Interviews with musicians, composers and conductors
Each orchestral musician needs to be aware of his or her role within each phrase – are you playing the melody, countermelody, harmony, rhythmic pulse – and the relative importance of each. Note lengths, articulation, phrase direction – listening to your fellow orchestra members and fitting your part appropriately.
Be interested and interesting. Don’t sit back and wait for commissions to come to you, make your own opportunities.
Who or what inspired you to take up the piano and pursue a career in music? My three great professors : Roger-Ducasse, Nadia Boulanger, Louis
I feel that modern classical performers (myself included) should be encouraged to reconquer skills from the golden romantic age such as improvisation, spontaneity and freedom of expression. That is the (retrospective) future of classical music in my humble opinion.
Never think purely in terms of your own instrument. If you are learning music by a particular composer listen to as much of their music as you can (Symphonies, Lieder, Opera, Chamber music), and then listen to the music that influenced them.
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