.

Angela has a special interest in promoting the accessibility of classical music and has been giving lecture recitals for many years. She has lectured in Music Appreciation for Birkbeck College, University of London and for the WEA and U3A in Hampshire and currently runs her own classes in Music Appreciation in Hampshire and West Sussex.

Angela has been a lecturer at the University of Chichester since 2010 and is an adjudicator for The British and International Federation of Festivals.

www.angelazanders.com

Simon O’Hea is in conversation with Angela.

Who or what were the main influences on your decision to pursue a career in music?

I grew up in a house where my father taught up to 100 piano pupils each week. He was a wonderful musician and a great teacher and my mother, although an artist, was also very musical, so growing up with music happened naturally and there was never a point when I made the decision as such. A turning point was being sent to study piano with Vera Yelverton when I was 13 and two years later attending The Purcell School.

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

Without doubt, my father, Douglas Zanders; my wonderful teacher, the Hungarian pianist Joseph Weingarten whom I studied with at Trinity College of Music, and the international concert pianist Murray Perahia. I was completely bowled over by his playing when he won first prize at the Leeds International Piano Competition – shortly afterwards I met him and was struck by his genuine humility, total lack of self-regard, kindness and willingness to offer help and support where needed. I was privileged to get to know him and to be given lessons and mentoring and it is true to say that the example of his playing and his approach to life and to music has been a major influence on my life.

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

Remembering to believe in myself is definitely one. The music profession is incredibly high-powered and competitive, and it is easy to feel that one is battling against the tide. But, over the years, I have learnt to cultivate my particular strengths based on what I am passionate about, which is studying and researching every aspect of a piece of music and sharing this with others through performing, lecturing and teaching. The pleasure and fulfilment I get from this is immeasurable, and if just one person enjoys listening to music more as a result, I know it has been worthwhile!

What for you are the particular pleasures and challenges of collaborating with other musicians?

One of my great pleasures is in playing chamber music. Being a pianist means working largely on one’s own, but if I am rehearsing or performing a chamber work I love with others I have a personal and musical rapport with, I am in my element. Listening to and trying out other musicians’ ideas on interpretation helps broaden one’s thinking and gives insights one might not have otherwise discovered. One of the main challenges is finding rehearsal times to suit all!

How would you describe your musical language?

I would describe my musical language as always trying to tell a story with the music. I like to draw people into the music I perform and I am always eager to share some background to the music with my audiences.

How do you work? 

In studying a new work I want to find out everything I can about the music, the composer and when he or she composed it, the influences behind it and, as far as possible, to ‘get inside the composer’s head’. Every piece of music tells some sort of a story and I love the process of discovering what that story is about – through the composer’s directions, the harmonies, the tonality etc. and in trying to find out how and why the composer wrote the piece in the first place.

Which works/performances are you most proud of?

Ever since I was a child, I have adored Mozart’s final piano concerto in B flat major K595. I finally performed it a few years ago and it was a dream fulfilled. I was also proud to be able to give a lecture recital on Schubert’s Trout Quintet ending with a complete performance of the work with some wonderful musicians for the Petersfield Musical Festival a few years ago.

Are there any composers with whom you feel a particular affinity?

I have always adored Beethoven. I studied music at the Hochschule für Musik in Vienna and living for a year in the city where Beethoven (and Haydn, Mozart and Schubert) lived and worked was overwhelming – an experience which has shaped my whole approach to their music.

Which works do you think you perform best?

This is difficult to judge but I would say probably Beethoven and Schubert.

What is your most memorable concert experience – either as a performer/composer or listener?

Hearing the Lindsay String Quartet perform all the Beethoven quartets at the Wigmore Hall was an unforgettable experience, as was hearing Murray Perahia play all Chopin’s Preludes many years ago. Everyone was electrified. I also heard Horowitz play live – the most astonishing moment was when he played the National Anthem. I have never heard anyone play like that before or since. Such extraordinary power and authority coming from such a slight figure.

What advice would you give to those who are considering a career in music?

Only take up music as a career if you can’t live without it. If you’ve got something to say in music, believe in this and never allow yourself to be put down by people who say you can’t do it or that you’re not as good as the next person.

How would you define success as a musician/composer?

Being true to yourself, working hard and communicating through music.

What do you enjoy doing most?

Being with my son, being with my friends and colleagues and the process of communicating my passion for music to others in my recitals, lectures and classes.

Angela is holding a series of three lecture recitals entitled “Beethoven Enlightened” to celebrate the 250th anniversary of Beethoven’s birth, exploring the significance of Beethoven in Western music. With complete performances of some of Beethoven’s most significant piano and chamber music including ‘Moonlight’ Piano Sonata, ‘Kreutzer’ Sonata for violin and piano, Trio in B Flat Op. 11 for clarinet, piano and cello.

Angela Zanders (piano) with Rob Blanken (clarinet), Catherine Lett (violin) and Mikhail Lezdkan (cello).

12 September, 3 October and 7 November 2020 at 3pm. See Beethoven Enlightened.

Also see Music appreciation course with Angela Zanders: “Classical Masterpieces Composed in Troubled Times”.


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