Welcome. This issue explores the work of more of our collaborators, focussing on one contemporary composer, and two principals from two of the world’s leading orchestras.
It is always a pleasure to welcome back the brilliant and versatile John Andrews, who has generously contributed articles to Notes from the Podium, as well as interviews on a variety of music over the years. This time his focus is on his recent collaboration with composer Errollyn Wallen CBE, Master of the King’s Music. For the Orchestral Works recording (released last week on 28th March), John conducted an assortment of Wallen’s music, incredibly varied not only in musical forces, but also in style. In our interview, John speaks about the joys and challenges of working with living composers, how his relationship with Wallen has blossomed over the last few years, the process of recording her music, and their collaboration on her new opera – A Christmas Miracle – which will be premiered at the end of 2026. Wallen is a fascinating composer, and I highly recommend taking the time to explore her multifaceted oeuvre.
I was delighted that Kristina Blaumane, Principal Cellist of the London Philharmonic Orchestra, agreed to speak with me back in January. She has been in her role at the LPO for 17 years, and was previously Principal Cellist for Amsterdam Sinfonietta. Together we took a deep dive into her role, discussing how it differs from the work of the rest of the cellists in her section, and how she collaborates with the Concertmaster, other Principal players, and the conductors themselves. We also spoke about her solo/chamber career, in particular her performance of ‘Ouroboros’ by the Austrian composer Thomas Larcher. Kristina is a vastly experienced instrumentalist playing for many years at the pinnacle of her profession. I believe the insights she shares will be of great use not only to conductors but also other instrumentalists and composers.
Finally, we have Emer McDonough, Principal Flute of both the Royal Philharmonic Orchestra and Britten Sinfonia. Emer was wonderful company, and suggested a number of topics to discuss, which are all included in our conversation and new to the Notes from the Podium archive. She spoke in detail about her role (including a number of musical examples for useful reference) as well as her working relationship with conductors and her fellow musicians. Emer also teaches at the Royal College of Music, and shared her thoughts on how working with students has inspired and informed her own playing. Her infectious enthusiasm for her work and her instrument guarantees a great read for anyone open to a fresh perspective of the conductor’s role and the inner workings of the orchestra.
It has been a real pleasure to work on this issue – each interviewee has provided a breath of fresh air to the project and I hope our readers feel the same way.
As ever, huge thanks to John, Kristina and Emer for their time and wisdom.
Happy Reading!
Dr Hannah Baxter (Editor)