ISM Music Journal - May/June 2018

May/June 2018 How Haçienda Classical has brought House music into the concert hall NMC redeďŹ nes the record label Music for every child at Gallions Primary School

Knowing I had the support of Help Musicians UK was incredibly reassuring during a volatile and unpredictable time.

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ISM MUSIC JOURNAL MAY/JUNE 2018

Welcome

Above: Deborah Annetts Photo: Mark Thompson

As our members will know, the ISM has been at the forefront of campaigning for music education in schools and sustainable and appropriate funding for music education hubs, leading campaigns such as Bacc for the Future, Protect Music Education, Protect Music Education Wales and #Beyond1900.

We have also been talking to government about the needs of musicians in a post-Brexit world and lobbying to protect freedom of movement for creatives with our campaign FreeMoveCreate. We know from the surveys we have carried out just how important it is for musicians to be able to travel freely wherever their work takes them and frequently this is to Europe. From our research, about 70% of musicians travel to Europe on a regular basis to work, with some visiting more than 40 times a year. And this ability for musicians to travel to where the work is vital and must be maintained.

We were delighted therefore when the government recently announced the Creative Industries Sector Deal, which included with it a promise of £150 million of investment into the creative industries. What’s more, in their press release the government acknowledged that the creative industries are worth £92 billion and employ two million people. It also said that the government would like to ensure the creative sector has the skills it needs and will be investing £2 million into two thousand schools over the next two years.

This is all great stuff. So why does the Department for Education (DfE) still persist with its EBacc policy which is stripping schools of creative subjects, including music? And why is the DfE reluctant to clarify that term-time holiday rules are not meant to stop children taking music exams during the school term but just not on school premises? The education secretary Damien Hinds said when asked about this is that such requests are supposed to be ‘treated sympathetically’.

Front Cover Haçienda Classical Photo: Craige Barker

This is just not good enough. For an industrial strategy to work it must ensure that the DfE’s policy on creative subjects supports rather than undermines it. And at the moment this is not the case. So we need a properly joined-up, practical and robust strategy that really does support the creation of talent in our schools and our world class musicians as they seek work across Europe.

We will continue to make these points to government. And the great piece in this edition of Music Journal on page 20 focussing on the transformative work

by Gallions Primary School more than makes the case.

See feature on pages 10–14 Inset images: NMC See feature on pages 16–19 Photo: Paul Munene

deborah@ism.org

Contents 2 5 7

News & campaigns Members’ day Professional development

10 16 20

Classical goes House Revolutionary record company Music for every child

25 31 33

News from our members Classified advertising News from our corporate members Local events listings Ask me a question

39 40

Volume 85/ Number 1 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Incorporated Society of Musicians is a limited company registered in England No. 36882. Registered Office as address above.

Editor: Deborah Annetts Sub-editors: Ariane Todes/ Francesca Treadaway All ISM publications are copyright

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 June for July/August issue Price: £7 per copy Subscription: £35 per year Circulation: 10,000 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

Printed by Optichrome, Woking GU21 5HX ISSN 0951 5135

Gallions Primary School See feature on pages 20–23

1

ISM MUSIC JOURNAL MAY/JUNE 2018

News & campaigns Holiday pay for visiting music teachers ISM wins a case that sets an important precedent for part-time workers looking for a fair holiday pay entitlement

Henry Vann, Head of External Affairs, ISM

Right: a recent ruling agreed with our interpretation of the law on calculating holiday pay. If you are concerned about how your holiday pay has been calculated, contact us for advice Photo: BCFC

2

A recent decision by the Employment Appeal Tribunal (EAT) has upheld a claim by an ISM member that her holiday was incorrectly calculated. The ISM has supported the member from the initial internal grievance hearing through the original Employment Tribunal and to the appeal at the EAT.

We have always contended that this is wrong. Even if part-time workers have periods of unpaid leave during the year, it does not diminish in any way whatsoever their right to receive the 5.6 weeks’ of paid leave provided for by the law.

In this case the pro rata provisions were applied to the member’s holiday pay. The original tribunal dismissed the claim, upholding the employer’s argument that pro rating was lawful.

The EAT allowed our member’s appeal, agreeing with our interpretation of the relevant law, i.e. that the member was entitled to 5.6 weeks’ paid holiday.

This is good news for musicians working on part-time Even though the member worked irregular hours, or variable hours contracts, and demonstrates how ISM the Employment Rights Act 1996 provided a simple representation makes a real difference not only for way of determining a week’s pay for the purposes of members but also for the wider music community. calculating the entitlement.

The ISM has consistently challenged employers and If you are concerned that you are not receiving your full the Government as to the correct interpretation of entitlement to holiday pay, you should contact us for the Working Time Regulations 1998 since they were advice. If you have not been paid holiday pay or have introduced. In particular, we have challenged the been paid it incorrectly, it may be possible to claim application of these regulations to people such as some backdated holiday pay. Backdating is restricted visiting music teachers, who may not work a standard to a maximum of two years, so it is important that 52-week year, who may work variable hours, or who you take action to assert your rights to holiday pay may have no guaranteed hours at all. without delay.

Our view has always been that the law is clear: there is an entitlement to at least 5.6 weeks’ paid holiday per year. Holiday pay should be calculated upon the average paid to you over the previous 12 weeks (and any weeks when you did not work are not counted).

In practice many employers have pro-rated payments for their part-time workers, paying 12.07% of annual earnings as holiday pay. This figure comes from viewing the standard working year as 46.4 working weeks (i.e. 52 weeks minus 5.6 weeks to cover the statutory holiday entitlement). 5.6 weeks equals 12.07% of 46.4 weeks.

ISM MUSIC JOURNAL MAY/JUNE 2018

International Women’s Day In celebration of International Women’s Day on Thursday 8 March, the ISM curated a series of blogs featuring influential women working in the music sector today.

Contributors wrote about their experiences of the music business and what they feel still needs to be improved for women in music. Writers included Sarah Rodgers, composer, conductor and co-founder of Impulse Media Consultants; Pamela McCormick, founder and director of Urban Development; Vanessa Reed, CEO of PRS Foundation; Carla Marie Williams, singer-songwriter and founder of Girls I Rate; Cheryl Frances-Hoad, composer and performer; Hannah V, singer-songwriter and producer; and the founders of London-based music charity, Girls Rock London.

Read the International Women’s Day blogs: ism.org/news/blog/internationalwomensday.

Campaign update Free Move Create cited in Parliament The ISM’s FreeMoveCreate campaign was referenced during a debate on the EU withdrawal bill in the House of Lords on 14 March. Speaking on the importance of freedom of movement for those working in the creative industries, the Earl of Clancarty said: ‘The potential loss of free movement is the greatest concern of many of the arts, and prompted the FreeMoveCreate campaign to be set up last year by fine artists and musicians, namely the Artists Information Company and the Incorporated Society of Musicians, but joined now by a wide membership that includes the Creative Industries Federation and the British Fashion Council. That campaign has been gathering data from the industry, specifically about present patterns of movement, which will help the Government to understand precisely the extent of this concern.’

How has the UK leaving the EU impacted your work as a musician?

Let us know by filling in our new Brexit survey at bit.ly/ ISMworkingintheEU.

He explained: ‘It cannot be overestimated how much that movement must be free. Flexibility and the need for rapid response are key aspects of the creative industries, with British musicians, dancers and fashion models, for example, often needed immediately on the spot, a plane’s flight away. Ad hoc visits with work found and taken up abroad are also hugely significant, particularly for the self-employed. As Free Move Create says, the time taken to secure a visa is lost work.’

UK and EU agree transitional agreement The EU and UK have agreed terms for the Brexit transition period. The transitional period, agreed on 19 March, will last from 29 March 2019, when the UK officially leaves the EU, to 31 December 2020. The agreement protects freedom of movement during the transition period and means that EU citizens arriving in the UK between these two dates will have the same rights and guarantees as those who arrive before Brexit.

Left: Girls Rock London, the London charity whose founders have written a blog for ISM

Sign the petition and join the campaign to protect freedom of movement post-Brexit: freemovecreate.org.

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2018

New legal and tax helpline number The telephone number for the ISM’s legal and tax helpline has changed from 01206 368994 to 01275 376 038.

Call this 24-hour helpline for telephone-based advice on anything legal, including matters unconnected with your work as a musician or music professional.

Also call this number during working hours (Monday–Friday, 9am–5pm) for free expert advice on any tax or NI issue.

Minister to discuss EBacc concerns

Celebrating school music

Following a question in the House of Lords by Bacc for the Future supporter the Earl of Clancarty, Lord Agnew, a minister at the Department for Education, has agreed to discuss concerns about the effects of the EBacc.

Fifty-eight schools in England, two in Wales and two in Northern Ireland have won gold ISM GCSE certificates. The scheme, launched in 2016, celebrates and supports the work of secondary-school music teachers and their departments. Gold, silver or bronze During the debate on 7 March, the Earl of Clancarty told certificates are awarded when 20%, 15% or 10% of all the House: ‘The Minister will know that, in the last year pupils achieve A*–C in GCSE Music, respectively. alone, take-up of GCSE music in England fell by 8%.

Is he aware that the University of Sussex survey Results in England for 2018 were significantly down of 6,500 schools found that teachers, who should on previous years, a trend that reflects the pressures certainly know, held the EBacc primarily responsible being put on music departments. Those in Northern for this decline – a view supported by a recent Ireland and Wales stayed roughly the same.

Education Policy Institute report?’

Fine out more about the scheme: Lord Agnew denied the connection, saying, ‘There is no evidence that arts subjects have declined as a result of the introduction of the EBacc. Indeed, the proportion of time spent studying music has remained broadly stable since 2010.’ However, he agreed to meet members of the Chamber to discuss the issue.

Thank you to all our members who have supported this campaign.

Join our work to protect music and other creative subjects in schools at baccforthefuture.com.

Call for self-employed to share parental pay A bill to extend shared parental leave to freelance and self-employed workers has been introduced by Tracy Brabin MP. Since 2015, shared parental leave legislation has allowed employed couples to split up to 52 weeks of their time off work after the birth of their child, and 39 weeks of statutory pay. The right does not currently extend to the self-employed, but the ISM is supporting efforts to change the law.

ismtrust.org/gcsecertificates.

2018

England

Wales

Northern Ireland

Gold

58

2

2

Silver

129

5

6

Bronze

339

32

29

Total

526

39

37

2017

England

Wales

Northern Ireland

Gold

76

2

2

Silver

129

13

6

Bronze

424

35

29

Total

629

39

37

UK teacher best in the world Andria Zafirakou, an art and textiles teacher at Alperton Community School, North London, became the UK’s first winner of the Global Teacher Prize at a ceremony on 18 March, ahead of teachers nominated from more than 170 countries.

In her acceptance speech, Zafirakou called for schools to be ‘safe havens’ and for greater recognition of the value of arts subjects, and said: ‘The arts have to fight for space in the curriculum and for funding.’

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ISM MUSIC JOURNAL MAY/JUNE 2018

Right: ISM’s Ruth McPherson with Robert Irvine and John Harris of Red Note Ensemble, at the Scottish Awards for New Music

Creative Scotland funding ‘lacks transparency’ Following outrage from Scotland’s creative sector, five of the 20 organisations that lost funding in the January 2018 announcement by Creative Scotland (the Arts Council for Scotland) have had their financial support restored, including the Dunedin Consort.

However, groups including the Hebrides Ensemble are still facing hardship as a result of the cuts.

Scottish Awards for New Music The ISM supported the Scottish Awards for New Music at Drygate Brewery in Glasgow on 7 March, with Partnerships and Marketing Manager Ruth McPherson presenting the ISM Award for Collaboration to Kathy Hinde, Andreas Borregaard, Maja S.K. Ratkje and Red Note Ensemble for their work Aeolian.

This was the second year of the awards, organised by New Music Scotland, which highlight and showcase the innovative and experimental work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene. Mr McFall’s Chamber winning New Music Performers of the Year and Sir James MacMillan recognised for his Contribution to New Music in Scotland. newmusicscotland.co.uk

Claire Baker MSP called the evidence received from Creative Scotland ‘unconvincing’ and said, ‘There has been a distinct lack of consistency and transparency and it’s clear that there are voices in the sector who have lost confidence in the process followed by Creative Scotland.’ The ISM is working closely with members in Scotland, collaborating with the newly formed Scottish Arts Forum to take forward concerns.

Share comments, concerns or information about arts funding in Scotland with the ISM’s Public Affairs Officer, Derin Adebiyi: Derin.Adebiyi@ism.org.

Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org

ISM meeting room We have a fantastic meeting room available for hire at our home at 4–5 Inverness Mews, London W2 3JQ. Members can hire the space at the special rate of £100 for a half day or £190 for the full day.

The room takes up to 16 people boardroom style, with 25 theatre style.

For further details and bookings, please contact Stephanie Collier at roombooking@ism.org or 020 7313 9321.

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ISM MUSIC JOURNAL MAY/JUNE 2018

Professional development Resource

Seminar

New from the ISM Trust – Play: A psychological toolkit for optimal music performance

Play: A practical workshop exploring the psychology of optimal music performance

Play: A psychological toolkit for optimal music performance is a ground-breaking new guide by Gregory Daubney and Dr Alison Daubney, the authors of our best-selling publication Performance anxiety: A practical guide for music teachers. Play is packed with approachable practical strategies to help musicians of all ages manage performance anxiety and overcome common psychological obstacles.

Thursday 21 June, 9.30am–3.45pm

The toolkit is available as an eBook priced at just £5 or a limited edition printed book priced at £10. ISM members receive 20% off when they purchase Play from the ISM Trust website: ismtrust.org/play.

Webcast Play: Optimising your musical performance Tuesday 15 May, 4–5pm If you missed your chance to explore Gregory Daubney and Dr Alison Daubney’s pioneering performance techniques in our free webinar last month, you can tune in to the repeat broadcast on Tuesday 15 May. This is an opportunity to learn new strategies to help improve your performances through the management of performance anxiety and improvement of your wellbeing as a musician.

Register for free at bit.ly/ISMplaycast.

ISM, 4–5 Inverness Mews, London W2 3JQ Propel your performances to new heights with this empowering practical workshop from Gregory Daubney and Dr Alison Daubney.

This unique one-day workshop will enable you to: • identify many of the common barriers to optimal music performance • experiment with practical techniques for managing performance anxiety • choose appropriate strategies to help you reach your optimal level during a performance • create and design your own strategies based on the understanding developed through this workshop • reflect on your own practice and performance preparations and implement short and long-term strategies to help your reach your full potential as a musician The workshop is limited to 14 people, which allows a unique opportunity for in-depth learning and interaction with the course leaders.

Tickets: £52 ISM members; £62 non-members (price includes a free copy of Play: A psychological toolkit for optimal music performance worth £10, refreshments and lunch) To book, go to ism.org/seminars or call us on 020 7221 3499 (9.30am–5.30pm).

Right: Play is packed with approachable practical strategies for performers Photo: Brian Slater

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2018

Webinars

Composing, doodling, improvising: encouraging children’s own music in primary schools

PPL: Making your repertoire work Thursday 10 May, 1–2pm In the second free webinar from PPL, the UK’s music licensing and performance rights organisation for performers, Ben Hogwood looks at how to maximise your earnings for UK and international airplay by ensuring all your recorded work is registered with PPL. The webinar will also translate the jargon, with a members’ guide to the PPL repertoire database.

There will be an opportunity to ask questions during this interactive webinar.

Register for free at bit.ly/ISMPPL.

Wednesday 6 June, 4–5pm This free webinar, presented by Dr Alison Daubney, author of the ISM Trust’s Primary Toolkit, introduces ways to develop children’s interest and skills in ‘doodling with sound’. It aims to help teachers to develop their own confidence in facilitating and promoting children’s exploration of music through improvising and composing across the primary school curriculum. It will share creative ideas, useful starting points, and suggest relevant resources.

There will be an opportunity to ask questions during this interactive webinar.

Register for free at bit.ly/Primarytoolkit.

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ISM MUSIC JOURNAL MAY/JUNE 2018

Bring the House down Bringing together classic House music and the orchestral sound of Manchester Camerata, Haçienda Classical is a wildly successful phenomenon that has generated its own audience.

As it prepares for its third year of touring, Ariane Todes ďŹ nds out how, exclusively for the ISM.

‘Absolutely amazing gig. Brilliant performance from everyone involved. Incredible. Best gig ever!’ ‘The bottom line is, if I could go to see this show every weekend for the next year, I WOULD!!

What a sound.’ When an orchestra gets this many exclamation marks in an online review, you know it’s doing something right. You might also guess that it’s not just playing Bruckner and Ligeti.

This is the level of excitement generated by Haçienda Classical, the concert experience based on the legendary Haçienda club scene of the 80s DQG V ² ZLWK WKH DGGHG EHQHÀW RI D OLYH RUFKHVWUD 7KH HYHQW ZDV ÀUVW EURXJKW WRJHWKHU LQ )HEUXDU\ 2016 by DJs Graeme Park and Mike Pickering, Haçienda co-founder Peter Hook and manager 3DXO )OHWFKHU FRQGXFWRU DQG RUFKHVWUDWRU Tim Crooks and the Manchester Camerata. In May and June they have gigs in Glasgow, London and 0DQFKHVWHU DQG PRUH ODWHU LQ WKH \HDU LQ 6KH΀HOG London, Edinburgh, Bedfordshire and Leeds.

The ‘classical thing’ )RU *UDHPH 3DUN DQG 0LNH 3LFNHULQJ WKH LGHD ZDV more born of frustration. Park explains: ‘When Mike and I were DJing at Haçienda club nights the crowd was getting younger and younger, but the people who had been at the Haçienda wanted to KHDU WKH WXQHV IURP WKH V DQG V )RU D '- ZKR still works every weekend, it gets tedious playing the same tunes. We kept saying that we needed to do something to keep our original punters happy. Then one night after a club night we sat in a hotel bar and as we were getting into a lift at Ă€YH LQ WKH PRUQLQJ WZR PXVLFLDQV JRW RXW ZLWK their instruments and someone said, “Let’s do the classical thing,â€? and everyone else went, “Yeah, let’s do the classical thing.’

It was Peter Hook who made the initial match and phonecalls, and one day in August 2015, he, 3DUN )OHWFKHU &URRNV DQG 5LOH\ PHW LQ D FDIp LQ Wilmslow, Cheshire. They threw around ideas and As is often the case with great innovations, the decided the project could work. Between them LGHD JHVWDWHG LQ WZR GLÍżHUHQW SODFHV VLPXOWDQHRXVO\ Hook and Park then generated a list of 20 tracks, Bob Riley, Chief Executive of Manchester Camerata and gave Crooks a mix to score. A few weeks later, recalls: ‘A few years ago we were thinking about )OHWFKHU FDOOHG WR VD\ KH¡G ERRNHG WKH %ULGJHZDWHU where we were going with future audiences and Hall, leaving them just three months – over Christmas we completely changed our vision. Part of that – to prepare. was saying that we want to be in places where people already are. What would it be like to play ‘The live analogue sound of strings, in bars, clubs and cathedrals? A natural step from that was to look at it the other way round and proper percussion, woodwind ask what it would be like for the bars and clubs and brass knocks people for six.

WR ÀQG WKHPVHOYHV LQ D FRQFHUW KDOO 7KDW ZDV WKH germination of an idea.’ It makes everything sound bigger

and bolder than it originally was’ Left: Haçienda Classical’s ďŹ rst concert was at Manchester’s Bridgewater Hall, where the audience erupted when the orchestra came on stage Credit: Craige Barker

Continued overleaf Ăˆ

11

ISM MUSIC JOURNAL MAY/JUNE 2018

Below: Shaun Ryder, former lead singer of The Happy Mondays, appears with Haçienda Classical Photo: Stuart Westwood

An instant sell-out

Back to the roots

There was plenty of work to do organising musicians and rehearsing, but getting an audience wasn’t a problem – it sold out within ten minutes, and inside the Bridgewater Hall, the response was euphoric. Riley remembers: ‘The audience was going crazy, screaming for about 30 minutes before anyone even came on stage. There was an incredible atmosphere and when the band came on the place erupted.’ Park says: ‘We naively thought people would think it was a classical orchestra with Graeme and Mike and a few guests and that they’d come in and sit down. But they didn’t. It was like a wall of sound – I’ve never heard anything like it.’

The idea of having a live orchestra on club tracks is surprisingly logical. Crooks, explains: ‘A lot of house music is based on disco music that was written in the 70s. There were incredible scratch bands of session musicians who recorded so much music brilliantly. You hear a lot of it sampled and put into house music. It was interesting to go back to the originals and think, “Is there anything I can borrow?� In some instances they’re so well written that they’re easy to orchestrate and work very well.’

They did the same show the next week, and were booked for the Royal Albert Hall, ending up with 16 gigs in 2016. Unsurprisingly, there were teething problems initially, mainly with sound.

Riley says: ‘It’s got a huge PA system on it and a concert hall wasn’t built for that, so it was tough getting to the point where you’ve got a balance between giving people what they expect but not distorting the sound. When you take that into WKH 5R\DO $OEHUW +DOO RU *ODVWRQEXU\ )HVWLYDO LW FKDQJHV DJDLQ ,W¡V DERXW DGDSWLQJ WR GLÍżHUHQW environments. The element of partnership has been really critical.’

In this era of digital technology, it might have been easier not to use a live orchestra, DV &URRNV DGPLWV œ/RJLVWLFDOO\ LW¡V D GL΀FXOW VKRZ WR PRYH DURXQG DQG E\ WKH WLPH ZH¡YH DPSOLÀHG 50 musicians and done all the lights it’s expensive.

It’s to the credit of the promoters they go to the expense of using a real orchestra as opposed to a synthetic programmed orchestra, which they could easily do.’ Park explains why it’s worth it: ‘All these early house producers were doing it on their own in a basement, trying to make a lush string section ZLWK WZR Ă€QJHUV RQ D FKHDS V\QWK :KHQ \RX reverse engineer it and score it for a string section you realise they knew what they were doing.

Played by live musicians it sounds incredible.

The live analogue sound of strings, proper percussion, woodwind and brass knocks people for six. It makes everything sound bigger and bolder than it originally was.’ What is the experience like for the players?

Crooks says: ‘It’s no more intensive than a usual day’s work. It’s a lot louder, but everyone plays with in-ear monitoring so the noise is cancelled.

The stage is the quietest place because nothing is DPSOLĂ€HG WKHUH ² HYHU\WKLQJ JRHV DZD\ IURP WKH stage. But there are challenges, such as not being DEOH WR KHDU \RXUVHOI ZKHQ \RX SXW \RXU Ă€QJHU down high up on the E string, especially if you’ve got both ears plugged in. You’re playing to a click, so it’s more like a recording session.’ Riley says, ‘If you do anything 20 times there are elements you’re going to get bored with, but broadly the players are loving the experience – the music, playing to full houses, performing in major IHVWLYDOV EHLQJ LQ GLÍżHUHQW SDUWV RI WKH FRXQWU\ DQG knowing that Camerata has gained a reputation from doing something like this.’

Continued overleaf Ă”

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ISM MUSIC JOURNAL MAY/JUNE 2018

Reflections

Graeme Park

What can other organisations learn from Haçienda Classical?

‘It’s made me, Mike and Peter a lot more disciplined when it comes to rehearsal. People were saying, ‘What do you mean you want to carry on another 20 minutes – we’ve got to break now.’ That took us a while to get used to. In the world of electronic music, when you get a vibe you keep going with it when you rehearse. That’s not a criticism – it was like two worlds colliding.

‘We often think about the maestro, the repertoire and the “can we finish by five o’clock”, and forget what we want the audience to feel’ Bob Riley ‘The key thing is not to think of the orchestra primarily.

If you do, it probably won’t work. Always think about the audience. That’s one thing we miss in the classical sector. We often think about the maestro, the repertoire and the ‘can we finish by five o’clock’, and forget what we want the audience to feel.

These people are constantly thinking about what the audience is going to want to feel and hear, what the experience is. It’s not just the music – it’s the production, the lighting, the lead-up. We can learn a lot from that.

It needs practical thought and consultation. It’s no good if someone can’t see their music because the laser in their eyes. We had a show in November in the Apollo where there were massive beach balls dotting across the top of the audience, and it was brilliant fun, but a couple of them landed on stage and knocked a violinist’s bow of the string. We need to talk about things like that.’

Above: members of Manchester Camerata play to packed houses at every Haçienda Classical gig Photo: Craige Barker

The first year’s backing track was very complicated because we tried to match as closely as possible the original sound, but it meant we had 60 tracks. So last year we thought let’s not try to copy everything intricately, let’s just make it fairly close, so we ended up 12 tracks instead of 60 tracks and that made the track better.’

Tim Crooks ‘At the moment if orchestras want to initiate a project like this it involves a sizeable up-front investment, so the incentive is always with the promoters who are willing to make the investment and reap the profits. It might work to look at whether there could be a pot of money from the Arts Council where orchestras can apply for a one-off grant. It’s good for an orchestra to own the content of the show, rather than being a hired gun. It will be interesting to see whether orchestras take the initiative and try to produce shows like this over the next few years.’

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ISM MUSIC JOURNAL MAY/JUNE 2018

Above: Bez from the The Happy Mondays adds dance to the musical experience Photo: Stuart Westwood

Not Mozart It’s tempting to wonder whether any of this massive new constituency has since come to other Camerata concerts, but that misses the point, according to Riley: ‘Some of our patrons are sceptical and ask when they’re coming to Mozart, but my reaction to that is, “Who cares?â€? The point is that they go to Haçienda because that’s the music they like. That’s fantastic for me because they’re listening to that music with an orchestra. Expecting WKHP WR WXUQ XS WR %HHWKRYHQ )LYH LV QRW D UHDOLVWLF expectation. Other patrons are hugely positive about it because they see the orchestra playing to a full house every time and loving it.’

‘All these early house producers were doing it on their own in a basement, trying to make a lush string section with two ďŹ ngers on a cheap synth’ Riley also sees it as part of the organisation’s commitment to the players: ‘Like any commercial project, it’s an important part of Camerata’s Ă€QDQFLDO PDNH XS DQG PRUH WKDQ WKDW LW¡V D YHU\ LPSRUWDQW SDUW RI RXU PXVLFLDQV¡ Ă€QDQFHV 7KH\¡UH all freelancers, so they rely on us generating work like this. If we didn’t do it, there would be 25 days in their diary when they might not be earning.

We’ve got an amazing community of fantastic freelance players in the North West, and it’s one of our obligations to make sure we’re generating

14

HQRXJK ZRUN WR Ă€OO WKHLU GLDULHV VR WKH\ FDQ VWD\ amazing.’ He is also thinking strategically: ‘It’s been successful and we’ve been doing more of this than anything else, so there remain questions about how we balance our programme out so there’s enough orchestral acoustic music for the band.

We’ll be launching some long-term projects soon that address that balance.’ As the project embarks on its next tour, the IXWXUH LV EULJKW EXW PD\ QRW EH LQÀQLWH 3DUN VD\V œ, VDLG LW ZDV JRLQJ WR EH D RQH RͿ DQG ZH¡UH DERXW to enter a third year with more dates than ever and people are already making enquiries for next year.

It’s been a rollercoaster that continues to thrill and excite. I hope it continues, but we’re not going to à RJ LW ,W¡OO FRPH WR D QDWXUDO HQG DQG ZH¡OO NQRZ when it’s right to stop.’ Ariane Todes

Links Manchester Camerata: manchestercamerata.co.uk Audrey Mattis Chorale, gospel choir: amcgospel.co.uk Graeme Park: thisisgraemepark.com Tim Crooks: timcrooksmusic.com

London College of Music Examinations An international exam board offering graded and diploma qualifications in music, drama and communication.

We offer: • a wide range of qualifications catering for candidates of all ages and abilities • an exceptionally large portfolio of subjects • Ofqual regulation • UCAS points at grades 6-8

020 8231 2364 lcm.exams@uwl.ac.uk lcme.uwl.ac.uk

ISM MUSIC JOURNAL MAY/JUNE 2018

A digital future NMC Recordings is using digital technology to help fulďŹ l its charitable purpose, as Anne Rushton, Executive Director, explains.

Over NMC’s nearly 30-year existence, much of our work has become well known. Many are the CD racks which sport the blue spine and iconic logo of our albums. The reputation of our blue sheep mascot of seeking out musical pastures beyond WKRVH LQKDELWHG E\ WKH VWDQGDUG à RFN KDV HQDEOHG us to champion the work of 300 composers across 150 countries.

Above: Anne Rushton, Executive Director of NMC Recordings

What many people don’t realise is that we are a registered charity and a member of Arts Council England’s National Portfolio, working to promote and preserve an important part of British cultural life. That comes with real challenges but also with the potential to expand and develop what we GR DQG KRZ ZH GR LW LQ RUGHU WR EHWWHU IXOÀO RXU charitable purpose. The competition for funding is increasing and there is a rightful drive to expand the diversity and breadth of those creating and participating in new music. The landscape in which we work has also changed greatly – we were originally called New Music Cassettes! – and WKH RSSRUWXQLWLHV RͿHUHG E\ WKH HPHUJHQFH RI WKH digital sphere are enabling us to meet many of these challenges while in the process continuing to grow and adapt our organisation.

Creating opportunities

Left: Olugbenga Adelekan’s remix How I learned to stop worrying and love is part of NMC’s remix app aimed at secondary school students, r:strng

Central to our purpose is creating opportunities for composers at all stages of their careers, to have their work heard, and every recording released on NMC is kept permanently available for audiences to discover. We actively seek out partners to develop projects which nurture the talents of composers at the start of their careers, such as the higher education initiative Next Wave, devised with Sound and Music, and our new partnership with the Royal Philharmonic Society and the Philharmonia Orchestra’s Composers’ Academy.

Our Debut Discs series focuses on composers who are beginning to forge highly successful

careers, and often leads to further professional opportunities such as commissions and awards, as well as wider knowledge of their work.

We ensure established composers have opportunities to have their work represented in recorded form, at a time when concert performances might be hard to come by, and we have restored to the catalogue some landmark recordings long deleted by other labels.

Digital audience building All our recordings are available digitally, including many in high-resolution formats, and we actively HPEUDFH WKH RSSRUWXQLWLHV RͿHUHG E\ VWUHDPLQJ Since 2012, our catalogue has been streamed and downloaded almost 10 million times across 150 countries – an enviable audience reach for contemporary classical music. The per-stream returns are small but the audience-building potential is enormous and in our case both the economics and the reach are perfectly attuned to our charitable status.

Two recent examples illustrate the potential for SOD\OLVWV WR KHOS XV ÀQG QHZ DXGLHQFHV 7UDFNV IURP Debut Discs albums by Helen Grime and Charlotte Bray were featured in an NMC Contemporary Woman Composers Spotify playlist and were VWUHDPHG QHDUO\ WLPHV )RU WZR FRPSRVHUV DW the early stages of their careers this is a compelling DXGLHQFH ÀJXUH $QG ZKLOH WKH SHU VWUHDP UHWXUQ LV UHODWLYHO\ ORZ LW GRHV RͿHU WKH SRWHQWLDO WR EUHDWKH new life into our back catalogue. A number of our tracks were included in a space-themed playlist that was promoted last year to mark Stephen Hawking’s birthday – the resulting 86,000 streams in one month brought in 50 per cent of the revenue that the entire albums from which the tracks were selected had generated in physical sales in the whole of the previous year.

Photo: Paul Munene

Continued overleaf Ăˆ

17

ISM MUSIC JOURNAL MAY/JUNE 2018

Below and opposite: composer Kate Whitley and conductor Christopher Stark work with the Multi-Story Orchestra, choirs from Kender, Lyndhurst and John Donne Primary Schools and singers Ashley Riches and Sarah-Jane Lewis on Whitley’s I Am, I Say Photos: courtesy NMC

18

Legacy value

Education resources

NMC’s digital expertise can enhance partner projects by providing legacy value after an event and have helped us build audiences across broader PXVLFDO ÀHOGV ² VXFK DV RXU LQYROYHPHQW DV GLJLWDO SDUWQHU LQ WKH 356) 1HZ 0XVLF %LHQQLDO VFKHPHV in 2012, 2014 and 2017 and in our work with CoMA, supporting their Open Score initiative for amateur musicians playing contemporary music. Looking ahead we are working with the National Youth Choirs of Great Britain in developing their Young Composers Scheme. Launching in the summer this will be a brand-new initiative that aims annually to identify and develop four talented composers aged 18–25 who are passionate about creating high-quality, imaginative new music for vocal ensembles.

The classroom has been the inspiration behind a number of new education resources we have ODXQFKHG LQ WKH ODVW \HDU )ROORZLQJ D SDUWQHUVKLS project album of works charting the Rambert 'DQFH &RPSDQ\¡V 0XVLF )HOORZV DQG PDUNLQJ the Company’s 90th anniversary, we developed D VSHFLDO UHVRXUFH IRU *&6( 'DQFH RͿHULQJ teachers and students a way in to the world of contemporary music for use in the choreography module, with specially selected musical material and accompanying notes from Rambert’s leading choreographers. We led in developing the GCSE Music Composition resource in Rhinegold Education’s Online Music Classroom, with works from a range of composers across our back catalogue forming the basis of a series of WHDFKLQJ UHVRXUFHV HDFK IRFXVVLQJ RQ D GLͿHUHQW compositional component.

Supporting all this we use technology to shed a light on our extensive back catalogue in innovative ways. We developed our Music Map, a free interactive tool on our website, to help listeners ÀQG WKHLU ZD\ WKURXJK WKH P\ULDG FRQQHFWLRQV between composers and their work, and this has proved to be an invaluable means of discovery, particularly popular with composers, concert programmers and teachers.

As part of our Debut Disc series we have created a web-based remix app, r:strng, aimed at secondary-school students. Based on stems from Kate Whitley’s Debut Discs album, the app features a remix by Olugbenga Adelekan from the band 0HWURQRP\ DQG LQFOXGHV DOO WKH HͿHFWV DQG WHFK needed for students to make their own creations.

A free teaching guide is available from our website and we are talking to a number of Music Hubs and other partners about how they can utilise this in their classrooms.

ISM MUSIC JOURNAL MAY/JUNE 2018

Diversifying the pool I’ve mentioned diversity, rightly the current hot topic. The status quo that has pervaded over the last 30 years has of course had a bearing on our historical catalogue. Although Debut Discs wasn’t designed with the aim of increasing the representation of women composers it has had that HͿHFW UHà HFWLQJ WKH VKHHU YDULHW\ DQG TXDOLW\ RI music being written by today’s women composers.

We’ve recently run some statistical analysis of the ratio of male to female representation on the label and while we are proud of the improvements we’ve made in recent years, there is clearly much more to be done.

Just under 30 per cent of the work added to our catalogue since 2014 is by women composers.

But 90 per cent of the proposals for new projects we have received in this year alone have been from men. So we are actively encouraging a more open conversation with women composers about their work, so that we can diversify the pool of projects we consider, alongside those we generate ourselves, and we have dedicated resources to enable this to happen. We have a number of projects in the pipeline that will introduce more BAME composers to the catalogue. We are also partnering with London Music Masters on a new education project that will assist their work with young people from schools in some of the most culturally, socially and ethnically diverse parts of London.

In 2015 we started a collaboration with +XGGHUVĂ€HOG &RQWHPSRUDU\ 5HFRUGV SURYLGLQJ the university-run label with industry knowledge and a marketing and distribution service. This has proved to be highly successful for both parties and has introduced a wider repertoire and new audience to NMC. This is an area we are seeking to build on over coming years, with the aspiration of providing a wider digital hub to those who own rights in recordings of contemporary music

‘We are actively encouraging a more open conversation with women composers about their work, so that we can diversify the pool of projects we consider, alongside those we generate ourselves’ (including ultimately, we hope, individual FRPSRVHUV DQG DUWLVWV :H¡UH FXUUHQWO\ Ă€QDOLVLQJ the business plan and talking to partners and potential funders about launching this new strand of our work, and we are excited at the prospect RI EHLQJ DEOH WR RÍżHU D ZLGHU VHUYLFH WKDW ZRXOG EHQHĂ€W FRPSRVHUV DQG DXGLHQFHV DOLNH 7KH aspiration is that we would devise a way to connect new music audiences and establish a digital community of practitioners and listeners.

What’s clear is that the digital sphere is the perfect outlet for NMC to develop and deliver our wider ambitions, to continue to work beyond being œMXVW¡ D UHFRUG ODEHO DQG WR IXOÀO RXU FKDULWDEOH purpose of enabling more people worldwide to experience more new music from the British Isles.

Anne Rushton

Links NMC website: nmcrec.co.uk Download a free six-track sampler featuring a range of our work, exclusive to ISM members, for a limited time, featuring work by composers Joanna Ward (Next Wave), Kate Whitley (Debut Discs), Errollyn Wallen, Judith Weir, Tarik O’Regan and Howard Skempton: nmcrec.co.uk/news/ism Further information on our education resources, including free lesson plans, can be found at nmcrec.co.uk/education

19

ISM MUSIC JOURNAL MAY/JUNE 2018

Primary beneďŹ ts A school in one of England’s most deprived boroughs offers proof that putting music at the heart of education offers positive outcomes for the entire community. Ariane Todes spent a morning there.

Left: students from Gallions Primary School performing at Eton School in 2016

I’m at a concert. At the back of the stage, groups of performers present show tunes, while at the front, ranks of players watch them in rapt concentration, completely still, but ready to spring into action when it’s their turn. The audience stands at the back of the hall and erupts into rowdy applause between HDFK QXPEHU KROGLQJ SKRQHV LQ WKH DLU WR ÀOP WKH event for posterity. At the end of each group solo, with martial discipline, each line proceeds forward, picks up the instruments and prepares to play. The nearly-90 performers are impeccably drilled and excited, but calm.

This is not a stadium gig or a military tattoo.

It’s 10.30am and I’m watching Year 2 of Gallions Primary School making its collective debut in the school’s Sports Hall. These six and seven year olds started learning their stringed instruments in September, and now, in March, they’re performing for their parents and teachers.

The atmosphere is electric.

This might not sound unusual for a private school, but Gallions is a state school in Newham, London, part of an estate that is in the 5% most deprived areas in England. And this concert is not D RQH RͿ *DOOLRQV VWXGHQWV KDYH SHUIRUPHG DW 5R\DO )HVWLYDO +DOO %LUPLQJKDP 6\PSKRQ\ +DOO and Barbican Centre, among many other venues, and alongside world-famous musicians. Since it opened in 1999, music has been at the very heart of WKH VFKRRO¡V DFWLYLWLHV )URP QXUVHU\ DQG UHFHSWLRQ each child has a musicianship lesson every week and from Year 2 they are all taught a stringed instrument in small weekly classes. The result is engaged, attentive students.

‘They sit on the oor reading a tune in tas and tees and barely raise an eyebrow when the teacher introduces the harmonic minor scale for the ďŹ rst time, copying her perfectly’

Musicianship classes are based on the Kodåly system, so from the beginning, the children sing LQ VROIpJH FRPSOHWH ZLWK KDQG PRYHPHQWV , VLW in on a Year 6 class where the students sing threepart canons, their hands casually moving up and down in front of them as if it’s automatic. They sit RQ WKH à RRU UHDGLQJ D WXQH LQ WDV DQG WHHV DQG EDUHO\ raise an eyebrow when the teacher introduces a KDUPRQLF PLQRU VFDOH IRU WKH ÀUVW WLPH FRS\LQJ KHU perfectly. This is their normal.

Belinda McFarlane is a violinist in London Symphony Orchestra, which has run capsule projects at Gallions as part of its On Track scheme ‘As the students at Gallions all learn instruments, they were all interested when I sat in class playing Bach, because they had a connection. They had great questions: they wanted to know about how I got to where I am. Quite a few had been to an LSO concert and were interested in what inspired me. Their teachers impress on them that it’s about doing something you love, being dedicated and following a dream, and like them to meet people who’ve done that. The children may not make it into a professional orchestra, but I’m sure they’ll remain music lovers. And all the other skills they get are so important – the conďŹ dence, the ability to perform and to cope with pressure (especially when things don’t go well), the preparation and application.

The big question is progression, because with so many students coming though there has to be a path for them. With the old way, young people had free music lessons at school and had that progression, which gave them opportunities to go into the profession that don’t exist any more.

It’s extremely sad, but I’m heartened to see a school like Gallions, where they are working very hard to rectify that.’ Continued overleaf Ăˆ

ISM MUSIC JOURNAL MAY/JUNE 2018

At one point, one boy won’t sit down properly, DQG WKHUH DUH OLWWOH ZDYHV RI ÀGJHWLQJ DQG FKDW EXW generally the children are completely engaged and focused during the fast-paced 45-minute lesson.

Instructions are sometimes sung and gestured (‘Please be qui-et’, ‘Please come and sit by the boDUG¡ DQG DQ\ WHOOLQJ RÍż LV JHQWOH DQG UHDVRQDEOH (‘Remember not to talk while people are still singing.’) The children’s classroom teacher takes an active part in the class and keeps a watchful eye on behaviour.

At the end of Year 1 the children choose their instruments, be it violin, viola, cello or double bass (I’m impressed to see so many tiny bass players in the concert, plucking the bass line of the can-can).

Building on their KodĂĄly musicianship, they use Colourstrings, the system devised by Hungarian SHGDJRJXH *p]D 6]LOYD\ 7KH FKLOG FHQWUHG PHWKRG develops technique, hearing, understanding and reading all at the same time, with the help of colourful cartoon teddy bears and stories.

Below: every child at Gallions has weekly instrumental lessons from Year 2

I visit a Year 3 violin class in which there are nine children, each with their own stand and a Colourstrings book, and two teachers guiding and SURGGLQJ WKHP )DFHV DUH SXUVHG LQ FRQFHQWUDWLRQ as they read tunes together or take turns playing VSHFLÀF LQWHUYDOV 6RPH RI WKHP KDYH SHUIHFW bow and instrument hold. Some don’t look so comfortable, and the teachers don’t always have the time to correct them individually, but you see the children watching each other, alert to all the information they can glean and trying to do well.

Laura van der Heijden, cellist, has performed and worked with the students at Gallions ‘I was delighted to see how enthusiastic and considerate the pupils were, and how colourful and positive the school environment was. Their approach, teaching subjects in alternative ways (creating huge posters to learn about anatomy, writing songs to remember times tables, planting vegetables in order to cook Tudor meals), results in better grades and happier children overall.

Music plays a vital role in the infrastructure of the school, and this focus even inďŹ ltrates the school’s disciplinary methods: in order to catch the attention of the class, instead of shouting, the teacher claps a rhythm which the class has to clap back. This simple yet incredibly effective method results in teachers who aren’t consistently hoarse and children who feel respected and alert.

The children’s involvement in music helps develop their self-conďŹ dence, as they learn to strive for long-term goals with small, daily steps in the right direction.

The community around the school has also been affected, as the parents are increasingly interested and involved in the musical activities going on in and around the school – they also organise school trips to concerts.

I can’t even begin to describe how wonderful a learning environment this school is, due to the understanding that the arts are an essential part of a healthy and happy life.’ I am given a tour of the school by Ashley Roye, WKH VFKRRO¡V 0XVLF DQG )XQGUDLVLQJ 0DQDJHU DQG down every corridor and round every corner is some sign of the school’s focus as a creative school, especially in the vibrant artwork made by the children with the school’s resident artist. They also have Philosophy classes and have a chess club.

Children who show particular talent and dedication are allowed to take instruments home to practise, and private lessons can be arranged at a cost to the parents, although most children who have lessons are given bursaries through the Gallions Music Trust, usually reducing the cost by half. Some students have won music scholarships to secondary school and places in National Children’s Orchestra, but the goal is not for them to become professional musicians, as Roye explains: ‘It would be great if they all came out as musicians, but that’s not the aim. The aim is make sure they all get this experience, take from it and move on.’

22

ISM MUSIC JOURNAL MAY/JUNE 2018

Through music, each and every one of them is developing life skills and abilities that they take into their other classes and into their lives beyond music. On one level there are the well-documented QHXURORJLFDO DQG VRFLDO EHQHĂ€WV RI OHDUQLQJ DQ instrument, as illustrated by the concentration and focus throughout their lessons. Roye cites some recent research within the school: ‘All the top academic performers attend orchestra and are the ones who are engaged musically. I don’t think the connection is quite as straightforward as that, but it is proof that for some of the children who KDYH GL΀FXOW XSEULQJLQJV ZH DUH JHWWLQJ WR WKHP academically.’ Performing to their peers and teachers, and – importantly – to their proud parents, also acts as a PDVVLYH ERRVW )RU WKH IRU ZKRP (QJOLVK LV DQ additional language at home, music is a particular boon. Roye says, ‘We get kids coming into the school who can’t speak any English – Eastern European, Asian, African. Clapping a rhythm out in their string lessons is sometimes the most they’ve been able to understand in their whole week, because it’s an universal language and the way it’s taught is so easy.’ As to the future, there are hopes of creating a dedicated concert hall so that they don’t have to drag the lunch chairs to and from the Sports Hall every performance. They are also trying to improve the connection with the local secondary school, .LQJVZRRG WR DYRLG WKH QDWXUDO IDOO RÍż ZKHQ the children graduate. Inevitably, some of this is dependent on money. Roye says: ‘Goal number one is that funding stays in place and that we get to keep this going. There’s no point focusing on that, though. The main thing is to make sure we have plans in place so we can continue without having to pass the cost on to the parents, because they ZRXOGQ¡W EH DEOH WR DÍżRUG LW ¡ Of course, that doesn’t bear thinking about.

Gallions has shown the way. In a landscape of targets, exams and shoestrings, it has demonstrated WKH EHQHĂ€WV RI D SURJUHVVLYH DQG FUHDWLYH DSSURDFK WR HGXFDWLRQ VSHFLĂ€FDOO\ FHQWUHG RQ PXVLF 5R\H is keen to share the learnings and extends an invitation: ‘Get in touch. You need to come and see it for yourself. Nothing beats actually walking around this place, seeing the lessons. The magic is in the classrooms, watching the kids’ engagement.’ Having visited the school myself, I can certainly vouch for that.

Ariane Todes

‘Their faces are pursed in concentration as they read tunes together, or take turns playing a speciďŹ c interval’

Top: the Gallions orchestra performed at the Tower of London for the 2017 Water City Music festival Above: with its creative focus, the school walls are ďŹ lled with the children’s art and it has its own dedicated Music Centre

Links Gallions Music Trust: gallionsmusictrust.org.uk Gallions Primary School: gallions.newham.sch.uk Colourstrings: colourstrings.ďŹ To visit the school contact Music@gallions.newham.sch.uk

23

Sing Barbershop for a Weekend If you’d like to sing and harmonise, then join with other singers and attend our 40th Annual Harmony College.

It’s a two and a half day residential event held at the Jubilee Campus of Nottingham University.

Everyone Welcome Quality Educators

Open to men and women, joining the College Chorus is a great introduction to this unique style of harmony. You will be given music and learning tracks in advance, receive expert tuition during the course, and then, along with your fellow choir members, perform on the Saturday evening college show.

Online Booking

Other Courses Available You can learn more about barbershop harmony by opting to attend other specialist courses offering a wide choice of barbershop related subjects and other singing topics.

Book Early - Book Online Now View the Prospectus online and book your place. We look forward to welcoming you to a wonderful weekend of singing and enjoyment!

Harmony College

40th Harmony College 24 - 26 August 2018 Jubilee Campus Nottingham University

YEARS

The British Association of Barbershop Singers

Sign Up, Sing and Enjoy!

6 Corunna Court, Corunna Road, Warwick CV34 5HQ Registered Charity No: 1080930

www.babsharmonycollege.co.uk

SUMMER MUSIC COURSES 30th July to 3rd August 2018 Junior Instrumental Chamber

- Beginners with limited experience to grade 3 standard Harp - all grades welcome Orchestra Students of approx. grade 4 and above

Musical Theatre 9:15am — 3:15pm DAILY Venue: Notre Dame Roman Catholic Girls’ School 118 St George’s Rd, London SE1 6EX FEES: £150 Early Bird (before 31st May) thereafter £225 MEANS TESTED BURSARIES AVAILABLE

Please contact CYM for further details and applications forms

Tel: 020 7928 3844 info@cym.org.uk www.cym.org.uk

ISM MUSIC JOURNAL MAY/JUNE 2018

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and high res images. Please email mj@ism.org.

The next deadline for copy is 1 April for the July/August issue.

teaches in the keyboard department of London’s Guildhall School of Music David Barton is pleased to announce and Drama, runs Alexander Technique several new additions to his catalogue. masterclasses and regularly gives talks about her Holocaust experience.

These include a setting of Christina Rosetti’s poem Remember (in memory Ashes to Light is published by I.B. of inspirational Daleswoman, Hannah Tauris and is available on Amazon.

Hauxwell), scored for SATB choir and piano. The work is published by Buster Birch Tim Knight Music in the Accessible Choral Library Series (distributed by Savvy Interactive Music Publishing are Spartan Press). Other new publications pleased to announce the launch include a setting of Be Thou My Vision of the first in their How To Learn To Emma Abbate for SATB choir and piano, and We Pray Improvise series by award-winning for Peace for two-part voices and piano jazz educator Buster Birch. Using Following her recording of Mario (with optional instrumental parts), his years of experience teaching Castelnuovo-Tedesco’s Shakespeare both published by Paraclete Press in jazz improvisation to adult learners, Sonnets, Neapolitan pianist Emma the US. Forthcoming performances school children and conservatoire Abbate continues her series of include his anthem King of Glory, students, he offers a simple approach landmark recordings dedicated to King of Peace at the London Festival for instrumental teachers in a brand 20th-century Italian vocal chamber new format. His clear method enables music with Sera d’inverno, a collection of Contemporary Church Music in May. David is always pleased to hear the least experienced musicians to of songs by Ildebrando Pizzetti about his works being performed and improvise with confidence and not get (1880–1968) released on Resonus Classics. Emma is joined in this journey happy to promote concerts and recitals lost in the form. Using Apple’s latest through his website. technology the interactive digital by mezzo-soprano Hanna Hipp in book works like an app, with 1,340 a programme covering half of the davidbartonmusic.co.uk. embedded audio files and backing composer’s output for the genre. tracks, allowing students to play along Pizzetti was perhaps the foremost Nelly Ben-Or with all of the 369 notated exercises ‘un-operatic’ Italian composer of the in all 12 keys at different tempos.

20th century who, like the masters of Pianist, pedagogue and Alexander Available in Concert Pitch, Bass Clef, Lieder, sought a symbiosis between Technique teacher Nelly Ben-Or has B flat and E flat versions. text and music. At times dark and published her autobiography, Ashes intense,these songs show a composer to Light: A Holocaust childhood to savvyinteractivemusicpublishing.com at the peak of his powers. The disc has a life in music. Born into a Jewish featured on BBC Radio 3. family in Lvov, Poland, in the early 1930s, Nelly tells the story of how she emmaabbate.com was smuggled out of the Ghetto and fled to Warsaw with false identity fl papers, miraculously escaping being p ssent to Auschwitz. After the war, she was able to focus on music, first in w Poland and then in Israel, where she P won a scholarship to the Jerusalem w Academy. She moved to England A where she continued her concert w ccareer and discovered the Alexander TTechnique for piano playing. She now

David Barton

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2018

Dr Michael Bonshor

Wai Sum Chong

Dr Michael Bonshor’s book, The Confident Choir: A handbook for leaders of group singing, has recently been published by Rowman & Littlefield International. Along with philosophical and pedagogical approaches to confidence-building for choir leaders and singers, the book contains suggestions and tips, activities and exercises, real-life case studies, and interviews with singers about the factors that affect their confidence, both positively and negatively.

Pianist Wai Sum Chong is running holiday-time group music classes for children this August at Walmley Community Hall, Sutton Coldfield, Birmingham. Sessions are designed to help young children learn the basics of music notation through games and music activities and offer an effective way for students to progress their musical knowledge without practising or slaving away at a worksheet.

Practical applications of psychological frameworks are included for choir leaders to use in rehearsal and performance, and the insightful perspectives from amateur singers make it relevant to anyone who has ever sung su in a choir. The Royal Colleg of Music’s Co College Jo oy Hill Hil recommends Joy th he book bo as ‘a great resource the fo or bo for both beginners and exxper experienced practitioners w ork with amateur working sin nge , and Rob Elliot of the singers’ In nter International Male Choral Fe esti describes it as ‘the Festival ne ew number one companion new fo o e forr every choral conductor’.

M ich Michael’s book is available fr rom Amazon. from

For further information contact 07890 973173. rhythmcircle.co.uk

Composer Marcos Fernández was one of three selected from 120 around the world to contribute to the Eu.Terpe Suite, which had its premiere in February at the Diego Fabri Theatre in Forlí, Italy.

The piece was commissioned to draw attention to the situation of Syrian refugees in Europe and to encourage collaboration between different cultures. The theme was folk dance, which each of the composers was encouraged to express in their own style – Marcos Fernández Barrero wrote Diaspora of Symbols.

Nikhil Dally

In February, Nikhil Dally, Principal of Stepping Notes Music School and gamelan tutor at Southbank Centre, was invited to lead a short course entitled Kodály, Kinaesthetics and Brighton CCentre Karawitan at the Kodály Institute Jill Elsworthy writes: The ISM Brighton in Kecskemét, Hungary. The event included practical sessions introducing Centre held its annual pupils’ concert Kodály students to gamelan, focusing recently at Hurstpierpoint College.

The audience of Centre members and on issues such as the relevance and applicability of Kodály and Dalcroze parents were treated to excellent pedagogies to non-Western musics; performances for solo guitar, guitar singing and body movement as duet, piano, violin, trumpet and cross-cultural pedagogical tools; the saxophone. The afternoon concert culminated with solos for the Chinese relationship between musicianship and rasa; and the relationship lute, played by Irina Li. This was a first for us and we hope to hear more of this between culture or spirituality and historical instrument, which has been musical structure. played in China for more than 2,000 Nikhil will run a workshop on these years. The concert was followed by tea cross-cultural pedagogical issues in and cake with the opportunity to enjoy Berkshire on 3 June. meeting and exchanging news with Read Nikhil’s paper on the subject, fellow musicians working in our area.

Kodály, Kinaesthetics and Karawitan, at www.dally.org.uk/kkk.pdf.

26

Marcos Fernández

The work was performed by an orchestra made up of members of the Orchestra Bruno Maderna, Orquesta Ciudad de Almería and the Syrian Expat Philharmonic Orchestra, which is based in Germany and is made up of Syrian musicians. It was conducted by Missak Baghboudarian, Director of the National Symphonic Orchestra of Syria.

It was also performed in Almería and Sarajevo and recorded by the Urban Association from Sarajevo as part of a documentary. marcos-fernandez.es

Helen Johnson Helen Johnson is celebrating 20 years of teaching piano and singing in Ripon, North Yorkshire, and as a member of ISM, with a concert bringing together students past and present. The concert is a fundraiser for Just B, a bereavement counselling service at St Michael’s Hospice, Harrogate, and performers will be invited to make a dedication in memory of a loved one.

ISM MUSIC JOURNAL MAY/JUNE 2018

Nancy Litten

Julian Perkins

Sarah Rodgers

Following the success of 2015’s Choral and Vocal Warm Ups for Pianists, Nancy Litten’s latest book from Alfred UK, Choral and Vocal Sight Singing with Keyboard Harmony, serves a dual purpose.

It gives choral and solo singers gently graded sight-singing practice while at the same time encouraging the pianist to accompany them from chord symbols. Examples of the possible realisations of the chords are given and the number of different keys and chords increases gradually.

One chord per bar is used at first with more rapid changes in the later chapters. Each stage includes exercises for the singers (to be practised, not just sight read) and songs to be accompanied. The Pianist Edition includes chord examples and practice routines, and at the back, a chord compendium.

As the new Artistic Director of Cambridge Handel Opera, Julian Perkins conducted a staged production of Handel’s Rodelinda at the beginning of April. This took place at the new Performing Arts Centre at The Leys in Cambridge, with a cast that included soprano Alice Privett in the title role, countertenor William Towers as Bertarido and tenor William Wallace as Grimoaldo. The stage director was Max Hoehn and the designer was Simon Bejer. While their primary wish was to convey the drama, they also aimed to incorporate Baroque gesture into the production in such a way that was meaningful to a modern audience.

Two new commissions by composer Sarah Rodgers will be performed by leading ensembles Piano40 and the Orchestra of the Age of Enlightenment.

nancylitten.com

Johnathan h th David D id Little Littl The polychoral Kyrie, op.5, of composer Jonathan David Little was nominated for Best Classical Music Recording at the inaugural RoundGlass Global Music Awards 2018, held at New York’s Edison Ballroom in January.

You can hear this work for SATB double choir and soloists on YouTube and read more about his latest choral CD, Woefully Arrayed, at navonarecords.

Wo com. com Some works from the album are yet to be premiered in the UK and an other countries, so if your choir is interested in looking at the scores in i t in pdf pd form, email Jonathan directly via JonathanLittle.org.

Jon

The orchestra comprised professional period instrumentalists from Julian’s group, Sounds Baroque, who performed alongside advanced students from Cambridge University, Guildhall School of Music & Drama, Royal College of Music and Royal Welsh College of Music & Drama.

Piano40 will present Labyrinths for eight hands at two pianos on 21 May in the Purcell Room and on 1 July, the Orchestra of the Age of Enlightenment and the choirs of St Nicholas, North Walsham, will perform Agnes – A pocket oratorio at St Nicholas Church, as part of the nationwide Paston Footprints project and in collaboration with Orchestras Live. Sarah has written a blog on the Orchestras Live website www.orchestraslive.org.uk. impulse-music.co.uk/sarahrodgers

Dr Clare Seymour

After a six-year collaborative project exploring the standard of music provision within Early Years settings, Dr Clare Seymour has been involved in publishing a series of comprehensive Early Years Foundation cambridgehandel.org.uk Stage (EYFS) music-lesson packs.

Musicbuds comprises musical Paul Ritchie activities to support Early Years Paul Ritchie has had a number of new learning and provide a failsafe option works published during the first three to delivering high quality, enjoyable, months of this year. GIA in America has music sessions. published his carol Abraham, when severely tried. Proza Musica in Holland has published six anthems for choir and organ including Almighty God, in whom we live; Come, bless the Lord; Come, let us join our cheerful songs; Not unto us, O Lord; Teach me thy way, O Lord and We gather together.

Spiritoso Muziekuitgeverij in Holland has published two volumes of organ variations on Genevan psalm melodies. paulritchiemusic.co.uk

Th hey include inc nclu lude de ssongs ongs on gs w ith it h pedagogical peda pe dago gogi gica call They with integrity (combining both Music and EYFS objectives); lesson plans and objectives, recordings, piano and guitar sheet music; a commitment to inclusivity, with engaging material for all, including SEND/EAL learners; painstakingly crafted songs using a variety of tonalities and an eclectic range of genres; an emphasis on accessibility in vocal range, and Continued overleaf È

ISM MUSIC JOURNAL MAY/JUNE 2018

physical and cognitive demands; fluctuating tempos to accommodate actions; material that is contextually meaningful; and an enabling, nurturing and vibrant musical experience.

(USA), Chopin (Estonia) and Beijing (China) and is a co-founder and Artistic Director of the Powsin International Piano Festival, Warsaw, which runs for its 23rd year in May. annamariastanczyk.co.uk

musicbuds.org

Ann Smith

D’Arcy Trinkwon

Organist D’Arcy Trinkwon will perform the complete works of Franck alongside works by Tournemire and Langlais in three concerts at Arundel Cathedral in May and June.

The cathedral – whose proportions and style are similar to those of the Parisian Basilica of Saint-Clothilde where these three composers were successive organists – will be a perfect venue to hear this beautiful music.

Its organ, built by Hill in 1873, has Ann has recruited singers from choirs a wonderful character and beauty. across the county, including Norwich D’Arcy’s affinity with French repertoire Philharmonic Choir, The Military Wives has been at the core of his relationship Choir and East Norfolk Operatic Society. with the organ since he was first The orchestra is comprised of fellow drawn to the instrument. musicians and music teachers around the county, and they will be conducted The concerts are at 7.30pm on Fridays 11 May, 1 June and 15 June. Tickets

by Margery Baker. for each concert are £10 (under 16s/ The All-Women Orchestra and Choir unemployed free). concert will take place at 3pm, 10 June, darcytrinkwon.com at St Andrew’s Hall, Norwich. Tickets are available from St George’s Music Shop in Norwich or online at www. ticketsource.co.uk/women, at £13 and £10.

Norfolk music teacher Ann Smith is setting up an all-female orchestra for a concert to raise money for Cancer Research UK, specifically targeting breast cancer. Around 180 women will perform music from popular films and shows including Mamma Mia, Pirates of the Caribbean, Harry Potter, Phantom of the Opera, Jurassic Park and The Lord of the Rings.

organrecitals.com

OBITUARIES With regret, we report the deaths of: Dr Caroline Brown of Brighton

Facebook.com/allwomenoc Twitter.com/allwomenoc

Mr Neil Buick of Harpenden

Anna Maria Stańczyk

Miss Mary Withers of Leicester

Pianist Anna Maria Stańczyk has received an honorary doctorate from the Polish University Abroad in London, with the citation, ‘The title Doctoris Honoris Causa in Philosophy was bestowed upon Anna Maria Sta czyk – an excellent pianist, who promulgated Polish art and music throughout the world.’ Anna’s concert performances have taken her from London to Jerusalem, New York to Beijing, Minneapolis to Bangkok, and she was awarded two platinum discs by the Polske Nagrania record label.

She has served as a jury member on international piano competitions including Scriabin (Italy), Louisiana

28

The information from the playing console is relayed to the organ chamber via a data cable the diameter of a little finger. An extensive series of recitals has been organised for this year and Philip would be delighted to hear from fellow ISM members who might like to perform on the new organ in the future. Contact philip@ philipunderwood.co.uk.

Ms Clare L. Jones of Surbiton

Mr Colin Crabe of Middlesbrough Miss Mary S. Joyce of Sratford-Upon-Avon

Philip Underwood Organist Philip Underwood is proud to announce that St Bartholomew’s Church in Wilmslow is home to a new three-manual and pedal pipe organ built by York Pipe Organs. The organ contains over 2,500 individual pipes housed in the organ chamber in the North transept. The organ’s threemanual and pedal playing console can be moved around the church to give greater flexibility of use.

ISM MUSIC JOURNAL MAY/JUNE 2018

Our new members

We offer a warm welcome to the following members who joined before 27 March.

Full members Birmingham Jane Ebbon BAHonsAngliaRuskin Katherine Kirkbride Victoria Groves BMusHonsBCU Stephen Plummer BMusHonsBCU Vicci Hogan BASalford

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Julie Hill BAHonsBathSpa ADWCMD Jane Suckling BMusHonsSussex Joseph Wicks BMusCantab

Victoria Mulley BMusHonsKCL Frantisek Brikcius MAJAMU Naveen Arles Anastasios Mavroudis PhDGoldsmiths Chloe Akam BMusHonsTrinityLaban James Welburn BScHonsCityUniv Amy Bryce BMusHonsRCM Zara Lim MMusCityUniv Lawrence Olsworth-Peter MARAM

Guildford Susan Milan ARCM FRCM Natalie Davies BAHonsRCM Amy French MASurrey

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Joanna Eames BA(Ed)Reading Katherine Steffan Andrew Myles-Wright Rachel Shouksmith GLCM

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Patricia Forbes BANott Laura Porter MAMusOU BMusWales DipABRSM Antony Gordon BAHonsACM Peter Townsend BABathSpa

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Stephen Williams

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Cheltenham Amber Smith Gillian Mew GDipLCM LTCL Peter Harper BAHonsGloucestershire

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Liverpool Luke Ledger BAHonsLCoM Heather Gould BMusHonsRNCM Tanith Tomkinson BAHonsLivHope

London – South East Lucy Cronin Kathryn Workman PGDipIndiana PGDipRCM BAHonSoton Hannah Ockendon-Rowe BAHonsRead Dwight Pile-Gray Jonathan Pix BMusHonsGSMD Edward Mowat BMusGoldsmiths Marion Wyllie MMusGSMD Shaquille Gordon MAUCLAN Daniel Crompton BAHonsRNCM Yuko Yokoi MATrinityLaban

London – South West Catherine McKay-Upcott PGCE RAM Lenka O’Connor GdipConservatoireKosice Nicholas Lane Ben Tompsett BAHonsKingston Tom Leaper MARAM BALeeds Helen Ashby MACantab Alan Taemur Sandra Wilkes ARCM Mary Parker ARCM ARCM Dip Teacher RCM Steve Richardson Rosie Midgley BABristol

William Burdett BACoventry Katie Cowling BMusHonsRCM Harutyun Melikyan BAYerevanConservatoire Hermione Ruck Keene MAMusEdUCL Timothée Botbol BAMusHEMU Emily Potter MMusGSMD Chinique Carter-Johnson BAHonsBucksNew Anna McLachlan BAHonsSoton

London – West Vivienne Bartolucci Conservatoire G.Rossini Alexandra Tinker MScRCM Michael Bryan-Harris BMusHonsUWL Diego Raspati BMusBIMM

Manchester

North of England Chris Griffiths MA(TCM/Westminster) GRSM LRAM Adrian Bramley BMusHonsManch Emma Fisk BAHonsNewcastle MMusNewcastle

North Wales John Hosking BMusHonsRCM Karen Markham BAHonsLeeds PhDDurham John Paul Booth MALancaster

North Yorkshire Amy-Jayne Milton BMusHonsRCM

Northern Ireland Mark Bowman BAHonsCantChrist Damian Herron Andrew Tubman BMusHonsQUB

Martin Cook ARMCM GRNCM PhD University of Nebraska-Lincoln Katherine Maia Preston BALincoln Luke Coomber BMusHonsRNCM Daniel McDwyer BMusRNCM Morgan Hale BMusRoyalHolloway Isla Macewan BMusHonsRNCM Joey Dexter BMusHonsRNCM

Nottingham

Mid-Wales Marie Miller

Elisabeth Peskett PGDipRNCM

Norfolk

Reading

Peter Higgins DipTCL Thomas Corfield BAEAnglia Lucy North BAHonsNott Rebecca Oldham BAHonsDerby

Oxford Simone Policella BAHons(Mus)Leeds Jason Preece BMusBirm DPhilOxon

Portsmouth

Jessica Martin Deanna Beresford BA(Hons)MusicwithVisualArts Gavin Cuthbertson Dartington BMusHonsAberdeen Jennifer Pallister Scotland – North BAHonsBathSpa Frauke Jurgensen BMusMcGill PhDMcGill Helen Campbell DipMusAberdeenCE

East

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2018

Scotland – South East

Staffordshire

Liverpool

Nottingham

Jean Johnson BMusHonsMassachusetts Jane Webster BEd(Music) Judy Brown BMusHonsEdin Georgi Boev BMusRNCM

Thomas Simm BMusCardiff Kieran Matthews BMusHonsGSMD MMusGSMD

Dylan Alexander McCaig Alexandra Walton

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London – North

Oxford

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Vanessa Stansall Keir McCabe Soroush Lashkary Francesco Ricci

Timothy Smith

London – South East

Scotland – South West

Scotland – South West David Douglas Clare Philippa Bauld BMusHonsGlas Heather Macleod MPerf RNCM Donal McHugh BMusHonsRCS

South Wales Rebecca Percy MAOxon Dean Wright GMusHonsRNCM Sian Davis ADWCMD LRWCMD Glenda Pasley ALCM PGCertEd BMus (Hons) Nicola Rose BMusHonsRWCMD Matthew Bawden BAHonsBathSpa Niamh Aston BMusHonsRWCMD

Southampton Sarah Boyce-Pendleton BAHonsKingston Katie Alder BAHonsChichester Natasha Gibson BMusSurrey Nina Rideout BAHonsOU

St Albans Denise Alonzo GDipMusColchesterInst MAMiddlesex Rosemary Gwinnett BEdCantab Robert Crayford-Venn Rachel Beckett Isla Thomson BMusHonsAberdeen

Wayne Thompson BAHonsEssex Louise Healy BAHonsEssex

Warwickshire & Northamptonshire Benedict Cliffe BAHonsBathCHE Sandeep Raval Rosalind Webber BAHonsLeeds Gillian Wells BMusHonsRWCMD James Flynn BMusSurrey

West Yorkshire Michael Pounce BMusHonsHuddersfield

Wiltshire Anya Bellamy Harold Jones MAOxon HonFTCL Elizabeth Weager Georgia Pennock Jessie Thompson BMusRoyalHolloway Pamela Bryant BAHonsBathSpa

Chloe Vincent BMusHonsGSMD

British Association for Performing Arts Medicine 020 7404 5888 info@bapam.org.uk bapam.org.uk Stonyhurst College 01254 826345 stonyhurst.ac.uk

Gold

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Henri Selmer Paris +33 (0)1 49 23 87 40 info@selmer.fr selmer.fr

Sheffield

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Insure4Music 08000 469 859 admin@insure4music.co.uk insure4music.co.uk

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Luke Taylor Irena Radic Alina Bistricka

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Liam Smith Michael Ronan Lucy Radish Michaella Livadiotis Alice Gräfin Grote Thibault Blanchard

Reading

Corporate New Joiners Bronze

e Letters after your nam

are automatically As a member of ISM you er your name: MISM entitled to use letters aft SMISM (Student Member (Member of the ISM) or been in continuous of the ISM). If you have or more, you gain membership for 15 years status. Download the FISM (Fellow of the ISM) members’ area of appropriate logo from the ur website, personal our website to add to yo g materials. stationery and marketin e member logo.

We also have a corporat ld, silver or bronze If you are a platinum, go would like to display corporate member and or in your publications, the logo on your website 0 7221 3499 or please contact us on 02 membership@ism.org.

STENTOR Inspiring Players of All Ages * Stentor provides good quality instruments to enable players to progress to the best of their ability and enjoy making music. * Stentor’s ideal student and intermediate instruments: • Stentor Student I • Stentor Student II • Stentor Graduate • Stentor Conservatoire * Choose from our high grade orchestral models: - Messina, Elysia and Arcadia * Stentor violins, violas, cellos and double basses are carved from solid tonewoods, with correct measurements and good tonal quality, offering students the best start to their musical careers.

Stentor instruments available in all sizes from your local music retailer Contact us for a copy of the Stentor brochure

www.stentor-music.com Stentor Music Co Ltd Tel: 01737 240226 Email: info@stentor-music.com

Classified advertising

How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org by 1 June for July/ August issue.

GASPAR MODEL VIOLA

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TAX AND ACCOUNTING SERVICES. Tax and accounting noise interfering with your melody? Then let us help you tweak the tune of your song. At PAC, we are specialist accountants PROOFREADER AND COPY on property business, EDITOR. Vanessa Richards company’s year-end MA, PGCE, MISM offers a accounts, tax planning professional proofreading and advice. Whatever service for dissertations, your tax music, you can websites, music rely on us to change your compositions etc. Fully melodic contour – for the trained and a member better. For no obligation of the Society for Editors advice, call 02036 and Proofreaders. www. 575696 or email team@ vanessa-richards.com; practicaladviceconsulting. info@vanessa-richards. co.uk. Visit us on www. com. practicaladviceconsulting.

STUDENT CELLOS, mostly co.uk.

German, various sizes, FRENCH HORNS, Several from £100. Tel. 07974 from £150. 01747 828552.

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A NEW WORK, recently premiered, Fantasy for solo cello by James Hewitt, is now available on www.tutti.co.uk.

Details of this and other works may also be found on www. jameshewittmusic.co.uk.

VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel. 07974 412269.

Private and Trade 50p per word, minimum £5.

Advertisements from ISM members are half-price (ie, 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

BASSOONS several. 07974 SPINET FOR SALE: John 412269.

Perkins of 1983. Baroque pitch (415). VGC. Easily SPINNETT WITTMAYER portable. OIRO £2,500. Tel. (German) 4 octaves, C-D, 07714720650. light walnut. VGC needs tuning, hence £495 for ALTO SAXOPHONE FOR a quick sale. Tel 07974 SALE: (Yamaha YAS25).

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B&H. Blackwood, Conservatoire, Low E, MUSIC COPYING SERVICE. Serviced. £1,095 ONO. Quality printed music 07974 412269. produced at reasonable prices. For further details DOUBLE BASS PAESOLD contact David Turner, concert model 590. computer-based music Excellent condition cost copyist, at 23 Overbrook, £3k plus in 1997, £995 Hythe, Southampton SO45 ONO 01747 828552.

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ISM MUSIC JOURNAL MAY/JUNE 2018

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 1 June for July/August issue.

to engage with the historic issue of gender imbalance in music by women, and ensure that it does not continue into the next generation.’ trinitylaban.ac.uk

Trinity Laban Conservatoire Every concert to feature music by women composers Trinity Laban Conservatoire of Music & Dance has announced Venus Blazing, a commitment to the music of women composers throughout the next academic year that means that concerts will no longer include music written only by men.

Royal Academy of Music

ram.ac.uk

Theatre and recital hall open

Royal Northern College of Music

The Royal Academy of Music has opened its new 309-seat Susie Sainsbury Theatre and 100-seat rooftop Recital Hall, as well as 14 refurbished practice and dressing rooms, five new percussion studios, a refurbished jazz room and a new control suite for the recordings department. They are designed by RIBA Award-winning Ian Ritchie Architects and acoustically engineered

by Arup.

The Theatre is named for Lady Sainsbury of Turville CBE, a supporter of the Academy and the Deputy Chair Half of the repertoire chosen for its 60 public concerts and opera performances of its Governing Body, following in 2018–19 will be by women composers, charitable grants from the family’s Backstage Trust and Gatsby across classical music, opera and Charitable Foundation. jazz. There will be a particular focus on 20th- and 21st-century British composers, including Trinity Laban students, alumni and staff.

Harriet Harman MP, Chair of Trinity Laban, launched Venus Blazing on 8 March, marking both International Women’s Day and the 90th birthday of British composer Thea Musgrave.

Harman said: ‘Trinity Laban Conservatoire of Music & Dance is strongly committed to diversity in all elements and it has a mission to constantly challenge the status quo.

Venus Blazing is a great example of just how it can do this. It will encourage and inspire its students – many of whom will go on to shape the future of the performing arts –

The Recital Hall sits on top of the Theatre, with acoustic separation, and also serves as a recording studio.

Royal Academy Opera (RAO) opened the Theatre on 12 March with Jonathan Dove’s Flight.

The Theatre is built on the site of the original Sir Jack Lyons Theatre and has a reshaped auditorium, increasing capacity by 40% and improving sightlines.

New brass ensemble competition The inaugural Philip Jones International Brass Ensemble Competition will take place at the Royal Northern College of Music, Manchester, UK, 15–20 July, 2019.

The aim of the competition is to bring together young brass quintets and showcase excellence and enterprise in brass chamber music performance, building on the legacy of Philip Jones CBE (1928–2000). Three major prizes will be awarded during the event: the Philip Jones Prize (£10,000), the Marah Mahlowe Prize (£7,500) and the Founder’s Prize (£5,000).

The 2019 competition will be for brass quintet (two trumpets, one horn, trombone, tuba) and is open to players aged between 16 and 30.

The average age of any group at 20 July 2019 should not be more than 28.

The international jury will comprise five members (two trumpets, one horn, trombone and tuba) with special expertise in this field, led by the jury Chair Reinhold Friedrich.

Applications will be received in summer 2018, and 16 groups will be selected from submitted videorecordings to come to Manchester, based on the criteria of musical qualities, enterprise and presentation. pjbe.org Continued overleaf È

33

ISM MUSIC JOURNAL MAY/JUNE 2018

We are very grateful to all our corporate members for their support.

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ABRSM

London College of Music

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Make Music Swindon

Bath and North East Somerset Music Hub

NMC Recordings Park Lane Group

Duet Group Goldsmiths, University of London Insure4Music

Rhinegold Publishing The Royal Central School Of Speech & Drama The Royal Philharmonic Society

Kawai

ALFA Education Ltd Royal Birmingham Conservatoire Black Dress Code Classic FM The Curious Piano Teachers Drums for Schools Henri Selmer Paris Impulse Music Consultants Len Rhodes Music Music Mark National Preparatory School Orchestras Oxford University Press Paritor Ltd Portsmouth Music Hub Trinity Laban Conservatoire of Music and Dance Trybooking.co.uk University of Huddersfield University of St Andrews Wigmore Hall

Trinity College London Lark Insurance

Leeds College of Music

Middlesex University Prize student compositions showcased

Right: Middlesex University students have their compositions workshopped by players from the London Firebird Orchestra

34

BA Music students performed alongside London Firebird Orchestra, Middlesex University’s orchestra in residence, in the university’s annual spring showcase concert at St Pancras Church, London, on 22 March. Concert highlights included a performance of Zelenka’s Miserere by the University Choir, Haydn’s Trumpet Concerto with final year student Oliver Pugh

Victoria College Exams

For further information about our different levels of corporate membership and a full list of over 160 corporate members, visit ism.org.

Yamaha Music Europe

as soloist, and the premiere of two student compositions (the winner and runner-up in the Middlesex University Chamber Orchestra Composition Prize, 2018).

Earlier in the year, students were invited to submit compositions for the prize, and shortlisted entries were workshopped by the London Firebird Orchestra. Clara Fielder was awarded runner-up for The Passage, a skilfully orchestrated composition inspired by ‘The Moon’, a card from the Crowley/Harris tarot. The winning composer, Sukanyan Sunthareswaran, used an innovative combination of conventional and aleatoric writing in A Wicked Love Song. mdx.ac.uk

ISM MUSIC JOURNAL MAY/JUNE 2018

Right: Mayor of London Sadiq Khan launched his new strategy to tackle violence against women and girls at Royal Central School of Speech and Drama’s Embassy Theatre

Orchestradventure! aims to inspire school children to engage with classical music. Arts Council of Wales and Western Power Distribution World War One commemorated funded a series of outreach and Tasmin Little will play Vaughan workshops in South Wales schools Williams’ The Lark Ascending at the to deliver the skills to enable the Royal Albert Hall on 20 May, in a school children to participate in the concert commemorating the end of live performances. The concert will the First World War. The second half travel to North Wales next Spring comprises Karl Jenkins’ The Armed as Orchestradventure On Tour!, Man: A Mass for Peace. supported by The Prince of Wales’s It’s 50 years since Bob Chilcott sang the Charitable Foundation, and will reach ‘Pie Jesu’ as a treble in the famous David around 3,000 children across Wales Willcocks Choir of King’s College recording over the next two years. of Fauré’s Requiem. Bob conducts the rwcmd.ac.uk Requiem at the Summer Singday (8 July) alongside Mendelssohn’s joyful Guildhall School of Hymn of Praise. There’s still time to Music & Drama sign up and sing, as there is for the Summer School (7–12 August).

Chamber music festival and

Scratch Concerts/The Really Big Chorus

The December Mozart pilgrimage to Vienna has already sold out and the annual Messiah from Scratch, with booking just opened, fills up quickly.

Join the mailing list at bit.ly/JoinTRBC. trbc.co.uk

Royal Welsh College of Music and Drama Conservatoire students reach out to school children

Below: Chloe Williams conducts the RWCMD Symphony Orchestra in Tchaikovsky Image: Kirsten McTernan

The Royal Welsh College of Music and Drama (RWCMD) Symphony Orchestra performed for over 1,400 children in Cardiff and Carmarthen this Spring as part of its new project, Orchestradventure!. The interactive performance, presented by BBC Radio 3’s Tom Redmond and conducted

by RWCMD graduate Tianyi Lu, included the Overture from La Forza del Destino, the Adagietto from Mahler’s Symphony No 5 and John Williams’ The Force Awakens.

opera premiere Guildhall School presents its first Chamber Music Festival, 6–8 July, featuring performances from some of the school’s most accomplished chamber groups and collaborations with renowned performers from the chamber music faculty. Three evening concerts feature the world-renowned Endellion Quartet, Visiting Quartetin-Association, and professors from the Guildhall faculty performing with students in music ranging from classic chamber works to hidden gems, with free concerts and masterclasses during the day.

Royal Central School of Speech and Drama Zero-tolerance campaign Royal Central School of Speech and Drama, together with its Students’ Union, welcomed Mayor of London Sadiq Khan to the Embassy Theatre on 9 March for the launch of his new strategy to tackle violence against women and girls.

As a part of the launch, the Mayor joined Central staff and students in a discussion surrounding the themes of the strategy, with Imkaan (a UK-based, black feminist organisation dedicated to addressing violence against Black and minority ethnic women and girls), Deputy Mayor for Policing and Crime Sophie Linden, Victims Commissioner Claire Waxman, Night Czar Amy Lamé and MP Tulip Siddiq.

The Students’ Union at Central recently led on Central Says Enough, a campaign launched together with This June, Guildhall School and the school to address the issue of The Royal Opera present the world premiere of Mamzer Bastard by young sexual harassment and violence on composer Na’ama Zisser, with a sound campus by bringing a zero-tolerance world that unites contemporary idioms commitment to every corner of the institution. with the music of Orthodox Hasidic Judaism. The work is the culmination The Principal, Professor Gavin of Zisser’s doctoral residency with Henderson, said: ‘Central’s students Guildhall School and The Royal Opera. and staff were greatly encouraged This collaboration, launched in 2013, by the recent visit of Sadiq Khan, is one of the first examples of an Mayor of London. Together with opera company and conservatoire Central’s Students’ Union, our zerojoining forces to offer a composertolerance commitment in terms of in-residence studentship leading to sexual harassment and in protection a doctoral degree. The work runs at of women and girls accords well with Hackney Empire 14–17 June. the Greater London Authority’s own determination.’ gsmd.ac.uk cssd.ac.uk

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2018

Impulse Music Consultants

The purpose of the Network is two-fold:

Supporting artists in self-promotion

1. To arrange online and ‘in-person’ events around the world, exploring aspects of musical practice in the 21st century. These can be anything from the creative use of digital audio workstations to historically informed performance; from popular music performance Nonetheless, promotion is an essential pedagogy to algorithmic electronic part of the tool-kit for all musicians – composition; or metaphysical and composers shouldn’t leave it to concepts that span styles and the performers. traditions.

Each performance or event has its 2. To explore new formal, structural own particular aims, aspirations and and technological ways to publish characteristics and deserves to be practice-based research. This is to promoted for its own individuality. be done without relying primarily on text-based outputs (which We have many years of experience nonetheless facilitate peer review in promotion, ranging from major and provide parallel structures to concerts at venues such as the Royal text-based features such as research Albert Hall to local events in churches, question/problem, literature from placing composers’ works with review, data collection & analysis overseas ensembles to brokering etc.). It is proposed that practiceperformances on BBC Radio 3. We are based research can be evaluated in currently working with several ISM ways providing greater parity with members to promote and sell their traditional research outputs. scores and CDs. Geraldine Allen writes: At Impulse Music Consultants, we understand how challenging self-promotion can be for musicians and how much more comfortable we feel when the ‘self’ is removed.

We aim to make the process as straightforward, transparent and costeffective as possible by starting with the proverbial blank sheet, making an analysis of relevant elements and putting together a plan which can be carried out by you, the musician yourself, by a collaboration between us or by us in entirety.

Collaboration is the musician’s touchstone and we are here to help. impulse-music.co.uk

London College of Music 21st-century music network grows In 2016 a small group of academics led

by London College of Music’s Professor Simon Zagorski-Thomas established a London and South-East Network on 21st-Century Music Practice. With four events already staged, in March 2018 Simon wrote to a wide range of external colleagues, inviting international expansion of the Network. Within a week the list of subscribers had grown to 230 researchers and practitioners in 30 countries.

36

Those interested in following this up are welcome to contact simon.zagorski-thomas@uwl.ac.uk.

University of St Andrews Four new music appointments The University of St Andrews has announced four new appointments in its Music Centre. Jonathan May becomes Head of Vocal Studies; Dr Bede Williams, Head of Instrumental Studies; Chris Bragg, Head of Programming; and Dr Jonathan Kemp, Head of Music Technology.

to 2017. His current research interests focus on interdisciplinary approaches to the creation, performance and reception of new music.

Chris Bragg, previously Concerts Administrator, is an arts administrator, organist, writer and translator who studied in Glasgow and Amsterdam.

He is responsible for the Music Centre’s performance programme, including both student and professional outputs.

Dr Jonathan Kemp teaches Physics of Music, Electronic Music and Scottish Music at the university and manages the Electronic Music studio. He has published extensively in the field of musical acoustics, most recently focusing on specifications for wound guitar strings that can match sensitivity to player control. st-andrews.ac.uk

Association of British Orchestras 70 years protecting UK orchestras The All-Party Parliamentary Group for Classical Music hosted an event in the Houses of Parliament on 13 March marking the 70th anniversary of the Association of British Orchestra, the representative body for professional orchestras and youth ensembles across the UK. The event also launched of the ABO’s new anniversary website, which offers a timeline of the ABO’s past 70 years and celebrates its contribution to the cultural well-being of the nation from 1948 to today.

Darren Henley, Chief Executive of Arts Council England said: ‘The ABO Jonathan May is an opera singer continues to be as relevant to the and voice teacher. Funded by a Help UK’s orchestral life today as it was 70 Musicians UK grant and the University years ago. Since those early days it’s of St Andrews, he will visit Bienen become an important and effective Music School at Northwestern partner for the Arts Council, making University, Chicago, in May, for major contributions to national mentoring by the distinguished voice cultural projects and stimulating pedagogue Stephen W. Smith. debate and action in important areas Dr Bede Williams is a trumpet player and for orchestras, such as improving conductor. He brings to the post a wealth diversity, embracing new technology and developing music education.’ of experience in education, having taught at the Music Centre since 2010 aboanniversary.org.uk and at St Mary’s Music School from 2007

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ISM MUSIC JOURNAL MAY/JUNE 2018

LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org Sunday 20 May

Saturday 16 June

Sunday 17 June

Lea Valley Adult Musical Afternoon

Hereford and Worchester Student Concert

Oxford Pupils’ Concert

2.30pm at the home of Anne Hodges, Broxbourne, Hertfordshire A chance for adult pupils from beginners upwards to play a grand piano and share an enjoyable afternoon with others with the same interests. Strawberry cream tea after the performances (in a lovely garden, weather permitting).

Free to perform, £3 a head for refreshments.

Please let Carolyn Richards know by 15 May. Contact: Carolyn Richards (ISM Lea Valley Representative), 07768 086123, ismleavalley@ntlworld.com

TBC, The Firs: Elgar’s Birthplace, Lower Broadheath, Upper Broadheath, Worcester WR2 6RH The Hereford and Worcester Centre will be holding a student concert at the newly refurbished Elgar Birthplace, now known as ‘The Firs’ and part of the National Trust.

Notices will be sent shortly to colleagues with further details. Any queries in the interim please contact Emma Winscom.

Contact: Emma Winscom (ISM Hereford and Worchester Representative), ism@ emmawinscom.com

3pm, Church of St Michael & All Angels, Lonsdale Road, Summertown, Oxford OX2 7ES Encourage participants to perform duet performances in this concert, for pupil and pupil or teacher and pupil. Any instrument or voice, any level, as long as pieces are ready for public performance. Solo items are also welcome. Refreshments will be available.

Admission: ISM members £5, guests £8.

Contact: Carolyn King (ISM Oxford Representative), 01235 522774, carolyn2king@btinternet.com

Sunday 27 May

Saturday 16 June

South Wales Beaumaris Festival luncheon

Sheffield Summer Concert

1pm, Gwesty’r Bishopsgate A limited number of complimentary tickets are available to the Beaumaris Festival luncheon (www.beaumarisfestival.org) to all ISM members in Wales (South, Mid and North Wales groups). Please contact Dr Jeremy Huw Williams to reserve your place.

Contact: Dr Jeremy Huw Williams (ISM South Wales Representative), 02920 843753, jhw@ jeremyhuwwilliams.com

2.30pm, Crookes Social Club, Mulehouse Road, Sheffield S10 1TD A concert for pupils of all ages. It is noncompetitive, and a wonderful opportunity for pupils to become more at ease with performance. All instruments and grades are welcome and the repertoire is varied, including solos, duets and ensembles.

Each participant receives an ISM Certificate of Appreciation to add to their Record of Achievement.

Please provide your own accompanist if you require one. The venue will be open from 1.30pm for a short rehearsal if required. The piano is a well-maintained upright.

Refreshments will be provided after the concert.

Cost: Adults £2, Children 50p. Performers and ISM members go free. If you would like any of your pupils to take part, contact Pearl Woodward by 8 June.

Contact: Pearl Woodward (ISM Sheffield Representative), 0114 266 0399, pearlwoodward@btinternet.com

Protect your hearing

ISM Representative Vacancies We are currently looking for members to act as ISM Representatives for the following local groups:

Croydon South East London South West London (will work with current Representative Angela Fogg)

Cambridge (will work with current Representative Stephanie Reeve) Volunteering as an ISM Representative is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area. Supported by ISM, local group events provide networking opportunities, social events, professional development and performance opportunities in your area. They are a fantastic way to meet other musicians and enhance your career.

FFor more information or an application fform please call 020 7313 9323 o or email membership@ism.org.

If you have hearing damage or need hearing protection, don’t forget that ISM members get a discount on hearing tests, audiology consultations and custom hearing protection with Hearology, Read Audio, Musicians’ Hearing Services and Capital Audiology.

Visit ism.org/my-ism/your-discounts/hearing-services.

Health and wellbeing support If you’re feeling low or are in distress for any reason, you don’t need to suffer in silence. As part of your membership, you have access to a free 24hr counselling helpline staffed by professionally qualified counsellors. The helpline is open 365 days a year and is contactable on 0800 042 0136. We also have a list of organisations and helplines that offer confidential support and a listening ear when things get difficult. Visit ism.org/help.

ISM MUSIC JOURNAL MAY/JUNE 2018

Ask me a question David Temple Conductor, Musical Director of Crouch End Festival Chorus

Tell us a little about yourself. yourself Although my parents loved having music in the house – a few records of classical music, Methodist hymns, The Beatles, The Kinks – I became obsessed with music when I came to London in 1972, aged 18. A friend heard me sing, labelled me a tenor and dragged me to the London Philharmonic Choir (LPC). I was unable to read music, but the chorus master allowed me in – with strict instructions to learn as quickly as possible.

Until that point, I had no idea that choirs could sound anything other than farcical.

My first experience of hearing a symphony orchestra was in the Royal Festival Hall, when I was singing Berlioz’s La Damnation de Faust with Georg Solti. I was smitten.

I taught myself to read music and, because I couldn’t play an instrument (and still can’t) decided to try conducting. A few willing friends from the LPC came and sang for me.

With a fellow tenor from the LPC I co-formed Crouch End Festival Chorus in 1984. The choir has transformed from a ‘community non-auditioned choir’ into what it is today.

A rather pleasant outcome is that I was awarded an MBE in the 2018 New Years Honours for services to music.

Who (or what has most influenced you and your career)?

Joining the London Philharmonic Choir in 1972 transformed my life. The conductor, John Alldis, has been my role model and in inspiration ever since. He enabled average si singers to make glorious music, through h ability to inspire, teach and elevate our his li limited talents to a higher plane. John’s m mantra was that ‘getting the notes right’ was ju the start of what can be achieved. There just h have been many choral trainers who are fine m musicians and technicians, but for me the e essence of great music is that which leaps o the page and makes the listener sit up off a engage. John would accept nothing else and a I have tried to make these principles the and lifeblood of my work.

musician, the aspect of his conducting that has always affected me is his love and passion for the music, and his role as servant to the composer. He tries to conceal how moved he is, unlike others who wear their hearts on their sleeves. His performances of Mahler, Bruckner, Beethoven, Haydn, Mozart and Elgar are wonderful. He lived through a world war, his country occupied by an invading force. I am convinced that this experience must have moulded him, and others of his generation, to explore depths beyond those of us who are younger.

What was the last CD/music download that you purchased?

Radiohead’s A Moon Shaped Pool. Their music is a delicious combination of innate and bold creativity mixed with a completely open mind towards composers they admire.

Within their originality, I can hear the influences of Krzysztof Penderecki, Hans Zimmer, Steve Reich and Ennio Morricone.

What are your plans for the future?

I have the most wonderful career imaginable and I would like it to continue What would you say is your greatest and develop as long as possible. I want achievement to date? to carry on discovering talented young The essence of my career has been diversity: composers and commissioning new works.

In 10 years time, I want to be raving about conducting Bach’s Mass in B Minor on a composers and musicians whom no one Saturday and joining rock band Oasis on has yet heard of in 2018. I want to improve the Sunday; working with Ennio Morricone my work by preparing more thoroughly, and one day and conducting Beethoven and Janá ek the next. Because of this variety, my also including an element of improvisation. classical conducting has sometimes been overshadowed by the ‘showbiz’ connection, Finally, what is your ISM membership to you? so conducting Bach’s St John Passion for Chandos and receiving encouraging reviews As a conductor, you are working with many, but you are basically on your own. has been the pinnacle of my career so far.

ISM provides a platform to exist with kindred Who is your all-time favourite artist spirits and also gives you support and and why? encouragement should any issue ever arise.

It is a privilege to be a member.

The legendary conductor Bernard Haitink (who shares a birthday with me and recently turned 89). Apart from being a brilliant

Recommend a friend and get £10 off your membership Tell your musician friends and colleagues about the ISM and encourage them to become part of our thriving community of music professionals. We’ll give you £10 off your next year’s membership fee every time someone you recommend joins the ISM as a full member (includes graduate rate membership).

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If you’d prefer to receive a £10 voucher for iTunes, Amazon, or M&S, or donate your £10 reward to the ISM Trust or the ISM Members Fund, just let us know in your email and we’ll organise it.

Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.

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