Meet the Musician | Jonathan Ryan

How and where did your musical journey begin?

My musical journey began in Melbourne. For as long as I can remember, classical music was ever-present in our family home thanks to my Dad's extensive record collection. We would take turns choosing what to listen to. My first performing experience was singing in the National Boys' Choir, then I commenced piano lessons, and just before my 10th birthday, the oboe. My parents were thrilled I came around to oboe, as J.S. Bach was one of our most listened to composers, whose works often feature instruments from the oboe family.

What have been your highlights from 2023 so far?

For me personally, at the end of June I passed my trial and was granted tenure with WASO as Principal Cor Anglais, so that was obviously a huge highlight!

There have also been some exhilarating concerts with WASO this year. The Orchestra shone performing Act I of Die Walküre and Dvořák’s Seventh Symphony, both under Asher Fisch. I particularly enjoyed soloist Benjamin Beilman's effortless rendition of the Tchaikovsky Violin Concerto, and I was fortunate enough to play two beautiful cor anglais solos in the Rodrigo Guitar Concerto and Ravel’s Piano Concerto in G Major.

Do you have any rituals around how you rehearse?

My rituals entail preparation and flexibility, as we have so many variables as double reed players, particularly changes in humidity, or even air conditioning that affect our instruments and reeds (of course!). Even when not playing, plenty of listening, reed making and mental practice are essential. On rehearsal days, I ensure that I've had enough to eat beforehand, and a banana and cup of tea is a must in the break!

What is your most memorable moment as an audience member?

My most memorable moment as an audience member was attending a Sunday morning concert with Daniel Barenboim and the Vienna Philharmonic in the Musikverein. It was a few days after the Fukushima nuclear disaster. Barenboim simply said "in memory of Fukushima" and proceeded to play a completely arresting interpretation of the Adagio from Mozart's Piano Concerto No.23. There was no applause, but complete silence both during and following for a couple of minutes, it was a unique, otherworldly experience.

If you could invite three people from any period in history to dinner, who would you choose and why?

I would probably choose Claude Debussy, Wassily Kandinsky and Robin Williams who have given me so much pleasure from my childhood onwards. If Robin were too unruly, or not letting anyone else get a word in, perhaps Roger Federer would be a substitute to instil some decorum(!)

What, in your opinion, is the most important concept to teach your students?

Probably to be open minded, read about and listen to as many interpretations of music and pedagogical ideas as possible. Everyone has something to offer about any given aspect of music making, and above all we never stop learning as musicians.

Jonathan's Chair is supported by Joshua & Pamela Pitt through the Duet program.