CULTURE CLUB
Cambridge Music Festival Maestro at work TIME TO FACE THE MUSIC: JUSTIN LEE TALKS TO ALEX FICE ABOUT THE IMPORTANCE OF EXPERIENCING LIVE PERFORMANCES AHEAD OF THIS YEAR’S FESTIVITIES – AND WHAT TREATS LIE IN STORE
Cambridge is a city of music. Whether you’re hitting up the Corn Exchange to see the latest visiting artist, or stepping into one of the colleges to listen to choral evensong in a candlelit chapel, there are opportunities for musical encounters around every corner. “I remember doing some research when I started this role in 2012,” says Justin Lee, director of Cambridge Music Festival (CMF). “I worked out there were over 600 classical concerts happening in Cambridge in one year. About 8-10% were professional, so there’s a lot of amateur and student music-making happening. Cambridge Music Festival aims to add to the higher-quality end of things.” The festival distinguishes itself by offering the chance to hear extraordinary music, performed by artists who are exceptional within their field. There are some huge names to look out for, including pianist Jan Lisiecki, who despite being under 30, has held a major recording contract for over ten years, and has been performing professionally for almost 20. He will play works by Beethoven and Mozart, alongside the Academy of St Martin in the Fields on 30 September. Later in autumn, world- class cellist Steven Isserlis returns to CMF, along with Connie Shih, for a performance of deeply romantic works by Mendelssohn, Chopin and more on 8 November. We can also look forward to appearances by the sensational Sheku Kanneh-Mason, BBC Young Musician Martin James Bartlett and tenor Ben Johnson, winner of the audience prize at the Cardiff Singer of the World in 2013. As well as enticing quality acts, the festival also takes pride in its innovative programming – providing the chance to hear music you might not find anywhere else. One such work is 8 Hands , a highly anticipated performance written for four pianists, with compositions by Bushra El-Turk, Unsuk Chin, Anna Meredith, Graham Fitkin and others. “We like to introduce audiences to music that is slightly unusual, such as 8 Hands , which is really attractive, dramatic and visually impressive to watch,” enthuses Justin.
Another novel addition to the programme is a sound and light projection on the side of the Senate House, accompanied by a pre-recorded rendition of Camille Saint-Saëns’ musical suite, Carnival of the Animals , by the illustrious Kanneh- Mason family. The splendid white walls of the landmark building will be bathed in colour, with animalesque animations by light installation specialists Novak, based on artworks created by local schoolchildren during workshops with artist Hilary Cox Condron. The hope is that these children will have an opportunity to tread its cobbled streets and see their work in shining lights. More broadly, the festival aims to open up seemingly inaccessible spaces. “I walk past colleges and look in through the gates, and see all these beautiful squares with lawns and stunning architecture, but I won’t go in unless I have good reason to,” observes Justin. “I think a lot of people feel that way.” Vitally, CMF aims to draw people to Cambridge’s centre and engage them in spectacular music, performed live. Having made the conscious decision not to move online during the pandemic, this year’s festival will be entirely in person, and Justin is looking forward to gathering alongside people once more. “I cannot emphasise enough the importance of experiencing music live, in the presence of others. When you hear live music, you physically feel it. It can cast a really magical atmosphere.” To see the programme and book tickets, head to cambridgemusicfestival.co.uk
14 SEPTEMBER 2022 CAMBSEDITION.CO.UK
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