Who or what inspired you to take up conducting and pursue a career in music?
I think the first time that I considered the idea of being a conductor was when I decided to put on a performance of Brandenburg Concerto No. 4, because it was on the A-level music syllabus.
My piano teacher at the time, encouraged me to do more things like that. Once I got to university and conducting became a real option, I started to seriously consider it as a career.
Who or what are the most significant influences on your musical life?
There are four teachers who at different stages of my life really formed who I am as a musician. My piano teacher at seconds school, my choir director at University and then two of my teachers at Guildhall. All of them gave me so much encouragement and direction for each of them taught me something different and special about music.
What, for you, is the most challenging part of being a conductor? And the most fulfilling?
For me, it’s the amount of time we spend alone in preparation for walking into a room filled with people who we don’t know. Those first few minutes, where you are figuring each other out is so important. Bit when that new relationship is going well, it can be the MOST exciting thing. Being a conductor is in part being the leader. I so enjoy leading a group of people and building a relationship over many months and years.
As a conductor, how do you communicate your ideas about a work to the orchestra?
The less we say, the better. We’re always trying to communicate through gesture and some of the most inspiring rehearsals I’ve seen, or when the Conductor doesn’t speak, a word of the language of the orchestra they’re working with. However, when you do have that linguistic connection it gives us the chance to inspire explain and be specific. Images, character, motivation. These are the things behind the notes.
How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?
Your role is to be the leader and enabler. You’re giving everyone, the confidence to point in the same direction, but giving in the freedom to do their jobs as best they know how.
Is there one work which you would love to conduct?
Tristan und Isolde. I can’t think of a more intense and rewarding thing to conduct.
Do you have a favourite concert venue to perform in?
Not really, but I think The Coliseum in London will always hold a special place in my heart, having worked at ENO for 5 years.
What do you do off stage that provides inspiration on stage?
I like taking on challenges that are out of my comfort zone. Most recently that’s been fitness and I find myself thinking about the links. With music and fitness, discipline and consistency are the key.
What do you feel needs to be done to grow classical music audiences?
Orchestras and opera houses need to feel connected to the community around then. When people feel like they’re going to see THEIR orchestra, they feel ownership over it and so feel involved. Obviously musical education, but that’s such a huge topic.
As a musician, what is your definition of success?
When you can reach a point in your life, where only the music matters, not your insecurities about whether you’re good enough.
What advice would you give to young or aspiring conductors/musicians?
Make sure you have a group of supporters/friends/family you can rely on. There are tough times ahead and you’re going to need them. Sorry if that sounds bleak but I couldn’t still be doing this if it weren’t for certain people in my life.
What is your idea of perfect happiness?
With friends and loved ones in the south of France with good food and the sun.
What is your most treasured possession?
My piano.
James Henshaw conducts The Outcry Ensemble at St John’s Smith Square on Friday, 10 May 2024, in a programme which explores and celebrates London’s impact on musical culture through the ages. Find out more / book tickets
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