BY JASMINE MIDDLETON
As emerging artists in the Australian orchestral scene, violinists Harry Bennetts and Riley Skevington have shared plenty of milestones in their careers.
After studying at the Australian National Academy of Music, they both won consecutive places in the Karajan Academy of the Berliner Philharmoniker, with Harry attending from 2016-2018 and Riley from 2018-2021. Now, they both hold the position of associate concertmaster with the Sydney Symphony Orchestra and West Australian Symphony Orchestra respectively.
The stars have aligned as the pair come together this Saturday to perform in WASO’s concert Fantasy, Tragedy and Passion, with Riley as concertmaster and Harry as soloist performing Mendelssohn’s Violin Concerto in E Minor.
And guess what? I’ll be performing with them. So, from one violinist to another, I caught up with Harry and Riley to find out more about their journey so far, and the exciting prospect of getting to collaborate with a long-time friend.
Hi Harry and Riley! Thanks for taking the time to chat about our upcoming program. Being in the violin section myself for this concert, it’ll be exciting to see what your extra dynamic of camaraderie will bring to the rehearsals and performance. How does it feel to be reunited and performing alongside each other?
HARRY: I’m really looking forward to seeing Riley in person! It’s been years since we’ve been in the same city at the same time, and I do believe this is the first time we will have worked together post study.
RILEY: Although Harry and I began studying at ANAM at the same time in 2014, and our paths have been quite intertwined since then, we haven’t done much performing together! Having said that, I’m excited to see how our unique shared experiences play into the rehearsal process and concert on Saturday.
Along with being accepted into ANAM, you both earned the opportunity to study with the Berliner Philharmoniker in the prestigious Karajan Academy. How did you find this experience, and how has it influenced your playing back in Australia?
H: I’m sure I wouldn’t be where I am today without either ANAM or Karajan Academy. Karajan was the perfect melting pot of inspiration and creativity. I learnt a huge amount in a relatively short period of time whilst also discovering what the life of an orchestral musician was like, and how vast the career possibilities were.
R: Karajan was an absolute once-in-a-lifetime experience that will always hold a very special place in my heart. It is something that I will continue to draw inspiration from for many years to come. I’m incredibly thankful and indebted to the Karajan-Akademie der Berliner Philharmoniker, ANAM, and to Naomi Milgrom and Harold Mitchell for facilitating this incredible opportunity. This is of course also very fresh for me, given I was playing with the Berliner Philharmoniker from 2018 up until February of this year; I am still trying to unpack everything both mentally and physically! A huge number of life-altering lessons were experienced and learnt.
Now, you’re both associate concertmasters with the SSO and WASO respectively! What have been some of the unique aspects of this role so far, and how does it differ to other orchestral work you’ve done in the past?
H: Playing as an associate principal is a unique position. One must be adaptable and fluid whilst still playing demonstratively and reflecting the movements and gestures of the concertmaster. One week you’ll be playing in an assistant position, and the next you’ll be leading the orchestra and playing solo parts. Being able to switch roles smoothly is the name of the game!
R: After several false starts due to the pandemic, I officially began with WASO mid-March in 2021 after successfully auditioning in 2019. Being a member of an Australian orchestra means you have to be a jack of all trades. For instance, we’ve just come out the other side of an opera season and will be heading into a ballet season from next week — two genres I really haven’t had much to do with up until this point. This is most definitely a unique and challenging aspect of my new role.
What has been your most thrilling concert to date in this position?
H: I’ve not been in the position for a huge amount of time, but I’d have to say Dvorak 9 with Simone Young at the start of our 2021 SSO season. Mostly because it was our first concert in nearly a full year with a live audience!
R: It’d be too tricky to pick just one! Having said that, I’m particularly looking forward to this concert, of course, but also WASO’s performance of Mahler 5 coming up at the end of June — Mahler being my favourite orchestral composer.
Having been on both sides of a concerto as soloist and orchestral musician, how does this shared understanding influence your upcoming collaboration?
H: I find playing as soloist to be a more extravagant, larger-scale version of playing as concertmaster. A lot of the skills are similar, and it’s just as much a shared experience and collaboration. Having spent a good whack of time playing the orchestral parts of the concerti that I also play as soloist, it’s clear to see where balance might be an issue, or tempo and other similar ensemble issues.
R: It absolutely works both ways. Being in the orchestra this time, I feel like I know the piece like the back of my hand; all its specific quirks and nuances — a comforting feeling to have going into a performance! Likewise, this understanding also informs an interpretation of the solo part, often resulting in a much more sympathetic rendition and feeling like part of the team, which Harry perfectly captures.
What does Mendelssohn’s Violin Concerto mean to you? Are there any memories associated with it, or particular moments you’re looking forward to?
H: For a lot of violinists, the Mendelssohn concerto is something that we visit earlier on than the larger-scale concerti like Brahms, Tchaikovsky, and Sibelius. For me, its meaning is always changing, but at the same time, in a way, does bring me back to that period of adolescence.
R: I have very fond memories of this concerto as it was the first piece I ever played with orchestra; it just so happened to be on this very stage at the ripe age of 12 or so! It’s a wonderful piece and has been something I’ve been meaning to revisit but haven’t had the opportunity. With so many iconic and innovative moments, it’d be too hard to pick just one!
Being part of the same cohort, it must be exciting to see what everyone is getting up to and the amazing places music is taking them. As the next generation of musicians, what do you hope for the future of the classical music scene in Australia?
H: It’d be great to see the classical music industry, and the arts as a whole, embraced on the same level as they are in the bigger cities of Europe and the United Kingdom. Living in Berlin, it was extraordinary to see the importance of the arts in mainstream culture. The talent and creativity we have in the Australian scene is fabulous, and I’d love to see it embraced as it is elsewhere!
R: There is a sense of immense gratefulness in the community when projects like this one can happen. Out of all of the Australian musicians who venture overseas, whether they planned to or not, many of them always end up making their way back at some point. My guess is that the weather and lifestyle definitely play a role.
Before you go, the most important question: How do you plan to celebrate after Saturday night’s performance?
H: Drink a few beers, sleep in, and take the day off violin practice!
R: As sad as it sounds, I can imagine it being a relatively quiet one for me as I’m back leading the orchestra for Giselle the ballet on Monday! I would say though that we all deserve — audience absolutely and most definitely included — a celebratory drink after, to celebrate this week going ahead. We’re all incredible thankful and grateful they are able to attend.
Watch Jasmine, Riley, and Harry perform Fantasy, Tragedy and Passion with the West Australian Symphony Orchestra, 7.30pm May 8 in the Perth Concert Hall.
Images supplied.
