Future Classic Women Awards – Sarah Louise Ings

Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Today is our 13th episode since lockdown, so we're still having our interview via remote and our special guest is saxophonist Sarah Luis imgs, founder of the Sahara Trio. Hello, Sara. Hello. Hello, Sara. So where are you now? Oh, I'm back in London now. Fantastic. Yeah. Did you stay somewhere else for the lockdown? Yeah, I went to my parents down in southwest of England to have some fresh air for a bit. Although London got very fresh because obviously all the traffic stopped. Yes. I mean, I don't know when you left London, but it was actually magical to go around London and have it all, you know, empty with the empty shops, empty people, Oxford street with no one around. It was just incredible. Yeah, I'm kind of sad I missed that really, in some ways, but it was a bit of a mass panic in exit for me, so. Absolutely. I know it was a very scary moment for many people and I'm glad it's kind of over, though. Things keeps changing. So that's why we're keeping our program on the radio, not being recorded in the station. That is a pity because I was really looking forward to meet you in person. I mean, it's incredible everything you do and you know, this incredible string quartet that you, that you have, that is the Sahara. I mean, how did this was all happening? How did you started this? Well, I came up with a concept about, gosh, about 10, 13 years ago. Yeah, it was a long time ago now, really, and I just, I think I just wanted to get in on the action of a string quartet. So I play the saxophone and yeah, there was just something that said to me, do you know what? No one's ever done string trio with saxophone. And I was very, very interested in classical crossover music and I'd obviously seen the Bond String Quartet and I thought, well, let's, let's take out a violin, put saxophone in and see what happen. And I also play a bit of flute as well and I arrange and write. So, yeah, I kind of came up with a concept. My dad came up with the name for the group and off we went. That's incredible. Actually, I wanted to ask you, I mean, how did you decide? I mean, saxophone is not a classical instrument to Choor. Although we had another saxophonist at the beginning of our season from Switzerland, and she had this incredible career as a classical saxophonist. Yeah, well, I actually studied classically at Guildhall School of Music and Drama. So that was always something I was interested in. But then I. I think because I was playing the saxophone on a classical course, it naturally made me think creatively. Although I would say I'm probably highly creative because I paint art as well and creating things, therefore, yeah, I was interested in. But I just think classical music is so fantastic. Yeah, it doesn't really get the same exposure as pop music, which is why GIG became interested in classical crossover and ways of kind of taking it to the masses and finding ways to. For people to find classical music more accessible, really. And, yeah, I really liked Michael Nyman and Piet Sola, so those kind of composers made me think about saxophone and strings and. Yeah, I just gave it a shot, really, and off we went. I know. I mean, the saxophone is such a special instrument as well, and the sound that makes with the string is quite, quite unique. And I think you're the only one in the world with a trio of this style, isn't it? Yeah, I believe so. I'm definitely. When we first. Well, when I first created it, and for a long, long time, as far as I'm aware, we have been the only group to kind of do the string tune saxophone. I'm sure there's probably string quartets with saxophone, but this kind of concept and the genre of music and what we were doing was certainly very unique to us. So I'd like to ask you, actually, were you scared when you started something so revolutionary? In a way? No. I'm not someone who's scared of anything, so that wasn't really hard for me. I think now, with a bit of hindsight and experience, I kind of wish I was able to have tailored things a little bit more, to be able to get a bit more traction behind things. But that's just the, you know, upside of kind of experience. You can look back and think, oh, if we'd written more of this or played more of this, you know, more radio stations would have been able to play this, that and the other. And, yes, it's interesting, the experience. But, yeah, I just. I really just. I'm passionate about music and I just want people to be able to listen to it and enjoy it, really. I totally agree. I mean, I'm a big advocate for breaking the walls between styles. There is not, you know, classical, pop, rock, jazz, whatever. It's just the difference between good music and bad music. Yeah, that's true. There is bad music out there. Yeah, there is. Our job is to try to look for the best, no matter what? And play it, isn't it? Yeah. Now, when you were little, did you. Did you know already that you would become a saxophone player and then actually that you would become, you know, you will set up a trio like these and actually you also have an agency, don't you? I mean, where you organize other concerts. Yeah, so I am kind of creating. Produce lots of things. Most recently and sadly, we created a theater show. It was a cabaret, cabaret and circus concept. And we were about to tour that and we had done the Underbelly Festival at the south bank in London. Yeah. So it was a real shame because our first Theatre date was April 4th, so that obviously all got cancelled this year especially because we all just kind of come together, don't have any funding and do it all ourselves, which is what a lot of musicians do. It's, it's, you know, becomes even sadder when things get taken away from you, when you put all that time and effort in. I think I'm sidetracking. Where were we going? No, no, I was asking you if when you were little, you knew you would one day become a saxophone player, specifically, and then on the wider range, you know, a producer and a creator, everything you're doing. So. Yeah, so when I was little, I knew I was going to be a musician from about the age of eight. It's really kind of weird. I mean, to me that seemed like a normal thing. You knew what you were going to do when you were a child, but speaking to people, actually, I found out that wasn't the case. But I started on the flute. I didn't know I was going to play the saxophone. When I got to about 12, I just said to my teacher, I want to play another instrument. She said what? I remember thinking to myself, I better say an instrument quick. So it looks like I'm serious. So I just came up with the saxophone in my head. No way. Yeah. And then I just. I just found that that instrument just felt like me. I felt like I could really express myself when I played and I, you know, I would have thought that I was going to play in an orchestra, but I thought, I think as you get into the industry, more certainly when I hit music college, I realized that it really wasn't going to be that simple and you have to create your own opportunities and more and more and more. So now I find the music industry so difficult now in terms of opportunities for people. But yeah, I suppose the rest of it just became a development and involvement and you always kind of evolve, I think, as a musician or Certainly if you want to survive. So I think that's kind of what happened. I just kind of adapted and just my kind of path became clearer and clearer as I was working through the music industry. Really? Yeah. Well, the saxophone is a really special instrument. My dad, his main instrument is saxophone. He plays all the instruments, but his main one is the sax. And I remember when I came here, it was a friend of mine, an opera singer, who was commenting how the saxophone is the sexiest instrument ever. And it was so strong in the 80s. All the 80s music had sexy saxophone coming in. It's a very special instrument. It's not. It's a bit. I think I would put it next to a cello, actually, as a warmth of the sound and the roundness of it. Yeah, I completely agree. In fact, cello's become my favorite instrument now. I love writing for the cello. It doesn't rhyme the same sex cello, but it is indeed there is something with the vibration, isn't it, that they hit you. So sometimes the audience don't understand why there is an instrument more than another that is chosen in a composition, for example, to have the main theme, to have the main solo. But there is a practical, feeling, physical reason for it. So, for example, talking about sexy saxophone. Sorry, but I just love it. We are gonna listen to a wonderful piece that is Tango. Would you like to tell us about it? This was the first piece of music I ever wrote. Actually, a friend told me to write and I gave it a go and came up with Sahara Tango. Wow. That's incredible. Well, let's listen to Sara Tango. Sa. And this was Tango Sahara by the Sahara Trio. Sarah, I didn't ask you. I mean, how did you meet with the other member of the trio to then decide to put it on? And for example, in this piece, we can hear a piano. Would you like to tell us who is the pianist? So the pianist is Anthony Strong. I knew him through music college at Guildhall. He was someone who collaborated with Sahara at the time and the other string players. I actually didn't know many string players from Guildhall. Interestingly, I didn't really hang out with string players. We kind of hung out with the brass players. Saxophone, saxophone. Just felt a bit lost. We were like, do we hang out with the strings or the brass? We don't really have a place for us. So we ended up hanging out with brass players and therefore string players. I just didn't really know anyone. So I actually started putting adverts out on Facebook and I did a little bit of scrolling around on Facebook myself. Just started contacting some people, told them the concept that I had, and yes, ask them if they were interested in being involved. Wow, that's fantastic. And I mean, it's very true, the fact that you hang out with the other instrument of your family. So when you study music and they talk about the family of the brass, the family of the string, it really becomes a family, isn't it? With the good brother and the bad cousin at the same time. Because you always have the people that you like the most so that they become like brothers and the one that you prefer not to meet again. So somehow music is a way of connecting not just between you and the audience, but also between you and the other musicians. Yeah, that's true. Yeah. Yeah. And, yeah. So I'd like to ask you then, what was the most challenging moment in your career? If you can choose one or more than one. You know, the most challenging moment probably right now with COVID 19. Wow. What? I just look at that and think, what are we meant to do? Yeah, this right now, to be honest, is the most challenging moment with no kind of looking ahead because you don't know when you can get back to working. And this. Yeah, by far, I think everything's been challenging as a musician, but this, for me, like, when you can't see your vision or the end or what you're aiming for, it's hard. So for me, it's definitely right here, right now in COVID 19. Well, this is. This is a situation. I mean, if ever they told us that this would happen, no one would have believed it. I mean, it looks like a science fiction horror movie in a way. It is. Especially from a musician's point of view. The entire world had to stop. Not just one city, not just one nation, the entire world. That's the incredible part of it. But at the same time, I mean, this was a good opportunity for discovering technology that, lucky for us, we have, so we could connect and we could still continue to meet somehow and somehow collaborate where possible, and plan for the future. I mean, personally, I have to believe that this is going to finish soon, won't be sooner than later a way, but has to be soon. You see what I mean? In your mind to think that there would be something after that. We can work now to look forward to Internet. And for example, you composed. You sent me a beautiful song that we're not gonna play today because we're concentrating on classical music. Classical and crossover. But you did compose a fantastic song. Which style would you say is that Pop? Can I say that. Yeah, I think once I kind of explored music with Sahara, I went on to create my own kind of solo project, which was more of a venture into the pop side of life. And it was more of a fusion of pop meets film music meets classical music, I'd say. Mm. So that song was a song that you composed during the lockdown. Did you compose more maybe also for the trio? Are you already planning new incredible things for when this will be over or. Yeah, so certainly what's happened as we've come out of lockdown is us musicians. And also I collaborate a lot with dancers and suckers, performers as well as. And that's all of it as a way to make classical music more accessible to people. People like the visual element as well. So we do a lot of. I do a lot of cross art collaborations. And yeah, just recently, just as a way to keep us motivated as well, because so many, surprisingly, so many musicians, and I'm almost kind of glad to hear it, I find a bit of a relief, but everyone feels a bit of a loss. And so we've created a little program together where we're going to start recording live videos that we promote. And also I've started looking at arranging and writing again. So it's certainly given us all a bit of breathing space because why you can't go and perform, it kind of gives you some time to just sit. Sit and think about, you know, just the music again, actually, rather than thinking, how am I going to get out, get it out there, Just think, well, actually, we've got some creative time now and it's the only thing you can do, really, at the moment. Yeah. There is actually something that is quite common between us musicians is the fact that when you are very creative, it's hard to stay put. Yes. We're always very active, very, you know. So, yeah, this lockdown was kind of putting us against the wall, but at the same time, I can see. I saw it actually already on Facebook, on Instagram. So many being actively, you know, working, creating, collaborating, composing, writing and inventing new things. And I think it's been quite brilliant. It's a test to the whole humanity, of course, to be able to survive this crisis. Musicians, they are used to be in crisis, isn't it? Yes, we're used to fight against. So nothing. Nothing new, really. Nothing too new, in a way. So, yeah, so you already told me about this new Life program and performance. What is that gonna be with the live streaming, for example, or on Instagram or on YouTube or you're gonna record them and then share them on. So I'm not very good with technology, as you found out today. And I have to say, I kind of hate it, which is partly why I was kind of a bit slow off the ground with thinking, oh, do I have to create some videos for Instagram? Because I don't know how to do this. So because I'm not very good with technology, we aren't going to live stream it, but we are going to record it live. So it's not something that will be kind of edited. It will be a live performance that then gets promoted a bit later. So I can kind of worry about one thing at a time. I think us musicians, we naturally in this new world of technology. I say new, but it's, you know, been around a while now, but it's certainly nothing. It's not what I expected to be doing as a musician, as a classical musician in particular. I mean, they are so good with technology. They all know perfectly, you know, band camp and all these things. I have a friend, he's an organist and he works for cathedral, and he had to organize the choir, so he had to learn how to use a band camp. He made recordings. But you do them in the recording studio, isn't it? Yes, the recording engineer, like we have today, our wonderful malice, you know, that they're working on it for making the. The recording. And so you don't have to think about anything apart from being your best as a performer. Yeah. And now alone at home, we have to get a kick, I think. I think, yeah. I mean, it's kind of good to make people aware, really, of what does happen behind the scenes as a musician, because you do really love to just perform and, like you say, just be the best you can at your performance. But when, especially when you're kind of locked down or limited about the amount of people that can get together, you know, you suddenly find yourself. I'm about to try and order a gimbal for my friend's video camera that he's lending me. I don't even know what is gimbal. Yeah. Oh, gosh. Exactly. It's like something basically flies the camera so that it looks nice on the footage. I was just like, wow, I can't believe I'm having to do this. And so, yeah, so, you know, all of a sudden, you know, I'm finding myself being a videographer as well as a recording producer, recording my own stuff and then editing all the music afterwards, like, mix and put it all together and then become a promoter on Instagram and work out how social media works. I mean, it's a long job just to get one song out there, I have to say. Mamma Mia. Yes, I understand. I understand. So, I mean, one of my questions normally is how it is recording. And if recording today is any easier than before, can we say it's difficult as much as before, if not even more, because we have to do it ourselves. Well, I suppose something I did start to do is I learned to produce recorded music, having produced my album with a sound engineer. And yes, it's hard, mainly because of all the multitasking, to be honest. But, you know, it's nice to have technology to be able to record. And it does mean you can send music to each other across the Internet. So I can just call up a friend. Will you play some strings for me? Great. You know, they can do it from their home. And more and more musicians are getting used to that now. So it does become easier in that sense. Absolutely. Now, the next piece we're gonna listen to is Libre Tango. Is this as well a composition of yours? So Libre Tango was arranged and produced by myself, but it's actually Piet Sola, who's the composer of that song. Yeah. Okay. It's because I'm used to know it as. Is that Libertango. No idea how the concoction. All right. Okay. Well, I love Gizala. He's one of my favorite composers. So it looks like you are quite. You really like the tango in general? I do. I love it. I love it. Do you dance the tank as well, or you just play? I've tried. And I would say if I had the time, I would definitely, you know, something I feel I could get good at. But it's a very hard dance, and you really have to dedicate it yourself to it. And finding a dance partner, trying to get a man who wants to dance is always difficult. That too. Well, let's listen to Libre Tango. It's. It. Yes. That was my favorite. Libertango by Piazzola with an arrangement by Sara Ingse for the Sahara Trio. How beautiful. I mean, I'm sure you are familiar with the story of Piazzola and how he was treated for changing the tango, the traditional Argentinian tango, into something that became then classical music in a way. And so somehow classical music is quite revolutionary. And the fact that you're mixing classical music with crossover and with the circus. I mean, the circus is another super classical form of art, has been on for centuries. And it's really beauty and poetry in it. Yeah. My dad, I remember when he was young, he had tour with an American circus that came to Italy and they were hiring musicians for doing the tour in the various countries. And he said the musicians performing in the circus were incredible. And the philosophy that was behind the artist, the life of the circus, was something very special and very beautiful. So I've always gone to see the circus with much love and much admiration. And, I mean, do you think this is different right now? I've seen, just this winter when I was in America, a circus indoor, and they had a live violinist, classical, who was performing, and opera singers singing, really mixing classical music with the circus. It was so incredible and so beautiful. The costumes were just out of this world. What was your attraction to the circus? Oh, gosh, I'm not sure I know. But I became really interested in how. Because I'm really interested in health and fitness. And I became really fascinated by the human body and just how strong it can get and how strong a woman can become, actually. And when you're talking about body weight, you can really then start comparing yourself to what you can do in comparison to a man, which sounds ridiculous, but when you're not, you know, trying to lift 60 kilos and they can actually lift 100 or whatever comes down to body weight, it became quite fascinating that a woman can become. I mean, it's naturally harder just because of the, you know, the testosterone that they don't have. But it really kind of fascinated me as to how strong a woman could become then. Yeah, and then I became interested in silks and hoop and various different circus apparatus that I kind of experimented with myself just for a bit of fun and a bit of fitness. And then I met someone who became my friend and who's a professional circus performer. And I just said to him, do you fancy collaborating? And I think for me, with any music or kind of art form, they really have to connect. And if they don't connect, I really just. I just don't like it. And there has to be a connection. And so for me, I mean, especially kind of with Sahara, like, the reason why I chose tango was because it was a dance form. So when we started putting choreography to it, it made sense because it was a tango. I'm less interested in people who put choreography to classical music. As a musician, if it doesn't really lend itself. Do you know what I mean? Yeah. So I always found that a bit disjointed. For me, it didn't really work. And so equally, when we now look at collaborating with dancers or circus Performers, the two have to. To interweave somehow. And I mean, that's what we basically try and do. And that means the musicians move around, they get involved with some of the choreography. The circus performers, you know, equally try and kind of interweave with some of the music. And then I find the connection and the collaboration just really unique and kind of different to what's going on. And I agree, classical music and. And dance and circus can be so, so amazing. And I always just try and take it to another level and try and do something that people haven't seen before. And so I think. I think that's how I, as an artist, try to keep things always evolving and moving and recreating and changing. Wonderful. Now, I'm gonna ask you, what would you say was the most exciting moment in your career? Gosh, you know, I've done some really lovely things. I did a tour with Yamaha and Classic FM when I just came out of college. We went into schools, and we're taking classical music to young people, which was so, so exciting. Done some private events where we were supporting Kathryn Jenkins, which was, you know, really great for me. That really showed that we were kind of developing and kind of starting to get where we want to as an artist. I've collaborated with Jonathan Antoine, the opera singer as well, who was Kristen's Got Talent, and just doing some duets with, like, with opera singers is just fantastic. And then even to more recently, creating and producing my own, you know, cabaret and soccer show and producing all the music and writing for that. I mean, that was. I never thought that's what I would be doing when I was 8. But, you know, those are just moments, you know, especially when I see the video footage back, because we're obviously very critical as artists and performers. But for me, you know, most recently, I was like, wow, you know, I've taken all that experience of all these years, pull it together, and that's actually quite a good show. And we've done it all on. Everything's always been done on no Money, which is, you know, what musicians kind of. Kind of do. They always have this struggle and this fight and. Yeah, and when you just put all that together and just go, wow, look. Look what. Look what we've done. You know, and we've done it all from nothing. So it's. Yeah, I think those all add up to really great moments. If you have to give a. You know, you told me you've been inspiring young people with music. So if you had to give an advice to a young person today, what Would you say to them? I would say start on social media young and work really hard and just. Yeah, just keep promoting and getting out there and just. I think if you follow what you want to do and just stick at it, you know, you do get there in the end and just never give up. Never give up. That's a very good one too, isn't it? It's very hard today with this social media. There is too much social media in a way, and you have to be on all platform. Otherwise somehow you miss out on a bit part of the. Of the audience. Because also, I remember I was in America and people were not on Facebook. They were only on Instagram, for example, that is now being bought by Facebook anyway. But, yeah, but at the time, so it was two very separate platforms. And it's hard to have to repeat everything over and over and at the same time, not to get the audience tired of seeing the same things. Because, yeah, sometimes there are people that they just keep repeating. Yeah, yeah, Just to keep something like. Just to pause. It's like, no, either you have something new to say or it's true. I think. Well, as I say, like, social media is an art form in itself. If someone wants to collaborate on social media, I'm there, like, Absolutely. Now, the next song we're gonna listen to, it's called Lost. Is this an original song or. Yeah, this is one of my own compositions. Again, it's based on the tango format, but it's much more expansive and very filmic. I. I guess. And I really. I was recapping over that song today as I was just sort of music for you, actually. And I just thought, oh, wow, this really does help you just get lost. Actually, it's one of those songs. Just put some headphones on, give it a listen, and it's just there to really relax and let people go on their own journey with the music, really. Talking of which, during the lockdown, what did you do to help yourself recover in a way from all the stress of being stuck at home and not being able to go out to play, perform? Yeah, I ran for hours and hours. I did about 10 hours of running a week. Yeah, I did a lot. We lived in. Well, we live on the edge of lots of countryside. And I just ran and ran and ran and ran and ran. And, you know, I was trying to help my friends through it as well. And I just said to them, just never miss the run. And if I ever missed a run day, which only happened about two or maybe three times, because every time I missed that run day life didn't feel as happy anymore. So for me, it was just lots of running and just really waiting to see what was going to come ahead. We tried, you know, as musicians, we tried to keep active with music, but I found a lot of people just had to give it a bit of a rest for a bit and just really just take in what was happening around us, you know? Did you ever get lost in one of your run? Oh, all the time. All the time. All right, so I think that this piece goes perfectly, what we were talking about. Listen to Last by Sarah Ing. Sa. Wow, I really got lost. Beautiful piece. I really like it. The melody, really relaxing, really beautiful. Well, now we are on the last part of our interview, and normally this is the part where I ask odd questions. Okay. Gave me the answer for some of them. So May. Because normally I ask if you have any strange hobby to free your mind or relax. Yeah, no, it's exercise for me. I find that just. I think a lot of musicians use exercise, actually, but I just. I find it a really, really great way to just release anything that you need to do. It's very important. I mean, there is a Latin saying that these men, san and corpore sano. That means a healthy mind in a healthy body, and it totally works. And also as a saxophone player. But musicians in general, it's a very physical job, isn't it? Yeah. There is so much of breathing and coping with tendonite if you're doing the wrong technique. So you're developing muscles that you wouldn't see as an audience. But violinists, they have so strong. Violinists, pianists, the saxophonist, everyone. It's so intense, isn't it, for many hours? Yes, it really is. Yeah. Do you have any ritual or superstition before going on stage? Superstition? No, I'd say I don't, really. Good going on stage is never a worry for me. I think it's only ever a worry if I haven't done enough practice. But that's a very good answer. Which gets harder as you get, like, more involved with your career that kind of get older as well. The practice kind of kind of fades with life. But no, I think I avoided any superstitions. Wonderful. Do you have any favorite pair of shoes, for example, or a favorite pair of dress? Well, I do have my favorite pair of shoes. I have about 15 favorite pairs of shoes for stage. Fifteen? Yeah, I do. And they're all sparkly with glitter on. Oh, very nice. Every single one. Perfect. And do you have any funny moments or Embarrassing moment that you get a call on stage or going to a performance. Oh, gosh. I suppose the most embarrassing moment was sometimes Sahara because of the classical element. If we don't have the live percussion and beatboxes and that with us, and sometimes we do that element, the percussion element to backing tracks. And the most embarrassing moment was when we were in a concert of about a thousand people and all of a sudden the track started to skip. I mean that. That was a challenge. Oh, wow. So what did you do? Did you stop? No, well, actually luckily. And I was just like, well done to the girls, you know, because actually this particular track, they started on stage and I just remember seeing their faces and I was like, hang on a second, why are they playing that section? I thought they need saving, I need to go on stage. And basically I just suddenly worked out the track was skipping and I was like, thank goodness. We do rehearse so much, so much that we just had to keep kind of skipping through the track to the next section that it was playing. It was, it was quite a challenge. And I don't think thankfully anyone noticed, but that was a moment where I died ins. Do you remember the most challenging place where you had to perform or audience to perform to, for example? I think everything has its own challenges, I think. Gosh, I mean, I suppose one of the ones that sticks in my mind is when we did some headlining work for cruise ships, which is where they feature artists from around the world to go on and do a featured performance on stage with people in the big theaters there. And again, it's that whole behind the scenes element of performing that people just don't see or realize, you know. And we flew to South Africa. We did a 12. Is it 12 hour flight or 24 hour flight? I can't remember. It's a long flight. And we got that arrived and were put straight on stage and I was just like, we haven't had any sleep. And it was straight on stage. You never normally know which day you're going to perform and they kind of decide as you arrive. And we went straight on stage. That was challenging. That was hard. Wow, that's very impressive. And instead the most, I would say like exotic place that you performed. Yeah, well, we were lucky enough with some of the headlining work to really go all over the world. I mean, we haven't made it to Australia yet, which I would quite like to do. And the Bahamas would pretty. Would be pretty exotic. Oh, yes. But yeah, so there's a couple of places we haven't made it to you. But yeah, South Africa was definitely kind of one of the furthest that we traveled to perform for someone. Did you ever encounter some Lost in Translation problem, for example? For example, having a classical crossover with an audience that was expecting just classical or vice versa, Someone that was expecting a different type of show, instead it was a crossover classical music. Well, interestingly, I kind of think how I kind of go about life is like, give me a chance, let me show you. And you're gonna love it. And I think I. Because I know that they're gonna love it. We always will ease them in with something familiar and a bit more of kind classical that they know. And then you kind of warm them up and then before you know it, you know, they will be enjoying something like gloss that they've never heard before. And wasn't expecting an electric guitar to, you know, rock out with his little solo in there. And I think it's just that challenge of being able to convert people into different music that they may not have ever considered listening to. I think the challenge has been is getting the opportunity in the first instance from the concert promoters or the radio stations, you know, promoters that you're trying to, you know, get them to give you a chance. All the record labels, you know, even any. That's the hard bit. But once you've kind of got the outlet for it, especially, you know, once people kind of warm to your concept of we just want to share something great with you. Like this is, you know, we just want you to love music. I think people can become really involved in that journey with you. Absolutely. Now, what is your next. Can you tell us a next project or recording that is. Do you have any. I know you told us you're gonna do some live collaboration. Any pica to it to that? I think one of the things that's gonna be planned for this kind of next phase in life really with the COVID 19, is to just sit down and do some more writing. And I've always wanted to complete an entire album of just Tangos really is the main go to for Tango's. Actually, other than him, there isn't really anyone else. And I always said I'd be the next person. And that's female as well. Wow. Wow. While we have a bit of kind of headspace with not being able to perform publicly at the moment, for me it's to sit down and start writing again. So, yeah, that's certainly in the pipeline. Wonderful. Now, the next piece we're gonna listen to that is the last one for today. It's called Tuck and would you like to tell us something about it? So which song is it that you're playing next? I think it's called toc, Am I right? Oh, you mean Boxer Carter and Fugue, I think. Ah, right. We didn't have the title. Ah. But as it downloaded, it might have said toc. I can only think that that might be. There you go. Yeah, yeah. If it is that song, then the buck to Cutter and Fugue. Wow. I basically took the most exciting piece of music that I ever heard in my life and thought, I want to get in on that action. I think it might work quite well for soprano saxophone. And I went about trying to translate that for my instrument. And I always loved taking something someone else has written and try and create something different from it. And so I just thought, I don't feel like anyone's really written this for orchestra and wouldn't it be amazing to try and do that myself? So that's what I did. That's wonderful. Let's listen to Back to Catherine Figue by Sara Ng's arrangement. It. Sa. Arrangement by Sara Ing of the Back to Kappa and Figue for saxophone and orchestra. Really special. If you have any questions that you would like to ask to our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us womensradiostn A big thanks to our guest saxophonist Sara Ings with the Sara Trio for the great chat and the beautiful music play today. Thank you for having me. It was so much fun. Thank you. You've been listening to Future Classic Women Awards on Women's Radio Station Live every day at 10am and 10pm London time. If you would like to listen to it again or catch up on our previous programs, you can head to the presenter's page. Stefania Passamonte Future Classic Women Awards on womensradiostation.com this is our last episode for the second series of Feature Classic Women Awards. In two weeks time you will hear the finalists of the program so please listen to them on the SoundCloud playlist of the Women's radio station. Share as much as you can in order to support your favorite artist and thank you for listening. I see you soon.