Backstage Pass: Philharmonia Chamber Players in Mikkeli
Ahead of the Philharmonia’s 2026 residency at the Mikkeli Festival, we caught up with Principal Cello Louisa Tuck, No. 3 Cello Richard Birchall, and Principal Viola Scott Dickinson, to talk about their chamber concert programme, what it means to step out of the orchestra and play chamber music, and what about the Philharmonia’s return to Mikkeli they are particularly looking forward to.
You are usually colleagues in a much larger ensemble, in the form of the Philharmonia Orchestra. What is it like to play with your colleagues in a more intimate setting, and what do you enjoy about playing chamber music?
Louisa: Being a member of a big symphony orchestra absolutely brilliant and it blows me away all the time. The Philharmonia is world famous for its rich history and its sound, and this on a small scale is super exciting. Chamber music is the ultimate luxury for me, and getting to play with my colleagues is always very inspiring too!
Richard: It’s a very different way of working, and always very special to be able to communicate musically at such close quarters. It is amazing what a variety of ideas and emotions can be shared across a chamber group without any words being spoken, prompted simply by the shared musical experience; and hopefully the audience can feel a part of that same colourful conversation.
Scott: As colleagues at the front of the Philharmonia, we have wonderfully close relationships both musically and personally. There is therefore a particular joy and spark in playing in a more intimate chamber setting with these wonderful people!
Chamber music is the ultimate luxury for me.
Louisa Tuck
You are playing a fascinating programme of music by Kaija Saariaho, Rebecca Clarke, Imogen Holst, and Ethel Smyth, all female composers who aren’t often heard in the concert hall. With this Finnish-British programme, how important is it to listen to, and play, music that we may not be familiar with?
Louisa: I initially put this project together to showcase the fabulous playing of the string principals we have in the orchestra, I’m also incredibly lucky to call them my friends too. Nothing is better than sharing music and friendship together! As musicians we have to challenge each other, and hopefully this program does just that, for us and also the audience. Music is about learning and creating, and listening is the same.
Richard: The proportion of music that ever becomes ‘mainstream’ is very small, so it’s incredibly important that we continue to discover and revive high-quality music that has been neglected, either through chance, or – as is the case with many female composers of the past – through an unjust failure for the music to be recognised, which we now have a chance to rectify.
Scott: We chose these pieces not because they are only women composers, but because the music has heart and soul. I’ve always been a huge fan of Sariaaho, and the Rebecca Clarke duos mix warmth, sincerity and humour brilliantly – a rare feat! Imogen Holst’s music always has beautiful clarity, and Ethel Smyth’s Quintet has tremendous sweep and flair. Music makes life better, and so it is always good to be taken on new journeys!
How did you come across these works for the first time, and how do these pieces complement each other in the programme?
Louisa: I have always enjoyed playing Kaija’s cello works, I’ve recorded Neiges and also played other solo cello repertoire written around the same time, but it was the title Lullaby, which equally matches with the Clarke duo that I was taken by. Then adding the fantasy of Imogen Holst, you really begin to hear what strong voices all these women had musically. Different colour pallets and time frames, but all brilliant. I have wanted to play the Smyth quintet for a long time, so finishing with her first work seems rather fitting!
Scott: I first played the Rebecca Clarke duos with my cellist son, so I have a particular love for them. I discovered Imogen Holst’s chamber music through a beautiful recording made by friends on the NMC label, and the Ethel Smyth through Louisa, although I know and admire her opera The Wreckers.
We chose these pieces not because they are only women composers, but because the music has heart and soul.
Scott Dickinson
What are you looking forward to about performing in Mikkeli?
Louisa: The Philharmonia has musically always been in my bones, as I started my career at the back of the group as a student! I only joined the orchestra as principal cello a few months ago, so this will be the first time all the string principals will be playing a full chamber music together, so it is a pretty special moment for me. True story – I’ve waited 20 years to play in an orchestra with Scott!
Richard: I love the Mikkeli festival experience – it’s very unlike a typical Philharmonia tour, partly because we stay in the same place and can really feel at home! The audiences are as friendly and appreciative as you could ever hope for, too.
Scott: Last year was my first time in Mikkeli, and I was hugely struck by the warmth and deep listening of the audience. It is always a big highlight of our year – of course the music, but also the nature, the swimming and the famous football game too!
