IN CONVERSATION – with Music Journalism student Marcus Bingham
‘Don’t let anyone say you can’t.’
Sitting down with French horn player Mark Smith proved to be an enlightening and a rather thought provoking experience. What was enlightening about this encounter was the sheer modesty and personable nature of the man and what privilege it was to interview such an innovator and good humored musician.
Born in Liverpool and brought up in Nottinghamshire, Mark belonged to a fairly musical family; growing up with a violinist brother and singing in church choirs. During the time of aptitude tests for gifted and talented students, Mark was singled out for having potential in music ad this was where the world of music really started to open up for Mark. Asking Mark about his early music experiences and what made him choose to play the French horn his reply came very simple, ‘I was shown a variety of instruments and the French horn just stood out. I was was allowed to have a go on the horn and tried to make a sound. According to my brother who was present, I straight away produced a clear note, although I think that’s just my brother being nice!’ Mark described the French horn as an ‘attraction’ and a love for the instrument begin. What was fascinating for me about this was that Mark’s first encounter with his instrument was so simple and yet he talked like it was fate.
Growing up in Nottingham, Mark had access to a Saturday morning Music School where he engaged in lessons and he subsequently began having consultations at the Royal College of Music in London. From there, Mark auditioned successfully for a place to study on the undergraduate course at the Royal College of Music studying with distinguished horn players, Timothy Brown and Julian Baker. Whist during this time, Mark obtained RCM Diplomas in performance and teaching. During his studies he was also involved in the opera orchestra at the Britten Pears School, another prestigious school for talented students and he became a member of the European Community Youth Orchestra. Asking Mark about his experience at the RCM, Mark says, ‘I’m not entirely sure, looking back, that I’d do it all again. I think I could have been a lot happier studying at another institution. Sometimes in music, you just have to go for it and just do it.’ The honesty in his statement surprises me yet it provides assurance to young musicians that you don’t necessarily have to study at a world class institution to be a good musician.
Despite his modesty, taking one look at Mark Smiths’ resume shows just how versatile and able he is. Some of his past credits include the Royal Opera Covent Garden. BBC Concert Orchestra, BBC Scottish Symphony Orchestra, Bournemouth Sinfonietta, City of London Sinfonia, English Sinfonia , English Touring Opera, London Virtuosi Brass Ensemble, Music Theatre Wales, Philharmonia Orchestra, Royal Philharmonic Concert Orchestra, Welsh National Opera, BBC Philharmonic Orchestra, BBC Symphony Orchestra Bournemouth Symphony Orchestra, English National Opera, Ensemble Modern (Frankfurt), London Soloists Chamber Orchestra, Royal National Theatre, London, Royal Flanders Philharmonic Orchestra and Sadler’s Wells Royal Ballet. Aside from this, Mark has recorded for Musik and Media Commercial recording in Germany and maintains a solo and teaching career.
In 1998, Mark moved to Denmark to join Esbjerg Ensemble. Chamber music has always been a great passion of Mark’s even from his student days. In contrast to working in an orchestra or an opera or theatre pit, Mark says that, ‘In chamber music there is more interaction and it’s more about getting into a mindset.’ He goes on to describe chamber music as, ‘rather like keeping a tennis rally going, you are not trying to win points over your colleagues, you are aiming to keep the ball moving back and forth in ever-more elegant returns” Asking him about his experiences of being in Esbjerg Ensemble he simply says, ‘I was paid to play chamber music and I had a lot of fun.’ Aside from the Esbjerg Ensemble, Mark also freelanced as Guest Principal Horn with a number of Danish orchestras and spent a year with Denmark’s National Radio Symphony Orchestra. Having previously been extremely fortunate to receive chamber coaching from Mark myself, I asked him whether it ever fazed him coaching ensembles with instruments that aren’t from the same instrumental family as the French horn and again his reply was very simple and straight forward, ‘I have had a fair amount of experience with working with strings, woodwind and pianists and where I can’t advise on technique I certainly know something about colour, phrasing, pulse and rhythm and for me, pulse and rhythm are the absolute principals of chamber music.’
In 2004, Mark returned to the United Kingdom and carried on pursuing a freelance career. Since then, freelance performing engagements have included the London Symphony Orchestra, Britten Sinfonia, BBC National Orchestra of Wales and Birmingham Opera. His recent teaching and coaching includes Rugby School, the Dartington International Summer School and Senior Lecturer at Leeds College of Music. Asking Mark what attracted him to working at Leeds College of Music, he replies honestly, ‘I like the place. It’s impressive, the ethos is strong and its growth is exciting to witness.’ To round up the conversation I asked what advice you would give to anyone wishing to enter the classical industry to which he says, ‘Don’t let anyone say you can’t.’
marksmithhorn.com 