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.
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.