Highly respected London-based musician, Gavin Roberts, has stepped into the role of Brighton Festival Chorus Accompanist. He chats to BFC member Emma Gregg about empathy, collaboration, his love of Brahms and Star Wars – and the importance of thinking like a chameleon
Did you always want to become a professional musician, and how did the journey begin?
My music-making has pretty much always been connected with singing. I started singing classes on Saturday mornings at the age of 4, and before long I was trying to play songs on the piano, picking them out by ear.
I’ve always felt very lucky with my musical education; first as a chorister at Magdalen College, Oxford, an organ scholar at Caius in Cambridge, then studying piano accompaniment for my Master’s degree at Guildhall. Becoming a professional musician happened organically rather than as a conscious choice! I moved to London after university and gradually realised people seemed to be paying me to do what I’d always done.
Tell us a little about your multi-faceted career as a professor of music, pianist, organist, conductor, composer and artistic director. How do you weave these strands together, and what are your proudest achievements so far?
I’ve always loved doing lots of different things and collaborating with musicians and non-musicians alike. Every activity I engage in enriches everything else. Playing both piano and organ means I have to think in quite a chameleon-like way about my keyboard technique, and my conducting and teaching makes me reflect on my practice, and how to communicate effectively with others.
Song in the City (the charity that I founded in 2012) is all about connecting new communities and audiences with classical music. Through SITC, I’ve undertaken some of my most rewarding and challenging work, collaborating with the National Portrait Gallery, a Rambert choreographer, a fashion designer, and poets from the mental health charity MIND; we made new songs from their words. I like to think that placing my work in unusual contexts helps make me a better musician.
What drew you to BFC, and what are you enjoying most about your role with the chorus?
I have long known about the amazing work and high standards of BFC, as well as its illustrious history. I think I was especially attracted by the opportunity to play some of the larger symphonic repertoire. I love that BFC always has several projects on the go, and that it takes on some pretty unusual pieces, such as the John Luther Adams Vespers of the Blessed Earth that it will perform at the Brighton Festival in May 2025. I’ve enjoyed leading some sectional rehearsals and learning the music alongside everyone else!
I also believe in the importance of amateur music making in this country. It’s the backbone of our musical eco-system. I think we all became aware of how important choirs are during the pandemic! I love working with choirs of all standards and being part of this special musical community.
As a pianist, would you say you have a trademark style or philosophy?
I think that a collaborative pianist is the person who should quietly (or noisily if required) have a positive influence over the quality of experience everyone else in the room. Empathy is crucial, and being always attentive to who in the room needs support at any one moment.
When playing for choirs, I have always enjoyed the challenge of playing for a variety of conductors. I think their job is often much harder than it looks. Being a friendly and positive presence goes a long way, even when things get stressful!
Can you single out a personal favourite piece or genre of choral music, either to perform or to listen to?
Whatever I am playing or listening to at the time! It’s really difficult to single out one genre of choral music. I am always looking forward, excited about the next new challenge.
I love working with composers to bring new work into the world, and when performing ‘older’ music I am always more interested in what it has to say today, rather than obsessing over how it might have sounded in the past.
If I really had to choose, I think my desert island choral pieces would be Brahms’ Requiem or Haydn’s Creation. It’s partly because of my memories of particular performances. I performed the Brahms at the Dartington Festival in the piano duet version, with musical accompaniment and improvised interludes played by the amazing folk band ZRI. And I’ll never forget a performance of the Haydn with Dame Harriet Walter reading the recitatives aloud – I can never hear the voice of God in a different way now!
What non-music-related activities keep you busy in your free time?
I probably prefer theatre to concerts or the opera. I live in Elephant and Castle in London, so I am close to so many arts venues, galleries and museums. I also love reading and watching films, from Hitchcock to Star Wars. I have a large screen and projector at home. I try to keep myself fit too, cycling around London, but also running and walking, which is always a great way to clear my head!
Finally, if you had the chance to invite any three great musicians (past or present) to dinner, who would you choose and why?
I think three musical heroes that have been present for me since my childhood are the pianist Marta Argerich (she is now 83, and still playing with such youthful energy), Madonna, who is also still going, and Schubert, whose songs I think are some of the most moving pieces ever written. I would probably be too nervous to ask them anything over dinner, but I would love to see what they made of each other!