In Conversation with Matthew Jones, Head of Chamber Music

Guildhall School's Chamber Music Festival returns from 14-16 March, inviting audiences to experience the beauty and power of chamber music through an eclectic mix of captivating repertoire.

Before this year's festival begins, we caught up with Matthew Jones, Head of Chamber Music and Professor of Viola at Guildhall School, to find out more about what we can expect from this weekend of inspiring performances.
 

Can you give us a preview of the 2025 Chamber Music Festival and share some of the highlights you're most excited about?

As one of the artistic directors of the festival, and having seen it grow over the years, the excitement every year is seeing what happens in the process between the professors and the students during the Milton Court concerts. It’s wonderful to hear the fruits of that intensive burst of labour, which offers a combination of great performance with a fast-track learning process for the students, getting to be in groups with renowned chamber professors whom I’m very lucky to work with at Guildhall. It might sound cheesy, but the highlight is really witnessing the process and the results of whatever that repertoire may be. I’m particularly looking forward to the combination of some of the more familiar works, like Fauré and Brahms, along with some of the less common pieces that have been programmed. 

It’s also exciting to have such a mixture of performances, like the staff and student collaborative concerts at Milton Court Concert Hall - which are always a treat to both play in and listen to - alongside the Saturday concert where some of our most accomplished student groups perform a very diverse range of repertoire. This year we’re including another event in which professor Jacqueline Ross will be sharing some of her recent research on Beethoven, providing a great overview of the holistic approach to chamber music and how we encourage students to get involved with it across the School. 

Are there any hidden gems we should watch out for this year?

One thing I’m personally looking forward to (from a slightly selfish point of view!) is playing Sally Beamish’s Between Earth and Sea for flute, viola, and harp. It’s a relatively little-known gem for that combination of instruments, and I’ll be performing it with two students. I’ve had the pleasure of working closely with Sally, having played many of her pieces - and as a fellow viola player, she has a particular sympathy for us violists and writes especially beautifully for the instrument. She’s also come into the school to work with students several times this past year. So, it’s a real treat to continue that relationship with Sally and to enjoy her extraordinary music.

Another piece I can’t wait to hear is the Piano Quintet No 2 by Grażyna Bacewicz. This will open our Friday evening concert at Milton Court, which marks the start of our collaborative concerts. It's been a real labour of love for the professors and students involved. Bacewicz has a significant following, particularly for her violin works (since she was a violinist herself), but the piano quintet is rarely performed - likely due to the challenges involved in putting it together and fully understanding its depths. So, it’s a rare and exciting opportunity to hear it live, with professors Bartosz Woroch and Caroline Palmer performing alongside some of our most advanced chamber students. Just having the chance to hear this piece performed live is incredibly rare and something I’m really looking forward to.

What was your original vision for the festival when it first began, and how has it evolved over the years?

The core concept of the festival has remained relatively consistent, rooted in conversations with Carol Presland, who was then Senior Tutor of Keyboard Chamber Music. The collaborative concerts between staff and students, for example, were always a central part. The aim was to showcase students and offer an opportunity to those who have dedicated themselves to chamber music to work with professors. It’s also a wonderful performance opportunity for the students, allowing them to take advantage of how lucky we are to have Milton Court Concert Hall.

Over the years, the subtle changes have been around how many concerts we can fit into a weekend and the scope of the repertoire. But what remains exciting, and what continues to stand out, is that all the chamber music professors are incredibly enthusiastic about being involved. They often suggest works they’re particularly passionate about or pieces they haven’t had a chance to perform before, which creates a win-win situation for everyone involved – both educationally and performance-wise.

Additionally, each year we make sure to include at least one concert dedicated to pre-existing student groups who have particularly impressed us. It’s a chance to celebrate the hard work those students have put into their chamber music, despite the rigors and intensity of their training here at Guildhall. Showcasing these exceptional groups is always an exciting part of the festival.

How does the opportunity for students and staff to perform together benefit both groups?

One of the most unusual and amazing things about Guildhall professors is that nearly all of them are still very active performing musicians. The fact that the staff not only willingly give up their time to participate but are incredibly eager and passionate about doing so is truly wonderful to see.

The learning experience here goes beyond just the repertoire they’re playing; it’s also about how to work with the professors and, importantly, getting glimpses of how the chamber music scene operates outside of Guildhall. Students get to experience the pressure of preparing high-level work in a very short amount of time, which in turn teaches them how thoroughly they need to prepare.

It’s a fast-track learning experience that many students have said is not only a lovely way to celebrate the end of their time at Guildhall - since it’s often the more senior students who take part - but also can be quite transformative for their chamber music skills and experience.

Milton Court Concert Hall is often described as having a unique atmosphere. What does the venue offer for both performers and the audience?

From an audience perspective, every time I listen in there, I’m struck by how simple yet lovely the acoustic is and how well-designed the space is, especially in terms of sightlines and setup. It’s just such a classy venue to visit. Even though it’s been over a decade since it opened it still feels fresh, new and innovative.

The acoustics play a huge role in that. As a performer, it can be a bit intimidating at first, but as an audience member, it’s very positive - and that feedback loop becomes a benefit for the performer too. You can really hear every nuance and colour, from the quietest passages to the subtle variations in volume and intensity. It’s truly a joy to perform in.

For many students, they may have the chance to play in Milton Court for their final recital, but the festival setting offers an opportunity where they can enjoy the performance without the pressure of it being assessed, and that makes it a really lovely and special experience.

What are some of your top tips for aspiring chamber musicians?

One key practical piece of advice is to focus on your posture and physical well-being. I’ve worked extensively with the Alexander Technique, yoga and meditation, all of which have been transformative for me and many other musicians. In chamber music, engaging the legs properly allows the upper body to function more effectively, helping you communicate visually with the others in the group. It’s also crucial for projecting sound, particularly for instruments that are typically played standing during practice sessions but are then played sitting during performance. By focusing on posture, it helps ease the transition between these two positions without compromising the quality of the music. In this sense, taking care of posture is often overlooked by chamber musicians, but is key from both a physical wellness and musical perspective.

On a broader level, I think it’s important for students to be aware of the many different ways chamber music can be part of their lives. The old idea of forming a quartet and expecting it to continue forever isn’t always the reality anymore. While there are still groups that do exactly that and do it fantastically - like the Fibonacci Quartet, formed here at Guildhall and having great success in competitions - it’s worth noting that the chamber music scene now includes ad hoc groups, collectives and more flexible structures. The parameters of what chamber music is, and how one can incorporate it into their life, have changed - so it’s important for students to have a broad vision of what that world looks like now and what exciting opportunities that can bring.
 

Guildhall School’s Chamber Music Festival takes from 14–16 March 2025. Half of the events are free, and ticketed concerts in Milton Court Concert Hall are £10 (£5 concessions) with a multi-buy option available. Find out more and book at gsmd.ac.uk/chamberfest