A good place to start in assessing the impact of Radio 3’s New Generation Artists scheme is by looking at the names who were launched in the first two-year period: Lisa Batiashvili (violin – Georgia); Alban Gerhardt (cello – Germany); Steven Osborne (piano – UK); Paul Lewis (piano – UK); Belcea Quartet (UK); Jerusalem Quartet (Israel); François-Frédéric Guy (piano – France); Natalie Clein (cello – UK); Lisa Milne (soprano – UK); Christopher Maltman (baritone – UK); Emily Beynon (flute – UK); Leopold String Trio (UK). Not one of these artists or groups failed to achieve stellar careers, and many have become household names. 25 years on, the list of NGA alumni runs to well over 150, the vast majority of whom are major players on the world stage and heard frequently on Radio 3.
Alina Ibragimova and pianist Cédric Tiberghien performing on In Tune
The scheme was set up by Adam Gatehouse in 1999. “The offer to artists hasn’t changed significantly since then,’ says Radio 3 Commissioning Editor Emma Bloxham. “For many musicians we provide their first experience of a recording studio, creating the ideal conditions in which to try things out without the pressure of making a CD. The NGAs also get to work with the BBC’s five orchestras during their two years on the scheme, as well as performing at some of the UK’s most prestigious venues and festivals – Cheltenham, Norfolk & Norwich, Oxford International Song Festival, St George’s Bristol, Snape Maltings, Wigmore Hall in London, the Barber Institute in Birmingham and for some of the BBC Proms.”
Commissions are an important part of what the NGA scheme offers, with a new work for everyone who wants one, and collaborations are its lifeblood. “Lifelong artistic friendships have been formed,” adds Bloxham. “Violinist Alina Ibragimova and pianist Cédric Tiberghien met on the scheme, trumpeter Simon Hofele met his now regular duo partner Elisabeth Brauss (piano) through us, and the ZEN Trio formed as New Gens and are still going strong, nearly a decade later. We’re very much a family and we take great pleasure in continuing to support these young musicians long after they’ve officially left us.”
Perhaps what’s most special about the NGA scheme is that no two artists have the same experience. “We’re very proud of the fact we’re able to tailor the offer to the individual and we love it when people come to us with ideas, however wacky!”
