Interview with Braimah Kanneh-Mason
Meet the dynamic and versatile young violinist Braimah Kanneh-Mason, one-third of the acclaimed Kanneh-Mason Trio who have taken the classical music world by storm. This month the siblings grace Barnes Music Festival...
What was it like to grow up surrounded by music?
For us, it was something that was very normal. As you look back, you realise how lucky you were and how grateful you should be for your parents and your home environment; how fortunate and special that time was. I think it was wonderful – obviously I’m biased, being a musician, but music is a tremendous thing and it was deeply ingrained into my childhood. As a household we would always listen, and on car journeys we would have music playing. At home there would always be someone practising. It was very noisy, but it was wonderful.
You say that the music you play grew organically. At what point of your life did you decide to pursue being a professional musician?
When I was seven or eight, I think I already knew that it was what I wanted to do. At that stage I didn’t talk about it in terms of a profession or career – you just love playing and decide it’s what you want to do. You have the context of watching other people in concerts – there was, and still is, a really good concert hall in Nottingham where amazing musicians would come. You go and watch them on stage and tell yourself that you want to be like them when you are older.
Who influenced you the most?
The violinist who really influenced me when I was a child was Itzhak Perlman. He was the one I listened to the most. Later, when I was 11, we had a CD of Maxim Vengerov and I started listening to him too. It was through a French film, The Art of Violin, that l became inspired by orchestra, but I also had loads of inspirations outside of classical music - Muhammad Ali and Bob Marley, and also Michael Jackson when I was younger.
What type of music do you like to listen to?
A wide range. From a young age, I was listening with my parents to music from Antigua, as my dad’s parents are Antiguan. We listened to Calypso music too, and even some from Sierra Leone. I also enjoyed a lot of pop music when I was younger - hip hop and rap. At the moment I love soul and reggae, and I do listen to a lot of classical music too. My favourite of the classical composers is Beethoven. Not exactly an obscure choice, but it’s the truth.
Is classical music cool?
I was lucky to go to two schools where music was really celebrated and valued.
I had school friends who would think that what I was doing was strange - then they would hear the music and like it. It’s a lot of the things that surround classical music that give young people the impression that it’s boring and not cool.
Is there a stigma around classical music?
In the UK, now especially, it is very difficult to learn an instrument to a high level unless you have private tuition. It does unfortunately mean that those who learn are those who can afford it.
If you could send a message to a young person in the audience at the Barnes Music Festival, what would it be?
As we get older, we tend to become less creative. Try always to resist that and, if you’re lucky enough to find the thing you love doing and click with, maintain a creative approach towards it.
What do you think is most needed in music education in the UK?
It’s strange. We live in a country with such a musical and artistic heritage - it’s one of the many things for which the UK is known. Everyone loves music, it’s integral to our society in so many ways – but we don’t want to teach it. The number of music teachers in an average primary school is zero. It’s a major concern. Music teaching needs to be publicly funded and it needs to be free. That is the only way it can be for anyone and everyone.
In your family, how does practising with your siblings work? Where do you rehearse?
I live with Sheku. We rehearse in various places – a combination of our house in Nottingham, Stanway Hall and other people’s homes. We know our schedules quite far in advance, especially Sheku and me. We know when the three of us will all be around and just plan in advance what we’ll rehearse.
What is the last concert that you went to?
In November, I saw Abel Selaocoe play in KOKO in Camden. He is a South African cellist and singer. Part of the tour was organised by a new organisation called Through the Noise, which does concerts in places that you wouldn’t normally associate with classical music. For example, they’ll do a piano recital in a bar in Dalston. It’s a cool way to challenge the stigma surrounding classical music.
A good example of making classical music more accessible...
I don’t think you need to change the music itself - just the way it’s presented. Pairing it with something that you wouldn’t expect is exciting, but that should never compromise the actual music. The music itself is wonderful.
Has the theme of the 2024 Barnes Music Festival, Legends, inspired your programme?
We play Beethoven and Brahms - two legendary composers. I mean, there aren’t really any legends bigger than Beethoven, are there?
The festival is March 9-24, barnesmusicfestival.com
