Welcome to the launch of Con Fuoco – CutCommon’s new interview series with emerging musicians across Australia.
John Keene has been playing the double bass since the age of seven, when his school gave him the instrument to learn simply because he was the tallest in his year. Now 18, he’s already received his Licentiate Diploma in Music on double bass and Associate Diploma in Music on piano. This year he’s studying a performance degree at the Sydney Conservatorium of Music while he plays as the Sydney Symphony Orchestra’s Double Bass Fellow – the youngest musician ever offered this position in this program.
John has been a member of the Sydney Youth Orchestra, SBS Youth Orchestra, Australian Youth Orchestra Young Symphonists and National Music Camp, the Metropolitan Orchestra, and the Musician Project Orchestra. He also has a passion for conducting and in 2014 was selected – together with six other Australians, including his sister Suzannah – to participate in the Symphony Services International Scholars Conducting Program. He holds permanent positions as organist for two Sydney churches.
Your all time favourite piece of music?
Beethoven’s third symphony. It’s such a ‘troll’ piece filled with musical irony, sarcasm and humour. It revolutionised the classical era of music – Beethoven’s oeuvre didn’t gradually morph into a less formalised classical style, he basically jumped 50 years of compositional development between two symphonies.
The opening eight bars already divert from the root key, the second movement is a funeral march in a symphony dubbed the ‘Eroica’, and there are literally impossible passages – especially for the double bass – in the fourth movement. What a work of art!
Most memorable concert experience?
Playing Ravel’s ‘La Valse’ and Prokofiev’s fifth symphony on the final day of Australian Youth Orchestra’s National Music Camp 2015. It was my first camp, the energy of the audience and players alike was thriving – possibly due to the inevitable ending of camp that was dawning upon us – and the music was challenging but absolutely riveting! We were under the baton of James Judd, which was also amazing.
Biggest fear when performing?
Physical failures with my instrument. I have regular fears at church when the organ stops don’t fully pull out and the resulting sound is very out of tune. Given the popularity of musical fail videos on YouTube, I also fear random instrument mishaps like my bow hair completely ripping off, strings snapping mid performance and the worst one – which thankfully hasn’t happened yet – the peg box completely ripping off the top and ruining the entire bass.
The best piece of musical advice you’ve been given?
The best piece of musical advice I have been given is by a Sydney violinist, Benjamin Adler. I have known Ben since 2004 when I played a duet with him in Year 2, but have only really become friends with him and learnt about his musical philosophy in the past year. The advice he gave me was that a good musical performance is like a good speech – performing a piece well is like delivering a speech effectively, passionately, and engagingly. Thus, to be an exceptional musician, one needs to craft and develop their own musical ‘rhetoric’. As I continue to practice, I find this becomes more and more relevant every day.
How do you psych yourself up for practice on a lazy day?
By listening to good recordings of random pieces and pieces that I am currently learning. This way I receive inspiration from the greats and it coincides with broadening my musical knowledge. Even if after listening I don’t feel inspired, I won’t practice – mental practice or even whole days off are just as effective for advancing skill levels, in my opinion.
Most embarrassing thing to happen to you on stage?
In March, I performed Holst’s ‘The Planets’ with the Sydney Symphony Orchestra. This was my third performance with the orchestra, so I was still a bit cautious and still getting used to their ways. The principal decided, halfway through ‘Uranus’, to give the 1 desk solo in that movement to the 4th desk, which I happened to be sitting on. It was a subito pianissimo F natural in third position that lasted about six bars, right after a large build up to fortissimo-fortissimo the bar before. But in the first rehearsal, I stumbled and my bow shook uncontrollably the whole time. Safe to say, I now know how to play a long note really softly.
Favourite post-gig activity?
After playing a concert, I like to hang out with the other musicians as a nice social debrief, or even chat to some of the audience members and see what they thought of the concert – good for feedback or just as a different perspective to see what they got out of the concert. Most likely though, after a concert I will be eating. I seem to be perpetually hungry, and hour-long breaks are not ideal.
What are you most proud of in your musical career so far?
Receiving the Sydney Symphony Fellowship this year. I walked into that audition thinking it would be great practice for the few years ahead in which I might have a chance to actually be awarded it. I surprised myself! It’s been great to meet the other fellows and the Sydney Symphony musicians and learn from them. Being the youngest person, I have learnt a lot from the more experienced musicians I’ve played with.
What do you love most about making music?
Being able to express myself in whatever way I choose. Going back to what Ben Adler said, if music is speech, then each piece I perform tells a story or delivers a message (or I contribute to the speech in a chamber/orchestral work). Each person’s speech is different and thus this allows me to be creative whilst maintaining integrity and individuality.
What’s your ultimate goal?
I like to dream big – my ultimate goal is to become a principal conductor of a leading symphony orchestra after having gone through a few orchestras already as a double bassist, and to be able to continue to play organ regularly at a church.
John Keene will perform with the Sydney Symphony Orchestra fellows on the ‘Music of the Spheres’ tour tomorrow 2pm at the Casula Powerhouse Arts Centre and 25 July 7.30pm at the Paul Paviour Recital Hall, Goulburn Regional Conservatorium.
If you’re an emerging musician and would like to be featured in CutCommon’s new Con Fuoco interview series, give us a shout at editor@cutcommon.com.
Image supplied. Credit: Keith Saunders 2015.
