Music Journal November/December 2020 by ISM Musicians

#MakeMusicWork November/December 2020 Musicians in the pandemic: Christopher and David Stark Music in faith Musical roots CAPPA performance arts course goes digital

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020

Welcome Welcome to this edition of Music Journal, which celebrates seasonal milestones from Christmas to Hanukkah to Diwali. It contains a fascinating insight into the role which music plays in all these religious celebrations. At a time when so many musicians are losing their jobs in our churches it shows the power of music in faith. It is a great disappointment that some religious leaders have not understood that role.

Above: Deborah Annetts Photo: Mark Thompson

Uncertainty continues across the four nations as the pandemic continues. I would like to thank all ISM members who responded to the questionnaire on what is happening to music in our schools. A bit like our religious leaders, the government has mixed feelings about music. However, the survey attracted over 1300 responses which we are now in the process of analysing. We hope to publish the report in November. From the responses we have so far analysed, it is a very mixed picture. Meanwhile the ISM is continuing to lobby tirelessly in connection with support for freelance musicians. We know just how hard it is for many of you. On the one hand the government has not banned live performance. But on the other hand, because of the way in which the ﬁnancial realities work for music gigs, many musicians cannot work. It was with this knowledge that we have worked closely with the Musicians’ Movement and put together a proposal which is now with the Chancellor and his team. The proposal attracted a huge amount of support from right across the music sector. Over 200 music organisations and 2200 musicians signed the letter. You can read more about this on page four. Of course, during these very strange times, there has never been a better time to broaden your horizon and perhaps add a few new skills so do watch out for the wide-ranging webinars which we are holding under the auspices of the ISM Trust. These are totally free. So, you and your colleagues, who perhaps are not members of the ISM, can watch and take part in these fabulous events. We are also working on a two-day conference in the ﬁrst week of December 2020 looking at how the pandemic is impacting on musicians and focusing in on how that impact can be alleviated. Watch out for more details in our Members Update.

Front Cover

Lastly, I would like to thank all of you who are continuing to support the ISM in our incredibly important work. We have seen a huge increase in the number of legal queries coming through. And the external affairs team has never been so busy, lobbying all governments so that you can continue to pursue your true vocation as a musician. We need music and musicians desperately. Whatever the Government may say, musicians and their music are viable. And the ISM will ﬁght to ensure that you can work in your chosen profession.

Photo: Images from Pixabay, iStock and Boyan Ivanon See News & Campaigns on pages 4–7

Contents 4 8 12 14 18 22 26 28 32 33 38 40

News & campaigns Music in faith Legal & business Musical roots Musicians in the pandemic: Christopher and David Stark CAPPA performance arts course goes digital Professional development News from our members Classiﬁed advertising News from our corporate members Local area events Ask me a question

Volume 87 / 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: Vinota Karunasaagarar Clare Stevens Proofreader: Christine Gwyther-Scott

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 01727 739 182 E. Dean@cabbells.uk Editorial and advertising copy date: 23 November 2020 for January/February 2021 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

deborah@ism.org

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS & CAMPAIGNS

News & campaigns

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS & CAMPAIGNS

Over 200 music organisations and 2200 musicians sign open letter to the Chancellor in support of joint ISM and Musicians Movement #MakeMusicWork campaign As part of the #MakeMusicWork campaign launched by the ISM and Musicians’ Movement on 7 October, over 200 music organisations and 2200 musicians have signed an open letter to the Chancellor, Rishi Sunak, in support of the campaigns proposal to ensure musicians can start earning again. The campaign offers two clear and viable solutions for the Government to take forward that aim to get the creative industries safely back to work. The ﬁrst proposal is for a new Freelance Performers’ Support Scheme to facilitate the reopening of music venues under social distancing rules and see the return of live performances. This funding model would combine grants for venues and a guaranteed fee for each performer with a cultural exemption on VAT for tickets. With a guaranteed fee for each performer, this proposal puts freelancers at the heart of a sustainable funding model for venues. The campaign is also calling on the government to deliver on its pledge to ensure parity between employees and the self-employed by maintaining the existing level of support provided by the Self Employment Income Support Scheme (SEISS) and expanding the eligibility. Speciﬁcally, the criteria should meet the particular needs of creative freelancers, and those musicians whose income is derived from a mixture of employed and selfemployed work.

While the ISM welcomes the extension of the SelfEmployment Income Support Scheme (SEISS) until April 2021, three million self-employed workers continue to be excluded. Even those who are eligible will only receive 20% of their monthly trading profits, which will not provide an adequate safety net for our members when they are unable to generate any income at all. We have called on the government to deliver on its pledge to ensure there is parity between employees and the self-employed by maintaining the existing level of support provided by the SEISS and expanding the eligibility criteria. This announcement followed further lockdown restrictions imposed across the UK in an attempt to prevent a second wave of coronavirus. While safety is paramount, it is extremely disappointing that plans for reopening theatres and live music venues across the UK are now on hold. We desperately want to find a way forward so that our members can start returning to work, as those in other industries have been able to do, while staying safe. That is why the ISM is campaigning for a Freelance Performers’ Support Scheme, which would enable live music events to take place in line with social distancing guidelines and include a guaranteed fee for performers. The Office of National Statistics released its survey results on ‘Coronavirus and the economic impacts on the UK’ which shows that the arts, entertainment and recreation is the sector worst affected by coronavirus. Results show the industry had the largest proportion of the workforce furloughed, 51% compared with 13% across all industries.

The sector also had 23% of its businesses reporting that their risk of insolvency was severe to moderate, compared with 11% across all industries. Read our The joint letter was coordinated to collaborate with the press release for more information: ism.org/news/ sector to develop and build support for the proposals, ism-responds-chancellors-winter-economy-plan and for these measures to be implemented as a bridging scheme until the music sector can go back to work and start contributing fully to the economic and cultural health of the country once again.

Left: Musicians protesting in Parliament Square Photo: PA images Below: Birmingham Repertory Theatre lit in red, as part of #LightItInRed Photo: Hannah Kelly Photography

ISM continues to lobby for targeted ﬁnancial support as sector hit with devastating blow from Chancellor’s ‘Winter Economic Plan’ Chancellor Rishi Sunak unveiled his ‘Winter Economy Plan’ at the House of Commons on 24 September. While some employed workers may beneﬁt from the new Job Support Scheme, the measures announced for the self-employed were a devastating blow for the thousands of musicians who have had no income since March and still cannot return to work while venues remain closed.

Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS & CAMPAIGNS

Government conﬁrms ‘aim’ to make a deal and keep musicians touring after Brexit

Creative organisations warn Treasury of devastation of the performing arts and exodus of talent without targeted support for freelancers The ISM coordinated an open letter with Equity signed by over 120 organisations and industry bodies from across the creative industry, which was sent to the Chancellor on 19 August. It called on the government to extend ﬁnancial support for freelancers working in the performing arts and entertainment industries until the spring of 2021. Creative industry bodies have warned that cultural venues cannot afford to reopen with social distancing and stated that, without a ﬁnancial intervention targeted at the freelance community, the government risks the devastation of the performing arts and an exodus of highly skilled talent. Read our letter and full list of signatories here: ism.org/news/ creative-organisations-treasury-letter

The ISM publishes updated review showing how global research is investigating coronavirus transmission in performance and education spaces

On 10 September, the Government in the House of Lords confirmed that it ‘aims to negotiate reciprocal arrangements which will facilitate businesses, including musicians and groups of musicians, to deliver their services within the EU.’ This was a welcome step after many years of lobbying the government to take appropriate action to mitigate against the negative effects of Brexit on the music profession. Without reciprocal arrangements in place for musicians, UK musicians face navigating different regulations to work in each of the 27 EU countries, and conversely EU musicians will deal with a points-based immigration system to work in the UK. The ISM continues to lobby the government for a reciprocal arrangement that would allow musicians to tour with ease and without being subject to unwieldy bureaucracy. As the music sector begins an economic recovery from the devastating effects of the COVID-19 pandemic, which has stopped most musicians working for many months, global travel restrictions and required periods of quarantine potentially create even further complications when considering prospects for work in 2021. It is vital that the music sector is not hit by a double whammy of COVID-19 and a no-deal Brexit. The ISM is also working on receiving clarification on the impact Brexit will have on travelling throughout the EU with musical instruments. This includes applying for Musical Instrument Certificates, for instruments containing protected materials such as ivory and Brazilian rosewood, ensuring that musicians are aware of the UK ports they can travel through with these items, and arranging for ATA Carnets, an international customs document that covers the temporary moving of goods without the need to pay customs duties or taxes between countries.

Research by the ISM shows that Europe is one of the most important marketplaces for touring and other professional work, with nearly 45% of musicians earning up to half of their earnings in the EU. With musicians’ livelihoods on the line, we are calling The ISM published an updated review of the current on the UK government to go full steam ahead and not research concerning COVID-19 transmission in the to be deflected in securing a comprehensive free performance and music education space on trade agreement with the EU. A no-deal Brexit would 27 August, following the first publication of the cause significant disruption to the music industry, global study in July. The study was commissioned by the ISM to collate the which contributes £5.2 billion to the economy and extensive available information, provide further clarity plays a crucial role in the UK’s worldwide influence. The loosening of political ties as we leave the on the transmission pathways of COVID-19, and share EU should have no bearing on cultural ones. this knowledge with the wider music community. The ISM are committed to keeping you informed about You can read the full updated report here: how your work as a musician will be affected by Brexit. ism.org/images/files/ISM-Updated-GlobalCheck the Brexit advice pages on our website at: Literature-Review_Aug-2020_FINAL.pdf ism.org/advice-centre/brexit, which will be regularly Further research is under way to publish a third edition updated as new information becomes available. at the end of November.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS & CAMPAIGNS

The ISM, Music Mark and the MTA launch #CanDoMusic campaign to protect music in schools The ISM, Music Mark and the Music Teachers’ Association (MTA) have launched a UK-wide campaign, #CanDoMusic, aiming to ensure all children and young people can resume their musical learning this autumn. Launched as schools returned in Scotland on 11 August, its mission is to celebrate and unlock the innovation of music teachers and senior leaders, to share practical ideas that will deliver music in engaging and inspiring new ways. The campaign also aims to support schools in ensuring that music plays a central role in rebuilding their communities. Visit the #CanDoMusic website which signposts to practical resources from across the music education sector: CanDoMusic.org We are also asking teachers to use the hashtag #CanDoMusic for solutions to keeping music at the heart of learning for all young people who have returned to school.

25 organisations call for funding for music education

music education system. Delivered to the Education Secretary, Gavin Williamson, on 23 September, it has been supported by more than 25 organisations and focuses on:

Above: Photo taken prior to COVID-19 lockdown

• music education beyond the curriculum – the instrumental and vocal work developed and delivered by the music education hub partnerships across England.

• the work of our national youth music organisations, the Music and Dance Scheme and the ‘In Harmony’ As the government’s consultation on the Comprehensive programmes. Spending Review ends, a joint letter led by the ISM, Music Teachers’ Association and Music Mark has called See the open letter and full list of signatories: ism.org/news/joint-letter-music-education for sustained funding that delivers a world-class

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSIC IN FAITH

Music in faith Music plays a vital part in the ceremonies of many faiths. As we approach the big winter and end-of-year festivals, Clare Stevens ﬁnds out how musicians and the worshipping communities they serve have been affected by the pandemic

Above: Clare Stevens Photo: Alex Ramsay

We understand this winter may be difﬁcult for some members; read our next feature which outlines the state beneﬁts that you may be entitled to

Left: Candles lit for Diwali Photo: iStock

The church of St Bride’s, Fleet Street in the City of London is one of Sir Christopher Wren’s masterpieces, its tiered spire a unique landmark on the Thamesside skyline. Blown to smithereens in the Blitz, the nave of the church was faithfully rebuilt after the war and its immaculate interior has been the venue for countless christenings, weddings and memorial services ever since. In normal times its calendar is packed with concerts and carol services, and its professional choir is one of the country’s finest, with a particular reputation for being able to sing music in a very wide range of styles. Whether a wedding couple wants to sign the register to the accompaniment of a Palestrina motet or a song from Frozen, St Bride’s Choir will provide an impeccable, stylish performance. When this year’s first national lockdown was announced at the end of March, the Church of England advised that all its churches should be closed and regular services suspended. Even when they were given the green light to reopen for private prayer by clergy and individuals at the beginning of July, provided that appropriate hand sanitising, deep cleaning and physical distancing measures were in place, it was several weeks before congregations could gather for worship and even longer before first professional and then amateur choirs were permitted to return. That singing is allowed at all in worship settings is thanks to the early results from scientific research into the transmission of COVID-19 via aerosols and droplets, particularly the project led by consultant laryngologist Declan Costello, who is also a semi-professional singer. Indications were that with protective measures in place, singing at a moderate volume is no more dangerous than speaking. ‘Protective measures’ for St Bride’s mean that when the choir convenes for Sunday morning services or to record music for the church’s regular livestreams, the elegant nave is punctuated by large perspex screens so that each singer occupies their own personal space. ‘They have treated it as a workplace,

and it feels very safe,’ says Emily Owen, a soprano with the choir. ‘We feel really valued by the clergy and congregation, and they have done their best to keep paying us through the pandemic.’ In recognition of this support, the St Bride’s musicians gave a free online recital of choral and organ works by Bach at the beginning of September; the interval featured interviews with some of the singers, who explained the importance of professional church choirs to the ecology of the music world. Some of the best-known soloists in the country will drive back to London after an oratorio performance in a provincial city in order to meet their Sunday morning obligation at St Bride’s or other similar churches. In normal circumstances this would be supplemented by additional fees for weddings, memorials and other special services such as those hosted on behalf of the City of London livery companies. ‘St Bride’s provides a third of my income,’ admits tenor Matthew Long in the film. Emily Owen recently felt confident enough about the stability of her singing career to give up the music administration roles that she had undertaken since graduating to support it. She and her partner, also a singer, had bought a house and booked their wedding for this summer; but the wedding has had to be postponed and COVID-19 has dramatically reduced their income. When we spoke in September, however, Owen was feeling more optimistic than she had done for many months, as her diary had begun to fill up again. She also sings at the West London Synagogue, and had spent much of the month recording music for use in its broadcasts of High Holy Day services around the Jewish New Year, Rosh Hashannah, and Day of Atonement, Yom Kippur. ‘You don’t have to be Jewish to sing in a synagogue choir,’ she explains. ‘In fact it is better if you are not, because you don’t have the conflict about working on the Sabbath. Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSIC IN FAITH

Our religious beliefs also link into our identity; read our feature on page 14, which explores this topic further

‘We sing psalms with responses and throughcomposed songs based on the psalms; there’s a lot of Victoriana, some baroque works in Hebrew, and new works, often written by our Director of Music, Christopher Bowers-Broadbent. There is actually a huge repertoire, but most of the pieces are very short. For the September High Holy Days we recorded 650 individual items!’ As with the Christian churches, there has been a huge amount of variation in how different congregations and branches of the Jewish faith responded to the pandemic. The arts journalist Norman Lebrecht is involved in leading services at two London synagogues, and describes the situation in the autumn as ‘chaos … The Reform Synagogues are not opening their buildings, just Zooming Rabbis from home,’ he says. ‘The Orthodox congregations have reopened, but with severely restricted admittance, just 40-50 people with no choir. I led one of the services on Yom Kippur, as I usually do, and was told I didn’t need a mask and would be allowed to sing. Everyone else was masked and only permitted to hum along.’

Below: Daniel Hyde conducts the Choir of King’s College, Cambridge in last year’s Festival of Nine Lessons and Carols (photo taken prior to COVID-19 lockdown) Photo: Courtesy of King’s College Cambridge

For many Christian worshippers, the ban on congregational singing has been particularly hard to endure. In traditional Anglican cathedral and parish church settings, the expression of faith through music depends upon a dialogue between complex anthems and service settings sung by the choir and the familiarity of congregational hymns in which everyone can join. In evangelical congregations and non conformist churches such as Methodist, Baptist or Presbyterian, hymns and worship songs are the bedrock of services. In my own rural parish in the Welsh Marches, the Rector says that not being able to sing the familiar Harvest hymns with members of his ﬁve congregations, many of whom are from farming families, has been a particular deprivation.

performances, often very atmospheric, by distanced worship bands, broadcast on YouTube with subtitles so that members of their congregations can join in at home. Cathedrals and parish churches that had already been webcasting or streaming some of their services found themselves at an advantage at the start of the pandemic as they had a bank of archive recordings to draw on when they began to put together online worship. Many are now routinely streaming weekday as well as Sunday services, so that they can be attended by both a small in-person congregation – sometimes ticketed so that distancing can be ensured – and many more ‘virtual’ participants, often watching from the other side of the world. Offering virtual worship seems to be the norm for other faiths too, based on a random survey of the websites of mosques, Sikh gurdwaras and Buddhist temples around the UK; a YouTube offering of ‘Happy Birthday’ by a children’s group from the Fo Guang Shan Chinese Buddhist Temple in Soho to one of their worship leaders was particularly touching. Even though the instrumental music and solo singing that plays such an important part in Indian faiths would pose a very limited risk, it seems that places of worship are cautious about admitting large groups of people to their buildings, which are generally open for private prayer only.

One of the difficulties faced by many Anglican cathedrals in the early months of the pandemic was that their directors of music, organists and the professional adult singers who provide their alto, tenor and bass parts were furloughed, so were not able to be part of the discussions about possible alternatives to their normal liturgical offerings. Fortunately they had eloquent advocates among those who were not furloughed, such as Robert Sharpe from York Minster and David Price from Portsmouth Cathedral, who were closely involved in helping to plan the church’s The answer for some evangelical Christian churches longer-term strategy, working with the Archbishop has been to prioritise online worship, featuring filmed of Canterbury’s team and with the Royal School of Church Music. Price and his colleagues at Portsmouth were among the most pro-active and creative in finding ways of keeping morale going during lockdown by staying in touch with their choristers and choral scholars, giving them opportunities to perform together on Zoom and marking as best they could what would normally have been landmark moments – Lent, Easter and all the celebratory summer events for those who were leaving. They were among the first to return, spread around the cathedral rather than packed into their choirstalls, when restrictions were eased; and they were the first cathedral choir to do a live broadcast of Choral Evensong on BBC Radio 3. ‘We were able to sustain our activity really well for a term,’ says Price, ‘but it was a coping strategy for an emergency. Singing into a microphone at home is not rewarding for children, they need to have other people

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSIC IN FAITH

writing everyone hopes so, but the announcement round them to learn from and they need the routine of was made in August that no tickets would be available practices and services and the fun of free time spent in for the general public. Christmas without carols each other’s company.’ may seem unimaginable, but unless the pandemic In Scotland and Wales COVID-19 regulations around subsides dramatically between now and the middle of public worship have been even stricter – the choristers December, sadly we may all be singing along at home of Newport Cathedral, South Wales, began this term to the broadcast from King’s rather than raising our by holding their practices outdoors, and the only voices together in our local churches. musicians allowed to perform in the cathedral were solo singers and instrumentalists. In Scotland, no Clare Stevens is a freelance writer and editor singing at all was permitted at the time of writing and Declan Costello: voicedoctor.co.uk directors of music had been told it might be Easter St Bride’s Church: stbrides.com 2021 before any form of choral activity could resume. Emily Owen: emilyowensoprano.co.uk As this magazine lands on your doorstep at the beginning of November we will be facing the prospect of the Hindu Festival of Light Diwali, the Jewish winter festival of Hannukah and the Christian seasons of Advent and Christmas with very limited musical celebrations. David Price feels that with the proper preparation and precautions in place, meaningful worship will be possible – he’s currently considering the prospect of eight carol services in order to accommodate as many people as possible in much smaller congregations.

West London Synagogue: wls.org.uk

In Cambridge, the world’s most famous choristers are wearing matching purple masks as they take their daily walk from King’s College School where they are boarders to King’s College Chapel where they rehearse. Will the Festival of Nine Lessons and Carols take place as usual on Christmas Eve? At the time of

newportcathedral.org.uk

Top left: Musicians in a Sikh temple (photo taken prior to COVID-19 lockdown) Photo: Abie Davies Above: Middle Street synagogue Brighton Photo: Pixabay

Fo Guang Shan Buddhist Temple, London: londnfgs.org.uk For information about choristerships at King’s College Cambridge, Portsmouth Cathedral or Newport Cathedral please see their websites: kings.cam.ac.uk portsmouthcathedral.org.uk yorkminster.org Choir Schools Association: choirschools.org.uk Royal School of Church Music: rscm.org

Give the gift of ISM membership this Christmas Give the musicians in your life the security and peace of mind that comes with being part of a professional body. ISM membership makes the perfect gift for any music student or professional. Student membership is just £15, and for recent graduates or those with 10 or fewer years’ experience, ISM early career membership is just £50.

To order a gift membership, simply call 020 7221 3499, Monday – Friday, 9.30am – 5.30pm. Find out more at ism.org/gift-membership

Alternatively, for established music professionals with more than 10 years’ experience, you can help protect and enhance your colleague’s career with ISM full membership for just £181.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | LEGAL & BUSINESS

Welfare benefits for musicians Eden Waygood, ISM’s Membership & Services Officer, runs through some of the state benefits you might be entitled to

As we head into winter with many parts of the country in regional lockdowns, we understand that your ability to generate income may have reduced and that some of you may be experiencing financial difficulties. Here we take you through some of the state benefits you might be entitled to; for details of eligibility and how to apply please visit our website at: ism.org/advice/welfare-benefits-musicians Remember that you may qualify for most of these benefits even if you are self-employed.

Above: Eden Waygood, ISM Membership & Services Ofﬁcer Photo: Emile Holba

Universal Credit Universal Credit supports you if you are on a low income or out of work. It includes a monthly payment to help with your living costs or payments twice a month for some people in Scotland. Universal Credit is replacing the following beneﬁts, which are being phased out: • Child Tax Credit • Housing Beneﬁt

Statutory Sick Pay (SSP) If you are employed and normally earn more than the ‘lower earnings limit’ you should be entitled to SSP. You may also be entitled to contractual sick pay from your employer and this may mean that you suffer no loss of earnings in the first weeks off work. If you are employed and still unable to return to work when your period of SSP stops after 28 weeks, you may then qualify for contributions-based Employment and Support Allowance (ESA). You qualify for this benefit if: • you are assessed as having ’limited capability for work’ • you are under state pension age and • you have paid sufficient National Insurance contributions If you are self-employed and have been paying Class 2 National Insurance contributions you qualify for contributions-based ESA, as long as you satisfy the other two conditions.

• Income Support • Income-based Jobseeker’s Allowance • Income-related Employment and Support Allowance • Working Tax Credit You can remain on any of the above benefits without applying for Universal Credit. However, if your circumstances change and you need to make a new claim to one of the above benefits, as these benefits are not accepting new applicants, your new claim will fall under Universal Credit. If you are receiving any of the above benefits or tax credits they will stop if you make a Universal Credit claim.

Employment Support Allowance (ESA) In some cases, you may be able to apply for ESA. ESA gives additional support to people who have limited capacity to work due to their sickness or disability. If you do not receive SSP, for example those who are self-employed or are in employment but earn less than £118 a week, you should consider making a claim. You can apply for ESA whether or not you are in work. You must be under state pension age and there are no conditions to working while claiming ESA. You cannot receive ESA at the same time as receiving SSP from your employer, however you can apply for

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | LEGAL & BUSINESS

ESA up to three months before your SSP ends. ESA is not offered to those currently receiving Statutory Maternity Pay or Jobseeker’s Allowance. You can receive Universal Credit at the same time as or instead of ESA.

Pension Credit If you have reached the age where you qualify for a state retirement pension and have only a limited income, you may be entitled to Pension Credit. Pension Credit is an income-related beneﬁt made up of two parts:

• Guarantee Credit and Savings Credit: Guarantee Credit tops up your weekly income if it is below the minimum threshold. The minimum weekly income PIP can help you with some of the extra costs you may is currently £173.75 if you are single and £265.20 incur from having long-term illness or disability. for couples. You may still be eligible if you have You could receive between £23.60 and £151.40 a week savings, a pension or your own home if you’re aged 16 or over and have not reached State • Savings Credit is an extra payment for people Pension age. who saved money towards their retirement, for The amount you receive depends on how your example a pension. condition affects you, not the condition itself. PIP is not

Personal Independence Payment (PIP)

means-tested, is not taxable and is payable whether or not you are in work. Your carer could receive Carer’s Allowance if you have substantial caring needs. If you receive Disability Living Allowance (DLA) (this is ending for people aged 16 to 64), you can continue to receive this if you’re under 16 or if you were born on or before 8 April 1948 and have an existing claim. You’ll continue to receive DLA until the Department for Work and Pensions (DWP) invites you to apply for PIP. You do not need to do anything until DWP writes to you about your DLA, unless your circumstances change.

Can EU citizens apply for UK beneﬁts? European Union (EU) citizens may be able to claim beneﬁts if they have the right to reside in the UK or can pass the habitual residence test. To pass this test, you’ll need to show you’ve made the UK your home and plan to stay here. You don’t need to pass the habitual residence test if you have settled status or have certain types of right to reside, for example because you are working or are self-employed.

If you’ve reached state pension age, you can apply for Attendance Allowance. Attendance Allowance is paid to people who have reached state pension age and have additional care needs due to a illness or disability. Attendance Allowance is tax-free and is not affected by income, capital, National Insurance contributions or work. Attendance Allowance is meant to compensate for the extra costs of having a disability but can be spent in any way.

Universal credit: gov.uk/universal-credit Statutory Sick Pay (SSP): gov.uk/statutory-sick-pay Employment Support Allowance (ESA): gov.uk/employment-support-allowance Personal Independence Payment (PIP): gov.uk/pip Carers Allowance: gov.uk/carers-allowance Disability Living Allowance: gov.uk/dla-disability-living-allowance-beneﬁt Attendance Allowance: gov.uk/attendance-allowance Pension Credit: gov.uk/pension-credit ISM advice page ‘COVID-19: Funds for musicians’: ism.org/advice/ funds-musicians-covid-19

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Ethstat is a social enterprise and gives all proﬁts from PPE supplies to help provide critical PPE for the homeless, care homes and dementia families. Access the discount at ism.org/my-ism/your-discounts

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSICAL ROOTS

Musical roots Continuing with our exploration of access to music and arts education, we look at the topic of cultural identity and particularly its relevance in teaching by exploring research articles on this topic and chatting with teacher and researcher Arzu Soysal Altugan, PhD

In the July/August issue of Music Journal we informed you that as an organisation ISM was planning to explore the topic of racism within our sector and to look at the wider questions of access to music and arts education. In our September/October issue ISM member, violinist, performer and teacher Mahaliah Edwards recounted her journey of learning, performing and teaching music as a person of colour. Last month, we celebrated Black History Month through various channels including signposting relevant resources, publishing a variety of blogs and compiling our Black Classical Composers’ Playlist. Now, we look at the topic of cultural identity and the importance of bearing this in mind when delivering your music lessons to help and encourage your students in their learning experience.

Photos: Images from Pixabay and iStock (midde row, left: Zeynep Boğoçlu and midde row, right: Nikola Stojadinovic)

There has been much discussion and academic research into the area of cultural identity. Turkish teacher and researcher Arzu Soysal Altugan, PhD explored this topic in her paper The Effect of Cultural Identity on Learning, delivered to the second Global Conference on Psychology Researches in 2014. Commenting on why she chose this topic as her area of study, Altugan observed: ‘I have been interested to study cultures as it is one of the big stepping-stones in learning and teaching. Cultures are the phenomena that shape people’s lives, provide information about the new way of life, and when blended, the society. However, it is very important to know the culture of the society being studied or taught in order to be able to construct knowledge. It is signiﬁcant to remember that teaching is a kind of transferring of cultural values to a part of life. Of course, the reasons for wanting to learn about a culture are not just those I wrote about. Learning about different cultures at the point of education can be a great factor in making people’s jobs easier.’

In relation to the importance of understanding students’ cultural identities when teaching, Altugan looked at her personal experience. ‘After all, in order to work and teach in a different country, one has to know about the country’s or the people’s way of life. For this, of course, understanding the culture and how each person has constructed their cultural identity comes into play. Otherwise, one might come across difficulties or blocks leading to personal barriers to teaching or learning. For this reason, learning each student’s cultural background and how they constructed it provides a healthier development in cultural, educational, commercial and other issues.’ The aim of Altugan’s research was to find out about the links between cultural identity and learning; and she therefore explored this question from two angles. Firstly, how a student’s cultural identity can affect their motivation to learn. Altugan observes in her article: ‘It can be said the immigration reasons of the students showed that in general have a positive effect on their education. They happily moved here because of job opportunities and having a better lifestyle ... However, would these reasons be enough to have positive effects on their education? The concept of a selffulfilling can be seen in the classes where students might find themselves negatively labelled. Some immigrant students expressed that they feel that they do not have a right to speak in class. However, when a classroom is open for exchanging ideas rather than suppressing, all students might benefit as the students who are from different cultural identities but minorities may feel that they have a place in that classroom and they have a right to make themselves heard and can develop their own perspectives by improving their self-esteem. Other students can also benefit from these different perspectives and develop their knowledge. It obviously can be seen that there are cultural identity differences, therefore, in order

All photos taken prior to COVID-19 lockdown

Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSICAL ROOTS

Above photo: Rixipix

to ensure effective learning outcomes students and teachers should develop intercultural understanding.’ Secondly, Altugan examined the cultural identities of the students themselves to see how their perceptions of their identity affected their ability to learn. Altugan comments on factors that affected her own students: ‘I have observed so many learning problems so far. I was a student and I have been a teacher for a long time in North Cyprus. I can easily say that especially after the 1974 war, there have been a lot of cultural changes, not only because of the effects of post colonialism and war but also because of globalisation and technology.’ She goes on to say: ‘I know that there are different types of students in each class … the question is how we can bridge the gap between students and utilise their learning.’ Altugan answers this question in her ﬁndings: ‘… some strategies should be put forward to increase the positive effects and decrease the negative effects … most teachers encounter students from different cultures in classes. Therefore, teachers have to work as much as possible and plan their lessons accordingly. This can be possible by being aware of cultural identity to see the features and characteristics of each learner better and more importantly to learn the learning strategies of each student to be able to teach mixed classes better. Factors related to the learners’ nationality, which might ease or unease their learning,

should be searched.’ Asked if there’s anything she would say to music teachers who ﬁnd themselves teaching children with different cultural identities, Altugan responds: ‘As a teacher, I would say all teachers should have the knowledge about their students’ cultural identities in order to be able to teach, to guide and to facilitate learning better.’ Altugan’s full article can be read at: core.ac.uk/ download/pdf/82082928.pdf and sciencedirect. com/science/article/pii/S187704281503267X

Arzu Soysal Altugan, PhD obtained three degrees (Public Management, ELT and Education Management; two MA’s in ELT obtained at Near East University and Cambridge University) before pursuing her doctoral research PhD, at London Metropolitan University. Altugan has also worked as an English teacher in different schools and universities, published her own work and has contributed to publications and research.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | MUSICAL ROOTS

Other research exploring cultural identity The role that music plays in cultural identity was explored by HERA (Humanities in the European Research Area), which carried out a project that examined the role and signiﬁcance of popular music in shaping cultural identity and heritage at both a local and national level. HERA is a partnership between 26 Humanities Research Councils across Europe and the European Commission including the United Kingdom and the project examined popular music’s contribution to the narratives of cultural identity and representations of cultural memories. Various research papers were written as part of this project, including Unauthorising popular music heritage: outline of a critical framework by Sara Cohen, Professor of Music at the University of Liverpool and Dr Les Roberts, also of the University of Liverpool. The paper set out a framework to explore the ways in which popular music heritage in the UK is understood, discussed, critiqued, practised or performed. And Music in the margins? Popular music heritage and British Bhangra music by Dr Gurdeep Khabra, which explored the relationship between popular music and cultural identity through a focus on British Bhangra and looked into the way that popular music plays a role in the negotiation of cultural identity in a local and national context. Both papers can be read at: tandfonline.com/doi/full/10.1080/1 3527258.2013.779294

Sound Connections explored the topic of cultural identity from another angle in its report Increasing Musical Diversity and Inclusion in Early Childhood. The aim of the Sound Connections project was to look at racial diversity and increasing inclusion within the workforce; it was inspired by the observation that when a Tri-borough Music Hub project placed ten musicians to work with ten early childhood practitioners, six of whom were from diverse ethnic backgrounds, the musicians overlooked the musical identity of the childhood practitioners they were paired with and did not explore the potentials of musical diversity. The full report can be read at: sound-connections.org.uk/wp-content/uploads/ Increasing-Musical-Diversity-and-Inclusion-inEarly-Childhood-Settings.pdf Rolf Lidskog, Professor of Sociology at the Centre for Urban and Regional Studies at Örebro University, Sweden explored cultural identity in his literature review The role of music in ethnic identity formation in diaspora: a research review. The review investigates the role of music in cultural identity formation among ethnic groups, focusing on how ethnic identities and cultures are maintained and transformed in diasporic situations, namely though music. His literature review can be read at: onlinelibrary.wiley.com/doi/10.1111/ issj.12091 Below photo: Alex Liew Photo taken prior to COVID-19 lockdown

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CHRISTOPHER AND DAVID STARK

Musicians in the pandemic: Christopher and David Stark Brothers Christopher and David Stark describe to Clare Stevens their contrasting experiences of the summer of 2020 as freelance and salaried musicians. Amid the frustrations and sadness of being unable to perform, they have developed their skills and found time for reﬂection

The freelance musician: conductor Christopher Stark of the Multi-Story Orchestra Putting on a classical music concert in a multi-storey car park off an inner-London high street sounds like a completely ridiculous idea. But that is just what conductor Christopher Stark and composer Kate Whitley did in the summer of 2011, gathering an orchestra of young professional players to perform The Rite of Spring in a draughty, low-ceilinged concrete space behind a cinema in Peckham. The venture worked, attracting a large audience that was diverse in age, class and ethnicity.

Read our next feature to see how CAPPA, a performance arts course, continued on and adapted to lockdown

Left: Christopher Stark Photo: Ambra Vernuccio Photo taken prior to COVID-19 lockdown

The earliest and most signiﬁcant casualty of the cancellation was The Endz, a new musical drama that was to have been performed with students from Harris Academy, Peckham, at the end of March in two local theatres. The hour-long show, including singing, dancing and rap, was partly inspired by the fatal stabbing of a pupil at the school some years earlier, and had been devised by the students and their head of music Kerry Rogers in collaboration with Kate Whitley. The aim was to show how young people in inner-city communities are surrounded by gang culture and can so easily be drawn into crime.

Having to call off the performances at such a late stage, when so much work had gone into them, was Further performances followed, featuring chamber deeply disappointing. Of course, the intention is that The Endz will be put on when conditions allow, but it and orchestral music ranging from Vivaldi, Rameau may be difficult to regain the same sense of immediacy. and Biber to Debussy, Wagner, contemporary scores such as John Adams’s Harmonielehre (a BBC Proms In the meantime, however, elements of the show performance) and Terry Riley’s In C, and fusions of have been used over the past few months in some of classical music, rap, hip hop and poetry. The MultiMulti-Story’s work with schools, which quite quickly Story Orchestra rapidly developed an education moved online. programme that brought local schoolchildren together ‘We made the decision quite quickly to honour our to perform works written specially for them alongside existing freelance contracts and bookings for 2020, and the orchestra; and it spread its wings beyond Peckham to continue to book freelancers for alternative activity to cities such as Ipswich, Birmingham and Gloucester. and digital projects,’ says Christopher Stark. ‘Our focus In 2016, their work was recognised with a Royal was on continuing to reach the young people in the Philharmonic Society Award for ‘ingenuity, simplicity, schools we engage with, and providing them with and as a model which can be replicated to create new digital educational and artistic activity, and supporting audiences for classical music around the UK’. disadvantaged and isolated communities. We decided Then in 2020 all this activity came to a halt; that was a more helpful response to the crisis than Multi-Story joined so many other organisations trying to find ways of putting on public performances. in being forced to cancel its planned season because Fortunately, the funding bodies that support our of COVID-19. work have been very flexible and have enabled us to transfer our grants to reconfigured projects.’ Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CHRISTOPHER AND DAVID STARK

Top: Christopher Stark working at Glyndebourne (photo taken prior to COVID-19 lockdown) Above: Multi-Story Orchestra performing at King’s Cross (photo taken prior to COVID-19 lockdown)

His biggest worry, he says, has been maintaining the orchestra’s momentum; although it started off as a large ensemble drawing on a large pool of players, the last three or four years when Multi-Story has presented a full season of concerts have seen it evolve into a more consistent group with a very special shared ethos. ‘The project has always had an element of trying to shake things up, but the shake-up caused by COVID-19 is a bit more drastic than we would have wished!’

lasting positive impact on how people see and relate to each other.’

Several of Multi-Story’s players have contributed ‘Lockdown Stories’ to the News pages of the orchestra’s website. Back in April, viola player Jenny Coombes vividly described the feeling of shock as she and so many colleagues found themselves striking through date after date in their diaries. However she also described how she and her boyfriend had enjoyed playing duets that he arranged for the unusual combination of viola and tuba for their neighbours as part of the Thursday night Clap for Carers, helping to create a community spirit that she had never felt before. As lockdown lengthened she decided to use the time constructively: ‘So I’ve taken the plunge, downloaded Sibelius and I too am now learning how to arrange. I might even foray into composing … we will see!’

This summer he was to have conducted Blackheath Halls Community Opera’s production of Verdi’s Macbeth but this had to be shelved. Instead the company has produced a ﬁlm version of Stravinsky’s The Rake’s Progress, with distanced performances from a distinguished cast of soloists including ISM board member Nicky Spence in the title role of Tom Rakewell joining the amateur Blackheath Halls Orchestra and Chorus and Royal Greenwich and Blackheath Halls Youth Choir, imaginatively directed by James Hurley. It premiered on 3 October on Facebook and YouTube.

In the wake of George Floyd’s death and the spotlight it shone on the #BlackLivesMatter movement, bassoonist Linton Stephens contributed some eloquent thoughts on how it feels to be a black classical musician in the UK, and how the movement had allowed him to share some of his experiences with his colleagues for the ﬁrst time: ‘At a time when classical music is the least diverse of all performing arts, I couldn’t help but sit up and feel how important this movement is and, with hope, how it might help catapult classical music into a new era of diversity.’ Read our feature ‘Musical roots’ on page 14 where we continue with our exploration of diversity and access to music and arts education

Percussionist Jude Carlton’s July Lockdown Story described how he and several colleagues delivered interactive ‘digital schools tours’ over Zoom to students in Peckham and Gloucester: ‘Each of our presentations centred around a video of the Multi-Story Orchestra playing a different piece. Mine was based on Steve Reich’s Music for a Large Ensemble – really bright and uplifting music that I think the kids enjoyed and which proved to be fertile ground for inspiring our own rhythmic sentences, doing lots of rumbling on our knees and generally having a groovy time.’

All the members of Multi-Story have portfolio careers, combining performing, teaching, outreach work and in some case composing in different contexts. In addition to his commitment to Multi-Story, Christopher Stark is making a name for himself as an opera conductor, and his cancelled engagements for this year have included work in Cologne and at the Garsington Festival.

Stark is also principal conductor of the amateur Ernest Read Symphony Orchestra (ERSO), which normally gives ﬁve concerts a year, combining a very high standard of performance (with the assistance of professional section leaders) with an approachable style of presentation, and giving important opportunities to young professional soloists. Unable to rehearse in person during lockdown, members of the orchestra learned and recorded their individual parts in isolation for its ﬁrst #ERSOOnline project, an introduction to D’un matin de printemps by Lili Boulanger. The structure of the piece is explained and some context provided by Stark, with musical illustrations by the players followed by a complete performance. The result is one of the best distanced performances I’ve seen.

Christopher Stark was responsible for both devising the project and editing the recordings; he also edited the audio recordings for The Rake’s Progress. Like many musicians over the past few months, he found the experience forced him to develop new skills that will be useful in the future to a high standard. ‘I enjoyed the process, but it was very tiring and time-consuming, and challenging for our performers,’ he admits. ‘Most people have the technology to do it in their phones, but it requires a lot of patience and we And in August Multi-Story’s co-founder Kate Whitley lost some who felt it was beyond them. I hope in the wrote about how volunteering as a delivery driver for future there can be a simpliﬁcation of the platforms a food bank had not only enabled her to get to know for this sort of thing.’ the area she had just moved to, but brought home to her in a completely new way the reality of lives very christopherstark.com different from her own, the gaps in the social care multi-story.org.uk system and importance of strong communities in erso.london supporting people: ‘It’s incredible how close we can all live to one another while being worlds apart, and blackheathhalls.com I really hope that some of the new relationships and experiences created out of the pandemic will have a

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CHRISTOPHER AND DAVID STARK

‘Now that we are getting back to work, that has paid off,’ he says, adding however that he was pleased when BBC NOW’s learning department seized the opportunity to expand the amount of time the players could spend working with schools and care homes, At the beginning of March this year David Stark, albeit virtually. Then towards the end of the summer younger brother of Christopher and principal double bass of the BBC National Orchestra of Wales (BBC NOW), they were able to meet again in person to record in had the well-organised routine and full diary common reduced-size ensembles for BBC Radio 3 and to give one of the shortened season of BBC Proms, broadcast to all members of the BBC Orchestras. Three-hour on both radio and TV from Hoddinott Hall. sessions of rehearsals, recording sessions and public concerts in the orchestra’s base at Hoddinott Hall in ‘I wasn’t needed for the ﬁrst piece in the Prom,’ Cardiff were punctuated by performances across the Stark recalls, ‘and it was an amazing feeling to watch length and breadth of Wales, in venues my colleagues performing together again after such as the beautiful Brangwyn Hall in Swansea, so many months off – very emotional. We are all St David’s Hall in Cardiff and Arts Centres in musicians because we love performing, and we want Aberystwyth and Bangor. to work.’

The salaried musician: bassist David Stark of the BBC National Orchestra of Wales

With lockdown came the cancellation of the orchestra’s public concert season, and even its recordings as Hoddinott Hall was out of bounds. But the BBC orchestra players are salaried, and as employees of a public service broadcaster are not eligible for furlough, so they could not be fully ‘laid off’. The BBC NOW admin, social media and education and outreach teams quickly swung into action to work out ways in which the players could continue to work and to communicate with their audiences online. So instead of the rigid schedule of orchestra sessions Stark and his colleagues have found themselves contributing solo performances, distanced chamber music performances, interviews, baby photographs and recipes to the BBC NOW social media feed. Stark has revealed the contents of his enormous double bass case in their ‘What’s in your gig bag?’ series, chatted to fellow members of his section about their likes and dislikes on and off stage, and recreated in a distanced performance with violinist Gwenllian Hâf MacDonald an encore that they played on tour in South America a few years ago.

This is principal conductor Ryan Bancroft’s ﬁrst season at the helm of BBC NOW, but Stark says he has adapted wonderfully to the strange circumstances, entering into all the online activity, getting to know the players and calmly meeting the challenges of all the changes of programming. ‘He has a great rapport with audiences, he obviously wants to get stuck in and nothing seems to faze him.’ The orchestra also has a new director, Lisa Tregale. It is a challenging time for a new team to be at the helm, but Stark says that she too is doing ‘an incredible job’ on behalf of the players. ‘I genuinely feel that in BBC NOW we are some of the luckiest musicians in the country because our role as a national orchestra as well as a broadcasting orchestra means there has been so much work for us to do. I know lots of people who are much less fortunate – some who have had to stack shelves or drive delivery vans because their freelance work has dried up completely – so I never take it for granted.’

Above: Screenshots from BBC Now

Below: David Stark performing with BBC NOW at one of this year’s BBC Proms Photo: Jake Bufton

bbc.co.uk/bbcnow

He also arranged ‘Bogoroditse Devo’ from Rachmaninov’s choral vespers to be played by the double bassists of all the BBC Orchestras from their homes in Scotland, England and Wales for the #BBCInstrumentalSessions, inspired by his memories of singing in school and church choirs as he was growing up in South London. ‘It was quite tricky, because the bass isn’t really a solo instrument, but it has the right soundworld for that deep Russian sonority and in fact I didn’t even have to transpose it.’ Back in the spring however, this activity was not enough to ﬁll a normal working week. Stark shared with many fellow musicians an initial feeling of relief in having a chance to step off the treadmill of fastchanging repertoire and spend a bit more time on personal practice, reﬂection, and learning some pieces more thoroughly. As Stark was just 23 when he was appointed section leader seven years ago, having a short enforced sabbatical from full-scale concerts was a positive experience.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CAPPA PERFORMANCE ARTS COURSE

CAPPA performance arts course goes digital Composer Larry Goves tells Vinota Karunasaagarar how multimedia resources allowed him to offer his students a rewarding online experience as we eased out of lockdown

While many educational establishments were forced to suspend their courses due to the COVID-19 lockdown, the Composition, Alternative Performance & Performance Art (CAPPA) course went ahead but transitioned to online. CAPPA was ﬁrst launched in 2018 at Snape Maltings, Suffolk, one of the world’s leading centres for music, as one of two Britten-Pears Arts composition courses. This course focused on collaborative and multidisciplinary experimental music practice, also considering visual and performance art.

Above: Vinota Karunasaagarar, ISM Creative Content & Publications Manager Photo: Emile Holba

Read our previous feature for further examples of how musicians adapted to lockdown

Top: Larry Goves Left: Piece by Michael Brailey at the Composition, Alternative Performance and Performance Art course recital (photo taken at CAPPA 2018)

celebrated visual arts and diverse creative practice, so this was the perfect space to bring together improvisation, devising, experimental performance, and composition where all these practices, multimedia or not, would have equal status. This also promotes diversity. At the RNCM I’m proud to be part of an institution that now has a popular music course alongside a classical music course, and with CAPPA I wanted to create as diverse a course as possible within the context of experimental music.’

The course ran successfully in 2018 and for its second iteration, in September this year, the calibre of the course was reflected in its teaching staff. ‘The teachers we invite work in the territories between visual art and music; often they are champions of intermedial or multidisciplinary practice. This year our guests included the Berlin-based duo Aside, comprising the saxophonist, visual artist, composer and director Meriel Price and actor, musician, and director Johann-Michael Schneider. Aside make performances, often very visual, from everything that you might associate with a concert performance including everything going wrong; they satirise the concert environment, and yet still often operate with notated musical materials. We were also joined by the celebrated Norwegian composer and artist Trond Reinholdtsen, who makes, among many other things, extraordinary, anarchic video operas;, the vocalist, At Britten-Pears Arts, Chief Executive Roger Wright, composer and artist Jessica Aszodi; the composer and flautist Kathryn Williams, and the clarinettist, Head of Artistic Planning Dan Whitfield, and the improviser and composer Lori Freedman. And for head of the Britten-Pears Young Artist programme the final three days we were joined by The House of Caro Barnfield were looking to replace their New Bedlam ensemble, who are used to working as both Music, New Media course, which Goves attended instrumentalists and in more diverse experimental back in 2012. New Music New Media had connected roles where they work directly with course participants primarily acoustic composers to electronic music and on their new work.’ multimedia for the first time, ‘but now, as so many While in 2018 the course participants and teachers young composers already have access to technology, lived together nearby in Aldeburgh for the 12-day a new approach was needed,’ says Goves. ‘CAPPA seemed like a good fit. Britten-Pears Arts have always duration of the course –‘a nice, quiet, remote location, ‘CAPPA arose from a lecture series I ran at the Royal Northern College of Music (RNCM) called Music, Alternative Performance and Performance Art,’ explains its director, composer and artist Larry Goves. ‘It explored trends in certain areas of contemporary music practice, acknowledging practitioners who work in an increasingly intermedial and/or multidisciplinary way; it looked at the history and context of performance art, revisiting Fluxus, the international, interdisciplinary community of artists, composers, designers and poets who engaged in experimental art performances during the 1960s and 1970s, emphasising the artistic process over the finished product. The lecture series began with a thought experiment: if other approaches to performance art from the 20th century had been allowed equal prominence in secondary and tertiary education, what would a music conservatoire look like today?’

Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CAPPA PERFORMANCE ARTS COURSE

away from the disturbances of the outside world and where you could focus on just the course’ – this year Goves and his colleagues Dan Whitfield, Roger Wright, Caro Barnfield and Samantha Ryan from Britten-Pears Arts faced the challenge of replicating this atmosphere in an online setting in the wake of COVID-19. ‘The 2020 course was difficult in some ways, as it is all about performance – about bodies in the room – but at the same time it’s also about experimentation and experimental practice and as such the course is adaptable by design. We looked at strategies for working online and video conferencing software, but this was not the emphasis; the emphasis was on talking about music and arts, thinking about how we collaborate, trying to make the technology invisible, where we can, while acknowledging that it’s useful to have as a process in trying to make the product. During the course some participants resonated with some of the technology while others made part-live and some part-recorded performances.’

Below: A piece by Zakia Fawcett is performed at a Composition, Alternative Performance and Performance Art course recital in 2018

remotely through this project, so I was conﬁdent that we could make something really good online,’ he says. So how did the 2018 version of the course differ from the 2020 version? In some ways not at all. ‘The 2018 course wasn’t that different in the way it was run. A lot of the work for the 2020 course was to ﬁgure out how everyone could stay in touch. ‘In 2018 we would get together in the morning and have a group session with presentations either by myself or talks from the guest teachers introducing participants to their work. I’m keen to promote questions about how we write music and also avoid putting people who write music in the same way together all the time. This means the teachers, who are all practising musicians, have leeway as to how they conduct their talks.

‘In the evening the course is a bit less formal and usually more practical, a chance for the guest artists and teachers to share their work in more detail. So one evening in 2018 we set up a surround-sound system The decision to move online was not automatic and listened to composer and sound artist Hanna – ‘we talked about whether to move online or stay Hartman’s new acousmatic piece, and then discussed in Suffolk, but if we isolated in Suffolk how would it; composers and performers Tim Parkinson and Jane participants get there, what if someone tested Saunders performed a 50-minute concert of new positive for COVID-19, how do we keep everyone safe? music for participants, as they were trying out new So online became the way to go and Britten-Pears Arts material for a tour in Norway at the time. were supportive in making it happen.’ ‘We managed to recreate similar experiences Goves worked on digital solutions at the RNCM in 2020. We still got together in the morning and and started running ‘Ensemble+ to COVID-19’, which evening every day, but this time online, although we looked at video conferencing between higher moved the morning sessions to lunch-time sessions education partners. ‘I’d already explored working to accommodate different time zones. Again, this

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | CAPPA PERFORMANCE ARTS COURSE

earlier session tended to be more formal – I spoke about relevant work or shared my own work and practice, as did the course teachers Lori Freedman, Trond Reinholdtsen, Aside, soprano Jessica Aszodi, and ﬂautist Kathryn Williams who both spoke about their recent collaborations. For the evening session, obviously we couldn’t do practical things together as we did in 2018, but we did have practical musicmaking using internet platforms – one evening Jessica Aszodi shared a piece we could all contribute to via Zoom. And we could certainly have plenty of conversation about making new work. ‘It was nice in 2018 to meet face-to-face or to pop in to see how participants were getting on, which could range from a ﬁve-minute chat to an hour-long conversation – a very simple thing to do, as we were all onsite. We tried to replicate this in 2020: on one day my Zoom was open for over eight hours, we had a WhatsApp group chat to keep track of who was with whom, and all sent a lot of messages.

Looking back on the 2020 course Goves feels that it went much better than he could have hoped for. ‘We managed to galvanize the community online.’ He reﬂects that it was important that the course went ahead as ‘all the participants were in the same place, in that they had not had live music for a long time and were hungry to get stuck in’. And despite the circumstances and the reasons why the course had to move online there are positive thoughts to take away from the process. ‘In future, we can scrutinize the way we delivered things, we can reframe what we do, but it’s a course that will evolve and if it happens again it would never have been the same anyway!’

Above: Screenshot taken of CAPPA 2020

Vinota Karunasaagarar, Creative Content & Publications Manager larrygoves.com/ brittenpearsarts.org/ snapemaltings.co.uk/about-us/

snapemaltings.co.uk/music/britten-pears-young‘In the last few days of the 2018 course, it felt artist-programme/composition-alternativechaotic, everybody was doing so much, recording, performance-performance-art-cappa/ making music and rehearsing and I was pleased to ﬁnd that it felt so similar this year.’

ISM early career membership – just £50 In response to the increased ﬁnancial difﬁculties faced by those at the start of their careers, any musician with fewer than 10 years’ professional experience can now join the ISM for just £50 a year.

If you know someone at the start of their career who would beneﬁt from the expert advice and support of the ISM, why not recommend us to them? You could save up to £20 on your membership fee. Find out more at ism.org/recommend

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | PROFESSIONAL DEVELOPMENT

Professional development The ISM provides you with opportunities to build up your skills in the digital arena with our advice pages and webinars. We also have a collection of professional development videos and resources available to members and the wider music sector through our sister charity, The ISM Trust.

The Empowered Musician ‘How to…’ Series The ISM has teamed up with industry experts to produce two new resources as part of its How to… guide series. How to… Make a recording, John Croft from Chiaro Audio, Dr Phil Harding, and Steve Long from Signum Records take you through the complete cycle of creating an audio recording, from engaging an engineer and producer, ﬁnding an appropriate venue, preparing and taking part in recording sessions, to mixing and mastering for online distribution and CD production. The guide has been designed to provide helpful insights and advice to recording musicians from all genres. Internationally-renowned lecturer and educator Lucinda Mackworth-Young presents How to… Teach adult learners. The majority of music teachers start their careers teaching children and young people, however there is a huge number of people who take up instruments later in life. The guide takes you through altering your pedagogy for older learners, as well as providing key recommendations for maintaining motivation and developing this side of your business.

Indian Takeaway: Rāg and Tāl basics Take away a lesson in Indian classical music. Our innovative, free online resource brought to you by the ISM Trust and Indian music expert Yogesh Dattani enables you to take away our lesson plans and successfully play or teach a piece of Indian classical music on any instrument.

These resources join the other guides in the How to… series, which examine connecting with digital audiences, marketing, working with artist managers, playing at festivals and negotiating contracts. You can read from each resource free of charge on the ISM website, or become a member of ISM (if you are not a member already!) to download the guides in full at ism.org/howto

Future webinars With music in mind Monday 16 November from 4-5pm With Music in Mind is The Amber Trust’s pioneering new music service for families who have a visually impaired child with neurodegenerative disease, such as Batten disease. This webinar is for parents, carers and professionals caring for, supporting or working with a young person with neurodegenerative disease. Amber founder and trustee, Professor Adam Ockelford, will introduce the new music service and resources developed after three years of research in collaboration with the University of Roehampton

Catch up – Past webinars Dyslexia and music: A personal journey As part of Dyslexia Awareness Month, Irish soprano Anna Devin and Sally Daunt, BDA, spoke about Anna’s experiences as a dyslexic opera singer and offered advice to both teachers and performers on how to improve the learning experience.

This lesson explores the basics of the melodic (rāg) and rhythmic (tāl) structures of North Indian classical music: sargam, as you gradually learn to play a short composition, Sargam Gīt. ism.org/indian-takeaway

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR MEMBERS

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 23 November for the January/February 2021 issue.

Dr Julian Bream CBE 15 July 1933 – 14 August 2020 ISM member since 1976 Julian Bream made his solo debut at the Wigmore Hall in 1951 and went on to become arguably the greatest British classical guitarist of all time. His repertoire ranged from pioneering transcriptions of works from the seventeenth century onwards to contemporary music; among the composers who dedicated pieces to him were Malcolm Arnold, Richard Rodney Bennett, Lennox and Michael Berkeley, Benjamin Britten, Leo Brouwer, Hans Werner Henze, Peter Maxwell Davies, Toru Takemitsu, Michael Tippett and William Walton. Bream also set new standards in the editing and publication of works for guitar, in his quest to broaden musical horizons. Through televised masterclasses, concert performances and a 1984 documentary series exploring historical perspectives on

Layla Allen So, You Want to Play the... Clarinet – Book One is a unique beginner clarinet tuition book written by Layla Allen. This book teaches aural skills, improvisation, learning music by ear, and includes duets, piano accompaniments, Christmas music and pop songs alongside the usual music theory, clarinet ﬁngerings, exercises and pieces.

Left: Dr Julian Bream CBE Photo: Courtesy Julian Bream Trust

So, You Want to Play the... Clarinet – Book One was created for the modern teacher and learner. With its own YouTube channel this book links the user to slow-down-able backing tracks, listening and instructional videos. You get a free Teacher Insert which includes technique teaching tips

Spanish guitar music he brought his instrument to a wide new audience. ‘Julian was an inspiration to a generation of guitarists, and he has left a great legacy of commissioned works and recordings,’ writes Gareth Rees-Roberts. ‘His annual visits to the Royal Academy of Music (RAM) to judge the Julian Bream Prize were a highlight of the year, and I felt honoured to receive this accolade in 1974. The breadth of repertoire that he covered was ground-breaking, and his inﬂuence can be heard in the performances of young virtuosi now taking the stage. I will always treasure the memory of a concert he gave to a packed Queen Elizabeth Hall in 1973, when he played a tombeau by Weiss with such intensity that you could have heard a pin drop in the Hall.’ In 1976 Bream was personally presented with the Villa-Lobos Gold Medal by the composer’s widow. He was elected an Honorary Member of the RAM (1966) and was later for second study clarinettists and it is available as an e-book (T&Cs apply).

honoured with Fellowships of the Royal College of Music (RCM) and the Royal Northern College of Music. In 1988 he became an Honorary Member of the Royal Philharmonic Society (RPS), and he was presented with the RPS Instrumentalist’s Award in 1996. In 2009 he established the Julian Bream Trust to commission major new works from leading composers and to provide scholarships for exceptionally gifted young guitarists and lutenists at the RAM, RCM and the Royal Welsh College of Music and Drama. Laura Snowden, Julian Bream Trust Scholar in 2013-4, writes: ‘Julian’s unique artistry and profound feeling for music transcended the instrument and reached directly into people’s hearts. He taught me a tremendous amount about music and life during our lessons, and his playing, recordings and commissioning will continue to be a great gift to the world.’

For more information please visit: laylaallenwoodwind.com/author

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR MEMBERS

Richard Carder My new choral setting of Shelley’s ‘Ozymandias’ had its premiere performance by Cappella Nova Chamber Choir in Bath on 29 February.

Above: Adrian Lenthall

Adrian Lenthall

Below right: Richard Carder

Adrian Lenthall has just released a recording of Christmas Music for Clavichord, Heaven & Earth in Little Space, on his own label, Plus Fait Douceur. The programme consists of keyboard music with strong Advent, Christmas and Epiphany connections, ranging from the 15th to the 21st centuries and taking in a wide range of composers including Bach, Scarlatti, Bartók and Nielsen, played on four different clavichords. It includes the premiere recordings of three pieces from Nativity, a set of seasonal pieces by the British composer Geoffrey Allan Taylor. Adrian’s earlier live performance of the programme was described in the British Clavichord Society Newsletter as ‘absolutely spellbinding’; moving outside the familiar moods and sounds of Christmas, this music, employing the softest and most intimate of all instruments, takes us into a littleexplored region of intersection between the particular magic of Christmas and that of the Clavichord.

Far right: Anne Marsden Thomas and Frederick Stocken (photo taken prior to COVID-19 lockdown)

adrianlenthall.co.uk/ plus-fait-douceur-recordings

There have been some nice reviews of the recent CD from Divine Art Sappho, Shropshire and Super-Tramp. It contains my edition of Ivor Gurney’s Seven Sappho Songs, sung by Sarah Leonard with Nigel Foster, alongside songs by members of the English Poetry and Song Society, also with Johnny Herford. My recent cantata in memory of the Chernobyl explosion, Green-En Dreams, is also recorded, and all proceeds are for the Chernobyl Children’s Project, which organises holidays for the many still suffering from the radiation.

ﬁngering and pedalling, and historically-informed interpretation. The attractive pieces include works by J.S. Bach, Buxtehude, Franck, Reger, Stocken and Walton. A companion website offers extensive additional resources to enhance learning. annemarsdenthomas.com

Mynstrallsy Press: mynstrallsy.co.uk

Simon Leach

Anne Marsden Thomas MBE and Dr Frederick Stocken The New Oxford Organ Method is a comprehensive method book from Oxford University Press, written by members Anne Marsden Thomas MBE and Dr Frederick Stocken. They bring to this project a lifetime of professional experience of teaching and performing. The method places organ repertoire at its centre, using carefully selected pieces as the basis for learning, with related exercises and studies. By teaching technique through the music the book equips players to make a direct connection between the pieces they encounter and the techniques which lead to a musical performance. It is designed for use as a teaching resource or for selfstudy purposes. Each chapter focuses on a single piece, covering four main topics: practice methods, registration,

Simon Leach has recently been appointed organist at Marchmont House which is situated in the heart of the Scottish Borders. The Music Room at Marchmont was designed by the eminent architect Robert Lorimer and houses a fabulous three-manual Norman and Beard organ which has recently been fully restored to its original condition by Forth Organ Builders of Rosyth. The house has had a long association with composers and musicians, particularly Charles Villiers Stanford who was a frequent visitor to Marchmont and a great friend of the then owner, Robert Finnie McEwen. Simon’s video recordings of the organ recitals will be available to view on the Marchmont House website: marchmonthouse.com

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR MEMBERS

Echo Ensemble The Echo Ensemble is committed to getting the performing arts moving again. Our next Covid-Aware event, Echo Ensemble: Hope, will take place at 8pm on 25 November at St Giles’ Cripplegate, and features music by Holst, a world premiere by Noah Max and Vaughan Williams’ sumptuous Oboe Concerto with soloist Katherine Bryer. We can’t wait to share more details and will keep you updated should guidelines change. Echo Chamber 3 follows in December. With a ground-breaking new format and inspiring original content from Europe’s most creative young musicians, the Echo family promise to keep you fulﬁlled as 2020 closes. Catch the teaser here: youtube.com/ watch?v=nEAk9NuMg2g

and keyboard accompaniment, with the option of a small instrumental ensemble or chamber orchestra as You can relive the joy of Echo Outdoors forces allow. here: youtube.com/watch?v=rXGGL dbQILw&list=PLArSMwxFYX91tSKrD H32JTdKBQc3BqSne It is without surprise yet still with heavy hearts that we conﬁrm The Wind Rises on 8 October and Grant Us Peace on 26 November can’t go ahead. Those who have booked will receive a refund.

hours or so, Henry Blogg and his men saved the crew of two boats, the Pyrin and the Fernebo. In this work, Douglas Coombes captures the struggle, endurance and sheer inspired determination of Henry Blogg to succeed against the extreme forces of nature. Available from lindsaymusic. co.uk

Above: An Echo Outdoors sociallydistanced performance

Sarah Rodgers

A new work commissioned from Sarah Rodgers for Spitalfields Music will be premiered on Saturday 14 November Find Echo Ensemble on Facebook as part of an interactive, streamed @EchoEnsembleMusic and Twitter performance between performers on @EchoEnsemble The eponymous ‘bravest man’ is both sides of the Atlantic. The Millerlifeboat coxswain Henry Blogg (1879– Porfi ris Duo (violin and viola) with 1954) of Cromer, North Norfolk who is Douglas Coombes Siwan Rhys (piano) will perform ‘Sizzle’ the RNLI’s most decorated lifeboatman as part of Spitalfields Music’s, Fast Composed by Schools Music Association ever. In his 38 years of service to the Food, Fast Music concert for the 2020 life-member Douglas Coombes, The Cromer lifeboat he saved 873 lives, Bravest Man is a through-composed and this cantata samples just one day festival. Sarah will also be online to talk about the piece. To find out more, dramatic cantata, lasting approximately in 1917, when in three rescue outings visit spitalfieldsmusic.org.uk. 45 minutes, for two narrators, tenor on this single day, over a period of 16 and baritone soloists, SATB choir

OBITUARIES We are sorry to announce the deaths of the following members: Mr Michael Barlow of Oxted Dr Julian Bream CBE of Shaftesbury Mr Tony Cliff of Falmouth Dr June M Keyte MBE of London

Mr Michael John Lloyd of Newcastle-under-Lyme Mr Dennis J Wickens of Wantage

In our tribute to Elizabeth de la Porte in our September/October issue of Music Journal we did not include her FRCM title. Our apologies for this oversight and her correct title is Elizabeth de la Porte FISM, FRCM.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR MEMBERS

MEMBER COMMENTS Wouldn’t give up my membership for anything ... I’d live on beans ﬁrst! Leila Begg, ISM member since 1999 You guys have been amazing thank you and you are about to run some social media and blog info about my new album so I feel very well supported and represented by my ISM despite the challenging circumstances that we have all endured. Donna-Marie Povey, ISM member since 2017

Just to say that the previous webinar on mental health was fantastic and very helpful. It really impacted on the effects of the lockdown on musicians. Ms Jepson ticked many of the boxes that I had experienced, especially the loss of identity. ISM member I must say over all the years that I’ve been in the ISM I have never been more impressed by the service you have offered in recent months. I have received a great deal of advice and help.

Thanks so much for this inspirational session by Emma Alter.

ISM member

Nicola Billington MISM, ISM member since 2018

‘Thank you so much for all the helpful, useful and relevant emails that you are sending to keep us up-to-date with COVID-19 advice and regulations. Your messages are a breath of fresh air compared with some I receive from other organisations or bodies, when I have to trawl through pages of ‘too many words’ to ﬁnd what I need to know. Your summaries of salient points and the links directly to the relevant parts of government documents are most

I just wanted to say thank you because your website is so helpful with regards to advice on recommending one-to-one music tuition and risk assessments etc. I have really appreciated the advice and guidance. Thank you so much. Naomi Brocklehurst, ISM member since 2018

welcome, and have enabled me to be properly informed without losing the will to live! I have friends, relatives and acquaintances who have also beneﬁted from the clarity of your messages, especially in aspects of teaching and religious worship. Each of them has commented on the quality of the information and the manner in which it is presented. Most of them would not qualify for membership otherwise they’d join! I have always known that my membership has been worthwhile. This year has surpassed all others with this additional usefulness, and there’s no doubt that I’ll certainly be renewing my membership.’ ISM member since 2003

Classiﬁed advertising HOW TO BOOK: please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org Copy date by 23 November for the January/February 2021 issue. 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.

FRENCH HORNS, Several from £150 01747 828552 VARIOUS BRASS, WOODWIND AND STRINGED instruments for sale or to rent. Tel: 07974 412269 STUDENT CELLOS, mostly German, various sizes, from £100. Tel: 07974 412269 BASSOONS several. 07974 412269

DOUBLE BASS PAESOLD concert model 590. Excellent condition cost £3k plus in 1997, £895 ono. Tel: 01747 828552 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

SPINNETT WITTMAYER (German) Four octaves, C-D, light walnut. VGC needs tuning, hence GRAND PIANO by Lehmann of Berlin. 5ft. Excellent condition. £10,000 ono. £395 for a quick sale. Tel: 07974 412269 London area. Tel: 07962 983450

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR CORPORATE MEMBERS

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 150 words for platinum and gold members, max. 100 words for silver members) and good high-res photographs. Please email mj@ism.org. The next deadline is 23 November for the January/February 2021 issue.

NMC Recordings

been designed to complement ABRSM’s existing Practical Grades.

Works by six NMC composers are the gb.abrsm.org/en/our-exams/ starting point for practical lessons performancegrades and student exercises in our new GCSE Composition Resource, delivered in partnership with Dr Steven Berryman (Director of Arts and Culture at Odyssey Trust for Education) and Focus on Sound. It is available as a free PDF download from NMC’s website, with accompanying Spotify playlists, and is also included as a module in the interactive music classroom software Focus on Sound.

Impulse Music

Students can undertake composition tasks in areas such as harmony, pitch and musical textures using works from Mark Bowden, Martin Butler, Howard Skempton, Errollyn Wallen, Judith Weir and Tansy Davies. The GCSE Composition Resource provides creative inspiration for students tackling the composition module of the GCSE syllabus and acts as a guide for their own composition writing.

As these testing times continue, at Impulse, we are only too well aware of the mental and emotional toll this is taking on musicians unable to practise their art. Mental resilience is an essential component of the healthy musician and at Impulse we have been taking advantage of a

number of webinars to ensure that we can pass on best advice to clients who are feeling the pressures of the interruptions to their lives and livelihoods. Here is a particularly helpful ninepoint plan from Music and You, who specialise in mental health and wellness: •

acknowledge your inner strength

•

take care of yourself

•

focus on what you can control

•

shufﬂe your priorities

•

take action

•

every problem provides an opportunity

•

practise gratitude

•

reﬂect on what you’ve learned

•

seek support

If this touches a chord, you can follow up at: musicandyou.co.uk. We recommend them highly. For more advice and information, visit impulse-music.co.uk or call 01760 441448.

nmcrec.co.uk/gcse-music

ABRSM ABRSM’s Performance Grades are new, remotely-assessed exams that are all about performance. Create your own performance in your home or elsewhere, featuring four pieces of music that are special to you. Performance Grades are an exciting addition to ABRSM’s trusted pathways of regulated assessments and have Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR CORPORATE MEMBERS

Right: Bella Tromba

David Doidge, RWCMD graduate, repetiteur, and Chorus Master at WNO is an old hand at playing on brand new Steinways, as he was one of the students chosen to perform when Steinway delivered 62 new pianos to the College in 2009.

Photo: James Berry (photo taken prior to COVID-19 lockdown)

‘This is my ﬁrst gig back after lockdown so that made it even more moving and enjoyable. I think RWCMD is truly deserving of the very best as they invest so much in their students. This incredible hub of talent is one that I feel very proud to be a part of it now as a member of staff.’ rwcmd.ac.uk

Making Music Making Music is proud to introduce our Selected Artists for 2020/21 – established professional musicians and ensembles specially chosen by a panel to be included in our Selected Artists Guide. The guide makes booking professional artists affordable for leisure-time music groups and promoters. Making Music members can book the listed artists at a subsidised fee, and in turn, the artists gain exposure and more opportunities for bookings among our 3,700+ member music groups. We know how crucial it is during this time of pandemic to keep engaging professional musicians while staying connected with audiences, so Making Music is delighted to also be offering subsidies to our members to book any professional artists for digital performances. In this way we hope to support professional musicians and ISM members who may not yet be able to rebuild their full professional engagement agenda due to performing restrictions. makingmusic.org.uk/saguide

Royal Welsh College of Music & Drama Celebrating the Royal Welsh College of Music & Drama (RWCMD)’s new status as Europe’s ﬁrst Steinway Exclusive Conservatoire gave composer and MA Composition student Julia Plaut a daunting but inspirational challenge.

Having written a celebratory piece especially for the day, she had to work with 24 pianists playing 24 brand new Steinways, with only an hour’s rehearsal together before the performance, and conducting from the balcony. ‘Steinways are the Rolls Royces of the piano world,’ says Plaut. ‘They sound so rich and are so responsive to play. I wanted 24 Pianos to be celebratory, revelling in the collaborative nature of the performance, and the magniﬁcence of these new Steinways arriving in the Welsh capital. ‘I feel very fortunate to be performing anything at this time, but to have such rich resources such as 24 Steinways, 24 highly capable and enthusiastic pianists, and a stunning architectural space with wonderful acoustics to conduct my own music was an extraordinary blessing.’

Black Dress Code Black Dress Code has responded to demand with the launch of a new project to make lightweight, playable jackets and tails that allow musicians to perform comfortably in all temperatures. We have chosen an award-winning design team with experience working with the Milan Opera. We now need as many musicians as possible around the world to join the initial project. If you can persuade your entire orchestra to join in, we will provide a discount on each jacket. Several orchestras, including the Nashville Symphony, have already signed up for this. Those interested will be kept informed of the progress of the design and will be asked to voice an opinion at each stage. They will also be asked to try on the samples as they come out of the studio and to give them a test run.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR CORPORATE MEMBERS

The final, approved jacket or jackets will go on sale on the website. The price will reflect demand, therefore the greater the number signing up, the lower that final price. To sign up, go to blackdresscode.com/the-perfectperformers-jacket/ or contact daniella.gluck@blackdresscode. com for further information.

The Piano Teachers’ Course UK (PTC UK) 2020-21 is an exciting time for the Piano Teachers’ Course UK Earlier this year, all our courses were swiftly relocated online, and the rapid adjustment was managed outstandingly by our students and tutors. For this academic year, we have embraced that change and now, for the ﬁrst time, we are able to welcome piano teachers online from all around the world for our three professional development courses.

The National Children’s Choir AOTOS of Great Britain Changes The National Children’s Choir of Great Britain gives young singers aged 9-19 the chance to learn from inspiring music teachers and develop musically within a supportive and fun environment. During our courses, our young people make music, have fun and make lifelong friends; we set great store by ensuring that they have a wonderful experience, both musically and pastorally. We are busy making plans for 2021 and adapting where necessary due to the COVID-19 pandemic. Our auditions are being held online through October to early December. We welcome applications from any young people who love to sing. nccgb.com

pianoteacherscourse.org

aotos.org.uk

The next report will review our Autumn conference and the second webinar. Webinar news

Music Education Solutions:

With these accelerated developments, it is perhaps no surprise that our Director of 13 years, Lucinda Mackworth-Young, is now the International Director of the organisation, expertly overseeing the delivery of courses across the world – both online and face-to-face when Music Education Solutions® has that becomes possible. won the 3-star Teach Primary Award 2020 for Continuing Professional Development. It is fantastic for our suite of music teacher CPD courses to be recognised in this way, particularly as the award is not subject speciﬁc. We are grateful to Teach Primary for recognising the value of high-quality music CPD! You can ﬁnd out more about our award-winning courses – on which ISM members receive a 20% discount – here: Ably taking her place as Director of musiceducationsolutions.co.uk/ the PTC UK is renowned pianist and products-page-3/courses-available/ pedagogue Masayuki Tayama, whose online-courses-2/ passion is helping pianists of all ages and levels to play freely – both physically and musically. ‘The PTC transformed my teaching and performing.’

This summer we said farewell to Heidi Pegler as our Chair and welcomed Nicola-Jane Kemp in to the role. We have become a Charitable Incorporated Organisation, creating for us a more stable platform. Huge thanks to Heidi who has spent her time as Chair working through this complex set up. As we move forward, we know we are entering a new and exciting era. This year also saw us alter the structure of the Autumn offerings to members due to being online. To that end we set up a series of Autumn webinars (open to all) and targeted issue zoom events (members only).

Our ﬁrst free to all national webinar with Nick Gibbins, Declan Costello and Natalie Watson (pictured below) aired on September 17th and was a huge success. They were part of the team which led the PERFORM study into aerosols, singing and COVID-19. With over 500 viewers from around the world and a recording available to all, it continues to attract attention. To access the recording which has been made available free to everybody, please follow this link. youtu.be/ AZMpYydZj-4

Membership Membership gives you access to our private Facebook pages which buzz every day with conversation and shared ideas and to our conferences and online events including POD meetings for speciﬁc areas. Our forthcoming Spring programme is on its way! Continued overleaf È

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR CORPORATE MEMBERS

Rayburn Tours For over 55 years, Derby-based group tour operator Rayburn Tours has been helping music groups perform all around the world – and now they’re bringing things closer to home with their new UK trips for youth and adult music groups. UK trips aren’t anything new to Rayburn Tours, having been offered for years alongside the company’s international destinations. But after listening to their clients, Rayburn have spent the last six months enhancing their portfolio of UK music tours to make them even more exciting and great value for money – all backed by Rayburn’s COVID-19 Guarantee. rayburntours.com

Support your fellow music professionals

Make musical connections with Member Connect

The ISM regularly receives donations from members and supporters, which allow us to continue our vital work of protecting musicians and promoting the art of music. During the COVID-19 pandemic, we have been heartened by the generosity of our members, many of whom have offered to donate to the ISM in order to support fellow members who are experiencing hard times.

Have you set up your proﬁle on Member Connect? This is an online service for ISM members who wish to connect with other members of our community in a safe and secure way. You can search for other members using a wide range of options including location, musical profession, genre and instrument.

If you are in a position ﬁnancially to do so and would like to make a donation to the ISM, this will help enable us to write off membership payments and offer subscription holidays to members in ﬁnancial need. Contact our membership team on 020 7221 3499.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | NEWS FROM OUR CORPORATE MEMBERS

stainer.co.uk

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

PLATINUM CORPORATE MEMBERS

ABRSM

GOLD CORPORATE MEMBERS

Music Mind Hub

Benslow Music Instrument Loan Scheme Black Dress Code

Allianz Musical Insurance

Musicians Insurance Services

Duet Group

NMC Recordings

ESTA Education

Park Lane Group

Classic FM Collins Music Henri Selmer Paris Impulse Music Consultants London College of Music Examinations Music Mark

Hal Leonard Europe Ltd

Portsmouth Music Hub

Music Teachers’ Board

Insure4Music

Rocksteady Music School

Oxford University Press

Kawai

The Royal Central School Of Speech & Drama

Stainer & Bell Ltd

Lark Music

The Royal Philharmonic Society

Leeds Conservatoire

Trinity College London

London College of Music

Victoria College Exams

Mark Allen Group

Yamaha Music Europe GmbH (UK)

National Preparatory School Orchestras Royal Birmingham Conservatoire Steinberg Media Technologies GmbH Take it away The Academy of Music & Sound The Curious Piano Teachers The Piano Teachers’ Course UK Trinity Laban Conservatoire of Music and Dance Trybooking.com Tutti University of St Andrews VLT Legal Services Ltd

For further information about our different levels of corporate membership and a full list of 180 corporate members, visit ism.org.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2020 | LOCAL AREA EVENTS

LOCAL AREA EVENTS Full listings can be found on our website, ism.org. The next deadline for copy is 23 November for the January/February 2021 issue. Please note that for the foreseeable future all local group events must take place online. Please contact us at membership@ism.org if you have any questions about this or require assistance in getting your event online.

Sunday 17 January 2021 Oxford (Event postponed from October 2020) The new 21/22 ABRSM Piano Syllabus: Highlights and Pathways Lecture/demonstration by Anthony Williams MMus, DipRAM, GRSM, ARAM 3pm broadcast** from Radley College, Abingdon, Oxford

Right: Anthony Williams performing at Radley College (photo taken prior to COVID-19 lockdown)

Anthony has agreed to base his presentation around speciﬁc questions sent in by you in advance on any element of interpretation, technique or notation. He will then use these as a theme for exploring a range of some of the most imaginative and exciting repertoire within the syllabus. **Due to the continuing uncertainty surrounding restrictions associated with the COVID-19 pandemic, we have regretfully decided that this event

will deﬁnitely be online, via Zoom. All participants will be able to see and hear Anthony and will be able to ask questions in person. Attendance: ISM members £8, guests £10 (advance booking is essential for this event) Please contact Carolyn King for your bookings and queries/questions for Anthony 01235 522774 carolyn2king@btinternet.com

Anthony Williams is Head of Keyboard at Radley College. As well as being a concert pianist, writer, lecturer, ABRSM examiner and festival adjudicator, he also gives piano master classes, public lecture recitals, and seminars on performance. He is the author of the acclaimed book The Piano Teachers’ Survival Guide and will be able to throw plenty of light on the new syllabus.

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Know a friend or colleague who would beneﬁt from ISM membership? We’ll give you money off your next year’s membership fee every time someone you recommend joins us at the full or early career rate – £20 off if you are a full rate member, or £10 off if you are an early career rate member. If they join at the full rate, we’ll give them £10 off their membership fee too.

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Looking after your health Remember to take care of your health during the coronavirus pandemic. The ISM, ISM Members Fund and ISM Trust offer various services to help you with this. Health Assured: 24-hour conﬁdential personal support and advice helpline Provided by the ISM Members Fund, members have access to a free 24-hour personal support and advice helpline where they can speak to professionally qualiﬁed counsellors on everything from bereavement and relationships to workrelated stress and mental health. If you need further support, up to six sessions of structured counselling can be arranged, free of charge.

Physiotherapy Provided by the ISM Members Fund, and in partnership with Physio Med, members have free access to advice and face-to-face treatment via the Physiotherapy Advice Line (PAL) where expert intervention for muscle and joint problems is available directly from a Senior Chartered Physiotherapist.

Counselling service Provided by the ISM Members Fund, members have access to the conﬁdential service operated by Health Assured. The service includes telephone counselling, face-to-face counselling (up to six sessions) and Cognitive Behavioural Therapy (CBT).

Webinars Provided by the ISM Trust, members have access to our range of free webinars that focus on your health, such as our health and wellbeing series of webinars, and individual webinars on topics like performance anxiety and hearing health.

Discounts Provided by ISM Discount + service, members have access to a range of health and wellbeing savings such as eye care, gym membership, private GP consultation and medical insurance.

Advice pages Provided by the ISM, members have access to a wide range of advice pages that focus on your health, including topics such as looking after your mental health during COVID-19, vocal health and how to keep a clear voice, and healthy playing.

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Ask me a question Claire Bowes Founding director and piano tutor at Omagh Music Academy Tell us a little about yourself. I am married with three children, aged 5, 9 and 11. I have always been passionate about music and am delighted to have made a career out of it. I love learning and can’t get enough of anything related to piano, piano teaching and music. I have a BA and PgDip in Music, a certPTC and an LTCL in instrumental teaching. I love to walk and tandem cycle with my husband. In my spare time, when I get it, I love listening to audio books. Spending time at the beach is my favourite thing and we are very fortunate that we live less than musicianship, so our students learn to play by ear, improvise and play chords and an hour from the coast. I am blind, but I common chord progressions as well as don’t let my sight loss hold me back. developing the ability to read music. Our main aim is encouraging confidence Who or what has most influenced you and creativity through music. and your career? I would have to say that my piano teacher and music teacher at school were probably two of my main influences. They encouraged me to explore and make discoveries about music. They both also made the piano and music extremely interesting and enjoyable. What would you say is your greatest achievement to date? Making the decision to open Omagh Music Academy has to be one of my greatest achievements to date. I was very reluctant to give up my full-time job to make it happen but now, eight years on, I am so glad I did. At Omagh Music Academy we offer a variety of instrumental and singing lessons to people of all ages and abilities. We teach our students the skills necessary to become independent learners. I feel it is important to develop all aspects of

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Who is your all-time favourite artist and why? It is really hard to choose just one artist. My favourite composer is Chopin as I just love what he does with the piano. Josh Ritter would be another favourite as when he is performing it is hard not to feel how much he enjoys what he does. He really shows his audience how much he loves the music he performs and to me this is so important. His concerts aren’t about selling out huge venues or really elaborate stage set ups but focus instead on him, his guitar and his band. What was the last CD/music download that you purchased? Our recent downloads list includes everything from classical, folk, R’n’B, easy listening and, thanks to the children, many

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Disney classics. I couldn’t say I have a favourite genre of music. It really depends on what mood I’m in. What are your plans for the future? I’m not sure what the future will bring. I tend to live in the moment and enjoy what is happening currently. I would love my future to include offering support to other teachers and owners of music schools, offering advice and information as required. Finally, what is your ISM membership to you? I am so grateful to ISM for professional development, and the support and guidance it offers to musicians. Working in this ﬁeld can be quite isolating and it is so good to have ISM to consult when necessary. It is particularly helpful, having ISM guidance throughout the ongoing COVID-19 pandemic. omaghmusicacademy.com @OmaghMusicAcademy

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Music Journal November/December 2020

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Musicians in the pandemic: Christopher and David Stark

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Music in faith

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