this instead of this? can you try this? i would do a voice note recording, send it back to him so that he could hear was the effect was like. and a significant amount of your musical time is spent in musical education and taking the community benefits of music to those from less privileged backgrounds as wynton marsalis has done, as well. was he an influence in that aspect of your career, do you think? well, it s interesting because i actually started doing things like that before meeting him, a couple of years before meeting him. but you saw him as a kindred spirit? absolutely. it was more that a kindred spirit. he will always say to me, don t wait. a lot of people just take care of themselves and their career until a certain point and then, start the giving back. don t wait. do these things whilst you re young. you have the relatability for those young musicians and you have good ideas at this age. just do it. you ve started your own foundation and your own teaching pr
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feeling like it was something you should do? i think that i had an intensity towards the music itself, and a real ability to want to express that. there has to be some impetus and purpose that s attached to anything you re then going to do for that long. and for me, it was the emotional music, it was things that were moving. i was moved to tears by pieces i was learning when i was as young as six. um.that was the pull, and, er.the thing that made me want to go to my violin each day. it was the feeling that you re able to experience yourself and give to other people. that was. it was like a pull. i wanted to go back to that all the time. on this cultural life, i ask my guests to come up with the most important experiences and influences and cultural turning points. you ve chosen brahms
iwas. i remember being told off once or twice for chatting to the person behind me, misbehaving. i remember there being one particularly difficult passage of music that i had worked out, like, a really complicated, like, finger pattern for, alongside my teacher, and i had to turn around and play the whole thing slowly for the whole first violin section, and. but, i mean, at the age of eight, how much sense of responsibility do you really have? i was oblivious, kind of, and i was particularly oblivious the minute i started playing. so i could be kind of running around, going crazy backstage, and then my mum would be, like, you ve got to do this ina minute. focus. and then, when i would play, i would be very focused. what did the experience of playing with the orchestra at that age teach you? what did you take away from that, do you think? it s just. . . it s just unreal. there is nothing like the feeling of playing in a full symphony orchestra.
i met him that year. i handed over the prize to him. had you won it the year before? yes. so, i ve known him for a long time. and he has the capacity to delve very deep inside the human condition and suffering and is willing to sit there in order to write music and express music, and that s what he does. he sacrifices a lot. and this concerto born out of lockdown. .. ..he says that he actually had an idea, started trying to go in that direction and had to completely put it to bed. and it was several months ofjust torturous being unable to get out what he