Future Classic Women Awards – Cecilia Radic

Speaker 2 (0:09) Hello, and welcome to Future Classic Women Awards with me, Stefania Passamante, on Women's Radio Station, the programme where we search for the most amazing new female artists on the classical panorama. (0:20) Today on Future Classic Women Awards, we will be talking to Cecilia Radic, a cellist and member of the Estrio with Laura Gorna, Violin and Laura Manzini, piano. (0:31) Hello Cecilia. (0:32) Hi, good morning. (0:33) Good morning to you. (0:35) Cecilia, the Estrio was founded a few years ago, 13 years ago, am I right? Speaker 1 (0:40) Well, the idea came out in 2004, and then we had the first concert in 2005, so yeah, almost 14 years. (0:48) Wow. (0:48) It's been a long time. Speaker 2 (0:49) How is it to work with people, with women, for such a long time? Speaker 1 (0:57) The decision was not made that because we are women. (1:00) We have been playing together for many years, playing chamber music altogether. (1:04) And so then we came up with the idea of the trio, because it's probably the most unusual chamber music, and some it's not the quartet with all the strings. (1:14) There is also the piano, and it's very individual kind of chamber music. (1:18) So it's important to have three strong personalities. (1:23) And so we had been playing together for such a long time. (1:26) It was, we thought it would be a good idea to start this amazing chamber group with this kind of repertoire, which is so interesting. Speaker 2 (1:35) And you play with Laura Gorna, the violinist, also in quartet with Acado. (1:43) Acado is one of the most famous and established violinists in the Italian concert season, worldwide actually, but he's an Italian violinist. (1:56) And can you tell us how is it to work with someone of his status? Speaker 1 (2:03) Well, he has been sort of mentor for us, for everything, as a musician, as a chamber musician. (2:09) So he's really inspired us for years. (2:13) It's an honour, first of all, because to play with such personalities is always a great honour. (2:21) But it can also be a burden somehow, because strong personalities can be overwhelming somehow. (2:29) But the good thing is that you find your way, and you just get the inspiration and all the best you can get from these musicians, because there is a lot to get from them. (2:41) And we learned a lot about music and playing all together, chamber music, the approach to music as well. (2:49) And so it has been really a very important figure for us, for all of us. (2:53) And Laura and I have been knowing each other for more than 30 years. (2:58) We were together at middle school. Speaker 2 (3:01) You're too young. (3:01) It can't be more than 30 years. Speaker 10 (3:03) I shouldn't say that. Speaker 1 (3:04) And yes, so we've got a long way altogether, some distance in certain periods, and then again, so it's really a long story going on. Speaker 2 (3:17) Amazing, amazing. (3:18) And now you live in London, so how is it to commute, you know, with your trio that is still in Italy? Speaker 1 (3:25) Well, sorry, we've been used to being not far away, but to be not in the same town, because Laura and I used to live together in Milan, the pianist in Rome, so there was sort of already of commuting. (3:39) Now the commuting is with another country, but it's even quicker to commute from London to Milan than from Milan to Rome. (3:47) It's amazing. (3:50) The new transports are amazing. (3:53) It's very easy. Speaker 2 (3:56) The new generation of musicians, really, because nowadays the distance is not something that can make you distant anymore. Speaker 1 (4:03) No, it's... Speaker 2 (4:04) I remember I performed the Rachmaninoff piano concerto with the conductor, and I was arriving too late with the plane, and we did the rehearsal through Skype. Speaker 1 (4:15) Yes, of course. (4:17) All these technologies also to talk about things, you use Skype. (4:21) Of course, you cannot rehearse the trio through Skype, but you can make a lot of decisions of the rehearsals. (4:30) And then we've been playing a lot, so we have a lot of repertoire, and we find some periods where we rehearse, and then we have concerts. (4:39) So you can manage that. Speaker 2 (4:41) Now, the first act that you would like to play for us today is Mendelssohn, the piano trio number one in D minor, Op. (4:47) 41, the first movement. (4:49) Can you tell us about how did you record this CD and where the idea came from? Speaker 1 (4:59) Mendelssohn Op. (4:59) this D minor trio is probably one of the most famous compositions for this group, a kind of a group. (5:08) And the idea came out because we had been playing the whole chamber music by Mendelssohn. (5:14) So there were the trios, then there were the quartets. (5:18) And so after such a deep meeting, I would call that, with Mendelssohn, we thought we were ready to record it, because since it's a very famous piece, it can be somehow intimidating to play it, because there are so many famous recordings. (5:37) And then after this long way with Mendelssohn, we decided it was time we were ready to record it. (5:43) And also our approach to Mendelssohn changed a lot after playing all his chamber music, because there is a sort of stereotype on the way you should perform him. (5:59) Can you tell us more about the stereotype? (6:01) Yeah, it's considered the happy romanticism of Mendelssohn. (6:05) So there is a sort of playing it quite fast, light, as if there was not a deep, exactly deep. (6:15) But if you listened to his quartets, you would realise how deep he can be, what amazing imagination he has, and that probably everything in his music is filtered by a strong education. (6:33) So that's why we should rethink the way we perform him. Speaker 2 (6:40) Fantastic. (6:41) Let's listen then to Mendelssohn. (6:42) So Mendelssohn is not only a minor, he is also a first movement. (11:46) And this was Mendelssohn Pinotrillo in the Minor, played by the Astrio. (11:51) We will be back after a short break. (11:53) WRS, women's radio station, voice of women worldwide. Speaker 9 (11:58) Sarah's Universal Soul Show. (12:00) What does your soul or spirituality mean to you? Speaker 2 (12:03) Welcome to Future Classical Women Awards with me, Stefania Passamante, on Women's Radio Station. Speaker 9 (12:08) Welcome back, I'm Russ Kane. (12:09) You're listening to In Conversation With on Women's Radio Station. (12:13) I'm Angie. (12:14) And I'm Patsy. (12:15) And we're open. Speaker 2 (12:18) To see what other programmes we have on Women's Radio Station, head to our website, womensradiostation.com. Speaker 7 (12:23) Hi, my name is Michelle Bartlett, the founder of Live, Laugh, Love Ladies Club. (12:29) We're looking for ladies to link arms across the globe. (12:31) This is a new, vibrant brand connecting women socially. (12:35) Our club members enjoy great food, fun and inspiring speakers while making friends of all generations. (12:41) If you're a social butterfly in your community, this fast-growing franchise may be for you. (12:46) Or we invite national companies to advertise within our closed network of members. Speaker 5 (12:50) Please visit live, laugh, love, ladies.club. I'm Tamina Zaman, founder of Empower and Enrich. (12:57) When it comes to money, do you clam up or get confused? (12:59) Do you wish you could save more money or are you hoping you have enough for retirement? (13:04) You are not alone. (13:05) Many women want to be smart with their cash, but just don't know where to start. (13:10) At empowerandenrich.org, you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. (13:19) Get in touch with me at empowerandenrich.org and let's change your future together. Speaker 2 (13:27) Women's Regis Station, voice of women worldwide, presents future classic women awards nominees concert. (13:35) Friday, 23rd November, 7pm, hosted by me, Stefania Passamante, with some of the most amazing nominees that will be heard so far on the programme. (13:45) It will be St James Catholic Church, Marylbourne. (13:48) Please join us for a fantastic evening of classical music. Speaker 4 (13:55) Are you struggling with money? (13:57) Turn to Us is a national charity helping people struggling to make ends meet. (14:02) Job loss, illness or bereavement can cause a real financial crisis. (14:08) We give practical help to get people back on track. (14:11) Whether you're thinking of having a baby, trying to get out of an unhappy relationship or just unsure what benefits you may be entitled to, we can help. Speaker 8 (14:21) Visit turntouus.org.uk. WRS, Women's Radio Station, voice of women worldwide. Speaker 3 (14:31) Women's Radio Station is a not-for-profit community interest company. (14:36) Supporting women is our passion. (14:38) We're currently welcoming donations to help towards our running costs to keep this important initiative alive. (14:45) To donate, simply head to our website. (14:48) Every little will help. Speaker 2 (14:59) Welcome back to future Classic Women Awards on Women's Radio Station, the programme of research for the most amazing new female artist on the classical panorama. (15:07) Our guest today is Cecilia Radic, amazing chalice, the representative of the famous Estrillo. (15:14) Cecilia, we talked about your album, why you decided to record Mendelssohn. (15:21) Can you tell us a little bit more? (15:22) What's the difference between recording a CD and performing instead, in front of a live audience at radio, television and all? Speaker 1 (15:32) The Mendelssohn CD was recorded not live. (15:36) It was recorded in a studio and it was recorded for DECA. (15:41) And there is a complete different attitude you have as a musician performing on stage and making a CD because you've got more time and the atmosphere is completely different. (15:52) To be honest, I prefer the live CDs because there is such an energy you have got with the audience. (15:57) The energy comes from the musician but also comes back from the audience. (16:02) So I love that kind of interaction with what's going on live. (16:07) So it's even somehow more difficult to perform for a CD because you have to find the inspiration without this kind of energy. (16:17) The other CD we have recorded before, the Mendelssohn was recorded live. (16:20) So I feel there is a different approach to music making when you're in a studio or on the stage. (16:33) And it's different also the outcome. (16:37) So you can think about things you can change when you're doing a studio recording. (16:45) The live is more like storytelling something which goes on coming out from you as it's in that moment. (16:56) So it's more in the moment. (16:59) Absolutely. Speaker 2 (17:01) And I wanted to ask you what would you think about... (17:07) You've been a soloist as well. (17:10) You've been playing with orchestras and concertos and so you're playing in chamber music. (17:17) You're also a professor at the conservatoire. (17:21) So all the different aspects of you as a cellist in particular. (17:26) Does that make you a different musician when you're playing with the orchestra, when you're playing in chamber music, when you're teaching? Speaker 1 (17:34) I think as a musician that chamber music has been probably the thing which has taught me the most because I intend to bring this kind of music making to wherever I am. (17:48) It's like always being there listening to the others. (17:51) And I think chamber music is also a great lesson for life because it's the best way to put people together for one... (18:02) Just they need to find few people with no conductor. (18:05) I mean just three of us or four whatever it is and there is a discussion then everybody has got a different idea. (18:12) You have to find a solution to different ideas. (18:15) So it's the best example of democracy. (18:18) And that's very useful also for teaching and also for solo playing because when you're playing with the orchestra, the orchestra is not accompanying you. (18:28) It's playing with you. (18:29) The orchestra should play with you. (18:31) And I think this is a big difference in music making. (18:34) And also when you play duo it's not the cellist and their companies. (18:39) Music is made together. (18:41) So the balance should be the right one. (18:46) Nobody should be more important than the other. (18:48) And also the orchestra. (18:49) So many concertos. (18:50) You cannot play the Forger concerto or the Schumann concertos thinking that you're playing alone with the orchestra accompanying you. (18:58) You're playing with them, responding to them. (19:00) And this should be the way of making music. (19:03) Also in orchestra you have always to have your ears very wide open. Speaker 2 (19:07) So if I have to ask you what's your favourite formation? (19:10) What would that be? (19:12) Is that the duo? (19:13) The trio? (19:14) The quartet? (19:15) The quintet? (19:15) I shouldn't say that because you're talking about the trio. Speaker 1 (19:19) But probably every string player would tell you the quartet. (19:25) The sound of the quartet is really probably the highest, the best sound string player can imagine. (19:35) But of course I love the trio because your more solo is on the trigger as well. (19:40) And you've got more, it's a different role of the cello in the trigger than in the quartet. Speaker 2 (19:48) And what do you think about chamber music today? (19:51) Or classical music maybe in general? Speaker 1 (19:53) Unfortunately, I think chamber music is undergoing a bit of difficulty. (19:57) And I'm for many managers when you talk to them they say, oh, chamber music is not so, not so, I mean, the most, what would you say, it's not so... Speaker 7 (20:16) Yeah, exactly. Speaker 1 (20:18) Because there are some solos playing together. (20:21) But there's a big difference between chamber groups which are established and those chamber groups like solos who are together just for one off. (20:31) So it's like saying that the Berlina Philharmonic are the same as the Lucerne Festival Orchestra. (20:36) So there is big difference in sound between those who play together, have been playing together for many years and those who are just gathered for an occasion for a tour. (20:47) So there should be the... Speaker 2 (20:49) As well, the language comes out from three solos just meeting up for the concert. (20:54) It's completely different. Speaker 1 (20:55) I don't know if it comes also from the fact that chamber music shouldn't be played just in big halls but in smaller halls. (21:02) It's very intimate. (21:04) It should be, it used to be played in houses. (21:07) So it should be probably again try to be performed in different places not in very big halls but find a connection with the audience because it can be very intimate and I think we should go back to that. Speaker 2 (21:23) Okay, so listening to the next track that would be Schumann, Piano Trio. (21:30) Number two, Op. (21:31) 80, the second movement. (21:34) Why this choice? Speaker 1 (21:36) The choice is because we recorded this trio. (21:41) It was our debut recording and we preferred to record this second trio instead of the first one which was the... (21:49) which is the most famous and because it's really, it's very intimate as we were talking about it and except the first moment. (21:59) So that's why we decided to play it and to record it. Speaker 2 (22:02) Let's listen to it then. (28:03) And this was Schumann, Piano Trio, number two, Op. (28:06) 80, played by the S Trio who will be back after a short break. Speaker 3 (28:12) Welcome to Women's Radio Station, the voice of women worldwide. (28:16) Hungry? (28:17) An average woman eats about two to three kilos of lipstick in her lifetime. Speaker 7 (28:22) Women's Radio Station, we want to hear from you. Speaker 8 (28:25) This is Women's Radio Station. (28:27) You're listening to Avril Prize with Kitchen Sink spirituality. Speaker 5 (28:30) Anna Kennedy talking all things autism and my guest today is Karen Nunn. Speaker 8 (28:34) I listen to Women's Radio Station. Speaker 3 (28:36) Women, the possibilities are endless. (28:39) That's what makes us different. Speaker 6 (28:42) Hi, I'm Valentina Barracci and I'm the Executive Director of Media Matters for Women. (28:46) We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth and mobile phones focussing specifically on women and girls excluded from information due to extreme poverty. (29:00) We empower those living in rural areas with media that transforms how they access, own and share information. (29:07) To find out more and be part of this movement, come check out our website at mediamattersforwomen.org. Speaker 3 (29:16) Women's Radio Station is passionate about communication and we'd love any thoughts and feedback on our programmes. (29:24) Email presenters at womensradiostation.com If there's a topic you'd like to hear about or want to contact your favourite presenter, do get in touch. Speaker 4 (29:42) Are you struggling with money? (29:45) Turn to us as a national charity helping people struggling to make ends meet. (29:50) Job loss, illness or bereavement can cause a real financial crisis. (29:55) We give practical help to get people back on track. (29:58) Whether you're thinking