Charles Hazlewood
Charles Hazlewood
Charles Matthew Egerton Hazlewoodis a British conductor and advocate for a wider audience for orchestral music. After winning the European Broadcasting Union conducting competition in his 20s, Hazlewood has had a career as an international conductor, music director of film and theatre and a curator of music on British radio and television...
NationalityBritish
ProfessionMusician
Date of Birth14 November 1966
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Our pop scene is among the best in the world because there are 300 languages spoken on the streets of London, compared with 200 in New York. Our diversity is our strength.
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People like Aphex Twin, Jason Pierce, Jarvis Cocker and William Orbit are actively showing their interest in a wider field of music. Jarvis and I met on a benefit for an extraordinary man called LaMonte Young, the father of minimalism, who worked with John Cale and shared a loft with Yoko Ono.
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I think most people's record collections are more interesting than radio generally gives them credit for. You're likely to be as interested in the Grateful Dead as Palestrina. It pisses me off how compartmentalised music is. I used to be in a punk band, you know?
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Parallels between classical and pop are not new. The whole San Francisco movement of John Cage and Terry Riley went hand in glove with what the Velvet Underground were doing.
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It's wonderful doing concerts in places like New York and London, but I feel a responsibility to also bring my work home, to bring world-class, classical music to Somerset.
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In America, they have this nauseating habit of calling the conductor 'maestro'. I always slightly gag when the cor anglais player goes, 'Maestro, can I discuss bar 19 with you?'
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I'm always up for music shows such as Jools Holland, but news more than anything, particularly Newsnight. And cookery: Hugh Fearnley-Whittingstall, Rick Stein - it's down to him that I cook fish so much - and the great food alchemist Heston Blumenthal.
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I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.
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Even if you're playing the most well-known repertoire under the sun, I still believe you have a responsibility as an artist to tell the audience why you're playing it, what are the key aspects to it, and then throw in a bit about its historical context.
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When I analyse the music, I can get really extreme.
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I spend so much of my time working away, but I love being here. My family is in Somerset, and this is where my heart is.
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Classical music has become rarefied, like a maiden aunt that nobody wants to talk to.
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I want to prove that Holst's 'The Planets' can be as much of a sensory overload as a concert by the Grateful Dead, and just as exciting.
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The way Fatboy Slim layers motifs is the same as 18th-century baroque counterpoint. You have an idea, then you have an answer to the idea in another voice, then you have a counter idea accompanying the original idea, and you build up your texture like that. I'm really into Kruder and Dorfmeister at the moment, and they do the same thing.