Artist of the Week
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Artist: Hannah Hever
Artform: Musician What do you do and what are your main focuses? I am a Clarinetist and Bass Clarinetist specialising in both Classical and Jazz music. Where have you studied? I studied my undergraduate degree at Trinity Laban 2014-18 and my currently completing my Masters at Guildhall. |
Tell us about your arrangement of Michael Smetanin's 'Ladder of Escape'.
This year I did a research project on the significance of the Jazz revival currently happening, and its relevance to the future of classical music. The Jazz idiom is extremely versatile and has been combined with a wide variety of genres such as Afro-Caribbean, and Rap to create innovative and forward thinking music that has reached far wider and more diverse audiences. Having done extensive research into the history of the effects of Jazz on the genre of classical music (and vice versa), my own project took the works of various classical composers including Stravinsky and Smetanin and re-imagined them for jazz quartet.
‘Ladder of Escape’ is pretty out there.. and was definitely an ambitious task! It’s a highly energetic and exciting piece, written by Australian composer Michael Smetanin in 1984. Originally scored for 6 bass clarinets and 2 contrabass clarinet, it is usually only ever played by solo bass clarinet with the other parts pre-recorded on backing track. I chose this piece because it is a great example of how contemporary classical music can groove. I wrote to Smetanin to ask his permission to re-imagine his piece, and to ask for access to the full score in order to be able to arrange it. We’ve stayed pretty close to the original form, opening up riffs as repeated sections for solos.
The key to the progression of any art form is innovation, and a desire to experiment and break from tradition. I wanted to question the ways in which we maintain the tradition of classical music, and look at how we can engage and educate new audiences moving forward. My plan is to work on more material over the next few months, and get more musicians involved in the process.
This year I did a research project on the significance of the Jazz revival currently happening, and its relevance to the future of classical music. The Jazz idiom is extremely versatile and has been combined with a wide variety of genres such as Afro-Caribbean, and Rap to create innovative and forward thinking music that has reached far wider and more diverse audiences. Having done extensive research into the history of the effects of Jazz on the genre of classical music (and vice versa), my own project took the works of various classical composers including Stravinsky and Smetanin and re-imagined them for jazz quartet.
‘Ladder of Escape’ is pretty out there.. and was definitely an ambitious task! It’s a highly energetic and exciting piece, written by Australian composer Michael Smetanin in 1984. Originally scored for 6 bass clarinets and 2 contrabass clarinet, it is usually only ever played by solo bass clarinet with the other parts pre-recorded on backing track. I chose this piece because it is a great example of how contemporary classical music can groove. I wrote to Smetanin to ask his permission to re-imagine his piece, and to ask for access to the full score in order to be able to arrange it. We’ve stayed pretty close to the original form, opening up riffs as repeated sections for solos.
The key to the progression of any art form is innovation, and a desire to experiment and break from tradition. I wanted to question the ways in which we maintain the tradition of classical music, and look at how we can engage and educate new audiences moving forward. My plan is to work on more material over the next few months, and get more musicians involved in the process.
Why do you perform?
This is a great question - I think it’s really important to constantly re-assess your motives. I started playing the clarinet because my grandad had one, but I never imagined I’d pursue music as a career. When I was 17 I had this overwhelming feeling that I would always regret it if I didn’t explore my potential as a performer. I’ve always trusted my gut and so I went to music college with the plan that I would drop out after a year if it wasn’t for me. Since then I’ve been totally absorbed by this world, and I’m grateful every day to be doing what I’m doing! I play the clarinet because it’s fun, challenging, a way I can express myself and learn constantly.
This is a great question - I think it’s really important to constantly re-assess your motives. I started playing the clarinet because my grandad had one, but I never imagined I’d pursue music as a career. When I was 17 I had this overwhelming feeling that I would always regret it if I didn’t explore my potential as a performer. I’ve always trusted my gut and so I went to music college with the plan that I would drop out after a year if it wasn’t for me. Since then I’ve been totally absorbed by this world, and I’m grateful every day to be doing what I’m doing! I play the clarinet because it’s fun, challenging, a way I can express myself and learn constantly.
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Who are you influenced by?
So many things! We’re so lucky to have such incredible performances happening around London all the time. I recently went to see the English National Ballet’s production of ‘She Persisted’ and left feeling totally in awe at the beauty and power of contemporary dance. Bass clarinet (and Sax) players Marcus Strickland and Shabakka Hutchings are big inspirations for me, and Kneebody at the Jazz café last month was a real highlight. Mainly I try to surround myself with good people who inspire me in some way, as I believe the people in your life have the biggest influence on who you become! This goes for social media too. I follow lots of accounts that promote positivity, whether that be through raising important topics for social change or just sharing cute dog pictures, and try not to follow any accounts that I find affect me negatively in some way. What is the most exciting thing you have done to date? The beauty of pursuing a music career is that it can provide you with such vastly different experiences from day to day. Within the past two weeks, I have played on stage with the LSO at the barbican, had a jazz gig at a nudist festival, and a recording session on a boat. |
At the moment I’m most excited about the gigs I’ve got coming up with Stompy’s Playground, a 12 piece ensemble recreating electronic music through an entirely acoustic set up. It’s essentially an orchestra, we have string (Violin, Viola, Cello) and horn (Clarinet/Bass Clarinet, Saxophone/Flute, Trumpet, Trombone) sections, Harp, Piano, Bass and Kit. This music is just so fun to play, and I really love seeing the enjoyment others get out of it too. At the moment we are touring the Japanese hiphop artist Nujabes re-imagined set with gigs throughout July and August at the Jazz Café, and UK festivals including Greenman and Shamballa. Nujabes music is incredible, if you haven’t heard of him go check him out!
What are you future ambitions?
I’ve accepted that I will never really know exactly where I will end up, but just have to trust that following my gut and working hard has gotten me some really exciting things up until now, so my plan is to just keep doing that! I see myself continuing on a path that allows me to do both Classical and Jazz, hopefully finding more ways to combine the two. This year I have continued studying classical music in my masters at Guildhall because I wanted to get the highest possible training on my instrument, and to give myself the opportunities and experience necessary to create a career path that combines the variety of my skills and interests. Going forward I want to improve on my Jazz playing, and once I’ve finished the masters hopefully this is something I can make time for!
I would love to work with composers as much as possible, and integrate new repertoire into concert programs in order to expand, as well as maintain the tradition of classical music. I have enjoyed working closely with composer Alan Mofti, who has written some incredible solo repertoire for me to play in recitals, the style described in his own words as “Messiaen meets Brad Mehldau’ and am really looking forward to playing more works of his in the future!
What are you future ambitions?
I’ve accepted that I will never really know exactly where I will end up, but just have to trust that following my gut and working hard has gotten me some really exciting things up until now, so my plan is to just keep doing that! I see myself continuing on a path that allows me to do both Classical and Jazz, hopefully finding more ways to combine the two. This year I have continued studying classical music in my masters at Guildhall because I wanted to get the highest possible training on my instrument, and to give myself the opportunities and experience necessary to create a career path that combines the variety of my skills and interests. Going forward I want to improve on my Jazz playing, and once I’ve finished the masters hopefully this is something I can make time for!
I would love to work with composers as much as possible, and integrate new repertoire into concert programs in order to expand, as well as maintain the tradition of classical music. I have enjoyed working closely with composer Alan Mofti, who has written some incredible solo repertoire for me to play in recitals, the style described in his own words as “Messiaen meets Brad Mehldau’ and am really looking forward to playing more works of his in the future!
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What motivates you?
Having a lot of interests, I often have difficulty staying focused on one thing but when I really get onto something, there’s no stopping me. Bursts of motivation come from inspiration, and I find inspiration always grows when I’m combining one or more elements of interest. In the past it’s been combing music with art. During a Trinity Collab project I ended up leading a performance of Milhauds ‘Creation du Monde’ which provided me with experience in project management within a creative setting, designing and creating costumes and scenery to create a ‘cubist jungle’, inspired by Picassos original sketches for the ballet. I ended up working non stop for 3 days to get all of the painting done, as well as learning the music, but it didn’t feel like work at all!
At the moment I’m feeling inspired by the idea of combining music and the arts with activism. There’s so much that needs changing in the world right now and its easy to feel desensitised and helpless to it all - my way of combatting this is taking the opportunities to make a positive impact where I can.
Having a lot of interests, I often have difficulty staying focused on one thing but when I really get onto something, there’s no stopping me. Bursts of motivation come from inspiration, and I find inspiration always grows when I’m combining one or more elements of interest. In the past it’s been combing music with art. During a Trinity Collab project I ended up leading a performance of Milhauds ‘Creation du Monde’ which provided me with experience in project management within a creative setting, designing and creating costumes and scenery to create a ‘cubist jungle’, inspired by Picassos original sketches for the ballet. I ended up working non stop for 3 days to get all of the painting done, as well as learning the music, but it didn’t feel like work at all!
At the moment I’m feeling inspired by the idea of combining music and the arts with activism. There’s so much that needs changing in the world right now and its easy to feel desensitised and helpless to it all - my way of combatting this is taking the opportunities to make a positive impact where I can.
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What is more important, talent or hard work?
Hard work. A wise man (Paul Harris) once told me that the recipe for success is 1% talent, 99% hard work, and those words have stuck with me ever since. Furthering that concept, Angela Duckworths book Grit gives an excellent take on this idea, saying that to be truly successful in something you need two things: passion and hard work… (and that 1% of talent !) Have you ever failed at something and what happened as a result? What advice would you give to people as a result of that experience? It’s so easy to get caught up in the pressures of perfection, not just in music but in all aspects of ourselves and our lives. I used to think that if I made a mistake, it was a kind of failure, and I would dwell on it for a long time. Now I really don’t care that much, we’re all human and imperfections are what make performing exciting and challenging. I want to share performances I do regardless of mistakes, we need to encourage risk taking and break the illusion that perfection is normal! |
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What advice would you give to anyone wanting to become a performer?
There are a lot of sacrifices involved in dedicating yourself to a profession. My advice is to really take your time figuring out what you want to do – its okay not to know. I still don’t. Always ask yourself why you’re doing what you’re doing, and put your happiness first.
Anything interesting coming up soon?
Next week I’ll be playing with the London Sinfonietta Academy, tickets available for anyone interested! I’m really excited for more upcoming Nujabes Experience gigs with Stompys Playground, we’re a 12 piece ensemble combining the orchestral set up with the electronic sound world. You can catch us at The Jazz Café on the 29th of July and at various festivals throughout the summer! From September I’ll be playing with Glyndebourne Opera, touring Rigoletto until December.
There are a lot of sacrifices involved in dedicating yourself to a profession. My advice is to really take your time figuring out what you want to do – its okay not to know. I still don’t. Always ask yourself why you’re doing what you’re doing, and put your happiness first.
Anything interesting coming up soon?
Next week I’ll be playing with the London Sinfonietta Academy, tickets available for anyone interested! I’m really excited for more upcoming Nujabes Experience gigs with Stompys Playground, we’re a 12 piece ensemble combining the orchestral set up with the electronic sound world. You can catch us at The Jazz Café on the 29th of July and at various festivals throughout the summer! From September I’ll be playing with Glyndebourne Opera, touring Rigoletto until December.
