Profiles: Margaret Faultless

Megan Peel talks to Margaret Faultless, co-leader of the Orchestra of the Age of Enlightenment, student and guest teacher alumna

'A beacon of what is possible...'

Maggie first attended the Britten–Pears School as a member of the Britten–Pears Orchestra for the production of Owen Wingrave in the 37th Aldeburgh Festival, 1984, conducted by Steuart Bedford and produced by Basil Coleman. While still an undergraduate at Cambridge, she played in the closing concert of the 38th Festival, again with the Britten–Pears Orchestra and the Artur Balsam Piano Trio course later that same summer with Gabriel Amherst and Jacqueline Leveridge. She was asked back as a guest teacher on the 27th and the 29th International Academy of String Quartets in 2003 and 2005. In April 2007, she joined us again for a unique residency between the Orchestra of the Age of Enlightenment, The Freiburg Baroque Orchestra and the Britten–Pears Baroque Orchestra, whom she directed from the violin, as a guest teacher. She worked with the students and then they had an opportunity to join both orchestras on the stage of Snape Maltings Concert Hall for rehearsals.

I caught up with her between rehearsals in April on the Barbara Hepworth lawn.

Can you describe in words what it is that makes this experience different?
MF: It is too easy to describe it as an artistic retreat. It gives you space and freedom to liberate yourself artistically - there is an immense feeling of trust which helps you to develop your skills and allow you to communicate. Things are possible here. Aldeburgh is unique but very personal in its uniqueness. It is a salutary reminder of bigger things. Just as important as the freedom to express yourself artistically, is the walk on the beach at 7.30.

What was your impression of the time that you came here on the Piano Chamber Music Course with Artur Balsam in 1985?
MF: It was quite daunting as we hadn't played that much together and everyone else was from music colleges and we were from Cambridge so we didn't have as much time to dedicate to practising. The atmosphere was very friendly and supportive and we played a lot. One very important moment for me happened one day when Artur asked to swap places with our pianist. He played for ages and we could feel the rush of the doors of his experience opening and everything felt immediately simple to play. It was a life-changing moment and we tried to recreate that feeling whenever we played together after that.

Who else had an influence on you when you were here performing and teaching at different times?
MF: I don't know how I have got to know Hugh Maguire so well but I have. When you see him coming up to you with his twinkly look… He was so generous with his time and he always looked for the best in every player. He was extremely supportive when I came back as a tutor on the International String Quartet Academy Course in 2003. I was thinking, "What can I possibly have to communicate to these students with Hugh sitting there in the audience?" But, he helped me tremendously.

How is the standard of the students on the courses that you have taught and the one you are doing now with the BPBO?
MF: The standard of the students is very high and these here now are wonderful. It is like trying to tame a roomful of thoroughbred racehorses-they are very talented and they race along with me chasing them, trying to gather them together.

Were you here when Peter Pears was still alive?
MF: I remember doing a Matthew Passion when Peter Pears was still alive. I think it was with Willcocks conducting. He was in my sightlines for the whole concert and I really had the humbling feeling of continuing a great tradition. One always had a feeling of reverence for him but he was truly engaged with us as performers.

How has the OAE benefited from its week as part of the Aldeburgh Residency programme with the FBO and the BPBO?
MF: They have had a chance to reassess themselves as performers, as part of an orchestra and individually. They have come to the realisation that they are very lucky indeed - and that that luck needs to be nurtured and looked after.

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