theartsdesk Q&A: Conductor Sir John Eliot Gardiner | Classical music reviews, news & interviews
theartsdesk Q&A: Conductor Sir John Eliot Gardiner
On the eve of his 70th birthday the conductor talks Bach and taking concerts back to basics
It’s only fitting that Sir John Eliot Gardiner should be celebrating his 70th birthday with a concert in the Royal Albert Hall. That it should be a nine-hour marathon of a concert is not only fitting, but entirely predictable for a musician who has always kept one eye on the next and biggest challenge.
Not for this conductor the familiar or the conventional, a career spent in the safe, sequestered world of early music. Over almost 50 years Gardiner has balanced choral pilgrimages with opera productions, has conducted symphony orchestras and period ensembles, has founded his own record label and shepherded his performing groups through some of the toughest economic years classical music has faced.
But still the challenges keep coming. This year alone will see Gardiner completing the epic cycle of Bach recordings he began back in 2000, publishing his major new Bach biography for Penguin and presenting a new BBC documentary on the composer – as well, of course, as masterminding the Royal Albert Hall Bach marathon which will combine his own Monteverdi Choir and Orchestra with soloists for performances that range from solo works for organ and violin to the composer’s epic B Minor Mass. Bach has been the touchstone, the constant, in a career of astonishing breadth and unpredictability. But why does the conductor always return to this music, and what comes next after this milestone celebration?
ALEXANDRA COGHLAN: You’ve said previously that you always come back to Bach at crucial junctures and milestones in your life - can you talk me through a few?
JOHN ELIOT GARDINER: It really all starts with that picture on the wall [a reproduction of Elias Gottlob Haussmann’s famous portrait of Bach]. It’s one of only two authenticated portraits, and the original hung in my parents’ house when I was born. They got it from a refugee, Walter, who arrived on a bicycle in Dorset in 1936 with a rucksack, a guitar and this picture as a canvas rolled up. He knew my dad and asked him to look after it for him. Our house had a very low ceiling, so as a little boy I looked directly into Bach’s eyes as he hung on the landing. I couldn’t make head or tail of it; I loved his music, but I couldn’t reconcile it with the portrait which is detached and slightly forbidding. I passed that portrait every day of my childhood at the time when I was first learning Bach’s motets as a treble. Singing those motets, which I love to this day more than any other music, was my first introduction to the music
Were you singing these motets in a church context?
No, I was singing them with my family and friends. My parents were keen amateur musicians and all through the war years they used to sing the Byrd four-part and five-part masses alternately on Sundays with friends to keep their spirits up. I was allowed to join them as a treble and that’s how I got to know the music. It wasn’t until I went away to school that I realised that not everybody did that, and not everybody knew the Bach motets. That seemed very odd to me. It wasn’t at all precious though; my dad was very much a working farmer and used to sing at the top of his voice on his horse or his tractor, and although he loved polyphonic music as well as folksong, music was there very much to punctuate the agricultural year and to celebrate. He got very cross with me when I decided to become a professional musician. He thought that it was a terrible sell-out and a corrupting thing. But he came round to it just before he died, thank goodness. I learned an awful lot from him about the function of music, and how important it is as a musician to take not only time to prepare but also time to reflect after you’ve done a performance. All of us go straight from one gig to another and it’s not very healthy, but that’s just the way the industry runs.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Classical music
A great conductor bids farewell, luminous Czech orchestral music and deep thoughts from a quiet Catalan
The biggest symphony is wholehearted but missing the bigger picture
Rainbow colours in Sibelius's masterly incidental music for 'The Tempest'
Subtle connections help frame fascinating portrait of the Dutch pioneer
Lively Russian nationalist goody-bag not quite filled to the brim
Star soprano shines in adventurous new works
Early works from a French 20th century giant, Russian piano concertos and Australian saxophone music
29-year-old Lithuanian conductor follows Andris Nelsons in Birmingham
Grieg’s bold Nordic spirit conveyed, but often at the expense of his charm
Young conductor leads dynamic and detailed Haydn, Szymanowski and Dvořák
An ecologically themed pairing of Beethoven and Raskatov, memorable for all the right and wrong reasons
French piano preludes, British quartets and 14th-century choral music refracted through modern ears