BY LUCY RASH
This story was produced in partnership with the Peninsula Summer Music Festival as part of our inaugural CutCommon Young Critics’ Mentorship.
Miles Johnston’s is an impressive journey.
From the Victorian College of the Arts Secondary School to a Bachelor degree at Monash University, to a duo career with brother Ziggy, to the winner of Melbourne Recital Centre’s 2015 Bach Competition, to second place in the 2016 Adelaide International Guitar Festival Competition, Miles has arrived at new station: winner of the 2018 MRC Great Romantics Competition.
Wow.
Fresh and rested in the lead-up to his resulting billing at the 2019 Peninsula Summer Music Festival, we speak to Miles about the competition, the future of classical music, and whether or not he’s ever been tempted to join a rock band.
Tell us about winning the 2018 MRC Great Romantics Competition. What did this experience mean to you?
This year was my first time making it through to the finals of the competition. I auditioned last year but didn’t make it through, so it was a bit of a surprise to me that I won!
My older brother Ziggy, who also plays classical guitar, has competed in the competition and from 2014-2017 and received second place in 2015 and 2016. Ziggy decided not to enter this year, but instead helped me to win, as the piece I played in the finals – Introduction et Caprice by Giulio Regondi – was a piece he has played before.
This competition is one of the biggest all-instrument competitions in Australia for young musicians, and it was a huge honour to be awarded first place. It was especially meaningful to me, because I have always considered Romantic period music to be one of my musical weak points, so I was surprised and thrilled to win.
Did you choose guitar, or did it choose you?
I’d say it was a bit of both. My parents both play guitar as a hobby, so you could say the guitar has always been a part of my life. They knew that having the ability to play music teaches you many essential life skills and brings lots of joy. They wanted my brother and I to start out learning classical guitar, because they could see that if you learn classical, you can play any genre.
I was lucky enough to have a fantastic teacher at the beginning, Peter Draper, who taught classical along with a bit of jazz and blues on the side. Over the years, my love of the guitar has continued to increase, and now I am making a career out of it.
Speaking of different genres, have you ever been tempted to join a rock band?
I have never really been tempted to join a rock band. I love rock music and I grew up listening to bands like AC/DC, Led Zeppelin, and The Beatles. I even used to muck around on my electric guitar learning Metallica songs, but I have never been as passionate about it as I am about classical music.
What role do you feel young people have in maintaining and evolving the classical music tradition?
I personally don’t think it is the role of young people to maintain and evolve the classical music tradition. Classical music spans a vast amount of time, and it takes a lot of experience and maturity to truly understand most of it.
The role of young musicians is to work hard and attempt to bring out the voice of the composer along with their own voice, and then to make a career of it.
It’s the role of established and professional musicians to maintain and evolve the classical tradition by teaching, collaborating, and doing new things with music.
Leading on from this, what do you feel is the most important factor in determining classical music’s survival into the next century?
There seems to be a misconception that the general public thinks all classical music is boring and dull. Any music is boring and dull when not played well enough. I think that many people have acquired tastes for music based on their culture and upbringing, but I also think that people are always looking for new experiences.
Sometimes, classical music concerts are boring, but that is the same for every other genre of music. I constantly strive to give performances that engage and captivate every single audience member, whether they understand the music or not. If every classical concert does this, there will never be any question about the genre’s survival.
What can audiences expect from your upcoming performance at PSMF?
This concert features incredible music by some of my favourite composers. I will be starting the concert with my interpretation of Bach’s Violin Sonata No. 1, BWV1001, arranged for guitar by Manuel Barrueco. The detailed architecture of Bach’s works allows me to always discover new elements, and is what captivates performers across the globe to keep exploring his music.
Following this is Introduction et Caprice by Giulio Regondi, the piece I used to win the Melbourne Recital Centre Great Romantics Competition.
The third piece is Threnody for Chernobyl by the Australian composer Richard Charlton. I’ve wanted to perform this piece for a long time because it is one of the most serious and meaningful pieces I’ve ever played, especially with the grave and spine-chilling events it depicts.
I will finish the concert with the epic and relentless Introduction and Vivace by Nikita Koshkin.
Miles Johnston will perform as the Melbourne Recital Centre Great Romantics Competition winner at the Peninsula Summer Music Festival on January 6.
Stay tuned for our coverage of PSMF as we team up for the inaugural CutCommon Young Critics’ Mentorship.
READ NEXT: Ziggy and Miles: Backstage with the bros
Images supplied.
