Living Legend Sir James Galway
The living legend of the flute, Sir James Galway is regarded as the supreme interpreter of the classical flute repertoire. Through his extensive touring, over 30 million albums sold, Sir James has endeared himself to millions worldwide. Sir James devotes much of his time to furthering music education, sharing his wisdom and experience with the musical generation of tomorrow through his online teaching series, Galway Flute Academy –
www.galwayfluteacademy.com
You’ve had an illustrious career spanning decades. Looking back, what moments stand out as the most meaningful or transformative for you as a flutist?
ANSWER: There are many moments and they are all different for example, I have great memories of working together with composers who have written things for me; also working with other musicians and conductors. Playing with the Berlin Phil and Herbert von Karajan was a once in a lifetime experience.
How has your approach to playing and interpreting music evolved over the years? Are there any particular styles or composers you feel more connected to now than earlier in your career?
ANSWER: Well, when I was a kid, I used to play anything that came along, then suddenly I realized somewhere I had to look for something different and try to get inside the music so that it would be a great experience for the listener.
No, there are no particular styles or composers I feel more connected to now than earlier in my career.
What first inspired you to pick up the flute, and when did you know it would become your life’s work?
ANSWER: My Dad played the flute, my Uncle Joe played the flute and he taught me. My Grandad played the flute and he taught my Uncle Joe and the flute was just there all the time and slowly I began to explore how it worked and joined the flute band. I then got some lessons from a professional teacher who was a singer as well, and very good. I didn't know it was going to become my life’s work!
Your sound is one of the most distinctive in the flute world. What do you believe are the elements that have defined your unique tone and style?
ANSWER: I don’t know, but I can tell you it is all in the teaching and the learning. You have to want to learn. I listened to a lot of singers and Moyse’s style.
Throughout your career, you’ve inspired countless flutists around the world. What advice would you give to young musicians today hoping to carve out a similar path?
ANSWER: Put their nose to the grindstone and practice! Practice scales, arpeggios, flute sonatas, flute concertos. You have to really be dedicated and practice not just for half an hour here and there, but really practice for many hours and really make sure you are prepared. Those who really practice for hours and hours really can make it work.
You’ve collaborated with a wide range of musicians across genres. Which collaborations have left the greatest impact on you, and why?
ANSWER: I played with the Emerson String Quartet in Carnegie Hall which was great; I played with many great conductors like Herbert von Karajan & Gennady Rozhdestvensky; I had great fun working with the great Henry Mancini and Paddy Monloney & The Chieftans.
Can you share any experiences or lessons you learned while playing with the Berlin Philharmonic?
ANSWER: Be on time!!! I nearly did not get the job because they were not going to listen to me play because I turned up a little late. Although I was actually on time, according to their invitation, but when it got down to it they changed the time to early morning from midday! I found out this was a common thing they would often do when there were foreigners involved, they would jiggle the time around so that the foreigners would miss out.
Playing Wagner with the Berlin Phil under Herbert von Karajan was an out-of-this-world experience! It was just amazing.
Over the years, flute technology and performance practices have changed. What do you think of some of the more recent developments, both in flute-making and teaching?
ANSWER: All these people with new methods and new books on how to play the flute. Personally, I think there is nothing like the old method. I think you have just got to get down to it – get the books of Marcel Moyse, Taffanel & Gaubert, Altès and just practice until you can really do it. Also you should loo at studies. You know, people often ask me, how do you do this articulation?...the answer is you practice it! You get Opus 15 number 9 from Anderson and that is only about articulation because it is relatively easy on the fingers. You have to practice these because you get shake hands with the composers. I don't know if everybody knows this, but Anderson was one of the founders and a conductor of the Berlin Philharmonic as well.
Having toured worldwide and brought the flute to diverse audiences, are there specific performances or venues that were especially memorable for you?
ANSWER: Playing the 7 Bach Sonata’s in Carnegie Hall and then taking that on tour around Italy; Playing the Four Seasons in the Hollywood Bowl and at the Royal Albert Hall; Playing for HRH Queen Elizabeth II in Buckingham Palace; playing duo’s with the Empress of Japan who played piano. There are so many special memorable performances and venues.
You've dedicated much of your time to teaching and mentoring young musicians. What do you enjoy most about this role, and what are some challenges in conveying musical ideas to the next generation?
ANSWER: I enjoy the buzz you get when they are successful.
Your discography is vast, with recordings across a wide range of genres. Do you have a personal favorite album or piece that you recorded?
ANSWER: CPE Bach Concerti & my recording of the Rachmaninoff Vocalise, in particular listen to the last note. This came about when I was talking to Pavarotti about breathing, because he was championing breathing and I thought I should spend some time and focus on this with the flute, so I looked at the Vocalise and also the Four Seasons. You can only really hold those notes if you really practice breathing.
You have maintained an impressive level of artistry and energy throughout your career. What are some practices or philosophies you follow to sustain your performance level?
ANSWER: Always being prepared. Arrive early, rehearse more than you think you should and really practice. Also maintain a good routine both off and on tour. I am big on rehearsing and I work towards knowing what my audience wants and playing pieces that they will appreciate.
As someone who has witnessed the evolving music scene, how do you feel the role of classical music has changed in today’s world?
ANSWER: I don't think it has changed. People nowadays play for example, myself, Rachmaninoff, Caruso, Chrysler, Haimovitz, they all play little pieces which are like candy to the audience.
In addition to your achievements, your wife Lady Jeanne Galway is also a renowned flutist. How has sharing your personal and professional life with a fellow musician shaped you?
ANSWER: I’ve been married to Jeanne for over 40 years and she looks after me very well because I need a lot of help doing the things that I do. She is a good organizer and we share the same passions.
Finally, as you celebrate this milestone, what do you envision for the future of your music, both in terms of personal projects and your influence on the flute community?
ANSWER: I hope that I have left a good mark on the flute community. I think I have commissioned and played more first performances by really good composers and from there we go forwards, but if you do not nurture your composers then they music business will disappear. I will keep on teaching and get the works and books I have prepared published and out there.