Helena Maria Falk, violinist and composer

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?

I saw my first classical performance when I was six years old — Vivaldi’s Four Seasons — and I remember it looked so exciting and alive that I knew immediately I wanted to play. That’s really where it all started.

Later, at conservatory, there was a moment when I had started doubting whether a life in music was really for me. My violin teacher, Professor Vitek, told me — in a way I’ll never forget — that I had exactly what it took to go as far as I wanted to go. I will always be grateful for that moment. It came at exactly the right time, and it’s stayed with me ever since.

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

Accepting that I don’t fit anyone else’s definition of success in the classical music industry has probably been the greatest challenge. I’ve had to find my own path in music, and figure out what truly lights me up — not what makes other people comfortable. Right now, for me, that means performing and composing my own music, which I find deeply fulfilling and meaningful.

Which performances/recordings are you most proud of?

I’m very proud of my new album, Nordic Lullabies — my most personal record yet. It takes the listener on a journey from deep grief toward light and hope, built from a collection of lullabies, some of which I wrote as a child, woven into more complex orchestral pieces. On the album I perform my own compositions as soloist with the Norwegian Radio Orchestra, conducted by Ingar Bergby. This music comes from the deepest, most honest place in my heart, and it feels incredible to finally share it with the world.

This summer, I performed the album live for the first time with orchestra in Europe, with my family in the audience. That’s a moment I will never forget.

Which particular works/composers do you think you perform best?

I think I perform my own compositions best. Right now I’m focused on performing Nordic Lullabies, as well as premiering some of my newest pieces. It’s been very meaningful to connect with audiences this way, as a performing composer, and performing this album especially is a dream come true. I think having more women composers represented in our programmes matters enormously, and I care deeply about shining a light on living female composers in particular.

How do you make your repertoire choices from season to season?

It all develops quite organically, alongside my own growth as a performer and composer. In addition to performing my own pieces, I enjoy music by living composers, especially women composers, and I make my choices based on music that connects deeply with me and tells a story.

What do you do off stage that provides inspiration on stage?

Between concerts, I spend a lot of time in nature. That’s where I recharge the most, and where I find the energy and inspiration to give back on stage, or new ideas for the compositions I’m writing. I’m especially inspired by the beautiful nature of Norway, where I’m from.

What is your most memorable concert experience?

It’s hard to choose just one, but two really stand out. The first is an unusual one. A couple of years ago, a friend told me about someone close to him who had spent twelve years unable to move or talk, and who loved classical music. He asked whether I would come and give a private concert in this man’s home. It was around Christmas, which somehow made it even more emotional, and I played his favourite classical pieces. Everyone cried, including me — and I’ve gone back to visit him with my violin every year since.

The second is very different, but just as special: the first time I premiered my own music at Carnegie Hall. It’s a memory I’ll treasure forever.

As a musician, what is your definition of success?

For me, success is about following your own unique dream in music, feeling inner peace, and having the freedom to express yourself fully through your instrument or your compositions. It is to make music and play from your heart. And just as importantly, it’s about being a kind, humble artist who genuinely helps and uplifts others along the way.

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

I think it’s important for classical music to think in new ways and move with the times we’re living in — including how we approach marketing, and how creative we’re willing to be about reaching new and younger audiences. Right now, change is moving slowly, but a lot of us in the younger generation of classical artists are actively talking about this, and I think that’s a good place to start.

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

I’d love to see more music by living classical women composers programmed by orchestras, and more diversity in general across our concert halls. I think we could afford to try new things without being so afraid of stepping outside what’s familiar.

What advice would you give to young or aspiring musicians?

Figure out your own path in music — don’t live someone else’s dream. The best way to find out what you really want is to try lots of different things and stay open to where they lead you; your way forward tends to open up as you go, not before. I’d also encourage young players to play a lot of chamber music, and to genuinely have fun with music.

What is your present state of mind?

Right now, I’m feeling deeply grateful. My new album is finally out in the world after four years of dedicated work, and I get to bring it to audiences across both Europe and the US this year. I’m excited for what’s ahead.

helenamariafalk.com