BY STEPHANIE ESLAKE
This article was produced with Musica Viva and was featured inside the concert program. It has been edited for publication in CutCommon.
Passion. Story. Emotion.
You might find a sense of intrigue in these Musica Viva descriptions of Natalie Clein. But for the British cellist, they are qualities inherent in the music she plays – not only a method of revealing the talent for which she’s so often praised.
“I’ve always thought that the music was much more interesting than me,” Natalie remarks.
“I always feel that I’m putting my music on the stage, and I am the channel through which the music goes.
“Of course, where the person stops and music starts is impossible to say – because it’s my interpretation and my reaction to the music.”
Natalie joins pianist Katya Apekisheva on the Musica Viva Australia tour, in which they present music from Beethoven to Bloch; Clarke to Kodaly; Vaughan Williams to Natalie Williams.
While she may describe her own musicality in humble terms, Natalie’s ability to represent such different composers’ stories undoubtedly speaks to her fluidity as a player.
It’s a necessary quality for those who attempt to carve their careers in cello – an instrument Natalie argues has a relatively limited repertoire when compared to others, such as the piano.
“Right from the beginning, we have to be versatile,” she says. She compares the nature of the cellist to that of the pianist, the latter of whom can perform the music of a single composer “almost for their whole life because there’s so much”.
Still, there exists a fundamental connection between all works Natalie chooses to embrace: “It’s human expression – and human expression doesn’t change. It’s just interesting to see what different things are said at different times throughout history.”
Making new music history on her first Australian tour, Natalie will present the world premiere of The Dreaming Land by Natalie Williams. It was Musica Viva’s idea to combine the talent of these two artists, and the cellist “absolutely jumped at the chance”.
“I love working at new music, and I’d heard such good things about her,” the cellist says of this Australian composer. She first met the composer in London, where they discussed their approaches to cello music. They also discovered just how much they each had in common.
“We had a really nice glass of wine together and talked about music. She talked about why she writes – her impetus to write,” Natalie recalls of the composer. It’s a musical drive they share, and it stems from “feeling passionate about expressing something that’s meaningful and real.”
That was the last time the two met in person to discuss music. “The next thing,” Natalie announces, “I received this sonata in the inbox!”
“I’m sure that Australian audiences are going to be fascinated by hearing what one of their best composers has produced for us.”
While Natalie will also perform works by well-loved composers such as Rachmaninov and Beethoven – which she feels are “part of my DNA” – it’s The Dreaming Land she hopes will move audiences in a new way.
“It’s an honour to be playing these notes for the first time, and to be understanding what Natalie [Williams] wants to say through the music.”
Though, it’s not only about these musicians’ experiences of the work. It’s about challenging you, too.
“To get the brain cells working in a new way is important.”
Whether you feel tension or elation upon listening to the world premiere, your reaction can only be a good thing. The cellist feels every response has its role to play: “It opens the discussion to ideas about things like harmony or melody or memories.”
Natalie’s view is an important one. Because it acknowledges that you, as a member of her audience, are not submissive to her performance. You are here to be moved, to think, and to learn.
“When you’re listening to live music-making, you have to engage with your mind and your emotions to get the most out of the experience.”
For Natalie, it’s the responsibility of music-makers and programmers to create for concertgoers a “sense of trust that what you’re going to bring them – even if they don’t know it – they’re going to enjoy”.
This wisdom has evolved through her countless successful performances. At 16 years old, Natalie was named BBC Young Musician of the Year, and won the Eurovision Competition for Young Musicians. Her talent was royally recognised through the Queen Elizabeth the Queen Mother Scholarship by the Royal College of Music – an institution at which she now shares her knowledge as a professor.
As Natalie worked to forge her performance path in cello, Moscow-born pianist Katya Apekisheva was building her own career, too – picking up accolades such as the London Philharmonic Soloist of the Year and the Terence Judd Award along the way. Now based in London, Katya is a professor of her instrument at the Guildhall School of Music and Drama.
She joins the cellist on this tour; the two have made music together for about a decade. “She’s a fantastic colleague,” Natalie smiles. “She’s a very fluent pianist – her technique is old Russian school, in the best sense. And yet, she also has an inquiring musical mind and a light touch.”
It’s safe to say Natalie would enjoy you to bring along your own inquiring mind when you listen to their performance, too. You might discover new – about the premiere, the playing, and yourself.
Visit the Musica Viva website to find out when the Natalie Clein & Katya Apekisheva – 2019 International Concert Season will be in your city.
Images supplied. Featured image of Natalie by Neva Nadaee.
