Oliver Pashley is a London-based clarinettist and founding member of The Hermes Experiment. He plays regularly with orchestras and ensembles at home and abroad, including the Royal Philharmonic Orchestra, Britten Sinfonia, the Philharmonia Orchestra, Southbank Sinfonia, Northern Ballet Sinfonia, and the Haffner Wind Octet.
As a soloist he has worked with many ensembles around the UK, including performances of Mozart’s Clarinet Quintet with the Allegri Quartet at the Anghiari Festival and their Richmond concert series, Brahms’ Clarinet Trio with pianist Carole Presland and cellist Alasdair Tait, and unconducted performances of Mozart’s Clarinet Concerto with the Bristol Ensemble, with whom he will be returning in their 2017/18 season to perform Copland’s Clarinet Concerto.
Oliver gave a performance of Peter Maxwell Davies’ Hymnos on the Barbican main stage in an evening featuring the world première of the composer’s Tenth Symphony given by the London Symphony Orchestra. He has performed at the Schleswig-Holstein, City of London, Cambridge, Petworth, Stogumber, Bushey and Deal festivals, and recently performed onstage with fellow alumni of Southbank Sinfonia on the Olivier Theatre stage in an acclaimed revival of Peter Shaffer’s play Amadeus at the National Theatre in a 6-month run.
Oliver studied at Cambridge University, and went on to obtain a Master’s Degree with distinction from the Guildhall School of Music and Drama. Oliver was an Artist Fellow in residence at the Guildhall School in 2014-15, which culminated in a concert featuring an unconducted performance of John Adams’ Gnarly Buttons given with the School’s New Music Ensemble.
As well as his contributions to Interlude, Oliver is also the Schools’ Administrator for Apollo Music Projects, a charity which brings classical music to children aged 7-11 who might not otherwise experience it.
Oliver gratefully acknowledges the support he receives from the Countess of Munster Musical Trust and Help Musicians UK.
- November 9th, 2013 Harp Headaches
- November 9th, 2013 Rags to riches – folk in the Chopin Mazurkas
- November 7th, 2013 Medieval Music is SO Boring! - Le remède de fortune
- November 3rd, 2013 Andreas Ottensamer
- October 28th, 2013 ‘It’s Too Damn Loud! It’s Too Damn Fast!!’: - Morton Feldman
- October 24th, 2013 The number games: chamber music vs orchestral playing
- October 19th, 2013 Practice makes perfect…but what makes perfect practice?
- October 9th, 2013 Finding a way in: - Messiaen’s Turangalîla-Symphonie
- October 6th, 2013 Daphnis et Chloé vs Diaghilev et Ravel – - a match made in hell?
- September 14th, 2013 Orchestration – a whole world of sound
- September 10th, 2013 Is it just ‘a bit of fun’?
- August 6th, 2013 All work and no play? Studying music academically
- July 22nd, 2013 Mozart’s Party Piece? ‘Gran Partita’ examined
- June 22nd, 2013 Memory Top Tips
- May 22nd, 2013 In touch with Graham Ross
- April 26th, 2013 Auditions Tips
- February 11th, 2013 Martin Fröst
- January 28th, 2013 2013: Here’s to Lutosławski!
- January 7th, 2013 Feng Ning
- October 4th, 2012 On The Road with the SHFO