Tale of Two Cellos — British and Chinese
Print Edition
Julian Lloyd Webber, one of the foremost cellists of his generation, is also one of the most creative and innovative, always expanding the cello repertoire and recently performing and recording duets with his wife, Chinese cellist Cheng Jiaxin.
Julian Lloyd Webber is the second son of the composer William Lloyd Webber and the younger brother of the composer Andrew Lloyd Webber.
He was in Shanghai last week, performing in “Promenade” concert with the BBC Concert Orchestras and met with Chinese fans at the National Publication Import and Export Corporation Shanghai Branch.
The 62-year-old cellist has performed with distinguished orchestras, made numerous recordings and premiered more than 50 works for cello.
A notable recording (2013), performance series and example of his vision is “A Tale of Two Cellos” performed with his wife.
Cheng Jiaxin graduated in 1997 from the Shanghai Conservatory of Music. She was principal cellist of the Auckland Chamber Orchestra, also performing regularly with the Auckland Philharmonia and the New Zealand Symphony Orchestra.
“A Tale of Two Cellos” is also a brand-new concert featuring world premiere performances of duets for two cellos with piano.
It also features music from composers across the classical spectrum.
The two cellists give many concerts together and have just recorded six of Vivaldi’s cello concertos.
“There has been so little good music for two cellos. We are trying to create a repertoire of two cellos, combining the two voices well together,” Lloyd Webber told reporters.
He also focuses on music education, forming the Music Education consortium in 2003. He is chairman in the UK of the “In Harmony” project based in Venezuela, educating and playing music with children who cannot afford music. After an autograph session, Webber spoke with local media.
Q: What is the “tale of two cellists” in real life?
A: I met my Chinese wife in New Zealand in 2000, when I was on a tour and she was a student. On my next visit, she was playing with an orchestra. On my third visit, we met again and something just happened. It took around six years. It’s the first time I had a relationship with a musician. For me, the fact that she is a cellist did not really help in the relationship. As far as our personal tale of “two cellos” goes, we never argue and we have a very good relationship. But when it comes to working together, it’s a different story because we have our own ideas, which can lead to quite headed arguments. The idea of “Two Cellos” is to have one interpretation of the pieces by two cellos. We both have our own ideas, but we have to put those ideas together into one interpretation. That can be a difficult process.
Q: What do you think about music education?
A: I saw online that a program similar to “In Harmony” has started in China. I always believe that music is for everyone, not just people whose parents can afford to buy instruments or pay for lessons. Music should be available for all children. I am very passionate about this project, though I have never been particularly interested in teaching. This project is different because it’s for people who don’t have access to music. Also, working together through orchestras has proved to have huge social benefits for children and their families.
Q: Your brother Andrew Lloyd Webber is arguably the most successful composer of our time. How did you relate to each other at a young age?
A: Andrew is three years older than me. My mother was a piano teacher, especially good with young children, so she started both of us on piano. Then I asked to play the cello because I didn’t enjoy the piano at all and didn’t want her to push me. Andrew was good at the French horn but was more interested in composing with the piano. I wasn’t interested in composing, just playing the famous pieces. So we went in very different directions. Andrew is interested in theater and I am interested in concerts.
Q: As a classical musician, what do you think of cross-over music?
A: I love getting involved with new projects and different things. I think the key here is what’s behind the “cross-over” thing. Whether it is a genuine desire for musicians to really work together, or just try to make some money. If it is just for money, I would say no, as it won’t last and will likely be unpleasant to listen to. The idea is more about where people’s interest lies. I would never say I would never do any particular area of music. For example, I like bossa nova, and I may try something on that.
Q: Do you enjoy playing your brother’s music?
A: When I play his music, I don’t have to think how to interpret that at all. It is just there. I grew up with Andrew, I know how he wants his music to go. In fact, I don’t play much of his music. Sometimes I think perhaps I should because he is one of the top composers. I sometimes don’t want to play his music because it just seems too obvious for me to do so.
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