ONE of Britain’s most versatile and respected conductors, Nicholas Cleobury, will lead the Eastern Cape Philharmonic Orchestra in its first concert of the season, A French Affair, on Sunday.

Having conducted the major orchestras in Britain and Europe, Cleobury has vast experience in orchestral, opera and choral conducting, and has great interest in contemporary work and youth orchestras.

He calls himself “a bit of a crusader” when it comes “new classical” music and composers of the 20th century.

“I can not stress enough the importance of nourishing our present-day composers. We constantly need a vibrant, creative force, otherwise we just live in a museum of classical music,” the famous conductor enthuses.

“For almost 300 years between Purcell and Elgar, there has been a drought of good British composers, but at present there are a lot of good ones such as Sir Peter Maxwell Davies. One of my favourite British composers with whom I did a lot of work before his death, was Michael Tippett.”

Although it is Cleobury’s first time in the Friendly City, he regularly comes to South Africa and cites conducting Handel’s Messiah in Orlando West as one of the highlights of his career.

“I must say, there are some fantastic voices here in South Africa and opera here is great. For the concert, the Messiah was translated into 11 different African languages. It was fantastic,” says Cleobury, who a for having a particular gift and flair for working with young people.

Another career highlight was the experience of assisting legendary composer and conductor Leonard Bernstein.

“There is no doubt about it. He was just an absolute genius. I learnt a lot from him – and of course, through trial and error – about what it is to be a good conductor. The task of a conductor is to interpret and to lead,” he explains.

“It is a big call if one does it well. Speed, shape and balance are important aspects for a conductor to pay attention to. It is good to sometimes have a fresh look at one’s interpretation, but with some pieces – especially the big architectural ones – one’s interpretation might stay the same through one’s life!

“At the end of the day, the orchestra wants to be told how to play. Essentially it is people management. One doesn’t have to be a bully, though!” he laughs when thinking back at what he calls the “era of dictators” with conductors like Italian maestro Arturo Toscanini.

“Some of the great names these days are much more composed, though.”

Cleobury, who has been conducting for more than 30 years, says he does not believe that his baton has any “talismanic or spiritual powers” and that some modern-day conductors don’t even use one.

“A lot of technique is involved. One could get the same results from wrist and hand movements. A baton is essential when one conducts a bigger group, though. It just makes it easier for them to see.”

He is looking forward to Sunday’s concert as he specifically enjoys working with talented amateurs such as the ECPO.

“I am a big fan of Tchaikovsky and his Variations on a Rococo Theme is a fabulous little piece.”

“The Saint-Saens Symphony No 3 in C Minor is a hard piece to play and a challenge to conduct. I can’t wait to hear it on the Feather Market organ.”