British - Musician | November 14, 1966 -
It's wonderful doing concerts in places like New York and London, but I feel a responsibility to also bring my work home, to bring world-class, classical music to Somerset.
Charles Hazlewood
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Somerset desperately needs more high-end music making on its doorstep, so the chance to share great music spanning genres as diverse as orchestral classics, trip hop and jazz, in the utterly relaxed and cathartic environment of a Somerset field, is for me the fulfilment of a long-term dream.
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I'd like to explode a few myths about what we call classical music. It's not high art for the titillation of a chosen few.
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I want people to hear really exciting music played by the best, but in a context where they can clap when they want to, chase their toddlers, drink beer, take photos, get lost in the music and generally be themselves. And because a field has no rules, it's the perfect place to create unlikely combinations of musical genres.
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Musical 'fusion' projects have earned themselves a bad name, but that's mainly because they often involve pop artists conscripting orchestras to play unimaginative backdrops to their acts. What's really exciting is when you spark off a dialogue between very different musical forces.
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It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.
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