ISM Music Journal - March/April 2017

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March/April 2017 Philip Glass at 80 Our annual review for 2015-16

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Welcome I am delighted to be able to share with you a review of the fantastic past financial year for the ISM, and the key activities of the ISM, the ISM Trust and the ISM Members Fund. As members, you are part of a thriving organisation which not only aims to deliver first class services, but also, in line with our 1882 objects, promotes the art of music and supports the music profession as a whole. We do this in a number of ways. Firstly, through our campaigns and lobbying, not least the Bacc for the Future campaign, Instruments on Planes, Fair Terms for Creators and other campaigns ranging from what is happening with music services in Wales through to venues closing in our major UK cities. The ISM is always ready to support the music profession. Above: Deborah Annetts Photo: Mark Thompson

However, increasingly, the ISM has taken the view that in addition to the services we provide to our members and the support we provide to the profession, it is vital that we take a leading role in the delivery of professional development. In order to deliver our ambition, at the end of 2014 the ISM set up the ISM Trust. The ISM Trust exists to promote education, the arts, and health and wellbeing. Over the past financial year it has delivered an extraordinary range of professional development webinars from how to get great private and corporate gigs, selfpublishing for composers and an introduction to Grants for the Arts, through to career planning and career change, the new orchestra tax relief and a range of music education topics. We are delighted at how the ISM Trust is developing and thriving. You can access the webinars that are delivered by the ISM Trust at ismtrust.org/webinars. It has also been a very positive year for the ISM, with the range of services being offered to members developing all the time and the number of members accessing those services increasing. The quality of ISM service provision has been recognised at a national level with the ISM being shortlisted for, or indeed winning, awards in respect of professional development, its website and its campaigning. Read more about your ISM and its activities over the past financial year on pages 14-18.

Front Cover Philip Glass See feature on pages 11-13 Photo: Steve Pyke Inset images: Jennifer Pike (photo: Tom Barnes) and Mark-Anthony Turnage (photo: Philip Gatward) – our special guests at Members’ Day See page 5

Lastly, don’t forget to book your place for Members’ Day on Friday 21 April at The Royal Central School of Speech & Drama’s Embassy Theatre. The programme features an ‘in-conversation’ with Mark-Anthony Turnage and a masterclass for gifted violinists given by Jennifer Pike. There will also be the ISM AGM where you will have an opportunity to ask questions and make suggestions for our work for the next year. Refreshments and sandwiches will be served during the course of the day. This was an incredibly popular event last year so make sure you book your ticket at ism.org/members-day.

Contents 2 5 6 9

News & campaigns Members’ Day Business advice Professional development

11 14 20

Philip Glass at 80 ISM annual review ISM Members Fund annual review ISM Trust annual review Annual General Meeting

22 24 25 31 35 35 36

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

Volume 83 / Number 6 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: 3 April for May/June 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 MARCH/APRIL 2017

News & campaigns The state of Britain’s orchestras in 2016

Henry Vann, Head of External Affairs, ISM

‘Likewise, a review of intellectual property and the creative economy led by Sir Peter Bazalgette – who understands the importance of copyright Every three years, the Association of British Orchestras and intellectual property to artists – is good news. It is, however, critical that any such review protects (ABO) publishes its report on the state of orchestras in the UK. Total income was down from £140m in 2013 creators’ rights and their ability to earn a living from their work – something the current policy only partly to £117.5m in 2016, with 12,600 musicians working does and something previous reviews of intellectual full-time, self-employed or playing as extras in UK property have struggled to do. orchestras. However, UK orchestras did reach more young people, with almost 900,000 attendances of ‘Furthermore, the value the industrial strategy places young people at concerts and other performances. on creativity is at odds with the Department for Education’s current plans to exclude creative, artistic The director of the ABO, Mark Pemberton said: and technical subjects from core school league tables. ‘Orchestras have innovated to achieve bigger We hope in light of this strategy, the Prime Minister audiences and engage more young people and and Secretary of State for Education will drop plans for they should be proud of these successes.’ But he the deeply damaging EBacc.’ added ‘These have left orchestras suffering a double whammy – a decline in earned income alongside significant cuts in public funding. The message is simple. Orchestras cannot continue doing more for less.’

Government launches industrial strategy Strategy includes a review of IP and education The Prime Minister Theresa May yesterday launched proposals for a modern industrial strategy to ‘build on Britain’s strengths and tackle its underlying weaknesses to secure a future as a competitive, global nation’. The strategy sets out ten pillars which include developing skills and cultivating world-leading sectors (such as the creative industries) as well as identifying an early sector deal with the creative industries through a review to be conducted by former Arts Council England Chair and Chairman of ITV Sir Peter Bazalgette. Deborah Annetts, our Chief Executive said: ‘We welcome the inclusion of our world-leading creative industries as a central component of the Prime Minister’s industrial strategy green paper. We know that value of the creative economy – £87.4bn a year – and this recognition is important.

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More than a year since the EBacc consultation closed… We’re asking the Government to #BaccDown It is now more than a year since the Government consultation on the English Baccalaureate (EBacc) closed. The EBacc is a league table which excludes creative subjects, like music, from counting. We know the Government are listening, and in marking this anniversary, we repeated calls to the Department for Education asking the new Secretary of State to abandon the un-evidenced and harmful EBacc. Deborah Annetts, Founder of the Bacc for the Future campaign and the ISM’s Chief Executive said: ‘It is one year and a day since the consultation on the EBacc closed, and the EBacc is continuing to damage creative, artistic and technical subjects in schools. ‘In the light of Brexit, the future looks very different. The Prime Minister’s industrial strategy rightly placed value on the creative industries – they contribute £87bn a year to the economy, generate a huge amount of soft power and influence, and are globally envied. But our British success story is being undermined by the EBacc, which is harming the pipeline of talent supplying these industries.

ISM MUSIC JOURNAL MARCH/APRIL 2017

Budding bloggers – we want to hear from you!

Fancy an #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.

Starting with all things music education, join us on Twitter (@ISM_music) on Tuesday evenings at 7-8pm for an #ISMchat: a fun, interactive discussion where you can gather hints and tips and read stories from other users about your shared profession. The topic for discussion is unveiled the week leading up to the chat so look out for the hashtag #ISMchat and follow us @ISM_music.

To contribute a blog post, simply email francesca.treadaway@ism.org for our guidelines.

Any feedback about subjects you wish to discuss is welcome – email francesca.treadaway@ism.org with your ideas.

We look forward to reading your posts. ism.org/blog

‘ More than 200 organisations, including the BRIT School for Performing Arts and Technology, the NUT teaching union and Globe Education, are part of the #baccforthefuture movement, which urges members of the public to sign a petition and write to their local MP in protest at the introduction of EBacc.’ TES, Monday 30 January 2017 ‘With the UK now repositioning itself on the world’s stage as a “truly global Britain”, the EBacc is no longer relevant. Dropping the un-evidenced and deeply damaging EBacc would come with no political or financial cost but with huge gains to the UK’s reputation as a leading creative industries player, our economy and our skills base. We need to start planning our education policy in a post-Brexit world and the EBacc is a dinosaur from another era. It needs to be dropped.’

Brexit update ISM members’ comments in Parliament The ISM held a Round Table meeting with members and colleagues across the music profession on 18 January 2017. The meeting discussed the results of our survey (published in the last edition of Music Journal) and members made a number of suggestions about ways forward.

The survey and its results have also been picked up in Parliament in a debate – held by ISM honorary member Lord Clement-Jones on 19 January when Earl Clancarty said: ‘These concerns are also true for larger organisations and for the feasibility of future touring by British orchestras, theatre companies and dance troupes around Europe. The Incorporated Society of Musicians reports that in one survey, over half of musicians placed maintaining free movement as their number one priority for the music profession in negotiations relating to the UK leaving the EU. Opera and ballet companies, for instance, are able to call on singers and dancers from abroad at a moment’s notice to fill a gap if necessary, and of course that is true the other way round. But without the flexibility in terms of this last minute decision-making that the single market allows, it is the arts, probably before any other sector, that will suffer the most if constraints are placed on movement.’

These recommendations included things like maintaining free movement for cultural professionals, and keeping benefits such as the A1 social security forms to make travelling less of a bureaucratic effort. Continued overleaf È

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Wales Music Education enquiry

GCSE certificates published

The Welsh Assembly Government’s culture committee In February, the ISM awarded certificates to schools is holding an inquiry into funding for, and access to, in England, Northern Ireland and Wales where music education. a high proportion of all pupils in a school both took GCSE music and secured high grades (A*–C). The inquiry came about because the issue topped a public vote in 2016 on what the committee should investigate. The ISM has responded to the inquiry with our main demands including a) ring-fenced funding for music services in Wales and b) a change at Estyn (the Welsh school inspectors) to ensure that music is included in school inspections. Deborah Annetts, the ISM’s CEO, 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. Th Thousands of children ut on music education opportunities. We are missing out ed the Welsh Assembly Government Governm need to match levels of funding elsewhere in the UK with at a least £5m of support forr music networks.’

To celebrate and support the excellent work of secondary school music teachers and their departments, schools have been awarded gold, silver or bronze certificates when more than 20%, 15% or 10% of all pupils achieved this target. At the time of going to print, we can confirm from our research that just two schools in Wales received a gold certificate: Flint High School and Ysgol Bro Hyddgen. As well as a certificate signed by the ISM’s President and Chief Executive, schools receive a logo and commendation. If you would like to know more about the scheme, please email Derin.Adebiyi@ism.org. Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org

New w free resou resource for music teachers

Performan anxiety: Performance for music teachers A practical guide g The ISM Trust has published Pe Performance anxiety: A practical guide for music teachers, a free resource written byy Gregory Grego Daubney and Dr Alison Daubney. Underpinned by psychological research, this new booklet provides music teachers with informed practical strategies to promote strong self self-confidence in their students and help them prepare effectivelyy forr performance. You can download the booklet forr ffree from the Members’ Area of our website or ism.org/performance-anxiety-gu ism.org/performance-anxiety-guide

Ourr partnershi partnership with the Royal College of Organists If yyou 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.

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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

ISM MUSIC JOURNAL MARCH/APRIL 2017

Members’ Day Top right: Jennifer Pike Photo: Tom Barnes Bottom 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 Mark-Anthony Turnage CBE, one of Britain’s most admired and widelyperformed living composers, in conversation about his professional life and career. This will be followed by the Annual General Meeting at 12 noon. In the afternoon, Jennifer Pike will give a masterclass for a selected group of student violinists. The day will conclude with the handing over of the ISM Presidential medal from Nicolas Chisholm MBE to Sue Sturrock. The AGM agenda and proxy voting form is on page 24 of this issue of Music Journal. Attendance at Members’ Day (10am-5pm) will be free of charge and includes refreshments and lunch. If you would like to attend Members’ Day, please book your place at ism.org/members-day by Thursday 13 April. Please let us know of any dietary or accessibility needs at the time of booking.

10.00

Registration and refreshments

10.30

Welcome from Nicolas Chisholm MBE, President 2016-17

10.35

In-conversation with Mark-Anthony Turnage

11.35

Break

12.00

AGM and open forum

13.15

Lunch

14.30

Masterclass for violinists with Jennifer Pike

16.30

Presidential medal ceremony and closing words

16.40

Refreshments

17.00

End

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Business advice Fees for instrumental and vocal music teachers 2017 Thank you to all of you who responded to our recent survey of tuition fees. The survey is the largest of its kind in the UK with almost 1,100 music teachers taking part. The survey was conducted by independent statisticians at the University of Reading and we asked musicians about their charges for individual music tuition in September 2016. The survey results are summarised below. These are not recommendations. Competitive law prevents us – and other trade associations and organisations – from recommending rates for musicians’ freelance work. Also listed below are our recommended fees for employed music teachers, as we are allowed to recommend fees for teachers with employed status.

Survey results for private music teachers In September 2016, most private teachers charged between £27 and £38 per hour with the mid-point being £30. The latest survey results continue to show that teachers in Central London charge more than teachers in Greater London who in turn charge significantly more than teachers in the South East and East Anglia who charge more than those in the wider UK. Elsewhere in the UK there was less variation.

Fees for private music tuition in September 2016

6

£ per hour

£ per hour

Mid-point*

Central range**

Central London

40

35-50

Greater London

36

30–45

South East and East Anglia

33

30–39.60

Rest of UK

30

25-32

Overall UK

30

27-38

Fee increases Almost a third of survey respondents (30.5%) reported that they had raised their private teaching rates over the previous 12 months. The majority of those who did increase their fees raised them by between £1 and £5 per hour. The average increase reported was £2 per hour. In Central London, the starting rate has increased by £5 when compared with last year. A high proportion of survey respondents (43.6%) expected to increase their tuition rate over the 12 months to September 2017, with 1 in 5 respondents expecting to increase their fees by £4 or more. You can read our tips on how to set your own fees, including how to assess where you yourself fit within the overall range of fees and how to negotiate with your pupils and parents, by visiting ism.org/advice/ tips-for-setting-music-tuition-rates On Wednesday 15 March, 1-2pm, John Robinson, the ISM’s Head of Service Delivery & Systems will present a free webinar on how you can use our fees survey results to decide on your own fees. Go to bit.ly/SetYourTuitionFees2017 to register.

Recommended rates for employed visiting music teachers Alongside our other surveys we have now published our recommendations for the academic year 2017/18 of fees for employed visiting music teachers in schools. These are set out in the table below. They are exclusive of holiday pay, which schools should pay in addition. £ per hour

£ per hour

London

Rest of UK

Independent schools and specialist music schools

36-40

30.50-35

All other schools, music services and hubs

29-34

26-30

ISM MUSIC JOURNAL MARCH/APRIL 2017

6/17

Do we have your up-to-date details? Prep Preparations are already underway for the 2017/18 Handbook. Please take a moment check that we have your correct details. You can update your own details online in to ch the Members’ area of our website or call Kirsten Peter on 020 7313 9311 to let us know of any an changes.

Handbook 2016/17

of Musicians Incorporated Society 20/07/2016 12:42:13

Survey results for self-employed visiting music teachers As in previous years, the latest survey results indicate significant differences between fees paid in independent schools, in state-funded schools and by music services and hubs. Most self-employed visiting music teachers in schools were paid between £26.64 and £38 per hour with the midpoint being £32 per hour. Almost 43% of teachers were working in independent schools, almost 40% in state-funded schools, 9.1% in music services and just under 3% in specialist music schools. The survey results show that the majority of music teachers in Greater London and the South East charged more for their services than teachers located in Inner London and the rest of the UK. £ per hour

£ per hour

Mid-point*

Central range**

London (overall) Independent schools

40

36-44.80

Maintained schools

30

28.50–34.50

Music services and hubs

25

24.93-29.80

South East and East Anglia

The deadline for updates to the 2017/18 Handbook is Monday 5 May. The new Handbook will be distributed to members in September 2017.

increase of between 50 pence and £2 per hour – the midpoint was £1 per hour. Only 43.7% expect an increase in the next 12 months.

Survey results for accompanists Survey respondents were asked to indicate the hourly rate charged for accompanying between January and September 2016 for the categories shown below. £ per hour

£ per hour

Mid-point*

Central range**

Examinations: grades 1-4 (per exam)

27

20-35

Examinations: grades 5-6 (per exam)

30

20-45.40

Examinations: grades 7-8 (per exam)

42

30-60

Examinations: diplomas (per exam)

69

34.60-108

Festivals and competitions

32

20-50

Amateur choir/ operatic society (per rehearsal hour)

27

20-35

School or college choir

30

24-35

Dance lessons (per hour)

25

20.40-40

Auditions

40

30-50

Independent schools

38

34.80-41.20

Maintained schools

31

30-36

Increase in rates

Music services and hubs

24.62

16.50-29.60

Independent schools

31

24.60-34

35.1% of all respondents said they had done accompanying work between January and September 2016. Overall the rates appear to have increased slightly from last year.

Maintained schools

30

27-32

Music services and hubs

26

24-29

Rest of UK

Derin Adebiyi, Public Affairs Officer, ISM

Increase in rates 61.2% of self-employed, part-time music teachers in schools have not had an increase in their rate since September 2015. Of those that did most received an

* Half the respondents charged this amount or more and half charged this amount or less. ** Most respondents charged fees within this range. (Only 20% charged more and 20% charged less.)

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ISM MUSIC JOURNAL MARCH/APRIL 2017

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 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 … and there are plenty more for you to browse and select.

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/Gebe ckphoto

Visit ism.org/discount+ for full details.

© iSto

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Professional development Performance anxiety A practical workshop for music teachers Thursday 30 March, 9.30am-3.45pm ISM, 4-5 Inverness Mews, London W2 3JQ A practical workshop, delivered by the ISM Trust, with Gregory Daubney MSc MBPsS and Dr Alison Daubney, authors of the publication Performance anxiety: A practical guide for music teachers, published by the ISM Trust. This workshop explores many of the common underlying causes of performance anxiety and helps teachers identify its presence in their day-to-day work. Participants will take part in a series of practical exercises to try out a range of strategies across three key timeframes over which anxiety commonly occurs. This course will provide music teachers working across all contexts and with pupils of all ages with easy to use, practical strategies, informed by rigorous psychological research, to integrate throughout their own practice and positively enhance their students’ development over time. This workshop will enable teachers to leave the session with confidence to: • successfully identify the presence of performance anxiety in their students and its possible sources • select and apply appropriate practical strategies to help their students handle performance anxiety effectively in a variety of situations • experiment with practical strategies and experience how they work • create and design their own strategies to help students cope with performance anxiety • reflect on their own practice and implement long-term strategies to help minimise the presence and impact of performance anxiety throughout their teaching. This workshop is limited to 12 people, which allows a unique opportunity for in-depth consideration of the subject. Tickets: £45 ISM members; £55 non-members (includes VAT, refreshments and lunch)

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. Our next webinars are:

Setting your tuition fees Wednesday 15 March, 1-2pm John Robinson, our Head of Service Delivery & Systems, will explore how you can use our fees survey results and other information to decide on your own fees. Register for this free webinar at bit.ly/ SetYourTuitionFees2017

A practical guide to composing and arranging music for the KS3 classroom and school ensemble A Music Excellence London webinar delivered by the ISM Trust Thursday 27 April, 4.30-5.30pm Choice of repertoire can be a powerful way of engaging students in their musical learning. However, finding access to suitable material isn’t always easy especially in the busy life of a school music teacher. This webinar with Keir Crawley from Preston Manor School aims to provide you with all the facts and all the know-how to be able to do it yourself. Register for this free webinar at bit.ly/ArrangingKS3 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

Book by 23 March: ism.org/seminars

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Philip Glass at 80 Now in his eightieth year, the American composer Philip Glass has been one of the dominant, boundary-crossing inuences of the past half century. BBC Radio 3 presenter Tom McKinney looks back over the life and career of the composer.

Above: BBC Radio 3 presenter Tom McKinney

Left: Marin Alsop conducts the BBC Symphony Orchestra and Chorus on 28 January as part of the BBC Total Immersion Day: Philip Glass at 80. Photo: Š BBC / Mark Allan

I was recently listening to a performance of Philip Glass’s First Violin Concerto on YouTube. As is typical of online behaviour, temptation got the better of me, and although I was near the end of the Concerto (and very much enjoying it) I browsed the sidebar of recommended videos, and without even thinking, clicked a link to an extract from Glass’s Music in Twelve Parts. The Violin Concerto was composed in 1987, Music in Twelve Parts was completed in 1974. Much has been made of the dual career of Philip Glass, the composer who was once a Bohemian underground cult hero, earning his money as a New York yellow taxi driver, plumber and furniture removal man, who then morphed into the colossus widely regarded as the most commercially successful composer of all time, and a name so familiar that advertisers have been able to use it to sell watches and whisky.

I would almost certainly have wheeled out a few trite observations about how mesmerising and corporeally thrilling the early music of Philip Glass still sounds half a century after it was written, compared to the contrived clumsiness of the music he started to write from the First Violin Concerto and through the eleven symphonies which have occupied him up to today, the eleventh being premiered as part of his 80th birthday celebrations.

0DQ\ \HDUV DIWHU P\ ÀUVW HQFRXQWHU ZLWK *ODVV I listened to Music in Twelve Parts, and when I woke up the next morning, I needed to hear all three and a half hours of it again, so powerful was the experience.

that ‘classical music could join forces with populist brain-rotting trash’, an actual reader’s comment that I found under an 80th birthday article posted online.

But instead, that juxtaposition between 1987 and 1974 was so startling because of the remarkable similarity between two pieces which are supposed WR EH VR FRPSOHWHO\ GLÍżHUHQW 6LQFH P\ <RX7XEH epiphany, I’ve worked my way through more of his recent music, and I’ve started to think that Philip Glass hasn’t really changed that much, and even though I certainly do prefer his earlier music, he is genuinely a musical phenomenon, 7KH 9LROLQ &RQFHUWR ZDV WKH Ă€UVW SLHFH , HYHU KHDUG producing scores that are unashamedly crafted to by Glass. I still have the CD of Gidon Kremer with be accessible, whilst retaining complete originality. the Vienna Philharmonic. I was in my mid-teens How many other living composers can be so and it was joyously appealing. Even my friends and LQVWDQWO\ LGHQWLĂ€DEOH IURP KHDULQJ MXVW D IHZ family liked it, who at that point were becoming seconds of their music? concerned that my listening tastes indicated that 7KH V\PSKRQLHV DUH ZKHUH \RX¡OO Ă€QG VR PXFK I might not be particularly well adjusted. To be fair, divided opinion – you’re either a Glass junky in awe I was listening to a hell of a lot of Stockhausen at of his uniquely exciting voice, or you’re lamenting the time! the end of the universe, maybe even traumatised

As much as I liked them both, it was hard to believe those two pieces could have been written by the same composer, and had I not shifted so abruptly between the YouTube videos, what you’re reading QRZ ZRXOG SUREDEO\ KDYH EHHQ TXLWH GLͿHUHQW

What I say, is that we should use Glass as an example of why contemporary classical music is far from approaching its death throes, in contrast WR WKH HQGOHVV Ă RRG RI DSRFDO\SWLF QHZV VWRULHV Battle lines divided along issues of taste, are indicative of relevance, and Glass is the evidence Continued overleaf Ăˆ

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Above: Banners announcing the premiere of the opera Einstein on the Beach on 11-13 October 2013, Los Angeles, USA Photo: ŠiStockphoto/ jcamilobernal Above right: Philip Glass Photo: Jim Ball

we need to point out that contemporary classical music certainly is still relevant. It’s not going away any time soon, even if it joins forces with brainrotting trash. As part of BBC Radio 3’s celebrations for Philip Glass’s 80th birthday, the producer Philip Tagney and I put together a six hour overnight broadcast, which went out on 29 January, focussing on the key early works composed for the Philip Glass Ensemble. Although his fame was made by the scores he composed from the mid-1970s onwards, I’ll always be drawn to that young Philip Glass, and to the music which still sounds so incredibly fresh, so full of manic energy. So how did he move from being a normal kid in Baltimore who experienced a relatively straightforward music education, to the earsplitting underground phenomenon that took New York by complete surprise? The seminal experience for Glass happened in Paris, when he was a student of Nadia Boulanger, one of the last century’s greatest composition teachers, and whom Glass later described as brilliant but terrifying. Desperate for cash, he accepted work as an arranger and transcriber for WKH ÀOP Chappaqua, a weird cult drug exploitation movie, with, amazingly, music by Ravi Shankar. This was still a few years before Shankar gave KLV HUD GHÀQLQJ SHUIRUPDQFHV LQ $PHULFD DW WKH Woodstock and Monterey Festivals, and Glass had

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no real knowledge of Indian music, but he was completely transformed by the experience. In need of total saturation, in 1967 he travelled to India with KLV ÀUVW ZLIH -RDQQH $NDODLWLV WDNLQJ WKH FODVVLF overland Hippie Trail by bus through Turkey, Iran, Afghanistan and Pakistan. When he returned to New York, he contacted his old friend Steve Reich who was already an established name in American new music, and Glass found that Reich’s hypnotic minimalist style was perfectly in line with his Indian music obsession. But even before hearing Reich’s minimalism – a term both of them hate, by the way – Glass had been heading that way via his love of the absurdly fascinating monotony that he encountered in the plays of Samuel Beckett. In the late 1960s, New York’s SoHo district was the global capital of cool, and Philip Glass dived into the scene by forming the Philip Glass Ensemble. Consisting of electric organs and wind instruments, the music was driven hard, fast and extremely loudly at audiences in loft apartments, artists’ studios, galleries and nightclubs. His music pushed the limits of an audience to the extreme, just a IDVW à RRG RI QRWHV WKDW JUDGXDOO\ DOWHUHG ZLWK QR obvious musical development. This is where you’ll ÀQG UHSHWLWLRXV *ODVV DW KLV PRVW KDUGFRUH LQ ZRUNV such as Music in Fifths, Music in Parallel Motion and Music in Contrary Motion. Thinking up titles clearly didn’t take up too much of his time.

ISM MUSIC JOURNAL MARCH/APRIL 2017

But within a couple of years, by the start of the 1970s, Glass had run out of ideas concerning this type of music that was propelled with the unrelenting power of a jackhammer. He began to apply some harmonic direction and slightly tamed the aggression.

Since then, Glass has composed another 13 operas, 13 concertos, incidental music for 17 plays, at least ÀOP VFRUHV V\PSKRQLHV GR]HQV RI FKDPEHU and choral works, and he’s even managed to keep the Philip Glass Ensemble going. Whatever Glass does next will continue to polarise audiences, but it’s a simple truth that no other living composer KDV KDG VXFK DQ HͿHFW RQ WKH ZRUOG ZH KHDU WRGD\ Classical music and most forms of pop music, ZRXOG KDYH GHYHORSHG YHU\ GLͿHUHQWO\ KDG LW QRW been for Philip Glass.

Above: Katia and Marielle Labèque perform the UK premiere of Glass’s Concerto for two pianos – a work written for them in 2015 – with the BBC Symphony Orchestra as part of the BBC Total Immersion Day. Photo: Š BBC / Mark Allan

7KH ÀUVW RI WKHVH QHZ SLHFHV ZDV WKH KXJHO\ LQà XHQWLDO Music with Changing Parts. When the Philip Glass Ensemble played it in London in 1971, Brian Eno was in the audience and claims to have been instantly altered by the experience. Also there was David Bowie, and he and Glass became close Tom McKinney, BBC Radio 3 friends that constantly fed inspiration to each other. Bowie acknowledged the importance of Glass tommckinney.co.uk in his Berlin trilogy of albums, and Glass vice versa in his First and Fourth Symphonies. Next, from 1971 to 1974, Glass composed one of WKH ÀUVW PLQLPDOLVW PDVWHUSLHFHV Music in Twelve Parts. It’s three and a half hours of overpoweringly delirious euphoria, quite unlike anything else I’ve ever heard, and if you don’t know it, then you really should take steps to change that. After Music in Twelve Parts *ODVV ZURWH KLV ÀUVW opera Einstein on the Beach. It initiated the transition from avant-garde outsider to global superstar. In the mid-1970s, Philip Glass’s mother attended a performance of her son’s Ensemble with only ÀYH RWKHU DXGLHQFH PHPEHUV 6HYHQ \HDUV ODWHU she was one of four thousand.

13

ISM MUSIC JOURNAL MARCH/APRIL 2017

ISM annual review Deborah Annetts outlines the ISM’s activities for the year ended 31 August 2016

Above: Bacc for the Future campaign pre-debate gathering in front of the Houses of Parliament on 4 July 2016 Photo: Brian Slater

The Incorporated Society of Musicians (‘ISM’) is the UK’s professional body for musicians, established in 1882 to promote the art of music and to protect and support the interests of musicians and the music profession. This founding vision continues to serve the Society well. The ISM continues to grow and develop in all areas from the range and depth of its services for its PHPEHUV WR LWV LQĂ XHQFH DQG SURĂ€OH DQG WKH VL]H RI its membership. In order to support the aspirations and ambitions of the ISM, over the course of the past Ă€QDQFLDO \HDU RUJDQLVDWLRQDO FKDQJH KDV FRQWLQXHG on all fronts. In 2015, the Incorporated Society of Musicians Trust (ISM Trust, a charitable company limited by guarantee), of which the ISM is the sole member, became the sole corporate trustee of the Benevolent Fund of the Incorporated Society of Musicians (ISM Benevolent Fund, a charitable trust). The three organisations work closely together and are operating under the name ‘the ISM Group’. This FORVH DOLJQPHQW LV RI EHQHĂ€W QRW MXVW WR PHPEHUV EXW

14

also to the wider music sector through work such as RXU Ă DJVKLS SURIHVVLRQDO GHYHORSPHQW SURJUDPPH and the Make Music Work programme. The shared learning and use of resources across the group underpins the continued success of the ISM. The quality of the ISM’s work was recognised nationally through involvement in a number of prestigious DZDUGV LQ UHVSHFW RI WKH ,60¡V ZRUN LQ SXEOLF DÍżDLUV digital website and professional development. In order to ensure that the ISM remains highly HÍżHFWLYH LQ ZKDW LV D FKDQJLQJ DQG VRPHWLPHV challenging environment, the Society has, during the course of the year, continued to work on its internal structures and management systems. All areas have EHHQ UHYLHZHG IURP VWD΀QJ VWUXFWXUHV DQG WKH ,60 website to the CRM and IT support systems and improvements have been made on an ongoing basis. This work will continue in 2016-17 as the ISM works WR IXOO\ XWLOLVH WKH RSSRUWXQLWLHV ZKLFK Ă RZ IURP WKH close working between the ISM, the ISM Trust and the ISM Benevolent Fund.

ISM MUSIC JOURNAL MARCH/APRIL 2017

‘ The work of the ISM in this ďŹ eld was recognised as ďŹ nalists for the Public Affairs Awards for its campaign Music goes #beyond1900 and #before1700 which persuaded the Department for Education (DfE) to enable a wider range of music to be included in the new GCSEs’.

Support the music profession through a range of advocacy initiatives 7KH ([WHUQDO $ͿDLUV WHDP FRYHUHG PDQ\ GLͿHUHQW LVVXHV RYHU WKH FRXUVH RI WKH \HDU VLJQLÀFDQWO\ LQà XHQFLQJ PDQ\ GLͿHUHQW SROLF\ DUHDV ZKLFK DUH vital to ISM members and the music profession. 7KH ZRUN RI WKH ,60 LQ WKLV ÀHOG ZDV UHFRJQLVHG DV ÀQDOLVWV IRU WKH 3XEOLF $ͿDLUV $ZDUGV IRU LWV campaign Music goes #beyond1900 and #before1700 which persuaded the Department for Education (DfE) to enable a wider range of music to be included in the new GCSEs. 7KH ([WHUQDO $ͿDLUV WHDP KDG PRUH WKDQ PHHWLQJV with external organisations and key stakeholders in 2015-16. This included meetings with civil servants and ministers in Government at the Intellectual 3URSHUW\ 2΀FH 'HSDUWPHQW IRU &XOWXUH 0HGLD DQG Sport and DfE as well as meetings with key funders of music including the BBC and Arts Council England. The team also met with a broad range of stakeholders including PRS for Music and PPL, Ofsted, music colleges, music education hubs, schools, unions and professional associations, members of the All-Party Parliamentary Group for Music Education and other Parliamentarians from the House of Commons and House of Lords. The All-Party Parliamentary Group for Music Education continued to operate in 2015-16 informing MPs and Peers on music education issues.

•

The ISM’s major campaign, Bacc for the Future, generated the second highest number of responses to a DfE consultation for 2016 and a petition endorsed by the campaign was signed by more than 100,000 people which OHG WR D KLJK SURÀOH GHEDWH LQ 3DUOLDPHQW RQ Monday 4 July 2016.

•

The ISM chaired another major campaign, Fair Terms for Creators, a group of organisations representing authors, performers and other creators calling for legal protection for creators in contract negotiations. Draft legislation has been developed to protect creators’ rights in contracts and intellectual property and this work will continue next year.

7KH ([WHUQDO $ͿDLUV WHDP KDV FRQWLQXHG WR HQJDJH members through the Educators’, Composers’, and Performers’ Special Interest Groups Round Table meetings. The number of ISM Ambassadors has increased and the ISM would like to express its thanks and appreciation for their continued hard work.

The ISM featured across a broad range of media platforms in 2015-16, including radio broadcasts on BBC Radio 3, 4 and 5 on a number of occasions; national news outlets BBC News (and Newsbeat), The Times, The Guardian, The Telegraph, and extensively in industry press including Music Week, The Stage, Classical Music Magazine, Music Teacher magazine, BBC Music Magazine, Arts Professional, Twelve formal consultation submissions and inquiry MIPro, TES and Schools’ Week. The ISM covered responses were submitted covering a wide range D UDQJH RI LVVXHV DÍżHFWLQJ WKH PXVLF DQG ZLGHU of topics including the enforcement of intellectual creative industries, namely the EBacc (Bacc for the property, orchestral tax relief, national insurance Future campaign) and music education provision, rules, the English Baccalaureate (EBacc), the purpose fair remuneration in streaming, travelling with and quality of education in England, the BBC Charter instruments, and the orchestra’s tax relief scheme. Review, and a review of Initial Teacher Education. Coverage of the EBacc and its adverse impact on the Numerous other submissions were made to DUWV EHFDPH LQWHUQDWLRQDO ZLWK WKH +X΀QJWRQ 3RVW Government and key stakeholders in other formats. saying the following in July 2016: Key achievements for the year were as follows: ‘Next week is pivotal for the future of artistic diversity • The result of the UK referendum on in the UK. On 4 July Parliament will debate whether the membership of the EU on 23 June 2016 EBacc should include expressive arts subjects, with the KDV VLJQLĂ€FDQW LPSOLFDWLRQV IRU WKH PXVLF UHVXOW KDYLQJ SRWHQWLDOO\ KXJH UDPLĂ€FDWLRQV IRU ZKR WKH profession; within 24 hours of the result being DUWV DUH ÂśIRU¡ LQ %ULWDLQ ĐŻ DUH WKH\ IRU HYHU\RQH WR SUDFWLFH announced, the ISM had published valuable and appreciate, or are they the preserve of a wealthy and guidance on the implications and immediate FXOWXUDOO\ KRPRJHQRXV HOLWH" 7KH GDPDJLQJ LQĂ XHQFH RI impact for music professionals. the EBacc not including expressive arts subjects can Continued overleaf Ăˆ

15

ISM MUSIC JOURNAL MARCH/APRIL 2017

‘ Our outstanding professional development work received the award for Best Development of an Existing Association Event from the Association Excellence Awards 2016, for the Make Music Work conference’. already be seen... The Bacc for the Future campaign has highlighted why the current manifestation of the EBacc is causing the numbers of students studying expressive arts subjects to plummet.’ The role of social media in the ISM’s advocacy work should not be underestimated. The Bacc for the Future social media presence run by the ISM, led and shaped WKH FDPSDLJQ DQG E\ WKH HQG RI WKH Ă€QDQFLDO \HDU the number of Bacc for the Future Twitter followers increased to approximately 1,700. The use of social PHGLD RYHU WKH FRXUVH RI WKH Ă€QDQFLDO \HDU JHQHUDWHG close on 18,000 more petition signatures, with the average tweet reaching 7,000 accounts per twitter post.

Deliver gold standard services to ISM members

of the English National Ballet, the BBC Ten Pieces project, Brass Bands explained, the work of the Koestler Trust and music in prisons, a tour around Birmingham Conservatoire’s new building, and a piece remembering Pierre Boulez. To aid communication with both members and the wider sector a full review and overhaul of the ISM ZHEVLWH WRRN SODFH LQ WKH FRXUVH RI WKH ÀQDQFLDO \HDU This hugely important piece of work was recognised ZKHQ WKH ,60 ZHEVLWH ZDV VKRUWOLVWHG DV D ÀQDOLVW in the category for the Best Association Website by The Association of Association Executives’ Awards. Social media has also become increasingly central to the work of the ISM both in terms of engagement with members but also the music sector as a whole. By the end of the year the ISM’s Twitter followers had organically increased to 10,500.

The ISM legal services which were delivered via the in-house legal team, the legal helpline run by Law Express and legal expenses insurance continued to be a very popular service. During the ÀQDQFLDO \HDU WKH OHJDO WHDP GHDOW ZLWK D WRWDO RI 691 new enquiries. These enquiries covered both RQH RͿ DGYLFH DQG VXSSRUW WR PHPEHUV LQYROYHG in long-running disputes. In addition the legal team was able to conclude some complex and longrunning cases for members during the course of 7KH ,60 FRQWLQXHG WR RͿHU D IXOO UDQJH RI VXSSRUW DQG 7K , 2015-16. 545 enquiries were received by the Law services to its members over the course of the year. Express legal and tax helpline. These included important services such as public liability, employers’ liability and product liability Events, professional development insurance (cover of up to £10,000,000 for each), VLJQLÀFDQW GLVFRXQWV RQ PXVLFDO LQVWUXPHQW DQG and partnerships equipment insurance, and HMRC tax investigation The ISM held its Members’ Day on 14 April 2016 at cover (to £100,000). One-to-one business advice from The Royal Central School of Speech and Drama’s our specialist consultant proved to be a great success (RCSSD) Embassy Theatre in London. The ISM was and members made good use of a range of services delighted to enjoy the hospitality of RCSSD, and from tax and accountancy support to providing we were made most welcome by the ISM’s former access to DBS checks for freelance musicians. President, Professor Gavin Henderson who is The ISM Music Directory went through development Principal at RCSSD. Over 160 people attended the work in February to improve its search capabilities day which showcased international artists as well as and usability. It continued to be a very popular listing covering the essential business of the AGM. The day for ISM members available to the public looking featured composer and conductor Carl Davis who, to hire musicians and music teachers, with over in his 80th birthday year, spoke about his remarkable PHPEHUV RI WKH SXEOLF YLHZLQJ SURÀOHV RQ life in music. This was followed by a masterclass with the Music Directory a month. legendary soprano and early music specialist Dame A very wide range of features were commissioned Emma Kirkby. Dame Emma delighted the audience during the course of the year for Music Journal which with her kind, supportive and insightful comments, has a reach of over 10,000, the highlights being an as the students tackled works by Henry Purcell, John interview with Gavin Sutherland, Music Director Danyel and John Dowland. The prestigious ISM

16

ISM MUSIC JOURNAL MARCH/APRIL 2017

Ensure the finances and internal structures are strong to secure the future of the ISM.

Above: Dame Emma Kirkby receives the ISM Distinguished Musician Award 2015 from the 2015-16 President, Jeremy Jackman Photo: Kris Brown

Distinguished Musician Award for 2015 was presented to Dame Emma by the President Jeremy Jackman following the masterclass, in recognition of her illustrious career as one of Britain’s most celebrated sopranos, and for her services to musicianship. Following the AGM and Open Forum Nicolas Chisholm MBE took over as President for 2016-17. Partnerships continued to play an important role at the ISM. The ISM was delighted to continue to partner with the BBC Ten Pieces project as a stakeholder and the promotion of this important work will continue into 2017. The ISM was conference sponsor at Music Education Expo and developed a year-long partnership with Rhinegold Publishing Ltd. The ISM continued to develop its professional development programme through the ISM Trust LQ WKH ÀQDQFLDO \HDU 2XU RXWVWDQGLQJ professional development work received the award for Best Development of an Existing Association Event from the Association Excellence Awards 2016, for the Make Music Work conference in 2015. Professional development opportunities were delivered through webinars, regional seminars and training events, and resources. The ISM hosted a joint seminar with the ABO on good safeguarding practice in music education RQ 2FWREHU 6HYHQW\ ÀYH UHSUHVHQWDWLYHV from the world of music education joined with colleagues from the sport and dance sectors for a day of discussion and debate about the use of physical contact in music education. The ISM is very grateful for the continued hard work and contribution of the ISM Local Groups which are run by dedicated ISM volunteers. A total of 33 events were held by the ISM’s 24 local groups during the ÀQDQFLDO \HDU 7KHVH HYHQWV SURYLGHG DQ opportunity for members to meet, share learning and best practice, hold concerts and socialise.

7KH ÀQDQFLDO \HDU ZDV SRVLWLYH ZLWK D VXUSOXV of £15,542 being recorded as at the year end. This was lower than the surplus from the previous year, but it was a good result given the reductions in some VSHFLÀF LQFRPH VWUHDPV DQG KLJKHU SURIHVVLRQDO fees incurred during the year. ISM membership continued on a path of extraordinary growth during 2015-16 and by 31 August 2016 membership had risen to over 7,500 members. Retention levels continued to rise across all areas of membership. The decrease in non-membership income was accounted for by lower capital gains realised through the sale of part of the ISM’s invested portfolio a fall of 81% and by a fall of 25% in cable royalties. Against this, membership income increased by 12%. Total expenditure increased from £1,395,917 (2015) to £1,503,983 an increase of nearly 8%. As at the year end the reserves stood at more than £3.9m. A number of ISM members applied to be considered as Appointed Council Members and after careful consideration, Trevor Ford, Professor Stephen Goss and Dr Jeremy Huw Williams were appointed by Council to this role. Council also appointed Sue Sturrock to become President Elect for 2016-17. Dr Marius Carboni was nominated and appointed as an Elected Member of Council for the South. Beverley Downes was re-elected as the Elected Member for the East. Council would like to thank the contribution made by Council member Danielle Perrett who resigned during the course of the ÀQDQFLDO \HDU &RXQFLO ZRXOG DOVR OLNH WR H[SUHVV WKHLU grateful thanks for the leadership and hard work of the outgoing President Jeremy Jackman.

Conclusion The work of the ISM Group and the ISM is greatly facilitated by many of its members, who give their time voluntarily to support Council, Special Interest and Local Groups, which provide such a great opportunity for members to meet, exchange knowledge and engage in professional development. &RXQFLO ZRXOG OLNH WR WKDQN WKH ,60 VWDͿ WHDP and the ISM’s many volunteers including our Ambassadors working across the UK who continue to show a high level of commitment in supporting the ISM’s activities. The ISM remains robust in all areas and is looking forward to the future as it continues WR JURZ DQG ÁRXULVK &RXQFLO WKDQNV HYHU\RQH ZKR KDV KHOSHG WR IXUWKHU WKH ZRUN RI WKH ,60 DQG RͿHUV its gratitude to all retiring members of Council and volunteers for their services. Deborah Annetts, Chief Executive, ISM

Continued overleaf È

17

ISM MUSIC JOURNAL MARCH/APRIL 2017

Summarised income and expenditure account

2015–16

Total income

2014–15

1,553,885 subscription fees other income

1,003,979 549,906

membership services governance and administration property and equipment staff marketing and external relations professional costs irrecoverable VAT charitable donations

-187,976 -41,103 -130,703 -745,422 -103,401 -189,586 -25,242 -80,550

Total Expenditure

1,613,633 898,109 715,524

-1,503,983

-1,395,917 -250,863 -39,096 -130,384 -731,824 -125,096 -67,201 -15,803 -35,650

Surplus before Taxation

49,902

217,716

Taxation

-34,360

-50,715

Surplus for the year

15,542

167,001

Summarised balance sheet

2015–16

Fixed assets

2014–15

4,692,192

4,667,738

360,466

571,480

Liabilities

-1,096,882

-1,298,984

ISM net reserves

3,955,776

3,940,234

Current assets

Council’s statement The information provided here is not the full statutory accounts but a summary of the information which appears in the full ÀQDQFLDO VWDWHPHQWV 7KHVH VXPPDULVHG ÀJXUHV PD\ QRW FRQWDLQ VX΀FLHQW LQIRUPDWLRQ WR DOORZ IRU D IXOO XQGHUVWDQGLQJ RI WKH ÀQDQFLDO DͿDLUV RI WKH 6RFLHW\ )RU IXUWKHU LQIRUPDWLRQ WKH IXOO annual accounts, including the auditor’s report, should be consulted. The full annual accounts, including the auditor’s report, are available to members in the members’ area of the company’s website (www.ism.org). The full accounts were approved by the Council on 13 February 2017 and a copy will be submitted to the Registrar of Companies. 7KH DXGLWRU KDV LVVXHG DQ XQTXDOLÀHG RSLQLRQ RQ WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV DQG RQ WKH FRQVLVWHQF\ RI WKH &RXQFLO·V UHSRUW ZLWK WKRVH ÀQDQFLDO VWDWHPHQWV

Independent Auditor’s statement to the Council of the Incorporated Society of Musicians :H KDYH H[DPLQHG WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV for the year ended 31 August 2016.

Respective responsibilities of Council and the Auditor The Council are responsible for preparing the summarised ÀQDQFLDO VWDWHPHQWV LQ DFFRUGDQFH ZLWK DSSOLFDEOH 8QLWHG Kingdom Law. Our responsibility is to report to you on the FRQVLVWHQF\ RI WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV ZLWK WKH IXOO ÀQDQFLDO VWDWHPHQWV DQG &RXQFLO·V DQQXDO UHSRUW We conducted our work in accordance with ISA 810 ‘Engagements to report on Summary Financial Statements’ issued by the International Auditing and Assurance Standards %RDUG 2XU UHSRUW RQ WKH &RPSDQ\·V IXOO ÀQDQFLDO VWDWHPHQWV GHVFULEHV WKH EDVLV RI RXU RSLQLRQ RQ WKRVH ÀQDQFLDO VWDWHPHQWV and on the Council’s Report.

Opinion ,Q RXU RSLQLRQ WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV DUH FRQVLVWHQW ZLWK WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV DQG Council’s report of the Incorporated Society of Musicians for the year ended 31 August 2016. Lindeyer Francis Ferguson Limited North House, 198 High Street, Tonbridge, Kent Date: 21 February 2017

18

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 MARCH/APRIL 2017

ISM Members Fund annual review Caroline Aldred summarises the Fund’s activities for the year ended 31 August 2016.

The ISM Members Fund is the working name of the Benevolent Fund of the Incorporated Society of Musicians, registered charity no. 206801.

Structure, governance and management The Fund is an unincorporated association which was established on 5 January 1917. It is governed by a Trust Deed which states that the Fund’s object is the relief of necessitous members of the Incorporated Society of Musicians (‘ISM’), former members and widows or other dependants of deceased members.

2YHU KDOI RI WKH UHFLSLHQWV RI WKH )XQG·V ÀQDQFLDO assistance were members unable to work due WR VHULRXV LOOQHVV RU LQMXU\ 2QH ÀIWK HLWKHU ZHUH H[SHULHQFLQJ SUREOHPV ÀQGLQJ VX΀FLHQW ZRUN RU were limited in the amount of work they were able to undertake by family problems and associated FDULQJ UHVSRQVLELOLWLHV 7KH UHPDLQLQJ EHQHÀFLDULHV were struggling with a less than adequate income LQ WKHLU UHWLUHPHQW \HDUV %HQHÀFLDULHV ZHUH ZLGHO\ GLVWULEXWHG DFURVV GLÍ¿HUHQW DJH JURXSV DQG UDQJHG in age from 24 to 84.

By a new Scheme issued by the Charity Commission on 1 October 2015, from that date individual members of ISM Council ceased to be Trustees of the Fund and the Incorporated Society of Musicians Trust (ISM Trust, a charitable company limited by guarantee), of which the ISM is the sole member, became the sole corporate trustee of the Benevolent Fund of the Incorporated Society of Musicians (ISM Benevolent Fund, a charitable trust). The three organisations namely the ISM, the ISM Trust and the ISM Benevolent Fund work closely together and are operating under the name ‘the ISM Group’.

The Fund continued to provide an outsourced telephone counselling service available to all ISM members and their families.

During the course of the year several improvements were made to streamline the processes of the ISM %HQHYROHQW )XQG DQG LPSURYH H΀FLHQF\ DV D UHVXOW RI WKH FRQWLQXLQJ UHYLHZ RI DOO WKH GLͿHUHQW RUJDQLVDWLRQV which make up the ISM Group. As a result the %HQHYROHQW )XQG QRZ KDV LPSURYHG ÀQDQFLDO V\VWHPV and further improvements will be sought in 2017.

Donations and Bequests

The Fund’s work in 2015-16 'XULQJ WKH \HDU WKH )XQG RÍ¿HUHG DVVLVWDQFH WR relieve a wide range of cases of poverty. The Fund spent £89,299 (2015: £87,691) on grants. In total, 57 individuals (2015: 59) received assistance. 7KH\ LQFOXGHG QHZ EHQHÀFLDULHV In addition, there were times when applicants to the Fund were signposted to other sources of help,

20

such as medical support, debt advice, welfare EHQHÀWV DQG RWKHU FKDULWLHV

Throughout the year, the Head of Members Fund Operations liaised with Help Musicians UK and the Royal Society of Musicians over shared help IRU MRLQW EHQHÀFLDULHV The Trustee wishes to thank everyone who has helped to further the work of the Fund, especially Gregor Logan, the Fund’s Hon Investment Adviser, for his invaluable advice and the members of the Grant-Making Committee.

The Trustee acknowledges with thanks bequests to the Fund from the estates of the late Joan Carter, Helena Colquhoun, Florence Harris and Cynthia Hill. Total legacy income during the year was £16,882 (2015: £42,495). In addition, the Fund has EHHQ QRWLÀHG RI D EHTXHVW IURP WKH HVWDWH RI WKH ODWH Colin Thomson. As yet the amount of this future legacy is unknown. The Trustee is most grateful to all the individuals who made bequests or donations or organised fundraising initiatives. Caroline Aldred, Head of Members Fund Operations, ISM

ISM MUSIC JOURNAL MARCH/APRIL 2017

Summarised statement of ďŹ nancial activities

2015–16

Unrestricted income

2014–15

159,436 quoted investments interest received legacies donations

140,887 52 16,882 1,615

151,403 151,324 79

Endowment income

44,814 legacies donations

42,495 2,319

TOTAL INCOME

159,436

TOTAL EXPENDITURE

196,217

-150,638 charitable activities investment management fees

-141,764 -8,874

NET INCOME

8,798

51,526

297,581

-54,243

306,379

-2,717

(before movements on investments)

Gains/losses on investments Net movement in funds

Summarised balance sheet

2015–16

Long term investments

-144,691 -135,610 -9,081

2014–15

3,762,476

3,464,895

Current assets

96,314

118,411

Liabilities

-9,686

-40,581

Net reserves

3,849,104

3,542,725

Reserves distribution

3,849,104 permanent endowment expendable endowment unrestricted funds

Trustee’s Statement The information provided here is not the full statutory accounts but a summary of the information which appears in the full Ă€QDQFLDO VWDWHPHQWV 7KHVH VXPPDULVHG Ă€JXUHV PD\ QRW FRQWDLQ VX΀FLHQW LQIRUPDWLRQ WR DOORZ IRU D IXOO XQGHUVWDQGLQJ RI WKH Ă€QDQFLDO DÍżDLUV RI WKH FKDULW\ )RU IXUWKHU LQIRUPDWLRQ WKH IXOO annual accounts, including the independent examiner’s report, should be consulted. These can be obtained, free of charge, from WKH FKDULW\¡V R΀FHV ,QYHUQHVV 0HZV /RQGRQ : -4 The full accounts were approved by the Trustee on 13 February 2017 and a copy will be submitted to the Charity Commission. 7KH LQGHSHQGHQW H[DPLQHU KDV LVVXHG DQ XQTXDOLĂ€HG VWDWHPHQW RQ WKH IXOO DQQXDO Ă€QDQFLDO VWDWHPHQWV

3,278,229 411,010 159,865

3,542,725 3,027,120 378,503 137,102

Respective responsibilities of the Trustee and the Independent Examiner The Trustee is responsible for preparing the summarised Ă€QDQFLDO VWDWHPHQWV LQ DFFRUGDQFH ZLWK DSSOLFDEOH 8QLWHG Kingdom Law and the recommendations of the charities’ SORP 2015. Our responsibility is to report to you on the FRQVLVWHQF\ RI WKH VXPPDULVHG Ă€QDQFLDO VWDWHPHQWV ZLWK WKH IXOO DQQXDO Ă€QDQFLDO VWDWHPHQWV DQG 7UXVWHH¡V DQQXDO UHSRUW Our independent examiner’s report on the charity’s full Ă€QDQFLDO VWDWHPHQWV GHVFULEHV WKH EDVLV RI RXU UHSRUW RQ WKRVH Ă€QDQFLDO VWDWHPHQWV

Opinion

Independent Examiner’s statement to the Trustee of the Benevolent Fund of the Incorporated Society of Musicians

,Q RXU RSLQLRQ WKH VXPPDULVHG Ă€QDQFLDO VWDWHPHQWV DUH FRQVLVWHQW ZLWK WKH IXOO DQQXDO Ă€QDQFLDO VWDWHPHQWV DQG 7UXVWHH¡V report of the Benevolent Fund of the Incorporated Society of Musicians for the year ended 31 August 2016.

:H KDYH H[DPLQHG WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV for the year ended 31 August 2016.

Lindeyer Francis Ferguson Limited North House, 198 High Street, Tonbridge, Kent Date: 21 February 2017

21

ISM MUSIC JOURNAL MARCH/APRIL 2017

ISM Trust annual review Deborah Annetts summarises the ISM Trust’s activities for the year ended 31 August 2016

Structure, governance and management

Achievements and performance

Following on from the award-winning Make Music Work event in March 2015, a number of online and The ISM Trust, which is a Company Limited by printed resources have been supported by the ISM Guarantee, was incorporated on 5 November 2014. It Trust to provide musicians from all areas of the was set up by the Council of the Incorporated Society profession with the tools to establish a successful of Musicians (‘ISM’) and received its charity status and sustainable career. The Make Music Work series on 30 January 2015. It is governed by its Articles of includes an ISM guide for young musicians, Association. ISM Performers Pack, ISM Composers Pack, The management of the charity is the responsibility ISM Self-publishing Pack and ISM Teachers Pack. of the Board of Directors. The Directors are appointed A total of 2892 packs have been downloaded, by the members and the sole member of the charity is with the Teachers Pack (at 1,254 downloads) being the ISM (a company limited by guarantee, registered the most popular. number 36882). On a regular basis new Trustees are appointed to the FKDULW\ 7UXVWHHV DUH LGHQWLĂ€HG RQ WKH EDVLV RI WKHLU skills and their knowledge of the music sector. In 2015, the ISM Trust became the sole corporate trustee of the Benevolent Fund of the Incorporated Society of Musicians (ISM Benevolent Fund, a charitable trust). The three organisations, namely the ISM, the ISM Trust and the ISM Benevolent Fund, work closely together and are operating under the name ‘the ISM Group’.

Teachers’ Pack

A guide for instrum enta and vocal music teac l hers Part of the Make

Music Work advice

series

Supported by

ism_music

#MakeMusicWork

Incorporated Society of Musicians

Objectives and activities

A total of 11 free webinars throughout the year RͿHUHG PHPEHUV RI WKH PXVLF SURIHVVLRQ WKH chance to access key professional development • advance education; opportunities at work, home or on the move. Topics • advance health; and included managing performance nerves, music and • promote the arts, particularly music. dyslexia, social media and content marketing skills The aim is for professional development work to be for musicians, self-publishing, contracts and legal delivered by colleagues at the ISM and in partnership knowledge for teachers, curriculum and assessment with other organisations or respected practitioners in LQ .6 WKH QHZ *&6( PXVLF TXDOLÀFDWLRQV DQG WKHLU ÀHOG 3URIHVVLRQDO GHYHORSPHQW RSSRUWXQLWLHV teaching children in the digital age. were delivered by the ISM Trust through webinars, Events held during the year included three workshops regional seminars and training events, and resources. on Preparing to teach the new GCSE music and The objects of the ISM Trust are to:

The Directors had due regard to the Charity &RPPLVVLRQ¡V JXLGDQFH RQ SXEOLF EHQHĂ€W ZKHQ setting objectives and planning activities.

22

Progression, Curriculum and Assessment. Working with teacher and music education consultant, Dr Alison Daubney, the ISM Trust also delivered training on curriculum and assessment, and teaching the new GCSE music, through music hubs and music services

ISM MUSIC JOURNAL MARCH/APRIL 2017

in Dorset, Bristol, Slough, Somerset, Birmingham, Lincolnshire and Bedfordshire reaching over 360 music teachers. Approximately 1,500 musicians engaged with our professional development webinars and events delivered by the ISM Trust in 2015-16. The recorded webinars have also received 2,842 views online since the live broadcasts.

GCSE certificates Working with the ISM, the ISM Trust carried out research into the uptake of GCSE music in secondary schools of all types (independent, academy, free school, maintained etc.) in January 2016. Schools ZKLFK KDG D KLJK XSWDNH ZHUH DZDUGHG FHUWLÀFDWHV to recognise their work and to support the continued provision of music within their school. Approximately 600 schools had an uptake and attainment (A*-C) rate of 10% or more.

Financial review In order to support the work of the ISM Trust going forward, the ISM has provided £80,000 (2015: £35,000) by way of donations. A small income of £3,473 has been generated as a result of the professional development work. The total direct and support costs in respect of the professional development work was £71,468. The Trust has £44,607 of unrestricted reserves to carry forward. Deborah Annetts, Chief Executive, ISM

23

ISM MUSIC JOURNAL MARCH/APRIL 2017

Annual General Meeting This page gives formal notice of the arrangements for the Annual General Meeting which will take place on Members’ Day on 21 April 2017 at The Royal Central School of Speech and Drama. Notice is hereby given that the Annual General Meeting (the ‘Meeting’) of the Incorporated Society of Musicians (the ‘Company’) will be held at The Royal Central School of Speech and Drama, 62-64 Eton Ave, London NW3 3HY at 12pm to transact the following business:

3. To receive and approve the Accounts of the Company for the year ended 31 August 2016, and to receive the Auditor’s report (to be proposed as an Ordinary Resolution).

1. To approve the minutes of the Annual General Meeting held at The Royal Central School of Speech and Drama on 14 April 2016 at 12pm as printed in Music Journal, July/August 2016 (to be proposed as an Ordinary Resolution).

5. To re-appoint Lindeyer Francis Nicolas Chisholm MBE, President 2016-17 Ferguson Limited, Chartered Incorporated Society of Musicians, Accountants, as Auditors for the ISM ² ,QYHUQHVV 0HZV /RQGRQ : -4 DQG WR DXWKRULVH WKH &RXQFLO WR Ă€[ WKHLU 1 March 2017 remuneration (to be proposed as an Ordinary Resolution). An open forum will take place after the AGM. 6. To note the retirement of those members of the Council who wish to A form of proxy for members who cannot retire or who are retiring by rotation. attend the AGM but wish to vote on the

2. To receive the Annual Report of the Council of the Company for 2015-16 (to be proposed as an Ordinary Resolution).

4. To receive a report on the ISM Members Fund for 2015-16.

7R FRQĂ€UP WKH WLPH DQG SODFH RI the next Annual General Meeting. By order of Council

resolutions, appears below.

Notes on completing the proxy voting form

ISM Proxy voting form Before completing this form, please read the explanatory notes below I

(Name)

of

(Address)

being a full member of the above named Society hereby appoint Nicolas Chisholm MBE, President of the Society, or failing him (Name) of

(Address)

as my proxy to vote in my name and on my behalf at the Annual General Meeting of the Society to be held on Friday 21 April 2017 at 12pm and at any adjournment thereof. This form is to be used in respect of the resolutions mentioned overleaf as follows: Resolution 1 (Agenda Item 1)

FOR/AGAINST*

Resolution 2 (Agenda Item 2)

FOR/AGAINST*

Resolution 3 (Agenda Item 3)

FOR/AGAINST*

Resolution 4 (Agenda Item 5)

FOR/AGAINST*

* strike out whichever does not apply

Unless otherwise instructed the proxy may vote as he or she thinks ďŹ t or abstain from voting. Signed

7. To note the election of the Elected Members of the Council and the appointment of the Appointed Members of the Council.

Dated

1. As a member of the Society you are entitled to appoint a proxy to exercise all or any of your rights to attend, speak and vote at a general meeting of the Society. You can only appoint a proxy using the procedures set out in these notes. 2. Appointment of a proxy does not preclude you from attending the meeting and voting in person. If you have appointed a proxy and attend the meeting in person, your proxy appointment will automatically be terminated. 3. A proxy does not need to be a member of the Society but must attend the meeting to represent you. To appoint as your proxy a person other than the Chairman of the meeting (the President), insert their full name. If you sign and return this proxy form with no name detailed, the Chairman of the meeting will be deemed to be your proxy. Where you appoint as your proxy someone other than the Chairman, you are responsible for ensuring that they attend the meeting and are aware of your voting intentions. 4. To direct your proxy how to vote on the resolutions strike out whichever does not apply. If no voting indication is given, your proxy will vote or abstain from voting at his or her discretion. Your proxy will vote (or abstain from voting) as he or she thinks ďŹ t in relation to any other matter which is put before the meeting. 5. To appoint a proxy using this form, the form must be: • Completed and signed; • Sent or delivered to the Society at 4–5 Inverness Mews, London, W2 3JQ; and • Received by the Society no later than 12pm on 19 April 2017. 6. Any power of attorney or any other authority under which this proxy form is signed (or a duly certiďŹ ed copy of such power or authority) must be included with the proxy form or a revocation of such form (see below). 7. If you submit more than one valid proxy appointment, the appointment received last before the latest time for the receipt of proxies will take precedence. 8. To change your proxy instructions simply submit a new proxy appointment using the method set out above. Note that the cut-off time for receipt of proxy appointments (see above) also apply to amended instructions; any amended proxy appointment received after the relevant cut-off time will be disregarded. 9. Where you have appointed a proxy using the hard-copy proxy form and would like to change the instructions using another hard-copy proxy form, please contact the Society. 10. In order to revoke a proxy instruction you will need to inform the Society by sending a signed hard copy notice clearly stating your intention to revoke your proxy appointment to 4–5 Inverness Mews, London, W2 3JQ. Note the cut-off time for receipt of proxy appointments (see above) also apply to revocations. If you attempt to revoke your proxy appointment but the revocation is received after the time speciďŹ ed then, unless you attend the meeting, your proxy appointment will remain valid.

ISM MUSIC JOURNAL MARCH/APRIL 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 3 April for May/June issue.

Above: Madeleine Mitchell Photo: Peter Rauter

Right: Eleftheria Kotzia

Madeleine Mitchell Violinist Madeleine Mitchell will perform her Nocturne programme at the Barnes Music Festival on 13 March – a collection of music and poetry with poet and librettist David Harsent reading some of his Night collection. The concert at St Mary’s, Barnes SW13 9HL includes the premiere of a new poem, River Fragments by Harsent, to which Madeleine will improvise, as well as music by Elgar, Lili Boulanger, Michael Berkeley, Copland, Rorem and Barnes composers Howells and Holst (Song of the Night) with pianist Marc Verter. Madeleine performed Howells’ Three Pieces in Sri Lanka and India in January, partly in aid of the Goa based charity ChildsPlay.com, enabling disadvantaged kids to learn musical instruments. Her recording of the work David Matthews wrote for her, Romanza, is now available on all digital formats (divineartrecords.com/ CD/29005info). barnesmusicfestival.com

Guitar course at the Chateau de Ligoure

Century of English Song completed

The 38th Guitar Course and Festival will take place from 4-12 August 2017 in the magnificent Château de Ligoure, in the Limousin region of France.

The final three volumes of the Association of English Singers and Speakers’ ten-volume collection A Century of English Song have now been published by Goodmusic. Editing all ten volumes are Garry Humphreys and Michael Pilkington, joined for the final three by Sarah Leonard, in succession to the late John Bishop who conceived the series.

The Château de Ligoure hosts an all-round guitar experience, with individual tuition, masterclasses, orchestral and ensemble practice, workshops, technique, lectures, concerts, and presentations by guitar makers (Olivier Pozzo), as well as yoga sessions (Anne Grimaud), opportunities for friendship with other guitarists and improvised musical evenings under a starlit sky. In 2017, Guitare en France boasts a highly experienced and international teaching team: Eleftheria Kotzia (Greece), Delphine Bertrand (France), Finn Svit (Denmark) and Eugenio Silva (Italy). The concert series Nuits de la guitare 2017 is dedicated to the memory of Ida Presti, on the 50th anniversary of her death. guitarenfrance.org

The series features songs by composers perhaps little known outside specialist circles but who have achieved something distinctive in this field, some previously unpublished and many, including songs by wellknown composers, long out of print. Two newly-commissioned songs, by Rose Miranda Hall and Michael Betteridge, are intended to be a bridge to the future. The previous seven volumes, published by Thames Publishing, will in due course be refurbished and republished in line with the new albums. garryhumphreys.com goodmusicpublishing.co.uk

Wilmslow Parish Church Organ Composition Contest P Philip Underwood MMus FRCO FRSA writes: St Bartholomew’s Church in Wilmslow, Cheshire is running a special Organ Composition Contest for composers of all ages and nationalities to celebrate the renewal and augmentation of the organ (affectionately known as Oscar) by Y York Pipe Organs. The winner of the contest will win a prize of £150, with prizes of £100 for second place and £50 for third. The three winners will have Continued overleaf È

25

ISM MUSIC JOURNAL MARCH/APRIL 2017

Right: Robert Howard is presented with BAFA’s Exceptional Service Award 2016.

their pieces performed at the Festival Dedication Service on Advent Sunday 2017. In addition, the winning pieces will be published in a book called Oscar’s Organ Book by the online music publishing firm fagus-music.com.

Obituaries

All submissions must be received via email (philip@philipunderwood.co.uk) or postal mail (28 Bracadale Drive, Davenport, Stockport, SK3 8RS) by 11:59pm on 31 July 2017.

Anthony Goldstone of Lincolnshire

With regret, we report the deaths of: Catherine Phillips of Cardiff Ruth Loveday-Stanfield of London

Dr Robert Howard Dr Robert Howard has received a national award for his achievements with the Prescot Festival of Music & the Arts on Merseyside. Rob founded the festival in 2005 and is still its Artistic Director over a decade later. Having begun as a weekend event, it now runs to 10 days every June and showcases an array of musical, artistic and cultural talent from the local community, the North West region, and beyond.

PGCert Performance Teaching New part-time programme at the Guildhall School, designed to support professional musicians who teach as part of their practice or portfolio career. The course prepares students for employment as an artist-teacher in a range of contexts, including: . Higher Education institutions . Specialist performing arts schools and junior conservatoires . State and independent schools . Community and lifelong learning . Inclusive learning programmes such as Sistema-inspired initiatives Find out more at gsmd.ac.uk/perfteaching Application deadline for September 2017: 28 March 2017

In recognition of his pioneering work, the British Arts Festival Association (BAFA) has presented him with the Exceptional Service Award 2016. Announced at BAFA’s November 2016 conference in Hull, the certificate was officially presented to Rob in person during the Mayor of Prescot’s Charity Christmas Concert on 8 December.

www.benslowmusic-ils.org 01462 420748 Registered Charity No. 313755

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 first 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 flat 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 MARCH/APRIL 2017

Our new members We offer a warm welcome to the following members who joined before 31 January.

Full members Birmingham Jonathan Briscoe BAHonsDartington Adrian Gibson GradDipLCM Michelle Gibson BAHonsDartington Sara Jones Martin Owen ProfCert(RAM) Emily Tyrrell BMusBirm Alexandra Wynne BMusHonsBCU

Bournemouth Simon Paton BMus

Brighton Ryan Akehurst BMus (Hons) James Foster Margaret Grimsdell GRSM MEd LRAM ARCM Christine Tuson BMusHonsRWCMD Robert Tuson BMusHonsTCM Benjamin Wade MA Sarah Willcock BMusHonsLancaster

Bristol Angela Hickey ARCM(VT) Linda Nash BEd(CNAA) Bridget Page BAHonsBathSpa Lizzie Parkes Nicky Tiddy PGCE(music) BAMusicandCombinedArts

Cambridge Grace Carter BMusHonsRCS Stephanie Cleaver BAHons Caroline Termonia Docerend Musicus Jeremy West FRWCMD

Croydon

Lancaster

David Insua-Cao BMusHonsRNCM Christopher M Woolmer ARCO LRAM(OT) ARCM(OP) DipRCM Michino Woolmer PGDip BMusHonsRCM

Daniel Murphy BA QTS

Devon & Cornwall Lindsey Cooper LRAM LTCL Diston Dryburgh BAHonsPlymouth Sarah Heather Gard ALCM GLCM LLCM PGCE Martin Gaughan MMusGoldsmiths David House BAExeter Eamonn Mulhall MMusRCM Kimberly Oram BMusHons(CityUniv/GSMD) John Willis BAHonsOxon

Eastbourne & Hastings Paraskevi Anastasi Georgiou-Lawless BAHonSoton

Guildford Ishani Bhoola ARCM Kate Buxton BMus (Hons) Robert Lewis BAHonsOxon Nao Maebayashi MMus James Sear PGCE(music) Alexandra Stevenson MAHonsEdin DipBirkbeck Myles Wakelin-Harkett BMusHonsGSMD

Hull & East Riding Vanessa Richards MA(Open)

Kent Mark Andrew BMus(TCM) Kevin Elliott Coral Roberts BAKingston Angela Scott-Smith BMusHonsKings

Lea Valley Rachael Bull BMusHons Alexander Campkin BA(RAM) Toni Cooper MA(Open) Krassimira Jeliazkova-Jones MA (Music) Seden Yilmaz ARCM BMusHons(RCM) PGDip

Leicester Mirka Katariina MA(Performance) Ben Siddall BAHonsDerby

Liverpool Alison Boag-Munroe MABangor Lorna Charnley DipMus(OU) Kieran Joy BMusHonsRNCM Hannah Sheldon BAHonsNewcastle

London – North Jenn Catterall MScMusicMindand BrainGoldsmiths Gerry Cornelius ARAM BADurham DipAdvStudiesRAM Miriam Gellert PGDip(RAM) David Graham BMusRCM Elliot Hall BMusHons(TCM/ Westminster) Jeremy Haneman MMus Ana Claudia Magalhaes MAReading Elliot Murphy BATrinityDublin Inge-Lise Nygaard Parsons BMus Stephen Paul BAHons Creative Music Technology Andrew Pink PhDLondon MAAngliaPolyUniv BEdHons(CNAA) ARCM(OP) LRAM(OT) Rebecca Saif BAMusicProductionLCM

Marie Schreer BMus Anastasia Starr BMusHonsRCM MA(TCM/ Westminster) Kinga Ujszaszi PGDip(RAM)

London – South East Lucy Carr BMusHons(RCM) Olivia Clayton BMus(TCM) Jossette Dennis-Irvine BMus(Middlesex) Lindsay Evernden PGCE Natasha Kovalenko Louise Ryan BMusLond LGSM MMusLond Anna Samant LGSM GMus Edmund Taylor BMusTCM Hattie Webb

London – South West Pauline Harding BAHonsYork Henrietta Hill MA(Performance) Grace Roberts BMus (Hons) Peter Stevens MACantab

London – West Calum Huggan BMusHonsRSAMD MMusRSAMD Louise Goodwin BMusRCM

Manchester Luke Mather BMusHonsManch Joe Murtagh BMusHonsRNCM Jonathon Heyward MARAM Elinor Nicholson MMusRNCM Dean Parker BMusHonsManch Eva Petrarca MAPerformanceRCM Emily Pettet BMusHonsRNCM Otto Willberg BMusHonsRNCM

North of England Katrina Buzzard DipABRSM MANewcastle Josephine Montgomery BMusHons(CityUniv/GSMD) Jennifer Shotton BA Heather Shuttleworth

North Wales Huw Ellis-Williams BAHonsOxon

Nottingham Chris Lawry AMusTCL DipMus(Open) MA (Music) BAHons(Open)

Oxford John Bass PCRAM LRAM(VaT) Claudia Martin BAChichester MAChichester PGCert

Reading Sean Bui BMusRoyalHolloway Lorraine Deacon GRSM Liz Hay BAHons PGCE Erika Jones PGAdvDipTCL MMusTLC John Padley

Scotland – South East Katie Davies BADurham John Kenny Catriona Ward BMusHonsNapier

Scotland – South West Larinda J Loch DipRSAMD(PfT) Katharine Oswell BMusHonsRCS

Sheffield Chloe Saywell BMusHonsSheff Lisa-Jane Twigg BMusHonsHuddersfiel Madge Woollard BACantab

South Wales Timothy Goss Natalie Halliday BA Music/German Rhys Hodgson BMusHonsCCCU Elena Piras

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Southampton Ellen Day BAHonsSoton

St Albans Dan Francis PGCE(SecondaryMus) Hattie Jolly PGDip(TCM) Linda Pegrum DipABRSM(PfP) Janet Spotswood GTCL(Hons) LTCL

Student members Birmingham Jennifer Boase Alistair Donaghue Matthew Frost Deirdre Glavin Franklin Heather

Cambridge Lewis Evans

London – South West

Scotland – South West West Yorkshire

Maria Gabriela Bracamonte Laura Seoane Veiga

Andrew Forbes

London – West Lydia Caines

North Wales Emma J Peake GTCL LTCL(VT) CTABRSM

Nottingham Eden Walker

Roger Seville DipABRSM LLCM

Timothy Ellis

Katie Bailey Jeremy Cairns-Todd

West Yorkshire

Adam North

Jessica Burroughs PGDip(RNCM) Peridot Hill LRAM Rosalind Macdonald BAHonsMusic( Jazz)LCM

London – North

Caroline White PGCE(French and Music)

Connor Mollison David Pinto

Overseas

London – South East

Umberto Buono Georgia Kaponi BMusHonsKingston Ryan Morgan LRSL(teaching) MMus

Siân Collins Marcus Heier Amy Hollinrake Tune Elena Marigomez Arranz José Menor George Shrapnell Ilona Suomalainen

Lancaster

Portsmouth

Oliver Betts Matthew Cooke Mandakhtuya Dorj Rachel Maxey

Sarah Dunbar Elen Angharad Heather Edwards BMusWales Victoria Scanlon

Lucy Ankers Katie Chalmers

Overseas Freya Creech Ben Glavin

St Albans Susie Blankfiel Julian Trevelyan Benjamin Williams

Eastbourne & Hastings

Suffolk

South Wales

e Letters after your nam

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

Play a part in the ISM Members Fund’s work – volunteer for the Grant-Making Committee The ISM Members Fund is looking for volunteers to serve on its Grant-Making Committee. This Committee takes all the decisions relating to grants the Fund makes to individuals and so plays a vital role in the Fund’s work of supporting members who are going through hard times. The Committee is composed entirely of ISM members acting in a voluntary capacity. The Committee meets twice a year. In between these meetings, it takes decisions by email exchange. Appointments are made for an initial period of three years. We are looking for individuals who have: • an understanding of how musicians operate their business at all stages of their career and in all areas of music • an understanding of health issues as they affect musicians • knowledge of the skills and tools which may help a musician’s career

• knowledge of other sources of potential support for musicians • the ability to work as part of a team towards a consensus decision • the ability to respect the confidentiality of sensitive personal information. If you would like to volunteer to serve on the Committee please contact Deborah Annetts, deborah@ism.org, by no later than 15 March. If you would like to find out more about what the role entails before committing yourself, Caroline Aldred, our Head of Members Fund Operations, would be very happy to discuss this informally with you. Caroline can be contacted on 020 7313 9310 or caroline.aldred@ism.org. We look forward to hearing from you.

ISM MUSIC JOURNAL MARCH/APRIL 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 3 April for May/June issue.

for musical projects; cross-cultural collaboration and cooperation. Social media, the chosen communications platform of the 21st century, is an important tool for the creative artist but many of its decisions are driven by the algorithms of the platforms – facebook, twitter, instagram to name a few. The essential tool for the musician and the source of stability continues to be a dedicated website. This is the primary destination where people assume they will be able to find out all they need to about you and your musicmaking. At your dedicated website, they can discover how you sound, how you look, where you perform, who you perform with, your musical specialisations, your musical priorities and your musical goals. Above: Birmingham Conservatoire’s new facilities will include a walk-through jazz club

Birmingham Conservatoire Along with department talks, masterclasses, performances and a chance to meet tutors and current students, our most recent Birmingham Conservatoire Open Day also included a visit to the brand new £57 million Conservatoire site, which is on course to be completed by September 2017. By splitting the day between the current and future Conservatoire sites, prospective applicants were treated to a preview of where they could be studying in September; and a more concrete visualisation of how the building will be incorporated into Birmingham City University’s City Centre Campus. In addition to the impressive new facilities, which include a dedicated jazz club and 500 seat concert hall, the new location will increase the opportunities Conservatoire students have to collaborate with students from

other schools of the University, such as Acting, Media and Visual Communication. Whilst at the City Centre Campus, guests were also taken on a tour of student accommodation, and entertained by a string quartet consisting of current Conservatoire students, who impressed with their repertoire – a demonstration of the excellent standard reached by our students. Overall, the day was a resounding success and we look forward to welcoming our next cohort of students to ‘The Conservatoire of the Future’.

Impulse Music Consultants

In short, a dedicated website puts you in control of your messages, it puts you at the centre of how you want people to perceive you as an artist, it avoids distractions and, all-importantly, it is permanent. Make the most of your internet presence in 2017 with a new website. ISM members already benefit from a 10% discount with Impulse and, for the months of March and April, we are offering an additional 5% discount on new websites. Simply quote this feature in the ISM Journal when you contact us and the full 15% discount will be yours. impulse-music.co.uk/people/

The rapidly changing world that we see with full force in 2017 needs some stability for the musician. Much is up in the air: the freedom to come and go across national borders; international partnership funding Continued overleaf È

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ISM MUSIC JOURNAL MARCH/APRIL 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

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

LCM eagerly awaits the September 2017 launch of its innovative BA Actor-Musicianship. This full-time, three-year course is the first of its kind in the UK based within a university music department. Among its benefits will be one-to-one instrumental lessons and unrivalled professional connections to the music industry. Competitors elsewhere are restricted to acting schools. In contrast, LCM’s vibrant musical environment, thriving performing arts programmes and surrounding university infrastructure

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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 Playnote Ltd

Trinity College London Victoria College Exams

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

For further information about

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

NMC Recordings

London College of Music

Dartington International Summer School

will enable a course boasting unrivalled musical, theatrical and educational culture.

several National Theatre productions, echoes this: ‘It’s this added skill that’s crucial for employers. I would always favour employing a candidate with dedicated actor-musician training. Many institutions offer acting and musical theatre training, but very few offer actor-musician training’.

Tony-Award-winning Sarah Travis (of Sweeney Todd fame) comments: ‘… it’s always good to see a new course nurturing young talent in this field. Good training is vital in developing the skills to be involved in actor-musician-based productions’. Dartington International Theatrical agent Howard Cooke agrees: Summer School ‘Actor-musicians are among the most For nearly 70 years, young musicians, employable performers within our celebrated virtuosos and passionate profession’. Leading actor-musician amateurs have come together to Tom Attwood, musical director for learn from each other, and create and

ISM MUSIC JOURNAL MARCH/APRIL 2017

7 May when the Requiem will rub shoulders with the sparkling overture to The Marriage of Figaro, and the Fourth Horn Concerto featuring Ben Goldscheider, brass finalist in the 2016 BBC Young Musician Competition. Brian Kay directs, with soloists Jenny Stafford (soprano), Katie Coventry (mezzo), William Blake (tenor) and Ashley Riches (bass-baritone).

Above: Dartington International Summer School

Right: Making Music have embarked on a new five year plan to help their groups become stronger and more sustainable

And we promise a ‘glorious’ sing at the RAH on 9 July, comprising settings of the Gloria by Jenkins, Rutter perform new work together in the and Vivaldi. Full details at trbc.co.uk, beautiful Devon countryside. where you can also join our Joanna MacGregor, Dartington’s Artistic mailing list. Director and Head of Piano at The Royal Making Music Academy of Music has programmed the Summer School and Festival – George Acock writes: This year, we a whole month of courses and concerts embark on a new five year plan to help in week-long blocks – allowing Making Music groups become stronger students to experience everything and better able to connect with new from Medieval and Renaissance music members and audiences. We will step to salsa and jazz, and everything up our work to give members the in-between. Participants fill their time tools to become more sustainable, during the day with masterclasses and financially and administratively, workshops, ensemble playing and including help with finding volunteers singing, and observing classes led by and recruiting younger members. some of the world’s most experienced We will also continue to stand up for musicians and teachers. These same artists give amazing concerts and talks leisure-time music makers: providing a collective voice, and raising the in the evenings. This year sees the profile of music as a leisure activity welcome return of legendary pianist through celebratory events. Alfred Brendel who’ll be discussing his life and music, as well as many other wonderful players, writers, and thinkers, all keen to share their knowledge and passion. dartington.org/summer-school

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: Last November’s Scratch® Youth Messiah, conducted by Ben Parry, saw increased numbers of young choirs combining to sing our best-known choral work (Messiah) in our most iconic concert hall (the Royal Albert Hall). The 2017 event on Sunday 12 November, launches in March; if you know a young choir which would relish the experience – free to singers – visit youthmessiah.co.uk. Mozart devotees should join us (as singers or audience) at the RAH on

A d we are reaching hi outt to t a wider id And range of music groups than ever before to become part of the Making Music community, so that all leisure-time music activity can receive the support it needs to flourish. If you know a group which might benefit or if you or your organisation is interested in partnering with us, get in touch at info@makingmusic.org.uk or 020 7936 6030. Read our five year plan at makingmusic.org.uk/5-year-plan

British Suzuki Institute An Open Day for musicians interested in training to become a Suzuki teacher (violin, cello, piano and recorder), presented by European Suzuki Association Teacher Trainers, will be held on 5 April 2017 at Trinity Laban Faculty of Music in Greenwich, London. The BSI teacher training programme offers structured part-time courses in the Suzuki instrumental method on violin, viola, cello, piano, flute, recorder and guitar leading to the Certificate and Diploma of the European Suzuki Association. •

Scholarships and bursaries for teacher training.

•

Full membership service – access to summer workshops, courses, membership magazine, discounted materials and other benefits.

•

Worldwide Suzuki network promoting the highest standards in instrumental playing.

To register, or for a copy of the teacher training prospectus, tel: 020 3176 4170, or email info@britishsuzuki.com. britishsuzuki.com

Hampstead Music Club In January, Helen Cannell gave an inspiring masterclass for singers, focusing on vocal technique and interpretation, which as well as improving the performances of the singers, engaged the audience totally. TThe next masterclass open to the public will be on 21 March at South Hampstead High School (7.30pm). This will be given by Graham Caskie, Professor at the Royal Welsh College of Music and Drama and tutor at Chetham’s School of Music. Also scheduled is an instrumental masterclass on Tuesday 11 April at 8.05pm at Burgh House, Hampstead and HMC’s annual Spring Concert on Tuesday 4 April at 7.30pm at South Hampstead High School. hampstead-music-club.co.uk

Continued overleaf È

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Right: Mary King

London Philharmonic Orchestra

Association of Teachers of Singing

Friends of the Musicians’ Chapel

The London Philharmonic Orchestra has announced its 2017/18 season of concerts at Southbank Centre’s Royal Festival Hall, which marks Vladimir Jurowski’s 10 years as Principal Conductor and Artistic Advisor. He begins his 10th anniversary with Enescu’s Oedipe as part of the ongoing year-long Belief and Beyond Belief festival which continues until the end of 2017. He then leads the orchestra in a year-long exploration of Igor Stravinsky: Changing Faces: Stravinsky’s Journey – dedicating the majority of its concerts in 2018 to this leading light of the 20th century.

Nicola-Jane Kemp writes: AOTOS has already begun a series of Area Development Days around the UK for all those involved in singing teaching and training.

This year’s Annual Service of Thanksgiving will be held on Tuesday 2 May at the Musicians’ Church, St Sepulchre-without-Newgate, at 6pm. 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.

Alongside the specially curated Stravinsky celebrations, Vladimir Jurowski and the LPO celebrate 10 years of dynamic partnership with a semi-staged gala performance of Wagner’s Das Rheingold (27 Jan). The opera marks the beginning of an exciting operatic odyssey: both the orchestra’s and Jurowski’s first Ring Cycle.

On 11 March, Gillyanne Kayes (Vocal Process) will lead a day in Blackburn entitled Putting theory into practice – making sense of vocal science. Mary King will be coming to Guildford on 14 May to give a masterclass and workshop, Perfect and Perform, and Bryan Husband will lead a day on Musical Theatre Technique for Singers at Birmingham Conservatoire on 21 May. All events are open to non-members. aotos.org.uk

The Annual Requiem Service will be on Tuesday 7 November at 6.30pm and the 2018 Service of Thanksgiving will be on Tuesday 1 May at 6pm when the music will be provided by the famous Choir of Royal Holloway, University of London, under their Director of Music, Rupert Gough, and the preacher is The Lord Bishop of Ely, The Right Reverend Stephen Conway.

Other highlights of his 10th anniversary season include performances of Bach’s Christmas Oratorio and the world premiere of Anders Hillborg’s Homage to Stravinsky. lpo.org.uk

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.

ISM MUSIC JOURNAL MARCH/APRIL 2017

LOCAL EVENT LISTINGS Full listings can be found on our website: ism.org Saturday 11 March

Sunday 19 March

Sunday 23 April

Sheffield Spring Concert

North London Pupils’ Concert

2.30pm, Crookes Social Club, Mulehouse Road, Sheffield S10 1TD A concert for pupils of all ages. All instruments and grades are welcome. Please provide your own accompanist if you require one. Refreshments will be provided after the concert. Cost: £2 adults, 50p children. Performers and members are free. Contact: Pearl Woodward, pearlwoodward@btinternet.com

Sunday 12 March

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, London 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

Oxford Teaching pupils in the digital age with Paul Harris

West London Annual Pupils’ Concert

Lea Valley Spring Pupils’ Concert

3pm, St Mary’s Church, Harrow-on-the-Hill HA1 3HL Pupils under the age of 18 are invited to perform one item with a maximum duration of three minutes. Audience welcome. Light refreshments will be served afterwards. Admission: £5 members and concessions, £8 non-members, £1 children Contact: Ivor Flint, 07961 864795, ivor.flint@virgin.net.

2.30pm, St John’s Centre, ARC, St John’s Walk, off Market Street, Old Harlow, Essex CM17 0AJ Our Spring Pupils’ Concert is for beginners to Grade 5. This is a wonderful opportunity for students to play on a concert grand piano in a large hall, boost their confidence, play examination pieces before their next examination, and a chance for family members to hear their children/grandchildren play in front of an audience. Refreshments will be provided after the concert. Cost: £6 adults, £4 members/concessions Contact Carolyn Richards, ismleavalley@ntlworld.com, 07768 086123

3pm, The Dorfman Centre, St Peter’s College, New Inn Hall Street, Oxford OX1 2DL Paul discusses how to get the best out of today’s pupils. Refreshments will be available. Admission: £5 members, £8 guests Contact: Carolyn King, 01235 522774, carolyn2king@btinternet.com

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

Classified advertising

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

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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 PERFORMANCE NERVES? Anxiety? Call Rosemary Wiseman Tel. 020 8958 8083 www. rosemarywiseman.com COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1195 ONO. 07974 412269

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ISM MUSIC JOURNAL MARCH/APRIL 2017

Ask me a question Steven R Kohut Freelance percussionist and instrumental nstrumental teacher

very influential on my career. We were playing cutting edge contemporary brass band music under the direction of Elgar Howarth and travelling extensively to numerous countries from Ireland to Australia as well as producing many recordings, radio broadcasts and television programmes. During this time I was also fortunate enough to work with many great composers such as Malcolm Arnold, Vinko Globokar, Hans Werner Henze and Carl Davis to name a few. As a freelance musician I have had the privilege to work with many first-class musicians in orchestras like the London Festival Ballet and the British Philharmonic Concert Orchestra, and with singers such as Gene Pitney, Anthony Newley and Neil Sedaka, all of whom really helped to focus my playing style. What would you say is your greatest achievement to date?

I quite like to stretch myself as a musician and will often take gigs which require me Tell us a little about yourself. to be the only percussionist in an orchestra or band. This can lead to some complex, I was born in Sheffield in the mid 1950s multi-percussion setups which can be and knew very early on that I wanted to quite challenging, but leave me with be a musician. I started percussion lessons a great sense of accomplishment when at comprehensive school at the age of 12 and in my early music career worked as an executed successfully. apprentice piano tuner and repairer, hauling There is something incredibly rewarding my kit on the bus to local gigs before joining about teaching and I’ve been very fortunate the Grenadier Guards Band at 18 and the to have had several students that forged a Grimethorpe Colliery Band at 21. I have spent career in the music business themselves. the majority of my career as a peripatetic Many of these students still stay in touch percussion teacher – teaching both in schools and I have the pleasure of working and privately – and as a freelance musician alongside several of them on projects working with the likes of Andrea Bocelli and across the country. Alongside that, being Matt Monro, amongst others. fortunate enough to perform with The Who (or what) has most influenced you and your career? My time with the Grimethorpe Colliery Band during the 1970s and ‘80s was

Moody Blues in 2000 for their live album/ DVD recorded at the Royal Albert Hall has certainly been a career highlight.

Who is your all-time favourite artist and why? For me it is not a single artist but the collective talents of the rock band Queen. Every single member of this band has musicianship and creativity in abundance. They are a phenomenon in the music industry and their music has been influential for four decades and counting. Bohemian Rhapsody in particular was a mould-breaking single and for me there is a Queen song for all occasions, no matter what mood I may be in. What was the last CD/music download that you purchased? Despite having an extensive vinyl and CD collection, I do tend to stream most of my music these days using Spotify and Amazon. My most recent download was Boulevard of Broken Dreams by Green Day which I’ve been using as part of my teaching. What are your plans for the future? I am gradually retiring from professional performing and intend to concentrate instead on my educational work. I have several projects in the pipeline, mainly geared towards Key Stage 2, including a cross-curricular science/music presentation, primary professional development and – in collaboration with my good friend and colleague Dr Peter Birkby – a workshop and live music day entitled World of Percussion. I also run a freelance group, the Mixed Metals Percussion Ensemble (percussion365.com). Finally, what is your ISM membership to you? The ISM is an important part of my work – to not have it supporting me would be like turning up to a gig without sticks!

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

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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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