Name: Callum Smart
Nationality: British
Occupation: Violinist, educator

If you enjoyed this Callum Smart interview and would like to know more about his music and work, visit his official homepage. He is also on Facebook, and Instagram.



Many people perceive classical music and contemporary composition as having high barriers to entry, both for listeners and musicians. What have your own experiences been in this regard?

I do think there can often be a high barrier to entry for multiple reasons. First, classical music is often quite lengthy. In general, our attention spans are shorter than the average length of a classical piece, so without prior knowledge or understanding, it can be difficult to focus and feel fulfilled while listening.

It can also be challenging to see the purpose in listening to the end or returning to a piece if you don’t know what to listen for. To that end, I think it's extremely helpful for performers to engage with their audience and guide them on that journey.

Additionally, there is an enormous variety of classical and contemporary music, so if there’s a contemporary piece you don’t like, it might not mean you dislike the genre as a whole; you may simply not have found the type of compositions that resonate with you yet. My advice would be to explore as much as you can!

What were some of the musical experiences that planted a seed for your interest in classical music?

I would listen to classical music in the car on the way to football practice with my dad. I was always fascinated by the energy and sound. I remember clearly listening a lot to Bruch’s Violin Concerto, as it was often on Classic FM.

That piece and those experiences made me want to learn the violin.



Another significant experience was when I first started learning the violin at school. I distinctly remember a school assembly where there was a lot of noise in the room, but once the performance started on stage, the room fell quiet and listened.

I was amazed by the power of music to collectively focus and unite a group of people.

What is your personal view of the state of classical music and the creative health of the scene today?

I think there are many great things happening in the classical music industry today, as well as room to innovate and evolve.

Creatively, many people are trying to reach new audiences and find new ways to engage listeners within a performance setting. Social media is definitely helping, as it allows us to show a more lighthearted and transparent side of our industry, which can sometimes be a barrier for those who perceive classical music as conservative or less approachable.

I believe we need to place greater emphasis on music education and accessibility in our schools; without this, there will be fewer audiences to appreciate and understand the joy and value of music.

From your perspective, what role does early education and learning an instrument play in classical music appreciation and personal development in general? What did it do for you?

I believe it has a significant impact. Being surrounded by music—listening to it, reading it, and playing it at a young age—develops a much closer and deeper relationship to it, which later translates into greater enjoyment of classical music.

Regardless of whether one continues to listen to or play music as an adult, learning an instrument profoundly impacts a child's development. It teaches dedication, patience, communication, listening skills, and emotional awareness, which are crucial at any age.

It transformed my life, and I owe much of my ability to be sensitive and caring toward others to my pursuit of learning the violin.

Tell me about your concepts for making education more readily accessible to all.

I am involved in several key areas and always look to expand my efforts. One focus is creating or participating in organizations that provide equitable pathways to education and support children in learning. I work with Music Masters and the Benedetti Foundation, among others, who are doing vital work in this area.

Another key pursuit for me is making pedagogy and education as accessible as possible online. To this end, I created Caidence, the world’s first AI Violin chatbot, which offers real-time support to students in the practice room, providing trustworthy expert guidance to their questions.

Tools like this are increasingly important in delivering resources and value to diverse audiences around the globe.

From personal experience and that of many in the community, listenership and a buying audience for physical media in classical music are definitely dwindling. What is this like for your own projects, and where do you see the main reasons for this development?

It is true that fewer people are purchasing physical media in classical music. The development and accessibility of streaming platforms, coupled with the fact that a significant percentage of people listen to music on their phones, means that purchasing a disc isn’t as natural a progression as it once was.

For my own projects, I view recording an album as an investment to promote and share my music rather than generate profit. I sell physical media primarily at concerts, where I can engage with audiences and sign copies. Personalization of the physical media is vital in that context.

You're still releasing albums. What role do these play for you?

I believe finding avenues to release recordings, whether albums or live performances, is crucial for developing a performance career and portfolio.

It’s less about making money and more about maintaining visibility as a creative voice in the industry and providing high-quality content to fans, which can help build relationships that translate to live shows.

How do you see the future of classical music in the recorded music space?

While it’s difficult to predict the future of the recorded music space, I think we will see more classical artists recording independently and creatively using their social media platforms to promote their content. For me, a combination of having a label and a strong social media presence is ideal!

When it comes to interpretation and performance, how much potential for the new is there still in the core classical repertoire?

I believe there is always potential for new voices and interpretations of the core repertoire.

However, I recall playing for a teacher of mine once, and while executing an unusual dynamic and articulation in a certain passage, he stopped me and said, “Don’t try to invent hot water!” It’s important not to do something differently just for the sake of it; rather, allow your voice to come through naturally.

If you have spent time studying your craft, possess a deep understanding of the music, and are being authentic and honest, your unique interpretation will always shine through.

How do you feel about the almost habitual addition of 20th-century and 21st-century pieces to concerts?

I do not think we should ever add something to a concert program merely to tick a box. However, diversity of programming is important, as it allows us to engage audiences with different styles of music.

My primary goal when programming is to share music that I am passionate about and that I believe my audience will love and appreciate. Audience fulfillment, to me, means programming a cohesive and engaging journey from start to finish.

In seeking that, I often find myself led to a diverse range of music and styles, as that typically keeps audiences more engaged throughout.

When was the last time you heard a performance of classical music that truly thrilled you without making use of unusual performance spaces, formats, or contemporary elements like video or electronics?

Last year, I heard the Belcea Quartet at Wigmore Hall, and I was transfixed! Their sound and artistry as an ensemble were electric, and their programming was perfectly balanced, leaving me feeling fulfilled at the end.

They have an incredible ability to play softly, drawing the listener in. This experience benefitted from having no visual or electronic enhancements, allowing me to be present in the moment and let my imagination create those pictures.

There are many artists emerging in the so-called neoclassical genre, from Ludovico Einaudi and Joep Beving to Nils Frahm. What do you personally draw from this movement, and do you believe the work of these composers can act as an entry point into the traditional classical repertoire?

I think there is a wealth of wonderful music from various styles and movements outside traditional classical music, and it is vital that we encourage and embrace them all! Examining what people enjoy or experience from other styles allows us to incorporate elements from those genres into our own.

The neoclassical style can also be easier listening for audiences who may not have had much exposure to traditional classical or modern music yet, making it a great entry point as well as a finishing point.

What kind of performance formats that are still organically connected to classical music could shake things up, in your opinion?

I believe there is a lot that can still be explored! One area some venues are considering is concert length and structure, such as exploring a set model instead of the traditional two halves or one-hour rush concerts.

Another area is increasing audience participation and interaction, so they remain engaged throughout the concert. For instance, with my project Classical Shuffle, the audience votes on the music they want to hear.

Let's talk about Classical Shuffle. How do people respond to the idea of being actively involved in the programming of an evening of classical music?

It has been very successful so far!

Audiences love getting involved and having the chance to shape the program. They are usually accustomed to being told what they will listen to, which can sometimes disconnect them from the selection. With Classical Shuffle, I present four or five different categories and styles, and in each category, the audience collectively votes on what piece they would like to hear using a QR code on their phones.

This approach is fun for the audience because they actively help shape the program live, resulting in stronger engagement from start to finish.

For many artists, life-changing musical experiences take place live. How do you see that yourself?

I don’t think you can definitively say that one experience is life-changing while another isn’t. Someone can go on YouTube and be moved by what they hear—I know I have!

However, I believe that the full power of music and the spontaneity of a live performance can be more riveting and electrifying than listening to a recording. There’s something very special about sharing a magical musical moment with an audience of strangers, seeing everyone come together to experience the same thing.

Many commentators are currently diagnosing the end of the written tradition in many aspects of our lives. Since classical music is closely tied to this tradition and has actively driven it to a certain degree, how can it respond to this challenge to one of its core components?

The beauty of music for me is that it transcends what is on the written page. You can hear a melody and hum it back. This oral tradition of learning music has endured through the centuries, demonstrating our innate desire to remember or recite melodies.

Part of the challenge of playing classical music lies in the many details to remember, such as dynamics, articulations, and tempi, which all contribute to its overall interpretation. The Suzuki method, where children learn to play music before they can read, exemplifies how far one can go without written music.

However, especially when learning or playing more complex or contemporary music, the written tradition remains vital.