Who or what inspired you to take up composing, and pursue a career in music?
From a young age, a creative impulse was deeply ingrained within me. Initially, this manifested as a passion for painting. I progressed quite significantly in this field, owing in part to an exceptional art teacher at my preparatory school and also to my father, who was a skilled draughtsman. However, as I entered my teenage years, music began to assume a more central role in my life. This shift was largely due to my mother, a former piano student of Harriet Cohen in London, who ensured that music was an essential component of our home and education. Her influence was pivotal in nurturing my early musical interests and setting me on the path toward composition.
The Pivotal Figures Shaping John Joubert’s Musical Journey
Two individuals stand out as the most significant influences on my musical development and career as a composer: W.H. Bell and Claude Brown. Bell was a distinguished composer who had relocated to South Africa in 1912 to establish the Music Faculty at the University of Cape Town. He was retired when my mother introduced us. Despite my rudimentary early compositions, he saw potential and offered to mentor me. For about four years, until his passing in 1946, he provided me with a solid foundation in compositional techniques, which proved invaluable as I aimed for a professional career in music.
Claude Brown, the music master at my school, was another crucial figure. With a background in Anglican Cathedral music from Worcester under Sir Ivor Atkins, Brown brought a rich musical tradition to the school. It was here that I was immersed in the works of Elgar and the Anglican musical repertoire. My mother’s unwavering support was again instrumental during financially challenging times for our family. Despite external pressures for my brother and me to leave school to contribute to the family income, she insisted we remain in education, a decision that profoundly shaped my future musical pursuits.
Following my admission to the Royal Academy of Music in 1946, my primary influences shifted to my three teachers there: Theodore Holland, Howard Ferguson, and Alan Bush. Each contributed uniquely to my growth as a composer, broadening my perspectives and refining my skills in distinct ways.
Navigating Challenges and Finding Purpose in a Composer’s Life
Adjusting to a new country was a significant early challenge. The harsh winter of 1947, my first in England, was particularly daunting. Having no relatives in England, my initial social network consisted mainly of fellow South African students from the voyage aboard the Winchester Castle. This period of acclimatization was crucial in establishing my life and career in a new environment.
The nature of commissioned work presents its own set of challenges and rewards. The pleasure of receiving a commission is a powerful affirmation that your music resonates with others and that there is a desire for more of your creative output. The pressure of meeting deadlines is undeniable, yet this pressure can be a positive force, sharpening focus and enhancing productivity.
Working with diverse musicians, singers, ensembles, and orchestras offers unique pleasures and challenges. Beyond composing, conducting has been a central activity in my musical life, encompassing choral and instrumental groups, both professional and amateur. Conducting the University of Birmingham Motet Choir was a particularly rewarding aspect of my academic career. This talented group allowed me to explore demanding musical pieces, including my own compositions, pushing creative boundaries and fostering deep musical engagement.
A Composer’s Reflections: Works of Pride and Personal Significance
Looking back at a catalogue of over 180 works, selecting personal favorites is a complex task. However, certain compositions hold particular significance for me. These would include my Octet, the opera Jane Eyre, the song-cycle Six Poems of Emily Brontë, the oratorio The Raising of Lazarus, my Second Symphony, Sonata No 2 for piano, the Pro Pace motets, String Quartet No 2, Temps Perdu for string orchestra, South of the Line, Piano Trio, the song cycle Landscapes, oratorio Wings of Faith, An English Requiem, the St Mark Passion, and the Concerto for Cello and Chamber Orchestra. Each of these works represents a distinct phase and facet of my compositional journey.
Defining the Essence of John Joubert’s Compositional Voice
My compositional language is rooted in a pursuit of a personal voice that is built upon traditional classical principles. I aim for clarity and directness in conveying a strong emotional message through my music. It’s about finding an authentic mode of expression within established musical frameworks.
The Creative Process: Insights into Joubert’s Working Methods
Most mornings find me at my desk, although composition is not confined to these hours. Inspiration and development of musical ideas occur continuously, often subconsciously, away from my desk. I don’t compose directly at the piano, but it is essential for refining and testing musical ideas, ensuring the clarity of expression I consistently seek in my work.
Musical Affinities: Composers and Musicians Admired by John Joubert
My musical tastes encompass the great classical composers up to and including Wagner. Post-Wagner, I deeply admire Mahler, Strauss, and Elgar. Moving into the 20th century, Stravinsky, Bartok, Walton, Britten, and Shostakovich are composers whose work I greatly appreciate. These figures represent a diverse range of styles and innovations that have shaped the landscape of Western classical music.
Unforgettable Concert Moments: A Highlight from the Past
A particularly memorable concert experience was witnessing Richard Strauss conduct his Sinfonia Domestica at the Albert Hall during the 1947 Strauss Festival. This work, often underestimated, came alive under the composer’s baton, leaving a lasting impression.
Advice for Aspiring Musicians: A Composer’s Wisdom
Drawing on T.S. Eliot’s advice to writers, I would suggest to aspiring musicians to ‘work out your salvation with diligence’. This principle of dedicated, persistent effort is, I believe, equally applicable and essential for composers seeking to develop their craft and realize their artistic potential in the demanding world of music.
John Joubert was born in Cape Town in 1927. At 19, he received a scholarship to study at the Royal Academy of Music in London and has since made England his home and professional base. Joubert’s extensive career includes compositions across all genres, from symphonic and operatic pieces to beloved choral miniatures like Torches and There is no rose. Recent additions to his growing discography include two Symphonies, three String Quartets, the Oboe Concerto, and the Cello Concerto. Commissions in recent years feature An English Requiem for the 2010 Three Choirs Festival and the Concerto for Cello and Chamber Orchestra for Raphael Wallfisch as part of the 2012 Cultural Olympiad. Joubert was the featured composer at the new music wells 73-13 festival in June 2013, which included a new mass setting and anthem for Wells Cathedral Choir. 2016 saw the premieres of Joubert’s substantial St Mark Passion at Wells Cathedral and his opera Jane Eyre, recorded live for Somm as part of several new releases celebrating his 90th birthday in 2017.
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