Guy Noble, one of Australia’s most famous conductors, who conducted the touring concert “East Meets West”, said he’d like to learn more about Chinese music. “I’m impressed by the history and the beauty Chinese music has,” he’s said in an interview recently.

“East Meets West” concert tour in Australia was resumed this year after being postponed twice due to the pandemic. It was hosted in Canberra last Saturday, bringing audiences some well-known Chinese and Western pieces such as Jasmine Flower, Carmen, Romeo and Juliet, and The Yellow River.

While it was called “East Meets West”, music from China and the West with the same themes was brought together. Chinese singer Ya Fen and Australian singer Victoria Lambourn performed a duet (二重唱) Hope Betrayed, which was inspired by the Chinese classic novel A Dream of Red Mansions. Noble said he loved the duet as it showed completely different singing styles: traditional Chinese opera style and Western opera style. “They’re not exactly the same, but they came together,” he said.

Having been a professional conductor for more than 20 years, Noble called music an international language. He noted that most music at the concert was about love, which was also an international language. He also spoke highly of some Chinese musicians, such as pianist Lang Lang who he thought has inspired many kids in China to learn music.

Noble admitted his knowledge of Chinese culture was limited. He said that conducting the Canberra concert was “an experience that I’ve enjoyed”, which made him more interested in discovering the background and history of the music, as well as the stories behind it. Noble is ready to create more things that can involve dance or calligraphy or some of the other aspects of Chinese culture, and put them together with music.

I never thought I was very talented at anything to do with music, but my parents wanted me to learn to play the piano at the age of six. To be a good daughter, I agreed to learn even though I wasn’t interested in it at all. Experienced in reading her students' minds, my piano teacher could tell after a couple of lessons that my heart was not in it. However, after learning for about six months, I was asked to perform something at the year-end concert arranged by my teacher. Surprised and terrified at the same time, I could only agree. Given my inexperience, I chose a fairly simple composition. In order to perform well, I practised the same composition for an hour a day for the next two months. On the day of the concert, I was so nervous that I woke up with butterflies in my stomach. As it turned out, there was no need to be nervous because all my hard work paid off and I played perfectly. Encouraged by this first performance and the positive reaction of the audience, I have continued to play the piano and enjoy it more every day.

Mr Titterton is chairman of the Omega Ensemble but has been the group’s official page turner for the past four years. His job is to sit beside the pianist and turn the pages of the score so the musician doesn’t have to break the flow of sound by doing it themselves. He said he became just as nervous as those playing instruments on stage.

“A lot of skills are needed for the job. You have to make sure you don’t turn two pages at once and make sure you find the repeats in the music when you have to go back to the right spot.” Mr Titterton explained.

Being a page turner requires plenty of practice. Some pieces of music can go for 40 minutes and require up to 50 page turns, including back turns for repeat passages. Silent onstage communication is key, and each pianist has their own style of “nodding” to indicate a page turn which they need to practise with their page turner.

But like all performances, there are moments when things go wrong. “I was turning the page to get ready for the next page, but the draft wind from the turn caused the spare pages to fall off the stand,” Mr Titterton said, “Luckily I was able to catch them and put them back.”