After Principal Clarinet Maxi Martín at the end of last year, it's Principal Cello Philip Higham's turn to step into the spotlight, performing Schumann Cello Concerto with the Orchestra in early May. It's such a cornerstone of the repertoire (and deservedly so) that it made sense to ask Philip for some personal insight, so we're delighted that he agreed to an interview.

You and your fellow SCO cellists rated Schumann’s concerto very highly when we were discussing cello concertos last Season. What makes it so special for you?

For me, Schumann is one of the most important composers we know today, and one of the most striking, iconic figures of Romanticism. The emotional realm of much of his music seems to extend so much further, so much deeper than many of his contemporaries'. On the one hand he looked back through (the very recent) Beethoven, to the music of Bach and even further back to Schütz and the Renaissance, and yet he also led a charge of innovation in terms of new musical ideals, musical forms, creating miniatures and fragments - Albumblätter, if you like - new ways of writing for piano. We also know that he lived for most of his life with something akin to manic depression, a condition which may have been both cause and effect of some of his intensely vivid and psychological music. As a youngster he was more immersed in literature and poetry than in music, but this inspiration, coming from drama, myths and fairy tales would remain a lifelong stimulus. Of course there are a great number of works that bear nothing "extra-musical" in their title - such as the Cello Concerto, written in 1850.

The narrative here seems to be of suffering and turmoil, overcome by the balm of love, devotion and courage (so it seems to me, at least). He designs the work in a similar way to Mendelssohn's Violin Concerto, where the three movements are linked; in fact, the unexpected music which leads us to the slow movement has to be one of the single most beautiful phrases he ever composed ... And as with other works of his there are motivic links across the three movements, most prominently among them a two-note, falling fifth, often associated with the name “Clara”, his beloved wife (who seems to appear from the second movement onwards). I’ve loved the piece since I was young, but I couldn't know then how much I would love it today!

You mentioned that his music looks backwards and forwards at once. Where do you see the Cello Concerto fitting into the wider history of the genre?

It’s significant because many concertos for cello at this time (early 19th century) were composed by cellists, either as pedagogical works or primarily to show their own skill and sensibilities to the public and advance their careers. With Schumann it's the other way around - the story or the impulse behind this piece existed, purely in music, before or at least as the composer put pen to paper, and the cello was chosen as its ideal instrument. That doesn’t mean the piece isn’t “soloistic” - and it is certainly difficult to play - but the cello part has much more to do with the musical narrative than with impressing the audience. Perhaps this is why it was met with little enthusiasm, even trepidation in the 1850s: it’s quite possible cellists were either too daunted by its technical demands or simply not yet conversant with the language of such a piece.

You're performing Jörg Widmann’s 5 Albumblätter - in its UK premiere, in fact - alongside the Schumann. Could you tell us more about this piece?

I'm honoured and excited to be playing 5Albumblätter, which Widmann describes as a piece "in conversation with" Schumann, with whose music he has been in love since an early age. Its form - 5 short, contrasting movements, each with a characteristically Schumann-esque title - may be seen somewhat as complementary to Schumann's 5 Stücke im Volkston for cello and piano (fragments of which are occasionally quoted or referenced in the piece). Yet very little of it can be described as pastiche or mere imitation - even though there are numerous quotes, the music is 100% Widmann’s language, with many of his hallmark features: abrupt tempo changes, extreme dynamics, vivid and colourful orchestration (there are fantastic, stand-out parts for bassoon and for Widmann's own instrument, the clarinet). It just feels as if he has spent much time in the company of Schumann, and that they maybe realise they have a lot in common!

I think it's a marvellous work: playful, fun, beautiful, also sometimes outrageous. Like the Schumann, it’s also a "bit tricky” for the cellist… It was first performed by the incredibly courageous finalists of the 2022 Queen Elisabeth Competition in Brussels, all of whom I salute here!

What other cello music would you recommend to someone who really enjoys Schumann’s concerto?

I’ve mentioned 5 Stücke im Volkston, which are marvellous character pieces, somewhat ambiguous too, but the other works by Schumann that are played on the cello are all (long accepted) transcriptions. The Adagio and Allegro, originally for horn, is a very popular concert piece (and actually makes an early "cameo" appearance in 5 Albumblätter!); 3 Fantasiestücke for clarinet and 3 Romances for oboe. Some (very brave) people are now playing the three violin sonatas too, which are all wonderful pieces.

There’s always a special atmosphere to SCO concerts with an Orchestra member as soloist. Are there any performances that particularly stand out for you?

I agree, and it’s wonderful that we so frequently see our colleagues step out front; the “familial” feeling can be a great way to play a concerto! One such occasion that will really stay with me was when Marcus Barcham Stevens, our former Principal Second Violin, played as soloist in Schnittke’s Concerto Grosso earlier this year, together with Lorenza Borrani. Marcus had not long before announced his decision to leave the SCO after almost 10 years, and partly because we were all so despondent at this news, knowing we would miss him so badly, it felt doubly special to behold his incredible playing in this difficult, multifaceted and dark, unsettling music - all done with his typically warm smile, before returning to his usual seat to play the rest of the programme (with no less passion and commitment!)

You’ve of course played an enormous amount of music as part of the SCO. Is there anything still on your wish list?

Yes, I have played a lot in nearly 10 years, but there is so much unchartered territory for me and for us as a chamber orchestra! Of course I love the main repertoire we play, and I feel fortunate to have come back to a certain core pieces a number of times during my time here. I suppose I don’t have so much a wish list as a general curiosity to uncover some lesser-known music, especially if it might be in a language we already know. For example there are acres of Czech and Eastern European music, even from established composers like Dvořák and Janáček, as well as late Romantic/early 20th century French music. There is a wealth of British composers, from our time, whose music I should like to know better. And looking earlier, for example, I loved playing the symphony by Pavel Vranicky, who was a contemporary of Mozart, especially when Maxim invested in it the same energy and rehearsal time as he would a Mozart symphony. Tchaikovsky and Maxim is a special combination, so I hope we do more there. The 4th is the only Mahler symphony we play, with our size of group, and I would love to do that again. And (you might have already guessed) more Schumann …