What did it feel like performing with the CBSO in the concerto final of the BBC Young Musician of the Year? You looked so relaxed…
It was the first time I had done anything that major so I was really keen that nerves didn't get the better of me on that occasion. I enjoy playing music – I hope that came across.
Did you feel like you had good support, and did you get to know the orchestra and conductor Mark Wigglesworth a little?
The orchestra and Mark were really amazing. They were so friendly and lots of members of the orchestra took time to speak to me. Mark spent a lot of time with the three of us [finalists] outside of rehearsals, coming into our dressing rooms just to make sure we all felt OK. It was a really friendly environment and I think that helped to settle us all down. All three of us get on really well and I wouldn't say there was any kind of competitive edge there, partly because we play completely different instruments.
How about now – has life changed appreciably since the competition?
The main change is having a bit more belief in myself. Knowing that I can play when I want to, that I can really do something on the cello. Obviously I know there's a long way to go but I think it's very important to have a milestone there that I can look back on and think, ‘well, I played really well that day’ and that isn't something that's going to leave me. The other thing is that since the competition I've got lots of dates for next year, concert-wise, which is great.
You're going on to study with Melissa Phelps at the Royal College of Music, so you'll be juggling classes with your concert diary. Do you have a sense that this is, in a way, the beginning of your career?
I think this is the start of a very exciting process and I'm really looking forward to it all. Obviously there's a lot of studying to do, too. After being at the Yehudi Menuhin School, where there are loads of concert opportunities on offer, I'm well prepared for this next stage.
What were your formative influences?
The first influence was family, just because I'm from a very musical background. Both of my parents are really into music, and my mother's a music teacher – she plays piano – so there was always music around. I started at a very young age. My mum was keen for me to get into music in some capacity so I started with the violin, didn't like it, went to the cello and took to it right away, which was amazing! More recently, probably the biggest influence in my life has been my teacher Thomas Carroll, who has taught me at the Menuhin School for ten years. Thomas has inspired me to work hard, and to play like him, because he's the most amazing cellist himself – his sound and everything is ridiculously good. About four years ago it hit home that this was what I really, really wanted to do, and I think that's down to him.
Are there any other musicians you admire?
I can't single anyone out. Obviously you have the big cello icons like Steven Isserlis and Jean-Guihen Queyras. If you look at it on a more regular level though, I'd say I am most inspired by the people that I work with: a lot of the pupils of Menuhin School around my age, for example. They're the people who you bounce off and they're the people who have the most influence in my life.
Are there any opportunities you had when you were growing up that you particularly appreciated? Obviously it's very competitive to get into the Menuhin School. What made that possible?
Between starting and getting to Menuhin, having lessons with a local teacher, it all comes down to practising a lot. You don't do masses at that age, but my mother was good at making sure I did the right amount to keep me going and keep the options open. Then, I was introduced to the stage at quite an early age, not in a forced way and not in a competitive way but for the purpose of enjoyment. It was introduced to me not as a pressured environment but as something you can embrace, so that was probably the big thing.
Moving on to music education more generally, do you feel in a position to comment on whether there are enough opportunities for children from all backgrounds to access good music-making?
Obviously not every child should be forced to go down a musical route, but it is my belief that there should be the resources for every child to have the opportunity to pursue music. If you look at young children around Reception or Year 1, for them to be able to have the fun and community of music-making is so important. It allows you to learn other life skills, like learning to play together, in a friendship kind of way as much as in a musical harmony kind of way.
Calver: ‘I played really well that day’
So more than perhaps pure music education, it's about the whole person?
Yes, because as I said, I don't think music is just about playing the notes. It's about the connection to it and also a connection to the people around you. It's a very important learning curve to be able to play music and understand someone who's sitting next to you. Even if you take the youngest children playing the recorder or the shaker, making them aware that the child next to them might be doing something completely different is so important.
Back to your life, what do you do to relax?
I'm a massive sportaholic! I love going to the football, I love playing football. Basically I'll watch any kind of sport and that's my main source of relaxation. I love spending time with family in Norfolk and with my friends when I'm in London. I'm a sociable person and that's something I never really want to lose.
Finally, what would your ideal career look like?
Perceptions may change but if you asked me what I'd be doing in five years’ time it would be some recitals – and some concertos and chamber music. I'd like to have a varied career. I'd like to be able to explore lots of different types of music and play with other people, but also do my own projects.
