Aestus Quartet are: Leda Mileto (violin I), Chris Karwacinski (violin II), Beth Willett (viola) and Clara Hope Simpson (cello)
Who or what inspired you to pursue a career in music and who or what have been the
most important influences on your musical life and career?
Leda: Two of my most important musical influences from a personality point of view have been my mother and my first long-term violin teacher. They both have strong artistic personalities and charisma, alongside other human values that I respect and relate to, and are both deeply interested in other arts such as movement and painting, as well as pedagogy.
Another huge influence has been the personality and work of cellist Abel Selaocoe, with whom I have shared a life changing musical and human experience of ensemble playing which has widely helped clarify my needs and aims.
Chris: Some key influences for me have been, my first teacher Julie Lewis, Belinda McFarlane of the LSO who became a key mentor and teacher throughout the LSO Next Generation Scheme, she was a massive influence in my wanting to pursue a career in music. John Crawford was also a huge influence, taking me on as a student in-between my maths degree and music college, making many important and fundamental changes to my playing. He gave me the confidence to re-enter the musical world at the RNCM.
The LSO, as whole, also stands out as a massive influence for me in my wanting to pursue a professional career as a violinist, from playing with them (Next Gen scheme) to watching them perform at, a very young age.
Beth: One of my earliest memories of feeling inspired to pursue music as a career was performing Leonard Bernstein’s Symphonic Dances with the Birmingham Schools’ Symphony Orchestra in Symphony Hall. I was in awe of how music could be simultaneously so intelligent but also fun and vibrant, and it was great to see how both musicians and audience members reacted to this music in such a different way to more stereotypically ‘classical’ repertoire.
One of the most central influences to my musical career has been Donald Grant from the Elias Quartet. Donald is Deputy Head of Chamber Music at the RNCM where I have worked with him for around eight years. I have always been inspired by his infectious enthusiasm for chamber music and his ability to express music in such an emotive way.
Clara: My journey to pursue a career in music has been a rather circuitous one. I began cello in my fourth grade orchestra because it sounded like a fun thing to do with my friends (keep orchestra in schools!!). Toward the end of high school, I was loving both academics and cello playing, so I decided to pursue a dual degree (two simultaneous Bachelor’s degrees) in mechanical engineering and cello performance. I then changed the science degree to optical
engineering, chemical engineering, and finally, pure chemistry. In the last year or so of my degrees, I realized that although I loved both disciplines very much in different ways, cello
brought me the most joy. And here I am!
I wouldn’t be the musician I am today without my incredible teachers: Shaun Diaz, Toby Saks, Mara Finkelstein, Steven Doane, Rosemary Elliott, and Hannah Roberts. I listen to and love many artists, but some of my all-time favourites are Christian Ferras, Ivry Gitlis, Daniil Shafran, and Jacqueline Du Pré.
What have been the greatest challenges of your career so far?
One of the most common challenges all ensembles face, that we too share, is finding a way to unite our artistic identities while still maintaining our individual voices. The string quartet as a medium is unique and well known for enabling players to create a perfectly blended sound while leaving room for individual voices to shine. This is something that we are always striving for.
Another common issue among ensembles, that we currently share, is our work/life balance.
Committing to an ensemble full time can be very intense and requires a lot of time. It can be difficult to balance this with external projects and our individual lives, especially as we all depend so heavily on each other.
The gap between being an emerging ensemble and an established professional ensemble is a notoriously difficult time for any group, and a challenge that we are trying to face head-on. Luckily we have had some fantastic mentors and advice and are excited for what the future
has in store for us.
Which performances/recordings are you most proud of?
Leda: Some of our best recordings to date are the first movements of Benjamin Britten’s String Quartet no. 2 and Beethoven op. 18 no. 6, which we have brought to a high level of technical refinement and style, recorded in the RNCM Concert Hall, as well as Caroline Shaw’s “Valencia”, where we were able to really showcase our personality as an ensemble and the great fun coming from the interplay present in the piece.
Chris: A particular performance I am incredibly proud of, was our performance of Schubert’s ‘Death and the Maiden’ to a packed crowd in Saint-Jean-de-Luz last summer, as part of the Académie/Festival Ravel where we received a standing ovation. This was, I feel, a landmark
moment for the quartet.
Beth: Recently we were invited to play at the Stoller Hall as part of the Manchester Chamber Concerts Society concert series. I have seen many fantastic and internationally acclaimed groups perform there so it was a real privilege to perform in the same space.
Clara: One of my favourite moments for us so far was when we gave the closing performance of the Royal Philharmonic Society Awards this year alongside Jasdeep Singh Degun and Harkiret Singh Bahra. I don’t have much experience with Indian classical music, so it was very humbling and special to be able to play alongside such experts while learning about a new genre.
Which particular works/composers do you think you perform best?
Caroline Shaw’s ‘Valencia’ and Benjamin Britten’s String Quartet No. 2 are two composers and works we feel a very close connection to as an ensemble.
Britten was the first composer we worked on together and his music shaped much of our early explorations towards our quartet’s personality, sound and technique. We rehearsed and performed the piece numerous times during our first year together and worked on it in-depth with many different coaches. It’s a work that seems to really resonate with our audiences as well.
‘Valencia’ is also a piece that we feel showcases us as an ensemble. The work has a brilliant concept and allows us to push our colour palette of sounds to new heights. It’s definitely one
of the most fun pieces in our repertoire to perform!
What do you do off stage that provides inspiration on stage?
Leda: I love a good read and a good movie, as well as walking about in the city listening to music and simply looking around myself, or spending an evening of fun games with friends, having daily early morning workouts and yoga. I also need my time off in my home country Italy, spending time with my family, especially my baby niece, enjoying the weather and food, swimming, and generally recharging a bit. I am also deeply attached to my individual practice time, which I see as a form of meditation that needs to take up its own space.
Chris: My background in Karate constantly influences my performance and music making on stage, especially as I specialised in the performance element of the sport, Kata, which has many direct parallels in performance. I also feel my background in playing tuba in orchestra, brass band and brass quintet, has had a big influence on my violin playing in all areas from orchestra to chamber music playing.
Beth: I like to take inspiration from different art forms, most notably ballet and fine art. I am also hugely inspired by nature so I fit in a walk in the Peak District whenever I can!
Clara: Although I am certainly inspired by other art forms and nature, I find my greatest
inspiration off stage through teaching and outreach. The most important part of music for me
is connection and communication, and it brings me a lot of joy to see how my music can make a difference in the lives of others.
How do you make your repertoire choices from season to season?
We aim to programme creatively around a theme, although that is not always possible depending on the nature of different commitments and promoters. The ideal concert programme, to us, is one that has a compelling narrative and can really transport our audience. At this early stage in our career, we strive to be adventurous with our repertoire choices and to try to explore a variety of eras and compositional styles. We like to include contemporary and folk music in our programmes as well as works by composers from diverse backgrounds. We try to always be attentive to different audiences and contexts, and enjoy the process of tailoring and trialling new programmes and performances ideas. Collaboration across cultural and artistic disciplines is something we hope to incorporate even more of in the future.
Do you have a favourite concert venue to perform in and why?
We feel very lucky that one of our favourite concert venues to perform in lies in the heart of our ensemble’s hometown, Manchester. Known for its incredible acoustic, the Stoller Hall is the perfect size, has a clear but generous sound and is a beautiful space aesthetically. We join many musicians in agreeing that it is an excellent hall for chamber music.
Regarding creative environments, we also love working and performing at Snape Maltings in Aldeburgh where we recently spent a ten-day residency with the Britten Pears Young Artist
Programme. We found Snape Maltings to be an absolute musician’s haven with inspiring art and history and a local landscape that is quiet but full of character. It’s the perfect space to create in and has enthusiastic audiences and beautiful venues to perform at.
What do you feel needs to be done to grow classical music’s audiences?
Classical music unfortunately has a history and reputation of being elitist and inaccessible for many. This is something that we hope to change. We feel that people sometimes avoid classical music because they can’t relate to the way the music is being presented. In a traditional classical concert setting the performer is often disconnected from the audience through physical space, lighting, and outdated concert attire. It’s still common for a classical concert to include only canonic works written by white men from the past, and the majority of people in positions of power in our industry are disproportionately able-bodied white men. There are also unspoken rules about how to behave and when to show appreciation for the music. This can be an isolating experience to new concert-goers. While we acknowledge that there may always be space for traditional presentation, we can’t expect to welcome new audiences without being open-minded and asking what we can do ourselves to make concerts more accessible.
Inclusivity is at the heart of our mission as a quartet, and we are constantly thinking about ways in which we can reach new audiences, particularly those who have historically been excluded. It’s important to us that concerts are physically accessible and a safe space for all,including those that are neurodivergent and/or not fully seeing or hearing. We think there is power in taking our music to non-traditional spaces such as schools and bars where people can experience it in a relaxed and familiar environment. We also love to interact with our audiences and try to create safe spaces for open dialogue and informal conversation. Other ideas we’re interested in trying include rethinking how we dress, experimenting with shorter concert lengths, adding visuals and other sensory components that help to communicate the music, and repeating challenging works in a concert programme with room for discussion in between.
There is no limit to how we can creatively present classical music!
What is your most memorable concert experience?
Leda: One of the most memorable concerts I have attended was Abel Selaocoe’s gig with Manchester Collective in Bridgewater Hall, April ’22. It was then one of my most memorable
performance experiences to play with Abel as part of his band for Stauffer Summer Festival in Cremona, Italy last summer. I deeply admire Abel and the uncompromised, wildly energetic, captivating approach he has to his music making, which connects voice, body and
instrument, and his relationship with his co-performers and audiences.
Chris: An LSO performance of Stravinsky’s ‘Firebird’ at the Barbican, that I watched when I was very young, has always stuck with me as one of the most remarkable experiences of my life. Also the Belcea Quartet’s performance of the Debussy Quartet at Festival Ravel last summer was probably the best live chamber performance I have ever seen.
Beth: Watching the Belcea Quartet perform the Debussy String Quartet as part of the Ravel Festival in Saint-Jean-de-Luz is my most memorable concert experience to date. Their
performance was so exciting and emotive, I couldn’t stop thinking about it for weeks. The
venue was also absolutely stunning, there are so many beautiful churches tucked away in
the tiny villages of French Basque country.
Clara: When I was a high school student at Tanglewood in Massachusetts, I saw Leonidas
Kavakos, Yo-Yo Ma, and Emanuel Ax perform all three Brahms piano trios with the slow
movement of Mendelssohn D minor as the encore. It was one of the most surreal and magical moments I’ve ever experienced, and a concert that I’ll never forget. Every single person within sight was crying uncontrollably by the end. My teacher at the festival said it was the best concert she’d ever seen, and I can only hope I’ll be able to experience more concerts like it. An ever-critical music student, I had noticed mistakes during the performance, but it serves as an important reminder that the best concerts are those that are risk-taking and emotionally raw rather than flawless
As a musician, what is your definition of success?
Leda: My definition of success is feeling connection and fulfilment with all aspects of my
profession, as well as being able to convey freely and purposefully my artistic and pedagogic
personality and experience to help others however I can.
Chris: Success as a musician, I would say, is always to connect as clearly as possible with your audiences. Constantly developing your knowledge and technique to more accurately, and easily, convey the sound and emotions you want your audience to experience.
Beth: For me, success as a musician means being able to express my creative voice in the
way I envision it. Forming a creative interpretation or expression is a difficult skill in itself, this
is naturally combined with the highly technical skill of being able to express such an
interpretation or voice in a way that is true to the idea and is comprehensible by external
listeners. Therefore, I think any musician that is able to both create and express their own
creative voice is highly successful.
Clara: Success to me is communicating effectively with my audience and making a positive
difference in the world through my music.
What advice would you give to young/aspiring musicians?
Leda: Never underestimate the impact of embodiment on the way you perform music. Always think about your posture and gestures, be curious and open to all genres, and make music a part of your daily life – not just limited to the hours of practice and repertoire you need. Learn more than one instrument, and go to lots of concerts!
Chris: Never stop wanting to learn and explore your instrument. No matter what level you get to, whether that is earning a living from music or playing with friends, remember that it’s a blessing to be able to play and make music with others.
Beth: You can always learn from others e.g. peers, contemporaries, teachers, people from other fields/disciplines, you will be surprised where you find the small nuggets of inspiration/information that unlock big steps forward.
Clara: Looking back, this is probably the most important advice I’ve received: take both failure and success with a grain of salt. Be able to pick yourself back up when you’re struggling, know there are external factors involved, and work to improve in the future. Celebrate your successes but also don’t let them get to your head – keep striving to be even better. Find your unique musical voice and don’t let others tell you how or what to play if it isn’t true to you.
What’s the one thing in the music industry we’re not talking about which you think we
should be?
Leda: We have come to realise, also thanks to recent experiences of more business focused
education, how management is such an underestimated challenge in the musical industry,
especially for classical musicians. We all agree that it should be much more common practice to have advisors and courses in place for this in all music colleges.
Chris: Education! I feel there isn’t enough serious attention being given to how fundamental music education is. Not just for the future of live classical music but for its effect on general
education as a whole. For me, it is still underestimated how much fundamental learning and
life skills you gain from music education, which cannot be found or replicated with anything
else.
Beth: Injury prevention/wellness! Music can be such a stressful and strenuous career, it is crucial that artists know how to protect themselves from injury and maintain a healthy lifestyle to ensure that they can carry on enjoying creating. Prevention is often key in both these areas therefore I think it is important for artists to know how to preserve their wellness
before they hit any substantial issues.
Clara: I think we need to be discussing the creativity, resilience, and business skills required for an entrepreneurial career. No two careers are alike in this industry and there is no single correct path. It’s becoming more and more obvious in both Europe and North America that traditionally “stable” musical positions such as orchestral playing and university teaching aren’t the “safe” options that they used to be, and I think music schools and conservatoires need to do a better job at preparing students to adapt to the future rather than staying stuck in the past.
What’s next? Where would you like to be in 10 years?
We have some very exciting projects coming up within the next year as we come to the end of our position as Quartet Studio at the Royal Northern College of Music. We hope to capture our hard work with a professionally produced recording of some of our favourite pieces.
We will also be performing and collaborating in several festivals and concert societies across
the UK and Europe including, Warrington Music Festival (UK, June), Tickhill Music Society (UK, June), First Light Festival (UK, June) and Residart (Italy, September).
Next September we will be embarking upon several collaborative projects including: an
album recording to produce original compositions alongside English art song repertoire, a
continuation of our relationship with composer Omri Kochavi who was recently commissioned by the Britten Pears Young Artist Programme to compose a work for us, and new collaborations with other living composers (to be announced at a later date!).
We are also excited to be participants in several multiple string quartet programmes: the
Netherlands String Quartet Academy, the European Chamber Music Academy and Chamber Studio UK. These programmes all work to provide specialised and personal mentorship to
emerging ensembles with a goal of international performance achieved through workshops,
performance opportunities and shared use of rehearsal and recording facilities.
In the future we plan to travel and to play as many concerts as possible while continuing to
push ourselves to be the best we can be as a quartet. We also look forward to collaborating
with artists from other disciplines and genres and working towards making our concerts
inclusive and accessible for all.
Aestus Quartet are Emerging Quartet in Residence at this year’s Winchester Chamber Music Festival, which runs from 3-6 May 2024. Find out more
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