Meet Kira Doherty
What attracted you to the French horn, and what made you want to become a professional musician?
I came to the French horn in a very roundabout way: I played piano and then flute and even some guitar before picking up the horn. I saw the big band play at my brother’s school when I was 13 and really wanted to play jazz trumpet after that. When I got to my first music lesson at that school the next September the teacher told me there were no trumpets left but offered me the horn instead. In the end, it worked out well; I much prefer the horn to the trumpet now (although I still love the flugelhorn).
Wanting to become a professional musician was another decision that could have gone many ways. Ultimately, music was a place that made me feel at home, and has been a meaningful part of my life since a very young age. There will always be challenges when you decide to make your passion your career, but in the end it has been more than worth it.
What are the main qualities and skills you need to be a good orchestral horn player?
The ability to listen! It’s the number one most important skill. You must listen in order to react to what’s happening around you: to blend with the sounds, to adapt your rhythm, to get the right balance. You also have to be flexible and nimble, but that also starts with listening.
How long have you been playing with the Philharmonia?
Probably over a decade at this point, although I’ve lost track if I’m honest!
You’re also the President of the Orchestra – what does that involve?
It’s a unique role in that I have regular contact with almost every person in the organisation: CEO, board members, management, stage managers, fixers and of course the players. It’s fascinating in that it gives you a full view of every level of the organisation, and because of that it demands the full gamut of skills – from interpersonal, diplomatic, problem-solving, long and short term strategic… it can be quite full-on sometimes!
Richard Strauss’s father was a horn player, and he wrote some fantastic but challenging horn parts. What’s it like playing his music, and in particular Ein Heldenleben?
Playing the horn parts in a performance of Ein Heldenleben… I can only describe it as thrilling. Some music demands more of a subtle role from the horns (such as a Mozart symphony or concerto), involving fine adjustments and delicate playing in a supportive role; others place the horns in the engine room of the piece, which makes you feel like you’re really driving the bus. You’re the meat in the sandwich, not the bread! Ein Heldenleben is definitely in the second camp.
You and several Philharmonia colleagues were part of the orchestra at the Coronation last month – how did it feel to be part of that?
It was as incredible as it was surreal. To be part of an historic moment like that (especially having spent years studying history) was something I will always remember – to see the St Augustine Gospels being processed down the Abbey, St Edward’s Chair directly in my vision the entire time… it was a once-in-a-lifetime experience. The pageantry and fineries of course added an extra level of surreality.
Which concerts in our 2023/24 London season are you most looking forward to, and why?That’s a really difficult decision, but I think two stand-out concerts will be Julia Bullock: Songs from a New World (23 November 2023) and Mitsuko Uchida plays Beethoven (25 January 2024).
