With applications now open for the 2024 Baroque Competition, we sat down with violist Jamie Miles, last year’s winner of the First Prize (formerly the Richard Mills Prize). We found out about his ambition to study in Europe and his multi-tasking trick of playing music whilst watching sports!

When did you start playing the viola?
I started on violin aged 5, and pickup up the viola at 9.

Why did you choose this instrument?
The most clean-cut answer is that my teacher at the time recommended that I play viola as well to aid my violin playing. Playing viola is known to boost tone production on the violin, because you have to work slightly harder – especially with student instruments. The poetic answer, however, is that when I first heard a viola, I loved its rich, warm, raspy colour. It’s role in ensembles as the ‘glue’ that holds things together also added to its charm. I didn’t look back, and within two years I had left the violin in the case for good. Both are true, but I have my second teacher Christine Lesley-Pfitzner to thank for introducing me to the darker side of the string family.

What was it like to win the 2023 Bach Competition?
It was a really incredible experience. Not only was receiving the Richard Mills Prize a massive honour, but performing such divine music in a rewarding acoustic like Elizabeth Murdoch Hall is a feeling that is difficult to describe. On the day, I was actually quite nervous, but I performed slow breathing exercises backstage that held me in good stead for the performance. During that time I also reconsidered some of my musical approaches to Bach’s Fifth Cello Suite Prelude, and I was pleased that I was able to translate that into my performance in the competition.

What has been your performance highlight so far?
It’s so hard to pick one because these days I feel like I have an eye-opening experience every couple of weeks, whether that be at the Australian National Academy of Music, with the Australian Youth Orchestra, or in professional orchestras, but an orchestral highlight so far is performing Shostakovich’s Tenth Symphony with conductor Eivind Aadland at the Perth Concert Hall in 2023. A recent chamber music highlight is performing Ernst von Dohnányi’s Serenade for String Trio and Zoltan Kodály’s Intermezzo for String Trio with violinist Louise Turnbull and cellist Noah Lawrence at the 2024 Bendigo Chamber Music Festival. I was also lucky enough to compete in the first live round of the prestigious German Broadcasting Association (ARD) International Viola Competition in Munich last year, performing unaccompanied works by Reger, Paganini and JS Bach.

What is your favourite piece from the Baroque era to play?
It’s difficult to look past the Bach Solo Violin Sonatas/Partitas and Cello Suites, but I also really enjoy working in historically-informed baroque ensemble settings. If I had to narrow an era of such diversity to a single piece, or collection of pieces, it would be the Corelli’s Concerti Grossi, Opus 6. They’re a lot of fun!

What piece are you working on now? And what do you like about it?
On the solo side of things, I’m currently learning Cesar Franck’s Violin Sonata (arr. viola), which is a passionate and rampaging work. I really think it’s the perfect blend of captivating writing and virtuosity, so that the audience is taken on a journey, whilst also marvelling in the prowess of the performers. Commonly you can have one or the other, but rarely both; it takes a very special piece to have both elements at such a high standard.

I’m learning the Franck Sonata in preparation for a recital with Pianist Caleb Salizzo at Tempo Rubato in Brunswick at 8pm on Friday the 24th of May. It would be great to see you all there! Caleb and I will also be joined by Louise Turnbull (violin) and Oliver Russell (cello) to perform Piano Quartets by Mahler and Brahms.

What do you like to do outside of music?
When I was younger I used to play a lot of club/school sport: cricket in summers, soccer and Aussie rules in winters. These days I don’t have enough time for club sport unfortunately, so I sit on the couch and watch the professionals do it instead. Also hand injuries are way too costly these days. But it still brings me a lot of joy cheering on the Geelong Cats in the AFL, or the Aussie cricketers during summer. I occasionally practice while watching sport, and its surprisingly effective at calming the mind, contributing to more a focussed and successful practice session. Give it a try!

What are your musical aspirations for the future?
First of all, I plan to finish my Bachelor of Music, delivered concurrently by the University of Melbourne and ANAM. So, for the next two years I’ll be absorbing as much information and wisdom as I can from the outstanding faculty members at those institutions, learning and experiencing as much as possible. In the not-too-distant future, I hope to study in Europe – ideally at the Kronberg Academy for my Master’s Degree, and following that, at the Karajan Academy.

My ultimate goal is to have a career which spans multiple modes of performance, holding a position in a European orchestra, as well as performing in solo and chamber contexts regularly. One of my idols in this respect is Amihai Grosz, who is Principal Viola of the Berlin Philharmonic, and regularly performs concerti with orchestra, and chamber music at various festivals in Europe and abroad. If I can have a career with as much variety as possible, and where the majority of my endeavours are both musically and personally rewarding, then I would consider that huge success.

Any advice for 2024 Baroque Competition applicants?

Totally commit to an interpretation
Unless you’re completely convinced by your own artistic choices, and can show them with conviction, the audience likely won’t be either – especially with Baroque solo music.

Make it your own
If you can, avoid totally copying the interpretations of others. This is something that took me several years to rid myself of, and it really pays off. Musical decisions you arrive at through your own investigation are more likely to be more convincingly delivered by you, so long as you’re convinced by them. Ergo, commit to your interpretation.

Understand the intricacies of the score
One of the many amazing things about Baroque composers, especially Johann Sebastian Bach, is that the deeper you investigate the score, the more you discover. Understanding Bach especially is a rewarding lifelong journey, so keep being curious about what he has to offer. In other words, don’t settle for a single interpretation, keep workshopping it in consultation with the score and your teacher, and let it develop as you develop as a musician.

Cultivate a narrative
Emotions and moods don’t necessarily leap off the page in a lot of Baroque music, but they are certainly implied, so you must cultivate them yourself through artistic means (i.e. character, colour changes). Always seek to create a clear narrative and take the audience on that journey with you. The narrative could be a complex story you make up, or it could be as simple as a series of concepts like pain, happiness, love etc., that align with certain sections. The more moods/characters you can create in your narrative, the more nuanced the performance can be.

Applications for the 2023 Baroque Competition close on Wednesday 1 May 2024 11.59pm. Click here for more information.