Grandma, grandpa and parents: all of them studied music. The fact that Peter Veale took up the violin and piano at the age of six was therefore of no surprise to anyone. Gaining acceptance for his wish to change to oboe later required some persuasiveness on his part, however. But it was well-invested. Peter Veale, born in New Zealand and brought up in Australia, soon drew attention to himself with the help of the best local teachers.
Even before beginning to study with Heinz Holliger in Freiburg, he played in the radio orchestra in Adelaide – “that was an important learning experience for me, and I’m very glad that I was able to have it when I did.” Since then, becoming an orchestra musician no longer counts among Peter Veale’s goals. But there are other perspectives instead. He learned the conductor’s craft under Francis Travis, something which he doesn’t see in a purely practical light: “Every musician benefits from looking at music and its performance from the other side as well.” In addition to his work as a member of ensemble recherche (1986-94) and Ensemble Musikfabrik, Veale is active as soloist, chamber musician, lecturer, author (“The Techniques of Oboe Playing” – written together with Claus-Steffen Mahnkopf), and as editor of the series “Contemporary Music for Oboe”. More than 50 works have been composed for Peter Veale to date.
In the context of the Ruhrtriennale production “Delusion of the Fury” (2013) with the Ensemble Musikfabrik, Peter Veale discovered his love for the instrument koto, later also bass koto, which has accompanied him ever since.