Joanna MacGregor
37 quotes
Biography
"I didn't go to school until I was 11. On your own you develop imagination."
"As I get older I realise that start has made me rather, well, different. It set down a tremendous template for the rest of my life. I grew up believing the piano is a great instrument because you can play everything on it."
"My education was very intensive and I applied that training later on to playing the piano. I had always played, but having no one to compare myself to, I had no idea if I was any good."
"I can see it must seem strange, but to me it was normality. Really, my memory of my childhood is that the sun always shone and I spent all my time playing in the park. Since then I've discovered that some of the great musicians I admire - Charles Ives, John Cage, even Bob Dylan - had quite unconventional childhoods." Evening Standard - 04/07/2002"
"Not only was I fiddling around at the keyboard but there were all these other children of all backgrounds wanting to play every sort of music bits of classical, jazz, pop, improvisation." The Guardian - 26/05/2000"
"School was strange, rather amusing - with a teacher standing at the front telling you what to write. The camaraderie was interesting. I tend to remember the things you can't recreate on your own - queuing up for your dinner, learning team games, which were a complete mystery to me. I remember having to pretend I knew how to play hockey, that kind of thing." The Mail on Sunday - 06/02/2000"
"What was most odd was that teachers would tell you what to do and what to think and they would write everything on a blackboard and you would copy it all down." The Evening Standard - 04/07/2002"
"I wasn't part of that hothouse thing. I didn't go to the Yehudi Menuhin school. I grew up with the idea of trying to make music available to people of all abilities." The Guardian - 26/05/2000"
"I'm trained quite classically but quite freely by my mum, so even when I was little, I had this rather freewheeling approach. When I trained more seriously in my late teens at college, it was: here are the notes, here is what is expected of you. I didn't mind because you need technique, particularly on the piano, which requires a lot of stamina. And it was natural that once I had done that, I would want to go beyond classical music. How can you be yourself if all you do is reproduce someone else's notes?" The Guardian - 05/10/2001"
"I used to do Grade Exams, but my mum will tell you I didn't over-practise for them at all. I never practised, just played. I loved to play. I loved to play a lot* If one mistake is made with young children, it is trying to make them practise rather than just letting them play.' She played hymns at church ('My parents were very religious when we were young') and 'all the Top of the Pops number ones next morning at school. Things like David Bowie's "Life On Mars". That's got a very good piano part. And ever since I was six or seven years old, I always liked Bach - that's why I recorded the Anna Magdalene Notebook, little 16-bar preludes that Bach wrote for children.' I was amazed at how serious the other kids were about the whole thing, much more disciplined than I was, and with this attitude of "Ooh, I can't play sports because I might hurt my fingers" or "I can't listen to pop music because that's really terrible."
"I was given so much advice. About how my hair should be, what I should wear, which competitions I should enter, what stuff I should play. None of that was relevant for me. I just had a kind of instinct."
"I've played Bach since I was a little girl. I can't let a day go by without playing him. He's so witty and secretive and funny and mathematical and brilliant."
"I got my apprenticeship, with the Young Concert Artists Trust, playing all these warhorses in Raymond Gubbay concerts. Some are not for me anymore, but I'd still play the Grieg at the drop of a hat; it's so fresh. I'm very careful to keep on playing a lot of mainstream repertoire. I'm not into being the court jester who just does the wacky stuff. Making the connections and taking people down new paths is what I enjoy."
"As a musician you can cover everything. I'm not just a concert pianist."
"Once you start cancelling, there's always something which is not quite right."
"Memory is the fear, and I play most of my repertoire from memory."
"I quite like shutting the door, putting the answering machine on and sitting at the piano for six or seven hours."
"If you want a nine-to-five existence with weekends off then don't be a musician. I wouldn't be doing what I'm doing now if I had children. But it hasn't worked out like that."
"I know I get up people's noses," "Everyone wants to pigeonhole you. Early on in my career I somehow got labelled 'Bach, John Cage and a bit of jazz'. But the fact that I love to play Beethoven, too, really infuriates people. It doesn't fit. They can't make sense of it. The received wisdom is that you can't possibly do all these things without it sounding terrible or crass or just plain wrong."
"I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here."
"I'm becoming very interested in non-Western things, and in Europe a lot of what's offered to me is the Western tradition I've grown up with. Now I've got to find a way out, but the problem is that the piano is just about as Western as you can get. The piano's my instrument, and I wouldn't want it any other way, but I'm gravitating quite naturally towards things that have developed my sense of rhythm. "I've come to all this incredible Indian classical music and its more modern formations late in the day; the Messiaen I've played has led me down that road, and I've been following my nose all the time."
"I want to move away from complexity. I've done my time as far as virtuosity and piles of notes are concerned. It's what puts me off a lot of contemporary classical music - there are so many notes. In fact, I think I'm moving away from classical music altogether. I'm not sure that in 10 years' time I'll be playing it at all."
"I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians."
"I have absolutely no difficulty in coming out and saying Bach and Beethoven are great composers. You must school young people into great classical music, but you must also allow them to hear other music as well. At one point classical music colonised the high ground. Now we're reaping the backlash for that."
"In a lot of classical playing there isn't much expressiveness: I don't hear a voice in the playing. What I really admire about jazz musicians is that they develop a sound early on and it's unique to them. Classical players are screened from that by always playing other people's notes."