Conducting tomorrow’s musicians | Peter Stark

What is your core philosophy as a mentor, and which are some of the most important lessons you seek to impart to your students?

That the love of music is at the centre of everything we do. It is hard enough to learn to play an instrument as there are so many technical considerations occupying our minds; to let these happen naturally and focus on the music is the most difficult transition for any player. The student must ultimately learn to teach themselves rather than rely on a teacher, so they must first learn to listen to how they are playing, judge themselves and rectify what they don't like.

How would you describe your involvement in Maestro? What gets changed in the transition from the live stage to television?

Maestro was both one of the best, and one of the worst experiences of my life! It was a fascinating exercise, and showed viewers that conducting is not that easy. Behind the scenes there are many situations that cannot be shown on television; frustrations, annoyance (including some very bad language!) and tears. Also the process of teaching somebody from scratch takes many hours 'behind the scenes', so the editing process is of essential importance; the viewer needs to see how difficult the process is without getting bored with the length of time it takes. 'Celebrity status' brings its own issues to the fore as well, as they are people who do not take kindly to being taught the basics. One really interesting aspect for me was the professional orchestra who were told by the producer that they had to do exactly what the 'students' were showing - in other words they had to make the mistakes sound by allowing themselves to go wrong. Their answer was: "We don't do that, because it reflects badly on us!"

How would you describe the EUYO? What does it represent, and how is it different from other orchestras you've formed part of?

It is a wonderful privilege to work for EUYO. Their playing combines professional standards (of the highest order) with the spirit and energy of youngsters. Joy Bryer, the orchestra's founder, tells the new members each year that they will, at the end of the first year of membership, have a friend in every single country in Europe. It's a simple statement, but one that really shows what an important role the orchestra fulfils. The friendship of people from different cultures, all combining to play some of the greatest music ever written - it doesn't come much better.

Are you looking forward to visiting Malta? What are you expecting to find?

I have been coming to Malta for many years now - often to conduct my friends in the Malta Philharmonic Orchestra (including the lovely concert in May this year when they shared the platform with the Malta Youth Orchestra), but before that with my group Parnassus. Some people may remember our performances in the Manoel Theatre of Benjamin Britten's 'Turn of the Screw' in 2000, and the 'Celebrating Handel' Festival in 2002. I love the islands; the history, the friendliness, the atmosphere and - I'm British - the weather!

All Maltese musicians of at least Grade 8 standard aged between 14 and 24 on December 31, 2013 are encouraged to audition for the orchestra. You could be joining the EUYO for the EUYO Summer 2014 and Spring 2015 tours. Deadline for applications to the masterclass close on November 29. For application forms and other information please visit www.maltaculture.com or contact Elaine Falzon on [email protected] or 2124 5168. Further information about the EUYO may be obtained from the EUYO website.