Frederick Paul Naftel, composer

Who or what are the most significant influences on your musical life and career as a composer?

My influences are many and varied as I consider myself to be an unashamedly eclectic composer, able to write in several idioms and styles as befits the occasion. These include landscapes, countryside, personal emotions, homages and the desire to communicate with both audiences and performers. Composers whom I admire and cite as influences include Malcolm Arnold, Shostakovich, Vaughan Williams and Walton.

What have been the greatest challenges of your career so far?

To compose for large orchestra, which requires the greatest skill to apply the colours that you feel would suit the instruments(and work) in the most appropriate way. This is particularly viable in the case of my Ballet Suite “The Legend of Pandora”, which I have just revised for a performance in January 2025. Other challenges are the ability to put into notes the exact ideas that first present themselves to me and how best to express those factors in the music. I can be very self-critical and sometimes feel the need to “boost” existing works following performances.

What are the special challenges/pleasures of working on a commissioned piece?

You are writing for a specific ensemble, whose overall sound you must first consider, as well as the techniques of players, particularly those who will be given solo passages. One feels that you cannot disappoint in not being able to match the specifics of the commission.

The pleasure comes with the premiere performance, in which your “creation” comes to life.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?

I think it’s fair to say that each individual ensemble, whether vocal or instrumental, has its own unique sound, so your compositions can be geared specifically to what those musicians do best.

Of which works are you most proud?

My ballet Suite “The Legend of Pandora”, originally composed in 2017, which has now been revised for larger orchestra with an extra movement. This marked a return to orchestral writing after a number of years and the resulting work demonstrates an advance in my orchestral technique and timbre. I am so proud of this work that I intend to expand the music into a full length ballet and will be approaching various dance companies. The new version is being premiered on 18th January 2025, in Huddersfield Town hall, by The Slaithwaite Philharmonic under Ben Ellin.

How do you work?

Ideas begin in my head, walking in the countryside can certainly help here. Then I start to plan form and structure, making note of any motifs to be used and developed. Like Malcolm Arnold, I usually compose in full score, after preliminary notes.

As a musician, what is your definition of success?

Music is such a matter of personal taste and I have never been one for “joining the in-crowd” or adhering to current trends. If my music communicates with both audience and performer and is appreciated as such, then for me that’s the success. Additionally, if I convey what I originally intended, for me that is a personal gain.

What advice would you give to young/aspiring composers?

Listen to as much music as possible, from all eras. Don’t feel you have to conform to a particular style or idiom because everyone else does. Don’t set out to be individual or unique but absorb all the influences around you first. If you are a performing musician, take note of the music you play and listen to what works and perhaps what doesn’t quite come off. Overall, be yourself and write what comes naturally.

What do you feel needs to be done to grow classical music’s audiences?

Far more musical appreciation sessions within schools, especially primary schools. Allow young people to tell you what a certain piece means to them and where possible, take young people to classical concerts….but choose carefully! There is nothing “elitist” about classical music and you don’t need to “dumb down” one’s understanding of music by only listening to “easy” music.

What’s the one thing in the music industry we’re not talking about but you think we should be?

There are plenty of opportunities these days for young composers but those of a certain age, who may have hit a purple patch in their career, also need exposure. It shouldn’t matter what age you are as a composer but unfortunately, ageism does exist in the music industry, especially for composers.

What next – where would you like tob e in 10 years?

I would like to have received my first paid commission from a prestigious ensemble.

What is your most treasured possession?

My CD & LP collection.

Frederick Paul Naftel’s new release “Orchestral, chamber and instrumental works” is available now on the Divine Art label.

fredericknaftel.com