James Cuddeford
The Grainger Quartet is one of Australia's newer export successes. Diana Simmonds talks to James Cuddeford, the violinist who is not its leader.
James Cuddeford is a musician with a vision. The violinist - and 25% of the Grainger Quartet - is passionate about what they do and why.
"What we'd love to do is get chamber music to the forefront of education," he says. "There is a lot of talent in Australia and what's happening in schools - the way music education has been cut back - is very sad. Probably more than sad."
Consequently, the quartet spends as much time as possible diving in to schools to talk to students, play for them and spread the word: chamber music is go.
"In our small way we help chamber music to chug along," says Cuddeford in a brief touchdown in Sydney for concerts which are part of the 2007 national schedule. "Name any great violinist - or pianist - and they're all great chamber players. I think it's about having three dimensional ears - and that's about listening to what's going on around you."
The Grainger Quartet - named in honour of the Australian composer - spends a lot of time in Asia in general and Hong Kong in particular. The appetite for western classical music there is huge, and the quartet is specially adept at fulfilling the demand.
"We have a residency in Hong Kong," Cuddeford explains. "So we go there at least three or four times a year. We also toured mainland China two years ago and plan to go again next year. The growth in music there is phenomenal. There are orchestras sprouting there every minute. Every city has at least two orchestras. And India too - Mumbai's first professional orchestra was formed this year."
Playing in the quartet - and small ensembles - is Cuddeford's job and delight in life. He enjoys the flexibility, democracy and freedom, he says.
"Quartet playing is democratic," he grins. "Truly - there isn't really a leader. The creative decisions arise from the group and although we argue, we are all heading in the same direction. And a quartet becomes part of you, just as it does for the audience, I think. I often feel that the audience is like the fifth member and we're really a quintet because you're drawn in to the playing in a way that doesn't happen with an orchestra."
The Grainger Quartet likes to open up quite literally - by holding open rehearsals whenever possible.
"If we have a concert on a Saturday night, say, we'll have an open rehearsal in the afternoon and people can come and listen, talk, ask questions and find out how we do things such as decide on a tempo. It breaks down barriers," explains Cuddeford.
The quartet is touring a typical repertoire this year: old, new, well known and not so well known with Barber, Beethoven, Grainger and Brahms on the menu.
"Because we're a quartet that doesn't specialise - we don't stick to baroque for instance - we look for a balance. And we find that if you play, say, Hungarian contemporary - all that gypsy influence - it refreshes the way you hear and experience Beethoven," he says.
"We're also very committed to contemporary Australian music and there are composers who are committed to us, which is marvellous."
Percy Grainger remains an inspiration, however. "He was a most extraordinary talent," says Cuddeford, although he admits they haven't gone quite so far as to adopt the composer's bizarre clothing range - designed by him and made by his adoring mother and consisting of entire outfits made of beach towelling.
"Perhaps we should!" laughs Cuddeford. "Perhaps we could approach Sheridan for a sponsorship!"
