BY LUCY RASH
The Foray Quintet enjoyed CutCommon’s Friday Forays so much that they named their ensemble out of love for the series. Ok, maybe that’s not quite the reason – but violinist Felicite Heine certainly gives us some great advice as part of this week’s Q&A. The young musician completed her music degree from the University of Melbourne and has gained much of her experience as a member of the Chamber Strings of Melbourne. She’s part of the five-piece group made up of musicians from both Melbourne and Canberra who come together to perform fine chamber works. Felicite tells us about the role of chamber music in in the life of a professional musician.
What initially inspired you to pursue the performance of chamber music?
Chamber Music is one of those things that one aspires to do in university and in that environment it is possible, albeit difficult sometimes with the time constraints of class clashes, but it’s fine. A lot of ensembles are formed in university with the intention of continuing out of that context, and often one realises that that dream goal is often shattered when some members decide to go overseas for further study or change of career path. I think we are all totally surprised at how well this is going as one, we didn’t meet in the university context and two, we didn’t really know each other existed before meeting at the Border Music Camp and then inviting the other players to join.
Chamber music is a fantastic mix of the best qualities of solo playing and ensemble playing. You are totally responsible for your own part but in context, it weaves into the bigger picture of the ensemble and it’s wonderful working on a piece and seeing what does where.
During a rehearsal, how does the ensemble tackle concepts that are particularly tricky or require special attention?
Slow practice is the way to go. In the Faure Quintets – especially the second, which was written much later – the harmonies and textures are sometimes so dense that it’s like being in a jungle. It’s hard to know what is going on. Playing through sections slowly and sometimes softly, we can hear exactly what blend we want. We also seek guidance, often writing these sections down and getting tutorials with musicians such as Michael Loftus Hill. It’s hugely beneficial to ask for another person’s ears as often you are focused on your part.
What role do you think performing music in a chamber setting plays in a young musician’s development?
Chamber music is so important. Get together with a classmate at school. Doesn’t have to be the same instrument. Learn about creating different tone colours, like a flute-violin duet, trying to mimic the tones. Remember, it doesn’t have to be conventional; if you want to play string quartets and you are missing a violin, use a flute. Chamber music teaches you rhythm, counting, and blending all these integral things that will not only enhance your playing individually, but will help you immensely with your ensemble playing. Certainly as a string player, if you are playing in the school orchestra there is a lot you can fudge – I’m sure a lot of string players are with me there! As for pianists, it’s hours at the piano, by yourself. Sure, you work on your individual pieces for your exams or for school performances, and you work with your teacher on those pieces for up to a term sometimes perfecting them. Doing a creative endeavour like chamber music even unassisted, you can learn so much about your own playing or be inspired by different music.
What is your favourite thing about playing in a chamber ensemble?
We laugh and just have so much fun. The ensemble is made up of five individual personalities that just click, and we have a great time and at the end of the day. Not only do we achieve a sense of satisfaction individually, but it’s for the team too. We are constantly learning becoming better for the team and as a team. It’s very rewarding.
What do you find challenging about performing in a chamber ensemble?
Getting everything right. Despite having five people, you are exposed. We almost have to be super human, to make sure we phrase together, place entries, and the level of concentration is very high. However, the more we play together the easier it gets, but in saying that, you can’t become complacent.
Tell us about what it feels like to lead a chamber group as opposed to a symphony orchestra, or playing as a soloist.
You are leading per se, but you are part of the ensemble. Leading an orchestra, you walk out, take your bow, and you are the boss. Playing solo, you are the star. But chamber music, you always have to be conscious that if you do have that attitude you are going to stick out, and you have lost the whole essence of chamber music. In chamber music, everyone is a leader, everyone has their turn to lead sections in and direct the music.
Do you have any advice for people wanting to increase their involvement in chamber music?
Go for it! Just ask. That’s the first hurdle, chances are there is someone that you know who is equally eager to find someone to play chamber music with. Get together and search the internet for some music. Keep in mind there are also music camps for chamber music where you can meet other musicians, you might not know, like Mount Buller Chamber Music Summer School or ACMS in Sydney and Canberra that run on an amateur level. There is no excuse or age barrier. Remember, your chamber music adventure is only a question away.
The Foray Quintet will perform three concerts across Victoria between September 26 and 28. For concert details and how to book, check out www.forayquintet.com.
This story is part of CutCommon’s Friday Forays series, showcasing emerging talents in the Australian music industry.
Image supplied.
