{"id":2050,"date":"2025-07-02T13:57:37","date_gmt":"2025-07-02T12:57:37","guid":{"rendered":"https:\/\/www.notesfromthepodium.co.uk\/?p=2050"},"modified":"2025-07-02T21:15:22","modified_gmt":"2025-07-02T20:15:22","slug":"issue-33-the-tone-poem","status":"publish","type":"post","link":"https:\/\/www.notesfromthepodium.co.uk\/?p=2050","title":{"rendered":"Issue 33: The Tone Poem"},"content":{"rendered":"\n

Welcome. It\u2019s a pleasure to introduce Issue 33: The Tone Poem \u2013 the first Notes <\/em>issue to explore the music of Richard Strauss, as well as the first to include an in-depth interview with a professional brass player. Some legendary Debussy has also been thrown in for good measure!<\/p>\n\n\n\n

I wondered when a conductor would finally suggest discussing Richard Strauss. What a treat it was to explore\u00a0Don Juan<\/em>\u00a0with the brilliant Alexander Shelley<\/a> back in March. Alexander is Music Director of the National Arts Centre Orchestra in Ottawa, and has been an advocate of the music of both Strauss and Mahler for many years. This piece in particular has been a regular in both his life and that of his NACO colleagues ever since his debut with the orchestra back in 2009. They are currently recording a Strauss cycle consisting of 4 CDs \u2013\u00a0each one includes a Strauss tone poem plus a new commission by a Canadian composer that is inspired by Strauss\u2019 music. Alexander has a very clear narrative in mind for\u00a0Don Juan<\/em>\u00a0throughout the piece, and has fun communicating this with the orchestra. It was fascinating to hear about this, as well as his inventive approach to many other aspects of the score!<\/p>\n\n\n\n

After thoroughly enjoying my collaboration with Emer McDonough, Principal Flute of the Royal Philharmonic Orchestra, for the last issue, I was inspired to continue with the series of interviews with orchestral musicians. I was delighted when Britten Sinfonia\u2019s recently appointed Principal Trumpet, Imogen Whitehead<\/a>, agreed to speak with me about her role as well as her own debut solo album Connection<\/em>. In our conversation Imogen covered many aspects of her varied career, including performing Peter Maxwell Davies\u2019\u00a0Sonatina\u00a0<\/em>to the composer himself at the Royal Academy, appearing in Bradley Cooper\u2019s\u00a0Maestro<\/em>, and climbing caves in the Peak District to make a video for her album! Imogen was so likable, natural and happy to share her insights and experience \u2013 the deeper a conductor\u2019s understanding of each orchestral player\u2019s role, the healthier our relationships with those musicians can be.<\/p>\n\n\n\n

Finally, James Gaffigan<\/a>, General Music Director of Komische Oper Berlin and Palau de les Arts Reina Sof\u00eda in Valencia, made a fantastic suggestion to discuss Debussy\u2019s\u00a0<\/strong>Pr\u00e9lude \u00e0 l’apr\u00e8s-midi d’un faune<\/em> and its effect on conducting technique. This fitted perfectly with Alexander\u2019s interview on\u00a0Don Juan<\/em>, both being tone poems. When I was researching Stravinsky\u2019s effect on the conductor for my PhD many moons ago, the more I looked into the characteristics of Stravinsky\u2019s music that are perceived as revolutionary, the more I saw that Debussy had beaten him to it (albeit in an often more subtle way). So it was wonderful to finally have the opportunity to dive into this topic with James for an hour! He was incredibly charismatic, entertaining and clearly knew this piece like the back of his hand. This era of music is James\u2019 favourite to bring together with an orchestra, so if Debussy is a composer you\u2019re keen to find out more about, James is sure to whet your appetite.<\/p>\n\n\n\n

As ever, huge thanks to Alexander, Imogen and James for being such great company. I hope you are as enriched by our conversations as I was.<\/p>\n\n\n\n

Happy Reading!<\/p>\n\n\n\n

Dr. Hannah Baxter (Editor)<\/p>\n","protected":false},"excerpt":{"rendered":"

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