Samuel is in his second year of the BMus music degree at King’s College London, and encounters a variety of ideas, issues, and approaches towards music, including in the area of law, and notions of value in music markets. He is a news reporter for ‘Roar News’, and recently interviewed a range of freelance musicians for a report into the state of the music industry in 2020, and prospects for rebuilding in the ‘new normal’.
He is developing his violin playing thanks to a reciprocal scheme at the Royal Academy of Music, with the tutelage of Richard Ireland. His end of year recital, with the virtual and remote accompaniment of fellow student and writer Phoebus Kyriakoudis, paired two circa 1917 works: Bartok Romanian Dances and the first movement of Debussy violin sonata. He is interested in historical performance styles, performance psychology, and the role of the performer, especially when seen through the lens of Christopher Nupen’s documentaries.
From Haydn to Debussy via Beethoven, chamber music was a large part of Samuel’s musical development. He gained a music scholarship to Mill Hill School in North London, and performed chamber and choral music in the Netherlands, Barcelona, and elsewhere in Britain. To this end he enjoys collaboration, discussion, and experimentation during rehearsals and recordings.
Whilst he has been more at home playing violin in the pit band, he played the onstage part of Filch in KCL Opera Society’s production of ‘Threepenny Opera’. During his first year at King’s College London he relished playing viola in KCL Symphony Orchestra, KCL Brazil Ensemble, and the Sinfonietta of KCL’s Modern Music Society, for which he is now ‘outreach officer’. As part of the Modern Music Society’s collaborative song project, he wrote a stanza for the song cycle on the theme of war, a contemporary approach, as inspired by Wilfred Owen’s ‘Dulce et Decorum Est’. This and last year, Samuel has participated in projects at the Royal College of Music in London: a historically-informed Elgar cello concerto and a Chinese New Year concert, both conducted by the late Christopher Quentin.
Samuel has written