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Pianist Tim Horton is a busy chap. Always playing the piano and playing it a lot. Wigmore Hall, Sheffield Chamber Music Festival, Ensemble 360. All manner of places. So I consider it a considerable triumph that we arranged to meet in person a week or so ago to talk about his Wigmore Hall Chopin project -- there's a concert on December 11 and one in March 2025. Its not simply the programme that I was drawn to, but the way in which he suggests to audience members what they might listen out for in performance and, how that suggestion, might actually influence the way in which someone listens. In all truth, this suggestion about listening for ambiguity in music (instead of the predictable) doesn't simply extend to his concerts, but perhaps to all listening to classical. And if more people bought into, what impact might it have on how we appreciate live performance in the moment?
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Fehlende Folgen?
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Continuing the theme of leadership in the arts, this Thoroughly Good Classical Music Podcast profiles the career todate of Kings Place Artistic Director Sam McShane. In the conversation that follows, you'll get a sense of Sam's distinct leadership philosophy, her vision for the venue including her aims to deepen engagement in Islington in which the venue resides. She also candidly discusses balancing financial challenges and artistic opportunities at King's Place.
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What can corporate leaders learn from the conductor’s podium? What are the parallels between orchestral conducting and leadership in the workplace? New Principal Guest Conductor of the Bournemouth Symphony Orchestra Chloé van Soeterstède shares her journey from violinist and viola player to conductor, sharing insights on how to build trust, communicate vision, and influence teams. Plus, she shares how she balances ambition with personal well-being.
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Roxanna Panufnik wins Outstanding Wins Collection at the Ivors Classical 2024. In this episode she shares a personal selection of works plus a candid reflection on the experience of hearing the premiere of her Coronational Sactus at the King's Big Do last year.
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This episode features violinist Madeleine Mitchell introducing the return of the Red Violin Festival in Leeds, her connection with Yehudi Menuhin, and the career-long fascination with composer Herbert Howells whose In Gloucestershire Quartet forms part of a new release of recordings on the SOMM label of rarely heard works by the English composer.
The Red Violin Festival runs from 14th to 19th October 2014. Madeleine Mitchell and the London Chamber Ensemble's recordings of works by Howells and Charles Wood is released on Friday 18 October.
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This episode features three singers and one conductor who have either participated in or are currently part of the Royal Opera's Jette Parker Opera Programme. Their insights explore the unique experience of this two-year scheme, focusing on the development of rehearsal and stagecraft skills, as well as the journey toward building their authentic professional identities.
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Toks Dada, Head of Classical Music at Southbank Centre, reflects on his four years running one of Europe's largest classical music series, drawing on his own lifelong vision. That vision balances continuity, tradition and innovation. The conversation touches on a shift in ticket buying post-pandemic and the opportunities this behavioural changes presents the classical music industry. It also suggests some of the ethical considerations wider classical music management need to grapple with when considering working with controversial figures.
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Soprano Claire Booth discusses two new albums she's released in 2024 to mark 150th anniversary of Arnold Schoenberg's birth.
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Composer Adrian Sutton, the creative force behind the Olivier Award-winning scores for War Horse and The Curious Incident of the Dog in the Night-Time, speaks to Jon Jacob, reflecting on his diverse career, spanning from TV advertising to his celebrated work in theatre and concert music.
As Sutton prepares for the October 2024 release of his latest album, featuring his Violin Concerto performed by Fenella Humphreys and the BBC Philharmonic, he shares the inspirations and challenges behind his compositions. The episode also touches on his resilience in the face of a stage four cancer diagnosis and his unwavering dedication to his craft.
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Recorded in Stoke on Trent where members of the NYO - the National Youth Orchestra of Great Britain are rehearsing for their summer concert tour in which they perform music by Wagner, Mahler, and Missy Mazolli at Bridgewater Hall on 7 August, Saffron Hall in Cambridgeshire on 9th, and finally the BBC Proms on 10th August.
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This Thoroughly Good Classical Music Podcast episode features Romanian pianist Alexandra Dariescu who, on the 16th August releases her recording of Clara Schumann's Piano Concerto in A minor (pared the Grieg Piano Concerto). She's also playing a major role in the Leeds International Piano Competition later this year giving the first Alexandra Dariescu Award for the outstanding performance of music by a female composer - Clara Schumann's concerto is one of the concerto that finalists can select for the Concerto Final. The Leeds gets underway on 11 September, with the Finals staged on 20 and 21 September. Alexandra joins Petroc Trelawny presenting the Leeds on Medici TV.
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The Thoroughly Good Classical Music Podcast hears from mezzo-soprano Fleur Barron in this episode, previewing her appearance at the 2024 Ryedale Festival in particular her collaboration with dancer Suleiman Suleiman and musician Hibiki Ichikawa intertwining a Japanese Kabuki play with Schubert's iconic Winterreise song cycle.
In this podcast Fleur talks about her international influences, illustrating what fuels her work - discovery - something closely aligned to Thoroughly Good's approach to classical music.
Fleur appears at Ryedale from 13th July. Spring Snow is scheduled for 16th July. Listen to the podcast for repeat performance dates in London and Europe.
https://ryedalefestival.com/event/13-spring-snow/
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Organist and pianist James McVinnie is Artist in Residence at Southbank Centre in London this year. His programming like many of his recordings often juxtaposes old and new These juxtapositions can bring about a delicious kind of cognitive shift for the listener. James explored his art, his approach to performance and explains more about his fascination with the intersection between baroque and minimalism.
Recommended recording: Counterpoint, 2021 🎧https://open.spotify.com/album/1YaUdmi1BHvotzVS95uuqj?si=L10oITkmRp-uw8syTud7og
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Conductor, organist, harpsichordist and lovely man Ton Koopman riffs on the joys of JS Bach at BachFest in Leipzig, ahead of his festival in the Dordogne - Itineraire Baroque - where he and the Amsterdam Baroque Orchestra will be performing Bach’s St John Passion.
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Jon Jacob speaks to ETO General Director Robin Norton-Hale and members of the cast and production team about the English Touring Opera production of Blond Eckbert that opens the 75th Aldeburgh Festival on 7th June 2024.
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How can recontextualising classical music help build a new audience for the genre? Classics Explained YouTube producer Ben Levy explores the opportunities he's discovered using animation to tell the story of some of classics most-loved works, and some of the pushback he's received doing so.
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This episode spotlights a new release from cellist Tim Posner. Recorded weeks ago, this episode has I'm sorry to say been subject to all manner of technical challenges. Publication has been delayed as a result. But all good things come to those who wait. And this is GOOD.
Tim Posner's debut album includes music by Bloch, Bruch and Dohnanyi is a case in point. The music speaks for itself (especially the rarely heard Konzertstucke by Dohnanyi) Posner's playing is full bodied, heartfelt and huggable, if you know what I mean. A Thoroughly Good highlight of 2024. -
Hailstones, frogs and sexy trills. Monteverdi Choir's director Peter Whelan joins Amy Wood and Nick Pritchard to introduce the detail and the colour in Handel's oratorio Israel in Egypt.
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LPO Principal Concductor Edward Gardner, and LPO Conducting Fellows Charlotte Politi and Luis Castillo-Briceño reflecting on their roles as conductors and the process of developing their conducting presence.
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