Thoroughly Good Classical Music Podcast

This episode spotlights contemporary classical composer Oliver Davis talking about his new album Life. Davis writes music that makes a montage of your own life. Had author Augesten Burroughs had access to Davis he'd have had access to soundtracks that would have consoled and celebrated the very life BUrroughs ended up documenting in Running with Scissors. Davis brings his experience writing music for TV to scores that elevate real life. His newest album is dedicated to his father, first violin in the Alberni Quartet, who had a close association with Benjamin Britten and the Aldeburgh Festival. In this episode we talk about Howard's introduction to the violin, his work, Oliver's work writing music for TV and the scores and production that make up Life, a project which also features the pupil his father introduced Oliver to at the Royal Academy, violinist Kerensa Peacock.

Bristol Beacon CEO Simon Wales reflects on leadership, legacy, and launching the 2025/26 orchestral season. We talk classical music, innovation, and why Bristol deserves its place as one of the UK's great music cities.

Andrew Comben, Chief Executive of Britten Pears Arts, reflects on leading an organisation where legacy, place, and innovation intersect. We explore the 2025 Aldeburgh Festival, the return of Festival Extra, and how collaboration across the sector is vital to sustaining new artistic work.

Some people raise the bar just by walking into the room. Mezzo Soprano and Creative Consultant Jennifer Johnston is one of them. We talk about her award-winning creative work during the pandemic, her journey from barrister to singer, and her latest collaboration with the London Transport Museum — recorded at the Southbank Centre ahead of Mahler 8 with the LPO.

Following a stunning opening concert in Manchester Camerata's new Mozart series, horn player Martin Owen talks about Mozart's Horn Concertos, working with Camerata, and a 30-year career spanning many of the UK's leading orchestras. Owen is warm, playful and generous, and that is reflected in his captivating performance. His is an instantly likeable sound on stage, one that conveys an infectious sense of confidence in performance. Little wonder performance. He fell in love with the sound of the horn at 3 years old. I rigorously checked out his story, of course. His follow up concert with Manchester Camerata is on 23 May 2025 in Stoller Hall.

Jan returns to the podcast after what we both reckon is probably around 12 years. He remains, as I dimly recall from a sunny day in Verbier, candid, down to earth, and completely and utterly absorbed by his craft. But what's evident now — and what I definitely don't remember sensing then — is his resolute vision: a clear sense of what he wants to do, and how he wants to do it. It's reflected not only in his achievements, but also in the relative ease with which he articulates that vision. There's a precision in what he says, and a solid sense of trust in what he does.

How successfully can AI underscore a day-to-day experience like grief? Or reading a book? Or even work as a coach? It turns out surprisingly well. Far better than the pearl-clutching naysayers. 11 minutes accompanied by Brahms. All very Thoroughly Good.

In this podcast Bournemouth Symphony Orchestra Chief Conductor discusses his view on leadership, the role he plays as a leader conducting an orchestra, and how he's developed that role in the 30 plus years of his career to date.

30 minutes of chat with Manchester born soprano Ana Beard Fernandez ahead of her new album - Habanera including music by Villa Lobos, Ravel, de Falla, Shostakovich and Rameau on the SOMM label featuring the Endellion Cellists, Roderick Williams, and conductor William Vann. In addition ... because it worked so well in the last episode, a book, a film and a recipe.

Pianist Emmanuel Despax reflects on his deep connection to music, the emotional power of performance, and his upcoming concerts with the Bechstein Trio at Bechstein Hall in Spring 2025

This episode, the first of 2025, features vocal group Apollo5's Director and mezzo soprano Clare Stewart director and mezzo-soprano of Apollo5 exploring the rich textures and emotional depth of the group's latest album, Anam, set for release on the 24th of January, 2025. The collection of music on the album is a personal project of Clare's celebrating the groups 15th birthday. It's a celebration too of Celtic heritage—Anam, means 'the soul' in Gaelic — a collection that reflects as well as nourishes it. It also offers a profound sensory experience. The intricate arrangements and intimate harmonies that feature of the five-piece's recording ushers listeners on a path of discovery, one decorated by a kaleidoscope of textures that combine a variety of stark and distinct lines into something fresh, luscious, and multi-layered. There is ancient and modern subtly infused throughout. For me, this album has been more than just music. It's resonated on a deeper level, prompting me to reflect on how my own listening has changed recently as a result of a recent bereavement. I have discovered that the senses can feel heightened after profound life events like grief. It's like listening after a software upgrade. Anam is a soundtrack for moments of introspection, joy, and connection, touching on emotions we often can't articulate in words.

Pianist Tim Horton is a busy chap. Always playing the piano and playing it a lot. Wigmore Hall, Sheffield Chamber Music Festival, Ensemble 360. All manner of places. So I consider it a considerable triumph that we arranged to meet in person a week or so ago to talk about his Wigmore Hall Chopin project -- there's a concert on December 11 and one in March 2025. Its not simply the programme that I was drawn to, but the way in which he suggests to audience members what they might listen out for in performance and, how that suggestion, might actually influence the way in which someone listens. In all truth, this suggestion about listening for ambiguity in music (instead of the predictable) doesn't simply extend to his concerts, but perhaps to all listening to classical. And if more people bought into, what impact might it have on how we appreciate live performance in the moment?

Rob Plane introduces music that he's discovered and advocated, written by the disappointingly lesser known composer Pamela Harrison.

Continuing the theme of leadership in the arts, this Thoroughly Good Classical Music Podcast profiles the career todate of Kings Place Artistic Director Sam McShane. In the conversation that follows, you'll get a sense of Sam's distinct leadership philosophy, her vision for the venue including her aims to deepen engagement in Islington in which the venue resides. She also candidly discusses balancing financial challenges and artistic opportunities at King's Place.

What can corporate leaders learn from the conductor's podium? What are the parallels between orchestral conducting and leadership in the workplace? New Principal Guest Conductor of the Bournemouth Symphony Orchestra Chloé van Soeterstède shares her journey from violinist and viola player to conductor, sharing insights on how to build trust, communicate vision, and influence teams. Plus, she shares how she balances ambition with personal well-being.

Roxanna Panufnik wins Outstanding Wins Collection at the Ivors Classical 2024. In this episode she shares a personal selection of works plus a candid reflection on the experience of hearing the premiere of her Coronational Sactus at the King's Big Do last year.

This episode features violinist Madeleine Mitchell introducing the return of the Red Violin Festival in Leeds, her connection with Yehudi Menuhin, and the career-long fascination with composer Herbert Howells whose In Gloucestershire Quartet forms part of a new release of recordings on the SOMM label of rarely heard works by the English composer. The Red Violin Festival runs from 14th to 19th October 2014. Madeleine Mitchell and the London Chamber Ensemble's recordings of works by Howells and Charles Wood is released on Friday 18 October.

This episode features three singers and one conductor who have either participated in or are currently part of the Royal Opera's Jette Parker Opera Programme. Their insights explore the unique experience of this two-year scheme, focusing on the development of rehearsal and stagecraft skills, as well as the journey toward building their authentic professional identities.

Toks Dada, Head of Classical Music at Southbank Centre, reflects on his four years running one of Europe's largest classical music series, drawing on his own lifelong vision. That vision balances continuity, tradition and innovation. The conversation touches on a shift in ticket buying post-pandemic and the opportunities this behavioural changes presents the classical music industry. It also suggests some of the ethical considerations wider classical music management need to grapple with when considering working with controversial figures.

Soprano Claire Booth discusses two new albums she's released in 2024 to mark 150th anniversary of Arnold Schoenberg's birth.

Composer Adrian Sutton, the creative force behind the Olivier Award-winning scores for War Horse and The Curious Incident of the Dog in the Night-Time, speaks to Jon Jacob, reflecting on his diverse career, spanning from TV advertising to his celebrated work in theatre and concert music. As Sutton prepares for the October 2024 release of his latest album, featuring his Violin Concerto performed by Fenella Humphreys and the BBC Philharmonic, he shares the inspirations and challenges behind his compositions. The episode also touches on his resilience in the face of a stage four cancer diagnosis and his unwavering dedication to his craft.

Recorded in Stoke on Trent where members of the NYO - the National Youth Orchestra of Great Britain are rehearsing for their summer concert tour in which they perform music by Wagner, Mahler, and Missy Mazolli at Bridgewater Hall on 7 August, Saffron Hall in Cambridgeshire on 9th, and finally the BBC Proms on 10th August.

This Thoroughly Good Classical Music Podcast episode features Romanian pianist Alexandra Dariescu who, on the 16th August releases her recording of Clara Schumann's Piano Concerto in A minor (pared the Grieg Piano Concerto). She's also playing a major role in the Leeds International Piano Competition later this year giving the first Alexandra Dariescu Award for the outstanding performance of music by a female composer - Clara Schumann's concerto is one of the concerto that finalists can select for the Concerto Final. The Leeds gets underway on 11 September, with the Finals staged on 20 and 21 September. Alexandra joins Petroc Trelawny presenting the Leeds on Medici TV.

The Thoroughly Good Classical Music Podcast hears from mezzo-soprano Fleur Barron in this episode, previewing her appearance at the 2024 Ryedale Festival in particular her collaboration with dancer Suleiman Suleiman and musician Hibiki Ichikawa intertwining a Japanese Kabuki play with Schubert's iconic Winterreise song cycle. In this podcast Fleur talks about her international influences, illustrating what fuels her work - discovery - something closely aligned to Thoroughly Good's approach to classical music. Fleur appears at Ryedale from 13th July. Spring Snow is scheduled for 16th July. Listen to the podcast for repeat performance dates in London and Europe. https://ryedalefestival.com/event/13-spring-snow/

Organist and pianist James McVinnie is Artist in Residence at Southbank Centre in London this year. His programming like many of his recordings often juxtaposes old and new These juxtapositions can bring about a delicious kind of cognitive shift for the listener. James explored his art, his approach to performance and explains more about his fascination with the intersection between baroque and minimalism. Recommended recording: Counterpoint, 2021

Conductor, organist, harpsichordist and lovely man Ton Koopman riffs on the joys of JS Bach at BachFest in Leipzig.

Jon Jacob speaks to ETO General Director Robin Norton-Hale and members of the cast and production team about the English Touring Opera production of Blond Eckbert that opens the 75th Aldeburgh Festival on 7th June 2024.

How can recontextualising classical music help build a new audience for the genre? Classics Explained YouTube producer Ben Levy explores the opportunities he's discovered using animation to tell the story of some of classics most-loved works, and some of the pushback he's received doing so.

This episode spotlights a new release from cellist Tim Posner. Recorded weeks ago, this episode has I'm sorry to say been subject to all manner of technical challenges. Publication has been delayed as a result. But all good things come to those who wait. And this is GOOD. Tim Posner's debut album includes music by Bloch, Bruch and Dohnanyi is a case in point. The music speaks for itself (especially the rarely heard Konzertstucke by Dohnanyi) Posner's playing is full bodied, heartfelt and huggable, if you know what I mean. A Thoroughly Good highlight of 2024.

Hailstones, frogs and sexy trills. Monteverdi Choir's director Peter Whelan joins Amy Wood and Nick Pritchard to introduce the detail and the colour in Handel's oratorio Israel in Egypt.

LPO Principal Concductor Edward Gardner, and LPO Conducting Fellows Charlotte Politi and Luis Castillo-Briceño reflecting on their roles as conductors and the process of developing their conducting presence.

Lovely people from across the classical music industry share their reflections on the year gone by, and look forward to the year ahead. Hear thoughts and recommendations from violinist Fenella Humphreys, pianist Charles Owen, Roger Wright, London Chamber Orchestra's Jocelyn Lightfoot, Manchester Camerata's Bob Riley and Manchester Collective's Rakhi Singh.

Schubert's epic and much-revered song cycle Die Schoene Mullerin is given a folksy feel with a new recording released by Rubicon Classics featuring Barokksolistene and Thomas Guthrie (who you'll hear in this podcast episode). If you're pro-deference this one probably isn't for you, but if you're open, curious or in need of a fresh approach then come on in and make yourself comfortable. Find yourself a bale of straw and sit yourself down. It's a treat.

Soprano Katharine Dain and pianist Sam Armstrong reflect on the recording of their latest ravishing duo album Forget This Night, featuring the music of Lili Boulanger, Karol Szymanowski, and Grażyna Bacewicz.

Hear the thoughts and reflections of two Ivor Award-Winning composers - John Rutter and Tansy Davies. Both doing the same thing - writing music. Both creating entirely different work. At the 2023 Awards at the British Film Institute in London, Tansy Davies received an Ivor Novello Award for Outstanding Works Collection. John Rutter received the Academy Fellowship - the highest honour the institution awards individuals. Thoroughly Good explored their purpose, what they've learned, what they advise and what they write.

Producer and Director Tom Volf explores his fascination with soprano Maria Callas and the work involved restoring her 1958 Paris debut for cinema release.

Violinist Victoria Mullova and cellist Matthew Barley explore Schoenberg's Verklärte Nacht.

Guitarist Miloš Karadaglić reflects on his work producing the new album 'Baroque' released October 2023.

Cordelia Williams returns to the Thoroughly Good Classical Music Podcast to talk about her new album on SOMM 'Cascade', and to reflect on her experiences teaching in Kenya.

Lucy Parham introduces selected piano works by Sergei Rachmaninoff ahead of her London Piano Festival appearance with actor Tim McInnery. For more information and tickets visit: https://www.kingsplace.co.uk/whats-on/london-piano-festival/

Composer Joseph Phibbs returns to the podcast to introduce two new pieces premiered at Hatfield Chamber Music Festival and Wigmore Hall on 29th October and 7th October.

Ahead of the world premiere of Matthew Taylor's second horn concerto, Jon Jacob speaks to the composer about his work, his inspiration and the life force of Beethoven.

Nicola Benedetti announces the new Benedetti Baroque Sessions, a competition to participate in her Baroque orchestra, plus she pops up on Radio 4's Today to talk about what music education needs now.

Dr Leah Broad's book Quartet tells the story of four women composers who have received little or no attention by the classical music world. The lives of Ethyl Smyth, Dorothy Howell, Rebecca Clarke and Doreen Carwithen span the 20th century and yet their music was, until a few years ago, relatively unheard of. Quartet - a substantial history of four women's compositional lives - explains why. Following publication, Leah Broad and violinist Fenella Humphreys have joined forces with pianist Nicola Eimer, mounting a series of concerts across the country where curious audience members can hear not only the music but selected stories about the women who wrote it. There were two things apparent from the event I attended - the first in the trio's UK tour in Harrogate earlier in the summer. The carefully selected music works in performance (so much so that the programmed movements played made me want to hear the works in their entirety) AND the briefest of introductions works wonders at focussing the listener, enhancing the experience as a result. Leah, Fenella and I met up to discuss the book, the concerts and the impact good storytelling has on the concert experience. Lost Voices is at Snape on 9th August, and Milton Court Concert Hall, Barbican on 5 November. Works included in the Lost Voices programme: Ethel Smyth Sonata Doreen Carwithen Sonata Rebecca Clarke Midsummer Moon  Rebecca Clarke Sonata Movement  Dorothy Howell Andante Dorothy Howell The Moorings Fenella Humphrey's next album Prism including works by Caroline Shaw, Sarah Lianne Lewis and Cheryl Frances-Hoad is released by Rubicon Classics early 2024.

Klieser plays the horn with his feet. This seemingly monumental achievement is of comparatively little consequence to Felix who sees himself not as a differently abled artist but as a musician who wants to make the audience happy.  At a point in time when identity, representation and opportunity are words that rightly weigh heavily in our present-day discourse and thinking, it's Klieser's motivation – from the age of 4 – which is counter-intuitively the more powerful message he shares. He is not someone who tells the story of achieving against the odds, but an individual who is content. 

The Endz is a production mounted by school children in South London, supported by the Multi Story Orchestra, a radical performance group well-known in the industry for mounting live performances in a former multi story car park (now known as Bold Tendencies) in Peckham. Since its Proms appearances in 2016 and 2017, the team behind the orchestra led by Kate Whitely has sought out new ways to enhance cultural experiences for the community its made its home in. But Multi Story's vision and method feel slightly different from convention when you hear from two of their teenage collaborators Flame and Prince talk about The Endz – a musical setting of a play a group of teenagers created themselves in response to violent crime in their neighbourhood. The word is collaboration rather than education and outreach. Co-creation too might be a good word. And the other thing that's important to stress is how Multi Story are helping young creative talent make the music they want to make rather than what the orchestra thinks they ought to be making.

RPS award-winning composer and vocalist Laura Bowler talks about her newest opera 'The Blue Woman', and her climate-change inspired collaboration with Cordelia Lynn, 'Houses Slide'. TICKETS: https://www.roh.org.uk/tickets-and-events/the-blue-woman-by-katie-mitchell-details Laura's new work Distance is premiered by Juliet Fraser and the Talea Ensemble at Cheltenham Festival on 10 July. TICKETS: https://www.cheltenhamfestivals.com/music/whats-on/2022/distance This interview was recorded on Monday 27 June 2022.

This year Aldeburgh Festival celebrates 50 years of the artist development programme - a music-making experience rooted in the Suffolk countryside that has supported many of the world's leading musicians. In this episode, previous participants reflect on their experience attending the Britten-Pears Orchestra and courses at the Britten-Pears School for Advanced Musical Studies now known as the Britten-Pears Young Artist Programme. Contributors in order of appearance: Nicholas Daniel Jessica Mogridge Kirsty Matheson Caroline Clarke Julia Lawrence Mark Stone Jacqui Shave Jacqueline McCarthy Patrick McCarthy Amy Helen Forsdike Chi-Yu Mo

Josie Dixon the great great great great grandaughter of Polish Lithuanian violinist and composer Felix Yaniewicz explains how a chance discovery unearthed a series of discoveries about the man in her family she knew only from a portrait. https://www.yaniewicz.org/piano.html

Helen Charlston and Toby Carr release 'Battle Cry' in May 2022 - available from 27th on Delphian records featuring songs by Barbara Strozzi, Henry Purcell, John Eccles, Claudio Monteverdi & Owain Park. To coincide with the release, both performers appear at the London Festival of Baroque at St John's Smith Square and the Norfolk and Norwich Festival. TICKETS: https://www.lfbm.org.uk/whats-on/helen-charlston-and-toby-carr

Written in 2019 and originally premiering at the Aldeburgh Festival in 2020, Tom Coult and Alice Birch's 'Violet' tells the 24-day story of a village discovering the gradual loss of time. Recorded at rehearsals in the Jerwood Space in London in May 2022. 'Violet' opens the 2022 Aldeburgh Festival on 3 June.