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International Trumpet Guild Journal Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD June 2014 • Page 6 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. http://www.trumpetguild.org Please retain this cover sheet with printed document. FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD lison Balsom is one of the most highly and she released her debut album, Music for Trumpet and sought-after trumpet soloists alive today. Organ, with EMI Classics in 2002. In 2005 , she released her Last fall, she was named Gramophone second recording, Bach Works for Trumpet, on the EMI Clas - Awards Artist of the Year 2013 , an amazing accomplishment sics label. In 2006 , she won “Young British Classical Per - for any musician, but especially noteworthy as a trumpet former” at the 2006 Classical BRIT Awards and was awarded player. She has performed as soloist with orchestras all over the “Classic FM Listeners’ Choice Award” at the Classic FM the world and recently completed a highly acclaimed series of Gramophone Awards. She won “Female Artist of the Year” at performances of Gabriel, a play using the music of The Fairy the 2009 and 2011 Classical BRIT Awards. Her third album Queen and other works by Henry Purcell, in which she per - with EMI , entitled Caprice, was released in September 2006 formed on period instruments with The English Concert as and was awarded “Solo CD of the Year 2006 ” by Brass Band part of the 2013 summer season at Shakespeare’s Globe The - World magazine. She was a soloist at the 2009 Last Night of atre in London. the Proms, performing, among other pieces, Haydn’s Trum - Balsom was born in 1978 in Royston, Hertfordshire, Eng - pet Concerto with the BBC Symphony Orchestra and an land, and played in the Royston Town Band as a young stu - arrangement of George Gershwin’s “They Can’t Take That dent. Early on, she was inspired by a concert she attended by Away from Me” with mezzo-soprano Sarah Connolly. Håkan Hardenberger; and she later attended the Guildhall Balsom has served as principal trumpet of the London School of Music and Drama, the Royal Scottish Academy of Chamber Orchestra, and she is currently a Visiting Professor Music and Drama, and the Conservatoire de Paris. She also of Trumpet at the Guildhall School of Music and Drama. It studied with Hardenberger from 2001 to 2004 . was a rare treat to have the opportunity to talk with her in Balsom is a former BBC Radio 3 New Generation Artist, October. Wood: Thank you so much for agreeing to take time out of your your technique, your repertoire, your stage performance, or busy schedule to speak with me and the members of the Interna - whatever; but I never, ever questioned doing it. So I am very tional Trumpet Guild! We really appreciate it. Congratulations on privileged and very lucky to have been able to make it into a your many awards and accomplishments, especially your most profession. recent Gramophone Artist of the Year Award! Your fans in the Wood: You have spoken often about how supportive your par - trumpet world are extremely proud of and excited for you. ents were when you were growing up. Could you talk about them Balsom: Thank you so much! It’s a great honor, and I feel and their influence on you as a musician and person? like the most important thing about it is that it’s a real vote of Balsom: My parents aren’t musicians themselves. They were confidence for the trumpet, which is great. supportive in that they drove me to my rehearsals all the time Wood: At what point in your life did you realize that trumpet and that kind of thing, but they didn’t make me do it. They and music making were going to become your career, your liveli - didn’t tell me to play an instrument, and they didn’t push me hood? to practice. The driving force of my playing never came from Balsom: It was a really gradual thing. I started the trumpet them. It always came from me, and I think that’s really impor - at age seven, and it was something I immediately fell in love tant—especially with young kids—because I think it has to with. I’ve always just absolutely loved come from within you . Otherwise it’s the instrument and the sound, and I just not fun, it’s not authentic, and had great teaching right from the start. “I didn’t know if I could make a you don’t really mean it as much. So, I I never really knew until I was actually think it’s fantastic that my parents right in the thick of it—doing it and living at it, but I knew I would exposed me to opportunities where I making a living at it—whether or not it never do anything else.” found how to take it to the next stage. could be my living. You never really I played in some great bands and or - know—it’s a tough industry, of course, chestras that had great teaching. My to be a performer—but it was definitely something I never parents certainly sacrificed a lot to send me to my music les - questioned. I didn’t know if I could make a living at it, but I sons, which were in London on Saturdays, and that was expen - knew I would never do anything else. I knew the trumpet was sive for them. So they supported me in that way, but they also always the instrument that was for me, and I never, ever ques - took a back-seat role, knowing that it was my thing—some - tioned that I should maybe play another instrument or that I thing they couldn’t actually practically help with, but just sup - should stop playing, even when it got really hard. You know, port the fact that I loved it. And I think that was why I carried sometimes it’s really hard, and you hit a brick wall with maybe on, really, because they were just there in the background, pay - ing for all the expensive things about it. Background photo © Mat Hennek Wood: What was it like studying with Håkan Hardenberger? © 2014 International Trumpet Guild June 2014 / ITG Journal 7 Balsom: It was a life-changing experience. It was a magical I knew, as I was saying them, had come straight from Håkan. experience, because he intellectually understands very chal - So he has influenced me in many, many ways, and I owe him lenging contemporary music and understands what makes a so much. But he also taught me how to teach myself and how really great trumpet player and a really great musician. He’s to find my own voice. He taught me not to copy other great able to articulate that and explain trumpet players—because, of it, and I just clicked with him. course, then it becomes a pale He was someone I looked up to “Håkan has influenced me in many, imitation of them—but just to from a very early age—just his many ways, and I owe him so much. find my own voice. It doesn’t sound, the way he made music, really work unless you find and the way he made the trum - But he also taught me how to teach something that sounds authen - pet seem to me. So when I even - tic and unique to you. tually had lessons with him, I felt myself and how to find my own voice.” Wood: While you don’t be - like I knew where he came from lieve in copying other players, do already, and that helped enormously. I felt a real connection you have your idols of the trumpet world who have served as role with where he came from as a musician, and I just learned so models to you? much from him about many things: discipline, sound produc - Balsom: Absolutely.
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