'I LEARNT SO MUCH FROM ZAKIR'

Flautist Katherine Bicknell talks about working with tabla maestro Ustad Zakir Hussain ahead of her performance in the city next month

Katherine Bicknell started playing the flute at the age of nine. Inspired by her aunt, a professional baroque flautist, she taught herself the recorder (a woodwind musical instrument) when she was six. On the suggestion of another aunt, a professional viola player, she applied for the Royal College of Music Junior Department, London, UK, where she studied for five years. Surrounded by friends and family who were musicians, Bicknell says she always knew she wanted to be a flautist. The artiste is all set to perform at the Symphony Orchestra of India (SOI) Autumn 2018 season. Excerpts from an interview:

What has been your most interesting work experience so far?

I have been lucky enough to tour the world, playing in the best concert halls, from the brand new Elbphilharmonie (Hamburg, Germany) and the Lincoln Center for the Performing Arts (New York City, USA) to the Concertgebouw (Amsterdam, Netherlands) and Symphony Hall (Birmingham, UK). I have played Mahler’s Symphony No 2 to 10,000 people in Mexico and performed in the Golden and Diamond Jubilees for the Queen, broadcast to over 50 million people across the world. I can’t pick one highlight, there are so many, and every day is a different and exciting experience.

Are there any difficulties peculiarly faced by orchestra musicians?

Your sight-reading (reading and playing music from sheet music, without preparation) has to be impeccable. A lot of the work I do in orchestras is very last minute. Sometimes, I get no rehearsal time at all. I have been in several situations where I have had to sight-read live on TV or radio and there is no room for error. It can be scary, but I thrive on it.

How is being part of a professional orchestra different from other musicians such as those who work with a band?

Western classical music is complex. We have 500 years of music from thousands of composers from many different countries, cultures and backgrounds. Playing in an orchestra and accessing the depth and wealth of this wonderful music means you have to work as a team. An orchestra is an amazing family, sometimes a 100 people strong, all listening, breathing, living the music at the same moment and bringing it to an audience.

How is performing for live audience different from a recording studio experience?

The recordings I do are often very stressful. We record music for entire TV series, soundtracks and adverts in a matter of hours. Again, your sight-reading has to be perfect. Sometimes there is only time for one take. Performing for a live audience is completely different. It fascinates me how much an audience can affect a performance. It’s not just the musicians that have to work; the audience has to put in effort into listening, absorbing, focusing and responding.

Do you still go through performance jitters?

I certainly used to when I was young. I love what I do so much that nerves are just in the background as an energy boost of adrenaline.

Who are the dream artistes that you have had the chance to work with so far? How was your experience with them?

So many wonderful musicians and friends! Playing Mahler 6 and Shostakovich 8 with Bernard Haitink (Dutch conductor), Beethoven 9 at the BBC Proms with Simon O’Neill (Kiwi tenor), performing with Zakir Hussain (Indian tabla maestro) and recording with Polyphony (English choir) are some. And most recently, playing in sections with my incredible students, two of whom graduated from the Royal Academy of Music (London, UK) this year.

What are the noticeable changes in the western classical music scene of India and of the world? Is there room for improvement in any area?

I have noticed that the western classical music scene is growing in India. There are wonderful projects in Goa, Hyderabad and Delhi, which I hear a lot about. Official recognition is vital and so is the opportunity for all children to learn an instrument, be it Indian or Western, no matter what their background is. Instrumental lessons are not widely available in the UK anymore. I do many education projects in schools and there is a huge difference between the children that have lessons and those that don’t.

What are your thoughts on fusion music? Are you for or against it?

One of the highlights of my career was working with Zakir. I learnt so much from him — his energy, love of music, enjoyment of performing. To learn from a system of music so different from your own can only be a good thing.

What is your advice to aspiring musicians?

Practise! Find a teacher that you admire. Listen to music. Be a perfectionist. Don’t give up. Be humble. Learning an instrument improves discipline, listening, confidence, numeracy and language in an enjoyable way. There are no negatives.