Felix Pascoe (SA)
Performing with Timo-Veikko Valve and musicians from the Australia Chamber Orchestra is such an amazing opportunity. How are you feeling about performing alongside them?
Playing and engaging with the musicians from ACO presents an exciting and valued learning opportunity for myself and I am sure the other ANAM musicians. For any musician, playing alongside the ACO is a milestone that is prized, and I am eager to absorb as much as I can during rehearsals and enjoy the performances to the fullest.
What has it been like working with Timo-Veikko Valve?
I worked only briefly with Timo-Veiko Valve last year. I recognised his experience and standing in music and look forward to working with him again and deepening my music experience. For new musicians working with Tipi or new audience members to the ACO, one recognises immediately his command of the cello and seemingly effortless musicality. It is a real privilege to be a part of this program.
These concerts showcase an exciting program of contemporary pieces. What piece do you feel most connected to and why?
Firstly, I feel very drawn to the entire program but if I had to pick a particular work, it would have to be Anna Thorvaldsdottir’s piece, Illumine. This is an engaging work that I have thoroughly enjoyed preparing for, from dissecting the score and seeing the inner workings of her compositional process, to simply sitting, listening experiencing the piece.
The ACO and ANAM Up Close performances are quite intimate, particularly in The Neilson venue in Sydney. As a musician, do you feel more comfortable performing in more intimate settings or to larger audiences? Are there any reasons why?
Personally, being close with the audience during a performance is a really special, and sometimes, quite rare occurrence. I feel that it breaks down a barrier and creates a much more intimate relationship between the audience members and the performers. The ACO and ANAM Up Close performances have such an energetic atmosphere and I really look forward to bringing this, for the first time, to The Nielson performance space at ACO’s new home, Pier 2/3.
What are your tips for dealing with pre-concert nerves?
I think this is a very personal thing. It obviously affects us all so differently. With a performance such as this, I find what works for me is of course being as prepared as possible, but also having a confident understanding of what's happening around me while I am performing. I feel that directing my attention to the role of my own part within the ensemble, not only helps to contextualise the music, but encourages me to be present as a part of a bigger picture, not feeling like the sole focus of the audience.
Nadia Barrow (SA)
Performing with Timo-Veikko Valve and musicians from the Australian Chamber Orchestra is such an amazing opportunity. How are you feeling about performing alongside them?
Exceptionally excited, grateful and maybe a little bit stressed? It is such an amazing program to be a part of, looking through the music for the first time was like opening birthday presents that had really complex instructions. Performing alongside Tipi, and with the ACO side-by-side musicians last year was a highlight of my ANAM year. I learnt so much watching how they rehearse so efficiently, their extraordinary attention to detail and electric way of playing.
These concerts showcase an exciting program of contemporary pieces. What piece do you feel most connected to and why?
The one that grabbed me instantly was Illumine by Thorvaldsdottir. It has a gorgeous texture, foreboding and dark at the beginning but ultimately peaceful and filled with light and space. I wasn’t surprised to find that the inspiration for Illumine came from dawn and the ‘ignition of the first beams of light and the subtle rhythms that appear through the pulsating dance of light emerging’. Another piece I am particularly looking forward to playing in ACO x ANAM concerts is Kuusisto's Wiima for its strident, declamatory orchestration and beautifully sad, longing solos.
Do you have tips on how to travel with your musical instrument? Or interesting stories about travelling with your instrument?
I think every musician goes through a learning curve travelling with their instrument, and cellos certainly have their unique list of quirks on planes! Luckily the only time I’ve had an issue was at border security on arrival to Germany carrying my bow case as carry on. It was quickly swept away from me and held in the back as I struggled to explain in very patchy German that it was just a musical bow and not a weapon!
Are there any specific challenges in performing contemporary music?
I think the biggest challenge is truly understanding the music before that first rehearsal, especially any complex rhythms or interwoven passages with other instruments so you can just slot into place when the texture is dense. Luckily with contemporary music most of the instructions are right there on the page, so interpreting a modern composition or having gaps in historical performance practise isn’t a barrier, it’ll just be ensuring that I know it back to front so I can keep my ears and eyes open! This repertoire will definitely be my soundtrack for the next few weeks in preparation for the rehearsal period.
Photos by Pia Johnson
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