In what ways do you see Academy students growing as musicians during rehearsal processes like these? What do you hope they take away from such experiences?
The work involved, of rehearsals followed by a concert, is basically the same as it is with a professional orchestra, however an important difference to bear in mind is that my Academy orchestras are not fixed ensembles, rather they are put together for each project. The challenge for me and for the players is how do we find unity in our two days of preparation?
We celebrate our achievements and learn from our mistakes. The intensity of the work can be very rewarding.
Why is regular orchestral playing so important for young musicians?
Orchestral playing provides an ideal opportunity for musicians to develop essential skills which go beyond their own private technical execution: listening, awareness of others, breathing, blend and balance are just some of the skills needed by top orchestral players.
You famously defied a prediction from an early teacher that you would never make money playing the harpsichord. What is it about your choices over the years that have built you a livelihood from music, and what advice would you give to young musicians about making a living from music now?
It was in my college years that I was advised that I would not be able to make a living as a harpsichordist. This may have been true, but the options suggested to me failed to recognise the possibility of a new path ahead, and were strictly related to past practice. I followed my dream without any thought of making money. Piano teaching paid my rent. The path gradually opened and after about 10 years, the work even started to become lucrative. The music always came first, and I had a lot of luck. Conditions are enormously challenging today. Outside the conventional work of teaching or playing in orchestras, I would recommend that students become fully aware of the coming changes for our patterns of work, with the rapid development of Artificial Intelligence (AI) and the influence of social media on our society. We need to espouse a very rapidly changing world and be ready to move forward, preserving the treasures of the past and making them relevant for today.
What is it about the Academy that sees you return here as often as you do to lead ensembles?
I find my visits to the Academy to be a source of energy as I make music with remarkable musicians whom I consider colleagues. We are all students, whatever our age.
Trevor Pinnock conducts the Academy Chamber Orchestra in a sold out concert on Friday 25 October, featuring the music of Brahms and Mendelssohn.