ISM Music Journal January/February 2017

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January/February 2017 The orchestra by the sea: Bournemouth Symphony Orchestra Steinberg launches Dorico Music Education Expo 2017

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Welcome Happy New Year! 2016 was certainly action packed in all kinds of ways. At one stage we thought that we were going to get a new bespoke concert hall for London. Now, following headline grabbing events like Brexit and a change of Government, this seems like a distant memory. With so much uncertainty, your ISM continues to do what it has always done since 1882, namely, support professional musicians right across all sectors, whether it is composing, performing, educating or indeed professions such as music therapy. We are here for you.

Above: Deborah Annetts Photo: Mark Thompson

Front Cover Bournemouth Symphony Orchestra at Lighthouse, Poole See feature on pages 13-15 Photo: Christian Lawson Inset images: Steinberg launches Dorico

At the point of writing, one year on from when the EBacc consultation was launched by the Department for Education in November 2015, we still do not have the Government’s response. This is despite the fact that under Government rules, departments are supposed to publish responses within 12 weeks of a consultation closing or provide an explanation why this is not possible. So, this means that the DfE is now nearly nine months overdue with its EBacc response. The DfE received more responses in relation to this consultation than any other in 2016 apart from teachers’ workloads. To be nearly nine months behind does look rather like ‘the dog ate my homework’. And it is not as if adverse data regarding the impact of the EBacc is hard to come by. Many professional associations whose members work in non EBacc arts subjects, like the ISM have undertaken research and found that the impact of the EBacc on creative subjects in schools has been very harmful. We all know that GCSE music take-up is falling but this is also having a knock on effect as to what happens at key stage 3 and across the provision of music in the classroom. At a time when the UK is repositioning itself on the world stage, it is critical that the Government drops the EBacc which is so detrimental to education and our profitable creative industries. Such a decision would be at no financial cost and would only have benefits in terms of the economy, education, and the reputation of the UK as a place of creative excellence. So, go on DfE, drop the harmful EBacc. It would be a fabulous New Year present to everyone working in music and the creative sector generally. Just two other things. I am delighted to be able to announce that our next Members’ Day will take place on Friday 21 April 2017 at The Royal Central School of Speech & Drama. We hugely enjoyed the hospitality of RCSSD last year and the glorious surroundings of the Embassy Theatre, so do come along and enjoy an ‘In Conversation’ session with Mark-Anthony Turnage. There will be a masterclass in the afternoon and of course the AGM just before lunch. And lastly, don’t forget, this is the time of year when we advertise vacancies for Council. Full details can be found on the enclosed sheet. Please do think about applying.

See feature on pages 17-18 Music Education Expo See feature on pages 21-22

Contents 2 5 7 11

News & campaigns Members’ Day Legal and business help Professional development

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The orchestra by the sea: Bournemouth Symphony Orchestra Steinberg launches Dorico Music Education Expo 2017

17 21 23 29 35 35 36

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

Volume 83 / Number 5 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 Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Deer Park Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 February for March/ April issue Price: £6 per copy Subscription: £30 per year Circulation: 7,800 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.

deborah@ism.org

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

News & campaigns Brexit survey: Headline results Thank you for your (500+) responses!

Henry Vann, Head of External Affairs, ISM

A huge thank you to every ISM member who responded to the survey on the impact of leaving the EU for musicians. We had an astonishing 503 responses in just one week from Friday 21 October to Friday 28 October, enabling us to understand concerns you may have.

Free movement of professional musicians is important: Our survey found that 56% of musicians placed ‘maintaining free movement for music professionals’ as their number one priority for the music profession in negotiations relating to the UK leaving the EU. A further 21% put it as their second priority. The A1 form – a simple to use form to declare We have used the responses from our survey to independently inform Government, MPs and other key that you pay tax elsewhere – was highlighted as organisations as the Government considers the result a particular benefit which needed protecting. of the UK referendum on leaving the EU. These results Copyright matters: A majority of respondents placed will help the Government ensure that the needs of the importance on the regulation of collecting societies music profession – where relevant – can be protected (58%), access to the Digital Single Market to sell in any resultant negotiations. recordings and other products digitally (59%), and maintaining current levels of copyright protection Here are some of the headline results: e.g. to prevent expansion of unpaid uses by UK and Performers are more likely to travel to Europe foreign corporate businesses (60%). and the world: Perhaps unsurprising that 49% of the respondents work in the EU compared to 36% who work in other parts of the world. This figure was higher ISM Round Table on Brexit: The ISM Special Interest Groups will be holding a round table to discuss for our performers, 60% of whom work in the EU and Brexit and musicians’ priorities in the afternoon 47% of whom work in the rest of the world. of Wednesday 18 January. Places are limited, but Concerns about the impact of Brexit: 12% believed if you are interested in attending, please contact that leaving the EU would have a beneficial or very Derin.Adebiyi@ism.org beneficial impact on the music profession, whilst 81% of respondents believed leaving the EU would have a harmful or very harmful impact on the music profession. Some members were positive about the referendum result: ‘Teaching work has increased as the country knows the direction it is going in.’ Others were more concerned: Some members (19%) identified immediate challenges to their professional work: ‘I can no longer afford to buy instruments from makers outside the UK due to the fall of the pound. In a small specialist field like mine this means that my choice of professional quality instruments is now very restricted.’ (From an Early Music specialist.) ‘One of my best piano students, 1st year BMus from Greece, withdrew and entered a University in the USA instead.’

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‘One ensemble I play with is considering disbanding as other members (EU nationals) are considering leaving the UK.’

Funding for music hubs in England confirmed Great news from the DfE gives certainty for next three years On Friday 18 November 2016 the Department for Education announced a continuation of music education hub funding over four years (including this year) of £300 million. This means funding for music education hubs is now guaranteed at its current level (of £75m) for the next three years. This is excellent news for music education in England. This announcement came alongside confirmation that the £29 million specialist funding for the Music and Dance Scheme will also be continued.

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Budding bloggers – we want to hear from you!

Fancy a #ISMchat? Join us on Twitter

Have you got a burning issue you wish to share with the music industry? Are you fundraising for a special cause? Or do you simply want to share your experiences? If any of these sound like you, we invite you to contribute to the ISM blog series.

In January, we will be launching our first #ISMchat on social media where we invite our followers to join in the discussion about different elements of the music sector.

To contribute a blog post, simply email francesca.treadaway@ism.org for our guidelines. We look forward to reading your posts.

We will start the discussion with a topic concerning Private Music Teachers, week commencing 16 January 2017. Look out for the hashtag #ISMchat and the topic for discussion by following us @ISM_music.

ism.org/blog

Deborah D b h Annetts, A tt Chi Chieff EExecutive ti off th the ISM ISM, said: id ‘The Government’s announcement of a £300m investment in music education hubs, which comes nearly five years after the launch of the National Plan for Music Education, is good news for music education, children and young people across the whole of England. A continuation of funding, secured for the next four years, will help enable music education hubs to plan their future and continue their lifechanging work. ‘We hope this recognition of the importance of music education leads to a reconsideration of the proposed EBacc which has been so detrimental to music and the arts. Music is central to the life of every school – after all it is where all children go to learn so we hope that in the light of this great news, Lord Baker’s proposal for a more creative Bacc will be adopted.’

PPL hold their Annual Performer Meeting PPL is the collecting society which collects royalties for recorded music and distributes the money to record labels and performers. They held their Annual Performer Meeting on Thursday 24 November 2016. At this meeting they announced that £69.9m of royalties were distributed to performers in 2015 (compared to £66.8m in 2014, up approximately 4.6%). The total amount of money distributed in 2015 was £169.8m out of a total of £197m collected in royalties (a gap of approximately 14%). The ISM has the opportunity to hold PPL to account on your behalf at these and other meetings, but in order to do so effectively, we need to know if you are a PPL member or not. You can let us know by emailing Derin.Adebiyi@ ism.org with your ISM membership number and PPL Performer ID.

ISM IS SM GCSE certificates tifi t ffor schools h l Last year in England, the ISM and ISM Trust trialled a new certificate for schools. Schools in which a high proportion of all pupils both took GCSE music and secured high grades (A*-C) received a gold (20%), silver (15%) or bronze (10%) award. In early 2017 we will be running this initiative across Northern Ireland, Wales and England to celebrate the excellent work of secondary music teachers and their departments. For more information, please contact Derin.Adebiyi@ism.org

Concerns voiced over music education in Wales There is no central ring-fenced funding for music services in Wales and some music services have no funding at all or have ceased to exist. We are calling for the Welsh Assembly Government to commit to a £5m ring-fenced fund for music services to match funding in England and Scotland. Deborah Annetts, Chief Executive of the ISM said: ‘Funding for music education in Wales is a huge concern. Whereas in England we continue to have a dedicated music education hub grant of £75m a year, in Wales this funding has been lost and in some areas there is no longer a music service at all. Thousands of children are missing out on music education opportunities. We need the Welsh Assembly Government to match levels of funding elsewhere in the UK with at least £5m of support for music networks.’ Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Members’ Day Right: Mark-Anthony Turnage Photo: Philip Gatward

Our next Members’ Day will take place on Friday 21 April 2017 at The Royal Central School of Speech and Drama’s Embassy Theatre in London NW3. The day will begin with composer Mark-Anthony Turnage CBE ‘in conversation’ discussing his life and career followed by the Annual General Meeting at 12 noon. In the afternoon, there will be a masterclass led by a high profile musician. The day will conclude with the handing over of the ISM Presidential medal from Nicolas Chisholm MBE to Sue Sturrock. Further details about the day, the AGM agenda and proxy voting form along with the Society’s Annual Report and Accounts will appear in the March/April 2017 issue of Music Journal. Attendance at Members’ Day (10am-5pm) will be free of charge and include refreshments and lunch. If you would like to attend Members’ Day, please book your place at ism-members-day-2017.eventbrite. co.uk by Thursday 13 April. Please let us know of any dietary or accessibility needs at the time of booking.

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ISM Discount+ Giving you access to a huge range of new discounts including Sainsbury’s, M&S, Apple and Boots Last autumn saw the launch of a substantial development to our range of discounts, available exclusively for you to use as part of your ISM membership. As we are now all looking for savings wherever possible, through Discount+ we’ve negotiated hundreds of discounts which give you access to money off your bill at retailers including supermarkets, high street stores, cinema chains, travel, music & technology, health & fitness and home and car insurance. Students also get the added benefit yle! of the use of NUS extra, which includes tailored offers suitable for your active student lifestyle! You will be able to access all these discounts via our website at ism.org/discount+. Just some of these discounts include: • between 3–14% off via a cashback scheme at stores including Tesco, Sainsbury’s, M&S, Argos, Homebase, Currys, B&Q, Boots and Debenhams • up to 10% off Apple products including free engraving on all iPads & iPods • 5% off package holidays including Thomson, Thomas Cook, Crystal and Neilson • up to 40% off cinemas including Empire, Cineworld and Showcase as well as loads of independent cinemas

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Make Music Work with our free advice packs Teachers’ Pack

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To follow on from our popular Make Music Work event in 2015, we have published a series of free advice packs to help you build up a successful and sustainable career. The packs include legal and business advice; template contracts; and guidance on promoting yourself, marketing, fundraising, developing relationships and collaborations. All of the packs are supported by the ISM Trust and can be downloaded for free from the Members’ Area of our website or ism.org/professional-development/advice-packs.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Legal and business help The start of a new year brings a blend of responsibilities • how much you can put aside each month for and resolutions – and sometimes the need for some additional costs such as a pension, property advice and assistance after the festive season is over. deposit, holiday and repaying debts Here’s how the ISM can help you get your new year off • whether you can afford faster repayment of any to the best start with our range of services. debts or loans you may have

Tax return 2015-16 The clock is ticking for your 2015-16 tax return, if you have not already submitted a paper return. The deadline for filing your return and paying any tax due is 31 January 2017. Make sure you allow plenty of time to file your tax return, because there are financial penalties for being late. If you are using HMRC’s online self-assessment service for the first time it can take up to seven days before you receive your activation code, which you need before you can start using the service to file your return. We have plenty of useful advice for you on our website: ism.org/advice-centre/tax-accountancy. You will need to log in to My ISM to access a wide range of tips and information. An organised, comprehensive set of records makes it easier to complete a tax return and to ensure that you have claimed your full entitlement to tax-allowable expenses. Find out more at My ISM: ism.org/advice/ record-keeping.

Tax helpline Our tax helpline is available Monday to Friday between 9am and 5pm: just call 01206 368994.

Managing your money If Christmas and your tax bill have left you thinking that this may be the time to take a closer look at your household income and expenditure, we have designed an online budget calculator with freelance musicians’ particular needs in mind. Our calculator will enable you to see: • whether you are spending more money than you have coming in • where your money goes each month and whether there is scope for cutting back

The budget calculator comes in the form of an Excel spreadsheet which does the arithmetic for you automatically. ISM members can download it for free.

Legal help The ISM has its own expert in-house legal team who can provide one-to-one advice and assistance to ISM members in relation to copyright, contractual matters (including advice on commissioning, recording and publishing contracts as well as employment contracts and contracts for services), and employment disputes including grievances, disciplinary hearings, capability hearings, redundancy and dismissals. We are often able to accompany members at meetings with their employers. We chase unpaid fees for you, including royalties, performance fees and tuition fees. Our legal expenses insurance for members will also cover you for up to £100,000 of legal costs and expenses if your claim qualifies for insurance cover.

24-hour legal helpline We also have a 24-hour legal helpline for members, covering all areas of law. Have your membership number to hand and call 01206 368994.

Helping musicians during hardship If you find yourself in financial hardship, you could apply to the ISM Members Fund. The Fund supports ISM members through periods of illness or injury and also supports older members who are struggling on a less than adequate income in retirement. To find out more about the ISM Members Fund, please visit ism.org/advice/ism-members-fund. John Robinson, Head of Service Delivery & Systems, ISM

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BIRMINGHAM CONSERVATOIRE

The conservatoire of the future Our new building is under construction in the Eastside ‘learning quarter’ of Birmingham, where we will join our Birmingham City University colleagues from the rest of the Arts, Design and Media faculty from September 2017. £57 million is being invested in making this building meet high expectations as the first conservatoire of the digital age. • A purpose-built jazz club, the only one of its kind in the city • A new 450 seat concert hall • An intimate 150 seat recital hall • 7 Industry standard recording studios • 100 practice and rehearsal rooms • Large organ studio • A ‘black box’ experimental performance space

Take a virtual tour of our new building! www.bcu.ac.uk/conservatoire-virtual-tour

Get Involved! It is the vision of Birmingham Conservatoire to lead and inspire musicians of all ages and abilities on their musical journeys. We are an institution ready to collaborate, innovate and create exciting new opportunities for all. Last year we worked directly with over 1,800 young musicians in a range of different settings, including schools, music services and community projects. This year we aim to build long term lasting relationships with a wide range of music and music education partners, nurturing young talent and providing access to world class learning opportunities.

If you have an idea for a possible collaboration please contact our Learning and Participation Team:

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Professional development Webinars ISM webinars, delivered through the ISM Trust, offer you the chance to access key professional development opportunities at work, home or on the move.

Overcoming performance-related injury Friday 20 January, 1-2pm Join us online for a free webinar with Charlotte Tomlinson, an experienced performance coach who has developed a holistic approach for helping musicians manage performance anxiety, move on from repetitive strain injury (RSI) along with rebuilding their relationship with their instrument after difficult experiences.

© iStockphoto/Highwaystarz-Photography

During this webinar, Charlotte addresses how performance-related injury can arise and the possible physical, psychological and emotional reasons behind it. She shows the importance of not ignoring the pain and catching the problem early. Charlotte encourages musicians to dig deep, looking at the issue from every possible angle and she gives practical suggestions about how to move beyond injury and back to an enjoyable and healthy performing life. Register for this webinar now at bit.ly/PerformanceInjury

Getting the best out of graded exams Assessment in Key Stage 3 music

Wednesday 8 February, 1-2pm

A Music Excellence London webinar delivered by the ISM Trust

This free webinar with Richard Crozier will take a look at graded exams; their place in music education past, present and future. Teachers, parents and students may be wholly committed to taking graded exams or completely unsure about them. Wherever you are on the exams spectrum this guided tour and subsequent discussion may help you to make up your mind.

Wednesday 11 January, 4.30-5.30pm In a world without National Curriculum levels, the challenge is for music teachers to devise meaningful and valid strategies for assessment. Ofsted advise teachers that these should not simply be a rehash of the levels system. In this webinar, Jane Werry, Head of Music at Hayes School, offers some ideas for how this could be done.

Topics to be included will be: • the origin of graded exams • the larger exam boards (ABRSM, LCM, TCL)

Register for this free webinar at bit.ly/AssessmentKS3 • classical, jazz, rock n pop, traditional music, Indian music and other types of exam Music Excellence London is a professional development network for London’s Key Stage 3 Music teachers. It is funded by the London Schools Excellence Legacy Fund, supported by the Mayor of London, and is a partnership between Sound Connections, Trinity Laban Conservatoire of Music and Dance, Music Mark, University of Greenwich, and Barbican Guildhall. Find out more about Music Excellence London at musicexcellence.org.uk

• syllabuses • exam preparation • getting the best results • building exams into your teaching There will be opportunities to ask questions during the webinar. Register for this webinar at bit.ly/GradedExams

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

The orchestra by the sea: Bournemouth Symphony Orchestra Francesca Treadaway, ISM’s Communications Manager delves into the magnificent work of the internationally-renowned Bournemouth Symphony Orchestra in a discussion with their Chief Executive Dougie Scarfe.

At the time of sitting down to speak to Dougie Scarfe, the Chief Executive of the Bournemouth Symphony Orchestra (BSO), Storm Angus was wreaking havoc in the south west of England, with some areas seeing up to a month’s worth of rainfall in a matter of hours. This isn’t something I appreciated when I set out to quiz Dougie about social mobility and access to arts; that some places literally become physically inaccessible.

The orchestra quickly expanded to a full-size orchestra and rapidly garnered a reputation for championing British music. Dougie tells me that Edward Elgar and Gustav Holst (among others) conducted the orchestra in their own works, and that the orchestra gave UK premieres of major works by Strauss, Saint-Saëns and Tchaikovsky.

Today the renamed Bournemouth Symphony Orchestra has a series of critically acclaimed Neatly, and with good humour, Dougie responded recordings under its belt, and works with a roster to my rather serious question, saying, ‘I had one of of acclaimed conductors, including Marin Alsop, my BSO Associates on the phone today telling me Andrew Litton and their Chief Conductor Kirill WKDW 'HYRQ LV FXW RͿ EHFDXVH WKH UDLOZD\ LV GRZQ Karabits. They perform over 150 concerts each year due to the weather! We might not have all of the across the south and south west of England, from issues that orchestras and other organisations have full symphonic concerts in Poole, Bournemouth, in the inner city, but we do have the rural problems.’ Exeter, Bristol, Portsmouth, Basingstoke, Ahead of their hosting of the Association of British Cheltenham and Brighton to smaller events. However, I wanted to know how Dougie, former Orchestra’s annual conference on 25-27 January, horn player and previously Chorus & Orchestra I wanted to learn more about the only orchestra based ‘outside of the metropolitan area’, celebrated Director at Opera North, planned to keep the legacy for their glorious recordings, outstanding outreach of the orchestra’s formative years alive. programmes, and above all, the legacy generated ‘I think some things about any symphony orchestra by their illustrious history. are timeless, and the values that Dan Godfrey set Founded as the Bournemouth Municipal Orchestra out for the orchestra are the interests and values for all orchestras, which is about the power of in 1890 as a group of military musicians – 30 wind players (many of whom were capable string players) music, excellence in performance, engaging diverse audiences … all of that remains timeless.’ and a drummer – the orchestra performed as a

Left: Kirill Karabits conducting the BSO at the Proms

military band for open-air concerts and as a classical What has been a particular part of BSO’s past in the ensemble for indoor programmes. Both formations last 60-70 years, Dougie tells me, is their regional gave their debut performances in 1893. remit (the BSO is described as an English orchestra with a remit to serve the south and south west of England).

Photo: Chris Christodoulou

Continued overleaf È

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Above: The BSO Proms in the Park 2016 at Meyrick Park in Bournemouth. Photo: Sam Sheldon

‘That regional remit doesn’t go back to 1893, but goes back only 62 years,’ he says. ‘For us, an ever present part is how we apply the same values for our concerts here in Poole to all our other residencies. We have a more extensive geographical spread as a core region than any other symphony orchestra.’ Taking the BSO on the road to each of the places within the remit is one thing, I learn, ‘but when looking to actively engage with communities and schools – thinking of Cornwall, for example – you can’t just be sending people down the A30 all the time. It is an impossible drain on resource.’ Thus the idea of the BSO Associates – ‘brilliantly supported by the Paul Hamlyn Foundation’ – was born. The BSO Associates, of which there are currently six, are all specialist community musicians. The orchestra currently has two musicians in Cornwall, two in Wessex, one in Devon, and another in Bristol. They enable the orchestra to create a real capacity for community engagement in these areas, Dougie tells me, without having to physically build infrastructure – ‘like another building or another organisation’. ‘We are using these people on the ground to really closely engage with the community. For example, when we take the whole company to Cornwall in

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March 2017, we will do something in the region of 60 events in the course of a week involving the whole company. We already have 44 schools wishing to work with us. Âś:KHQ WKH RUFKHVWUD KDV Ă€QLVKHG WKDW ZHHN we have two musicians on the ground who can follow up those links we will make and continue to help either in schools or community settings WR HQVXUH WKDW ZKDW ZH GLG WKHUH LV QRW D RQH RÍż that there is a real and true legacy to our work. That’s what we try to do across as much of the region as we can.’ In 2015/16, the BSO reached 67,000 people beyond WKH FRQFHUW KDOO ² D Ă€JXUH DFKLHYHG VLQFH WKH ODXQFK of the BSO Associates. ‘I am really proud of that, it’s a vital thing’, Dougie said, happily. He explained further. ‘When we reintroduced our school concerts at the University of Exeter two years ago, we had children travelling on the coach for two hours to get to the concert. That would never happen in a metropolitan city situation. ‘We know from our remit that we must satisfy a demand which is urban and rural. That’s also why we do live streaming of the concerts and have resources online. We have had a great response to some of the digital initiatives – 15,000 people tuning in to watch online.’

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Focusing on funding, some might think that the BSO, being out of a metropolitan area, has GLÍżHUHQW IXQGLQJ SUHVVXUHV 1RW HQWLUHO\ DFFXUDWH Dougie explained. ‘In the spectre of support, we get fantastic support from the local authorities that continue to support us, but the number of local authorities that are able to support us has decreased dramatically over the years. Twenty years ago there were 40 local authorities supporting us – now we have DURXQG Ă€YH ‘I saw a programme just last week from 1968 (our 75th anniversary) and there were 126 local authorities in there. Inevitably we have a big funding challenge and in that I am not wishing WR VD\ WKDW RXU OLIH LV LQ DQ\ ZD\ PRUH GL΀FXOW than someone else’s, however we have our own particular pressures to deal with.’ Having recently been awarded funding from Arts Council England’s Change Makers fund, which aims to address the under-representation of BAME and disabled people in the arts, I was interested to know Dougie’s thoughts around this area. ‘This is a unique opportunity for the BSO to play a key role in the artistic development of a remarkable young conductor, James Rose, and for him to develop a disabled ensemble that will become a core part of our strategy. I am very proud that we are the only UK orchestra to be a recipient of one of these important awards.’

Dougie hesitated, and explained, ‘Inevitably I would like to commission more new music and if you look back to Dan Godfrey, he played music by QHDUO\ %ULWLVK FRPSRVHUV LQ WKH Ă€UVW \HDUV of the 20th century. Big, full-scale symphonic commissions clearly are a challenge for us fundingwise, sometimes audience-wise, but it’s mainly about context.

Below left: The BSO at Lighthouse, Poole Photo: Christian Lawson Below: Nicola Benedetti performing with the BSO at the Proms Photo: Chris Christodoulou

‘However, our Composers Day at the end of February will give somewhere in the region of a dozen composers the chance to have their work performed including under-18 composers as well.’ Before ending our conversation, I referenced the BSO’s ‘hold music’ which I enjoyed whilst ZDLWLQJ WR VSHDN WR 'RXJLH WKH Ă€UVW PRYHPHQW RI Respighi’s glorious Pines of Rome), and asked if the BSO planned any further recordings. ‘We have just recorded both Walton Symphonies ZLWK .LULOO .DUDELWV DQG RXU 3URNRĂ€HY F\FOH WKDW we completed last year is outstanding and certainly KDV D QXPEHU RI Ă€YH VWDU UHYLHZV 7ZR RI WKH recordings were in the top classical recordings of 2015 and the Telegraph put it in their round-up. ‘To reference legacy again, I think it is really important that each generation has a recorded OHJDF\ IRU WKH DUWLVWLF TXDOLW\ WKDW FRPHV RÍż the platform.’ Francesca Treadaway, Communications Manager, ISM

Find out more about the Bournemouth Symphony Looking back to the BSO beginnings, the orchestra was Orchestra, including upcoming performances performing concerts of all-British female composers. at bsolive.com With this aspect in mind, and the aforementioned premieres of works by Strauss, Saint-SaĂŤns and Tchaikovsky, I was interested to know if the orchestra planned any further commissions.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Steinberg launches Dorico Launched in late 2016 after more than three years in the making, Steinberg’s notation software Dorico is making waves in the music world. Amongst demonstrations aplenty, Steinberg’s Product Marketing Manager Daniel Spreadbury discusses the software with the ISM’s Francesca Treadaway.

The long-awaited Dorico, Steinberg’s answer to QRWDWLRQ VRIWZDUH Ă€QDOO\ ODXQFKHG LQ 2FWREHU 6HOOLQJ VWURQJO\ LQ WKH Ă€UVW ZHHNV RI UHOHDVH WKH programme has been on the lips of the global music industry. I was fortunate to be invited on behalf RI WKH ,60 DORQJ WR 'RULFR¡V R΀FHV LQ 2OG 6WUHHW London, for a one-to-one demonstration of the nuts and bolts of Dorico by Daniel Spreadbury, Steinberg’s Product Marketing Manager.

collapsible panels down the left- and right-hand sides of the screen, and in most cases also along the bottom, show the main interface elements for creating and editing your music.’

Setup mode The key concepts of Setup mode are: •

• In July 2012, Avid, the maker of Sibelius, announced a corporate restructuring which, amongst other • aspects, involved the redundancies of several employees. But this turned out to be a blessing • in disguise. ‘We were given this incredible opportunity by Steinberg,’ Daniel starts our conversation. ‘After Avid, we were left wondering what to do. But then Steinberg came along and said that they wanted us to create similar software. As musicians ourselves, passionate about building things that are good for musicians and also a bit‌ geeky, we sat down and started discussing ideas. The advantage we had at the beginning, that Sibelius did not have, is having the knowledge of what notation software is used for. ‘But at the same time, how do we come up with a vision for a next generation programme? How is it going to be used by composers to write music directly into the software, how are we going to ensure it produces the most beautiful graphics that it can?’

The Dorico ‘stages’

Left: The launch of Dorico in London

There are ‘stages’ in every Dorico project: Setup, Write, Engrave, Play, and Print, which Daniel said DUH ÂśURXJKO\ GLYLGHG XS DFFRUGLQJ WR WKH GLÍżHUHQW phases of working on a given project. In each mode,

Players: meaning the individual or groups of people who actually play the music Instruments: the instruments held by the players Flows: self-contained spans of music, such as a song, movement, piece, act or number Layouts: contain the music for one or more SOD\HUV IURP RQH RU PRUH Ă RZV

$ NH\ GLÍżHUHQFH EHWZHHQ 'RULFR DQG LWV SULPDU\ competitors, such as Sibelius or Finale, is that it is organised around players instead of instruments.

Write mode In Write mode, users can input music in Dorico using mouse, computer keyboard, or MIDI input. It relies only on keys found on laptop keyboards, without a need for a numeric keypad. And herein OLHV D IXQGDPHQWDO EXW LPSRUWDQW GLÍżHUHQFH EHWZHHQ Dorico and its competitors Sibelius and Finale: when notation software came onto the market, laptops were not widely available, so not all of their input methods were designed for use on a laptop keyboard. Therefore, the team designed Dorico to be suitable on laptops and desktop computers. The best bit about this mode, demonstrated to me by Daniel, is that the user does not decide what time signature to begin in.

Photo: Beatrix Fuhrmann

Continued overleaf Ăˆ

17

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

‘The thing that Dorico does that no other programme does is that it allows you to work with rhythm in D FRPSOHWHO\ Ă H[LEOH ZD\ <RX FDQ ZRUN ZLWK QR EDUOLQHV \RX FDQ LQVHUW PXVLF VKXÎ H LW DQG PDNH things shorter or longer,’ Daniel demonstrates, ‘put barlines in wherever you want.’ 7KLV Ă H[LELOLW\ , IHOW JDYH WKH VRIWZDUH D PRUH ‘human’ element. Daniel agreed to a point. ‘We have built in ‘humanlike’ algorithms that do what humans do in certain areas. Writing music is developing ideas and so on – when you are experimenting at the piano, or whatever your instrument is, quite often what you end up with doesn’t conform rigidly to a VSHFLĂ€F PHWULFDO JULG RU VSHFLĂ€F NH\ $OO RI WKH RWKHU programmes need you to make a decision upfront, ZKLFK DUH GL΀FXOW WR XQGR ODWHU RQ :KDW ZH wanted to do with Dorico is to make sure that the user can make these decisions at any time.’

until we can do it properly’, Daniel explained. ‘Fortunately, the way that the team has written the programme means that the architecture is very ZHOO GHĂ€QHG ,W DOORZV XV WR HYROYH WKH SURJUDPPH and keep operating quickly. But the only downside – if this can be called one – is that we cannot ‘hack’ in an update quickly, not that we would want to do that anyway. ‘The whole point of having Dorico when there is already two existing, mature programmes’, Daniel tells me, ‘is that it needs to be better. ‘Hopefully people will already see lots to like in Dorico as it is at the moment, but our plan over the next six months and beyond is to release updates to H[LVWLQJ XVHUV WKDW ZLOO DGG GLÍżHUHQW IXQFWLRQDOLW\ EXJ Ă€[HV DV WKH\ FRPH XS DQG VR RQ ¡

Challenges

I was curious about the initial challenges that the Dorico team has experienced. Daniel explained that ,Q WKH WKLUG PRGH (QJUDYH XVHUV FDQ UHĂ€QH WKH ORRN their main challenge inevitably has been entering of their score. Nothing can be created in this mode. into a market that is dominated by Sibelius and The idea behind separating the phases of work Finale, not just in the UK but internationally as well. is that it can be too easy to make an unintended How have the staunch users of Sibelius and Finale PXVLFDO HGLW ZKLOH FKDQJLQJ WKH Ă€QHU YLVXDO GHWDLOV taken to Dorico? of a score. ‘Both Sibelius and Finale are 25+ years old, and Play mode there is a legacy there. Almost inevitably everyone Where others haven’t been so lucky, I was treated who is buying Dorico is already using one of these to Play mode – a playback of a piece by composer programmes. One of the biggest kinds of feedback Thomas Hewitt Jones, commissioned by Dorico we have received so far is “I can do ‘this’ in Sibelius, especially for the software’s launch. how can I do the same in Doricoâ€?, and the such like,’ ‘We brought Thomas in in the early summer’, Daniel explained. Daniel explained, ‘and what really appealed to him ‘Nearly all who have used Dorico so far are very about Dorico is the fact that it has this rhythmic wedded to the mindset of the programme they Ă H[LELOLW\ WKDW RWKHU SURJUDPPHV GR QRW KDYH used before’, Daniel explained. The composition that he wrote was based around ‘I think it is inevitable that the software you are this motif which he developed rhythmically over XVLQJ VKDSHV DQG LQĂ XHQFHV WKH ZRUN \RX GR the course of this four-minute piece – inspired by Hopefully what Dorico will do is relax some of the WKLV Ă H[LELOLW\ ¡ restrictions that other software has put on users Print mode in the past. I think that people have approached In Print mode – which Daniel did not need to 'RULFR DOPRVW EHOLHYLQJ LW LV QRW GLÍżHUHQW DQG VWDUW demonstrate – there is support for duplexing working in the same way as they do in Sibelius and bookleting. or Finale.’ Another key element is that the user can now The most important piece of feedback Daniel and KDYH PXOWLSOH SURMHFWV LQ WKH VDPH Ă€OH 7KLV DFWLRQ the team have received is that the software has LV FDOOHG ψ RZV¡ Âś<RX FDQ KDYH GLÍżHUHQW QDPHG ‘the warmth of a human hand behind it in terms movements: Allegro, Andante, for example, or even of what it produces by default. two projects that are completely independent of ‘The end product doesn’t look sterile and each other’, Daniel explained. computerised. It doesn’t look too perfect – if there is a little bit of irregularity, it looks more like there is a What’s next human being behind it, rather than just robotically So what is next for Dorico in terms of updates? produced by a computer. That was a massive compliment for us.’ Âś:HOOÂŤ ZH ZLOO GHĂ€QLWHO\ EH DGGLQJ LQ FKRUG

Engrave mode

symbols (I learned later that their absence has been D VLJQLÀFDQW WKHPH LQ WHUPV RI LQLWLDO IHHGEDFN EXW our philosophy is that we won’t add in anything

18

Francesca Treadaway, Communications Manager, ISM steinberg.net/en/products/dorico/start

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Music Education Expo 2017 It has been ďŹ ve years since the launch of Rhinegold’s Music Education Expo (retitled ‘Music & Drama Education Expo’ in 2016), Europe’s largest international conference for music and drama education. The ISM’s Francesca Treadaway speaks to Expo’s Head of Content and Music Teacher editor Alex Stevens ahead of this year’s conference.

Music & Drama Education Expo 2017 will be held at London Olympia on 9-10 February. All photos courtesy of Rhinegold Media

,W GRHVQ¡W VHHP WKDW ORQJ DJR VLQFH WKH Ă€UVW FRQIHUHQFH EXW WKLV \HDU PDUNV Ă€YH \HDUV VLQFH Rhinegold’s Music Education Expo launched at the Barbican in London. With four successful years, a move to Kensington Olympia and an DXGLHQFH Ă€JXUH RI RYHU SHRSOH IURP WKH PXVLF HGXFDWLRQ VHFWRU XQGHU WKHLU EHOW , ZDQWHG WR Ă€QG out from Alex Stevens, Head of Content for the renamed Music & Drama Education Expo, what ¡V FRQIHUHQFH KDV LQ VWRUH %XW Ă€UVW , ZDQWHG WR Ă€QG RXW ZKHUH WKH LGHD IRU VXFK DQ HYHQW came from. ‘At the time, the sector was crying out for something like this’, Alex says. ‘There were several disparate conferences around, which did not have this broad, wide-ranging appeal to all music teachers and all music education people. We felt that there was a clear gap in the market. Since then, the growth that the Expo has had has shown that to be true. We are now looking at targets of getting QHDUO\ WKURXJK WKH GRRU 7KH Ă€UVW RQH ZDV already a tremendous success. We had three years at the Barbican with steadily growing audience Ă€JXUHV DQG WKHQ ODVW \HDU PRYHG WR 2O\PSLD because we needed a bigger space. It’s on track for the same this year – at some point I am sure, just because of geography and teacher availability, ZH ZLOO KLW D SODWHDX RI Ă€JXUHV %XW DW WKH PRPHQW it is growing year on year.’ Why the title change? ‘We brought the new title in in 2016 and it was a success – even though there is more music than drama, there are issues that equally apply to both types of teacher, and drama teachers, like music teachers, are increasingly becoming marginalised in schools and are under pressure. It is a good opportunity to meet more colleagues.’

$QG KRZ GRHV $OH[ ZKR HQMR\HG KLV Ă€UVW ([SR as Head of Content in 2016, and the excellent Expo team plan an event of this magnitude? ‘We have the dates already in the diary for 2018, and pencilled in for 2019. The planning starts before the last Expo is put to bed, which is tough! ‘We open a call for papers in the spring, which runs through the summer. In the meantime we appoint an advisory committee of teachers from across the music education spectrum, who kindly give us their time. They go through a suggested programme based on the call for papers. They suggest things we might not have thought about, possible subjects to cover and people to get in to speak. Once we have decided what we would like to include in the programme, we then write to those who submitted those particular papers and ask if they would like to do it. And generally, they always do. ‘It wouldn’t be possible to do this without the support of so many GLÍżHUHQW SDUWV RI WKH VHFWRU ¡ This process now has to include the brand new Expo North, which will take place in Manchester (October 2017). The thinking behind that, Alex tells me, is based on the demographics from the main Expo. ‘The main Expo is a very international show – we had more than 40 countries represented in the 2016 event. But at the same time, there is a very GHĂ€QLWH /RQGRQ 6RXWK (DVW ZHLJKWLQJ :H DUH VXUH there is demand in and around Manchester and/ or the North for a show like this. It will be at the Hilton Deansgate on 4 October 2017. ‘We are starting smaller with one day, and there will EH WKUHH WKHDWUHV UDWKHU WKDQ Ă€YH ² EXW RWKHU WKDQ that, it will be the same format as the main Expo. We hope that will be as successful. If Expo North

Continued overleaf Ăˆ

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

ISM picks for Music & Drama Expo 2017 A guide to progression, curriculum and assessment expands at the same rate, then planning will turn into a completely rolling process – a constant storm of Expo!’ What is the hardest aspect of planning Expo? ‘Sifting through the papers, I think,’ Alex smiles. ‘The proposals have got stronger year on year, and I think will continue to do so. There are literally hundreds of submissions, and we have to be very strict about making sure that there is a useful strand for each type of delegate – for example, from early years specialists to private music teachers. And everything in between.’ So what is new this year? ‘We have a good emphasis RQ QHWZRUNLQJ WKLV \HDU ² WKH YHU\ Ă€UVW VHVVLRQ is going to be a “networking/speed datingâ€? type of session. We will hopefully get all the delegates that will be there from the beginning of the day into one room together; getting them to talk to each other and potentially making friends. ‘We are also bringing back the idea of a peer-topeer area and calling it the Sharing Zone, which is something we did not have in 2016. We want to make connections between teachers and the wider industry. ‘We will also have sessions on new developments from the sector, including a session on new software Dorico (see pages 17-18) but other than that, it will be pretty much the same broad, comprehensive programme similar to other Expos that have passed. ‘There will be sessions on behind the scenes of the music education industry, for example, exam board OCR will come and give a session on the process behind their new GCSE; people will come and give their take on the industry as well.’ Keeping in mind the biggest issue facing the music education sector at present – the Government’s English Baccalaureate (EBacc), I was interested to know how Alex planned to cover it in Expo. At the time of going to print, the Government has yet to release a response to their EBacc consultation. Âś<HV ZH ZLOO EH GLVFXVVLQJ WKH (%DFF DV SDUW RI one of the debates. We haven’t decided how yet – as we don’t know what is going to happen. ‘But Nick Gibb will be there. We are holding a Q&A with him, and this will give delegates the opportunity to ask him questions about the EBacc.’ Alex pauses, then smiles. ‘Come ready to Ă€UH TXHVWLRQV ¡

22

10 February (Day 2), 10:15-11:00, Rhinegold Theatre A popular session from 2016 designed to guide school teachers through the challenges currently affecting music education

Setting tuition fees 9 February (Day 1), 12:30–13:15, Seminar Theatre We will present the results from our annual tuition fees survey, as well as provide tips for both employed and self-employed visiting instrumental, singing and music teachers on setting and negotiating rates with schools and parents.

Q&A with Nick Gibb 9 February (Day 1), 12:25-12:55, Rhinegold Theatre Nick Gibb, Minister of State at the Department for Education will take to the oor to address current policy in performing arts education.

Life on Mars? Music careers in the 21st Century 10 February (Day 2), 12:20-13:10, Seminar Theatre This session will help give an overview and analysis of the state of the industry for potential entry-level musicians, so you can further encourage and inspire your students.

Hear me now – diversity, inclusion and youth voice in national music education policy and practice 10 February (Day 2), 15:45-16:30, Rhinegold Theatre At this critical juncture – four years into hub delivery – the speakers will use their unique perspectives to explore what progress has been made in relation to SEN/D, youth voice and workforce diversity.

Francesca Treadaway, Communications Manager, ISM Find out more about Music & Drama Education Expo 2017, including the full programme and how to book your ticket at musicanddramaeducationexpo.co.uk

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email mj@ism.org. The next deadline for copy 1 February for March/April issue.

Right: Throwing the dice for The Digital MozArt – WLAS researchers Karina Rassulli and Amy Goodall

New pipe organs by Church & Company of Stamfordham

Ra Rapture R song cycle for ffemale e voice and pianoforte

Paul Ritchie is compiling a detailed listing of all new pipe organs built by Church & Company of Stamfordham between 1972 and 1987. House organs and portable continuo organs are the most difficult to trace as they change hands more often, although some church organs have also been relocated. Any information ISM members can provide would be gratefully acknowledged.

Kerry K e Milan’s new work comprises 20 settings from Carol Ann Duffy’s m magnificent Rapture collection, in wh which she charts the course of a love aff affair in a moving act of personal tes testimony – a very contemporary look at an age-old experience.

ritchiepc@btinternet.com

Below: Kate Semmens and Steven Devine Photo: © Devine Music

The Digital MozArt

West London Arts Scene’s (WLAS) ingenious musical dice throwing The Notebooks of Anna game The Digital MozArt was chosen Magdalena Bach to take part in the recent International Steven Devine has released his latest MozFest held at Ravensbourne, album with soprano Kate Semmens on a venue next to the O2 Arena in the Devine Music label. The Notebooks Greenwich, which attracted 1,500 of Anna Magdalena Bach features people from 50 different countries. many of the beautiful vocal items in The Digital MozArt was created by the 1725 book alongside some of the WLAS (which incorporates the Ealing harpsichord pieces. At the heart of the Autumn Festival) as a 21st century disc are the 4th and 5th French Suites digital update to Wolfgang Amadeus as featured in the 1722 notebook. Mozart’s clever dice throwing game This programme has been featured on to compose a rare piece of music in BBC Radio 3, at St John’s Smith Square, the 18th century. It was selected to and at many festivals across the UK. take part by Arts Award, which ran The disc is available from devinemusic. the Digital and Arts Culture Section co.uk, with free postage in the UK. at the event. WLAS also teamed up with the West London Piano Festival for a special event the Bits and Bytes class, based on The Digital Mozart. First place was awarded to Karina Rassulli and second place to Batrisyie Hussain, who are both pupils of Festival Artistic Director Gillian Spragg, and had also taken part in the presentation at the Mozilla Festival when they composed and then played a waltz using Mozart’s game to make a perfect piece.

Bu But how to set such a captivating ra range of emotions, which change not jus just from poem to poem but within just a few short lines? This need, to be able to switch suddenly and unexpectedly, led to the decision to choose the medium of tone-row music, and happily the result is some hauntingly beautiful music with a contemporary feel and, like the poems themselves, a hopefully niversal appeal. universal

he 47-minute work is scheduled The for recording by Yvonne Howard and Scott Mitchell. In the meantime, short samples with clarinet and piano give a hint of the pleasures to come. These, along with the 20 downloadable settings and the printed scores, published by Ardross House, are available on the classical music site tutti.co.uk.

Continued overleaf È

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Tim Reynish November and December saw a series of memorial performances of music by the late Guy Woolfenden, President of ISM 2002-03. Tim Reynish conducted Gallimaufry in Bilbao with the fully professional Banda Municipal de Bilbao; Gallimaufry was also programmed in a five concert tour of the States, with Illyrian Dances and Birthday Treat. The programmes included both Suites by Holst, some of Reynish’s commissions for wind orchestra by Gorb, Jackson and Hesketh, Duende by Alarcon and a relatively new work for soloists, chorus and wind orchestra by Christopher Theofanidis, The Here and Now.

Above: Som Howie, Geoffrey Hanson, Sebastian Comberti and Geoffrey Simon Photo: Robert Carpenter Turner

CD of music by Geoffrey Hanson The London Mozart Players and the London Ripieno Singers have made a CD, in association with Cala Records, of some of the music of Geoffrey Hanson. Included are the Clarinet Concerto, played by the award-winning Australian clarinettist, Som Howie; Odyssey for solo cello and string orchestra played by the principal cellist of the LMP Sebastian Comberti, and Five Nocturnes for tenor and chamber orchestra sung by rising tenor, Pablo Strong.

Choral items include Now welcom Somer – a cycle of part songs, Orpheus to words by Osbert Sitwell, with piano accompaniment, and a setting of the Jubilate, with organ accompaniment. The CD gives an overview of Geoffrey’s 50+ year career as composer, conductor and church musician, and has been ‘friend-funded’ through the generosity of many friends, former students and choral singers. The conducting is shared between Geoffrey Simon and the composer.

On 30 March, Iyad Sughayer will be the soloist in the premiere of Tim’s latest commission, the Concerto for Piano and Wind Orchestra by Edwin Roxburgh with Trinity Laban Wind Orchestra at Blackheath Halls.

Obituaries With regret, we report the deaths of: Valerie A Cowell of Sheffield Sheila Wilkinson of Sheffield Elizabeth James of Suffolk Joan Bucknall of London Ralph Bacon MBE of Derby

eastfinarts@btinternet.co.uk calarecords.com

ISM/MMA JOINT MEMBERSHIP OFFER FOR MUSIC TEACHERS IN SCHOOLS Be a member of the ISM and the MMA and get up to 25% off the cost of both memberships If you’re an ISM member who teaches in schools we have an exciting offer for you. We are offering anyone who becomes a member of both organisations up to 25% off both ISM and MMA membership. This offer applies to members who currently pay the ISM full or graduate rate membership. Music teachers holding both memberships will have access to the complete range of services a music teaching professional needs today, along with connections across the music education sector in the UK.

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For more information on how to get this offer, contact the membership team on 020 7313 9316 or email membership@ism.org quoting ISM/MMA.

LCM EXAMINATIONS

The University Examination Board London College of Music Examinations are internationally recognised and unique in the graded examinations sector in being awarded by the University of West London. We offer a wide range of qualiďŹ cations, accredited and regulated by Ofqual. 020 8231 2364 lcm.exams@uwl.ac.uk uwl.ac.uk/lcmexams

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

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

Full Members Birmingham Davina Brownrigg BMusHonsBCU Rebecca Eldridge BMusHonsRWCMD Ian Ludford GBSM ARCM Janet Ludford AGSM Rajendra Narula DipVeronaCons Jeremy Nicklin BACanterburyChristChurch Anne Sheridan DipTCL Rosanna Todd BMusSheff

Bournemouth Hannah Gobbett BMusHonsCCCU Claire Jones BAHonsBathSpa

Brighton Linda Atkinson BMus(BCU) Sarah Farr BEdHons Tia Kuchmy ARNCM(FluteP) GRNCM LRAM MMus PGCE Grace Meinertzhagen BAHonsBathSpa DipABRSM(FluteT) Jane Money BMusHons Louis Scott-Delany BAHonsSussex Carole Thomas PGCE(music) Emily Williams PerfDip(RCM)

Cheltenham

Lancaster

Matthew Clark BMusHonsRWCMD Christopher Gibbons BMusHons Nicola Jee BMusHonsBCU Jenny Mainwaring BMus Anna Maughan BMusHonsBCU Heather Parker BAHonsCam

Emma Gibbard BAHonsYork

Croydon Grigore Cuciuc BMusHonsRCM Akiko Matsumoto PGDipRAM Ross Sharkey BMusHonsRSAMD

Devon & Cornwall Dorothy Best MMusSoton Gary Hawkins BMusHonsRWCMD Steven Tanton BAHons

Eastbourne & Hastings Kevin Atkin DipRCM Jason Boyd BAHonsSussex Leisa Jones BMusHonsGSMD Jane Werry

Guildford Harriet Ellis LTCL(Flute)

Hereford & Worcester Michael Halliday BAHonsLeeds

Bristol

Kent

Colette Henshaw BAHonsLeeds DPhil(Mus) LTCL(SgT) MA Jonathan Vaughn BAHonsCam Natalie Veal BMusHons

Anna Bartlett MA(Mus)York Emma Goddard Ian Gooda Sally Halsey BMus(TCM) Lesley Loren BACanterburyChristChurch Sharon Mari BAHonsLCM Rose Martin BMusHonsKings Philip Smith Graham Stanley West BA(OU)

Cambridge Amy Klohr BAYale LRAM(SgT) Matthew McCombie BMusHonsTCM Simon Roberts BMus (Hons) PGCE

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Lea Valley Kathy Greenfield BMusHonsRWCMD Caroline Hall BAHonsBristol Angelus Marr LTCL(PfP) Douglas Panton Christopher Weston MPerf(RCM) Simon Woods

Leicester Victoria Thomas BAHonsYork

Lincoln Mary Pinkney Zoë Scheuregger BAHonsYork

Liverpool Gary Carpenter Alison Dawson BEdBath Alison Farshi PGDipRWCMD Simon Poole Megan Royce BMusHonsRSAMD Barry Webb PGCE MACantab

London – North Clara Biller GradDip Natasha Cheng BMusRoyalHolloway Sabino De Bari BMus Tabea Debus BMusHons Meridyth Dickson BMusHonsGSMD Siobhan Edwards BASoton Eloise Garland BMusHons Madlena Georgieva BMusHons Wai-Nok Angela Hui BMusHonsRCM Aaron Isaac BMusGoldsmiths Jihye Kim MMusBostonMass Tomas Leakey PGCertRWCMD

Ruth McElvanney BMusHonsManch Saul Picado MPerf Lin Qiu MPerf Christopher Rutland BmusHonsRCM Erin Smith BMusHonsRAM Håvard Tanner MMus(CityUniv/GSMD) Diana Torti BMus Ting Chi Tsang BMus Felicity Vincent LRAM

London – South East James Barker BAHons Dario Campanaro DipMus Chelsea Carmichael BMusHons James Hoyle BMusHonsKings Christopher Hyde-Harrison MMusTrinityLaban(CityUni) Hollie Macdonald BMusHonsRWCMD MMusRNCM Fiona McNaught LGSM BMus John Moore MMus(CityUniv/GSMD) Brian Newman FTCL Colleen Nicoll BMusEdin Stathis Portaritis MACityUniv Natasha Prendergast BMusGoldsmiths Hannah Sloane Jonathan Stainsby MMusRSAMD Jordan Theis BMusHonsKings Charlotte Treadaway BMusHonsRWCMD Ran Yan MMusGoldsmiths

London – South West Amy Bone BAHons Sarah Champion BAHonsDurham Alexandra Frazer BMusHonsRNCM

Richard Heason BAHonsYork Toby Huelin BAHonsOxon Oliver Kember BMusHonsEdin Cameron Lee BMusHons(RCM) Marco Marotta BMus Paul Mitchell BAHons MMus PGCE PhD Daniel Nicholson BMusHonsRWCMD Hannah Obasaju BAEAnglia Kathryn Offer BMusHons Olsi Qinami PGDip Nicholas Warden PGDipRAM

London – West Emma Arden BMusHonsRCM Emilie Capulet PhDSurrey Catherine Handley Alexandra Isted BMusHons Ignacio Jimenez Urquia Titulo Superior De Musica Steven Patterson BScHons LTCL PGDip PGDip(CityUniv/GSMD) BEd(Music) Gary Peacock BMus (Hons) Alice Pinto BMusHonsTCM Joo Yeon Sir PGDipRCM Sarah Stroh PGDipRAM

Manchester Laurie Ashworth MMusRCM Gemma Bradley Alison Burns FTCL Isabel Chaplais BMusHonsManch Lauren Coulter BMusHonsUlster Jonathan Cunliffe BAHons Becky Else BMusHonsRNCM Jordan Harding-Pointon BMusHonsManch

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Elizabeth Humphries MMusRNCM Lauren Jones MMusRNCM Sarah Miller BMusHonsRNCM Graham Proctor BMusHonsRNCM

Mid-Wales Helen Elliott BMusHonsWales Abigail Hook BAHonsHum(Open)

Norfolk Joanna Knight

North of England Andrew Hart BMusHonsNewcastle Claire Humes Oona Shrimpton GRSM PGDipRNCM Victoria Vasey BEd Karen Wigham BMusRSAMD

North Wales Jennifer Norton BMus Elin Roberts BMusHonsBCU

North Yorkshire Anna Lusty Valerie Parker PGDipRNCM Nicky Woods ARNCM GRNCM BMusHons

Northern Ireland Paul Campbell BMusHons(RCM) Drew Vincent BMusHonsUlster Sarah Williamson LTCL

Nottingham Alexandra Bowen DipABRSM Carol Brittle-Khan Deena Draycott BMusGoldsmiths Elizabeth Jones MMusRAM Leo Naylor BAHonsYork Mary-Kate Prince BAKingston Alan Swinburn GradDipMus Carolyn Talkes-Nicholls BAHons

Oxford

Scotland – South East

Staffordshire

Kent

Sarah Louise Chitty BASoton Andrew Claxton ARAM ARCM GRSM LRAM PGCE MMus Adrian Clipsham BEdNott David Denyer BALeeds Daniel Edgar PhDYork Vittorio Mura BMusHonsBCU Katherine Roberts BAHonsSolent Tracey Spokes BA

Alison Gormley MMus(BCU) Julia Lungu BMusHonsRCM Jacqueline Preston BMusExeter Scott Whitefield BA(Mus)

Giles Deacon BMusManch Andy Terry BAHonsKeele

Toby Evangelou

Suffolk

Lea Valley

Susie Hyman BAHons(Open) Philippa Kerr Helen Lyons

Adam Woodcock

Portsmouth Jon Audain BMus (Hons) Ruth Leech BAHonEAnglia Athanasia-Maria Petropoulou BA Miriam Sampson MA DPhilSussex LTCL(PfT) ALCM(Pf)

Reading Oscar Arguelles MMus Patrick Ashcroft PGDip(CityUniv/GSMD) Nancy Grace Borrett PGDip(BCU) Jessica Cooper BMusHonsRSAMD Marisa Cornford MMus Edward Jones BMusGoldsmiths Hannah Lindsey-Clark LTCL Clive Nunn Diane Wakefield GRSMHons Tristan Whibley Jay Wilkinson

Scotland – North East Pauline Black GradDip MRes BEd(Hons) Anne Hingston BMusAberdeen Christopher Morris BA Rachel Tang BAHons

Sheffield Catherine Baker GMusHonsRNCM April Farthing BAHonsLeeds Irena Fearon BAHonsBristol Tom Owen PHDSheff William Price BAHuddersfield Katie Wood BMusHonsHuddersfield Amy Wright

South Wales Jill Cook PGDip(RAM) Natasha Gajda BMusHons Ben Reynolds BAHonsSwansea

Southampton George Castle MAOxon Kathryn Day CTABRSM Ashton Gray BAHonsNott Martin Henderson BMusHons(CityUniv/GSMD) Christopher Mahy MAOxon Charles Mauleverer BAHonsOxon

St Albans Richard Baker BAHonsHuddersfield Harriet Beryl ARCM Margaret Johnson GRSM Wendy Skeen BMusHons(CityUniv/GSMD) Isobel Smith BMus(TCM/Westminster) Richard Wainwright ARAM LRAM BAHons John Wyatt FRCO LRAM PGCE GRSM

Warwickshire & Northamptonshire Val Brodie PhDBirm MABirm ARCM(PfT) LGSM(Pf) Lucie Diedhiou BAHons Claire Voss BADerby

West Yorkshire

Lancaster Isabella Rose Baker

Leicester Mary Jayne Harding Scott

Lincoln Thomas Stockwell

Liverpool Eleanor McKenna

London – North Emma Mercedes Besselaar Samantha Denning Emma Edwards Otis Enokido-Lineham

Sachin Gunga MMus(BCU) Helen Miller PGCE Aljosa Skorja PGDipRNCM

Solenn Grand Savvia Kozakou Oliver Pugh Iosif Purits Rebecca Waite Daichi Yoshimura

Wiltshire

London – South East

Im Bayley GLCM Christopher Guild BMusHonsRCM

Lewis Borland Alicia Chaffey James Douglas Giulia Grassi Milo Harper Neus Peris Ferrer James Pettinger Maggie Snow

Student members Birmingham Robert Crehan Natalie Gabrielli Gail Kuppan Aaron Townsend Hoylin Yeoh

Brighton Christina Kaniclidou Lily Rogers

Bristol An-Ting Chang Cambridge Simon Grant

Croydon Hugo Herman-Wilson

Devon & Cornwall Elfyn Jones

Guildford Tom Hollister Kristiana Milune Kathleen Silverman Fiona Stannard

London – South West Katherine Clarke David Hasler Zeljka Mandaric Alun McNeil-Watson BMusHonsRCM

London – West Anaïs Boyadjieva Edward Dunlop Remi Faggiani Mervyn Fletcher Karen French BMus Nataly Ganina Celia Gould Emmanuel Joste Hye Yoon Kim Yiming Li Veronica Marziano Grodzka Kieran Rayner Donata Vaitkute Shirley Wu

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Manchester

Sheffield

Caroline Bordignon Emily-Grace Clifton Greta Gasser Katie Lewis William McGahon Stephanie Jennifer Poropat Adam Taylor

Victoria Crowe Adrian Clinton Gillies Helen Glaisher-Hernandez

North of England Stephen Bell

North Yorkshire Lauren Ingham Katharine Wood

Portsmouth Ciara Burrows Harriet Standen

South Wales Celina Balzer Adam Dibble Clare Eccles Eliza French India George Christiana Hill Hilary Stavros Ben Teague Karyin Yap

Matthew Parker Tom Attah Christopher Bull Anne-Marie Czajkowski MMusLeeds BAHonsRead ARCM(PG)

Alice Moseley

St Albans

Matthew Doyle Stephanie Foster Alex Tay

James Opstad Tom Rooth Eleanor Walton

Scotland – South West

Suffolk

Sze-Hua Sylvia Jen Sarah Lamb Daniel Lappin

West Yorkshire

Southampton

Reading

Pablo Lafuente Anja Ormiston Ana-Thea Panainte

Warwickshire & Northamptonshire

Corporate members Goldsmiths, University of London Ian Gardiner 020 7919 7171 course-info@gold.ac.uk www.gold.ac.uk

e Letters after your nam

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

Matthew Abbott Jonathan Palman ABSM Rosie Sims

CHORISTERSHIPS AT WESTMINSTER ABBEY Westminster Abbey Choir offers a unique experience for musical boys aged 8-13

Further details and application forms are available from the administrator 1 Speed Highwalk, ,Barbican, , London,, EC2Y 8DX 020 7496 8980

Excellent all-round education at Westminster Abbey Choir School Generous scholarships Superb instrumental tuition James O’Donnell, Organist and Master of the Choristers, welcomes enquiries at any time www.westminster-abbey.org/choirschool music@westminster-abbey.org 020 7654 4918

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

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

Im IImpulse Music CConsultants

Above: The newly unveiled Tavener sculpture in Winchester Cathedral.

It was an immense pleasure an no small privilege and to attend the unveiling cer ceremony of the newly com commissioned sculpture to ccommemorate the life and wo of Sir John Tavener. work On 11 November, a packed Win Winchester Cathedral listened e to extracts from the Veil of T the Temple, sung by Patricia Roza Sir John’s Evensong Rozario. setti settings were performed by th Cathedral C the Choir under Andy Lumsden and the congregation participated in chants and responses throughout the service. A smaller gathering continued after the service to the act of dedication including prayers led by Metropolitan Kalistos at the Federov icons before the sculpture itself was unveiled. Created by Angela Conner, the sculpture is fashioned in glass and represents the fluidity of art and life Lady Tavener gave a moving dedication as the sculpture was unveiled. Several composers were present including Judith Weir, Master of the Queen’s Music and John Rutter, an alumnus with Tavener of Highgate School and a lifelong friend. The evening concluded with a sublime performance by Andrew Watts and Fretwork of Tavener’s Nipson, commissioned by the BBC in 1998. Impulse are featuring videos of Tavener’s music on their homepage throughout January 2017 . impulse-music.co.uk

Birmingham Conservatoire We are spending this year as a ‘Conservatoire in the City’ – making the most of being in vibrant Birmingham by using the wide range of performance venues on offer – since our own concert hall was demolished as part of the ambitious redevelopment plans for the city. Whilst this has required a great deal of organisation and adjustment, it has certainly proved to be a stimulating year and has allowed our students to play in venues they would never have experienced before. So far this term our students have benefited from an impressive series of masterclasses, with artists such as Johannes Goritzki (cello), Rex Richardson (trumpet), Martino Tirimo (piano) and Tamsin Waley-Cohen (violin) visiting the Conservatoire to work with students. Looking to the future, we are excited to reveal a sneak preview of our new building in the form of a virtual tour! Features include a 450-seat concert hall with staging for a full symphony orchestra, five public performance spaces, seven industry-standard recording studios, a purpose-built jazz club and nearly 100 practice rooms. Follow this link for the virtual tour: bcu.ac.uk/conservatoire/ #new-campus-video

London College of Music On 26 November LCM hosted the launch event of Simon ZagorskiThomas’s Research Network on 21st Century Music Practice, including participants from 18 music departments across the south-east. Six presentations laid the ground for six day-long research events to

be held at various locations within a series proposed for the academic year ahead. Themes included Performing with Technology; Interaction and Collaboration; Musical Worlds and Environments; Teaching and Creativity; Seeing and Sound; and Practice as Research. 1 May 2017 sees the world premiere in London’s Royal Festival Hall of Cantus Maris, a half-hour commissioned work by Francis Pott for mezzo-soprano solo, chorus and orchestra, performed by Sarah Fryer, soloist, with the London Chorus, Vivace Chorus and Philharmonia Orchestra under Jeremy Backhouse. Francis signed an exclusive contract in December 2013 with Edition Peters, who will be publishing the music during 2017. In December, LCM’s BA Musical Theatre students geared up for Sondheim and Bernstein’s iconic West Side Story. The production, with choreography by LCM’s own Marcia Carr, took place in the University of West London’s Weston Hall. With its Romeo and Juliet subtext, the production formed part of LCM’s richly varied Shakespeare 400 festival (uwl.ac.uk/shakespeare400).

Royal Welsh College of Music and Drama Cabinet Secretary for Education Kirsty Williams visited the Royal Welsh College’s Junior Conservatoire on Saturday 19 November. She spent the morning talking to staff and students, and listening to the Junior Conservatoire’s talented young performers who show exceptional promise in music and drama. Each weekend, over 450 young musicians and actors travel to the College from south Wales and the Continued overleaf È

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

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

GOLD CORPORATE MEMBERS

ALFA Education Ltd ABRSM

Orchestralguard

Birmingham Conservatoire Classic FM

Bath and North East Somerset Music Hub Goldsmiths, University of London Leeds College of Music Luton Music Service Make Music Swindon MiSST – The Andrew Lloyd Webber Programme

Park Lane Group

Colchester Institute

Rhinegold Publishing

Drums for Schools

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

The Junior Conservatoire – which celebrates its 20th birthday this year – connects students with highly specialist tuition and enables them to share their experiences with other young people with similar interests and goals. It forms a part of the wider work of the National Conservatoire’s provision for young people, which includes an outreach programme that reaches 10,000 school children each year.

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Impulse Music Consultants J&A Beare London College of Music Music Mark National Preparatory School Orchestra Oxford University Press Paritor Ltd

Trinity College London Victoria College Exams

Playnote Ltd Portsmouth Music Hub Trinity Laban Conservatoire of Music and Dance Wigmore Hall

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

NMC Recordings

south west of England to receive a wide-ranging and intensive programme of training.

Dartington International Summer School

Making Music Making Music had a busy summer working with the BBC on its Get Playing campaign, which included the creation of a ‘virtual orchestra’, featuring over 1,200 musicians who were brought together in a digital concert, screened at the Proms. You may also have seen The Great Orchestra Challenge four-part series on BBC4, which shone a spotlight on amateur musicians in the UK. Five orchestras – all Making Music members – competed for the chance to perform at Proms in the Park.

All five orchestras outdid themselves and showed just how much extraordinary talent there is in the UK’s amateur music scene. Ultimately there could only be one winner, and the crown went to North Devon Sinfonia, who the judges felt best captured the spirit of great British amateur musicmaking in the UK. Congratulations to all the contestants! makingmusic.org.uk

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Right: The Stars of the Albion International Performing Arts Festival and Competition takes place on 17-19 February

Musica Nova The ‘Stars of the Albion’ invites you to its 4th International Performing Arts Festival and Competition. Taking place in London from 17-19 February 2017, the festival provides an exciting opportunity for young emerging artists to perform, collaborate and develop in a unique setting that promotes different cultures and musical traditions. Participation is open to artists from 6 years old with no age limit, and divided between amateur and professional categories for singers, dancers and instrumentalists. There are two rounds, with the second open to the public and will take place in London. The Grand Prix winner is awarded £500. The project is organised and promoted by Musica Nova, the International Academy of Music, a unique bilingual establishment in the UK that combines the best of British and Russian principles of teaching. For further information, registration forms and details please go to starsofthealbion.org.uk

Association of Teachers of Singing On 29 January 2017 AOTOS will be running one of their popular Access to Pathways days at the Canto School in Lewes. During 2017 the Pathways teacher training programme for prospective singing teachers develops further levels as AOTOS launches its Pathways 2 Foundation Course over three weekends throughout the year. This is the essential practical course in how to teach singing. The Foundation Course aims to combine our central tenet of teacher training – teaching a pupil in the studio alongside an experienced mentor – with the opportunity to study the facets of teaching singing common to all genres: an apprenticeship scheme. The booking deadline is 31 January 2017. In addition, our 2017 Area Development Days around the UK are now open for booking. On 19 February at Kingswood School in Bath, Ron Morris and Linda Hutchison will explore the subject of

their new book If in doubt, breathe out. On 11 March, Gillyanne Kayes (Vocal Process) will lead a day in Blackburn. Mary King will be coming to Guildford on 14 May and Bryan Husband will lead a day on Musical Theatre Technique for Singers in Birmingham on 21 May.

The Worshipful Company of Musicians

Through its outreach programme the Company has again increased its visits to schools and the range of performance opportunities for its All events are open to non-members. Yeomen. Additionally, in partnership with YCAT, Help Musicians UK and Go to aotos.org.uk for further details. the Arts Council, it has organised a series of seminars on professional British Kodály Academy development for musicians at the start In 2017 the British Kodály Academy will of their careers. be marking the life and work of Zoltán The 2016 Prince’s Prize was won Kodály with a Celebration Concert by Yoon-Kyung Cho (RCM), the at 7pm in St John’s Smith Square on Ivor Mairants Guitar Award by Monday 6 March, the 50th anniversary Michael Butten (RAM) and the Jazz of the composer’s death: to include Young Musician Competition by the premiere of Bob Chilcott’s Daniel Casimir. Saxophonist Bobby beautifully lyrical piece A Tree of Song, Wellins received the Jazz Lifetime commissioned for the occasion by Achievement Award. the BKA. Tickets from St John’s Smith Square at www.sjss.org.uk The Company’s roster of awards was this year extended to include Popular Before that there will be an afternoon Music, with scholarships provided for with Bob Chilcott in Wheatsheaf Hall, the BRIT School and ACM and a first Vauxhall, SW8 2UP, on Saturday 28 Musical Direction Award going to Conor January at 1.30pm exploring A Tree of Fogel (Mountview Academy of Theatre Song and another Chilcott work. Open Arts). The Company also honoured to all choral enthusiasts; free for BKA Annie Lennox OBE with its Popular members; £10.00 for non-members. Music Lifetime Achievement Award. Book online at kodaly.org.uk The Honorary Fellowship event The 35th International Summer School was presented by the celebrated will be held on 16–25 August at the photographer of musicians, Telford Campus of the University of Clive Barda OBE. Wolverhampton. A bumper celebration course with choirs; musicianship; UK The Company is itself also remarkably tutor team; international tutors, guest honoured to have a Pastmaster, presenters; and workshops. Certificate Dr Andrew Parmley, as Lord Mayor and Course available. See the BKA website a former Lord Mayor, Sir Roger Gifford, for further details: as Master in the same year. kodaly.org.uk Continued overleaf È

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

He said: ‘It is a great honour to be offered this role, and to succeed such a distinguished musician as Philip Moore. The 150th anniversary The Friends annual Requiem Service was held on Tuesday 1 November 2016 celebrations, in which I took part together with hundreds of organists at St Sepulchre’s Holborn. The setting across the UK and abroad, revealed a was the Requiem by Herbert Howells great degree of affection for the RCO with the Sanctus and Benedictus taken from the Mass for four voices by and a real appreciation of the vital Thomas Tallis. The service was expertly work it does.’ sung by the Choir of St Sepulchre under the direction of Peter Asprey.

Friends of the Musicians’ Chapel

Right: Martin Baker, Master of Music at Westminster Cathedral will become President of the RCO in July 2017.

The date of the 2017 Annual Service of Thanksgiving is Tuesday 2 May when the music will be provided by a Choir from the Royal Academy of Music directed by Patrick Russill. The preacher will be The Dean of Westminster, the Very Reverend Dr John Hall and the service will be conducted by the Rector of St Sepulchre’s, the Revd David Ingall. The 2017 Requiem service will include Faure’s Requiem – date to be announced.

Royal College of Organists

Hampstead Music Club HMC’s important 70th Anniversary Concert was a huge success and welcomed Laura Shur who spoke about her experiences as a club member over the years.

Middlesex University

On the Music for Film, Animation & Television module, students are preparing film music cues for a Herrmannesque sextet of woodwind, horn, harp and percussion from the London Firebird Orchestra, for live performance to a Romanian feature film. Meanwhile, the same students have enjoyed their first ‘speed-crewing’ sessions for As Master of Music at Westminster collaboration with animation students, Cathedral, Martin Baker directs the working in computer and stop-motion Cathedral’s world-famous choir, and leads the music programme there. cartoons for screening in London. We have programmed visits from renowned pianists Professor Martino Tirimo and Ian Pace, presenting piano performance masterclasses as well as advising composition students on how to write effectively for the instrument. The Singers’ Ensemble celebrated the He regularly performs solo recitals 150th anniversary of Erik Satie’s birth, throughout the UK as well as in Europe, with a concert of rarely-heard music the USA, and Russia. His 2014 gala by the French composer at St Mary’s performance at the Royal Festival Hall Church, Hendon in December. marked the Grand Finale of the RCO’s year-long 150th anniversary celebrations. Masterclasses are scheduled, from Paul Pacifico of the International Artist Organisation, on DIY Artists Beyond a Cottage Industry, Reaching Your Audience Through Radio with Helen

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The University choir’s December concert at St John’s Church, Barnet included Charpentier’s Messe de minuit pour Noël, with Mozart’s Solemn Vespers in Spring, complemented by the London Firebird Orchestra’s performance of Stravinsky’s Symphony in C and a student premiere. mdx.ac.uk

Martin Baker, Master of Music at Westminster Cathedral, has been announced as the next President of the Royal College of Organists (RCO). Martin will serve as President Elect until July 2017, when he will succeed current RCO President Philip Moore. He will then serve as President until June 2019.

As an organ soloist he won first prize in the Improvisation Competition at the St Albans International Organ Festival in 1997, and he remains internationally renowned for his skill in organ improvisation.

Mayhew of Jazz FM, open workshops with the Allegri String Quartet and a students’ conducting forum with George Jackson.

Her composition for oboe and piano was beautifully performed by Nicholas Murray (oboe) and Geoffrey Whitworth (piano). As part of HMC’s Invitation Concerts, The Ridgeway Ensemble will return to perform on Tuesday 21 February at Burgh House at 8.05pm with music by Schumann and Brahms including readings from their ‘Love Letters’. The performers are Judith Sheridan (voice), Margaret Richard (piano) and William Winfield (reader). There is a masterclass for singers by Helen Cannell on Tuesday 24 January and one for instrumentalists on 11 April, both at Burgh House, Hampstead at 8.05pm; and a masterclass for pianists on 21 March at South Hampstead High School. The concerts and masterclasses are open to the public (Box Office: 020 7272 3903, mobile: 07939 277242 or email claire_crescendo@hotmail.com) hampstead-music-club.co.uk.

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PIANOFORTE TUNERS’ ASSOCIATION

Do you: Need a piano tuner? Need advice about purchasing a piano? Want to join the Association? Want to become a piano tuner? Visit www.pianotuner.org.uk or contact the Secretary on 0845 602 8796 The Association provides the music profession and general public with a ďŹ rst class professional service in which they trust.

ISM meeting room We have a fantastic meeting room available for hire at our home at 4–5 Inverness Mews, London W2 3JQ. Members can hire the space at the special rate of £100 for a half day or £190 for the full day. Included in your hire rate is free use of tea and coffee, internet facilities and at screen TV. The room takes up to 16 people boardroom style, with 25 theatre style. For further details and bookings, please contact Stephanie Collier at roombooking@ism.org or 020 7313 9321.

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

LOCAL EVENTS LISTINGS

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

Full listings can be found on our website: ism.org

Croydon

Sunday 5 February

Sunday 19 March

Bristol Pupils’ Concert

North London Pupils’ Concert

2.30pm, Joseph Cooper Music School, Clifton College, Bristol BS8 3EZ A pupils’ concert for a mixture of grades. If you would like to put forward any pupils to perform, please get in touch with Gordon Phillips at phillipsfamily27@hotmail.com The event will be followed by a Devonshire cream tea and is always a very enjoyable and entertaining afternoon. All welcome. Contact: Margaret Thomas, margaret.t.diva1@btinternet.com

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing. Both children and adults are welcome to perform, whether individually, in duets, or in larger ensembles. An accompanist will be provided if required but must be requested in advance. Admission will be by programme on the door and light refreshments will be available. Please do encourage pupils to bring an audience. Contact: Claire Kitchen, claire_crescendo@ hotmail.com

Devon and Cornwall (in particular, the secretary role)

Bristol (in particular, the secretary and treasurer roles) South West London This opportunity is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area. For more information or an application form please call 020 7313 9323 or email membership@ism.org. The deadline for applications is Friday 17 February.

Our partnership with the Royal College of Organists If you are both a member of the ISM and the Royal College of Organists (RCO), take advantage of our new partnership designed to increase the breadth and availability of support for organists and choral directors. The partnership sees the ISM and RCO working together to build and deliver a wide range of services, information and development opportunities for organists and choral directors. Members of either organisation are able to join the other at a 25% discount. The RCO supports and represents organists and choral directors of every age and all levels of attainment.

Classified advertising NEW EARLY KEYBOARD INSTRUMENTS for sale. Visit www.harpgear.net for details. FRENCH HORNS, Several from £150. 01747 828552 VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel: 07974 412269. STUDENT CELLOS, mostly German, various sizes, from £100. Tel. 07974 412269

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 PERFORMANCE NERVES? Anxiety? Call Rosemary Wiseman Tel. 020 8958 8083 www. rosemarywiseman.com

BASSOONS several. 07974 VIOLA 16” /40.25cms. Colin Irving 1986. £10,000 412269 ono. Telephone 07798 906393

For more information about this exciting new partnership including how to join either organisation, visit ism.org/join/rco, contact the ISM membership team on membership@ism.org or 020 7221 3499 or visit the RCO website: rco.org.uk

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

Private and Trade 50p per word, minimum £5. Advertisements from ISM members are half-price (ie, 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

BLUTHNER grand piano 5’6”, mahogany, 1935. Serial 120141. Restored 1992, properly maintained, gorgeous tone, sensitive action. Professionally owned by ISM member now retired. Insured for £23,000; asking price £16,000 ono. Location Cornwall; lovely accommodation available for viewing. Negotiable re leather stool and transportation costs. 01326 290399 or michael. edwards49@btinternet. com

SPINNET WITTMAYER (German) 4 octaves, C-D, light walnut. VGC needs tuning, hence £550 for a quick sale. Tel 07974 412269

DOUBLE BASS PAESOLD concert model 590. Excellent condition cost £3k plus in 1997, £1200 ONO 01747 828552 KAWAI 5ft baby grand piano for sale in shiny black. 7 years old & well maintained. Owned by professional. Contact derazey1840@aol.com MUSIC ARRANGING AND COPYING SERVICE. Bespoke arrangements and professional typesetting service. Contact Melanie Thorne: 01848 200117; email: info@sempremusic.co.uk; www.sempremusic.co.uk.

STEINWAY MODEL O. MAHOGANY. Built 1990. 2 careful owners. An especially beautiful instrument and in excellent condition. Reason for sale, arthritic thumbs. Complete service by Hamburg trained Steinway Technician 2015. £37400 ONO. For more details/enquiries email jennyquick@gmail.com

JAMES HEWITT COMPOSITIONS, including Ave Maria (unaccompanied choir), Fragmentations (violin, clarinet, piano), the solo violin virtuoso pieces Chaconne and Bulgarian Etude and more, are available on tutti.co.uk. Further details: www. jameshewittmusic.co.uk COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1195 ONO. 07974 412269

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2017

Ask me a question Jake Barlow Singer and teacher

music career. After a couple of years as a choral scholar at Truro Cathedral, I’m now a choral scholar at Norwich, and work as a freelance performer and teacher, as well as working as a vocal strategist as part of Norfolk Voices, the new vocal initiative from the Norfolk Music Hub. Who (or what) has most influenced you and your career? My biggest influences have always been my colleagues and friends, who are not on only a great support but who always en encourage me to improve and see how far I ca can take my career. My singing teacher at un university, Nicholas Clapton, and my current sin singing teacher, Colin Baldy, have been and con continue to be big influences on my career as I continue to develop my musical identity an and create my place in the industry. Wh What would you say is your greatest ach achievement to date? I am torn between two – I have been for fortunate enough to record a solo album, an album of art songs called Under the Gre Greenwood Tree with Willowhayne Re Records, and I have secured my tra transatlantic debut as I will headline a cconcert of Handel cantatas in the US USA in February.

Tell us a little about yourself.

Wh Who is your all-time favourite artist and why?

I was born in Manchester and grew up in Stockport. After reading for a Classics degree at the University of Oxford (where I was a choral scholar at Worcester College), I decided that I wanted to go into a

If I had to single anyone out, it would probably be Gaetano Guadagni, an alto castrato who lived from 1728-1792. He created some famous roles, including that of Orpheus in Gluck’s Orfeo, and Didymus

in Handel’s Theodora, and I admire him because he is considered to be one of the first modern singers, favouring text and emotion over vocal acrobatics – he was a great singer, actor, and storyteller, and a master of the art of singing. What was the last CD/music download that you purchased? The original cast recording of Britten’s A Midsummer Night’s Dream, with Alfred Deller as Oberon. I was learning part of the role for scenes at the time, so it seemed like a relevant purchase! What are your plans for the future? I am hoping to pursue postgraduate study at a music college in the UK, and to take my performing and teaching to a new level by immersing myself in the study of voice. I want to be a musician for the 21st century, and that’s the next step! Finally, what is your ISM membership to you? To me, ISM membership is security and support. I know it is there, ready to support me if and when I need it. The great range of services and the insurance it offers means that I can benefit from many great webinars and tools at home, and when I step out of my front door to perform or teach, I know I have the support of the ISM in all that I do. jake-barlow.com

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

£10

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Simply email membership@ism.org with the name and email address of the friend(s) you are recommending and ask them to use promo code ISM12HF when joining. If they join at the full rate we’ll give them £10 off their membership fee too. If you’d prefer to receive a £10 voucher for iTunes, Amazon, or M&S, or donate your £10 reward to the ISM Trust or the ISM Members Fund, just let us know in your email and we’ll organise it. Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.

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www.blackcatmusic.co.uk

Music Stands, Lights & Accessories Music Folders Music Chairs & Accessories Instrument & Sheet Music Storage Conductor’s Equipment Staging & Risers Theatre Products Acoustic Products

YOU’RE FREE TO TEACH WHAT YOU WANT ANY OLD TIME Did you know, with a Schools Printed Music Licence, you can: ■

New! From 1 April you can make copies from printed music owned by your local Music Education Hub or Service*

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Make as many copies of your printed sheet music as you need

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Make any instrumental rearrangements you want

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Log any copying via CLA’s Mobile App – all the data helps to repay creators

All without seeking any other permission – leaving you free to concentrate on teaching and playing music.

To find out whether your school holds a Schools Printed Music Licence, and to see how to make the most of it, visit schools.cla.co.uk

CLA IS THE SOLE AGENT FOR PMLL WHO ARE OWNED BY THE MUSIC PUBLISHERS ASSOCIATION *subject to terms and conditions

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