Music Journal November December 2018

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November/December 2018 Helena Gaunt takes the helm at RWCMD Music for Youth moves with the times The Empowered Musician event report

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Welcome In April of this year Schools Minister Nick Gibb said:

Contents

‘Arts education should be the entitlement of every child.’ He added: ‘We hope that still more young people will take arts GCSEs, because a high-quality arts education should be the entitlement of every pupil, as part of a broad, balanced and stretching curriculum.’

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News & Campaigns Brexit Briefing Professional development

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New broom National platforms The Empowered Musician Conserving our heritage

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

I could not agree more.

Above: Deborah Annetts Photo: Mark Thompson

However despite those warm words, music education in England is in crisis. Since 2010 there has been a 23% decline in the number of pupils completing music GCSE in England. The annual decline between 2017 and 2018 was 7.4%. At A-level the decline is even greater – a 38.9% decline in entries in England since 2011. And on 11 October, Dr Ally Daubney and Duncan Mackrill at the University of Sussex painted a concerning picture of music disappearing from our schools. bit.ly/unisussexresearch2018. Ofsted has now got the message. On 11 October Ofsted said that school inspections in England would no longer focus on exam results and grades, but instead the substance of what children are being taught will be examined. Ofsted chief inspector Amanda Spielman said that ‘room should always be made in the curriculum for creative subjects’.

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While we welcome the news from Ofsted, this is only part of the solution. Accountability measures need to be reformed. Under the EBacc, creative subjects including music are being squeezed out of schools. And this is despite the Government’s Industrial Strategy explicitly recognising the contribution of the £150m ‘UK’s world-class creative industries’ to the UK economy. Front Cover FitkinWall at The Empowered Musician Photo: Kris Brown See feature on pages 16–20 Inset images: Music for Youth Prom performance Photo: Courtesy of Music for Youth. See feature on pages 13–15 Professor Helena Gaunt, Principal, Royal Welsh College of Music and Drama Photo: provided by RWCMD

The ISM will keep campaigning for music to be central to the education of all our children. At a very large meeting of the All-Party Parliamentary Group for Music Education organised by the ISM on 10 October, there was widespread concern from many parliamentarians about the marginalisation of music in our schools. And that concern is leading to action. So we need to keep the pressure on. If you have not yet written to your MP, please do so now. Go to baccforthefuture.com. And if you have personal stories to share with us as to what is happening in our schools please do get in touch with our Senior Communications Manager Francesca.Treadaway@ism.org. We have already built up a much clearer picture as to the challenges you are facing when teaching music in our schools through the 1100 responses we have received in connection with the three education surveys we have been promoting. So, many thanks to everyone who took the time to respond to one of the surveys. Your input has been invaluable. Together we will ensure that every child really does get access to a wellrounded music education.

Volume 85 / Number 4 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: Clare Stevens/ Francesca Treadaway Proofreader: Christine Gwyther-Scott

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 26 November for January/ February 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.

All ISM publications are copyright Printed by Optichrome, Woking GU21 5HX ISSN 0951 5135

See feature on pages 8–11

deborah@ism.org

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News & campaigns Debate and questions in Parliament on music in schools On Wednesday 17 October 2018, Lord Black of Brentwood tabled an Oral Question in the House of Lords in relation to the number of pupils taking GCSE Music in the last academic year, and on Thursday 18 October he debated the state of music education in schools. Speaking about the fall in uptake of GCSE, Lord Black called the situation of music education in schools ‘very grave’ and ‘undoubtedly the fault of the EBacc’.

APPG for Music Education meeting Photo: Francesca Treadaway

music in primary schools. Professional musicians Nicholas Daniel and Laura van der Heijden (both winners of BBC Young Musician of the Year) outlined the holistic benefits of music education. Following the presentations, a discussion took place which heard widespread concerns from Parliamentarians across all political parties about the marginalisation of music and creative subjects in both primary and secondary schools. Find out more at musiceducationappg.org.

University of Sussex research released New research into Secondary Music Curriculum Provision between 2016-18/19 by the University of Sussex has revealed that music in schools is at significant risk of disappearing as schools offering music a subject, staffing levels and teaching hours in music decline. In particular, the EBacc, other performance measures and a squeeze on funding are cited as the main factors contributing to this continued decline.

On Wednesday 10 October 2018, a highly successful APPG for Music Education meeting took place in Parliament. Presentations were given by music educationalists, professional musicians and campaigners to provide the most current picture of music education in primary and secondary schools, as well as demonstrate the value of music as a subject. Dr Ally Daubney presented the results of the latest research by the University of Sussex (bit. ly/unisussexresearch2018) which revealed music education provision in schools to be in a precarious state, with schools offering music as a subject, staffing levels and teaching hours in music all in decline since 2016; Kevin Rogers (former County Inspector, Hampshire Music Service) outlined the headline findings of his research (undertaken in collaboration with the ISM between June and September 2018) into the provision of curriculum

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Dr Ally Daubney, Senior Teaching Fellow in Education at the University of Sussex, said: ‘Having warned in 2016 that performance measures and funding cuts risk making music education in school extinct, our recent research highlights that the situation is now at crisis point in many secondary schools. We need to act now in order to reverse this decline and find ways to support schools to offer a sustained music education for all.’ Find out more at bit.ly/unisussexresearch2018.

ISM campaign success as East Sussex Music Service saved from cuts The ISM scored a campaign win in early September, when East Sussex council decided on not to proceed with planned cuts of £180,000 to its music service. The cuts, which would have stripped services to their legal minimum, could have led to thousands of children losing access to instrumental teaching. The ISM provided evidence to the council on the potential impact of the cuts, and promoted a petition signed by more than 12,000 people calling for the council to reconsider the plans.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Debate in Parliament on Brexit and the arts The ISM’s campaign work was referenced a number of times in the debate on Brexit and the arts in the House of Lords on 11 October. The debate, led by Lord (Melvyn) Bragg, saw almost unanimous support for our campaign aims of continued freedom of movement for musicians after Brexit. Labour’s Lord Adonis mentioned our finding that some of our members are already losing work as a result of Brexit, while Lib Dem Lord Wallace and crossbencher Lord Clancarty referenced our work and the work of the cross-sector FreeMoveCreate campaign in speeches addressing the wider threats to musicians’ ability to travel for work after Brexit. Our research over the summer found that a third of survey respondents received more than half their income from work in other EU countries, meaning that increases in costs and bureaucracy and competition with EU-based musicians represent a serious threat after Britain leaves the EU. You can sign up to support FreeMoveCreate via freemovecreate.org, where you can find resources including a template letter to send to your MP.

Campaigning for mobility after Brexit The ISM is campaigning hard to ensure the rights of musicians are protected after Brexit. As part of our FreeMoveCreate campaign we have been lobbying to protect the rights of musicians to work in EU countries after the UK has left. In September we held meetings with MPs and peers, as well as civil servants from the Home Office, Department for Exiting the European Union and Department for Digital, Culture, Media and Sport, putting the case for musicians’ movement rights. Sign up to support FreeMoveCreate and find resources including a template letter to your MP at freemovecreate.org

EU Parliament backs Copyright Directive The European Parliament has voted in favour of the Copyright Directive, legislation intended to update online copyright laws for the internet age. The directive was originally rejected by MEPs in July following criticism of two key provisions: Articles 11 and 13. However, on 12 September, an updated version of the directive was approved in Parliament, along with amended versions of Articles 11 and 13. The final vote was 438 in favour and 226 against. The Article 13 provision would mean that digital platforms like YouTube would face legal repercussions for the use of unlicensed music on their platforms, even if that music had been uploaded via user-generated content. Find out more at bit.ly/eucopyrightdirective.

Songlines Music Awards – ISM sponsors award The ISM were delighted to sponsor the Newcomer Award at the Songlines Music Awards on 20 October at Electric Brixton in London. The Newcomer Award was presented to Syrian qanun player Maya Youssef, whose album Syrian Dreams was also nominated in the Best Artist and Africa & Middle East categories. This was the tenth year of the awards, which aim to put a spotlight on talented artists from around the world, and the inaugural awards ceremony. Other winners included Oumou Sangaré, Rhiannon Giddens, Black String, Eliza Carthy & The Wayward Band and Trio Da Kali & Kronos Quartet. The awards were organised by Songlines magazine, which covers music from traditional and popular to contemporary and fusion. songlines.co.uk

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Photo: Francesca Treadaway

BBC Music Day 2018 BBC Music Day 2018 took place on Friday 28 September across BBC Television, radio and online, with special programmes, performances and activities. One of the key themes this year was celebrating women in music, which included the live unveiling of the BBC Radio 4’s Woman’s Hour ‘Women in Music Power List’ at Maida Vale Studios, where ISM Chief Executive Deborah Annetts was included at no.33. See more at bit.ly/bbcpowerlist2018.

Teachers’ fees survey is now open for responses Our annual survey of teaching and accompanying rates is now available online. Please do take part in the survey – the more musicians who complete the survey, the more authoritative the results will be as an indicator of what musicians have been charging. The survey will take less than ten minutes to complete. The deadline is 30 November at bit.ly/feessurvey2018. External affairs team, 020 7313 9312

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. You can find a list of mental and physical health organisations and helplines at ism.org/help If you are worried about 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. Find out more at ism.org/my-ism/ your-discounts/hearing-services

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Budding bloggers – we want to hear from you! Have you got a burning issue you wish to share with the music industry? Are you fundraising for a special cause? Or do you simply want to share your experiences? If any of these sound like you, we invite you to contribute to the ISM blog series. To contribute a blog post, simply email jessica.salter@ism.org for our guidelines. We look forward to reading your posts. ism.org/blog

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Brexit Briefing: The effects of a ‘no deal’ Brexit on contracts Victoria Barrett, the Founder and Director of IP and media law consultancy VLT LEGAL, considers the impact of Brexit on contracts. She makes recommendations when entering into a new contract or amending existing ones.

Above: Victoria Barrett

ISM members are likely to have a variety of different types of contract with EU partners, ranging from those for provision of services (performing, teaching, composition, consultancy, music education), to those based on licensing of intellectual property, such as publishing, recording, digital delivery of content. At the time of writing there is still no clear indication of whether Brexit will be soft, hard or ‘no deal’, so this briefing looks at some of the possible impacts that Brexit may have on ISM members’ contracts, and makes some recommendations for measures that might help to Brexit-proof future or existing contracts. The principal impacts to be aware of include: • pieces of legislation which apply to the contract pre-Brexit (e.g. employment law, immigration law, copyright and IP law) could cease to apply after Brexit; • resulting changes in meanings of definitions and terminology used in the contract; • financial consequences arising from fluctuations in currency, as well as new costs (such as tariffs, taxes, passport and visa costs);

• UK no longer being included in the EU-wide Conventions that apply to governing law and jurisdiction. Some examples of consequences that could flow from these impacts might be: • it could become illegal to provide certain services (such as digital services) into EU countries from the UK and vice versa; since much of the recent body of EU copyright legislation has been drafted with border-free licensing and content access in mind, there is a possibility that it may simply no longer apply in the UK; • contracts that involve licences of copyright or other intellectual property may be affected by changes in definition and terminology. For instance, where the Territory is defined as the EU, this could no longer include the UK after Brexit. Similarly, references to certain EU copyright and software regulations may no longer be valid if they have not been incorporated into UK law at the time of Brexit; and even where they have been incorporated, they may start to diverge over time as UK law develops independently of Brussels; • imposition of new tariffs, tax, or visa and passport requirements could make cross-border movement of musicians and their instruments and equipment much more expensive, time-consuming, subject to delays, or even illegal; • where the contract does not state which country’s law and courts will apply to contract disputes, certain EU Conventions decide the issue currently, Continued overleaf È

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The clause would then go on to outline the intended consequences of the trigger event, such as: • either party, or one party, has the right to terminate; • the parties might wish to expressly state that the contract may not be terminated as a result of the particular defined event; • the parties agree to renegotiate the contract; • the parties agree which one will take responsibility for the increased costs resulting from the defined event; • the parties agree which one will take responsibility for any new statutory or compliance obligation; ensuring (amongst other matters) that the court’s decision in one country can be enforced in the other party’s country if necessary. Some or all of those Conventions may not apply in the UK after Brexit meaning that a judgment obtained in a UK court against an EU partner may not be enforceable in their local court, and vice versa.

• the parties agree upon alternative governing law/ jurisdiction provisions.

Recommendations: If an ISM member is entering a new contract with an EU partner in the coming months, or has an opportunity to amend an existing contract, the following measures should be borne in mind:

Force majeure clauses: In some cases these changes • governing law and jurisdiction: (a) a contract that has specified that it is governed by English could render the contract impossible to carry out; law, and is subject to the exclusive jurisdiction of in other cases the changes could make it very the English courts, will be on surer ground, since expensive and difficult, but not actually impossible. this wording should ensure that it will be possible This is an important distinction, since a force majeure to obtain an enforceable judgment against an clause can usually only be relied upon in the former EU partner, whatever type of Brexit is achieved; circumstance, and not in the latter. So for instance, (b) a more flexible approach would be to use where a contract has become difficult (but not an arbitration clause, since arbitral awards are impossible or illegal) to perform, due to escalating governed by the New York Convention, which has costs (such as increased tariffs, taxes, visa/passport international (rather than EU only) application; costs) or loss of profitability, the force majeure clause would probably not apply. Even where the contract • terminology and definitions: any reference to has become impossible or illegal to perform, the force statutes or regulations should be followed by majeure clause will probably only be enforceable if the the words ‘as amended or re-enacted from time list of force majeure events includes a specific Brexitto time’. Check that definitions and references related event such as change in law, or imposition to the EU are followed by the words ‘and the UK’ of new tariffs/taxes/visa controls (an event as where necessary; generalised as ‘Brexit’ or ‘effects of Brexit’ is unlikely • Brexit clause: consider the likely impacts on to be enforceable). your contract and draft a simple Brexit clause Brexit clause: Unsurprisingly, there has been talk of to cover the events you anticipate and your a catch-all Brexit clause which could be included in preferred consequences, such as renegotiation contracts. Such a clause would be based on concepts of the contract; termination/no termination of that appear in large financial contracts, such as the contract; automatic adjustment of applicable ‘material adverse change’ and ‘hardship’ clauses. currency or rates for payments and fees; These clauses tend to define certain events that • or, if there are specific Brexit-related circumstances might trigger either termination, renegotiation of in which you feel that it would be simpler and more the contract, or an automatic adjustment in fees and appropriate to terminate the contract immediately prices; the trigger event should be specific (rather than as necessary, include the anticipated event in the a generalised description such “effects of Brexit”), force majeure clause. such as: ISM members have free access to our specialist • the imposition of tariff/visa/passport charges/ in-house legal team. They offer contract advice, customs checks; including drafting contracts and negotiating directly • changes made to immigration rules; on your behalf. • changes to laws applicable to a relevant activity/ industry, e.g. music licensing.

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Professional development Musicians in the gig economy Wednesday 28 November 2018, 1–2pm Join us for this free ISM Trust webinar and find out how employment status affects your work as a musician. Discover what makes the difference between an employee and a self-employed person; the categorisation of part–time and agency workers and the characteristics of employees compared to those with worker status. The webinar is presented by Marie van der Zyl, a Partner in the law firm Gordon Dadds, currently representing claimants in the high-profile employment case against the National Gallery. Marie can take some questions by advance email. Please submit questions for Marie to freya.mcleavy@ism.org by 14 November 2018.

NEW DATE: Recording essentials for musicians with Cubase Tuesday 13 November 2018 Find out how to create a recording that can be posted on social media or a website in this free webcast. Composer, music producer and Steinberg product specialist Dom Sigalas will guide you through the set-up process and explain how recording can help you develop a portfolio music career. Dom will also talk about using the composition tools inside Cubase, including recording instruments and voices, as well as basic mixing techniques, to achieve a polished professional sound.

Discover Grove Online Thursday 6 December 2018, 1–2pm Get the best out of your music research with this guide on how to use Grove Music Online, the leading online resource for music scholarship. This free webinar from the ISM Trust will introduce you to the extent of information you can discover via Grove. Find out how to navigate the site, with tips for using inbuilt research tools and supplementary content. Get guidance on saving and sharing content and find out where to access technical support and instructional resources. ISM membership comes with full access to Grove Music Online.

The ISM Trust Primary Music Toolkit The ISM Trust, supported by the Schools Music Association (SMA), has published a free online resource for primary school music teachers. The Primary Music Toolkit, written by music education expert Dr Alison Daubney, is a concise six-part guide which aims to help specialist and non-specialist primary music teachers further their knowledge and self-assurance in the classroom. It is packed with practical help and strategies to give teachers the confidence to lead inspiring musical experiences and bring the primary music curriculum to life. The toolkit is free to access and download from the ISM Trust website: ismtrust.org/primary-toolkit

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New broom Professor Helena Gaunt was appointed the new Principal of the Royal Welsh College of Music and Drama on 1 September. Jessica Salter of the ISM caught up with her during her ďŹ rst week.

‘The Royal Welsh College of Music and Drama (RWCMD) spans many disciplines – such as music, drama, theatre design and stage management – and that was a very important part of the decision to join the college. Coming from London, where there are many conservatoires, RWCMD is a very GLÍżHUHQW NLQG RI SODFH KDYLQJ ERWK D QDWLRQDO DQG LQWHUQDWLRQDO UHPLW DQG EHLQJ WKH RQO\ FRQVHUYDWRLUH in Wales,’ its new principal Helena Gaunt tells me.

Above: Jessica Salter

*DXQW EHJDQ KHU FDUHHU E\ IUHHODQFLQJ DV D SURIHVVLRQDO RERLVW DQG D IRXQGLQJ PHPEHU RI %ULWWHQ 6LQIRQLD EHIRUH PRYLQJ LQWR DFDGHPLD and later providing strategic leadership in academic development, research, enterprise and internationalisation at the Guildhall School of Music & Drama (GSMD) as Vice-Principal & Director of Innovation. ‘As a professional player, I started teaching IRU D FRXSOH RI KRXUV D ZHHN DW *60' DQG IRXQG , DEVROXWHO\ ORYHG WHDFKLQJ , IRXQG LW LQVSLULQJ H[FLWLQJ DQG YHU\ IXOĂ€OOLQJ¡ VKH H[SODLQV *DXQW ODWHU EHFDPH 'HSXW\ +HDG RI :LQG Brass and Percussion at GSMD. ‘I felt it was MXVW DV LPSRUWDQW D VLGH RI P\ ZRUN DV P\ playing professionally.

Âś, KDG D UHVSRQVLELOLW\ QRW MXVW LQ PXVLF EXW also in theatre. This opened my eyes to the value of having an institution that has several disciplines LQ LW WKHUH LV SRWHQWLDO IRU FROODERUDWLRQ DQG H[FKDQJH EHWZHHQ all of the disciplines.’ *DXQW WKHQ ZHQW WR JR RQ WR EHFRPH 'LUHFWRU of Innovation and Vice Principal at Guildhall, ORRNLQJ DIWHU DOO WKH DFDGHPLF VXSSRUW IXQFWLRQV and – most importantly – the Innovation Fund. 6KH WHOOV PH WKDW KHU ZRUN KDV EHHQ ÂśYHU\ PXFK DERXW HQWUHSUHQHXUVKLS DQG HQWHUSULVH¡ DV ZHOO as research. ‘The Innovation Fund encourages students WR WKLQN DERXW EXLOGLQJ QHZ FXOWXUDO SURMHFWV WKLQN RXWVLGH WKH ER[ DQG PDNH WKLQJV KDSSHQ RXW in the world.’ 1RZ VKH WDNHV RYHU IURP +LODU\ %RXOGLQJ DV 3ULQFLSDO RI 5:&0' , DVN KHU ZKDW GUHZ KHU WR WKH UROH DQG DERXW KHU SODQV IRU WKH FROOHJH Âś, ZDQWHG WR WDNH DQRWKHU VWHS LQWR DQ HYHQ PRUH overarching strategic role at RWCMD. It is a college that spans disciplines and it is an institution that is at a very exciting stage of development.

‘Hilary had an extraordinary vision and transformed the institution, not only in terms of LWV YHQXHV LWV EXLOGLQJV DQG SK\VLFDO HQYLURQPHQW ‘Being Deputy Head of Wind, Brass and EXW DOVR LQ WHUPV RI LWV PLVVLRQ LWV YLVLRQ DQG WKH Percussion, I got involved in research; this was the very early days of research within the conservatoire way it connects with the professional industry. The standard of the drama side of the college is also HQYLURQPHQW , KDG DOO NLQGV RI TXHVWLRQV DERXW DEVROXWHO\ RXWVWDQGLQJ 6KH GLG DPD]LQJ WKLQJV the teaching process and what I was doing with Yet there is a whole lot more to do.’ my students and I wanted to explore that.’

Left: Helena Gaunt

While at GSMD, Gaunt valued partnerships During her time as Deputy Head of Wind, Brass and Percussion, Gaunt completed a doctorate and relationships with the arts industry and she LGHQWLĂ€HV WKLV DV VRPHWKLQJ VKH ZDQWV WR EXLOG LQ WKH HÍżHFWLYHQHVV RI RQH WR RQH WXLWLRQ LQ conservatoires, focusing on curriculum design and upon at RWCMD. DFDGHPLF GHYHORSPHQW ,Q VKH VWDUWHG WR ZRUN DFURVV DOO GLVFLSOLQHV LQ WKH VFKRRO ORRNLQJ DIWHU research and academic development.

Photo courtesy of RWCMD

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Above (from left to right): Photo: Kirsten McTernan Photo: Philip GrifďŹ ths photography Photo: Kirsten McTernan

’RWCMD has fantastic partnerships with the Welsh National Opera and BBC National Orchestra RI :DOHV DQG ZH ZRXOG OLNH WR H[WHQG WKRVH partnerships to include the National Museum and VRPH VPDOOHU ORFDO FRPSDQLHV :H ZDQW WR ORRN at how we can develop a strong sense of cultural destination and impact through those partnerships LQWR WKH ZLGHU :HOVK VRFLHW\ DQG IXUWKHU DĂ€HOG ¡

LQQRYDWLYH EXVLQHVVHV IROORZLQJ WKH LGHD WKDW \RX FDQ FUHDWH D ODERUDWRU\ IRU FUHDWLQJ EHVW SUDFWLFH LQ the conservatoire.’

*DXQW ZDQWV WR JLYH VWXGHQWV WKH WRROV WR Ă€QG their own strengths, as the college has a strong reputation in supporting every student on a personal pathway. ‘That is also something that we DUH DOUHDG\ EHJLQQLQJ WR IRFXV RQ KRZ WR GHYHORS LW IXUWKHU WR HQDEOH VWXGHQWV WR Ă€QG WKHLU RZQ YRLFH WR Building on her experience at Guildhall, XQGHUVWDQG KRZ WKH\ PLJKW PDNH WKDW VXVWDLQDEOH Gaunt also wants to encourage students at the DV D SURIHVVLRQDO ² Ă€QG WKH ULJKW PHQWRUV WKH 5R\DO :HOVK WR WKLQN DERXW HQWUHSUHQHXUVKLS DQG right support that they need, develop their own LQQRYDWLYH SUDFWLFH Âś, WKLQN WKH &ROOHJH KDV GRQH UHVLOLHQFH ERWK SK\VLFDOO\ PHQWDOO\ DQG LQ EXVLQHVV D ORW RI ZRUN WR HQFRXUDJH DQG HQDEOH VWXGHQWV WR WKLQN DERXW ZRUNLQJ DFURVV GLVFLSOLQHV DQG SXWWLQJ terms. That is a whole other area of strengths that ZH ZRXOG OLNH WR VWUHWFK IXUWKHU ¡ RQ WKHLU RZQ ZRUN , ZRXOG OLNH WR WDNH WKLV WR WKH QH[W VWDJH DQG LQFXEDWH LQQRYDWLYH SURMHFWV ZLWK

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We also discuss the importance of the College’s XQLTXHQHVV DV WKH RQO\ FRQVHUYDWRLUH LQ :DOHV DQG ERWK LWV QDWLRQDO DQG LQWHUQDWLRQDO UHSXWDWLRQ DQG UHVSRQVLELOLW\ DV D IDFWRU LQ KHU DWWUDFWLRQ WR WKH UROH at RWCMD. ‘It is hugely important that the RWCMD is part of expressing, supporting and developing WKH :HOVK QDWLRQ DQG WKH :HOVK EUDQG 7KHUH LV D KXJH UROH IRU 5:&0' WR SOD\ LQ Ă \LQJ WKH :HOVK Ă DJ LQ WKH 8. DQG IXUWKHU DĂ€HOG LQFOXGLQJ WKH championing of Welsh music and Welsh theatre. 5:&0' LV DOUHDG\ LQYROYHG LQ WKHDWUH ZRUN WKDW is in Welsh, for example. There is a real artistic remit there. There is also a very strong element RI WKH FROOHJH EHLQJ DEOH WR DGYRFDWH DQG WR EH a part of realising the soft power of the arts for Wales at a diplomatic level. ‘In the light of Brexit, we must ensure that we stay connected within Europe and further DĂ€HOG RYHUVHDV :H PXVW KDYH D VWURQJ VHQVH WKDW SURIHVVLRQDO HGXFDWLRQ VKRXOG EH WKRURXJKO\ HQJDJHG LQ DW LQWHUQDWLRQDO OHYHO EHFDXVH WKDW is how practice is evolving and developing in our modern world.’ , PHQWLRQ WKH GHFUHDVH LQ WKH XSWDNH RI PXVLF DW *&6( DQG $ OHYHO DQG DVN KHU ZKHWKHU WKLV LV DOUHDG\ KDYLQJ D KDUPIXO HÍżHFW RQ WKH TXDOLW\ DQG volume of students at RWCMD.

‘Everyone is aware that this is an issue in music. ,W LV OHVV RI DQ LVVXH IRU WKHDWUH EXW LQ PXVLF WKHUH are some very enforced pressures that mean we’re seeing fewer people come through to audition DW WKH ULJKW NLQG RI OHYHO 7KHUH DUH SDUWLFXODU LQVWUXPHQWV ZKHUH WKDW LV PRUH RI D SUREOHP VXFK DV EDVVRRQV DQG RERHV 7KHUH LV QRZ ZRUN JRLQJ RQ WR YLVLW DUHDV WR WU\ DQG VXSSRUW DQG UHEXLOG certain instrumental music education in Wales. I am SOHDVHG WKDW ZH¡UH LQFUHDVLQJO\ VHHLQJ D QXPEHU RI organisations, including the music services and the FRQVHUYDWRLUH ORRNLQJ DW KRZ ZH FDQ ZRUN WRJHWKHU in partnership to try and develop a compelling RÍżHU EHFDXVH TXLWH FOHDUO\ QR RQH LQVWLWXWLRQ FDQ do it alone. ‘We must ensure that young people have the opportunities to engage in the arts. At conservatoires ZH EHOLHYH SURIRXQGO\ LQ WKH TXDOLW\ RI HGXFDWLRQ DEVROXWHO\ KDYLQJ WR LQFOXGH WKH DUWV ‘RWCMD plans to play its part in the ecology of regenerating arts education as a whole in Wales. , WKLQN WKHUH DUH YHU\ H[FLWLQJ WKLQJV WR EH GRQH DQG LQ &DUGLÍż LQ SDUWLFXODU WKHUH LV DQ H[WUDRUGLQDU\ EXUJHRQLQJ RI WKH DUWV DQG FUHDWLYH LQGXVWULHV SDUWLFXODUO\ LQ WKH Ă€OP DQG 79 DUHD ,W IHHOV OLNH a very exciting, up-and-coming context and those WKLQJV PDNH PH ZDQW WR LQYHVWLJDWH IXUWKHU DQG EH D SDUW RI LW ¡ Jessica Salter, Communications OfďŹ cer, ISM

Photo: Philip GrifďŹ ths Photography

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London Co College llege of Music Examinations An int internation ernational al ex exam am boa board rd offering gr grad aded ed and dip diploma loma qualification ationss in mu music, sic, dram ama a an and comm communic unication. n.

We off offer:: • a wide ra range nge of qua qualific lifications cate ca tering ring fo forr ca candidat ndidates of all ages and abilities • an an exceptionally large portfolio of subjects • Ofq Ofqual ual re regulation gulation • UCAS UCAS po poin ints ts at grades 6-8

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

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

National platforms For nearly ďŹ fty years Music for Youth has been offering unforgettable performance opportunities to young musicians from around the UK. Clare Stevens ďŹ nds out how the charity is adding value to those opportunities and reaching a wider demographic

Above: Judith Webster, Chief Executive MFY

2Q 1RYHPEHU EDVVRRQLVW 5RV 0LWFKHOO SOD\HG LQ D SHUIRUPDQFH RI 'HEXVV\¡V Prelude a l’après-midi d’un faune DW WKH 5R\DO $OEHUW +DOO (RAH). She wasn’t a professional performer – VKH GLGQ¡W HYHQ FRQWLQXH SOD\LQJ WKH EDVVRRQ EH\RQG XQLYHUVLW\ ² EXW VKH KDV QHYHU IRUJRWWHQ that concert with Brighton Youth Orchestra in the Ă€UVW HYHU 6FKRROV 3URP ,Q VKH UHWXUQHG WR the RAH to see her son Matthew play tenor horn with Birmingham Schools Brass Band, carrying on the family tradition. Matthew has gone on to VWXG\ PXVLF DW 0DQFKHVWHU 8QLYHUVLW\ ZKHUH KH LV currently President of the Music Society. 5RV DQG 0DWWKHZ¡V VWRU\ FRXOG EH HFKRHG E\ countless alumni of Music for Youth (MFY), the FKDULW\ VHW XS LQ E\ /DUU\ :HVWODQG &%( WR provide performance opportunities for young SHRSOH DURXQG WKH 8. 6RPH DUH QRZ SURIHVVLRQDO PXVLFLDQV ZKRVH Ă€UVW H[SHULHQFH RI SOD\LQJ RQ a concert stage to a large audience at the MFY 1DWLRQDO )HVWLYDO RU D 6FKRROV 3URP PD\ KDYH EHHQ the inspiration for a successful career. Others have JRQH RQ WR ZRUN LQ FRPSOHWHO\ GLÍżHUHQW Ă€HOGV EXW WKH\ QHYHU IRUJHW ZKDW LW IHOW OLNH WR VLQJ ZLWK WKHLU \RXWK FKRLU LQ WKH 4XHHQ (OL]DEHWK +DOO LQ /RQGRQ SOD\ ZLWK WKHLU EUDVV EDQG DW 6\PSKRQ\ Hall, Birmingham or have all the lighting and VRXQG HTXLSPHQW IRU WKHLU URFN JURXS VHW XS E\ professional technicians on the stage of the RAH. /DUU\ :HVWODQG UDQ 0)< IRU \HDUV EHIRUH KDQGLQJ RYHU WR /LQFROQ $EERWWV QRZ ([HFXWLYH Director: Strategic Development for the ABRSM. $EERWWV GLG PXFK WR PDNH 0)< PRUH UHOHYDQW WR WKH \RXQJ PXVLFLDQV RI WKH VW FHQWXU\ EHJLQQLQJ the process of reaching out to a wider demographic and encouraging a more overtly supportive DSSURDFK WR WKH IHHGEDFN RÍżHUHG WR SHUIRUPHUV

MUSIC FOR YOUTH: THE MISSION Music for Youth (MFY) believes that music, and the chance to participate in high-quality musical activities, should be open to every young person. MFY is about nurturing not only the next generation of musical talent, but the next generation full stop. Whether you’re a violinist, or beatboxer, a young person who’s never had the chance to experience live music, or the leader of a primary school choir just starting out, the organisation has something for you, or for the young people you work with. It prides itself on being open, accessible and welcoming.

0)<¡V FXUUHQW &KLHI ([HFXWLYH -XGLWK :HEVWHU KDV EHHQ ZLWK WKH FKDULW\ VLQFH 2ULJLQDOO\ trained as a music therapist, she spent nine years as Community and Education Manager for the Royal Philharmonic Orchestra, and her previous experience also included roles with the London Sinfonietta and the Royal College of Music. When she joined MFY she was completing a contract with Youth Music, managing Youth Music Voices for the &XOWXUDO 2O\PSLDG Âś,¡P D UHDOO\ VWUDWHJLF WKLQNHU DQG , UHDOO\ HQMR\ ZRUNLQJ LQ RUJDQLVDWLRQV ZKHUH \RX DUH DOPRVW OLNH the grit in the oyster ‌ where really good structures DUH LQ SODFH EXW WKH\ QHHG WR PRYH IRUZDUG DQG adapt to a contemporary context. With MFY, I’ve EHHQ DEOH WR EXLOG RQ WKH ZRUN /LQFROQ KDG DOUHDG\ EHJXQ DQG DGG PRUH HYHQWV WKDW DPSOLI\ RXU PHVVDJH DQG UHĂ HFW ZKHUH \RXQJ SHRSOH UHDOO\ DUH WRGD\ LQ WKHLU PXVLF PDNLQJ ¡ :HEVWHU LV NHHQ WR HPSKDVLVH WKDW 0)< UHDOO\ LV XQLTXH LQ LWV UHPLW WR SURYLGH SHRSOH DJHG DQG XQGHU DFURVV WKH 8. ZLWK IUHH OLIH FKDQJLQJ performance and progression opportunities, Continued overleaf Ăˆ

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Adjudicators and now as Music Mentors, and this is framed in constructive and supportive terms so WKDW WKH H[SHULHQFH LV DV SRVLWLYH DV SRVVLEOH DQG WKH JURXSV FDQ EH EHWWHU SUHSDUHG IRU ZKHQ WKH\ UHWXUQ LQ IXWXUH \HDUV EXW VRPH ÀQG LW GL΀FXOW WR GHDO ZLWK WKH GLVDSSRLQWPHQW RI QRW JHWWLQJ EH\RQG WKH ÀUVW round of performances.

All images provided courtesy of Music for Youth

$GGUHVVLQJ WKLV LVVXH KDV EHHQ D SULRULW\ IRU -XGLWK :HEVWHU ¶:H KDYH DURXQG \RXQJ SHRSOH WDNLQJ SDUW LQ WKH 5HJLRQDO )HVWLYDOV RI ZKRP RQO\ DURXQG ZLOO EH DEOH WR SHUIRUP RQ the main stages in Birmingham. But we have set up D QHZ )HVWLYDO )ULQJH SURJUDPPH ZKLFK RÍ¿HUV D whole range of musical activities, outdoor stages, UHJDUGOHVV RI EDFNJURXQG RU PXVLFDO VW\OH ¶7KHUH LV ZRUNVKRSV DQG RSSRUWXQLWLHV WR FROODERUDWH ZLWK professional artists, and we encourage all of the no other organisation that does anything similar,’ PXVLFLDQV ZKR KDYH WDNHQ SDUW LQ D 5HJLRQDO she says. )HVWLYDO WR FRPH WR %LUPLQJKDP DQG WDNH SDUW 0)< ZRUNV ZLWK WHQV RI WKRXVDQGV RI \RXQJ ¶:H GRQ·W ZDQW WR DEDQGRQ WKRVH ZKR DUH QRW people in the course of each year-long season, UHDG\ IRU D KLJK SURÀOH PDLQ VWDJH SHUIRUPDQFH ZKLFK EHJLQV ZLWK 5HJLRQDO )HVWLYDOV WKDW WDNH SODFH EHWZHHQ -DQXDU\ DQG $SULO LQ D ZLGH UDQJH RI so we tell them they can come along for a day and YHQXHV 7KH\ VKRZFDVH WKH WDOHQW DQG VNLOOV RI MD]] SHUKDSV GR D FKRUDO ZRUNVKRS ZLWK PHPEHUV RI WKH National Youth Choir of Great Britain or appear on EDQGV VFKRRO FKRLUV VWHHO SDQV IRON JURXSV IURP a pop-up stage outdoors or in a concert hall foyer … YDULRXV WUDGLWLRQV URFN RU FRQWHPSRUDU\ JURXSV ZKDWHYHU VXLWV WKHP EHVW · DQG PRUH 7KH NH\ HOHPHQW LV WKDW DOWKRXJK WKHUH :HEVWHU KDV LGHQWLÀHG WKUHH SULRULWLHV IRU 0)< PD\ EH VRPH VWULNLQJ LQGLYLGXDO SHUIRUPDQFHV ZLWKLQ DQ\ JURXS·V VHW 0)< LV DERXW HQVHPEOHV • Access not solo artists. • Talent Development The groups perform for one another, so even for • %URNHUDJH WKRVH ZKR DUH QRW FKRVHQ WR SURJUHVV EH\RQG WKLV VWDJH WKHUH FDQ EH DQ LQVSLUDWLRQDO HÍ¿HFW 2QH RI WKH most spectacular examples of this I have seen at a Regional Festival a decade or so ago, was the rapt attention with which a primary school choir from WKH LQQHU /RQGRQ ERURXJK RI +DFNQH\ OLVWHQHG WR IRXU VL[WK IRUP ER\V IURP 'XOZLFK &ROOHJH SOD\LQJ D PRYHPHQW IURP D 6KRVWDNRYLFK VWULQJ TXDUWHW DQG WKHLU HQWKXVLDVWLF DSSODXVH ZKHQ LW ÀQLVKHG %XW LW FDQ ZRUN WKH RWKHU ZD\ WRR ZKHQ KLJK DFKLHYLQJ WHHQDJHUV IURP D FRXQW\ \RXWK HQVHPEOH RU D FXWWLQJ HGJH LQGLH EDQG DUH VSHOOERXQG E\ WKH PXVLFDOLW\ DQG HORTXHQFH RI D SHUIRUPDQFH E\ FKLOGUHQ IURP D VSHFLDO QHHGV VFKRRO From the Regional Festival series MFY SURJUDPPHV LWV ÀYH GD\ 1DWLRQDO )HVWLYDO QRZ KHOG LQ %LUPLQJKDP 6RPH JURXSV ZLOO EH LQYLWHG to perform on the main stages of Symphony Hall, Town Hall and the new Royal Birmingham Conservatoire, with each day or venue devoted WR D GLÍ¿HUHQW PXVLFDO JHQUH RU DJH JURXS There’s no getting away from the fact that WKH LQHYLWDEOH HOHPHQW RI VHOHFWLRQ LQYROYHG LQ ZKLWWOLQJ WKH HQVHPEOHV GRZQ WR D PDQDJHDEOH QXPEHU IRU HDFK VHVVLRQ KDV DOZD\V EHHQ D SUREOHP for MFY. Every performance in the Regional DQG 1DWLRQDO )HVWLYDOV UHFHLYHV IHHGEDFN IURP WZR SURIHVVLRQDO PXVLFLDQV IRUPHUO\ NQRZQ DV

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MUSIC FOR YOUTH: WHO PAYS? MFY is a charity, funded by a tapestry of support from businesses, trusts and foundations and individuals, with about 30% of its income coming from the public purse through the Department for Education, Arts Council England and the equivalent organisations in Scotland and Northern Ireland.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

$OO DUH OLQNHG ZLWK 0)<·V PDQ\ SDUWQHUVKLSV with other organisations and companies helping it WR RÍ¿HU SURJUHVVLRQ DQG QHWZRUNLQJ RSSRUWXQLWLHV WR HYHU\RQH ZKR WDNHV SDUW LQ LWV DFWLYLWLHV ‘Our MFY Connects scheme, for example, partners young musicians with music industry SURIHVVLRQDOV VR WKDW SHUKDSV D VLQJHU RU D EDQG PLJKW EH LQYLWHG WR WKH ,QVWLWXWH RI &RQWHPSRUDU\ Performance for help with songwriting or recording or for a vocal clinic. Then there is MFY Invites ZKLFK HQDEOHV \RXQJ SHRSOH WR WDNH FHQWUH VWDJH DW PDMRU EXVLQHVV DQG LQGXVWU\ HYHQWV RXWVLGH the organisation’s own season, giving them access to new audiences, settings and experiences.’ Catering for the top end of MFY’s age group, Frequencies LV GHVLJQHG IRU \RXQJ EDQGV FROOHFWLYHV DQG VROR DUWLVWV XQGHU ZKR KDYH DPELWLRQV WR ZRUN LQ PXVLF (YHQWV WDNH SODFH throughout the year at iconic live music venues DFURVV WKH 8. RÍ¿HULQJ WKH FKDQFH IRU \RXQJ artists to come together with professional artists for sought-after performance opportunities, QHWZRUNLQJ DQG SHUIRUPHU FROODERUDWLRQ ZRUNVKRSV 7KHUH LV DOVR D New Music Stage at WKH 1DWLRQDO )HVWLYDO ZKHUH QHZ ZRUNV VXEPLWWHG E\ \RXQJ PXVLFLDQV DJHG EHWZHHQ DQG DUH VHOHFWHG E\ D SDQHO RI LQGXVWU\ H[SHUWV DQG SHUIRUPHG OLYH WR WKH SXEOLF Meanwhile, Exchange RÍ¿HUV \RXQJ 6FRWWLVK performers performance platforms, access to panel discussions and sessions with music industry SURIHVVLRQDOV QHWZRUNLQJ RSSRUWXQLWLHV FDUHHU DGYLFH DQG DUWLVW OHG ZRUNVKRSV 'LYHUVLW\ RI ERWK PXVLFDO JHQUH DQG RI geographical and social demographic has always EHHQ D FKDUDFWHULVWLF RI 0)< HYHQWV EXW -XGLWK :HEVWHU DGPLWV WKDW WKHUH LV VWLOO PRUH WR GR DQG WKHUH DUH D IHZ ¶EODFN KROHV· ² UHJLRQV WKDW QHYHU send musicians to perform at MFY events, or types of music that are rarely heard. ‘Increasing diversity and inclusivity is a real focus of our local events,’ she says. ‘In the past we tended to concentrate on persuading people WR ÀW LQ ZLWK RXU ZD\ RI ZRUNLQJ EXW QRZ ZH DUH GHYHORSLQJ D VOLJKWO\ GLÍ¿HUHQW DSSURDFK WR RXU JUDVVURRWV QHWZRUNV 2UJDQLVDWLRQV VXFK DV %DWWOH RI WKH %DQGV PXVLF HGXFDWLRQ KXEV RU ,QGLDQ classical music centres can put forward their own H[LVWLQJ HYHQWV WR EH LQFOXGHG LQ RXU SURJUDPPH 7KH\ FDQ UXQ H[DFWO\ DV QRUPDO EXW RXU 0XVLF 0HQWRUV ZLOO DWWHQG DQG SHUIRUPHUV ZLOO EH HOLJLEOH IRU LQYLWDWLRQV WR WDNH SDUW LQ WKH 1DWLRQDO )HVWLYDO or Fringe Festival. ¶:H·YH DOVR FKDQJHG WKH PDNH XS RI WKH PDVVHG HQVHPEOHV WKDW SHUIRUP DW WKH 0)+ 3URPV ² LQ WKH SDVW WKH\ ZHUH DOZD\V FKRLUV EXW QRZ WKH\ DUH more varied. Groups, partnerships and organisations

FDQ WHQGHU WR WDNH SDUW RÍ¿HULQJ D FUHDWLYH PXVLF project to perform. It’s an opportunity to go EH\RQG RÍ¿ WKH VKHOI UHSHUWRLUH DQG FRPH XS ZLWK something really innovative and inclusive.’ 0)< LV SUHSDULQJ WR FHOHEUDWH LWV WK ELUWKGD\ LQ ¶,W ZLOO EH D JUHDW RSSRUWXQLW\ WR VWHS XS WKH SURÀOH RI RXU ZRUN DQG VKRZ KRZ ZH DUH DGGLQJ YDOXH WR WKH SXEOLF SHUIRUPDQFHV E\ WDOHQWHG \RXQJ people that are at the heart of our programme,’ VD\V :HEVWHU Clare Stevens 7KH 0XVLF IRU <RXWK 3URPV WDNH SODFH RQ 0RQGD\ 7XHVGD\ DQG :HGQHVGD\ 1RYHPEHU 7KH IXOO OLQH XS IRU HDFK FRQFHUW LV DYDLODEOH RQ WKH 0)< ZHEVLWH DQG WLFNHWV FDQ EH ERRNHG WKURXJK WKH 5$+ %R[ 2΀FH PI\ RUJ XN UR\DODOEHUWKDOO FRP All images provided courtesy of Music for Youth

MUSIC FOR YOUTH: ALUMNI Did you play or sing in a Music for Youth event? In the run-up to its 50th birthday, MFY is inviting past performers to share their memories or take part in reunions. Details on the MFY website – search for ‘Alumni’.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

The Empowered Musician Clare Stevens eavesdropped on the ISM Trust’s recent stimulating day of lively, diverse performances and panel discussions on what it means to be a musician in 2018

Above: Clare Stevens Photo: Alex Ramsay

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Left: Riot Jazz Photo: Kris Brown

Henley went on to set a positive and inspiring tone for the day, reiterating the importance of music and all the arts as a route towards self-

expression and self-esteem for all people, whatever their chosen career paths. He stressed the need to VHH FUHDWLYLW\ DV DQ HVVHQWLDO TXDOLW\ WKDW VKRXOG EH QXUWXUHG LQ HYHU\RQH DQG VDLG WKDW $&( LV FRPPLWWHG WR HVWDEOLVKLQJ WKH YDOXH RI WKH DUWV LQ SXEOLF FRQVFLRXVQHVV DQG WR HQVXULQJ WKDW HYHU\RQH has the opportunity to participate. +H WRXFKHG RQ EXW GLG QRW GZHOO RQ WKH %UH[LW HÍżHFW 5HVHDUFK VKRZV WKDW RQH WKLUG RI 8. PXVLFLDQV UHFHLYHG RU PRUH RI WKHLU LQFRPH IURP WKH (8 DQG KLV RUJDQLVDWLRQ LV ZRUNLQJ ZLWK WKH JRYHUQPHQW WR WU\ WR LQĂ XHQFH GHFLVLRQV DERXW freedom of movement. Changing technology EULQJV QHZ FKDOOHQJHV KH DGGHG EXW LW DOVR UHPRYHV VRFLDO JHRJUDSKLF DQG SK\VLFDO EDUULHUV ‘How we reach people will determine how relevant we are. ‘ACE will continue to champion, develop and LQYHVW LQ PXVLFLDQV ¡ KH FRQFOXGHG Âś<RXU ZRUN LV YDOXHG DQG LPSRUWDQW ,W KHOSV WR EXLOG D EHWWHU VRFLHW\ WR EXLOG OLYHV DQG WR PDNH SHRSOH KDSSLHU ¡ 7KH Ă€UVW SDQHO GLVFXVVLRQ HQWLWOHG Âś1XWV DQG Bolts’, was almost immediately thrown open to TXHVWLRQV IURP WKH Ă RRU HQDEOLQJ WKH DXGLHQFH WR UDLVH WKHLU FRQFHUQV DERXW VSHFLĂ€F LVVXHV ZLWK specialists in performance and copyright law (Victoria Barrett of VLT Legal); travel and visas (Andy Corrigan, MD of Viva la Visa, which provides visa and immigration assistance to the entertainment industry); artist management %HFN\ )DUUHOO *HQHUDO 0DQDJHU DQG 6HQLRU 9LFH 3UHVLGHQW *OREDO 0DUNHWLQJ &RPPXQLFDWLRQV RI IMG Artists); and event management (David Jones, founding director of Serious and co-creator of the /RQGRQ -D]] )HVWLYDO 7KH GLVFXVVLRQ ZDV FKDLUHG E\ DUWV FRQVXOWDQW DQG IRUPHU 3DVW 3UHVLGHQW RI WKH ,60 6XVDQ 6WXUURFN ,W FRYHUHG WRSLFV VXFK DV KRZ SHUIRUPHUV ZKR LGHQWLI\ WKHPVHOYHV DV EHLQJ RQ WKH DXWLVWLF VSHFWUXP FDQ Ă€QG DSSURSULDWH FRQWH[WV Continued overleaf Ăˆ

17

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

in which to perform professionally; how to turn LQIRUPDO RÍżHUV RI ZRUN LQWR IRUPDO FRQWUDFWV KRZ \RXQJ FRPSRVHUV FDQ JDLQ HTXDO UHFRJQLWLRQ ZLWK SHUIRUPHUV DQG EH SDLG DFFRUGLQJO\ DQG KRZ WR EDODQFH GLÍżHUHQW DVSHFWV RI D SRUWIROLR FDUHHU 8VHIXO DGYLFH WKDW FRXOG EH WDNHQ XS E\ PDQ\ people in the room included a recommendation to have one’s own suite of contracts drawn up that FRXOG EH XVHG DV WHPSODWHV IRU IXWXUH DJUHHPHQWV DQG D UHFRPPHQGDWLRQ RQ WKH EDVLV RI VXJJHVWLRQV IURP WKH Ă RRU WKDW WKH HVVHQWLDO LQJUHGLHQWV RI D ORQJ FDUHHU DUH KRQHVW\ DXWKHQWLFLW\ Ă H[LELOLW\ DQG ÂśWR SURGXFH UHDOO\ JRRG VWXͿ¡ 4XHULHV ZLWK OHVV general relevance, in this session and throughout the day, were referred outside the room, with clearly sincere invitations to approach the panellists RYHU UHIUHVKPHQWV RU JHW LQ WRXFK E\ HPDLO Âś:H FDQ¡W JXDUDQWHH \RX D JLJ EXW ZH FDQ JXDUDQWHH \RX D FRQYHUVDWLRQ ¡ VDLG RQH VSHDNHU DQG LW ZDV REYLRXV IURP WKH EX]] LQ WKH IR\HUV DW HYHU\ EUHDN that delegates really were following up on this. 6XEVHTXHQW VHVVLRQV IROORZHG D PRUH conventional pattern, with short introductory VWDWHPHQWV IROORZHG E\ RQVWDJH GLVFXVVLRQ EHIRUH TXHVWLRQV ZHUH LQYLWHG 6HVVLRQ Âś0DNLQJ LW +DSSHQ¡ ZDV FKDLUHG E\ -DPHV 0XUSK\ WKH QHZ CEO of the Royal Philharmonic Society, with two composers and two record company executives on the panel: Alexander Parsons who writes VRXQGWUDFNV IRU 79 .LUVW\ 'HYDQH\ ZKR KDV D lot of experience in composing for young people DQG DPDWHXU HQVHPEOHV DQG UXQV PHQWRULQJ VFKHPHV IRU EXGGLQJ FRPSRVHUV (OHDQRU :LOVRQ of contemporary classical recording specialists NMC Records; and Ian Carter, co-founder of From Here Records, who has very varied experience as a SHUIRUPHU DQG SURGXFHU LQ WKH IRON JULPH KLS KRS and electronic music scenes. Bottom (from left to right): Riot Jazz and The Beatbox Collective Photos: Kris Brown

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

¶7KDW ZDV UHDOO\ EULOOLDQW · VDLG RQH \RXQJ delegate to another, on her way out of the hall. ¶ , ZDQWHG WR DVN WKHP DOO ZKDW WLPH WKH\ JHW XS LQ WKH PRUQLQJ « VHULRXVO\ , GLG · $ TXHVWLRQ WKDW QR GRXEW DOO WKH SDQHOOLVWV ZRXOG KDYH EHHQ happy to answer; all were generous in sharing the minutiae of their professional lives.

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Above (from left to right): Alex Parsons, James Murphy, Kirsty Devaney Photo: Kris Brown

Continued overleaf È

19

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Above: Dr Ally Daubney and Greg Daubney presenting, members networking Photos: Kris Brown

Much of the content of this session related to WKH ,60 7UXVW¡V ERRNOHW Play: A psychological toolkit for optimal musical performance E\ *UHJRU\ DQG $OLVRQ 'DXEQH\ ZKLFK ZDV DYDLODEOH DW WKH HYHQW

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underlined the reason why everyone had chosen WR PDNH PXVLF WKHLU FDUHHU E\ SHUFXVVLRQ GXR Louise Goodwin and Richard Cartlidge; harpist DQG FRPSRVHU 5XWK :DOO DQG *UDKDP )LWNLQ DND )LWNLQZDOO WKH %HDWER[ &ROOHFWLYH DQG 5LRW -D]] $ ÀQDO ERRVW RI HQHUJ\ ZDV GHOLYHUHG WR GHOHJDWHV LQ WKH IRUP RI FRFNWDLOV DW WKH FORVLQJ UHFHSWLRQ

7KH HVVHQFH RI WKH GD\ ZDV VXPPHG XS E\ Shlomo, who said he hoped that everyone who $VNHG LI GLJLWDO XVH RI PXVLF LV FUHDWLQJ GLÍżHUHQW DWWHQGHG ZRXOG IHHO ÂśHPSRZHUHG WR PDNH D EXVLQHVV PRGHOV &KULV &RRNH VDLG WKDW LW LV EXW LQ Ă€QDQFLDO OLYLQJ RXW RI WKH PXVLF WKH\ FUHDWH ¡ 8QVXUSULVLQJO\ KH JRW DQ HQWKXVLDVWLF URXQG a positive way. ‘It puts the artist in control of what of applause. WKH\ GR (YHU\ DUWLVW LV D EXVLQHVV WKH\ DUH VHOOLQJ SHRSOH WKH PXVLF WKDW \RX OLNH DQG ZH DUH QRZ LQ DQ DJH ZKHUH \RX FDQ HDVLO\ Ă€QG RXW ZKDW WKDW WKH\ Clare Stevens want and give it to them.’ Chris Carey concurred: 7KH ,60 DQG ,60 7UXVW ZRXOG OLNH WR WKDQN DOO WKH VSHDNHUV ‘Musicians are natural innovators. Give them more SDUWQHUV DQG VXSSRUWHUV ZKR KHOSHG WR PDNH 7KH (PSRZHUHG tools to play with, and they will get involved and 0XVLFLDQ KDSSHQ DQG FRQWULEXWHG WR LWV VXFFHVV use them.’

20

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Conserving our heritage The ISM has recently undertaken a restoration and conservation project for some of the most treasured books and journals in our archive. Freya McLeavy explains how the motivations that connect the organisation’s past, present and future are clearly evident in these historic publications

Above: Freya McLeavy

,Q WKH ,QFRUSRUDWHG 6RFLHW\ RI 0XVLFLDQV emerged from an era of intense interest in live musical performance: over the century, composers, conductors and soloists – such as Chopin, Mendelssohn and Jenny Lind – had commanded huge audiences in halls and theatres throughout Britain’s major cities.

the furtherance of its recognition as an important HGXFDWLRQDO DQG VRFLDO LQà XHQFH¡

In turn, this truly national pastime prompted the music profession to develop rapidly across the country. The expansion of music education underpinned this growth; from the Mechanics’ ,QVWLWXWHV LQ ZKLFK ZRUNHUV ZHUH WDXJKW LQVWUXPHQWV DQG YRFDO VNLOOV WR WKH QHZ FROOHJHV which trained performers, teachers and scholars.

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A clear lineage of these founding principles can EH GUDZQ IURP WKH 6RFLHW\ LQ ULJKW WKURXJK WR 7KH ,60 VWLOO DGYRFDWHV WKH YLWDO DQG SRVLWLYH HGXFDWLRQDO DQG VRFLDO LQĂ XHQFH RI PXVLF It continues to protect and promote the interests of music professionals, now through services, legal 6PDOOHU WRZQV HQMR\HG SHUIRUPDQFHV E\ WKH OLNHV RI 3DJDQLQL ZKR HDJHUO\ WUDYHOOHG WR ORFDWLRQV help, insurance, campaigns, advice and much more. DV YDULRXV DV .LONHQQ\ DQG 3HUWK 0XVLF FXW DFURVV Fortunately, many of the Society’s early FODVV OLQHV IDFLOLWDWHG E\ FRQGXFWRUV DQG YHQXHV GRFXPHQWV DQG REMHFWV WKDW WUDFH WKLV KLVWRU\ KDYH such as Manns at The Crystal Palace in London and EHHQ DUFKLYHG E\ VWDÍż RYHU WKH ODVW \HDUV WKURXJK VSHFLĂ€F PXVLFDO JHQUHV ² IRU H[DPSOH WKH These are physical records in which the enduring choral movement which attained predominance in YHUYH RI WKH 6RFLHW\ LV HPERGLHG ,W FDQ EH IRXQG industrial towns. LQ WKH RULJLQDO &HUWLĂ€FDWH RI ,QFRUSRUDWLRQ LQ

Within the archive, material decay had LQHYLWDEO\ JULSSHG VRPH LWHPV RYHU WLPH ² SDUWLFXODUO\ YXOQHUDEOH DUH ODUJH ERRNV ZKHUH the spine loses its structure and paper elements -DPHV 'DXEHU WKH RUJDQLVW RI +RSH &RQJUHJDWLRQDO GHWHULRUDWH 7ZR VXEVWDQWLDO SKRWRJUDSK DOEXPV RI WKH 6RFLHW\¡V DQQXDO FRQIHUHQFHV KHOG LQ 'XEOLQ &KXUFK LQ :LJDQ XQGHUVWRRG WKDW WKLV ODFN RI LQ DQG (GLQEXUJK LQ KDG EHHQ DÍżHFWHG LQ proper representation foreshadowed a precarious this way. IXWXUH IRU ZRUNLQJ PXVLFLDQV +H RUFKHVWUDWHG DQ 0HPEHUV ZKR DWWHQGHG WKHVH KLVWRULF LQLWLDO PHHWLQJ LQ 0DQFKHVWHU SUHVLGHG RYHU E\ conferences sat for their portraits, which were 'U +HQU\ +LOHV D ZHOO NQRZQ FRQGXFWRU OHFWXUHU WKHQ SXEOLVKHG LQ WKH DVVRFLDWHG DOEXP 7KH UHVXOW and teacher) in which the need for a professional LV D EHDXWLIXO FROOHFWLRQ RI QRZ VSHFWUDO LPDJHV DVVRFLDWLRQ ZDV FRQVLGHUHG 6XEVHTXHQWO\ +LOHV YLVXDO FKDQQHOV WR ZRUNLQJ PXVLFLDQV DW WKH WXUQ SUHVLGHG RYHU WKH SXEOLF PHHWLQJ DW 0DQFKHVWHU¡V RI WKH FHQWXU\ 1RWDEO\ WKH DOEXPV LQFOXGH D ODUJH 2OG 7RZQ +DOO RQ 2FWREHU DW ZKLFK WKH QXPEHU RI IHPDOH PHPEHUV LW LV HQFRXUDJLQJ Society of Professional Musicians – what would WR WKLQN WKDW DW WLPH ZKHQ ZRPHQ ZHUH VR RIWHQ EHFRPH WKH ,60 ² ZDV R΀FLDOO\ HVWDEOLVKHG WUHDWHG DV VHFRQG FODVV FLWL]HQV WKH 6RFLHW\ ZDV DV Alongside representation, the missionary desire IRUZDUG WKLQNLQJ DV LW LV QRZ was to encourage ‘the higher culture of music and

'HVSLWH WKLV EUHDGWK RI SDVVLRQ IRU PXVLF DQ organisation did not exist to represent and protect the interests of professional musicians in Britain.

Photo: Emile Holba

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23

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Above and below: Archive of members, photo of members at ISM conference and Register of Members Photos: Emile Holba

Recognising the value in maintaining these REMHFWV IRU IXWXUH JHQHUDWLRQV WKH ,60 XQGHUWRRN D UHVWRUDWLRQ SURMHFW WR UHWXUQ WKH DOEXPV WR WKHLU IRUPHU JORU\ 7KH ERRNV ZHUH VHQW Ă€UVW WR Graham Bignell’s studio in London, where the paper surfaces and photographs were expertly cleaned and revived. Next, they were consigned WR (OL]DEHWK 1HYLOOH¡V VWXGLR LQ &RUQZDOO ZKHUH WKH LQGLYLGXDO IROLRV ZHUH SDLQVWDNLQJO\ UHERXQG to a new spine and the photographs were interleaved with specialist paper to protect them. The studio commissioned hand-dyed covers from leather technicians in Scotland to replace the warped originals.

2WKHU ERRNV WKDW XQGHUZHQW FRQVHUYDWLRQ include The Monthly Journal of the ISM IURP the Register of Members IURP WKH $FFRXQW ERRNV EHJLQQLQJ LQ RI WKH 0DQFKHVWHU DQG 8OVWHU VHFWLRQV DQG WKH 2΀FLDO 6HDO %RRN ZKLFK LQFOXGHV WKH VLJQDWXUH RI WKH ,60¡V Ă€UVW *HQHUDO 6HFUHWDU\ (GZDUG &KDGĂ€HOG ,Q )HEUXDU\ KH VLJQHG IRU WKH WHQDQF\ RI ÂśWZR URRPV WR EH XVHG DV R΀FHV DW %HUQHUV 6WUHHW¡ 7ZR \HDUV ODWHU DQG UHĂ HFWLQJ WKH VWHDG\ JURZWK RI WKH RUJDQLVDWLRQ KH OHDVHG WKH ZKROH Ă RRU 7KH ,60 FRQWLQXHV WR EH D Ă RXULVKLQJ FRPPXQLW\ of professional musicians. Its archive acts as D UHPLQGHU RI WKH FRXUDJH KDUG ZRUN DQG VSLULW RI WKH IRXQGLQJ PHPEHUV RI WKH RUJDQLVDWLRQ Freya McLeavy, Knowledge Hub and Publications Manager, ISM

24

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New discounts for ISM members Don’t forget that as an ISM member, you can save money with music-related and high street discounts via the ISM discount scheme and ISM Discount+, including several exciting new discounts. Take advantage of 15% off custom in-ear monitors and hearing protection from ACS, 20% off group public liability policies from Musicians Insurance Services and 15% off best available rates at two stunning music-themed hotels in Europe, Aria Hotel Prague & Aria Hotel Budapest. ISM members are now also eligible for free mortgage advice from Cavendish Brooke Financial Management. Save money on music courses with 20% off live events and online courses from Music Education Solutions and £500 off the Institute of Contemporary Music Performance’s (ICMP) Masters (MMus) in Popular Music Performance or MA in Songwriting. Find out more at ism.org/my-ism/your-discounts

22019-0517

Mae Prifysgol Aberystwyth yn cynnig un o’r pecynnau gorau o Ysgoloriaethau a Bwrsariaethau ym Mhrydain

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 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 30 November for the January/February issue.

Nelly Ben-Or London-based pianist and teacher Nelly Ben-Or, who teaches in the keyboard department of the Guildhall School of Music and Drama and is also a leading exponent of Alexander Technique, has published her autobiography. Ashes to Light: A Holocaust Childhood to a Life in Music tells the story of how as the child of a Jewish family in Lvov, Poland, she was smuggled out of the Ghetto, lived for a time in Warsaw with false identity papers, then survived being taken by train to Auschwitz following Edward Caswell the Warsaw Uprising, After the war Cromarty Youth Opera (CYO) celebrated Nelly’s musical talent flourished, in Poland, as a student in Israel and then its fifth anniversary in August with the world premiere of Tod! by Andrew in England, where in 1963 she was the first professional pianist to qualify as Gant, at the invitation of artistic an Alexander teacher. director Edward Caswell. Gant, formerly organist, choirmaster and Ashes to Light is published by I.B. Tauris, composer at Her Majesty’s Chapel price £20 and is available on Amazon. Royal, based the work on The Tale of Mr Tod by Beatrix Potter, an idea Eva Hurt embarked upon but abandoned in the early 1950s by Benjamin Britten Classical singer and harmonicist and his librettist William Plomer. Eva Hurt has released a new album Andrew Gant has created an exciting of harmonica pieces entitled My First and moving 50 minute opera for ten Harmonica Album. principals, chorus and small ensemble. Don’t be put off by the cover this is not There are three audience songs just for kids! It is a fabulous collection including the finale ‘Yan, tan, tethera, of harmonica pieces that anyone can methera, mimp’ sung by everyone listen to. including the instrumentalists. Another highlight is the heartbreaking The CD includes a great selection of ‘Sorry, Mum’, sung by a solitary bunny 16 pieces by Bach, Mozart, from the dastardly badger Tommy Shostakovich, Boccherini, Schubert, Brock’s oven. William Kerley directed Zgraja and many more, each chosen and Rachel Szmukler designed. for both its appeal to the listener and its ability to show the versatility of Next August, following the CYO model, this wonderful instrument. Edward Caswell will conduct Leipzig International Youth Opera’s inaugural Each piece is played beautifully, not production: the German premiere of ‘kiddified’ in any way, which makes Benjamin Britten’s Noye’s Fludde in it a joy for adults to listen to as well. Leipzig’s Lutherkirche. It is a useful and quality teaching CD but also provides an ideal selection

for listening or background music to assemblies or conferences. Inspirational and great for long car journeys – for both kids and parents. Artists appearing on the CD are Eva Hurt, chromatic harmonica; Ana Ivanova, violin,viola; Jurand Jakub Zygadlo, guitar, mandolin; Ben Golightly and Elwira Kitala, piano. evahurt.com

Karen Sharp UK saxophonist Karen Sharp has just released a long awaited second album, entitled The Sun, the Moon and You, with her Karen Sharp Quartet on Trio records. Karen, a multiple award winner and prominent artist on the jazz scene, has put together a mix of familiar, lesser-known and original tunes to showcase the unique spirit of her band and their shared passion for strong melodies, group interplay and respect for the jazz tradition. Karen works with her long established line-up of Nikki Iles, Dave Green and Steve Brown – world-class musicians who also happen to be great friends. Together they create a unique sound that is warm, spontaneous and exciting, incorporating free-flowing improvisation with almost telepathic ensemble playing. The album is available from karensharp.co.uk or triorecords.co.uk, plus online stores and streaming platforms. Continued overleaf È

27

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Danny Leigh

Jonathan David Little

After a five-year hiatus, Danny Leigh has released a new double A/B side single, focusing on his music career, live performance, songwriting and European travels. Both tracks are thematically linked to the ocean, water and tide.

Composer Jonathan David Little’s two-year International Polychoral Music Research, Creation and Recording Project is one of three finalists in the ‘Distinctive Work’ category for the 2018 Australia Prize for distinguished work in the Humanities, with Grainger’s ever-popular Fantasy Arts and Social Sciences (HASS). on Gershwin’s Porgy & Bess and Danny’s previous releases, six-track Sir Richard Rodney Bennett’s EPs Velvet Eyes (2010), Unspoken Sponsored by Routledge, the entertaining Four Piece Suite Words (2011) and Leaning Tree (2013) ‘Distinctive Work’ prize is for an (GMCD7811 available from www. were firmly placed in the English folk exceptional artistic performance, genre, frequently likened to artists exhibition, film, television show, play, guildmusic/shop). The transcription was first performed at the Berlin such as Nick Drake and John Martyn; composition or practical contribution Festival and subsequently at the whereas travels through Europe have to arts policy. composer’s 70th birthday celebrations influenced a slight genre change, during the 1988 Schleswig-Holstein especially in new song Footprints, Festival. Since then Nettle & Markham which has a Spanish folk and flamenco have performed it all over the world sound. The inspiration for this song and, after concentrating on other came after meeting a Spanish beauty repertoire for the last decade or so, at the point of heartbreak, after a they are now adding a new version four-year relationship came to a for one piano/four hands to their sudden end. Your Touch follows a 40th anniversary repertoire. They similar theme to Footprints, with are currently recording for Guild the metaphorical images of the outside complete works of Schumann for world and the elements: sea, breeze, piano duet and two pianos. fire and forest, to describe the inner feelings of the heart. nettleandmarkham.com This same two-year polychoral Both recordings are available to music project (2015-17) has already purchase and stream from iTunes, seen its subsequent CD release, Sarah Rodgers Amazon, Apple Music, Google Play, Woefully Arrayed (on Navona ISM composer member Sarah Tidal, Deezer, Spotify and many more. NV6113, USA), receive the highest Rodgers was delighted to be a international plaudits. dannyleigh.bandcamp.com recipient at the 2018 Gold Badge Woefully Arrayed – which features Awards hosted by BASCA at The Savoy three leading choirs from the US and on 19 October. These awards honour USA – was nominated in America for unique contributions to music and Best Classical Music Recording at the Sarah was recognised for her many inaugural RoundGlass Global Music years of championing music creators Awards 2018 (26 January, Edison in the public and political arena, and Ballroom, New York), while its ‘Kyrie’ for her achievement in founding the was British winner of a BBC Radio 3/ British Composer Awards in 2003, Royal Philharmonic Society Encore still going strong in their 16th year. Choral Award. goldbadgeawards.com cchass.org.au/chass-media-releases/ h

Richard Markham R TTo o celebrate the composer Leonard Bernstein’s centenary and the B e forthcoming 40th anniversary of piano fo o duo d u Nettle & Markham (David Nettle & Richard & Markham), Guild Music has h a reissued their stunning two-piano ttranscription r Scenes from West Side Story (‘guaranteed to bring the house St down’ – The Gramophone), along

28

Ian Mitchell Ian Mitchell’s latest recording project Bass Clarinet and Friends – a miscellany (Métier msv 28579) is an eclectic mix of music and ensembles that includes York Bowen’s romantic Phantasy Quintet for bass clarinet and string quartet, Bill Smith’s Jazz Set for two bass clarinets, Jonathan Harvey’s lively modernist trio The Riot, Aragonesca (three Cuban dances) from Dave Smith,

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Robotics from John White, and small ensemble works by Cheryl FrancesHoad, Sadie Harrison, Helen Roe and Huw Watkins. All pieces include the bass clarinet as an integrated member of the ensemble, rather than as a soloist.

(from ABRSM Grades 1 to 8+). Pamela Chilvers, GRSM LRAM DipMTh will be joined by Luis Parés BMus MMus; they are both very experienced adjudicators, performers, and a Fellow and member of the ISM respectively.

Three of the works were commissioned by Gemini (of which Ian Mitchell is Director) and three were commissioned by Ian.

summitmusicandarts.org

D’Arcy Trinkwon

The performers are Gemini – Ileana Ruhemann, flutes, Ian Mitchell, bass clarinet, Aleksander Szram, piano, Caroline Balding, violin, Yuko Inoue, viola, Sophie Harris, cello – with friends Ruth Ehrlich, violin, Mick Foster, bass clarinet, Naomi Sullivan, saxophones and Alison Wells, mezzo-soprano. For a taster of the disc go to: youtube.com/ watch?v=CTUsSd0uXlc ianmitchellclarinet.com

To widen and encourage participation, Pangbourne College subsidises the entry to all classes and masterclasses. If, however, the cost of entry is prohibitive to any student, please contact, in confidence, the Piano Festival Coordinator, Mrs Alex Garnier at alex.garnier@pangbourne.com Due to the time constraints of a one-and-a-half-day Festival, places in the classes and masterclasses are limited. If a class or masterclass is oversubscribed, a first-come, firstserved system will operate.

Pamela Chilvers Pamela Chilvers will be an adjudicator at the seventh Piano Festival for young pianists aged 6 to 18, which will take place at Pangbourne College on Saturday 9 March and Sunday 10 March 2019. Classes will be held in the splendid environment of the Falkland Islands Memorial Chapel and the cosy and intimate space of the Nancye Harding Recital Hall, with performances on the magnificent Steinway Model D concert grand piano and special Steinway Model C concert grand piano respectively.

concert series for the community and its visitors (skiers and boarders visiting the eight ski resorts located within 30 minutes including the worldrenowned Breckenridge Ski Resort), SMA also offers many educational opportunities including annual young composer workshops and a competition.

To register for an application pack, please use the following link: pangbourne.com/community/ outreach/pangbourne-pianofestival The deadline for entries is Friday 16 November at 5pm.

Alison Tabori & Len Rhodes Silverthorne, Colorado – nestled on the Western Slope of the Colorado Rocky Mountains – is the home of two ISM members, Alison Tabori and Len Rhodes.

Alison has recently accepted the role of President of the Board of Summit Music and Arts, a non-profit performing and educational arts This year’s syllabus includes workshoporganization based in Silverthorne. style competitive solo, duet, trio, twoLen has been Artistic Director and piano and accompaniment classes artist-in-residence with SMA for seven and masterclasses of all standards years. As well as providing a thriving

On Sunday 11 November 2018 D’Arcy Trinkwon will give a recital at Westminster Cathedral to mark 50 years since the death of the legendary French organist Jeanne Demessieux, who died on 11 November 1968 at the age of just 47. The first internationally famous woman organist, her career as an exceptional virtuoso, composer, professor at the Liège Conservatoire, and organist of the Madeleine, Paris, gave her a cult status. Duruflé once exclaimed, ‘Next to Jeanne Demessieux the rest of us play like elephants!’ Demessieux made her UK début at Westminster Cathedral in 1947: she was, as at other venues, the first woman organist ‘allowed’ to play a recital there. She gave numerous recitals and broadcasts throughout the British Isles and across Europe and the North America. Those wishing to learn more about Demessieux will find much to interest them on the internet, including several articles written by D’Arcy at his website: darcytrinkwon.com D’Arcy’s programme at Westminster Cathedral will include one of Demessieux’s famously difficult Études. D’Arcy was the first, and only, organist to play the complete set in concerts (first in 1984 and many times since) after Demessieux herself and her pupil Pierre Labric. The concert starts at 4.45pm: admission is free.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Our new members We offer a warm welcome to the following members who joined before before 30 September.

Full members Birmingham Samantha Barrett BA(Hons)Music Róza Csabayné Bene MALisztFerencAcademy Paul Bull MACity Jory Debenham PhDLancaster Lucy Fox BAHonsLCOM Rob Jones BMusHonsBCU MMusRCTH Sharleen Jones BAHonsLeeds Charles Lancaster BMusHonsBCU Gary Perrin BMusHonsHuddersfield Jonathan Rottenbury BMusHonsBCU Mark Gareth Smith BMusCardiff Ryan Webber BAHonsWolverhampton

Bournemouth Andrew Blee BMusChichester

Brighton Colin Cree ProfCertRAM(Hons) ARCM LLCM Matteo Dalle Fratte MMusGSMD Lisa-Maria Lake BAHonsChichester Kirsten Lloyd-Leach BMusHonsTrinityLaban Rebecca Phillips BAHonsLCOM Anna Straughton

Bristol Oliver Chubb BABristol Luke Gilbert LRAM PGCert PGDip BMusHons Benjamin Gutsell BMusCardiff Veronica Haro Diaz BMusRCM Peter Hoare BAHonsBathCHE Simon Kodurand BMusHonsRNCM Alex Rudhall BAHonsBIMM Alison Sellers

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Cambridge

Kent

London – North

Emma Cooper MAHuddersfield Natania Goldrich GMusColchester MAAngliaRuskin Stephen Griffiths BEdWarwick

Paul Baldock MACantb Philip Bennett Steve Collisson PhDKCL Pierre Flasse BMusManch Darren Taggart BAHonsMiddlesex

Louise Binks BACanterburyChristChurch Gemma Boyd Jack Mizzi BMusHonsGSMD William Newell BMusHonsGSMD Bonnie Spencer-Gaze PGCE BAHonsColchester Simon Woods MMusCol

Louis Demetrius Alvanis ARCM DipRAM David Angol BA(Hons) Roxani Chatzidimitriou BAMacedonia Andrew Farnden BMusGSMD Jamie Grantham-Burton BAHonsHuddersfield Alexandra Griffiths BMusHonsRWCMD Matthew Hurley BMusHonsGSMD Alys Jones BMusHonsRWCMD Victoria Longdon MARAM Molly Lopresti-Richards BMusHonsGSMD Ailsa Mainwaring MARAM Zoe Mather AGSM Mark McClintock BMusHonsKCL Christopher McCormack BMusTrinityDublin Joe Morris BMusHonsGSMD Elspeth Robertson BMusHonsRCM Simon Williams BMusHonsGSMD

Leicester

London – South East

Marianne Goodale

Alicia Berendse MARAM Callum Haynes BMusGoldsmiths Alice Thompson BMusHonsTrinityLaban Ada Witczyk MARAM

Cheltenham Philippa Smith BAHonsSunderland

Croydon Simon Arnott BAHonsBristol Jacob Garside BABristol Susanna Macrae BMusHons(RCM)

Devon & Cornwall Jessica J Allen BMusGoldsmiths Donna-Marie Broomfield Shan English Mark Hambly BAHonsSussex Diana Hillman BAHonsPlymouth

Eastbourne & Hastings Leila Daniels BMusEdin Michael Kent-Davies BMusHonsSheff Annie Pullar BMusHonsRWCMD

Guildford Ami Lodge BAHonsRoyalHolloway MATrinityLaban Sarah Wheaton BMusHonsSurrey Stuart Wheaton Graham Wili GRNCM PGCEManchester Paul Youngs BMusHonsACM

Hereford & Worcester Tim Cook BAHonsLCOM Bethany Jones BABangor Shulah Oliver MMusLond BMusHons(RCM) DipRAM LRAM(VT)

Lancaster Liobhan Boylan BMusDublin David Jackson GMusHuddersfield Miranda Rimmer BAManch Paulcyril Stoneham BMusTCM Joanne Walton PGDip(RNCM) Andrew Wilson

Lea Valley

Lincoln Carol Maynard GTCL FTCL(FluteP) LTCL(FluteT)

Liverpool Jessica Holding Katie Lawrence BAHonsHuddersfield MALimerick PGCE Claire Hutchinson BAHonsUWL Eve Knowles BMusHonsRNCM Elena Marigomez Arranz Lee Ward BMusHonsRCM Andrew Wilde GRNCM

London – South West Jonathan Allsopp BMusDurham Laurie Rees Blundell BMusHonsTCM James Bramley AdvCertGSMD Bethany Britt BMusHonsRWCMD Henry Chandler ArtDipRCM Seraphina D’Arby BAHonsBIMM Alison Davies BAExeter

Sophie Dodd BAHonsStrathclyde Imogen Hancock BMusHonsRAM Alexandra Joannides BMusHonsRWCMD MmusRWCMD Antonia Lazenby BMusHonsRCM Katy Lees BAHonsCantab Finbarr Malafronte BMusPeabodyInst Olivia Wu Lin Chang MAGSMD

London – West Maria Ximena Abello MAGSMD Matthew Coulton BmusHonsChic Benjamin Jones BMusHonsRWCMD Emily Sun ArtDipRCM Clare Sutherland BMusRoyalHolloway Vesselina Tchakarova BMusKent

Manchester Nicholas Birch MMusRNCM Laura Nicole Brothers BASalford Zoe Ewers MMusRNCM Denica Georgieva MASofia David Gibson BMusRNCM Emily Howard PGDip(RNCM) Charlotte Laidlaw BMusRNCM Wai Ting Stephenie Leung BMusHonsLeeds Andrea McEneny GRSM Jonathan Needham BMusRNCM Tina Parsons BScHonsLeeds Jennifer Piggott MAGeneva Ben Richards BMusCardiff Graham Alexander Tomkinson BAHonsSalford Daniel Tonks BAOxford

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Jennifer Wright BAHonsLivHope Stephanie Yim BMusHonsRNCM

Mid-Wales Harriet Little BALeeds

Norfolk Corena Cracknell GRSM Susan Goode MAAngliaRuskin Joanne Knight LLCM Laura Western

Oxford

South Wales

West Yorkshire

Charlotte Brennand BAHonsRCS Patricia Evans Laurens Price-Nowak BMusHonsGSMD Jeffrey Stewart AGSM Gillian R Warson PhDSheff MA BAHons(CNAA) AMusTCL(Theory)

Joanna Butler BMusCardiff Heidi Forde BMusHonsRWCMD Amy Harding BMusHonsRWCMD Richard Harris Deborah Haylock BMusCardiff Berri Munn BMusHonsRWCMD Rebecca Sweet BMusHonsRWCMD Oscar Watt BMusHonsRWCMD

Alex Fisher BAHonsLeeds Christopher McIntyre BAHonsLCOM Laura Netherwood BALeeds

Portsmouth Martin Dixon BMusChichester Kerry Hancock

North of England

Reading

Jane Bagot BALancaster PGCEManchester James Booth Liam Gaughan BMusSunderland Layla Wehr BMusSunderland

Clementine Curd BMusHonsTrinityLaban Jesse Harte BMusHonsAberdeen Josh Kerrigan Margaret Probyn-Fish ALCM LLCM(TD) Jonathan Wood

North Wales Mandy Baines BAHonsCardiff Emily Rowlands BMusWales

Scotland – Highlands & Islands

Southampton Benjamin Cooper BAColchesterInstitute Paul Ingram BAHonsSoton Wayne Mayor Richard Gary Morrow Mara Zimmermann BASoton

St Albans

North Yorkshire

Scotland – North East

Jasper Cole BAHonsLCOM Hilary Waddington BAHonsNott Heather Watts PGDip PGCert

Jack Christie BMusAberdeen Stephanie Colley MMusAberdeen

Sofia-Irena Asbjornsen BMusRCM Sarah Brennan BMusHonsBCU Simon Gargrave Jenny Lines Jean Lucas ARCM LRAM GRSMHons

Scotland – South East

Staffordshire

Northern Ireland

Berenice Jose BALeeds Conal McIntosh BAHighlandsandIslands

Alix Fish BAHonsBathSpa Jonathan Kitchen BMusHonsRCM Benjamin Thomas Matthews Joseph Rhodes BMusHonsBCU

Luke Bannon BMusHonsQUB Sara Beattie BEdHonsBelfast Ellen Campbell BMusHonsQUB Claudia Lasara Clendinning Bronagh Gormley BMusHonsUlster Rebecca Hall BMusUlster Catherine Harper DipRAM Victoria Kyles Ricky Lorimer BAHonsACM Nuala McBride BMusHonsQUB

Nottingham Felicity Bott BAHonsYork Dorothy Martin BABIMM

Alan Massey BMusHonsAberdeen

Scotland – South West Yla Garvie BMusHonsRCS Joe Hodson BMusHonsRCS Zac Scott BAHonsRCS Myrna Tennant BMusHonsRCS Janice Catherine Toner

Sheffield Claire Allen BAHonsOU Jane Eleri Davies BABristol Benjamin Jackson BAHonsLeeds Heidi Rolfe BMusHonsHuddersfield MAHuddersfield Hannah Smalley BMusHonsBCU

Suffolk Sarah Knee BEdPlymouth

Warwickshire & Northamptonshire Danielle Barnes BMusHonsHuddersfield John Griffiths BMusUWL Red Litchfield Wayne Matthews BALeeds Ronny Wansema

Wiltshire Christopher Cosens

Student members Birmingham Jessica Bowen Jack Burgess Maggie Dunne Aron Jonasson Renee Neeson Naomi O’Borne Amrit Sohal

Cambridge Samuel Johnson James Tearne

Croydon Sam Kinrade MPerf Ines Spindler Katie Wong

Lancaster Lewis Kesterton

Lea Valley Elizabeth Dunlop Sam Paterson Zsuzsanna Szilágyi

Leicester Laura Freeman

Liverpool Joseph Buckmaster BMusHonsRNCM Heather Heighway Josephine Wilcock

London – North David Bacon Joshua Bartram Dale Christmas BMusHonsHull MAYork PGCECantab PGCHEHull PGDipHull Kathleen Down Victoria Heath Owen Ho Jack Jones Afra Jurkiewicz BMusHonsNewcastle Sylvia Lim Sunshine Yuet Ching Lo Oscar Lotis Chavdar Mazgalov

Darren Moore David Nunn Francesca Raimondi-Taylor Daniel Swani Paloma Vallecillo Rico

London – South East Yuri Demetz Imogen Garnett Isabella Gori Lucy Hale Arturo Irisarri Izquierdo Karnell Pacquette Benjamin Ramsden Alice Western Maria Willis

London – South West Marsailidh Groat Alexis Irvine Jill Larmer Chelsea Louza Jasna Meyer Samuel Milea Amir Sadeghi Konjani William Sharp

London – West Eduardo Andrade Weronika Bielecka Katherine Bryer Chiara Dubey Klaudia Gardziel Frances Thomson

Manchester Emily-Grace Clifton Lawrence Dunn Maddi McArdle Wanshu Qiu Daniel White

North of England Sam Holburt BMusHonsRWCMD

North Wales William Jones

North Yorkshire Archie Bonham Megan Preece Susan Rutter

Nottingham Alfie Parnell Benjamin Ward

Oxford Eddie Gripper

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Portsmouth

West Yorkshire

Margot Carter BAHonsDartington Emily Saville

Emily Carr Charlie Cuthbert Robert Henderson Pamela Hulme Carmen McLean Hei-Lam Tsu

Reading Robbie Owens

Scotland – South East Eleanor Cozens

South Wales Nicole Boardman Sofia Kiwan-Baez BAOxford Alice Mee-Bishop Julia Palmer Brigette De Poi Isaac Sheih BMusMelbourne Lydia Taylor DipABRSM Carwyn Thomas BMusHonsRWCMD

Southampton Natasha Bennetts

Staffordshire Ruta Labutyte

Warwickshire & Northamptonshire Alex Pipkin BMusHonsRWCMD Natalie Roe

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

Overseas Sean Kenny Dylan Tierney

If you are a platinum, gold, silver or bronze corporate member and would like to display the logo on your website or in your publications, please contact us on 020 7221 3499 or membership@ism.org.

Friends of the ISM Trust Poon Ka Wo

Corporate members Tido tido-music.com 0207 553 4001 partnerships@tido-music. com

Obituaries Mrs Dinah Bradac of London Miss Jean Grayston of London Mrs Elizabeth Green of Shaftesbury Miss Anne Madoc Harris of London

Classified advertising 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 on property business, company’s year-end accounts, tax planning and advice. Whatever your tax music, you can rely on us to change your melodic contour – for the better. For no obligation

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advice, call 020 365 75696 or email team@ practicaladviceconsulting. co.uk. Visit us on www. practicaladviceconsulting. co.uk COR ANGLAIS: B&H Blackwood, Conservatoire, Low E, serviced. £1050 ono. 07974 412269 STUDENT CELLOS mostly German, various sizes, from £100. Tel. 07974 412269

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 December for January/February issue.

MUSIC COPYING SERVICE Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com 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 (i.e. 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 FRENCH HORNS Several 412269 from £150. 01747 828552 SPINET WITTMAYER (German) 4 octaves, C-D, light walnut. VGC needs tuning, hence £395 for a quick sale. Tel 07974 412269

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1/2 SIZE NORTH GERMAN CELLO c1880 for sale. Length 672mm. Fibreglass hard case (pink) and Brazilian-wood bow. £1300 ono Tel. 01239 698707 or 07977 252664 NEW EARLY KEYBOARD INSTRUMENTS for sale. Visit www.harpgear.net for details. HARPS FOR SALE Concert Grand Wurlitzer & Salvi Apollos. harpgear@gmail. com for details.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 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 30 November for the January/February issue.

Spa Hotel. Our popular Autumn Conference on the theme of ‘Taming the Tertiary Track’ took place at the end Rock and pop study weekend, of October and gathered Heads of Vocal London, 24–25 November Studies from many conservatoires, The British Voice Association’s keynote colleges and academies across all autumn event is a weekend of handsareas of the industry – classical, music on learning for singers and voice theatre and pop – an unprecedented professionals working/studying in rock opportunity for teachers. and pop. There have been many changes on Day 1 (6.30-9.30pm, Royal Academy the AOTOS council and we welcome in of Music): workshop with voice coach particular our new Chair Heidi Pegler, Mary Hammond, a highly respected Deputy Head of Music and Head teacher with clients from the West End, of Singing at St Paul’s Girls’ School, TV and the industry, including Adèle, London, also an ABRSM examiner and Chris Martin and Florence Welch. The editor of many singing publications session will look at the practicalities of with Faber Music. voice teaching for rock and pop artists. Some exciting projects are ahead Day 2 (10.30am-5.30pm, Cecil with Eurovox 2020 in Edinburgh and Sharp House): multi-disciplinary an international line-up of presenters study day with a panel of experts. planned, including Karen Brunssen, Subjects include vocal health, US President of NATS and baritone audition technique and preparation Roderick Williams OBE. for the rigours of touring presented Additionally, we are delighted to by industry insiders including Kim Chandler, Juliet Russell and Will Lester. announce a new partnership with the National Youth Choir of Great Britain Rates are available for either (NYCGB) Fellowship Octet 2019. one or both days and there are The singers will participate in AOTOS concessions for students. Visit events around the UK during their britishvoiceassociation.org.uk for year with the NYCGB and benefit from booking and our range of free, free entry to our conferences and downloadable voice resources. mentorship with experienced AOTOS voice teachers. britishvoiceassociation.org.uk

British Voice Association

Royal Birmingham Conservatoire Award shortlisting, satisfaction rating and Soundlab-COV project We begin the new academic year with the news that Royal Birmingham Conservatoire has been shortlisted in the prestigious ‘Times Higher Education’ Awards 2018, in the Excellence and Innovation in the Arts category. We’re also incredibly proud that our music provision received the highest rating (95%) for overall satisfaction among UK conservatoires, according to the 2018 National Student Survey. Our new SoundLab-COV project, recently featured on BBC’S Inside Out West Midlands, is an innovative project that is changing the lives of young people in the West Midlands by providing a space for young people to be creative in their music making. It is open to all young people aged 11-16 who play an instrument, create digital beats/music and those who sing, rap or create spoken word. The project formerly launched in July and meets every Saturday in term time for collaborative music making, with the scheme fully funded for at least the next three years. bcu.ac.uk/conservatoire

Association of Teachers of Singing Summer activities and ‘Pathways’ day in January The Association of Teachers of Singing (AOTOS) has had a busy summer with a fully subscribed Pathways Access Day in Truro, our advanced residential Professional Development Course for teachers at Uppingham and a busy Summer Residential Conference ‘Dynamic Singing’ at Wyboston Lakes

Our next Pathways Access Day takes place at St Paul’s Girl’s School on Sunday 20 January 2019 offering a bespoke, mentored singing teaching course that is tailored to individual experience and d level of teaching. ng. All events are open to non-members.. aotos.org.uk

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

‘I am looking forward immensely to building on the outstanding work of my predecessor Philip Meaden, and to working with everyone at the RCO and our many partners to communicate the College’s vision and to engage with the widest possible audience.’ rco.org.uk

Music Mark Annual Conference Kenilworth, Warwickshire, 22–23 November

Royal College of Organists Sir Andrew Parmley to be new director The Royal College of Organists is delighted to announce the appointment of Sir Andrew Parmley as its new Director. Sir Andrew’s broad experience in music, education and the creative industries has led to a life spent in teaching, performing, research, examining, adjudicating, writing, composing and editing. Born in Manchester, he was educated at Blackpool Grammar School, the Royal Academy of Music, at Manchester and London Universities, and at Jesus College, Cambridge. He started his career as Director of Music at Forest School, before moving on to roles at South Hampstead High School, the Grey Coat Hospital, and as Principal of The Harrodian School. Sir Andrew served as the 689th Lord Mayor of the City of London in 2016-17, and he was knighted in the 2018 New Year Honours for services to music, education and civic engagement. Beyond the City, Sir Andrew is a supporter of many charities. A Fellow of the Royal College of Organists, he is also the Honorary Organist of St James Garlickhythe. Speaking on his appointment, Sir Andrew said: ‘I am immensely proud and excited to be appointed Director of an organisation with which I have been involved since I was 16 years old.

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The debate continues on the current state of Music Education and, most importantly, its future. The theme for this year’s Music Mark conference is Youth Voice, as we invite both children and young people to inform the national debate. Network with over 350 delegates, choose from a wide range of breakout sessions, youth-led panels, workshops and CPD sessions. Be inspired by Keynote speakers such as MOBO award-winning musician and chair of Youth Music, YolanDa Brown and the incredible Faz Shah, violinist, beatboxer and Harmonise Project Coordinator for Music Action International. Tickets: musicmark.org.uk/ events/music-mark-annualconference-2018/ Leadership Development Programme sessions Leeds 2019 After the London sessions sold out in record time, be sure to book your spot in Leeds. The Music Mark Leadership Development Programme is for Senior Leaders, Middle Leaders and Aspiring Leaders within the arts and music education sector. The programme consists of five specifically-designed sessions between January and June, each developing an inquiry approach into leadership and professional learning. Attend a session at any time or sign up to all five at a discounted rate. Tickets: musicmark.org.uk/ events/leadership-developmentprogramme-leeds/

Len Rhodes Music New Christmas sheet music arrangements This year’s Advent and Christmas Sheet Music selections now available on lenrhodesmusic.com open up a wonderful new world of interpretation. Titles include Good Christian Men, Rejoice; The First Noel; See Amid the Winter Snow; Sing We Now of Christmas; a Fantasia on ‘Greensleeves’; Infant Holy, Infant Lowly; Away in a Manger; In the Bleak Midwinter; While Shepherds Watched Their Flocks; Angels from the Realms of Glory; Once In Royal David’s City; O Come, O Come Immanuel; God Rest You Merry, Gentlemen and Silent Night. These familiar melodies all benefit from Len’s unique creative pianistic styling. You can also listen to Len’s recordings of these Christmas pieces on iTunes, Spotify, and other favourite streaming services. Len Rhodes Music also publishes reference books, including Perfect Pitch for You, Teaching Composition in the Private Music Studio, and the remarkable A New Dictionary of Composers, a listing of over 3,500 composers in chronological and alphabetical order – a vital reference and also a valued resource for ‘trivia night’! Remember, ISM members always receive a 15% discount – type ISM2018 at checkout. Wishing everyone a wonderful Christmas and prosperous 2019! lenrhodesmusic.com

The National Children’s Choir of Great Britain Birthday tour, auditions for new members and recruiting an additional conductor This year the National Children’s Choir of Great Britain (NYCGB) celebrated its 20th anniversary with a tour in China and a concert in Birmingham Town Hall. The concert programme culminated in the première of Cecilia McDowall’s Everyday Wonders: the Girl from Aleppo, which had been commissioned for the occasion.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

NCCGB now looks forward to meeting potential new members at our auditions in November, details of which can be found atnccgb.com/join/. We are looking for young people aged 9–19 who love to sing and hope that we can encourage candidates from all musical backgrounds to audition. We are also looking for a conductor to join the NCCGB team, to work with our Green Choir; this is a group of advanced upper voice singers in the Junior Choir, who work on challenging repertoire requiring a high standard of musicianship and choral discipline. Details of the post and an application form are available at nccgb.com/ people/ nccgb.com

Music Education Solutions Singing Strategy Symposium The fifth annual Singing Strategy Symposium takes place in London on 12 November. Featuring discussions, research presentations, and practical workshops, this event will inspire and invigorate anyone involved with leading singing with children and young people! ISM members get a 20% discount by quoting ISM20. Further information and booking can be found on the Music Education Solutions website musiceducationsolutions.co.uk

Making Music

Impulse Music Consultants

Results of members survey on concerns about music education

Exploring how work with overseas customers can help with promoting UK clients

The axing of music education in schools is reaching crisis point. Our member groups are made up of leisure-time musicians, many of whom grew up with a musical education and often benefitted from professional musicians’ expertise. However that may not be the case for younger generations, which also poses a threat to adult music making. We surveyed our members, asking them to tell us their key concerns, as leisure-time musicians, around music education. For under-18s, in their view, the main barriers include cost; lack of understanding of the benefits of engagement in music from parents or (non-music) school staff decision makers; and lack of extra-curricular opportunities. The biggest barrier to participation in musical activity for over-18s, according to our members, is a lack of confidence for beginners and returners alike. Respondents also mentioned lack of practice space, lack of opportunities, not being aware of what those opportunities are, lack of time and cost. However, our survey did highlight some possible solutions and ways in which our members could make a difference – from supporting ISM’s Bacc for the Future campaign to activities in their local communities.

One of the great pleasures of running our online promotion and sales businesses are the composers and performers we promote from overseas. Lately, we have been analysing what has drawn these customers. The results are interesting and informative when we want to find opportunities for our UK clients in other parts of the world. Firstly, a business that operates in the country that a musician or composer wants to access is much closer to that market and can maximise effort by suggesting potential avenues of approach as well as pointing out timeconsuming pitfalls. Next, language and custom can present unexpected barriers and having an intermediary on hand so that intentions are clearly and accurately conveyed makes it easier to establish contacts and build connections. Finally, providing services such as payment collection and sales fulfilment means all our clients can enjoy the support of a trusted third party. Monetary transactions and processing have been greatly facilitated by the likes of PayPal, Stripe and Go Cardless.

We currently look after clients from Europe, Africa, Asia, Australia and If you’d like to read the full report North America. These are a mixture of visit: makingmusic.org.uk/news/ member-consultation-music-education Brits abroad and indigenous artists and cover composers, instrumentalists, makingmusic.org.uk ensembles, publishers and record labels. That leaves South America and Antartica, so we are on the lookout for musical penguins! To find out more, visit our website or call 01760 441 448. impulse-music.co.uk

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

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

PLATINUM CORPORATE MEMBERS

ALFA Education Ltd ABRSM

Allianz Musical Insurance Duet Group Insure4Music

NMC Recordings

Royal Birmingham Conservatoire

Park Lane Group

Black Dress Code British Youth Band Association

Rhinegold Publishing Rocksteady Music School

Leeds College of Music

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

MGR Music Tuition Musicians Insurance Services

Trinity College London Victoria College Exams

Impulse Music Consultants Music Mark National Preparatory School Orchestras Oxford University Press Portsmouth Music Hub The Piano Teachers’ Course UK Trinity Laban Conservatoire of Music and Dance Trybooking.co.uk University of Huddersfield University of St Andrews

Yamaha Music Europe

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

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Henri Selmer Paris

The Curious Piano Teachers Tido

London College of Music

Drums for Schools

Len Rhodes Music

Kawai

Lark Insurance

Classic FM

Westminster Abbey Choir School Join us

Choristerships at Westminster Abbey Abbey choristers receive superb musical training and an outstanding education, with generous scholarships available for all boys. Find out more about Westminster Abbey’s worldfamous choir and its unique choir school. choirschool@westminster-abbey.org | 020 7654 4918

westminster-abbey.org

Thanks to Help Musicians UK,

Our work gives people like Soraya a chance to follow their dreams. Help us help musicians. Donate at helpmusicians.org.uk or call 020 7239 9100

Registered Charity No. 228089

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

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

Saturday 17 November

Sunday 18 November

Monday 10 December

Sheffield Autumn Concert

North London Pupils’ Concert

North London Christmas Gathering

2:30pm, Shirley House, 31 Psalter Lane, Sheffield, S11 8YL The ISM Sheffield local group is holding a concert this autumn for pupils of all ages. It is non-competitive, and a wonderful opportunity for pupils to become more at ease with performance. All instruments and grades are welcome and with a varied repertoire, 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 grand which is raised on an A-frame. There is a small entry charge of £2 per adult and 50p per child to cover our costs. Performers and ISM members are free. Refreshments will be provided after the concert. Contact: Pearl Woodward T: 0114 266 6373 E: pearlwoodward@btinternet.com

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing. Both children and adults are welcome to perform, whether individually, in duets, or in larger ensembles. Please note each pupil must not exceed seven minutes and each teacher may enter up to five pupils. Pupils may be at grade 1 or any level above, but should have their performance item at a concert standard. Ensembles would be particularly welcome. An accompanist will be provided if required but must be requested in advance. The hall is available from 2pm for warming-up. Cost: Adults £5, Children £2. Admission will be by programme on the door. There is no charge for performers and teachers presenting pupils. Light refreshments will be available. Please encourage pupils to bring an audience. Directions: Nearest tube Swiss Cottage (3 min walk) & Belsize Park. Parking unrestricted on a Sunday, but this is a dense residential area so allow plenty of time. Contact: Sara Medina T: 020 8883 2082 by Wednesday 2 November.

7.30pm, Café Rouge, South Grove, Highgate, London N6 6BP Come and meet fellow ISM members for a meal, or just a drink, to celebrate the end of term and to get into the Christmas spirit. Whether you are a new member and would like to find out more about the ISM and to meet like-minded musicians, or an ‘old timer’ meeting old friends, our social events are always a revelation and inspiration. We look forward to welcoming you in December. Contact: Judith Sheridan judithclaresheridan@gmail.com 01525 222131

Devon and Cornwall

professional development and performance opportunities in your area. They are a fantastic way to meet other musicians and enhance your career.

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

Croydon Cambridge (will work with current Representative Stephanie Reeve)

Brighton Looking for ad-hoc volunteers to support the Representatives

This opportunity is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area. 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,

For more information or an application form please call 020 7313 9323 or email membership@ism.org. Deadline for applications is Friday 1 February 2019.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2018

Ask me a question Danny Leigh Folk artist, acoustic singer/ songwriter, composer and solo performer Tell us a little about yourself I graduated from The Academy of Contemporary My uncle is a guitarist and singer/songwriter Music (ACM) in 2011 and have been working and my mother studied music at university, as a self-employed musician since then. specialising in opera and she was a singing and piano teacher before retirement. I guess My professional work covers different music is in my blood... areas of the music industry such as: live performance, music teaching (guitar, What would you say is your ukulele, drums and piano), songwriting greatest achievement to date? and event promotion. Career highlights include: touring Ireland with gig dates in Dublin, Roscommon, Kenmare, Westport, Galway and Sligo, playing at Serta International Music Festival (Portugal), playing at Mandrea Music Festival (Italy), having my song ‘No More Running’ featured on the 30:30 Compilation CD, Roundhouse Records, founding The Harrison pubs (Kings Cross) monthly resident music night The Acoustic Folk Highway and playing guitar for Tom Odell. Who (or what) has most influenced you and your career? I come from a musical family. My greatgreat-uncle, Benno Moiseiwitsch, was a famous classical pianist in his time. My great-uncle, Lenny Cassini, was also a classical pianist, although less successful.

This is a difficult question to answer... I think my greatest achievement has been developing a diverse music career that covers all my areas of interest. However, organising and booking an Irish music tour with two fellow musicians was a great achievement as well as founding my music night The Acoustic Folk Highway, which showcases up-and-coming, original music inspired by the folk genre. Who is your all-time favourite artist and why? Leonard Cohen. He is an inspiration to me musically and lyrically. His lyrics are so powerful, unique and picturesque. He has helped me approach songwriting in a different way.

Wh t was the th last l t CD/ i d l What CD/music download that you purchased? My Destiny by Lionel Richie. However, this was due to a song request for a wedding gig so I guess this doesn’t count. Recent purchases: High As Hope by Florence & The Machine, My World by Nigel Kennedy and You Want It Darker by Leonard Cohen. What are your plans for the future? I’d love to play on a cruise ship or at a holiday resort. I also have plans to study for a PGCE to support my music teaching. What is your ISM membership to you? My ISM membership helps me with my music career through legal cover and Public Liability Insurance. It is also nice to be a part of a professional music community, with all the added benefits this brings. dannyleigh.bandcamp.com

Recommend a friend and save £10 Tell your friends and colleagues about the ISM and encourage them to become part of our thriving community of professional musicians. We’ll give you £10 off your next year’s membership every time someone you recommend joins us as a full or graduate member. To claim your discount, send the name and email address of the friend(s) you are recommending to membership@ism.org. Ask your friend to quote the code FULLREC if they are joining us at the full rate or GRADREC if they are joining at the graduate rate. If they join at the full rate we’ll give them £10 off their membership fee too. Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.

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