DISCOVER YOUR REAL POTENTIAL
How do you work?
I usually through-compose straight into Sibelius. I have an idea of where I am going, but sometimes putting in a wrong note could take me off into a whole other direction that I wasn’t expecting. I used to write on manuscript, and indeed, take some with me wherever I am just in case, but almost always direct into the computer now. I don’t play the piano, so can’t really ‘play’ things in or hear harmonies in advance, but my limited knowledge serves me well, I think.
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How do you work?
I work at night from 10pm to 5-6am. First of all I open the piano to liberate the sounds and let them come to me, I drink a glass of French cognac and set myself to compose…. That moment is magical because my works are really inspired… I mean, before writting a single note on the pentagram I already know how it is going to be and I have just to do it.
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As a musician, what is your definition of success?
Success for me would include: to be able to play the repertoire you love, always have a next project/ concert/ recording to look for, and have a dear audience to share music with.
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What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Listen to the advice, but decide yourself. One day a good friend told me he enjoyed my music, but thought it was too slow and too sad. I decided to focus on that, and make it even slower and sadder! Do not let criticism stop you. There are no limits. Art is art, so don’t be afraid to dare. Be open minded and keep learning all the time, from everything.
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What have been the greatest challenges of your career so far?
Generally speaking, I thrive on musical challenges and seek them out, because that’s how I learn. These have included trying to establish the alto flute as a credible recital instrument, starting at a point where there was very little repertoire; learning the baroque flute from scratch to premiere a piece with lots of microtones, and developing an efficient way of practising so that I can learn a lot of difficult music in a short space of time.
Of course, the biggest challenge that has happened to me in my life was the arson attack on my home in the riots in 2011; I lost literally everything apart from the clothes I was wearing. Rebuilding my life after that was an enormous challenge, both personally and musically. It took 2 years before my alto flute was replaced, and it really made me look at everything in my life and work out my priorities. I had so much support from the music world in particular, and I can’t express just how important that was in helping me to keep going. It was a difficult time and it still affects me every day – but I’ve tried to find as much positivity in the experience and come back stronger.
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What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
I think we have to re-think the role of artists in this world. For me, the mission of an artist is to share the wonder of classical music with as many people as possible, and to reach a different public, because this music has a secret capacity to really console people, to give them dignity, and to reveal something inside which is greater than us.
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Who or what were the most important influences on your musical life and career?
Maria Curcio-Diamand, who was Arthur Schnabel’s favourite pupil, was my first great mentor. She opened my ears and heart to the art of sound and technique.
What have been the greatest challenges of your career so far?
I think my biggest challenge has turned into an asset. When people see a photo of me, they don’t expect me to play all the works of Ligeti!
Lucille Chung performs at the Incontri in Terra di Siena chamber music festival this July. Further information here
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