{"id":43157,"date":"2024-05-27T16:07:34","date_gmt":"2024-05-27T14:07:34","guid":{"rendered":"http:\/\/01ec9a67-0c1e-499f-bcb5-6f594bccf77c"},"modified":"2024-05-27T16:40:11","modified_gmt":"2024-05-27T14:40:11","slug":"timothy-ridout-a-guide-to-the-brilliant-british-viola-player-youll-see-at-the-2024-bbc-proms","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/timothy-ridout-a-guide-to-the-brilliant-british-viola-player-youll-see-at-the-2024-bbc-proms\/","title":{"rendered":"Timothy Ridout: a guide to the brilliant British viola player you&#8217;ll see at the 2024 BBC Proms"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Charlotte Smith\n      <\/p><p class=\"rssbyline\">Published: Monday, 27 May 2024 at 14:07 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Here&#8217;s an introduction to the brilliant British viola player Timothy Ridout, who puts in an appearance at the <strong><a href=\"https:\/\/www.classical-music.com\/bbc-proms\/2024-bbc-proms-listings\">2024 BBC Proms<\/a><\/strong> with a performance of Mozart&#8217;s luminous Sinfonia Concertante alongside violinist Clara-Jumi Kang.<\/p><h2 class=\"wp-block-heading\" id=\"h-who-is-timothy-ridout\">Who is Timothy Ridout?<\/h2><p>It\u2019s the singing, expressive nature of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/viola-how-to-play-tune-clean-beginners\">viola<\/a><\/strong> that most interests Timothy Ridout. Rare among his peers as a violist who didn\u2019t transition to the instrument from the ubiquitous violin, the 27-year-old BBC New Generation Artist began his life as a singer, indulging in everything from youth choirs to musical theatre productions \u2013 including a phase in childhood when he enjoyed performing Elvis Presley songs. <\/p><p>Along the way he began viola lessons, after hearing a peripatetic teacher perform <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/williams-john\">John Williams<\/a><\/strong>\u2019 <em>Harry Potter<\/em> theme at his school, but it wasn\u2019t until age 13 or 14, as his breaking voice was becoming more unpredictable, that he became serious about the instrument, aware that he could \u2018sing\u2019 through it.<\/p><script src=\"https:\/\/cdn.jwplayer.com\/players\/YCjcY8vg-lqFafnwo.js\"\/><p>\u2018I think of playing the viola in completely the same vein as expressing myself vocally, and that's what actually drove me to practise so much \u2013 to try to emulate that sound, and to achieve the freedom of singing on the viola,\u2019 he explains.<\/p><h3 class=\"wp-block-heading\" id=\"h-where-did-he-study\">Where did he study?<\/h3><p>Prior to this epiphany, Ridout held little interest for the instrument, by his own admission practising inconsistently. But once the spark was lit, there was no stopping an obsession that led him through a rapid and hugely formative five years. <\/p><p>FIrst there was study at the Royal Academy of Music Junior Department, under Jonathan Barrett; then a place as principal viola of the National Youth Orchestra of Great Britain. He then to quit school aged 17 to begin a four-year degree at the Academy proper studying with Martin Outram (\u2018Despite being quite a good school student, I had no interest in the different subjects any more \u2013 I just wanted to learn about music\u2019). <\/p><p>At age 19, Ridout won the Cecil Aronowitz Viola Competition. That was followed two short years later by an even higher profile win at the Lionel Tertis Competition, and further study with Nobuko Imai at the Kronberg Academy (\u2018It was her attitude as a human being and as a musician that I really took away from her\u2019).<\/p><h2 class=\"wp-block-heading\" id=\"h-which-works-does-timothy-ridout-perform\">Which works does Timothy Ridout perform? <\/h2><p>Now a passionate advocate for an instrument that despite numerous outstanding champions over the last 100 years continues in some quarters to be <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/the-10-best-viola-jokes\">unfairly dismissed<\/a><\/strong>, Ridout is determined to draw attention to the viola\u2019s warm timbres. Following 2021\u2019s <em>A Poet\u2019s Love<\/em>, a recording of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/sergey-prokofiev\">Prokofiev<\/a><\/strong> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/robert-schumann\">Schumann<\/a><\/strong> vocal transcriptions with pianist Frank Dupree, in 2023 Ridout released a recording of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/edward-elgar\">Elgar<\/a><\/strong>\u2019s famous <strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/six-of-the-best-recordings-of-elgars-cello-concerto\">Cello Concerto<\/a><\/strong> performed on the viola, alongside Ernest Bloch\u2019s Suite for Viola and Orchestra with the BBC Symphony Orchestra conducted by Martyn Brabbins on Harmonia Mundi.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-viola-music\">Best viola music: 12 great works<\/a><\/strong><\/li><\/ul><p>So why record another transcription, particularly when there is a wealth of little-known viola repertoire ripe for the picking? \u2018I hope to enable more people to discover the viola,\u2019 he explains simply. \u2018It's a beautiful instrument, and I'll be very happy if people stumble across these recordings and listen to the viola, an instrument they might not otherwise have explored, because of the piece. There are reams of original viola repertoire that I want to record as well in the future. But I'm particularly excited about introducing this transcription.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-following-in-lionel-tertis-s-footsteps\">Following in Lionel Tertis's footsteps<\/h3><p>Far from being a blasphemous appropriation of a much-loved concerto, the transcription performed by Timothy Ridout was penned in 1929 by legendary British violist Lionel Tertis \u2013 namesake of the competition which in many ways sealed Ridout\u2019s reputation \u2013 and was endorsed by Elgar himself as \u2018admirably done\u2019 and \u2018fully effective on the instrument\u2019.<\/p><ul><li><strong>Lionel Tertis featured high in our list of the<\/strong> <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/best-viola-players\">greatest viola players of all time<\/a><\/strong><\/li><\/ul><p>\u2018All of the melodies are in very nice registers for the viola,\u2019 Ridout confirms. \u2018A lot of it stays in the same octave, and by tuning the bottom C string down to a B flat, the third movement is completely original. Because the notes aren\u2019t jumping about the fingerboard as they do on the cello, there\u2019s a certain ease to the viola version, which makes it sparkle and dance \u2013 it\u2019s very elegant. <\/p><figure class=\"wp-block-image size-full\"><figcaption class=\"wp-element-caption\">'I hope to enable more people to discover the viola': Timothy Ridout is on a mission to record lesser known repertoire - John Millar<\/figcaption><\/figure><p>'Of course, I have that depth of cello sound in my ear \u2013 and the viola is never going to have exactly the same depth. But for elements lost, others are gained. I first played it in concert around a year before the recording and getting to play that iconic, climactic run in the first rehearsal was the most fantastic feeling.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-we-do-have-less-music-by-famous-composers\">\u2018We do have less music by famous composers'<\/h3><p>Despite the Tertis transcription being in existence for almost a century, there have been very few recordings of the arrangement \u2013 Ridout has heard just one other. This new recording, then, will be an opportunity for many to hear it for the first time. Through this, moreover, Timothy Ridout hopes to develop a better understanding of the viola. <\/p><p>\u2018We do have less music by famous composers, despite having a great repertoire,\u2019 he admits. \u2018So, it's important for people to hear the instrument in familiar settings. Arrangements, historically, have been very important for viola players.\u2019 Though he\u2019s also quick to point out that in just the last year he\u2019s performed no less than 17 different works for solo viola and orchestra, and \u2018that\u2019s by no means an exhaustive list\u2019.<\/p><p>Indeed, Ridout\u2019s list of repertoire for recent and forthcoming concert engagements is hugely varied, ranging from crowd-pleasing \u2018bums-on-seats\u2019 works like <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/hector-berlioz\">Berlioz<\/a><\/strong>'s <em>Harold in Italy<\/em> \u2013 live performances of which formed the basis of a recent recording on Erato with the Orchestre Philharmonique de Strasbourg conducted by John Nelson \u2013 and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mozart\">Mozart<\/a><\/strong>\u2019s graceful <em><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/mozart-sinfonia-concertante-guide\"><strong>Sinfonia Concertante<\/strong><\/a><\/em> with the likes of Janine Jansen and Johann Dalene, to Mikl\u00f3s R\u00f3zsa\u2019s Viola Concerto in Frankfurt and Switzerland, and Sadao Bekku\u2019s\u2019s Viola Concerto in Japan.<\/p><h3 class=\"wp-block-heading\" id=\"h-how-a-busy-performer-manages-his-time\">How a busy performer manages his time<\/h3><p>A quick scan of his schedule is headache-inducing, but Ridout approaches the whirlwind of engagements with gusto, snatching opportunities to practise in hotels and airport lounges whenever he can. \u2018I recently used an empty communal sleeping room during a flight layover to do some practice \u2013 or sometimes empty train carriages, especially those little compartments on European trains, are good for practising,\u2019 he reveals matter-of-factly. <\/p><p>\u2018I also read scores a lot on trains and planes. It\u2019s actually a great way to memorise music, noticing small features and strengthening the detail of the piece in your mind away from your instrument.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Max Bruch (1838-1920) - Romanze Op. 85 - Timothy Ridout, viola \/ Megumi Hashiba, piano\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/t7AdVigxORI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>As for many busy string players, the days of slow, luxurious scale and etude practice are long gone, but Timothy Ridout still sets aside time for scales each day, using a technique he inherited from Nobuko Imai. \u2018If you're in a dressing room and you've got five minutes of warming up time before going on stage, playing through a lot of different keys quite quickly and fluently makes you feel like you've hit every note on the instrument,\u2019 he says. \u2018I believe Nobuko heard Josef Szigeti in a dressing room doing something similar years ago and adapted it for herself.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-chamber-music-commitments\">Chamber music commitments<\/h3><p>Equally important to the solo engagements in Ridout\u2019s concert schedule are his many <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-chamber-music\">chamber music<\/a><\/strong> commitments, which this season include a three-day curation at the Belfast Festival, affording him the opportunity to collaborate with his wife, fellow violist Ting-Ru Lai, plus his Tayber Trio, formed with fellow \u2018Tims\u2019, cellist Tim Posner and violinist Tim Crawford at the age of 14 at Junior Academy, and with whom he will perform Mozart\u2019s Divertimento in E flat.<\/p><p>Also looming large in his schedule are engagements with the Nash Ensemble: \u2018I grew up listening to them performing at Wigmore Hall as a teenager and they were idols of mine. I couldn't believe it when they asked me to play second viola in one of Mozart\u2019s string quintets several years ago,\u2019 he marvels. \u2018Since then, I\u2019ve done a few projects every year with them. Everyone is so experienced, so things come together very quickly, and that leaves time for a lot of spontaneity on stage.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-all-musicians-should-play-chamber-music\">'All<em> <\/em>musicians should play chamber music\u2019<\/h3><p>I ask him whether chamber music is as important to a violist\u2019s career today as it might have been 20 or 30 years ago, when the idea of a \u2018viola soloist\u2019 was less accepted. \u2018Actually, I think it's important for <em>all <\/em>musicians to play chamber music,\u2019 he counters. \u2018It\u2019s vital for dialogue and communication, which is essential to all music making. <\/p><p>'It was one of the things that inspired me to be a musician \u2013 going on a local chamber music course and playing a <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-string-quartet\">string quartet<\/a><\/strong> by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/joseph-haydn-2\">Haydn<\/a><\/strong> with three fellow musicians who were so much more advanced than I was. As a violist you can really manipulate the direction of travel from the centre of the harmony \u2013 and occasionally you get a solo line as well!\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"[NEW RELEASE] A Lionel Tertis Celebration | Timothy Ridout, Frank Dupree | Praeludium\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/9v9-y2YJaWM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Such self-deprecating humour is part and parcel with the role of the violist \u2013 sitting midway between the high flying (often highly-strung) violinist, and the moody, richly sonorous cellist. But at its heart, the viola is a deeply balanced and chameleonic instrument, for it must adapt, perhaps more than any of its stringed relatives, to the players around it. The fact that Timothy Ridout has already played the <em>Sinfonia Concertante<\/em> with at least 15 different violinists in professional performances \u2013 beginning with Maxim Vengerov, no less \u2013 is testament to his instrument\u2019s special ability to morph to its surroundings.\u00a0<\/p><h3 class=\"wp-block-heading\" id=\"h-as-a-viola-player-you-re-forced-to-change\">'As a viola player, you're forced to change'<\/h3><p>\u2018My role is a balance between adapting to the violinist and keeping my own identity,\u2019 he explains, \u2018and it\u2019s the same with all chamber music. I performed <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/arnold-schoenberg\">Schoenberg<\/a><\/strong>'s <em>Verkl\u00e4rte Nacht<\/em> last year with Isabelle Faust playing the first violin, and this year I played it with Janine Jansen in the same role. Both are absolute gods for me, each highly expressive, but with completely different attitudes to vibrato and to the instrument.<\/p><p>\u2018One of the really interesting things about being a viola player, and undertaking so many collaborations, is that you're forced to change \u2013 which is a great thing artistically. I hope I will keep that sense of freedom throughout my life as I play these pieces, not for the tenth, but for the hundredth time.\u2019 With such a mature attitude, this is surely inevitable.<\/p><h2 class=\"wp-block-heading\" id=\"h-what-instrument-does-timothy-ridout-play\">What instrument does Timothy Ridout play?<\/h2><p>'I play on a viola by Peregrino di Zanetto c.1565\u201375, on loan through Beare\u2019s International Violin Society,' Ridout explains. 'In the spring of 2016 I reached out to them as my current instrument \u2013 a beautiful 1677 viola by Giovanni Grancino \u2013 had been loaned to me by the Royal Academy, and as I was close to graduating I knew I would have to give it back eventually. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Timothy Ridout (viola) and Chiao-Ying Chang (piano) play Sitt, Rubinstein and Schumann\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/ZojNmRsib88?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>'Beare\u2019s were wonderful \u2013 they laid out a whole table of amazing instruments, many of them by more famous makers than Zanetto. This, though, was the viola that stood out as being the most interesting and having the most depth.<\/p><p>'It was certainly larger than I had imagined. It\u2019s over 17 inches and a standard viola is around 16 and a bit. So I had to adjust to it in the beginning, but now all other instruments feel small! What I love most is the tone \u2013 some violas with a powerful or earthy C string have quite a nasal A string, which I don\u2019t particularly like. But this instrument has an earthy C string <em>and<\/em> an open, beautiful A string. <\/p><p>'What\u2019s more, its sound is infinitely varied \u2013 as I play, more and more possibilities open up. Even after six-and-a-half years I\u2019m still discovering new and interesting palettes.'<\/p><p>Pics: John Millar<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Charlotte Smith Published: Monday, 27 May 2024 at 14:07 PM Here&#8217;s an introduction to the brilliant British viola player Timothy Ridout, who puts in an appearance at the 2024 BBC Proms with a performance of Mozart&#8217;s luminous Sinfonia Concertante alongside violinist Clara-Jumi Kang. Who is Timothy Ridout? 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