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Anna Goldbeck-Wood
Jonathan Storey was awarded the position of spring term concerto soloist, and on Wednesday 18 February (week six) he will perform Prokofiev’s Piano Concerto No. 3 in C, Op. 36, accompanied by the University of York Chamber Orchestra under John Stringer.The concerto was originally given Jonathan to learn by his teacher at sixth-form College at Chethams School of Music, but he confesses not touching it until he began study in York. Looking back to what initially hooked him on the work, he recollects: ‘I was attracted to the sound world and variety of characters the piece evokes.’ The concerto has its roots in a set of unpublished theme and variations written by Prokofiev as early as 1913, which he later revisited and reworked when crafting the concerto that he completed in 1921; it is highly possible that the influence of these variations account for the concerto’s multiple characters. Indeed, when I ask Jonathan what he feels is the crux of his interpretation, he responds: ‘I guess in a way, I’m concerned with showing the juxtaposition of extremes of emotions and characters’.
Jonathan also divulges that, young and excitable, it was probably the work’s glamorous virtuosity that drew him in: ‘When I was younger and into that kind of thing, the virtuosity in both the piano and orchestra appealed.’ ‘It's quite sarcastic’, as, in his view, is most Prokofiev, ‘and in a strange way I am also attracted to that.’ Curious as to what he means by sarcastic, I dig deeper, learning that the work’s definitive motor rhythmic and toccata elements, and its grotesquely lyrical moments give it this quality.
This is not the first time Jonathan has appeared as a concerto soloist (nor will it be the last, we hope). At the age of just 16 Jonathan was chosen to perform Mozart’s Piano Concerto no. 21 with the New Tyneside Orchestra. When asked if he feels similarly about the experience, he responds: ‘It was a completely different kettle of fish, the piece.’ But one aspect of his preparation – which musicians the world over surely share – is a certain loneliness: ‘it’s strange to be preparing for it alone’. This feeling is undoubtedly accentuated when preparing as fundamentally dialogical a work as a concerto, on, one of the most isolating of instruments, the piano. When I ask Jonathan how he prepared for the audition with all of the orchestral parts missing, he grins: ‘it’s a case of singing along with the piano, really!’
As with my previous interview with last term’s concerto soloist, Vicky Bernath, I couldn’t help asking about performance nerves (my interest, testament to the anxious performer in me as much as anything else, I’m sure) to which Jonathan responds thoughtfully: ‘You’ve just got to switch off, remember to breathe and listen’.I sense that Jonathan will be a cool, calm and collected performer. He describes the concerto audition experience as ‘quite relaxed’, suggesting to me that he’s up to the feat of nerves that is the reality of giving a concerto. Although initially uneasy at the prospect of having just two rehearsals with the orchestra prior to the concert, his account was that the first rehearsal ‘went well’; promising of a polished performance.
Since his audition last year, Jonathan has been, understandably, more worried about preparations for music college auditions (RCM and RNCM), for which he prepared works including Prokofiev’s 7th Piano Sonata and Rachmaninov’s Etude Tableau. We offer our congratulations to Jonathan having recently been granted an unconditional position for postgraduate study at his first choice, the RCM, where he will continue study with his current piano teacher, Leon McCawley.
Despite having spent the past three years studying here full time, Jonathan has never taken his piano lessons in York. Having established a successful working relationship with Bernard Roberts during his time at Chethams, Jonathan made the decision commute to Manchester for tuition. But when Bernard suffered a stroke in Jonathan’s first year, and accustomed to commuting, he took up lessons with Leon McCawley at the Royal College of Music in London, on Bernard’s recommendation.
Jonathan also occasionally takes lessons with David Murray, head of keyboard studies at the Sage, Gateshead, but not Ashley Wass, as mistakenly printed in the concerts brochure. From his fond speaking of his mentors, I sense that all three have played an important role in shaping the pianist he has become. Intrigued as to how and why, I ask Jonathan which single piece of wisdom, if he had to select just one, he would take from each: ‘Very difficult question!’ he responds, but continues with the following shortlist, at which point our mugs are empty!
How to bring out character (David Murray)
Enjoy and love what you do, don't be too precious (Bernard Roberts)
Have freedom and flexibility (Leon McCawley)
After the event, YUMU would like to congratulate Jonathan Storey on a very successful and exciting performance; and for taking the time for this interview. Once again YUMU congratulates Jonathan on his place at the RCM and wishes him all the best for the future!
All images copyright Michael Brunsden Photography 2009