ISM Music Journal - May/June 2017

May/June 2017 Pushing boundaries: Chi-chi Nwanoku MBE The transformation: Bristol Plays Music Claudio Monteverdi (1567-1643)

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ISM MUSIC JOURNAL MAY/JUNE 2017

Welcome Spring is at long last with us and there is a veritable riot of colour with cherry blossom, daffodils and magnolia trees heralding a change in the seasons.

And seismic change will be on the agenda for some time to come with the triggering of Article 50 back in March.

Above: Deborah Annetts Photo: Mark Thompson

From music industry data, 91% of those working in music voted to remain part of the EU. The majority of those who voted thought otherwise. In response to the public’s decision the ISM has been carrying out surveys to find out exactly what you and indeed other musicians think about a range of issues which flow from the UK leaving the EU. Perhaps not surprisingly, the biggest issue has been freedom of movement. These concerns affect not just performers but also music educators who are used to being able to take parties of students to perform in Europe.

The survey results demonstrate just how many ISM members work in the EU, with European work being a major proportion of income for many musicians.

The Select Committee on Culture, Media and Sport is well aware of concerns from the creative industries around freedom of movement. Whilst understanding these concerns is one thing, taking action is quite another. That is why the ISM will be putting pressure on government to make sure they understand exactly how critical this issue is for musicians. And it is not just about freedom of movement.

There are also funding implications. The EU has been a friend to the arts in the UK, funding a whole host of projects. Indeed, some ISM composers have had their work funded through the EU. So the next couple of years are going to be crucial as we seek to persuade government to put in place the very best structure to support you in your work.

Front Cover Chineke! Orchestra with conductor Wayne Marshall Photo: Zen Grisdale See feature on pages 10-13 Inset images: Bristol Plays Music Photo: Mark Ashbee See pages 14-17 Monteverdi Choir & Orchestras at the Accademia Monteverdiana workshops

I am delighted that we are celebrating the extraordinary life of 94-year-old pianist and teacher Jean Anderson in this issue’s Ask me a question on page 36. Jean has been an ISM member since 1971 and was awarded the British Empire Medal in the New Year’s honours list for her services to music. The article gives a wonderful snapshot of her long and industrious career.

We welcome Sue Sturrock as the new President of the ISM. She took on this role at our AGM in April. Sue has had a wide-ranging career from writer and educator through to holding the very important role of Director of Communications at the Royal College of Music. I would also like to take this opportunity of thanking Nicolas Chisholm MBE for being such an inspirational and dedicated President over the past year. The ISM has truly benefitted from his insightful leadership and wisdom.

And for those of you who were not able to attend Members Day on 21 April, there will be a full report of this incredibly popular event in the July / August edition of Music Journal.

Contents 2 6 8

News & campaigns Business advice Professional development

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Pushing boundaries: Chi-chi Nwanoku MBE The transformation: Bristol Plays Music Claudio Monteverdi (1567-1643)

14 18 23 29 34 34 36

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

Volume 84 / Number 1 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org 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 marcmarazzi.com Advertising: Cabbell Publishing Ltd, Deer Park Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 June for July/August 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.

Photo: James Cheadle See pages 18-21

deborah@ism.org

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ISM MUSIC JOURNAL MAY/JUNE 2017

News & campaigns Susan Sturrock is new ISM President Susan Sturrock became our new President at the AGM in London on Friday 21 April.

Susan Sturrock, ISM President 2017/18

Right: Nick Brook, Deputy General Secretary of the National Association of Head Teachers and choreographer Arlene Phillips CBE outside Downing Street Photo: Brian Slater

Sue is founder-director of Music Talks, an organisation presenting events and courses on classical music. She is also an arts consultant with a current portfolio including strategic planning, mentoring and fundraising. After an early career as an oboist, Sue moved backstage into promoting music to a wider public. She did this as publicist, writer, editor and presenter, working for Dorling Kindersley, Longman, The Times, Rhinegold and BBC radio among many others. Later, as Artistic Director of St Albans International Organ Festival, she worked with international soloists and ensembles including the Philharmonia, CBSO, and King’s Singers, expanding the range and reach of the festival by introducing other art forms, establishing children’s programmes and commissioning imaginative new work.

Before founding Music Talks in 2013, Sue was Director of Communications at her alma mater, the Royal College of Music, where she established the community programme which now flourishes as RCM Sparks and founded the RCM’s Woodhouse Professional Development Centre, the unit which supports young performers as they develop the qualities to thrive in a highly demanding profession.

A Winston Churchill Memorial Trust Millennial Travel Fellowship allowed her to study career development provision in conservatoires throughout Finland and the USA. She continues to mentor more than 30 young professionals in the UK and Europe, and consults and lectures worldwide.

Bacc for the Future campaign Campaigners deliver a letter to the Prime Minister On Wednesday 16 March campaigners gathered to watch dancers from ZooNation Dance Company and listen to Westcombe Brass perform outside Parliament to mark the delivery of a letter to the Prime Minister. The letter was delivered by Nick Brook, Deputy General Secretary of the National Association of Head Teachers and Arlene Phillips CBE, choreographer.

The letter was signed by more than 100 people, including the heads of UK Conservatoires, leading creative and educational bodies, and Sir Simon Rattle, Alison Balsom OBE, actor Robert Lindsay, author Phillip Pullman, Sir John Eliot Gardiner and actor Sir Tony Robinson.

The letter called on the Prime Minister to listen to the consultation and reverse the EBacc policy citing a conflict between ‘the Government’s commitment to the creative industries as a central sector for growth’ and an education policy which ‘creates an artificial and false hierarchy of subjects, excluding creative, artistic and technical subjects from counting towards key school accountability measures’.

Sue is on the Advisory Council of Park Lane Group; a member of the Ionian Singers, an enthusiastic gardener and avid concert-goer.

Lending further support to the EBacc campaign, researchers from the University of Sussex warned that music ‘could face extinction’ in secondary schools if action is not taken by the Government; their research survey – the largest study of its kind – carried out by

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ISM MUSIC JOURNAL MAY/JUNE 2017

Budding bloggers – we want to hear from you!

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

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

ism.org/blog

Department for Culture, Media and Sport as they seek to protect the music profession. Here are some of the headline results:

Left: Arlene Phillips CBE handing in the letter to No 10 Downing Street Photo: Brian Slater

• 36% of musicians have had difficulties when working outside the EU – the most common issues being with visas.

• Musicians most commonly tour to France, Germany, Spain, the Netherlands and Italy.

• Some musicians travel to Europe upwards of 26 times a year • The average tour length to the EU is seven days but some members are there for 60 days at a time.

Thank you to everyone who responded to our survey.

The results will help us champion the needs of musicians to Governments across the UK.

ISM Chief Executive speaks in Westminster

researchers, found 59.7% (393) of the State schools highlighted the EBacc specifically as having a negative impact on the provision and uptake of Music in their school (within and beyond the curriculum).

On Thursday 30 March Deborah Annetts, ISM Chief Executive, spoke at an event in Westminster on priorities for the UK creative industries workforce post-Brexit.

Left: ISM Chief Executive Deborah Annetts speaking at Westminster Photo: Francesca Treadaway

How can you help protect music in secondary schools?

We need more MPs and Peers to raise their concerns in relation to the EBacc. Please write to your local MP – you can download a template letter at BaccfortheFuture.com

What does the EU referendum result mean for musicians?

On Wednesday 29 March 2017, nearly nine months after the original referendum results, Prime Minister Theresa May invoked Article 50, formally starting the two-year process in which the UK leaves the European Union (EU).

Following the ISM EU Referendum Round Table on 18 January 2017, we have conducted a more detailed survey of musicians’ attitudes to help us support the

She emphasised the importance of free movement for the music profession, saying ‘the consistent message coming out of the ISM surveys and our discussions with industry professionals, is that freedom of movement – or at least time-limited exemptions for professional musicians and all the staff who support them – will be critical to our live music industry.’

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2017

Deborah added that – as some funding agreements were lost – it would be vital for the Government to support music as much as possible, saying: ‘This seems to me to be a critical point. We need to make sure that there are no obstacles to musicians getting properly paid work in the UK – and this means we need to look at a whole range of policy issues and make sure that they are working in tandem with the direction of travel of the Brexit negotiations.’

EU Referendum advice The key thing to remember is that, at this stage, nothing has changed; we haven’t left the EU yet, so musicians can still work and travel in Europe as before.

ISM members need not be concerned about changes to their status or any effect on ISM benefits, such as Public Liability Insurance, that rely on them being domiciled in a member country of the European Union.

Secondary ticketing defeat for Government Efforts to regulate secondary ticket sellers – those who buy up tickets and sell them on to audiences – took a step forward at the end of March when the House of Lords defeated the Government to include new requirements in a proposed Digital Economy Bill.

The House of Lords voted by 180 votes to 157 to require resellers of tickets to provide the ticket reference and booking number, and reselling information to people buying tickets.

A budget announcement from the Scottish Government is expected in autumn 2017, and until then the exact amount of money available will be unknown.

Deputy Chief Executive Iain Munro has warned that ‘Pressure on Scottish Government budgets is expected to continue in the coming years’ and added ‘we have also seen a recent downturn in income from the National Lottery’ warning that this ‘will undoubtedly impact on future budgets’.

Do you work with Creative Scotland? Tell us about your experience by emailing Public Affairs Officer, Derin Adebiyi at Derin.Adebiyi@ism.org or by phone on 020 7313 9319.

Venues closing: The Forge, Camden The Forge, a music and arts venue in Camden, London, has shut down after eight years.

In a statement on the venue’s website, co-founder Adam Caird said: ‘Running a music venue in these times is exceptionally tough and we have reached a point where it is time to close the doors and move on to new challenges’.

He added: ‘We are immensely proud of what we have achieved over eight wonderful years and our heartfelt thanks go to everyone who has contributed to and enjoyed this unique venue.’ The not-for-profit venue’s final event took place on 31 March.

This is part of a bigger picture of venues being put at risk. It is estimated that over the past 10 years, 40% of London’s music venues have closed, reflecting similar patterns around the UK. All sorts of reasons have been the cause of these closures including licensing, noise, residential developments and prices.

Scotland funding at risk Creative Scotland (the arts funding body for Scotland, similar to Arts Councils elsewhere in the UK) has warned that funding may be cut for its next round of funding for arts projects.

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

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

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

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

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ISM MUSIC JOURNAL MAY/JUNE 2017

Business advice of experienced professional performers and other experts. You can download it from the homepage in the members’ area of our website, ism.org.

We pick out a few highlights here just to get you started.

Use social media to promote your work

© iStockphoto /freemixer

Use modern media to help you stand out from the crowd. Websites do not need to be expensive to design and build, and increasingly people are using mobile devices to access information online.

Make sure your web presence is attractive, easy to navigate, and contains video and audio clips (rights cleared, of course!) so potential promoters, festivals, agents and interested members of the public can see immediately what your work is. Don’t forget to add up-to-date contact details.

Are you a performer?

If you have been looking for something which brings together all the questions you have been asking about how to make yourself stand out using digital social media tools, what to look for in a contract, how to get an agent or manager and what exactly the letters ‘PPL’ stand for (and why they matter to you as a performer), we have just the thing you need to help you get your show on the road.

The ISM Performers’ Pack brings together top tips, invaluable advice from our experts, and a template contract to further your career as a performer and navigate the world of promoters, venues, booking agents and festivals with confidence. We also tell you about PPL – the collecting society which pays royalties to performers if your performance has been recorded and released on a record, and played in public.

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Social media, such as Twitter and Facebook can be invaluable in getting up-to-date information about you and your work out to the public easily and quickly.

These tools can serve as a great window on your musical world. It is a good idea to try and get people to share the content you put on your social media – create a buzz using tools such as short clips of your performances, behind-the-scenes footage. None of this need be expensive to make: use the video camera on your phone. It’s all about communicating your personality and talent quickly, and in a way which can be easily updated. Never let your information get out of date!

Want to know more about how social media works?

Visit our website to see a webinar we delivered on this subject: ism.org/professional-development/ webinars/social-media-for-musicians-webinar.

Be proactive about looking for ways to get bookings

Our template Performance Contract covers everything from cancellation fees to unauthorised recordings of concerts. You should always seek legal advice before signing any contract. As an ISM member, you can get one-to-one legal advice and guidance from our expert in-house legal team.

Your social media will help, but don’t overlook other things you can do. Networking and developing relationships are essential skills for all professional musicians: think long-term, and build relationships based on trust and collaboration, and always behave professionally.

Our Performers’ Pack was put together in partnership with our Performers Special Interest Group – a group

How you communicate is important: make sure you match your communication style to the people

ISM MUSIC JOURNAL MAY/JUNE 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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Visit ism.org/discount+ for full details.

you are speaking to when dealing with bookers. a contract for artist management services. Again, our Whether by telephone or by email, you want to convey legal team will be happy to advise. that you are professional and that others can be confident in your conduct.

Royalties for performers Think like an agent, if you don’t have one: let promoters, If you have performed on recordings of music, you festivals, broadcasters and other musicians know what should join PPL. PPL represents many thousands of you are doing. performers and record companies (from major names to sole traders) and licenses thousands Use your networking and communication skills to persuade potential promoters to come to your live of UK businesses and broadcasters of all shapes and sizes to allow them to play performances: an online presence may whet their appetite, but experiencing your live performance is records in public. ‘Public’ here can mean the real deal. Try to arrange for complimentary tickets, in broadcasts, but also in places like and if you can, meet them before or after the show. restaurants, bars, shops and so on.

This is an important part of building a relationship PPL shares all the licensing revenue Make Music Work advice series with them: people buy into other people as much as between record companies (who they do a product. You are your own brand! own rights in the sound recording)

Performers Pack

Looking for an agent or manager?

Before you approach anyone, make sure you understand the specialisms of any agents or managers you intend to approach, and make it easy for them to see that you will be an excellent choice for their books by showing them an outline of your work over the next two years. Remember to show how these performances will work financially as well as artistically: managers need to be confident that taking you on will be financially viable for their business.

If you are offered an agency contract and need advice, get in touch with our legal team. Management contracts may have long-term effects: make sure you understand what you are agreeing to when offered

and performers (who have a right to be remunerated for their recorded performances when broadcast or played in public).

The ISM is the professio nal association for musicians.

The ISM promotes the importance of music and protects the rights of those working within music with a range of campaigns, support, practical advice and We welcome as member services. s from all musical backgrou professional musicians nds and genres, and all areas of the professio from n.

Supported by

It is free to join, and you should make sure you sign up: it could be a source of additional revenue for you. If you also make your own recordings, you can join PPL in this capacity too.

ism.org

ism_music

#MakeMusicWork

Incorporated Society of Musician

s

Our Performers’ Pack tells you more about how PPL works – and much more besides.

John Robinson, Head of Service Delivery & Systems, ISM

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ISM MUSIC JOURNAL MAY/JUNE 2017

Professional development How to use Dorico, Steinberg’s new notation software An introductory session with Daniel Spreadbury Thursday 11 May, 10am-12pm; 2-4pm and 5-7pm ISM, 4-5 Inverness Mews, London W2 3JQ Curious to find out about Dorico, Steinberg’s new notation software? Come along to one of our free introductory sessions presented by Daniel Spreadbury, Steinberg Product Manager and musician. During the sessions Daniel will give a full demonstration of Dorico and answer any questions you might have.

You can choose from a morning, afternoon or evening session, all taking place in the friendly setting of the ISM’s meeting room. The sessions will be kept to small groups of 20 so that everyone has a chance to talk to Daniel and find out how Dorico can meet their individual notation needs.

Book your free place at ism.org/seminars.

We are pleased to offer a special ISM discount of 10% on all purchases of Dorico with prices from £129.

This is available directly through Pete Huggins (Education Manager) at Andertons Music. Please email Pete at peteh@andertons.co.uk with your ISM membership number for more information.

This offer will expire on 11 June 2017.

Performance anxiety A practical workshop for music teachers Thursday 6 July, 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 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) To book, go to ism.org/seminars.

New free resource for music teachers

Performance anxiety: A practical guide for music teachers The ISM Trust has published Performance anxiety: A practical guide for music teachers, a free resource written by Gregory Daubney and Dr Alison Daubney. Underpinned by psychological research, this new booklet provides music teachers with informed practical ps str strategies to promote strong self-confidence in their students and help them prepare effectively for performance. effe You can download the booklet for free from the members’ area of our website or ism.org/performance-anxiety-guide

ISM MUSIC JOURNAL MAY/JUNE 2017

Organists’ fees survey – please take part Our new survey of rates paid to organists is now available online.

Your participation is important because the more musicians who complete the survey the more authoritative the survey results will be as an indicator of what you have been charging. So please help us to help you by completing the questionnaire.

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.

You will find the questionnaire at surveymonkey.com/s/organists.

The password is organists.

The survey is open until 30 June and we will publish the survey results in August.

Psychological wellbeing for musicians Thursday 15 June, 1-2pm

Our next webinars are: © iStockphoto/ImagineGolf

PRS for Music: Live performance reporting and royalties Thursday 25 May, 1-2pm Are you a composer or a songwriter? Are you interested in learning more about PRS for Music and how you can earn royalties from live performances of your music? If so, this free webinar is for you. In PRS for Music: Live performance reporting and royalties we build on last year’s introductory webinar to PRS for Music, with guest presenter Harriet Wybor, Classical Account Manager at PRS for Music.

Although music is often directly associated with health and wellbeing with regard to the listener or recipient of musical interventions, for the professional music maker or teacher of music, there are distinct challenges in terms of mental fatigue and general Harriet will explain how PRS for Music licenses music in stress levels. This webinar, presented by Dr Jane different types of venues, and will guide you through Oakland of the British Association for Performing how to register your works and use PRS for Music’s Arts Medicine (BAPAM) discusses the challenges and new online tool for reporting live performances to enhancers of psychological wellbeing for musicians. maximise your royalties.

Topics will include: musical identity and its impact As usual, there will be an opportunity to ask questions, on career management; maintaining a work/home so register now at bit.ly/PRSforMusic. balance and the importance of relationships; selfexpression and creativity; and strategies to effectively manage a professional musical life.

Register for this free webinar at bit.ly/PsychologicalWellbeing.

Making your money work harder Tuesday 11 July, 1-2pm Professional Financial Adviser, Paul Hukins from Lighthouse Financial Advice, will explore financial goals we have throughout our life, and how to plan for them appropriately. This will include how to plan for retirement, pension freedom, and what choices are now available at retirement.

Register for this webinar at bit.ly/MYMWH.

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ISM MUSIC JOURNAL MAY/JUNE 2017

Pushing boundaries: Chi-chi Nwanoku MBE Chi-chi Nwanoku MBE, a foremost musician in her own right, is tackling the issue of diversity in the music sector head-on. The ISM’s Communications Manager Francesca Treadaway catches up with her to learn about her life, career and her plans to challenge the status quo with the Chineke! Foundation.

‘“Why do we only see you on stage?� they asked. “Why don’t we see more of you?’’ “What do you mean?� I said, “I perform with this orchestra and this orchestra; here and here, etc.� And they had to, sort of, underline what they meant. It was then the penny dropped.’

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Left: Chi-chi Nwanoku MBE

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‘And then I was.’ &RQWLQXLQJ KHU VWRU\ DERXW ZKHUH WKH LGHD RI Chineke! had originated from, Chi-chi told me that attending D /RQGRQ SHUIRUPDQFH E\ $IULFDQ RUFKHVWUD .LQVKDVD 6\PSKRQ\ 2UFKHVWUD &HQWUDO $IULFD¡V RQO\ V\PSKRQ\ RUFKHVWUD DQG WKH ZRUOG¡V Ă€UVW DOO EODFN V\PSKRQ\ RUFKHVWUD LQ EURXJKW WKH ODFN RI %ODFN DQG 0LQRULW\ (WKQLF %0( PXVLFLDQV in the UK into sharp focus.

Photo: Eric Richmond

Continued overleaf Ăˆ

11

ISM MUSIC JOURNAL MAY/JUNE 2017

News of Chi-chi’s plan spread fast, and Arts Council (QJODQG WKH %ULWLVK &RXQFLO &RQVHUYDWRLUHV 8.

DQG +HOS 0XVLFLDQV 8. GHFLGHG WR EDFN WKH SURMHFW 6KH ZDV VRRQ JLYHQ D GDWH E\ WKH 6RXWKEDQN &HQWUH for Chineke!’s launch concert. The pressure was on Âś$QG LQ WKH UHFHSWLRQV , DWWHQGHG EHIRUH DQG GXULQJ WR Ă€QG PXVLFLDQV &KL FKL ODXJKV Âś, FRXOG KDYH FRXQWHG RQ WKH Ă€QJHUV WKH HYHQLQJ , ZDV WKH RQO\ SHUVRQ RI FRORXU , noticed during the performance that the faces in the RI RQH KDQG KRZ PDQ\ %0( PXVLFLDQV , KDG ZRUNHG ZLWK , UHFUXLWHG E\ VHQGLQJ RXW D QRWLFH DXGLHQFH ² SROLWLFLDQV NH\ SHRSOH IURP WKH VHFWRU WR DOO RI WKH VROR PXVLFLDQV , KDYH ZRUNHG ZLWK ² ZHUH DOO VWDULQJ LQFUHGXORXVO\ DW WKLV DOO EODFN RYHU WKH \HDUV DV WKH\ PD\ KDYH VHHQ PRUH RI WKH orchestra performing. players “out thereâ€? that I was looking for, and all of ‘I walked away from the Kinshasa Symphony WKH PXVLF FROOHJHV , UHVHDUFKHG HYHU\ VXJJHVWLRQ ² Orchestra concert that night thinking that VRPHWKLQJ QHHGHG WR FKDQJH WKDW LW VKRXOGQ¡W EH D , GLGQ¡W VD\ \HV MXVW EHFDXVH WKH\ ZHUH RI D FHUWDLQ ethnicity.

QRYHOW\ WR KDYH PRUH WKDQ RQH SHUVRQ RI FRORXU LQ œ,Q WKH ÀUVW KDOI LW ZDVQ¡W MXVW WKH .LQVKDVD Symphony Orchestra on stage, they were joined E\ D IHZ PXVLFLDQV IURP VRPH RI WKH PDMRU 8. orchestras from up and down the country. These musicians were white,’ Chi-chi recalls.

an orchestra. And that’s when Chineke! ZDV ERUQ ¡

Âś:H ZHQW ULJKW XS WR WKH ZLUH EXW ZH ZHQW RQ VWDJH ZLWK DQ RUFKHVWUD RI SOD\HUV WKDW UHSUHVHQWHG Chineke! RU &KLQHNH )RXQGDWLRQ LV D QRQ SURĂ€W RUJDQLVDWLRQ ZKLFK KDV EHHQ HVWDEOLVKHG WR SURYLGH QDWLRQDOLWLHV ¡ Chi-chi says that she started Chineke! ‘to help the FDUHHU RSSRUWXQLWLHV WR \RXQJ %0( FODVVLFDO SURIHVVLRQ¡ DQG WR JLYH %0( PXVLFLDQV D SODFH PXVLFLDQV LQ WKH 8. DQG (XURSH ,WV FRUH DLP ZKHUH WKH\ ÂśEHORQJ¡ LV WR ÂśFKDPSLRQ FKDQJH DQG FHOHEUDWH GLYHUVLW\ LQ FODVVLFDO PXVLF¡ UHDOLVLQJ H[LVWLQJ GLYHUVLW\ :KDW LV DEVROXWHO\ HVVHQWLDO &KL FKL DOVR VD\V WDUJHWV ZLWKLQ WKH LQGXVWU\ E\ LQFUHDVLQJ WKH LV JRRG DFFHVV WR PXVLF DW VFKRRO $IWHU TXLFNO\ UHSUHVHQWDWLRQ RI %0( PXVLFLDQV LQ %ULWLVK DQG updating her on the latest Bacc for the Future (XURSHDQ RUFKHVWUDV ,W KDV D PDLQ RUFKHVWUD DQG FDPSDLJQ GHYHORSPHQWV &KL FKL VLJKV Âś6FKRRO LV a junior orchestra. ‘Chineke! is making the pathway the only place for some children where they will IRU GLYHUVLW\ LQ WKH VHFWRU EXW RXU MXQLRU RUFKHVWUD get access to music. A good music education should is the pipeline’.

EH RQ WKH DJHQGD IRU HYHU\ VFKRRO ¡ ,W ZDV YLWDO &KL FKL H[SODLQV WR PH WKDW WKH RUFKHVWUD ZDV PDGH XS RI %0( PXVLFLDQV UDWKHU WKDQ %$0( ² œ$¡ VWDQGV IRU $VLDQ DQG œ(DVW $VLDQ PXVLFLDQV DUH DOUHDG\ DGHTXDWHO\ UHSUHVHQWHG¡ &KL FKL VD\V ² DQG WKDW WKHVH PXVLFLDQV FDPH from all under-represented countries, such as œ%DQJODGHVK ,QGLD 3DNLVWDQ DQG ,UDQ IRU H[DPSOH QRW MXVW $IULFD DQG WKH &DULEEHDQ OLNH , ZDV DGYLVHG¡ &KL FKL ÀQLVKHV

Right: Chineke! Junior Orchestra Photo: Zen Grisdale

12

œ$OO WKH RUFKHVWUDV LQ WKH FRXQWU\ KDYH ZRQGHUIXO education programmes, and they go to places ZKHUH WKHUH DUH KLJK OHYHOV RI %0( FKLOGUHQ and low socio-economic parts of society,’ &KL FKL FRQWLQXHV œ,W¡V EHWWHU WKDQ QRWKLQJ DQG WKH\ JHW D ELW RI LQWHUDFWLRQ KRZHYHU WKH VWDWXV TXR LV UHLQIRUFHG E\ ZKDW WKH FKLOGUHQ VHH DQG LW¡V QR VXUSULVH WKDW WKH\ ZRQGHU KRZ WKH\ ÀW LQ ,W QHYHU DSSHDUV WR EH D SURIHVVLRQ WKH\ FDQ EH SDUW RI :H OLYH LQ D YHU\ YLVXDO ZRUOG ¡

ISM MUSIC JOURNAL MAY/JUNE 2017

So what’s next for Chineke! ‘We changed so many SHUFHSWLRQV ZLWK WKH Ă€UVW FRQFHUW¡ &KL FKL VD\V Âś:H JRW UHYLHZV LQ WKH *XDUGLDQ :H ZHUH Âś,¡YH DVNHG WKH FROOHJHV WR KHOS GLYHUVLW\ E\ immediately made associate orchestra of the FRQVLGHULQJ JLYLQJ PXVLFLDQV IURP WKH %0( FRPPXQLW\ D VFKRODUVKLS ,I VRPHERG\ ZKR LV %0( 6RXWKEDQN &HQWUH :H ZHUH LQFOXGHG LQ WKH Department for Culture, Media and Sport’s FRPHV WR DXGLWLRQ DQG LV DW WKH OHYHO WR JHW LQ JLYH :KLWH 3DSHU :H ZHUH VKRUWOLVWHG IRU DQ 536 DZDUG WKHP D VFKRODUVKLS 7KHLU EDFNJURXQG PLJKW QRW EH WKH VDPH DV RWKHU DXGLWLRQHHV ,I \RX JLYH WKHP :H DUH SHUIRUPLQJ DW WKH %%& 3URPV LQ WKH VXPPHU a scholarship, watch what happens when they then :H KDYH SDUHQWV XS DQG GRZQ WKH FRXQWU\ ZDQWLQJ UHFHLYH WRS UDWH WXLWLRQ LQ DQ LQVSLUHG HQYLURQPHQW ¡ their children to join the junior orchestra. We are changing perceptions.’ With the Foundation in its infancy, I wanted to (QGLQJ RXU FRQYHUVDWLRQ &KL FKL VPLOHV know what she thought would immediately grow ‘Changing perceptions is what Chineke! LV DERXW UHSUHVHQWDWLRQ RI %0( LQ WKH 8.¡V RUFKHVWUDV That is what will lead to systematic change. ‘I would like people to stop putting “mediocrityâ€? $QG WKHQ ZH FDQ VWDUW FKDQJLQJ WKH VWDWXV TXR LQ WKH VDPH VHQWHQFH DV ´GLYHUVLW\¾¡ &KL FKL ODXJKV 'LYHUVLW\ VKRXOG EH EXVLQHVV DV XVXDO ¡ Âś'LYHUVLW\ LV QRW PHGLRFULW\ ¡ &KL FKL IHHOV WKDW LPSURYLQJ GLYHUVLW\ DOVR IDOOV to music colleges.

‘I think orchestras should put screens up in the audition process. Look at what putting up screens in the audition process did for female musicians. ,W EURXJKW PRUH WR $PHULFDQ RUFKHVWUDV VLQFH WKH\ VWDUWHG GRLQJ LW ² DQG WKRVH Ă€JXUHV DUH VHYHUDO \HDUV ROG QRZ VR LW FRXOG EH PRUH ,W ZRUNHG IRU JHQGHU VR LW ZLOO ZRUN IRU %0( 0\ %0( $PHULFDQ FROOHDJXHV KDYH DOO JRW WKHLU SODFHV LQ RUFKHVWUDV IURP DXGLWLRQLQJ EHKLQG D VFUHHQ WR DSSRLQWPHQW ,W¡V D QR EUDLQHU ¡

Above: Sheku Kanneh-Mason with Chineke! Orchestra at the Royal Festival Hall in September 2016 Photo: Belinda Lawley

Francesca Treadaway, Communications Manager, ISM

MBE t Chi-chi Nwanoku Find out more abou undation and the Chineke! Fo com chi-chinwanoku. chineke.org

13

ISM MUSIC JOURNAL MAY/JUNE 2017

The transformation: Bristol Plays Music The award-winning Bristol Plays Music (BPM) is the only music education hub in the country that is part of a major concert venue – Colston Hall. In this feature, Phil Castang, Head of BPM gives us an insight into this vital hub’s work.

%ULVWRO 3OD\V 0XVLF %30 LV WKH RQO\ PXVLF HGXFDWLRQ KXE LQ WKH FRXQWU\ WKDW LV SDUW RI D PDMRU FRQFHUW YHQXH :LWK WZR FRQFHUW KDOOV LQFOXGLQJ D FDSDFLW\ DXGLWRULXP HGXFDWLRQ VSDFHV DQG access to international artists through a worldFODVV OLYH PXVLF SURJUDPPH ZH IHHO D JUHDW VHQVH RI UHVSRQVLELOLW\ WR PDNH WKLV SULYLOHJHG SRVLWLRQ FRXQW ,Q DGGLWLRQ WR WKH 'HSDUWPHQW IRU (GXFDWLRQ 'I( PDQGDWH RI GHOLYHULQJ WKH 1DWLRQDO 3ODQ IRU 0XVLF (GXFDWLRQ ZH DUH UHVSRQVLEOH IRU WKH (GXFDWLRQ DQG (QJDJHPHQW SURJUDPPH DW &ROVWRQ +DOO 7KLV PHDQV WKDW RXU ZRUN UHDFKHV EH\RQG FKLOGUHQ IURP %ULVWRO DJHG WR LQFOXGH HYHU\RQH ZLWK D ORYH RI PXVLF LQ DQG DURXQG WKH :HVW RI (QJODQG ,Q -XQH ZH ZLOO EHJLQ ZRUN RQ D … million transformation of Colston Hall. As part of WKH UHGHYHORSPHQW ZH DLP WR VHW QHZ VWDQGDUGV IRU FRQFHUW YHQXH DFFHVVLELOLW\ FUHDWLQJ WKH 8.¡V ÀUVW 1DWLRQDO &HQWUH IRU ,QFOXVLYH ([FHOOHQFH 7KH &HQWUH ZLOO VXSSRUW D QHZ DGYDQFHG QDWLRQDO training programme for young musicians with 6(1' DQG SURYLGH DFFUHGLWHG WUDLQLQJ FRXUVHV IRU music practitioners.

Award-winning work

Left: Bristol Plays Music Photo: Mark Ashbee

At the heart of our work is great music making DQG OHDUQLQJ :KHWKHU LW EH WKURXJK VLQJLQJ VWUXPPLQJ ERZLQJ RU FRPSRVLQJ RXU HGXFDWLRQ work sets out to encourage participation, engender D VHQVH RI FLYLF SULGH DQG LQVWLO D OLIHORQJ ORYH of musical culture. And we are starting to gain QDWLRQDO UHFRJQLWLRQ %30 KDV UHFHLYHG WKUHH prestigious awards in two years from the Music (GXFDWLRQ &RXQFLO DQG 0XVLF 7HDFKHU $ZDUGV IRU ([FHOOHQFH LQFOXGLQJ ZLQQLQJ WKH œ0DMRU 3UL]H¡ 2XU ZRUN LV FKDPSLRQHG DV œEROG FRKHVLYH LPSUHVVLYH DFURVV PDQ\ DUHDV¡ 0(& DQG

WKLV LV EDFNHG XS E\ D WDQJLEOH LQFUHDVH LQ SDUWQHU DQG VWDNHKROGHU FRQĂ€GHQFH LQ WKH TXDOLW\ DQG UHDFK RI RXU ZRUN +DYLQJ DFKLHYHG WKLV OHYHO RI recognition, endorsement and, seemingly, got many things right, we sense that, now, it is time for a change.

The challenges ahead Across the country, schools are experiencing a SHULRG RI XQSUHFHGHQWHG XSKHDYDO &XUUHQWO\ WKH 1DWLRQDO 3ODQ IRU 0XVLF (GXFDWLRQ¡V FRUH DQG H[WHQVLRQ UROHV WDNH XV LQWR QHDUO\ HYHU\ VFKRRO LQ %ULVWRO ZKHUH VWURQJ FRQĂ&#x20AC;GHQW UHODWLRQVKLSV KDYH GHYHORSHG <HW WKHUH DUH FKDOOHQJHV DKHDG Changes to the schools national funding formula ZLOO OHDYH %ULVWRO DV WKH ZRUVW DÍżHFWHG FLW\ LQ (QJODQG &RQVHTXHQWO\ %ULVWRO¡V VFKRROV ZLOO ORVH QHDUO\ Â&#x2026; PLOOLRQ IURP WKHLU EXGJHWV :H DQWLFLSDWH WKDW DV HDUO\ DV 6HSWHPEHU SULPDU\ VFKRROV ZLOO EHJLQ WR IHHO WKH LPSDFW RI WKHVH FKDQJHV DQG many will struggle to fund music education.

The picture for secondary schools is also complex, ZLWK VXEMHFWV MRVWOLQJ IRU VSDFH ZLWKLQ WKH FXUULFXOXP DQG VFKRRO Ă&#x20AC;QDQFHV XQGHU PRUH SUHVVXUH WKDQ HYHU EHIRUH WR GHOLYHU YDOXH IRU PRQH\ LQ DQ LQFUHDVLQJO\ WDUJHW RULHQWHG HFRORJ\ :H LQGHHG DOO PXVLF HGXFDWLRQ KXEV DUH LGHDOO\ SODFHG WR DEVRUE PXFK RI WKH LPSDFW RI WKLV GLVUXSWLRQ E\ RÍżHULQJ EHVSRNH support to schools and ensuring non-formal music education pathways are well supported. But in RUGHU WR GR WKLV HÍżHFWLYHO\ ZH KDYH WR FRQVWDQWO\ UHWKLQN DQG UHYDOXDWH HYHU\WKLQJ ZH GR :H KDYH WR EHFRPH H[SHUWV LQ UHĂ HFWLRQ

Continued overleaf Ă&#x2C6;

15

ISM MUSIC JOURNAL MAY/JUNE 2017

Images: Bristol Plays Music Photos: Mark Ashbee

As always, when there are funding challenges, the SRRUHVW LQ VRFLHW\ IDUH ZRUVW %30 LV FRPPLWWHG WR RÍżHULQJ WKH JUHDWHVW DPRXQW RI LWV VXSSRUW WR WKH children and communities who are in greatest need.

Despite its cool, trendy reputation, Bristol is one of the least culturally integrated cities in the UK and, as such, faces particularly tough challenges around LQFOXVLRQ DQG GLYHUVLW\ :KLOVW %30 LV NQRZQ IRU its approach to inclusion we donâ&#x20AC;&#x2122;t think â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122; is JRRG HQRXJK ,W QHHGV WR EH RXWVWDQGLQJ 0DQ\ ZRXOG think that changing the social dynamic of a city lies EH\RQG WKH UHPLW RI WKH 1DWLRQDO 3ODQ IRU 0XVLF (GXFDWLRQ :H GLVDJUHH 0XVLF LV D SRZHUIXO IRUFH FDSDEOH RI XQLWLQJ DQG GLYLGLQJ FRPPXQLWLHV DQG %ULVWRO 3OD\V 0XVLF LV LGHDOO\ SRVLWLRQHG WR HQVXUH WKDW %ULVWRO¡V GLYHUVLW\ IDU IURP SHUSHWXDWLQJ GLYLVLRQ LV SXWWLQJ DOO RI LWV ZHLJKW EHKLQG WKH FLW\¡V cultural and economic success.

The non-formal music sector, itself a major and VLJQLĂ&#x20AC;FDQW SDUW RI WKH PXVLFDO ODQGVFDSH LV DOVR JRLQJ WKURXJK D SDUWLFXODUO\ WU\LQJ WLPH %30 WDNHV WKH YLHZ WKDW ODUJHU FXOWXUDO RUJDQLVDWLRQV should support the smaller, more specialised and, RIWHQ PRUH FXOWXUDOO\ UHOHYDQW FRPPXQLW\ PXVLF organisations to keep doing the work they do.

We approach all of our partnerships using a Âś&ROOHFWLYH ,PSDFW¡ PRGHO RI ZRUNLQJ &ROOHFWLYH ,PSDFW LV EXLOW RQ Ă&#x20AC;YH SLOODUV RU ÂśFRQGLWLRQV¡ These are: a common agenda, shared measurement V\VWHPV PXWXDOO\ UHLQIRUFLQJ DFWLYLWLHV continuous communication, and the presence RI D EDFNERQH VXSSRUW RUJDQLVDWLRQ :KHQ XVHG SURSHUO\ WKLV DSSURDFK DFKLHYHV VLJQLĂ&#x20AC;FDQWO\

16

greater impact, reduces duplication and wasting of resources, and allows partners to maintain their LQGLYLGXDOLW\ ,W SURYLGHV D Ă H[LEOH WUDQVIHUDEOH IUDPHZRUN IRU RUJDQLVDWLRQV RI GLÍżHUHQW W\SHV DQG VL]HV WR ZRUN WRJHWKHU RQ FRPSOH[ FKDOOHQJHV

New Ambition for Inclusive Excellence 2QH VXFK DUHD RI ZRUN LV %30¡V 1HZ $PELWLRQ IRU ,QFOXVLYH ([FHOOHQFH ZKLFK LV LQYHVWLQJ Â&#x2026; in transforming music education in the West of (QJODQG IRU FKLOGUHQ ZLWK 6(1' DQG IRU FKLOGUHQ LQ FDUH :H DUH YHU\ SURXG WR VD\ WKDW WKURXJK WKLV SURJUDPPH HYHU\ 6SHFLDO 6FKRRO QRZ KDV LWV RZQ RUFKHVWUD RU HQVHPEOH :LWK IXQGLQJ IURP WKH 1DWLRQDO )RXQGDWLRQ IRU <RXWK 0XVLF %30 works with a coalition of partners to support new technology, training and pedagogy and industry employment opportunities for young musicians ZLWK 6(1' 3DUWQHUV LQFOXGH 6RXWK *ORV % 1(6 DQG 1RUWK 6RPHUVHW PXVLF HGXFDWLRQ KXEV 7KH %ULWLVK 3DUDRUFKHVWUD %%& 0XVLF 2SHQ8S 0XVLF 'UDNH 0XVLF $WWLWXGH LV (YHU\WKLQJ /LYH 0XVLF 1RZ DQG 8QLYHUVLW\ RI WKH :HVW RI (QJODQG ,Q ZH DQQRXQFHG WKH QH[W SKDVH RI WKLV ZRUN which will focus on supporting the most talented \RXQJ PXVLFLDQV ZLWK GLVDELOLWLHV IURP DFURVV (QJODQG LQWR KLJKHU HGXFDWLRQ DQG WKH PXVLF industry.

ISM MUSIC JOURNAL MAY/JUNE 2017

Bristol Music Curriculum $QRWKHU VXFFHVVIXO H[DPSOH RI &ROOHFWLYH ,PSDFW in action is the Bristol Music Curriculum, which UHFHLYHG WKH 0XVLF 7HDFKHU $ZDUG IRU ([FHOOHQFH SUL]H IRU ÂśEHVW SULQW UHVRXUFH¡ 7ZHOYH PRQWKV RI LQGLYLGXDO 6FKRRO 0XVLF (GXFDWLRQ 3ODQV highlighted that uninspiring and outdated resources, coupled with a lack of skills and time, were the main reasons for â&#x20AC;&#x2DC;littleâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;noâ&#x20AC;&#x2122; curriculum music.

It was also apparent that schools with a strong FRPPLWPHQW WR WLPHWDEOHG FXUULFXOXP PXVLF were the most musically engaged with core and H[WHQVLRQ KXE UROHV 7R DGGUHVV WKLV QHHG ZH GHFLGHG WR GHYHORS WKH %ULVWRO 0XVLF &XUULFXOXP :ULWWHQ E\ %ULVWRO PXVLF WHDFKHUV WKH %ULVWRO 0XVLF Curriculum is completely free and fully resourced. ,W KDV EHHQ GRZQORDGHG PRUH WKDQ WLPHV DQG LV the most widely used resource in Bristol schools. To DFFRPSDQ\ WKH &XUULFXOXP WKHUH LV D FRPSUHKHQVLYH &3' SURJUDPPH WR VXSSRUW QRQ VSHFLDOLVW WHDFKHUV 7R IXUWKHU VXSSRUW WKH GHYHORSPHQW RI OLVWHQLQJ VNLOOV ZH KDYH OLFHQVHG 6RXQG DQG 0XVLF¡V Âś0LQXWH RI /LVWHQLQJ¡ 0R/ IRU HYHU\ VFKRRO LQ %ULVWRO DQG DUH LQ the process of producing our own MoL pack created E\ VFKRROV DQG %ULVWRO FRPSRVHUV -HQQ\ 7D\ORU +HDG 7HDFKHU RI +RUĂ&#x20AC;HOG &(9& 3ULPDU\ KDG WKLV WR VD\ DERXW WKH FXUULFXOXP â&#x20AC;&#x2DC;This inspiring and innovative curriculum has driven forward our music teaching in school and has had an enormously positive impact on teaching and learning across the school. It has allowed teachers to rethink their approach to music teaching as well as celebrate the strong tradition of music within the city.â&#x20AC;&#x2122;

%XLOGLQJ RQ WKLV VXFFHVV 3DXO +DPO\Q )RXQGDWLRQ KDYH DZDUGHG %30 Â&#x2026; . WR GHYHORS D %ULVWRO &XOWXUDO &XUULFXOXP LQ D FROOHFWLYH FLW\ZLGH PRYHPHQW ZLWK WKH %ULVWRO &XOWXUDO (GXFDWLRQ 3DUWQHUVKLS ZRUNLQJ LQ FORVH SDUWQHUVKLS ZLWK Bristol Old Vic, Spike Island, Theatre Bristol, $UQROĂ&#x20AC;QL DQG 8:(¡V &LW\ &DPSXV

A new vision for Education and Engagement 7KH '&06 &XOWXUH :KLWH 3DSHU VHWV RXW D YLVLRQ IRU WKH LQWULQVLF VRFLDO DQG HFRQRPLF YDOXH of the arts.

7KH TXHVWLRQ IRU %30 WR FRQVLGHU LV KRZ D PRGHUQ concert hall can make greater social connections with communities through engagement in the arts and culture.

2YHU WKH QH[W IRXU \HDUV DV WKH WUDQVIRUPDWLRQ RI WKH +DOO FRPHV LQWR IRFXV D VKDUSHU YLVLRQ IRU HGXFDWLRQ DQG HQJDJHPHQW ZLOO EH UHTXLUHG RQH WKDW LV EHWWHU DOLJQHG WR VWUDWHJLF SULRULWLHV DQG ZKLFK UHĂ HFWV D GHHSHU VHQVH RI UHVSRQVLELOLW\ DFURVV *UHDWHU %ULVWRO DQG EH\RQG )RU PDQ\ FKLOGUHQ LW LV KHUH WKDW WKH\ ZLOO Ă&#x20AC;UVW H[SHULHQFH a professional concert hall. The challenge is to EXLOG RQ WKLV SRZHUIXO LQLWLDO H[SHULHQFH DQG sustain engagement into adulthood. Whether DV DQ DXGLHQFH PHPEHU FUHDWLYH SDUWLFLSDQW RU SHUIRUPHU ZH EHOLHYH WKDW HYHU\RQH VKRXOG KDYH D OLIHORQJ UHODWLRQVKLS ZLWK OLYH PXVLF Phil Castang, Head of Bristol Plays Music

17

ISM MUSIC JOURNAL MAY/JUNE 2017

Claudio Monteverdi (1567-1643) Professor John Whenham, Professor of Music History at the University of Birmingham, reďŹ&#x201A;ects on the life of the Italian composer Claudio Monteverdi in the 450th year of the composerâ&#x20AC;&#x2122;s birth.

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ZKLFK KH PD\ RU PD\ QRW KDYH FRPSRVHG still attract large and enthusiastic audiences.

Left: Conductor Sir John Eliot Gardiner with the Monteverdi Choir & Orchestras at the Accademia Monteverdiana workshops, Fondazione Giorgio Cini, 2016 Photo: James Cheadle

0RQWHYHUGL ZDV EDSWLVHG RQ 0D\ LQ WKH north Italian city of Cremona, then part of the 6SDQLVK FRQWUROOHG VWDWH RI 0LODQ KLV WRPE LQ the Frari is in the Milanese chapel). His father, Baldassare, was an apothecary, physician and surgeon; his mother, Maddalena, died when he ZDV DERXW QLQH \HDUV RI DJH +LV HDUOLHVW PXVLFDO HGXFDWLRQ ZDV SURYLGHG E\ 0DUF¡$QWRQLR Ingegneri, choirmaster of Cremona cathedral, DQG KH SURYHG VRPHWKLQJ RI D SURGLJ\ +LV Ă&#x20AC;UVW SXEOLFDWLRQ ² D YROXPH RI WKUHH YRLFH PRWHWV ² ZDV SXEOLVKHG LQ ZKHQ KH ZDV VWLOO RQO\ DQG EHWZHHQ WKHQ DQG KH SXEOLVKHG D IXUWKHU WKUHH YROXPHV LQFOXGLQJ KLV Ă&#x20AC;UVW DQG VHFRQG ERRNV RI Ă&#x20AC;YH SDUW PDGULJDOV 7KH PDGULJDOV Baci soave e cari %RRN , WH[W E\ %DWWLVWD *XDULQL DQG Ecco mormorar lâ&#x20AC;&#x2122;onde %RRN ,, WH[W E\ 7RUTXDWR 7DVVR JLYH D FOHDU LGHD RI KLV SUHFRFLRXV WDOHQW Baci soave e cari 6ZHHW SUHFLRXV NLVVHV LQWURGXFHV WKH WKHPH RI HURWLF ORYH GHDWK IRXQG LQ PDQ\ RI WKH PDGULJDOV RI 0RQWHYHUGL¡V Ă&#x20AC;UVW VL[ ERRNV DQG LW LV LQ SDUW PRGHOOHG RQ D PDGULJDO E\ DQRWKHU QRUWK ,WDOLDQ FRQWHPSRUDU\ /X]]DVFR /X]]DVFKL choirmaster at the court of Ferrara. Modelling compositions on the work of another composer ZDV D VWDQGDUG ZD\ E\ ZKLFK \RXQJ FRPSRVHUV

learned their trade, and through which they could WU\ WR VXUSDVV WKHLU PRGHO V Ecco mormorar lâ&#x20AC;&#x2122;onde %HKROG WKH ZDYHV PXUPXU LOOXVWUDWHV DQRWKHU side of his madrigalian output, in which the sounds of nature are translated into musical imagery.

This, too, was modelled on the work of an older FRPSRVHU WKLV WLPH RQ WZR PDGULJDOV E\ WKH UHQRZQHG *LDFKHV GH :HUW FKRLUPDVWHU WR WKH duke of Mantua.

(DUO\ LQ 0RQWHYHUGL ZDV KLPVHOI WDNHQ RQ DV VLQJHU DQG SOD\HU RI ERZHG VWULQJ LQVWUXPHQWV DQG WKHRUER DW 0DQWXD DV SDUW RI WKH H[SDQVLRQ RI FRXUW PXVLF WKURXJK ZKLFK WKH QHZ GXNH 9LQFHQ]R *RQ]DJD VHW RXW WR ULYDO WKH DUWLVWLF EULOOLDQFH RI QHDUE\ )HUUDUD )HUUDUD ZLWK LWV HQVHPEOHV RI LQVWUXPHQWDOLVWV DQG YLUWXRVR VLQJHUV LQFOXGLQJ LWV FHOHEUDWHG DQG ZLGHO\ LPLWDWHG HQVHPEOHV RI ODG\ VLQJHUV DQG LWV IDPRXV SRHWV *XDULQL DQG 7DVVR

DOVR ERDVWHG FRPSRVHUV ZRUNLQJ DW WKH FXWWLQJ HGJH RI PXVLFDO VW\OH *HVXDOGR ZKR PDUULHG LQWR WKH ruling family, spent some time at the court). $W 0DQWXD 0RQWHYHUGL ZRUNHG XQGHU :HUW¡V OHDGHUVKLS VLQJLQJ LQ WKH FRXUW FKDSHO SUREDEO\ QRW DW 6DQWD %DUEDUD ZKLFK KDG D VHSDUDWH PXVLFDO HVWDEOLVKPHQW SURGXFLQJ FKXUFK DQG VHFXODU PXVLF IRU WKH FRXUW 7KLV QHZ PXVLFDO HQYLURQPHQW in which expert singers performed to an audience, LV UHĂ HFWHG LQ VRPH RI WKH PXVLF RI KLV WKLUG ERRN RI PDGULJDOV LQFOXGLQJ WKH WKHDWULFDO Vattene pur, crudel, the anguished cry of the VRUFHUHVV $UPLGD DEDQGRQHG E\ KHU EHORYHG Rinaldo from Tassoâ&#x20AC;&#x2122;s epic La Gerusalemme liberata.

7KH SHUIRUPDQFH RI WKLV ZRXOG YHU\ OLNHO\ KDYH EHHQ WKHDWULFDO LQ PDQQHU WR MXGJH IURP WKH FRPPHQWV RI D ODWHU ZULWHU 9LQFHQ]R *LXVWLQLDQL *LXVWLQLDQL ZDV ZULWLQJ LQ SDUWLFXODU DERXW WKH ODG\ VLQJHUV RI )HUUDUD DQG 0DQWXD EXW KLV FRPPHQWV DUH SUREDEO\ DSSOLFDEOH WR WKH PDOH VLQJHUV WRR Continued overleaf Ă&#x2C6;

19

ISM MUSIC JOURNAL MAY/JUNE 2017

Above and right: Monteverdi Choir & Orchestras at the Accademia Monteverdiana workshops, Fondazione Giorgio Cini, 2016 Photos: James Cheadle

â&#x20AC;&#x2DC;[They] moderated or increased their voices, loud or soft, heavy or light, according to the demands of the piece they ZHUH VLQJLQJ QRZ VORZ EUHDNLQJ RÍż VRPHWLPHV ZLWK a gentle sigh â&#x20AC;Ś They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feeling of the song.â&#x20AC;&#x2122; In other words, the Mantuan singers were already YHUVHG LQ D PDQQHU RI SHUIRUPLQJ WKDW SUHSDUHG WKHP WR WDNH WKH RSHUDWLF VWDJH LQ WKH Ă&#x20AC;UVW GHFDGH RI WKH VHYHQWHHQWK FHQWXU\ 6R IDU DV SXEOLFDWLRQ ZDV FRQFHUQHG 0RQWHYHUGL ZDV DOPRVW FRPSOHWHO\ VLOHQW RYHU WKH QH[W GHFDGH :KHQ KH GLG UH HPHUJH LQ SULQW KRZHYHU VKRUWO\ DIWHU EHLQJ DSSRLQWHG FRXUW FKRLUPDVWHU LQ KLV PXVLF UHĂ HFWHG KLV 0DQWXDQ H[SHULHQFH LQ IXOO 7KH PDGULJDOV RI %RRNV ,9 DQG 9

contain searing dissonances, sharp contrasts, rich KDUPRQLHV DQG YLUWXRVR YRFDO OLQHV DQG UHĂ HFW a Mantuan predilection for things Ferrarese, in particular the epigrammatic and erotically charged SRHWU\ RI *XDULQL 7KH Ă&#x20AC;UVW VHWWLQJ LQ %RRN ,9 ZKLFK KDG LQ IDFW EHHQ SXEOLVKHG HDUOLHU LQ D *HUPDQ DQWKRORJ\ RI LV W\SLFDO RI WKLV SHULRG RI 0RQWHYHUGL¡V ZRUN Ah, dolente partita, the words of the faithful shepherd Mirtillo as he parts from $PDU\OOLV LQ $FW ,,, RI *XDULQL¡V SDVWRUDO SOD\ ,O SDVWRU Ă&#x20AC;GR EHJLQV ZLWK GLVVRQDQW FULHV EHWZHHQ WKH WZR XSSHU YRLFHV DQG JRHV RQ WR H[SORUH LQ emotionally highly charged music the â&#x20AC;&#x2DC;pain of GHDWK¡ IHOW E\ 0LUWLOOR 0RQWHYHUGL¡V VXSSRVHGO\ ÂśLUUHJXODU¡ XVH RI GLVVRQDQFH OHG WR KLV EHLQJ

20

VHYHUHO\ FULWLFLVHG E\ D %RORJQHVH FRPSRVHU DQG WKHRULVW *LRYDQQL 0DULD $UWXVL DQG WKLV FULWLFLVP WRJHWKHU ZLWK 0RQWHYHUGL¡V UHVSRQVHV LQ DQG HÍżHFWLYHO\ OHG WR WKH FRPSRVHU HVWDEOLVKLQJ KLPVHOI DV D UHSUHVHQWDWLYH RI WKH PRGHUQLVWV RI his period. %RRN 9 LQWURGXFHV XV WR WKH HDUOLHVW RI 0RQWHYHUGL¡V PDGULJDOV WR EH SXEOLVKHG ZLWK D basso continuo DFFRPSDQLPHQW D WHFKQLTXH WKDW IUHHG KLP WR explore accompanied solos and duets within WKH Ă&#x20AC;YH YRLFH IUDPHZRUN Ahi, come a un vago sol *XDULQL LV RQH VXFK +HUH 0RQWHYHUGL WDNHV WKH ODVW OLQH RI WKH SRHP ² Âś$K EXW /RYH¡V ZRXQG QHYHU KHDOV¡ ² RXW RI FRQWH[W DQG XVHV LW DV D UHIUDLQ FRPPHQWLQJ RQ DQG WKHQ URXQGLQJ RÍż D VHULHV of duets for two tenors. The structure is one that was used in the earliest operas and it is interesting WR Ă&#x20AC;QG 0RQWHYHUGL H[SHULPHQWLQJ ZLWK LW VRPH \HDUV EHIRUH KH ZDV FRPPLVVLRQHG WR ZULWH KLV RZQ Ă&#x20AC;UVW RSHUD Orfeo, for performance at Mantua in )HEUXDU\ DQG 0DUFK Orfeo, with its rich array of instrumental forces, passionate declamation H J WKH PHVVHQJHU¡V DQQRXQFHPHQW RI (XU\GLFH¡V GHDWK YLUWXRVR VLQJLQJ 2USKHXV¡V SOHD WR &KDURQ WR IHUU\ KLP LQWR +DGHV UHĂ HFWV ERWK WKH ULFK instrumental tradition of the sixteenth-century court intermedio DQG 0RQWHYHUGL¡V VWXG\ RI WKH HDUOLHVW RSHUD SHUIRUPHG DW )ORUHQFH -DFRSR 3HUL¡V Euridice +LV VHFRQG RSHUD Arianna

LV ODUJHO\ ORVW H[FHSW IRU WKH FHQWUDO ODPHQW RI $ULDGQH DEDQGRQHG E\ KHU KXVEDQG 7KHVHXV ZKLFK ZDV VDLG WR KDYH UHGXFHG WKH ODGLHV RI LWV Ă&#x20AC;UVW audience to tears.

ISM MUSIC JOURNAL MAY/JUNE 2017

2QH Ă&#x20AC;QDO SURGXFW RI WKH 0DQWXDQ \HDUV WKH VR FDOOHG Âś9HVSHUV RI ¡ LV SHUKDSV WKH EHVW ORYHG RI DOO 0RQWHYHUGL¡V PXVLF DQG LQFOXGHV VRPH RI KLV PRVW H[TXLVLWH VHWWLQJV $ FROOHFWLRQ RI SVDOPV PRWHWV D K\PQ DQG 0DJQLĂ&#x20AC;FDW IRU 9HVSHUV RI WKH %OHVVHG 9LUJLQ SUREDEO\ FRPSRVHG DV VLQJOH ZRUNV RYHU D QXPEHU RI \HDUV WKH Âś9HVSHUV¡ ZHUH SXEOLVKHG WRJHWKHU ZLWK D 0DVV DQG SUHVHQWHG E\ 0RQWHYHUGL WR 3RSH 3DXO 9 0RQWHYHUGL VHHPV WR KDYH FRPSLOHG WKH SXEOLFDWLRQ WR GHPRQVWUDWH KLV DELOLW\ DV D FKXUFK FRPSRVHU DV SDUW RI KLV DWWHPSWV WR OHDYH 0DQWXDQ VHUYLFH RU VHUYLWXGH DV KH ZDV EHJLQQLQJ WR UHJDUG LW ,Q WKH HYHQW KH ZDV GLVPLVVHG LQ E\ WKH QHZ GXNH )UDQFHVFR

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featured pieces in his concitato or â&#x20AC;&#x2DC;agitatedâ&#x20AC;&#x2122; manner, used for the emotions of anger or war, which he had pioneered in his Combattimento di Tancredi e Clorinda RI 7KH VHFRQG SXEOLFDWLRQ VXPPLQJ XS \HDUV RI ZULWLQJ IRU WKH FKXUFK ZKHWKHU IRU St Markâ&#x20AC;&#x2122;s or on commission for other Venetian churches, was the Selva morale e spirituale

ZKLFK LQFOXGHV D ZHDOWK RI ULFK DQG LQYHQWLYH music for Mass and Vespers, including perhaps the EHVW NQRZQ RI KLV ODWH SVDOP VHWWLQJV Beatus vir for 7KH Âś9HVSHUV¡ PD\ QRW KDYH IRXQG 0RQWHYHUGL D VL[ YRLFHV DQG LQVWUXPHQWV DQG WKH JUHDW Gloria for SRVW LQ 5RPH EXW LQ WKH SXEOLFDWLRQ LPSUHVVHG VHYHQ YRLFHV DQG LQVWUXPHQWV RQFH WKRXJKW WR KDYH the procurators of St Markâ&#x20AC;&#x2122;s, Venice, when they EHHQ FRPSRVHG WR FHOHEUDWH WKH HQG RI WKH SODJXH LQ DXGLWLRQHG DQG DSSRLQWHG 0RQWHYHUGL WR WKH EXW ZKLFK PD\ LQ IDFW KDYH EHHQ ZULWWHQ DV SRVLWLRQ RI FKRLUPDVWHU $W 9HQLFH 0RQWHYHUGL ODWH DV HQMR\HG UHVSHFW DQG UHJXODU SD\PHQW QRW DOZD\V the case in Mantua) and had ample opportunities 7KH ODVW \HDUV RI 0RQWHYHUGL¡V OLIH ZHUH GRPLQDWHG to earn extra income from commissions for E\ KLV ZRUN IRU WKH QHZO\ RSHQHG SXEOLF RSHUD FRPSRVLQJ DQG SHUIRUPLQJ ERWK VHFXODU DQG VDFUHG KRXVHV LQ 9HQLFH 7ZR RSHUDV VXUYLYH ll ritorno PXVLF $QG WKRXJK WKH TXDOLW\ RI UHJUHW KHDUG LQ dâ&#x20AC;&#x2122;Ulisse DQG La coronazione di Poppea %RRN 9, RI KLV PDGULJDOV SUREDEO\ UHĂ HFWV

WKH Ă&#x20AC;UVW FHUWDLQO\ E\ KLP WKH VHFRQG OHVV FHUWDLQO\ VR 1HYHUWKHOHVV WKH DPRUDO QDWXUH KLV ODWH 0DQWXDQ ZRUN %RRN 9,, ZKLFK YLYLGO\ GUDZQ FKDUDFWHUV DQG VHQVXRXV PXVLF RI is full of duets and trios, is music of a kind that FRXOG HDVLO\ EH SHUIRUPHG LQ 9HQHWLDQ KRXVHKROGV Poppea KDYH DVVXUHG WKH RSHUD D UHJXODU SODFH LQ WKH RSHUD KRXVH DQG LWV Ă&#x20AC;QDO GXHW Pur ti miro, pur ZKHWKHU RI WKH QRELOLW\ RU RI DUWLVDQV DQG DOVR ti godo LV RIWHQ UHJDUGHG DV RQH RI 0RQWHYHUGL¡V SUREDEO\ UHSUHVHQWV WKH W\SH RI PXVLF SHUIRUPHG PRVW DWWUDFWLYH DFKLHYHPHQWV WKRXJK LW LV DOPRVW DW VWDWH EDQTXHWV E\ VLQJHUV DQG LQVWUXPHQWDOLVWV FHUWDLQO\ QRW E\ KLP from St Markâ&#x20AC;&#x2122;s.

Professor John Whenham, University of Birmingham

21

ISM MUSIC JOURNAL MAY/JUNE 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 is 1 June for July/August issue.

incidental music to Beau Brummel

by Edward Elgar; all arranged by Len. Reconciliation from Ralph Vaughan Williams’ Dona Nobis Pacem has also recently been published as a piano solo.

Len was recently granted the rights for this transcription by the Vaughan Williams Estate. Len is offering ISM members a 15% discount on his complete downloadable catalogue.

Simply enter ‘ISM2017’ at checkout. lenrhodesmusic.com

Music in France When Moira Hayward and her husband Chris Hook made the rather radical decision to leave their flourishing careers in the UK to move to SW France, it was because they had a vision of creating a residential music centre in idyllic surroundings.

Above: Jonathan David Little

Fellow, is soon to release a new album of choral works on the US Navona label. Entitled Woefully Arrayed, this CD Composer Jonathan David Little has features three choirs from the US and received Special Distinction for his UK, contains diagrams of all the choral orchestral showpiece, Terpsichore, forces involved, and an essay by Hugh in America’s 2017 Nissim Prize – one Keyte on polychorality. It is sponsored of the concert music world’s most esteemed awards. He was personally by an inaugural Australia Council congratulated from New York by ASCAP’s International Arts Project Award.

Head of Concert Music, Cia Toscanini. jonathanlittle.org Last year, Jonathan was winner of a Royal Philharmonic Society / BBC Len Rhodes Radio 3 ENCORE Choral Award, and was also invited to participate in a BBC Len Rhodes recently featured in two Singers’ Choral Music Workshop, led by recitals with Julianne Scott, principal clarinet with the Edmonton Symphony Judith Weir.

Orchestra, Canada. Included in the As a follow-up to his successful 2012 CD programme were new arrangements Polyhymnia – featuring three European of five dances from Peter Warlock’s orchestras – Jonathan, a former Collard Capriol Suite and the Minuet from the

Orchestral and choral success

Seven years on, their dream has been realised and Solétude opens for business in May. Solétude; the name deriving from soleil, étude and solitude, conjures up the mix of ingredients which form the basis of their realised dream. Courses are planned to appeal to a wide audience, which reflect the diverse experience of Moira and Chris.

Guests will enjoy sharing in a venue, set in rural beauty, which has excellent facilities, and be treated to top class food, much of which is home grown, all of which is home cooked!

Solétude is also available as a hireable venue. soletude.org

Continued overleaf È

23

ISM MUSIC JOURNAL MAY/JUNE 2017

Organ restoration project pulls out all the stops!

Concert organist Gillian Ward Russell is bringing her highly acclaimed Ten Pieces for Organ to Northumberland on Saturday 17 June. This will be the first of a series of concerts and recitals to take place at Holy Trinity Church in Horsley, Redesdale, following the return of their fully restored Nelson pipe organ.

The project, supported by the Heritage Lottery Fund, included all restoration work by Forth Pipe Organs plus an extensive cross-curricular education programme across six local First schools, culminating in a joint performance of Stops, Pipes, Pedals and Keys, a specially composed children’s song by Fiona Lander.

A second commission, a piece for pipe organ and alto saxophone was jointly composed by saxophonist Fiona and organist John Roper.

This was premiered by the pair at the inaugural Celebration and Blessing at Horsley church in April 2017.

Acoustic Folk Highway The Acoustic Folk Highway is a monthly resident music night, hosted

by Danny Leigh in The Harrison’s (Kings Cross) theatre-style basement venue. It brings together an eclectic mix of original music from different parts of the UK, Europe and countries around the world. The event aims to showcase fresh, new music inspired by the folk and acoustic genres while highlighting how cultural and ethnic identity influences song-writing, sound and style.

The Acoustic Folk Highway has been running since August 2014 and falls on a Sunday, usually towards the end of the month. This music night has been taken on the road to Cornwall and Ireland as well as Mandrea Music Festival near Lake Garda.

Obituaries With regret, we report the deaths of: Jeremy S Gott of Kirkcudbrightshire Gervase De Peyer of London

Facebook.com/ theacousticfolkhighway Twitter.com/theAcousticFH harrisonbar.co.uk

horsleypipeorgan.org forthpipeorgans.co.uk fionalander.com

Are your students graduating this year?

Give them the gift of ISM membership.

Give the musicians in your life the security and peace of mind that comes with being part of a professional body. Buy your musician colleague, student, family member or friend a year of ISM full membership for £171 or a year of graduate membership for just £75 (if they graduated from their first degreelevel qualification in music in the last ten years). Or why not buy your pupils ISM student membership when they go off to university or conservatoire?

Student membership is just £15 a year.

To order your gift and find out more, go to ism.org/join. If you have any questions about gift membership, please call us on 020 7221 3499 or email membership@ism.org.

Please note: to be eligible for ISM membership the recipient of the gift must satisfy our entry criteria.

© iSto

ckphoto /Peop leIm

ages

24

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

Scratch Concerts Ltd presents:

The Scratch

®

Youth

Messiah

Sing Sing haalllfofofitit-Sing just four choruses -

but come and sing!

The award-winning Scratch® Youth Messiah, now in its fifth year, gives young choirs across the country the chance to sing Handel’s Messiah – as much as they can manage – at the Royal Albert Hall.

Download the registration form at www.youthmessiah.co.uk

‘The ScraatchbrilliYanoutthidea, Messiarth lyis pla ed and’ expe ly implennme nted superrb Conductor

Ben Parry Artistic Director, National Youth Choirs of Great Britain

Royal Albert Hall, Sunday 12 November 2017 full rehearsal 11.15 am–12.45 pm; concert 2.00 pm

1,500 free* singing places www.youthmessiah.co.uk

*There is no charge for singers aged under 25, nor for essential chaperones.

Choirs pay a modest registration fee of £35.

Summer Conference Bristol 21â&#x20AC;&#x201C;23 July 2017

! % !" # " & %" "

Action and interaction!

' " !" # % ()* +,- .)/+012-)+/ +,-3 )--* ' % ! % "

Feldenkrais, after Estill, and multi-genre work Speakers include Linda Hutchison Gillyanne Kayes Marcia Carr Emma Winscom Juliana Janes YaffĂŠ Ian Anderson Gray

More details at

www.aotos.org.uk Registered charity 296850

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Come and Sing Barbershop 39th Harmony College 25 - 27 August 2017 Jubilee Campus Nottingham University

Cost ÂŁ320 Includes course fees, learning materials, all meals and single en-suite accommodation.

Under 26 years - just ÂŁ130.00

Bed & breakfast available on the 24th for just ÂŁ50 extra.

Everyone Welcome Quality Educators Online Booking

Experience the joy of four-part Harmony!

If youâ&#x20AC;&#x2122;d like to learn, sing and harmonise some barbershop songs, then you should join with other singers and attend our 39th Harmony College. It is a two and a half day residential event held at the Jubilee Campus of Nottingham University.

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

Other Courses Available If you wish, you can learn more about barbershop harmony, by opting to attend other specialist courses including; Directing, Coaching and a Personal Development Stream which allows you to choose from a wide choice of barbershop related subjects and other singing topics.

Book Early - Book Online Now View the Prospectus online and book your place.

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Sing, Learn, Enjoy!

Online Prospectus Out Now! We look forward to welcoming you to a great weekend of barbershop singing! Book now!

Itâ&#x20AC;&#x2122;s the Harmony that makes the difference!

www.babsharmonycollege.co.uk The British Association of Barbershop Singers 6 Corunna Court, Corunna Road, Warwick CV34 5HQ Registered Charity No: 1080930

Enhancing Knowledge Encouraging Improvement

ISM MUSIC JOURNAL MAY/JUNE 2017

Our new members

We offer a warm welcome to the following members who joined before 31 March.

Full members Birmingham Wai Sum Chong MMusRSAMD Hannah Fieldhouse BAHonsWolverhampton Levi French FLCM Thomas McMahon BMusBirm Robyn Whitehouse BMusHonsBirm

Bournemouth Colin Davey BMusHonsSheff

Brighton Caroline Brown ARCM DMusSussex MATrinity Frances Anne Lulham Sheraine Lynsdale-Nock BAHonsRead Katarina Makevic MAMusicZagreb Jayne Whitaker McNeillis GGSM PGDipGSMD Conor Miles BAHonsChichester Emily Mitchell MA(RAM) Samantha Munt BAMusicAngliaRuskin Paul Newbold BMusHonsKings Holly O’Callaghan BAHons Caroline Reid LGSM

Bristol Stephanie Collishaw BMusRoyalHolloway Jonathan Delbridge FRSM Eleanor Emery BAHonsBathSpa Christopher Finch MAYork William Hall PGDip Adam Khan LTCL Piotr Wiese BAMusicalEducation Pedagogy

Cambridge

Lancaster

Tatiana Boison MAKrakowMusicAcad Gavin Bowyer BMusHonsGSMD Rebecca Leyton MAOxon Alesha Racine

Stewart Ralph Hankinson BEd(Music) FSCO LGSMD LLCM Alex Phillips-Yates BAHonsLancaster Jessica Thornhill BMusHonsRWCMD

Cheltenham Charlotte Harrison BAHonsOxfordBrookes Rupert Uzzell BAHonsNotts Helen Wilson PGCE BMus (Hons)

Croydon Lynda Benn PGDipRSAMD

Devon & Cornwall Luke Bond BAHonsBristol Jenny Baker BMusHons(UCE) Jessica Tay BAHonsRWCMD

Eastbourne & Hastings Daniel Nisbet BMusHonsProfessional MusicPerformance Diana Tenn PPRNCM

Guildford Anne Bradley BMus(Hons)Surrey Allyson Hall BEd(Music) Claire Riches BMusHonsKings Nicola Said AdvCertGSMD Tim Clifford Hill BMus

Hereford & Worcester Tina Dakin PGCE BAHons MusicSport Kevin Dowson GRSM

Kent Anna Nicolaus Evans BALyricTheatre (Music/ Drama) Anna Lordon LGSM Phillip Shades BMusHonsRSAMD

Lea Valley Janice Bristow GRSM Emre Gokalp DipRAM MARAM Katherine Hainbach BAHonsLCM Elizabeth Harrison BMusTrinityLaban Lauren Reed BMusHonsHuddersfield Bryony Rees GGSMD

Leicester Louise Clarke BMusHons(RCM)

Liverpool Diane Barton Gemma Blackburn PGCE(music) James Bullock BMusHonsSheff James Gallagher BAHons Donatella Paiano PhDLiverpool Ryta Zmuro BAMusic(Education)

London – North Rano Djuraeva MA(MusEd) Roehampton DipMusPf(Samarkand) Richard Frostick MA Juliane Gallant BMus Abigail Gostick BAHonsCantab George Jones BAHonsBristol Philip Miles BMusRNCM Claire Philpot ARCM GGSMD Siwan Rhys Mathieu Spaeter DEUGMusicology David Temple Phillipa Thomas

Mark Troop AGSM Scott Wilson BMusHonsGSMD Jurand Zygadlo MA(MusEd)

London – South East Zoe Ansah BAMusicTechnology (Kingston) Lucy Armstrong BAYork Emily Baker MMusGuildhall Aris Daryono PhDYork Francesca Fierro PGAD(TLC) Lachezar Ivanov BMusCityUniv Cheyney Kent BMusHonsKings David Laurence PGCE PerfCertRAM Emilie Levienaise-Farrouch Angus McPhee BMusHonsKings Nianda C Reid LTCL Richard Rowe DipRAM Kate Ryder MMus Leanne Singh-Levett BMusHonsVictoria(NZ) PGDipAdvRCM Valerie Welbanks MMusRAM

Manchester Jonathon Heyward MARAM Laurence Perkins GRNCM Sophie Simpson BA(Mus)HonsYork Nigel M Taylor BEd(Music)

Norfolk Robert Glover

North of England Rebecca Anderson BMusHonsSheff David Emerson BMusRoyalHolloway Simon Fidler MASheff Lynn Ion BMusHonsRSAMD PGCE(music) Sean McMenamin BAHonsNewcastle Rachel Moore BAHonsNewcastle Jenny Williams BAHons(Mus) PGCE(SecondaryMus)

Northern Ireland Ashley Fulton BMusHonsQUB Joanne Grant BMusHonsQUB Anne Harper Simmance MMusRSAMD BMusHons Andrew Thompson PGDip

London – South West

Nottingham

Francis Bevan BMusKingston Samantha Harper BACommericalMusic Thomas Law MMusGuildhall Caroline Newton LTCL MAMusTherapy

Rebecca Pope BMusHonsRNCM Heather Ratcliffe Tom Williams

London – West Shiloh Coke BAActorMusicianship Maryna Madden BAMusHons Rachel Marchant LRAM GRSM Alessandro Puddu BAJazzCagliari Elli Tsampa BMusAthens MARAM

Oxford Jessica Bullen BMusRCM Victoria Edwards BMusHonsRCM Susannah Ingram DipABRSM Suzanne Joyce FTCL LTCL Sally Mears LRAM MAOxon PGCE

Portsmouth Bernadette Bishop BMusHonsBirm

27

ISM MUSIC JOURNAL MAY/JUNE 2017

Reading

St Albans

Lea Valley

Northern Ireland

Alexander Clarke MMusRoyalHolloway Elizabeth Drew AGSM Victoria Henshall BAHonsNott Laurence McNaughton MMusSoton

Nicholas Allen BMusHonsGSMD Anita Fenoughty BEd(Music) Nazan Fikret BMusHonsGSMD Alice Gribbin MAOxon Georgina Murphy BMusHonsGSMD Rachel O’Mahony BMusRoyalHolloway Natasha Smith BASongwriting Frederick Tong MMus PGDip BMus

Louise Lloyd

Rachel McClelland

Liverpool

Nottingham

Bruce Darlington Ann Grindley

Jessica Boswell

Scotland – North East Eilidh Fraser BMus Joe Hibbs BMusAberdeen

Scotland – South East Peter Sparkes BAHons

Scotland – South West Ailish Oldfield BMusHonsRCS Ulrike Wutscher MAVocalPedagogy BAVocalPedagogy

Sheffield Emily Atkinson David Childs BAHons(OU) Sally Cocksedge MAOxon Marie Dowd BMusHonsHuddersfield Chris Hawkins BAHonsEducation StudiesMusic

South Wales James Bingham BMusHonsSheff MARWCMD Carol Williams BMusCardiff

Southampton Thomas Guyer BMusHonsManch Thomas Jesty FTCL Kate L Murelli BAHonsSoton DipABRSM Sapphire Quick MMusSoton Nicola Smith BAMaths&Music

Staffordshire Christina Thomson GRSM

Suffolk Simon Clark FLCM Calvin Goymer ALCM Samantha Jessop BAE.Anglia Rhiannon Llewellyn AdvDipRAM Tom Simpson BAHonsLeicester Xavier Winton BAHonsPopularMusicRNCM

Warwickshire & Northamptonshire Mark Smith DipRCM

Felicity Chilton Clare Elton Damilola Eniola Caoime Glavin Frederick Moore Graham Thorpe Dilyan Todorov Adriana Daza Uhia

London – South East Alex Western-King

London – South West Oliver Brignall Graham Bull Jessica Eccleston Hadrien Guez Luke Hamlin

London – West Ewan Zuckert Manchester Lara Harvey Rosalind Ridout

Portsmouth Nicolae Krinitsky Xenia Malteva Taisia Sandetcaia James Sutton Ion Tverdohleb

Kawai 01908 288 160 kawai.co.uk sales@kawai.co.uk Voice Workshop 07747 636 333 voiceworkshop.co.uk debbie@voiceworkshop.co.uk

Silver

Callum Maciver Tshedza Ndou

Orff Society UK orff.org.uk info@orff.org.uk Royal Albert Hall 020 7589 3203 royalalberthall.com Song Academy 07710 023743 songacademy.co.uk contact@songacademy.co.uk Royal Conservatoire of Scotland 0141 332 4101 rcs.ac.uk admissions@rcs.ac.uk

West Yorkshire

Bronze

Maria Insua Cao BMusHonsHuddersfield PPRNCM PGDipRNCM

Black Dress Code 07983 281244 blackdresscode.com info@blackdresscode.com

Sheffield Darryl Brown Georgios Vardakis

South Wales Emma Safia Cayeux

Suffolk Vincent Jewell

Warwickshire & Northamptonshire

Friends London – South West Marit Rokberg

St Albans Beverley Dawkins

Wiltshire Alta Ridgway PGCE UTLM BMusHonsPretoria

Student members Birmingham Balandino Di Donato George Howson Gareth James Richard James Alison Scott Dominic Seymour

Brighton Ryan Green

Cambridge Liam Harman Patrick Olsen

Croydon Jocelyn Coates

Guildford Olivia Barr

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London – North

Corporate members Platinum

e Letters after your nam

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

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

ISM MUSIC JOURNAL MAY/JUNE 2017

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

On 15–18 February, students on the BA Acting course had presented their staging of Carol Ann Duffy’s modern take on the Everyman myth.

Above: Ben Goldscheider, brass finalist in the BBC Young Musician competition 2016, is the soloist in Mozart’s Fourth Horn Concerto at the Royal Albert Hall on 7 May (see Concerts from Scratch/The Really Big Chorus).

Photo: Frank Jerke

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: For Mozart enthusiasts, his Requiem opens our 2017 Royal Albert Hall season on 7 May directed by Brian Kay. The programme includes the sparkling overture to The Marriage of Figaro, the popular Fourth Horn Concerto and Exsultate jubilate.

You can also join us to sing Gloria! at the Royal Albert Hall on 9 July. This is a rare opportunity to perform John Rutter’s setting of the Gloria text with full orchestra, plus the well-loved Vivaldi, and Sir Karl Jenkins’ version commissioned and premiered by TRBC in 2010.

The Latvian city of Riga beckons on 5–8 October, where we sing in the 13th-century cathedral. Haydn’s Nelson Mass is our main work; Sir David Willcocks’s arrangement of Widor’s famous Toccata (written for The Really Big Chorus) also features,

and is probably receiving its Latvian premiere.

Our annual calendar is enclosed with this issue of MJ – make sure you’ve shaken it out of the wrapper!

Or visit trbc.co.uk.

London College of Music On 22 March LCM welcomed distinguished pianist Margaret Fingerhut for a poetic and masterly recital of Russian music and a masterclass where four of the School’s most talented pianists received the benefits of Margaret’s exceptionally sympathetic insight and musicianship.

On the same date the University of West London’s Streetwise Creative Industries Fair took place in Weston Hall on the Ealing campus. Students met employers from across the spectrum of the creative industries and gained top tips on successful first career steps beyond graduation.

Uniting music, acting and stagecraft, in a run of three matinées and three evening performances (29–31 March) LCM’s BMus and MMus Performance students presented Alice’s Adventures in Wonderland, with lyrics by Maggie Gottlieb and music by celebrated British composer Will Todd.

Commissioned originally by Holland Park Opera, the show was presented in a new production directed by Fiona Williams, with musical direction by William Allenby and a fine homegrown pit ensemble conducted by rising star John Andrews. LCM is proud to announce its new partnership with Investec Opera Holland Park, and is delighted that three LCM MMus Performance students have been offered places in Opera Holland Park’s chorus for its 2017 season.

Impulse Music Consultants Impulse Music Consultants have been working for musicians and their internet presence for over 20 years and we are constantly alert to shifts in emphasis and direction.

There is no doubt that we all have to be found on the internet and preferably by the simplest of name searches. With the right search engine optimization (SEO) that works most of the time, and for Impulse clients, it works every time. However, as a search moves to being more generic, say for example to cellist, or flute teacher, community musician or wedding harpist, then we are competing in a much broader field and even with good SEO, we can soon fall down the page-listings.

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 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 Kawai Leeds College of Music

Park Lane Group Rhinegold Publishing

Music Mark

The Royal Central School Of Speech & Drama

Oxford University Press

The Royal Philharmonic Society

Trinity Laban Conservatoire of Music and Dance

Luton Music Service

Victoria College Exams

Make Music Swindon

Voice Workshop

Paritor Ltd Portsmouth Music Hub

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

Do call us to find out more: 01760 441448 or visit impulse-music.co.uk

National Preparatory School Orchestras

The National Preparatory School Orchestras are looking forward to their annual summer courses at Wellington College, Berkshire, on 16–22 July 2017.

As a special service to ISM members, The two courses for instrumentalists Impulse is offering a presence on the between the ages of seven and Impulse People Wall. This is a listing 16 offer a full symphony orchestra with the bonuses of adding your news experience for both very young and and events, as they happen, promoted enthusiastic beginner musicians and, on the Impulse homepage, together on the Symphony Orchestra Course, with opportunities for promoting your more advanced instrumentalists who CDs and sheetmusic and featuring are keen to explore new and exciting videos you have of you in action. orchestral repertoire.

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National Preparatory School Orchestra

Wigmore Hall Trinity College London

Putting aside celebrity or notoriety (!), the solution to this is to be part of a collective environment, listed for example in the ISM online register.

As musicians, we can never have too many of these kinds of listings to increase our visibility and boost our networking, particularly as many stand-alone websites attract few visits.

Impulse Music Consultants J&A Beare

London College of Music

NMC Recordings

Drums for Schools

Again this year the Westminster Chamber Orchestra will come for a day both to work alongside the students and to give an informal concert.

Last year’s event proved to be one of the highlights of the week.

The final concert this year will not be taking place at Wellington College as the building of their new Arts Centre has now started, but at New Hall, Winchester College on 22 July at 3pm.

For further information and application forms please visit npso.co.uk

ISM MUSIC JOURNAL MAY/JUNE 2017

The Royal Welsh College of Music & Drama is delighted to announce the launch of a fully integrated international opera school, delivered in association with Welsh National Opera.

The opera school will provide a unique training environment across all disciplines of opera performance and production – from singers and instrumentalists to conductors, directors, repetiteurs, stage managers and designers.

The opera school draws together a number of existing strands of activity, led by the College’s inspirational staff, members of WNO and influential collaborators from the wider opera world.

In addition the new opera school will offer opportunities for emerging artists within WNO rehearsals and productions, and specialist training in repetiteurship for pianists. There

will be opportunities for trainee composers and conductors and the ability to tour small scale productions.

The opera school will also incorporate a new Masters programme for trainee opera directors.

Dalcroze UK Interest in music education through movement, better known as Dalcroze or Dalcroze Eurhythmics, continues to gain fans across the globe. Once again the Dalcroze Summer School will take place at Coventry University on 24–28 July, with an open day on Thursday 27 July. If you are an instrumental or classroom music teacher or performer it could well revolutionise the way you see music and perform it.

Each day will begin with a physical warm-up from dancer and choreographer Ruth Jones. Ruth will also be giving a workshop for primary and secondary school teachers on how to get youngsters and teenagers moving more creatively.

Classes in the three main branches of Dalcroze Eurhythmics that make up the method – rhythmics, ear-training and improvisation – will be given by senior international teachers Jacqueline Vann and Bethan Habron-James, and various workshops will explore different applications of Dalcroze. dalcroze.org.uk

n

Photo: Kirsten McTernan

Royal Welsh College of Music & Drama

© Jacqueline Van

Above: RWCMD’s recent production of Falstaff, conducted by WNO Conductor Laureate and RWCMD International Chair Carlo Rizzi, directed by RWCMD International Chair, Martin Constantine.

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2017

Right: Kent Music is celebrating its 70th summer school at Benenden School.

include Linda Hutchison (If in doubt, breathe out) Marcia Carr (Feldenkreis) Emma Winscombe, Juliana Janes Yaffé This summer sees Kent Music celebrating its 70th summer school at and Ian Anderson Gray. It will be a great opportunity to meet up with Benenden School, near Cranbrook in colleagues and make new connections Kent. When the summer school was during three days of interactive started by Kent Rural Music School in 1948, it was aimed at adults only. There sessions designed to stimulate new ideas and suggest new techniques for are now 10 courses over three weeks your teaching practice. in July, catering for over 350 young people aged from eight to 19 years.

The renowned Mary King will be The ever-popular symphony orchestra, coming to Guildford on 14 May to jazz, singing, string and wind band give a masterclass and workshop courses have been joined by recent – Perfect and Perform and Bryan additions in songwriting, musical Husband will lead a day on Musical theatre and rock band. High quality Theatre Technique for Singers at the music is at the heart of every course, Birmingham Conservatoire on 21 May. but it is also about creating friendships that on many occasions will last a All events are open to non-members. lifetime. Students return year after Go to aotos.org.uk for further details year with some returning later in life and to book. as supervisors or tutors – one such has been coming for over 50 years!

Voice Workshop

Kent Music

Places on the summer school are subsidised and continue to be supported by funds from Kent County Council, as well as bursaries being available. For more details, contact kmss@kent-music.com or visit kentmusic.com/summer-school.

Association of Teachers of Singing Nicola-Jane Kemp writes: We are delighted to announce Action and interaction! – our residential Summer Conference 2017 takes place at Wills Hall, Bristol University on 21–23 July.

Our keynote speaker is Gillyanne Kayes (Vocal Process) but others

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Voice Workshop is immensely proud of the talented students who have undertaken the Postgraduate Certificate run in conjunction with Cardiff Metropolitan University.

Under the guidance of Dr Jenevora Williams, students were exposed to vocal pedagogical theory which they then built upon and translated into independent research. The expertise of Dr Peter Treadwell and mentor Deborah Winter enabled 17 students to create a range of innovative research projects.

Kate Cubely (formerly Thomson) was shortlisted for the BVA Van Lawrence Prize. She impressed the audience with her work on posture which

successfully closed the gap between theory and practice. Dan Miller and Carrie Birmingham also delivered their engaging research at the Singing Strategy Symposium hosted by Music Education Solutions Ltd. Dan explored the practicing habits of students and the use of multi-media while Carrie examined the use of the wobble board to facilitate alignment when belting. Kate Thompson presented her innovative folk pedagogy strategy to Sheffield Music Hub. All students produced work of an extremely high standard and Voice Workshop look forward to their progression onto the MA. voiceworkshop.co.uk

Stainer & Bell Publishers Stainer & Bell Ltd invite fellow ISM members to an ‘Open House’ at their north London premises on Saturday 17 June between 2.30pm and 5pm. Besides food and drink, there will be entertainment using the various instruments housed in the building. Their address is Victoria House, 23 Gruneisen Road, London, N3 1DZ (SatNav N3 1LS).

Members wishing to attend should email richard@stainer.co.uk or telephone 020 8343 3303 as soon as possible to ensure that they are welcomed, fed and watered.

Steinberg Media Technologies GmbH Steinberg has released the much anticipated Cubase 9. Cubase Pro 9 is the top end version, Cubase Artist 9 is the intermediate program in terms of features and price point, whilst Cubase Elements 9 is ideal for getting started.

Top new features in Cubase 9 include the Sampler Track, the new Frequency EQ and the improved Workflow and Layout. Using the Sampler Track you can use any piece of audio or sound to create a sample that can then be played on all the notes of a keyboard. You can also manipulate it with on-board filters and controls to experiment and invent a new sonic landscape. The Sampler Track also

ISM MUSIC JOURNAL MAY/JUNE 2017

Right: Linda Merrick Photo: Victoria Haydn

comes with ‘Caleidoscope’, which is a dedicated sample library with hundreds of samples and presets.

There are special educational prices for students and teachers, and then retail prices for anyone not involved in education. There are also extremely good discounted site licence prices available for new customers and those upgrading from earlier versions.

Please contact your music shop for all prices.

Guildhall School of Music & Drama The Guildhall School of Music & Drama together with social enterprise Cause4 has opened applications for the 201718 Guildhall Creative Entrepreneurs Scheme programme, a business incubator initiative, offering enterprise training, mentoring and funding support to aspiring entrepreneurs in the performing arts and creative industries. The scheme helps ambitious entrepreneurs jump-start their business idea or grow an existing start-up/enterprise and create a sustainable business.

The 5th international Reflective Conservatoire Conference, Artists as Citizens, brings together leaders to address the key issues in higher education within music and drama in London at the Guildhall School and Barbican Centre on 20-23 February 2018. It will consider how artists, arts organisations, and specialist higher education, can and are already engaging with artistic citizenship within contemporary societies.

To submit a proposal, please visit gsmd.ac.uk/rcc. Deadline is 24 May.

Royal Northern College of Music Professor Linda Merrick, RNCM Principal, has been announced as the next Chair of Conservatoires UK.

Succeeding Hilary Boulding, who stepped down in March, Professor Merrick is a leading figure in conservatoire education, both in the UK and internationally. She joined the RNCM as Director of Performance Studies in 2001, becoming its VicePrincipal in 2006, Acting Principal in 2012, and Principal in January 2013.

For more information visit gsmd.ac.uk/ In addition to maintaining a career as creativeentrepreneurs. a professional clarinettist, Professor

Merrick is a member of numerous specialist bodies within the arts and higher education sectors, and is a Fellow of the Higher Education Academy and the Royal Society of Arts.

With a membership comprising 11 conservatoires delivering specialist education in music, drama and/ or dance, CUK is an influential voice speaking to government, policy makers and opinion formers, nationally and internationally.

Right: Guildhall Creative Entrepreneurs graduate business workshOPERA.

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ISM MUSIC JOURNAL MAY/JUNE 2017

LOCAL EVENT LISTINGS Full listings can be found on our website: ism.org Monday 8 May

Sunday 21 May

North London Café Rouge

Lea Valley Adult Pupils’ Musical Afternoon

7.30pm, 6-7 South Grove, Highgate, N6 6BP We are hosting an informal gathering to enable members to meet each other. You are very welcome to come for a meal, or just for a drink. Please let us know if you are able to join us.

Contact: Claire Kitchin, 020 7272 3903, claire_crescendo@hotmail.com

2.30pm, Broxbourne This will be for beginner pupils and onwards, so all can enjoy playing on a different piano in a cosy atmosphere with no pressure.

Please bring £3 a head towards strawberry tea refreshments and RSVP to Carolyn by Friday 19 May. Contact: Carolyn Richards, ismleavalley@ntlworld.com

We are currently looking for members to act as ISM Representatives for the Croydon, Bristol and South West London local groups: 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.

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.

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.

Classified advertising

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

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.

NEW EARLY KEYBOARD INSTRUMENTS for sale.

Visit www.harpgear.net for details.

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

DOUBLE BASS PAESOLD concert model 590.

Excellent condition cost £3k plus in 1997, £995 ONO. 01747 828552

MUSIC ARRANGING AND COPYING SERVICE. Bespoke arrangements and professional typesetting service.

MUSIC COPYING SERVICE. Contact Melanie Thorne: Quality printed music 01848 200117; email: produced at reasonable info@sempremusic.co.uk; prices. For further details www.sempremusic.co.uk. contact David Turner, computer based music PROOF READING: copyist, at 23 Overbrook, Dissertations, essays Hythe, Southampton etc. Musical subjects a SO45 5BE, Tel: 02380 specialty. Contact 020 848146, email: dfturner@ 8288 1380 or mjregan47@ waitrose.com mail.com

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FRENCH HORNS, Several from £150. 01747 828552 VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel: 07974 412269.

STUDENT CELLOS, mostly German, various sizes, from £100. Tel. 07974 412269

BASSOONS several. 07974 412269 PERFORMANCE NERVES? Anxiety? Call SPINNET WITTMAYER Rosemary Wiseman Tel. (German) 4 octaves, C-D, 020 8958 8083 www. light walnut. VGC needs rosemarywiseman.com tuning, hence £495 for a quick sale. Tel 07974 VIOLA 16” /40.25cms.

412269 Colin Irving 1986. £10,000 ono. Telephone 07798 COR ANGLAIS: 906393 B&H. Blackwood, Conservatoire, Low E, MUSIC TYPESETTING: Serviced. £1095 ONO. Competitive rates. Contact 07974 412269 Michael on 020 8288 1380 or mjregan47@mail.com for details.

STEINWAY MODEL O. MAHOGANY. Built 1990.

2 careful owners. An especially beautiful instrument and in excellent condition.

Reason for sale, arthritic thumbs. Complete service

by Hamburg trained Steinway Technician 2015. £37,400 ONO. For more details/enquiries email jennyquick@gmail.com MUSIC IN THE SUN, Residential courses in SW France for teachers or their pupils. Also available for private hire. More info www.soletude.org

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 MAY/JUNE 2017

Ask me a question Jean Anderson Performer (pianist) and teacher

competitions. I had one student in particular, William Stephenson, who made me known and who won most of the competitions and later performed in many concerts. It was a wonderful time in my life.

During my career, I formed a trio with my son – the renowned oboist Gordon Hunt – and the celebrated horn player Ifor James (with whom I appeared in England and Germany). The trio’s first performance was a Wigmore Hall recital. I also formed a trio with w Lesley Garrett, the lovely soprano, and Gordon and we performed in The Purcell G Room at the Southbank and in the Wigmore R Hall.

H I also performed with the renowned Australian violinist, Beryl Kimber, in concerts A all a over England for the Arts Council of Great Britain.

Nowadays, I teach 20-25 students a B week from all over the country. I teach less w than I used to, but I am still quite busy for a t 94-year-old!

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

TTell ll us a little littl about b t yourself. lf I was born in New Zealand, the youngest of four gifted children. My mother was a concert pianist, and my father adored music.

I won a three-year scholarship to the Royal Academy of Music – that was extended twice, and I spent five years studying with Frederic Jackson, a difficult man to please but a wonderful teacher.

I was not able to take up my scholarship at first because of the War. Only the troops were allowed to travel and, of course, it was by sea in those days. While I was waiting to take up my scholarship, I did a great deal of performing in New Zealand – solo and accompanying, in many concerts and broadcasts and also teaching at this early age.

I have examined for ABRSM for years, and was also a Professor of Piano at the Royal Academy of Music, both in the Junior Academy (from 1955–74) and Senior Academy (1974–88). I had some outstanding students who excelled in their exams and

36

My M teacher Frederic Jackson and two soloists: the American-Polish pianist Arthur s Rubinstein and the American pianist Richard R Goode.

I never missed hearing them play. I G find fi the two are everything I would ask for in i a real performer. You come to a passage in a piece of music that is terribly precious to you, and you are praying that they ‘don’t waste that moment’ as Vivian Langrish used to say, and you find that their interpretation is always wonderful.

There was a recital of Rubinstein’s and, after the concert, I went, with a group of friends, round the back of the venue. He appeared and called out, ‘Thank you for being such a wonderful audience, I love you all!’ I had never thought of doing any such thing before but suddenly I was off the pavement over to him and saying, ‘And we love you!’

Most importantly, I was supported and influenced by my husband, Frank Hunt.

My marriage, quite simply, was made in heaven!

What would you say is your greatest achievement to date?

Undoubtedly, the Award of a British Empire medal (BEM) in the New Year’s Honours List 2017 ranks high, and I feel very honoured and grateful. I received it with the utmost

joy, surprise and disbelief. It was done in strict confidence by one of my students, Rishma Shah. I cannot believe it and still can’t.

Also looking back, another moment was when I heard I’d won a scholarship to RAM – an answer to my early dreams.

Thereafter, when my career started flourishing with performances in England, Germany, Thailand, and also in New Zealand and Australia where I gave recitals and masterclasses, I felt great happiness and a great feeling of fulfilment.

Finally, I must thank the past students that I have taught for their great loyalty and affection. Some, whom I taught when they were ten years old and are now sixty or seventy and even eighty years old, still find the time to write letters and travel distances to come and see me. Some of them now perform all over the world. I don’t think they realise just how much this means to me.

Thank you from the bottom of my heart.

Who is your all-time favourite artist and why?

Apart from Frederic Jackson, Arthur Rubinstein and Richard Goode, I was also very fond of the wonderful Australian violinist Beryl Kimber, definitely the best violinist the Royal Academy of Music had at the time. She paid tribute to me and my family in her biography.

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

A CD of Liszt and Fauré was given to me by Peter Uppard, who recently passed away.

We had a very special friendship for many years.

What are your plans for the future?

To keep going; to keep teaching and performing, and practicing (it is very dishonest not to!) and living every moment of every day. I still have lots of enthusiasm and energy. I am very blessed.

Finally, what is your ISM membership to you?

I have been an ISM member since 1971 (I am a Fellow of the ISM), and I have always found it very supportive.

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