Talking Classical Podcast

I'm delighted to be welcoming on this podcast Guy Johnston. Guy is one of Britain's leading cellists who was the winner of the BBC's Young Musician of the Year back in 2000 which set him on a glittering international career as a soloist, chamber musician, orchestral player and teacher.

This podcast was recorded after Guy had given two performances of Elgar's Cello Concerto at very short notice with the Bournemouth Symphony Orchestra, having come for a short trip from the States to England. And we managed to cover a number of different topics over the short time we had including: performing last-minute concerts, being a musical parent, growing up in a musical household, training in the States, Guy's new YouTube series Creative Cello Chats, playing on a Stradivarius and interpreting Bach, which Guy has been a real exponent of.

Interview recorded 27 January 2023; podcast published 18 February 2023. Edited Joe Eftihiou at Clarion; additional edits Annabelle Lee. Intro and outro music by Helena and Annabelle Lee.

Guy's bio: https://guy-johnston.com/biography

Creative Cello Chats: https://www.youtube.com/watch?v=6ziGbwPHIR4 / https://www.youtube.com/watch?v=p8KqYRfsnIA

Live stream of Guy's performance of the Elgar Cello Concerto with the Bournemouth Symphony Orchestra conducted by Mark Wigglesworth (available till 24 February): https://bsolive.com/book-online/106202

Davina Clarke is a violinist based in London who specialises in historically informed performance and Baroque music. She also hosts her own podcast called The Classical Corner where she has had the opportunity to speak to a number of distinguished artists about what makes them the top of their field.

I was pleased to speak to Davina during a Saturday morning in October over Zoom where we talked about the world of historical performance practice today and some of her exciting musical projects including her latest album of Handel and a video series with the Connaught Hotel entitled Musical Mixology which aims to explain different aspects of classical music to a cocktail drinking audience. She also has an album out now including Handel's Nine German Arias and two violin sonatas by the composer.

Thanks to Davina for taking the time to speak to me. Davina's album Sweet Stillness is available to stream, download or purchase wherever you like to get your music! 

Davina's album Sweet Stillness: https://orcd.co/kv0avry 

Musical Mixology: https://www.youtube.com/watch?v=15MiR-5Ud6w (all episodes available to watch on Davina's YouTube channel: https://www.youtube.com/@davinaclarke6578)

The Classical Corner podcast: https://lnkfi.re/classicalcorner 

Davina's bio: http://www.davinaclarke.com/about-davina

End music: George Frideric Handel. Meine Seele hört im Sehen, HWV207 from Nine German Arias [performed by Mary Bevan, Davina Clarke and the Davina Clarke Ensemble]. On Sweet Stillness. Voces8 Records. (Original work composed 1724-1726).

Interview recorded 22 October 20222; podcast published 14 December 2022. Intro and outro music by Helena and Annabelle Lee.

Last week, I was so pleased to meet Ralph Allwood for a podcast interview. Having played under him in a concert with the Old Royal Naval College Trinity Laban Chapel Choir a few years ago, and having interviewed for this podcast several distinguished alumni he has taught, it was wonderful to talk to him about his extensive and pioneering work in choral directing, singing and teaching music. We also talked about his involvement setting up the Rodolfus Choral Courses (formerly the Uppingham and Eton Choral Courses) and more recently the Pimlico Musical Foundation. You're going to find this such an inspiring and motivating listen!

Pimlico Musical Foundation concert "Earth, Sun and the Stars" - 30 November 2022: https://pimlicomusicalfoundation.org.uk/whats-on-list/earth-sun-and-the-stars.

Old Royal Naval College Trinity Laban Chapel Choir Carol Services - 11 and 12 December 2022: https://ornc.org/whats-on/chapel-carol-services.

Applications for the 2023 Rodolfus Choral Courses are now open! https://talkingclassicalpodcast.files.wordpress.com/2022/11/rf_choral_courses_2023_poster_a4.pdf.

2023 Adult Choral Course: https://talkingclassicalpodcast.files.wordpress.com/2022/11/rf_adult_choral_course_2023_poster_a4.pdf.

Ralph's bio: https://ralphallwood.com.

Podcast interview recorded 25 November 2022 at Ralph's flat in London (thank you Ralph and Alastair Davey for making me feel welcome!); podcast published 28 November 2022. Intro and outro music by Helena and Annabelle Lee.

I'm pleased to share this podcast with Daniel Pailthorpe, Co-Principal Flautist with the BBC Symphony Orchestra. We had a fascinating discussion about his musical journey growing up, parallels between flute playing and singing, solo performances, what it's like playing for one of the top symphony orchestras in the country, performing at the BBC Proms and Royal Albert Hall (including a memorable concert involving the then five members of Monty Python!), tone production and vibrato. 

Podcast interview recorded 26 September 2022 at Daniel's home in Richmond, London; Daniel's additional commentary about tone production and throat tuning recorded 12 November 2022; podcast released 16 November 2022. 

Due to some digital noise when I started recording, here's also what he said when I asked him about his musical journey growing up: "I actually don't come from a particularly musical family. My father loved music but was not a trained musician at all. Bach was his passion and he transferred that to me. It was just a very pure love of music without having an instrument but they very much encouraged me in my music, took me to concerts. It so happened that both of my godparents who they chose when I was born were both very keen musicians and so they helped to introduce me to the world of music."

Crumb - Voice of the Whale: https://www.youtube.com/watch?v=bd76Q-yA5M4. 

Daniel's arrangement of Prokofiev's Scenes from Romeo and Juliet - https://www.youtube.com/watch?v=Wmca0PTyy-c. 

Daniel's arrangement of Scenes from Romeo and Juliet for oboe - https://youtu.be/lB07FNY84DQ.

Daniel talks about "Romeo and Juliet" - https://www.youtube.com/watch?v=IkJ_nlx0Drk.

Podcast edited by Joe Eftihiou, additional edits from Daniel Pailthorpe and Annabelle Lee. 

End music: Margaret Hubicki (2005). From the Isles of the Sea [performed by Daniel Pailthorpe and James Kirby]. On Dedication in Time: Chamber Music by Margaret Hubicki. Chandos. (Premiere recording). 

Podcast intro and outro music by Helena and Annabelle Lee. 

One of the few orchestral principals of international standing who plays on a modern wood flute, Daniel Pailthorpe has gained a world-wide following for the uniqueness and breadth of his sound as well as the warmth of his musicianship. As co-principal flautist of the BBC Symphony Orchestra, Daniel is regularly heard on BBC Radio 3 and at the Proms. He features prominently on the BBCTV 'Symphony' series and is a familiar face on the Last Night of the Proms.

Together with his wife Emily Pailthorpe and the pianist Julian Milford, he founded the London Conchord Ensemble. The group has rapidly gained an international reputation, performing in some of the world's most prestigious concert series. His recordings, ranging from Poulenc to Bach and George Crumb, have enjoyed many accolades, among them Sunday Telegraph's CD of the week and Classic FM’s CD of the month.

Singing featured prominently in Daniel's musical training: he began as a choirboy aged six, was a finalist in the UK Chorister of the Year competition, and went on to become a Choral scholar at Clare College, Cambridge. After a year of postgraduate study at the Royal Academy of Music, Daniel was the recipient of the Leonard Bernstein Fellowship at the Tanglewood Music Centre, USA. His flute studies took him to Paris and America and his teachers include William Bennett, Derek Honner, Gaston Crunelle, Thomas Nyfenger and Geoffrey Gilbert.

He has gone on to be much in demand as a guest principal with many orchestras, including the London Symphony Orchestra and the Chamber Orchestra of Europe. He is one of London’s most sought-after session musicians, featuring on the soundtracks for many films. As a teacher Daniel has been a coach for the National Youth Orchestra and is a Professor of flute at the Royal College of Music.

In this podcast, we're hearing from musician and creator of PlayScore 2 Anthony Wilkes. PlayScore 2 is a music scanning app from Organum Ltd. 

Anthony talks about how he came to develop the app and its exciting features that make it essential for any musician. We also learn about the technology behind PlayScore 2 called Optical Music Recognition (also known as OMR). In short, it is the musical version of Optical Character Recognition (OCR). Anthony talks about the development of OMR, some of its challenges and whether technology has improved or impeded the way we learn music today. 

Optical Music Recognition on Wikipedia: https://en.wikipedia.org/wiki/Optical_music_recognition. 

playscore.co 

Organum Ltd is a UK company based in Oxford specialising in printed and handwritten optical music recognition. Anthony also created the handwritten music recognition engine in the popular NotateMe app, and the PhotoScore application from Neuratron Ltd. As a musician Anthony studied cello with Caroline Bosanquet and Rohan de Saram, and plays in several ensembles. You can also see Anthony's composer's page on the IMSLP free music site.

Podcast recorded on 14 October 2021; published 18 October 2021. 

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In this podcast, we'll be hearing from Canadian pianist Sandra Mogensen. To commemorate the bicentenary of Clara Schumann's birth, Sandra released an album in December 2019 entitled En Pleine Lumière (In Full Light), a collection of piano music by women composers from c.1840-1870. It is part of a multi-album and concert project, shedding light on women composers, of which En Pleine Lumière is the first album. In this podcast, Sandra discusses the research process of finding these often neglected gems, common perceptions and stereotypes surrounding the music of women composers, and what the classical music industry and people ― like Sandra ― can do to help alleviate these. This is a wonderfully enlightening discussion to end 2020 so I hope that you enjoy it and the album as much as I did! Links: Sandra's bio: https://www.sandramogensen.com/about. Sandra's album En Pleine Lumière: https://sandramogensen.bandcamp.com/album/en-pleine-lumi-re Sandra's Patreon: patreon.com/sandramogensen. "Piano Music, She Wrote" YouTube channel: https://bit.ly/34URsmv. Statistics quoted in the podcast are cited from this article. "Female composers largely ignored by concert line-ups' by Mark Brown, The Guardian (13 June 2018): https://www.theguardian.com/music/2018/jun/13/female-composers-largely-ignored-by-concert-line-ups. Music in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. Gavotte by Helen Hopekirk Feuilles d'automne (Autumn Leaves). Both extracts performed by Sandra Mogensen and taken from her album En Pleine Lumière. Album released December 4, 2019, recorded in Wuppertal, Germany, June 2019, and produced and mastered by Kaling Hanke.

Questions re-recorded for the podcast due to sound quality.

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In this podcast, I'm delighted to be talking to Dr Nico de Villiers. Nico is a pianist, vocal coach and researcher, and launched an invaluable musicians' career development podcast during the lockdown earlier this year, called "What Would Mozart Do?". We talk about his podcast and Nico shares some very interested insights into careers with regards to music colleges and the recent governmental debates surrounding occupations in the arts and music industries. We also talk about his journey into music and his fascinating research into Richard Hageman. Nico has co-authored a critical biography on this lesser known composer, pianist, conductor and vocal coach that will be released soon. Many thanks to Nico for talking to me! Nico's bio: https://www.nicodevilliers.com/biography. Podcast released 18 December 2020; interview recorded 7 December 2020. *Due to a technical issue during recording, the sound quality does change slightly about seven minutes into the podcast but hopefully that should not affect your listening experience too much!* Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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Welcome back to another episode of the Talking Classical Podcast! We're slightly moving away from the classical music world and exploring the wonderful world of dance and ballet, as in today's podcast, we'll be "zooming in" with former Principal Dancer of The Royal Ballet, Zenaida Yanowsky. Zenaida enjoyed a distinguished career for over twenty years as a dancer with London's Royal Ballet Company. She performed iconic roles such as Odette/Odile (Swan Lake), Manon and her infamous, "viral" creation as the Queen of Hearts in Christopher Wheeldon's modern classic 'Alice in Wonderland' (Alice's Adventures in Wonderland), premiered at London's Royal Opera House in 2011. Retiring in 2017, Zenaida now teaches and coaches dancers around the world. During this summer, I had the pleasure of talking to her partner on the podcast, renowned British baritone Sir Simon Keenlyside (https://soundcloud.com/talkingclassicalpodcast/ep-35-sir-simon-keenlyside) so I thought that it would be interesting to hear from his other half, as two performers at the highest level in the classical arts. In this podcast, we talk about Zenaida’s journey into dance and ballet, her career highlights in The Royal Ballet, including the creation of new characters/works, the relationship between dancers, conductors and live musicians, and the situation of the arts in the current coronavirus pandemic. Many thanks to Zenaida for taking the time out of her busy schedule to talk to me! Interview recorded 8 September 2020; podcast published 7 December 2020. Zenaida's bio: http://www.roh.org.uk/people/zenaida-yanowsky. Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. Pyotr Ilyich Tchaikovsky, Swan Lake (Op. 20), Introduction to Act 1. Jules Massenet, Don Quichotte, Introduction to Act One. Both extracts sourced from the European Archive via Musopen (tracks licensed under the Creative Common License Public Domain Mark 1.0). Link to the discussion with Sir David Bintley I referred to in this podcast: Off Pointe (Birmingham Royal Ballet's podcast), Episode 1 - David Bintley and the Will Mossops of Hobson's Choice. https://pod.co/brb-off-pointe/episode-1-david-bintley-and-the-will-mossops-of-hobsons-choice.

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Hershey has been renowned all over the world for his unique one-man shows, in which he portrays a range of iconic composers including Beethoven, Tchaikovsky, Gershwin, Irving Berlin and Rachmaninoff. He both acts and performs extracts from works by the different composers. During this lockdown period, he has adapted these plays for film and are available to stream as part of his "Live From Florence" series. A Paris Love Story is the latest play available for streaming and has a semi-biographical narrative, in which he plays Debussy looking at Hershey's life. Earlier this week, I talked to Hershey about the play, what the music of Debussy means to him, the creative process behind his plays and adapting them for the camera. To purchase A Paris Love Story and the other films in Hershey's "Live From Florence" series, go to https://www.hersheyfelder.net. Interview with Hershey recorded 24th November 2020; podcast released 26th November 2020. Music used in the podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. Claude Debussy, Prélude à l'après-midi d'un faune (L. 86). Performed by the Columbia University Orchestra. Sourced from Musopen (track licensed under the Creative Common License Public Domain Mark 1.0).

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This week is Anti-Bullying Week. It’s a week that aims to raise awareness of bullying among children and young people and to emphasise ways we can tackle it and respond to it positively. Over the last few years on Talking Classical, we’ve explored a range of issues that are affected by bullying such as mental health and racism. I felt that it was important to address these issues with regards to the classical music industry so last month, I spoke to distinguished British conductor, broadcaster and TV presenter Charles Hazlewood. In May 2020, Charles appeared as a castaway on the iconic Radio 4 programme Desert Island Discs, where he took the opportunity to talk openly about his childhood experiences. Following an unprecedented response, he'll be hosting a special commission entitled Beethoven and Me, which will be shown on Sky Arts in December. This programme not only celebrates the 250th anniversary of the birth of Beethoven but is a deeply personal look at the life of this composer through the lens of one of his signature works, the 5th symphony, exploring how this famous work reveals Beethoven’s experiences such as child abuse, deafness and potential autism. Charles will be talking to us about this documentary, his appearance on Desert Island Discs and recovering from childhood trauma. He talks about his experiences of the lockdown period and recent governmental debates and perceptions surrounding the creative industries and the viability of freelance musicians' work. He discusses the act of being vulnerable and open, and shares some encouraging and motivating advice for anyone who’s been through similar experiences. This podcast discusses themes that may be of a sensitive nature so if you are affected by any of the issues, please seek help or talk to someone - there are some links below for advice and support. Thanks so much to Charles for taking the time to talk to me amidst his busy schedule. 

anti-bullyingalliance.org.uk. Charles' bio: charleshazlewood.com/about Interview with Charles recorded 22 Oct 2020; released 18 Nov 2020. Resources: Anti-Bullying Alliance anti-bullyingalliance.org.uk/tools-information/if-youre-being-bullied/find-help-and-support National Bullying Helpline nationalbullyinghelpline.co.uk 03003230169 (children's helpline) or 08452255787 Open 9am to 5pm, Monday to Friday YoungMinds youngminds.org.uk/find-help/feelings-and-symptoms/bullying YoungMinds Crisis Messenger 24/7 text support; free from EE, O2, Vodafone, 3, Virgin Mobile, BT Mobile, GiffGaff, Tesco Mobile and Telecom Plus. Text: YM to 85258 Bullying UK (Family Lives) askus@familylives.org.uk Online chat open 1:30pm to 5:30pm public.mc.hostedcc.com/familylives/forms/Chat/Family%20Lives%20Chat 08088002222 NAPAC napac.org.uk 08088010331 10am until 9pm Mondays to Thursdays, 10am until 6pm on Fridays support@napac.org.uk Article mentioned in the podcast: Ashley Fetters, Clara Chan and Nicholas Wu, "Classical Music Has A 'God Status' Problem," theatlantic.com/education/archive/2020/01/conservatories-sexual-harassment-abuse/604351 Music in this podcast: Ludwig van Beethoven, 1st movement "Allegro con brio" from Symphony no. 5 in C minor, op. 67. Wolfgang Amadeus Mozart, "Ach, ich fuhls" from The Magic Flute, K. 620, Act 2. Both extracts sourced from the European Archive via Musopen (tracks licensed under the Creative Common License Public Domain Mark 1.0).

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I'm pleased to introduce British pianist and composer Daniel Johnson, whose debut album "Faith" is released on Friday 6th November. Daniel enjoys a career as a concert pianist, performing on cruise ships and as the Classical Artistic Associate of the Harwich Festival. Daniel's new album "Faith" is an album of compositions, inspired by biographical experiences and the passing of time. Daniel's website: https://www.danieljohnsonmusic.co.uk Podcast published 3rd November 2020; interview with Daniel recorded on 14th September 2020. Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. "Faith della vita" and "Waterfall" by Daniel Johnson. Composed, performed, mixed and mastered by Daniel Johnson. Taken from his debut album "Faith." Available to purchase via online music stores and streaming services.

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In this podcast, I'll be talking to Dr Maiko Kawabata, Lecturer at the world-famous Royal College of Music. This podcast discussion was recorded earlier this month, in the wake of the tragic events surrounding the murdering of George Floyd. It was also recorded just a year after the pioneering symposium "Cultural Imperialism and the New 'Yellow Peril' in Western Classical Music," which took place in June 2019 at Senate House, London. The aim of this study way to encourage open discussions about "yellowness" and race within the classical music industry and to pave the way for further discussions such as those. You can read the fascinating report from this event here, which I helped to minute: https://bit.ly/2JmeCKx. We also talk about Dr Kawabata's background as a professional violinist and how she combines this with her work in academia to explore in her research notions of virtuosity, particularly, in the violin tradition of the nineteenth and twentieth centuries. We discuss what virtuosity means today and some preconceptions around this construct. She has published a book that dispels common ideas around virtuosity, with specific reference to Paganini, who was, of course, one of the great violin virtuosi of his day. Many thanks to Dr Kawabata for talking to me! Interview recorded 4 July 2020; podcast published 30 October 2020. Maiko's bio: https://www.rcm.ac.uk/research/people/details/?id=04456. Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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An interview with Thomas Kemp, Artistic Director of the At Home with Music@Malling Festival 2020. Book your tickets for this festival here! https://musicatmalling.com Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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This episode of Talking Classical is presented in collaboration with Wigmore Hall. Nestled in the heart of London, just off Oxford Street, Wigmore Hall has established itself as the world’s leading chamber music venue. Its new concert series commences on Sunday 13th September and will be presented in line with government guidelines surrounding the coronavirus pandemic. Earlier this week, I was delighted to talked to John Gilhooly, the Director of Wigmore Hall, to learn more about how he and his team have been responding to the current crisis in terms of its artistic programming and financially. Of course, many concert halls all over the world have been capitalising on new media and social networks in this current time. Wigmore Hall has been a pioneer in digital media so we talked about the importance of the venue's "digital infrastructure" on its musical activities, promotions and outreach such as live streaming and bringing in a younger audience that may be experiencing chamber music for the first time. In addition, we discussed the Hall’s learning and participation strand and the pledge the venue has made to ensuring good mental health among its staff, artists and the wider Wigmore Hall community. What's more, John mentioned that within the programme, he's been able to respond to some issues that cause mental health problems such as racism and isolation. This, too, has been a response to the tragic events that took place over the summer. We also talked about what it takes to perform on stage at this iconic venue and some of the memorable performances that have taken place there over the years. This is an especially difficult time for the classical music business and the arts so if you're able to, please consider making a donation to Wigmore Hall, by going to wigmore-hall.org.uk/donate. You can also donate while watching Wigmore Hall’s Autumn Series concerts, which will all be live streamed on the Hall's website. All donations will be going directly to the Hall, its staff and artists. Many thanks to: John for taking the time out of his very busy schedule to talk to me. We actually recorded this interview on the day after the government reinstated some new guidelines in light of the COVID-19 pandemic. Jon Carvell and Tara Savile for kindly arranging and offering this wonderful opportunity. Podcast issued 12th September 2020; interview with John recorded 9th September 2020 via Zoom. John Gilhooly - Final Note Magazine article: finalnotemagazine.com/articles/john-gilhooly. Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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Subscription-based, boutique Italian recording series 19'40" release their latest album, "At The Gates Of The Twilight Zone," on 12 August 2020. This release is a live recording from the ContempoRarities Festival in Milan. It pays homage to the iconic music of Bernard Hermann, written for Rod Serling's science-fiction anthology TV series The Twilight Zone. The music on this recording is arranged by Enrico Gabrieli, while staying true to Hermann's unique writing. I talked to Francesco Fusaro and Sebastiano De Gennaro from 19'40" a few weeks ago to talk about the album. This led to some interesting discussions about orchestration and instrumentation; for example, the vibraphone and theramin are two important instruments that contribute to Hermann's other-worldly scores and science fiction music. Indeed, Francesco suggests that listening to his atmospheric and mysterious soundscapes takes on a new dimension during this lockdown period, where people are inhabiting their own "twilight zones." We also discussed notions around the classical canon as 19'40" describe themselves as "anti-classical" - that their premise is to break down some of the traditional conventions surrounding the canon. They aim to endorse music (e.g., contemporary music, film music) that could form a new way we view the historical (or historicised) canon of works. We discuss the future of music distribution. The model 19'40" presents to their audience/customer base is innovative within the constantly changing music industry as it combines traditional and digital modes of dissemination and promotion. Although their subscriptions have increased during the pandemic, the crisis has been a reminder that the concert experience needs the physical presence and interaction of an audience. We'll also hear about the current lockdown situation in Italy and some other fascinating projects the members of 19'40" have been involved in, more recently, in light of the easing of restrictions. Many thanks to: Robert Shone at WildKat PR for bringing this thought-provoking and emotive project to my attention. Francesco and Sebastiano for talking to me. https://www.19m40s.com Purchase "At The Gates Of The Twilight Zone" here: https://19m40s.bandcamp.com/album/at-the-gates-of-the-twilight-zone Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. "Where Are You?" by Bernard Hermann, arr. Enrico Gabrieli Music from "Little Girl Lost" (1962) Esecutori di Metallo su Carta Carlotta Raponi, flute, piccolo Enrico Gabrielli, B clarinet, bass clarinet, G flute, synth Yoko Morimyo, violin, viola Paolo Raineri, trumpet Francesco Bucci, trombone, euphonium Stefano Bertoni, french horn Damiano Afrifa, piano Ethel Colella, harp Sebastiano De Gennaro, percussion Giuseppe Gagliardi, percussion Marcello Corti, conductor Live recording at ContempoRarities Festival, Santeria Social Club, Milano on 3 December 2017. Recording and mixing by Carlo Zollo at "Terribile Studio" (Milan - IT) Mastering by Roberto Rettura at "Lo Studio Spaziale" (Bologna - IT) Podcast published 12 August 2020; interview recorded 22 July 2020.

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In this podcast, we'll be talking to jazz saxophonist and composer Quinsin Nachoff. His new album Pivotal Arc is released today on Whirlwind Recordings. Quinsin's music has been well-known for its unpredictability and innovation, for crossing boundaries between different musical genres and pushing the performers' barriers. The album is based around three main works. Firstly, a violin concerto features virtuoso soloist Nathalie Bonin, and a jazz-tinged unit comprising two giants of the New York scene (bassist Mark Helias and drummer Satoshi Takeishi), vibraphone player Michael Davidson, and a wind and string ensemble conducted by JC Sanford. The first movement is written as "an imaginary deconstructed and reconstructed Tango." The second movement is a ballad that combines both written and improvised sections and the third is inspired by Balkan folk music. The String Quartet (performed by the Molinari String Quartet) "represents some of Nachoff’s most intricate writing to date, allowing him to explore his deep attachment to the tradition and his engagement with contemporary iterations." As he recalls, "I like to keep up with what's happening now in quartet writing and this gave me the opportunity to explore some of those ideas – pitch axis, using quarter tones, etc., but still keeping a jazz influence because that’s a large part of my background.." The final work, Pivotal Arc, has been described as "Nachoff's extended reflection on the critical position we currently find ourselves in regarding climate change." It's perhaps the most traditional jazz-sounding work on the album with ample opportunity for interplay between the jazz unit and solos from bassist Helias, drummer Satoshi Takeishi, and Nachoff's tenor saxophone. With broad influences ranging from Strayhorn to Mancini, Bartók to Berg, this is a unique album that's refreshing and innovative to listen to from both the classical and jazz perspectives. Many thanks to: Quinsin for talking to me and his permission to use some extracts from the album in this podcast. Ann Braithwaite for bringing this really interesting project to my attention. CREDITS Music used in this podcast: 1 &2. Violin Concerto - Movement 1 3. Violin Concerto - Movement 2 4. String Quartet - Movement 1 5 & 6. Pivotal Arc Nathalie Bonin - violin soloist Molinari String Quartet: Olga Ranzenhofer - violin I, Antoine Bareil - violin II Frédéric Lambert - viola, Pierre-Alain Bouvrette - cello Quinsin Nachoff - tenor saxophone JC Sanford - conductor Michael Davidson - vibraphone Mark Helias - bass Satoshi Takeishi - drums, percussion Jean-Pierre Zanella - piccolo, flute, clarinet, soprano sax Yvan Belleau - clarinet, tenor saxophone Brent Besner - bass clarinet Jocelyn Couture - trumpet I Bill Mahar - trumpet II David Grott - trombone Bob Ellis - bass trombone Recorded at Studios Piccolo, Montreal, Canada Recording Engineer - David Travers Smith Assistant Engineer - Patrice Pruneau Edited, mixed and mastered by David Travers Smith Produced by Quinsin Nachoff, David Travers-Smith Executive Producer - Michael Janisch Pivotal Arc released 7 August, 2020 Podcast published 7 August 2020; interview with Quinsin recorded 31 July 2020. Quinsin's bio: http://quinsin.com/bio. Purchase Pivotal Arc here: https://quinsinnachoff.bandcamp.com. Citations taken from "About the Album," Pivotal Arc, https://quinsinnachoff.bandcamp.com (accessed 7 August 2020). 

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In this podcast, we'll be "zooming in" with Sir Simon Keenlyside, one of the most distinguished baritones, maintaining a top-level career in the major opera houses and concert halls around the world. We start off by talking about what Simon and his family have been doing during this lockdown period. We then share some thoughts about the importance of supporting and financing the arts during this current pandemic (in this podcast, we're talking about the present situation in Great Britain). Alongside his intense passion for music and opera, Simon talks about his deep love of nature and some of his other interests including art and poetry. We also find about his journey into music (and experience as an ex-runner), which leads to an interesting discussion on some of the challenges of being a top-level performer. For him, this includes the difference between being a singer and an artist. He reflects on the highs and lows of an elite performing musician, and offers some invaluable advice on navigating these. Additionally, Simon shares some of his thoughts on attention and personality among performers; that some artists enjoy the limelight but someone like him wants to be focused on the work. However, he recognises that he can be extremely different on stage and this is not the person he is in real life. The facets of a person that can be moulded over time contribute to who performers are. He feels that being left-handed has influenced his artistry and creativity (a distinct characteristic of left-handed people)but he tries not to read too much into this! Finally, I ask that question...what it was like getting the knighthood? Many thanks to Simon for taking the time to talk especially for this podcast and his team at Askonas Holt (Joel Thomas, Sophie Dand and Imogen Taylor) for helping to arrange this recording! Podcast published 31 July 2020; interview recorded 27 July 2020. Simon's bio: https://www.askonasholt.com/artists/simon-keenlyside Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. *Amended - The marmots can be found in the Whipsnade Downs at Whipsnade Zoo, which is near Dunstable.*

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In this episode, we'll be talking to Clare Southworth. Clare enjoyed a distinguished career as a professional flautist and educator, teaching as a Professor at the UK conservatoires, specialist music schools and junior music colleges. She has now turned her attention to writing books on learning the flute, aimed at a variety of ages and abilities. She also co-hosts the Talking Flutes podcast, created in association with Trevor James Flutes. We discuss Clare's journey into music, her time studying at the Royal Northern College of Music and how this compared to today. This is especially the case in light of the current pandemic, where practising in isolation is somewhat different in comparison to previous years. Clare also shares some valuable advice on practising and teaching music, especially the notion that one should be teaching the person and not the instrument. Having been diagnosed with Ménière's disease, we talk about how to navigate a performer's identity especially when things do not always go to plan. Clare has successfully been able to channel this in new ways through a range of exciting projects. As we'll hear, they include her books, the Talking Flutes podcast and her continued teaching, not necessarily of flute performance but other topics such as career development, the art of practice and having a positive mental attitude. Many thanks to Clare for talking to me! Podcast published 24 July 2020; interview recorded 18 June 2020. Clare's website: claresouthworthflute.com Kickstart Flute: kickstartflute.com Talking Flutes: flute.podbean.com Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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In this podcast, we'll be talking to pianist, singer, musical arranger, director and producer Dominic Ferris. Dominic's credits include producing for well-known singers such as Michael Ball, Alfie Boe and, currently, the final studio album of Dame Shirley Bassey. His collaborations with the Royal Philharmonic Orchestra have sold over 3 million albums worldwide. He joined the Royal Philharmonic Concert Orchestra as assistant musical director and pianist for the Elvis Presley: If I Can Dream UK arena tour, and the Memphis Symphony Orchestra for the USA anniversary tour, ending at Graceland with Priscilla Presley for the Elvis 40th Anniversary Celebrations. Dominic also tours around the world with his piano duo The Piano Brothers. He is one half of musical theatre double act Ferris & Milnes, who have become known for their medleys of Stephen Sondheim, George Gershwin and Lord Andrew Lloyd Webber. Dominic is a classically-trained musician, having studied piano performance, singing and conducting at the Royal College of Music in London. In this podcast, we'll be hearing about his varied background in the classical, pop and musical theatre genres. We also discuss the crossover market and the process that goes into producing and creating a crossover album. In particular, he talks about working with Michael Ball and Alfie Boe. Interestingly, Dominic says that crossover albums are among the last that people listen to in full. This leads to a really fascinating discussion about the creation of music releases in an age of streaming and the current pop music market. Having exposure to many different genres of music, it seems, can contribute to one's musicianship and musicality and this is certainly the case in Dominic's work. Finally, we talk about a poignant video project he helped to produce: a performance of "We'll Meet Again," the iconic wartime song made famous by Dame Vera Lynn. It was given by some of the top names in the West End and entertainment to boost morale for the UK theatre industry. Many thanks to Dominic for taking the time to talk especially for this podcast! Podcast released 16 July 2020; interview recorded 29 June 2020. https://dominicferris.com Dame Vera Lynn with West End Stars perform We'll Meet Again 2020: https://www.youtube.com/watch?v=dTWy9jim7Mw Updated 14 August 2020 - Since this podcast was recorded, it has been announced that the current West End production of The Phantom of the Opera has closed until further notice due to the ongoing Coronavirus pandemic.

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In this episode, we'll be hearing from Michael Seal, Associate Conductor of the City of Birmingham Symphony Orchestra, and now, podcaster. Michael has been creating a new podcast over the lockdown period called A Mic on the Podium. This is a series of fascinating conversations with his conductor colleagues, in which they openly discuss their journey into music, the art of conducting and their experiences of the profession. Check it out! We discuss the inspiration behind Michael's podcast and what he's been doing during this free time. We also learn about his background as a violinist and conductor, and hear some of his thoughts on the craft of conducting. Michael offers some really useful advice to young conductors towards the end of this discussion. Many thanks to Michael for talking especially for this podcast! Published 7th July 2020; interview recorded 12th June 2020. michaelseal.com amiconthepodium.podbean.com 

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In this episode, we'll be hearing from violinist Anna Ovsyanikova. She partners with Julia Sinani for their new disc "Les Saisons Françaises," released on Stone Records on Friday 3rd July 2020. Soaring through the seasons, this album is a beautifully chosen programme of late 19th and early 20th-century French repertoire for solo violin and piano. The disc includes sonatas by Debussy and Ravel, and works by the first female composer to be awarded the Prix de Rome in 1913, Lili Boulanger. Additionally, the album features Poulenc's Violin Sonata, composed from 1942-43. Two versions of the last movement have been included - the original and a rewritten version as a tribute to soloist Ginette Neveu. In this podcast, we discuss how Anna and Julia programmed the album, the importance of collaboration and recording at the Petersburg Recording Studio. We also talk about their mutual love of French chamber music and the relevance of this music for today. In particular, Anna encourages the album's listeners to find an emotional connections to the works, what they get out of the music and why they should be feeling the music in that way. Anna was born in St. Petersburg and is a PhD student at the Royal College of Music. She is exploring the artistic legacies of Mathieu Crickboom so we started by finding out more about her research work. Russian-born pianist Julia Sinani is a recent graduate of the Royal Academy of Music. Both musicians enjoy busy performing careers. Many thanks to: Anna for taking the time to talk. Robert Shone at WildKat PR for bringing this wonderful album to my attention, and helping to facilitate the discussion. Podcast published on 2nd July 2020; interview recorded on 23rd June 2020. Find out more about Anna and Julia here: https://annalondonviolinist.com. https://juliasinani.com/about. Purchase their new album here: https://stonerecords.co.uk/album/les-saisons-francaises.

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In this podcast, we'll be hearing from internationally acclaimed double bassist Leon Bosch. For many people around the world, the last few weeks have not been easy to process not only with the current COVID-19 pandemic but also the tragic murdering of George Floyd, which has reawakened support of the #BlackLivesMatter movement. In this discussion, we'll be hearing Leon's views on this recent news. We'll also learn about his harrowing experiences of living, studying and working in apartheid South Africa, and his encounters of racism within the classical music business. Many thanks to Leon for generously taking the time to talk to us especially for the podcast about his experiences. Podcast released 28 June 2020; interview recorded 26 June 2020. http://leonbosch.co.uk For twenty years principal double bass with the Academy of St Martin in the Fields, Leon Bosch left the orchestra in 2014, devoting himself to his musical interests elsewhere: performing and recording as a soloist, setting up his chamber ensemble I Musicanti and teaching in the UK and internationally. Encouraged by his former colleague at the ASMF, Sir Neville Marriner, and having directed orchestras from the solo double bass many times, he also took up conducting and now appears regularly on the podium and as soloist/director. Born in Cape Town, although now a British citizen, he graduated from the University of Cape Town before completing his double bass studies at the Royal Northern College of Music. As soloist, Leon Bosch has so far recorded ten CDs, including the world premiere recording of music by the Catalan virtuoso Josep Cervera whose work he rediscovered and has been instrumental in reviving. He has commissioned dozens of works for the instrument. If you are affected by any of the issues in this podcast, please consult the following organisations and helplines: Runaway Helpline (a free 24/7, confidential helpline) Call or text for free on: 116000 https://www.runawayhelpline.org.uk/advice/racism-and-discrimination The Monitoring Group 24 hour helpline: 0800 374 618 http://www.tmg-uk.org CALM Nationwide helpline: 0800 58 58 58 (5pm-midnight, 365 days a year) https://www.thecalmzone.net/help/webchat https://www.thecalmzone.net/help/get-help/racism Citizens Advice https://www.citizensadvice.org.uk/law-and-courts/discrimination/protected-characteristics/race-discrimination Musicians' Union - Reflecting on #TheShowMustBePaused https://www.musiciansunion.org.uk/Home/News/2020/Jun/Reflecting-on-TheShowMustBePaused

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On this podcast, we'll be showcasing the mouthwatering Tasting Menus from leading cultural and music PR agency WildKat, as well as acclaimed composer, sound artist and performer Drum & Lace whose latest EP "Further" was released last week. WildKat Tasting Menus WildKat's Press Assistant Robert Shone writes: "It is well known that a careful combination of sound and taste can elevate the sensory experience of both parties. Back in 1997, Heston Blumenthal enhanced his fish dish 'Sounds of the Sea' through utilising an iPod of sea soundscapes to create 'sonic seasoning'. We here at WildKat are doing the reverse. Throughout the ongoing global COVID-19 pandemic, WildKat will be enhancing many virtual classical music experiences with a carefully paired item of food or drink. Every week, our team will create a brand new Menu of 14 livestreams, specially paired with 14 recipes. Each week, a member of the WildKat team will also provide a recommendation of a TV show, book, or a piece of art to help stimulate and inspire during this trying time." To sample these Tasting Menus, please visit wildkatpr.com/news or WildKat PR on socials. Drum & Lace Drum & Lace (also known as Sofia Hultquist) is an Italian-born composer, sound artist and performer that writes and creates music for film and media. Among her impressive credits include fashion documentary "The First Monday in May" (dir Andrew Rossi), the AppleTV+ Original Series "Dickinson" (created by Alena Smith) and season 3 of NBC “Good Girls” (created by Jenna Bans & Bill Krebs). Other notable collaborations include leading brands such as NARS, Always, Tanya Taylor, Girls Who Code, Squarespace, as well as theatre production company Saudade Theatre and contemporary dance company Heidi Duckler Dance. Drum & Lace's performance work often includes sound installation and spatial audio elements, at events such as Moogfest and National Sawdust. Her latest EP "Further" was originally commissioned as a new work for Heidi Duckler Dance that features field recordings, samples from Yellowstone National Park's online archive, electronics and strings performed by the London Contemporary Orchestra. Inspired by Emily Dickinson's poem "Further in Summer than the Birds," an ode to nature, the EP depicts the journey of a bird. I talked to Drum & Lace last week from her home studio in Los Angeles about the creative inspiration, research and compositional processes behind the release, as well as the broader ideas and issues arising from the EP. Most notably, this includes the importance of protecting, listening to and caring for nature, actions that many people having been reflecting on over these last few months. Many thanks to Hannah Goldshlack-Wolf for bringing this fascinating and thought-provoking listen to my attention and arranging this discussion, and to Drum & Lace for taking the time to talk especially for this podcast. Listen to "Further" here: https://soundcloud.com/drumandlace/sets/further. Learn more about Drum & Lace here: drumandlace.com. Podcast released 21st June 2020; interview recorded on 11th June 2020.