Interview with Anthony Marwood and Aleksandar Madžar – part 1
‘It’s funny,’ reflects Marwood later, in the carpeted quiet of Wigmore Hall’s subterranean interval rooms. ‘Sometimes you meet people in life. And somehow you feel that the other person brings out something in yourself that you didn’t know was there. With Sasha I feel that there’s a kind of musical connection of the soul. The kind of conversations we have are delicious and inspiring and interesting, and the playing is a natural extension of that.’
Madžar has had to dash for the Eurostar after the Wigmore Hall concert. We meet later at the other end of that journey, in his Brussels apartment. He expresses a similar sentiment.
‘If you are going to work with somebody regularly, you need to be on the same wavelength,’ he says. ‘Musicians can be very different. Some can rehearse till kingdom come. Others think they play better if things aren’t decided down to the last detail.’
‘We do work in a rather similar way,’ comments Marwood, after a roundabout description of something that sounds unnervingly intense. Are they both, perhaps, a little obsessive?
‘Yes,’ says Marwood. ‘I think we probably are. We work very, very hard when we’re together. But it’s not a slog. The hours slip past. It feels as if we’re digging.’
‘Perfectionism is part of it,’ says Madžar. ‘It has to be obsessive if you’re going to sit with an instrument from morning till evening, with only a short break. But as long as you have the sense that it can still go somewhere, the work is effortless, and rehearsing is no problem.’
Shirley Apthorp © 2011