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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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.
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Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.
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It's Messiaen's Turangalila Symphony I'm really looking forward to. Simon Rattle does it perfectly: he understands its primal rhythmic life force, and he and the wonderful Berliners make it a sheer riot of orchestral colour.
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I most definitely would not buy the 'Daily Mail,' which pours a kind of livid torpor into the eyelids of the average Brit - I skimmed through a copy recently and couldn't believe the rubbish in it.
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I'd like to explode a few myths about what we call classical music. It's not high art for the titillation of a chosen few.
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I free-form it, rock n' roll it. I'm a creature of risk, so I don't know how I'm going to explore a Beethoven symphony until I'm doing it.
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When I was young, Tchaikovsky was ruined for me by conductors who made it slick and treacly. Hearing Valery Gergiev conduct Tchaikovsky has been a revelation - he brings out all its raw passion. And Gergiev with the super-virtuoso LSO - well, it's just the perfect combination.
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Somerset desperately needs more high-end music making on its doorstep, so the chance to share great music spanning genres as diverse as orchestral classics, trip hop and jazz, in the utterly relaxed and cathartic environment of a Somerset field, is for me the fulfilment of a long-term dream.
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I abhor the words 'classical music.' Few things satisfy me more than a really good cover version.
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It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.
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Most people in the Western world grow up with the received wisdom that Mozart was a genius. But few people necessarily know why. More than anyone else, he captured this something which is the human condition, the fine line that we all constantly dance between joy and pain, between absolute happiness and absolute heartbreak.
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Mozart, Beethoven - how can you not want to share them with everyone and anyone? This stuff is of as great importance as the food we eat and the air we breathe.
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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.