It is unusual to play both modern and period horns at a professional level. Do you encourage students of modern horn to learn hand-horn techniques?
Nowadays most modern horn players have at least dabbled in playing the natural horn, but swapping between the two all the time is rare. Period instruments have a different resistance (and hence way of blowing), but with enough experience of switching between the two it is possible to enjoy both types of horn playing. Plus, there are amazing things going on in the realm of early music, and I find it endlessly inspiring. So I try to pass on this enthusiasm to my students and always encourage them to play the natural horn.
At conservatoire level, is horn teaching more concerned with technique or with style? What fundamental skills would you expect a player to have mastered before beginning elite training?
I see my role more in terms of passing on style than technique. It is true that much brass playing relies on acquiring a strong embouchure. Various technical exercises are necessary to develop this, and the conservatoire is the ideal place to do it. As to fundamental skills, each student has their own strengths and weaknesses when they arrive. If they have a good ear and a basic rapport with the horn to begin with, they might go really far.
What experiences from your student years have proved beneficial now that you are a teacher?
I studied at the Guildhall and at the Hochschule für Musik Hanns Eisler in Berlin. My professors at each were incredibly motivating. In London everyone was very encouraging and in Berlin my teacher was quite terrifying! I wish I could be more like the latter, as it did me a lot of good, but I'm actually rather soft! My experience in Berlin also taught me the importance of investing in the students – they need very specific help tailored to their situation, not a one-size-fits-all method.
You have played in orchestras in several European countries, including Austria, Holland and Switzerland. How did you adapt to the different performing styles and traditions?
Adapting to the style and sound of each orchestra is a challenge but also fun. I have been so lucky with the groups that have invited me to play with them. As I tell my students, if you really listen to what is going on around you then you will be fine – we should always adapt to and engage with the other players around us as in chamber music, no matter if it is a huge orchestra. Horn playing is still distinct in each country, although much less so than 50 years ago if recordings are anything to go by. Actually, horn playing is distinct between each orchestra, even between the London orchestras. So I try to fit in and at the same time play in a way that I like best. And hope I get asked back.
Are there any unusual concertos that you would like to perform, but have not yet had the chance?
It was a great privilege to perform unusual repertoire by Ethel Smyth, Charles Koechlin and others while I was on the BBC New Generation Artists scheme. There are still more pieces I would like to do, for example the concerto by Oliver Knussen. It's also nice to get another go at various concertos – Othmar Schoeck, the Ligeti Hamburg Concerto… the list is long. Perhaps one day I will manage a Mozart in one half and one of these in the second. Or maybe that's being a glutton for punishment.
