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?
At school, being able to miss sport – specifically rugby – for music was a great encouragement! Then a few seminal recordings which I became obsessed with as a teenager – Kempff and Brendel playing Beethoven, Kissin playing Chopin – pushed me to try repertoire that was much harder than I could manage. I was lucky to have some really excellent teachers, but am particularly indebted to Michael Dussek on that front.
What have been the greatest challenges of your career so far?
Practising when there isn’t a concert right round the corner and – not unrelated! – balancing my inbox as Artistic Director of the Oxford International Song Festival with my career as a pianist.
Of which performances/recordings are you most proud?
We recorded the first-ever complete set of the songs of Hugo Wolf over 11 discs, all live, in Oxford. I’m certainly not happy with every note, but it was a huge undertaking and I’m proud to have done it.
Which particular works/composers do you think you perform best?
Franz Schubert.
What do you do off stage that provides inspiration on stage?
Practice!
How do you make your repertoire choices from season to season?
It’s often in the hands of my singer colleagues as well, but when it’s up to me, there’s no clear answer to this. I might get obsessed with a particular composer or piece and then build a programme from that, or feel a need to return to a staple favourite. Often, I’m creating programmes to demand for a promoter – and it’s no bad thing to have a framework to begin with.
Do you have a favourite concert venue to perform in and why?
The Holywell Music Room in Oxford is just perfect, for song and chamber music. So intimate, and its history (as the oldest concert hall in Europe) is tangible. Once the audience is in, the acoustic is second to none. It’s also become a home from home over the years.
What is your most memorable concert experience?
I couldn’t say – really. There are a few occasions that stand out in my mind, but it would be invidious to choose one.
As a musician, what is your definition of success?
Blimey, I’ve got no idea. I’m not sure anyone does. I think I realise more and more that we’re all chasing more concerts and more recognition, and there’s always an element of frustration, but I’m also very grateful for the career I have. Never a dull day!
What advice would you give to young/aspiring musicians?
Work hard and aim to play at your best on all occasions. That sounds obvious, but I was always a fast learner who could ‘wing it’ as a student, and while that made me popular as a pianist for classes or auditions, it then became a reputation to be shaken off: there are no prizes for speed learning in the real world, and nothing to be gained from shallow music making. Musically, make sure you’re always trying to say something important, and say it loud and clear: your ideas need to go through a magnifying glass to reach the audience.
What do you feel needs to be done to grow classical music’s audiences?
This would need a book-length response, and I think I still wouldn’t have the answer. I do think we – song artists – all need to remember how strange what we do can appear to anyone not familiar with it, and be constantly asking how we can demystify the experience for people. We did some research in Oxford a few years ago, exploring newcomers’ responses to song recitals. The good news is they would all come again, but the challenge is that they only started to feel comfortable after coming to at least four concerts. And that’s a tough sell: ‘you’ll love this, but only on your fifth visit’! So we have to keep trying new formats of presentation, concert length, programming, venues, all without ever compromising on quality. People can become completely addicted to song, but they need some guidance to get there.
What’s the one thing in the music industry we’re not talking about which you think we should be?
I think the conversations we’ve been having around diversity and inclusion in the industry have changed in recent years in immensely positive ways, but we all need to make sure actions follow words if we want to see real change.
What is your most treasured possession?
My Steinway. With my i-Pad and page-turning pedal a close second.
What is your present state of mind?
My children are 7 and 4 so… tired!
Sholto Kynoch performs with baritone Benjamin Appl in The Sound of Silence, the closing recital at this year’s Leeds Lieder Festival on Sundah 21 April. Find out more
MEET THE ARTIST 