WITH FREDERICK PAUL NAFTEL
London, 2024
​
During this interview, I change seats, place myself in front of another artist and ask him the questions I wish people asked me. Today, I speak to the English composer Frederick Paul Naftel who has just released a new solo project entitled Orchestral, Chamber & Instrumental Works which celebrates the diversity of the artist’s musical output.
Frederick, tell us a little bit about yourself.
Born in Manchester UK in 1956, I graduated from Manchester University in 1978. After working for a music publisher, I became a music teacher then branched out into Holocaust Education,
telling my own personal family story. During my career, I composed whenever I had the time and in 1983, the BBC Philharmonic Orchestra conducted by Edward Downes, premiered my "Concerto No.2 for Orchestra". In 1989, I won first prize in a competition to compose a fanfare for the Halle Orchestra. The resulting piece was "Northern Lights", scored for percussion only. In 2020, I received an award from the Paul Hamlyn Foundation, on the recommendation of Sir James MacMillan, who had heard some of my music. Having retired from teaching and lecturing, I now devote myself to composition, occasionally playing percussion in local orchestras.
Now, tell us about Orchestral, Chamber & Instrumental Works, your latest project?
This project was the culmination of continued efforts to get some of my music recorded and commercially released. Fortunately, Divine Art Recordings recognised the potential of launching a debut album illustrating different facets of my compositional style. I am particularly proud of the newer works to appear on the album, especially the String Quartet No. 2, which was composed at a very difficult time during the first lockdown and pays tribute to relatives and friends who passed away that year. There is a certain violence to part of this music that even took me by surprise! The Aphoristic Impressions were specially composed for the American pianist Haley Myles, who encouraged me to compose further works for her. The Folksong Suite demonstrates my love for folksongs and English pastoralism, as does the earlier "Aubade Pastorale". "Song of Songs" is my only purely "ethnic" work. "Pascal's Victim" was composed for a brilliant quartet of tuba players, whose techniques I exploited to the full.
How did you come to compose music?
My influences are many and varied as I consider myself to be an unashamedly eclectic composer, able to write in several idioms and styles as befits the occasion. These include landscapes, countryside, personal emotions, homages and the desire to communicate with both audiences and performers. Composers whom I admire and cite as influences include Arnold, Shostakovich, Vaughan Williams and Walton.
Tell us about your creative and composing process?
Landscapes play a large part in the composition process, sometimes unconsciously so, as certain places hold a lot of significance and memories for me. However, I do feel that I can express emotion when needed, again according to the moment. Once again, my String Quartet No. 2 was composed during a very difficult time and pays homage to several friends and relations. On occasion, an idea comes into my head and I just go with it, while the idea remains fresh. As far as influences go, they are wide-ranging, including English pastoralism, personal faith, elegies and memorials, a state of mind, mood or emotion. Composers I admire also figure in the music I compose, especially Shostakovich and Vaughan Williams and even a touch of minimalism every so often. I try to use pre-existing material as little as possible but only when the actual themes or idiom/style attracts me, such as in the case of English pastoralism and folksong. The only composition of mine to use pre-composed melodies is the Renaissance Dance Suite, where the orchestral colouring is more important. However, I do play around with the tunes by elaborating them with slightly modern harmonies. I preferred to keep the tunes as they were to preserve the antiquity of the music. Ideas begin in my head, walking in the countryside can certainly help here. Then I start to plan form and structure, making note of any motifs to be used and developed. Like Malcolm Arnold, I usually compose in full score, after preliminary notes.
What about these particular pieces and works — and did they come to be?
I wanted as wide a range of works as possible to illustrate my eclectic style, to demonstrate I can compose on a deeper personal level when required. The newest pieces have the most significance, especially String Quartet No. 2, which I consider to be a seminal and very personal composition. Folksong Suite illustrates my love of English folksongs and landscapes, while the Aphoristic Impressions attempt to cover as much ground as is possible within a very short time frame.
What influenced your choice of performers given the diversity of the works?
"Aubade Pastorale", "Song of Songs" and "Villancico" were composed while I was working for a publishing company and they had access to the finest session musicians and recording studios. I deliberately set out to write music that showed my influences, namely from folksong, pastoralism, my own faith background and Spanish pastiche. Apart from "Pascal's Victim" and Aphoristic Impressions, other works were not written with any particular performer in mind and I am very pleased that The Northern Film Orchestra (made up of very talented young musicians) stepped in to record the quartet and Folksong Suite.
So after Orchestral, Chamber & Instrumental Works, what’s next?
I am presently working on a piano sonata for Haley Myles (with the promise of a full-blown sinfonia concertante in the future), a third symphony (which will be a no-holds barred assault on sensibilities according to its programme), and a short orchestral work in minimalist style for The Northern Chamber Orchestra. Future works include a second clarinet quintet and cello concerto.
Bouncing on Frederick,’s words, I encourage you to discover the composer’s prolific output, particularly when it comes to his small ensemble and chamber works, which contain some of his most interesting and daring pieces! Read my review of Orchestral, Chamber & Instrumental Works.