Katy Woolley is considered one of the most exciting horn players of her generation. She is currently the Principal Horn of Amsterdam’s Royal Concertgebouw Orchestra, and holds the position of International Visiting Professor at the Royal Academy of Music in London. Before she arrives at ANAM for a residency this October, we got the chance to ask her some questions about the horn and her career so far.
Your journey with the French horn began at a young age. Can you share what initially drew you to the instrument and how your relationship with it has evolved over the years?
While there were a number of chancy circumstances that brought me to the horn, looking back I think I was drawn by the fact it appealed to all of the senses; the smooth feel of the metal and the way it changed temperature as you played, it is so visually beautiful, the smell of the brass and oil combined with the slightly mysterious mustiness of the case which clacked as it opened, then of course the sound! I had already played the cornet and comparatively the rich soulfulness was just magical. And I’m really happy to say that’s where the relationship is back to now! Although it’s taken a while to get there with big bumps along the way to overcome disappointments, technical challenges and the ups and downs of life stages…
As Principal Horn of the Royal Concertgebouw Orchestra, you've worked with some of the world’s finest conductors and soloists. How have these experiences shaped your approach to performance and interpretation?
Working with anyone at the height of their potential is just the most life-enhancing and inspiring thing. There are absolute standout moments, which are sometimes whole performances like when Daniil Trifonov somehow created a whole new world in 30 minutes, down to tiny moments like Isabelle Faust playing an encore where the last note seemed to float like a silk thread out into the hall, then the way Mariss Jansons started a week with such determined strictness but melted into allowing such beautiful freedom from his players. Each one just makes me think “how can I bring that to my horn playing?”. Then in terms of interpretations, it’s actually very freeing! Everyone plays so uniquely and differently that it makes you really realise there is no right or wrong, so why are we so obsessed with it? The best players simply play from the heart.
The horn is often described as one of the most challenging instruments to master. What are some of the most significant technical or mental challenges you’ve faced in your career, and how have you overcome them?
Yes they do say that don’t they! I’m not sure it is inherently the most challenging, but I do think it holds up the strongest mirror to the player if that makes sense… however you are feeling, however your body is responding, your horn will hold up a mirror to that. So if you’re feeling stressed (which can be often!) and your body is tight or air isn’t flowing or you’ve got the shakes, then the horn will respond to that in undesirable ways. I certainly experienced that when both the technical and mental sides of my playing spiralled together: playing became simply about surviving which pushed the cycle further down… I had to take time off playing to reconnect to why I wanted to play the horn again.
You’ve been an inspiration to many young horn players. What advice would you give to students and emerging artists who aspire to have a career in orchestral music?
Know why you love it!! And love what makes you you (musically speaking but I suppose everything else too!)! And develop a growth mindset. With auditions and potentially hundreds of concerts a year, there will always be variation in ‘success’, but if you can define success as growth, development or learning then you are charting your strongest path towards a musically satisfying, happy and healthy life.
In addition to your orchestral work, you’re also active as a soloist and chamber musician. How do you balance these different roles, and what do you find most fulfilling about each?
They all enhance each other really! The orchestral is my biggest love where you can explore the most in terms of repertoire, instrument/sound combinations, etc. But then chamber stuff is when you learn how vital and fun it can be to play multiple rolls, both sound wise and personality, a bit like an actor using different voices. Solo works are where I get the most nervous so that’s often when I technically learn the most, as the foundations need to be so much stronger, and then that just feeds back into the orchestral stuff – lovely!
Looking ahead to your time at ANAM, tell us about what your plans are with the ANAM musicians.
I’m hoping we’re going to have fun and create something beautiful together! The program we’re playing is absolutely heavenly. I’m so excited to work with each individual musician, the ANAM musicians are world famous for their level and dedication. Then coming together and creating something greater than the individual parts – that’s where the magic happens.
And finally, how do you see your role as an artist evolving in the coming years?
Tricky to know! I just hope that I will continue to learn and grow to find new ways of bringing special moments to audiences, will that be simply in the orchestra, through teaching, multi-art disciplines? Who knows! But coming to ANAM in October and working with the musicians here will definitely be a moment when evolution is inevitable. I’m definitely going to learn so much from their unique talents and the work we do together.
ANAM MASTERCLASS: KATY WOOLLEY
Thursday 10 Oct 10.30am
Repertoire and musicians to be advised
Venue Rosina Auditorium, Abbotsford Convent
Tickets All tickets $15
ANAM Masterclasses are supported by the Robert Salzer Foundation
MOSTLY MOZART: SINFONIA CONCERTANTE
Wed 16 Oct 11am
TOWER Third Fanfare for the Uncommon Woman
LAURIDSEN O Magnum Mysterium
BARBER Mutations From Bach
MOZART Sinfonia Concertante for Four Winds in E-flat Major, K. 297b
ANAM Musicians
Katy Woolley director/horn
Venue Elisabeth Murdoch Hall, Melbourne Recital Centre
Tickets Standard $49 | Concession $42
Interview conducted by Evan Lawson.
First published in volume 532 of Music Makers.