by Colin Currie April 15th, 2013

BBT Celebrated: Colin Currie

Of the highly varied benefits and pleasures of being a BBT award-winner (2005), one which will endure with much affection is the camaraderie amongst us musicians during the tour organised on our behalf with Christian Tetzlaff. We made for a very heterogeneous group of violins, cello, piano, mezzo and percussion, and as we trailed our way around Europe, great ties were established. It was highly engaging to hear and see what similarly placed artists were doing with themselves and their resources, and to have the time (that most cheated of commodities) to exchange ideas concerning our approaches to careers, giving concerts, repertoire and broader aspects of life. I was very struck by this opportunity and very grateful for it – another example of the Trust giving experience over-and-above the merely and more obviously practical.

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by Christianne Stotijn April 8th, 2013

BBT Celebrated: Christianne Stotijn

Mezzo Christianne Stotijn talks about current plans, dream projects and shares her memories about receiving a BBT award in 2005:

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by Graham Fitkin April 2nd, 2013

Helical Strake

There always seemed to be a lot of spit involved. Accompanied by a certain lightheadedness and lips that no longer belonged to me. Yet it was intriguing. Coils of cold metal, pistons ready to go and a seductive bell end to the contraption.  Indeed I managed to produce occasional belches of aleatoric noise. But my own forlorn teenage attempts to make sound from a piece of brass tubing stopped soon after they started. All that air bouncing around uncontrollably. All that effort focused into a small funnel. What do you do with this sort of instrument? I was not destined for trumpeting glory. I liked the look of a piano where all the notes were laid out in front of me and I could choose them at will without having to divest myself of hard-earned saliva.

My inadequacy as a brass player still troubles me and, at some point, I will have another crack at it. But that youthful prejudice – spit and pistons and recalcitrant fortissimi – has remained with me. My admiration goes out to all brass players.

 

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by Raphaël Merlin March 26th, 2013

BBT Celebrated: Quatuor Ebène’s Raphäel Merlin

Quatuor Ebène cellist Raphäel Merlin talks about what’s in store for the quartet – award winners in 2007 – during our BBT Celebrated weekend in May, and recalls the time spent with BBT films in the French Alps back in 2009:

 

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by Fraser Trainer March 19th, 2013

Timing is Everything

Composing Breaking Silence for percussion ensemble O Duo has been a long, but rewarding process.

In February 2001, I went to a party given by a musician friend. There I met a wonderful, vivacious Australian blonde who had the nerve to interrupt my conversation with a talented young percussionist with the words: ‘Do you mind if I talk to you?
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by Susan Rivers March 12th, 2013

Reflections on a Decade of Borletti-Buitoni Trust

It’s hard to believe that it was back in 2001 when Mitsuko Uchida approached me as I was leaving the running of the International Piano Series at the Southbank Centre after seven years and told me that she had a friend who wanted to form a charity to assist young musicians. Would I be interested in taking it on?

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by Atos Trio October 10th, 2012

The adventure of trying things out

The BBT has enabled the Atos trio to fulfill longtime dreams: to organise a concert series with everything that belongs to it, and to combine this effort with outreach work in schools. The series is organized now, the programs are decided and printed, the school work is well underway, but what a journey it has been!

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by Shai Wosner June 26th, 2012

Reflections on Michael Hersch “Along the Ravines”

A few weeks ago, with the wonderful support of Seattle Symphony, I had the pleasure of giving the world premiere of along the ravines: fragments for piano and orchestra, a new piano concerto by Michael Hersch, which has come into being with the support of Borletti-Buitoni Trust. This piece is unusual in more than one way. Rather than a concerto, it is a series of fragments for piano and orchestra that are preceded by fragments of poems by the late Polish poet Zbigniew Herbert.  While  the inclusion of quotations of poetry as “mottos” for musical works has been in practice since at least the early 19th-century, I feel that in this piece these fragments are almost part of the music in the sense that they could almost replace the more “mundane” directions such as tempo markings and performance indications with their atmosphere and spirit. It also lends the piece a certain intimacy, as if the composer draws both the musician and the listener into the world of images that may be behind the music.

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by Khatia Buniatishvili May 3rd, 2012

View from the Platform

Khatia Buniatishvili talks to Tim Woodall ahead of the BBT concert at the Queen Elizabeth Hall on 4th May 2012.

In an increasingly hectic musical world, in which young musicians need to promote themselves as well as practise and perform, the Borletti-Buitoni Trust (BBT) has for nearly a decade offered a supportive shoulder to young international talent. The Trust, which celebrates its tenth birthday with a major series in the International Chamber Music Season in May 2013, is not merely a source of funds for the recipients of its awards. BBT also offers a wide network of support for its ever growing family of musicians.
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by Jörgen van Rijen April 15th, 2012

Kalevi Aho Trombone Concerto

With the help of Borletti-Buitoni Trust I have commissioned a trombone concerto from Kalevi Aho and I have been fortunate to be able to perform it already in The Hague and with the Oulu Sinfonia in Finland, with a further performance to come with BBC Symphony Orchestra in London on 10th May.

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