Who or what inspired you to take up conducting and pursue a career in music?
I grew up quite far outside Melbourne, Australia. Our family didn’t engage with the arts a great deal, but we did play a lot of sport. In primary school I thought it would be fun to play the drums. I enjoyed it – and this continued during secondary school. I was lucky to have exceptional and inspiring classroom and instrumental teachers (especially Steve Falk, Michael Barker, and Barry Fletcher) who encouraged my development. As well as learning the drums, my mother signed me up to audition for the Melbourne Youth Orchestra. We didn’t know that drum kit isn’t an orchestral instrument, but fortunately the audition panel supported my interest, and I joined the Melbourne Youth Symphonic Band. I was now in such an enjoyable musical and – crucially – social environment, that in a sense, it became inevitable that I would pursue music.
But why did I begin to conduct? There are three aspects. Firstly, I have always been inspired by scores. To this day I find opening a score to be both fascinating and exciting. It’s fascinating because it’s an amazing feat that somehow a system of notation was developed whereby we can communicate pieces of music simply through ink on a page. Of course, it’s through the scores where we can come closest to the greatest musicians too. Working their scores – studying them, trying to understand their essence – is an incredible luxury; and an endless opportunity for learning. Secondly, I was drawn by the repertoire. As a percussionist, I simply couldn’t access the vast majority of the repertoire: conducting provided an opportunity to engage with the widest possible variety of music. Thirdly, I’m drawn to the challenges inherent in leadership. Leadership is an important responsibility, but also very rewarding.
Who or what are the most significant influences on your musical life?
My teachers, of course, have been hugely significant influences. In fact, I recall in great detail the key information and inspiration that each one imparted to me. I couldn’t be more grateful to the generosity of my teachers.
Also, increasingly, it’s the composers themselves. The more time you invest in this art form, the more you increase your capacity for learning from the art form itself. With each passing year I notice that my ability to deepen my knowledge increases exponentially. And with this comes an ever-increasing realisation of how much more there is to learn. Ultimately the composers themselves become our greatest teachers.
What, for you, is the most challenging part of being a conductor? And the most fulfilling?
Learning and retaining the level of knowledge that I expect of myself is challenging. Needless to say, you never succeed in learning anything as thoroughly as you would like: there is just no end to the level of detail and contextual knowledge that one could develop. Mainly, this is wonderful! But, it is a true challenge. It’s a challenge I relish; but I’m also aware of what it takes out of me, energy-wise, in order to get to the level I’m striving for.
And the most fulfilling? Well, from a self-indulgent perspective, I love the score study. The moment I start pouring my focus and energy over a score, time flies. You can imagine yourself receiving your instructions directly from Mozart or Stravinsky!
And yet, the truly fulfilling aspect of my work is whenever I have been able to share my insights into the art form with audiences, especially new audiences. The work I am most proud of is the A Thousand Pictures podcast. Its aim: to introduce new audiences to classical music. We listen to a new piece in each episode, and the music is discussed in an easily digestible way. No prior knowledge is needed!
My belief is that there is a large potential audience out there for classical music. The A Thousand Pictures podcast is the best of my work so far connecting with this potential audience.
As a conductor, how do you communicate your ideas about a work to the orchestra?
In short: through gesture. One can have all the ideas in the world, or indeed, could know all the history about a work / composer etc. But, at the end of the day, this is a practical art form. You cannot use your voice to tell musicians every single piece of information you might want to share with them: there would never be enough time! Furthermore, even if that was possible, our make-up is such that we just don’t retain information at a substantial enough level of detail when it’s said to us during a rehearsal. The members of the orchestra are already facing the challenge of reading the notation and then turning that into an ongoing series of complex physical co-ordinations (movements) in order to activate the sounds of their instruments. And they do this in a way that is empathetic to all of the other musicians surrounding them. Furthermore, these are long pieces of music! Trying to do all of that whilst trying to recall that the conductor said that the third note of bar 264 is ever so slightly quieter and transparent sounding than the previous note (for example!) is not feasible. As a result, the conductor must convey the details and nuances of the music through gesture, in the moment. This is not to say that there isn’t a role for communicating with language in rehearsals: of course there is. But, language – when used most effectively – is carefully chosen, and is focused on contributing value to our ultimate aim: the concert. The vast majority of the time, gestures are more efficient and more clear than words.
How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?
The conductor’s role is to deliver the most effective performance possible within the time (and other) constraints.
In my role as a leader, I’m aiming to be conscious of everything that I’m doing. Also I’m trying to observe and understand the impact that I’m having on the individuals and on the group (both positive and negative), in order to move us all towards the best possible realisation of the music. Being conscious of the dynamics in the room is important. The conductor must attempt to bring a diverse range of people – and the range of their individual enthusiasm, ability, energy, ideas etc – towards the same goal.
And I’m conscious that I must underpin all this with integrity, whether that be personal, musical, or otherwise. If I don’t feel musically prepared, technically prepared, or fit to be there etc, I know that I cannot feel the deep confidence that I require to lead. As such, my role is always to be as thoroughly prepared as possible. From that point, everything else flows. Can I inspire? Sure. Do I understand the vision of the composer? It’s my responsibility to try to understand the composer’s vision, whilst having a plan for how the score can best be realised. Do I seek to motivate the musicians, both as individuals and collectively? Certainly – and indeed, I use every tool at my disposal (both inside and outside rehearsal) in order to do so. Am I able to use my technique in order to support and lead the musicians? Definitely. And, am I willing to listen, to hear new insights, and to be adaptable? Well, this seems entirely necessary!
And finally: Always I conduct and rehearse with conviction. It’s my view that a conductor cannot lead without conviction in their realisation of the score. (Note: I say ‘realisation’ rather than ‘interpretation’, because somehow ‘interpretation’ seems to me to undermine the authority of the composer).
Is there one work which you would love to conduct?
There are so many! Right now I feel a desire to work on the late works of Verdi. And there’s so much Stravinsky that’s rarely performed. Agon or Symphony in C would be nice!
Do you have a favourite concert venue to perform in?
No. It’s a privilege to conduct musicians on any occasion, at any time, in any place. And indeed, it’s a privilege to perform for any audience, at any time, in any place.
What do you do off stage that provides inspiration on stage?
I aim to live a balanced life. Especially I try to protect the opportunity for me and my family to be as happy as possible. If I’m conscious of this, the part of my life that is work has the best possible opportunity to be enjoyable and rewarding.
What do you feel needs to be done to grow classical music audiences?
I wish I knew. But, what I am certain of is that more needs to be done. Also, it appears as though the classical music industry doesn’t display enough confidence in the value of the art form. We must promote classical music as an enjoyable and viable part of every person’s life; and as one opportunity amongst many other enjoyable recreations. Importantly, I don’t necessarily see classical music as more valuable than Netflix, football, or going to the gym. But, I’m certain that it does – at the very least – have enough value to be enjoyed alongside these other activities.
As previously mentioned, my greatest attempt so far is the A Thousand Pictures podcast. I’m proud of this work, and currently I see it as my greatest professional achievement. It’s my contribution to (hopefully!) growing audiences. As I often say: ‘no audience = no artform’.
As a musician, what is your definition of success?
Whether one is a musician or not, surely what we are aiming for is happiness.
What advice would you give to young or aspiring conductors/musicians?
To continue my previous theme, I always encourage young people to seek happiness as their first priority. And I emphasise that I believe the most important quality one can nurture is kindness.
Specific advice to conductors always revolves around integrity. I’m particularly committed to ensuring that my students know how highly I regard deep knowledge of the music and of the art form. In addition, technical competency, as well as unwavering respect for the musicians, their management, support staff and audience, are absolutely necessary foundations for a conductor.
What’s the one thing we’re not talking about in the music industry which you feel we should be?
How absolutely fantastic classical music is!
Classical music: several hundred years of music, whittled down by experts to a repertoire of a few hundred works written by some of the most insightful, intelligent, and able people to ever have lived. If given a gateway, I’m sure many, many people would enjoy the opportunity to discover classical music. It’s one of the greatest of human achievements.
Where would you like to be in 10 years’ time?
The opportunity to spend a bit more time in Australia would be nice! But, most of all, I would like to have impacted positive change for our art form.
What is your idea of perfect happiness?
Love shared with my family and friends; mine and their health; and the opportunity to continue to learn.
What is your present state of mind?
Happy and energetic!
(Image: Priti Shikotra)
MEET THE ARTIST 