Welcome to Con Fuoco – CutCommon’s interview series with emerging musicians across Australia.
Clarinettist and Australian National Academy of Music fellow Justin Beere regularly performs as a soloist and chamber musician including regular appearances with Orchestra Victoria, Melbourne Symphony Orchestra and the New Zealand Symphony Orchestra. On full scholarship, Justin undertook study in the Professional Performance Program at ANAM, a Masters of Music Research degree at the Queensland Conservatorium and a number of post-graduate degrees on an orchestral woodwind scholarship at the University of Tasmania Conservatorium of Music. He was also the winner of the Nelle Ashdown Memorial Award in 2011.
As a soloist Justin has performed with the Tasmanian Discovery Orchestra, Jan Sedivka Camerata and the Hobart Chamber Orchestra. Passionate about developing new music, Justin instigated 10 new works by Australian composers in 2014. In addition to this he has performed with leading new music ensembles Syzygy, Opus House, Arcko Symphonic Project and a founding member of the Rubiks Collective. He’ll perform with Rubiks in Carlton on November 28, and for more info you can check out the group’s site here.
Your all time favourite piece of music?
In my private listening, away from the music I am preparing at any given time, works I constantly come back to are Beethoven’s String Quartet in A minor Op. 132, Mahler’s Third Symphony, Strauss’ ‘Der Rosenkavalier’, Britten’s ‘Les Illuminations’, and I recently have developed a relatively unhealthy infatuation with Stravinsky’s ‘Suite d’après des thèmes, fragments et morceaux de Giambatista Pergolesi’ performed by Anthony Marwood and Thomas Ades.
Most memorable concert experience?
I feel I have been very lucky to perform in some incredible concerts with amazing artists that have shaped my musical outlook. Sharing the stage with soloist Anthony Marwood in Schubert’s Octet in F Major is something I will always treasure. Performing the Carl Weber Clarinet Concerto in F minor with conductor Alex Brigger and the Tasmanian Discovery Orchestra on one rehearsal on the day of the concert after the soloist fell suddenly ill, having never played the concerto before; I am certain this took 10 years off my life, but it was an absolute rush. Finally, having the opportunity to premiere Paul Dean’s E-Flat Concertino, which he wrote for me in 2014 with him conducting at the Australian National Academy of Music.
Biggest fear when performing?
Not holistically representing the integrity of music and ultimately letting myself down.
Best piece of musical advice you’ve been given?
Oboist Maurice Bourgue exclaiming in a very thick French accent, literally inches from my nose multiple times, ‘No! You so passive!’. Although it’s not initially seemingly profound, at the time it was pertinent advice, urging me to take greater ownership of my playing and musical intent.
How do you psych yourself up for practice on a lazy day?
Coffee! Lots of listening and ensuring I schedule specified practice time. I receive the greatest inspiration from watching and listening to the great players and orchestras. I generally find that within moments, I am ready to hit the practice room. This – and the terrifying fear of failure.
Most embarrassing thing to happen to you on stage?
The most embarrassing moment on stage occurred in the opening night of Prokofiev’s ballet ‘Cinderella’ with Australian Ballet and Orchestra Victoria. The bar before the clock strikes 12, returning Cinderella to her original self, the clarinets have more notes than one wishes to attempt in one swift measure. Having miscounted by one bar throughout the previous section of seemingly endless repeats, I began the aforementioned bar with as music vigour as I could muster only to regrettably realise that clock had already struck 12 and the orchestra had stopped. If only the earth opened and swallowed me there and then, as to avoid ever making eye contact with anyone during the interval.
Favourite post-gig activity?
It’s certainly very satisfying to return my clarinets to their case after a concert. But I really enjoy relaxing with wine and sharing stories with fellow musicians/audience members.
What are you most proud of in your musical career so far?
Regardless of the fact that there is still so much I want to achieve and music I want to learn and perform, I am proud that I get to play the clarinet every day and call it my job.
What do you most love about making music?
I love the intimate engagement with creating sound and sharing that experience with other active and acutely aware musicians. I also love how much it has to teach us about the human experience, both past and present, and the power it has to transform our thinking and approach to life.
What’s your ultimate goal?
I wish to continue learning and striving for excellence in my clarinet playing, and perpetually develop my approach to making music, directing concerts and bringing together great artists, to realise the works and stories of the eminent creators, regardless of style or period – job or no ‘job’.
Image supplied. Credit: Cameron Jamieson.
