ISM Music Journal - November/December 2016

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November/December 2016 Running a concert venue: what does it take? The importance of a strong music education – Coloma Convent Girls’ School ISM Composers’ Survey 2016: the results

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Welcome

Above: Deborah Annetts Photo: Mark Thompson

After such a long summer, I am struggling to believe that we are already in November just a few weeks away from some of the most significant festivities of the year. Whether you celebrate Christmas, Hanukkah or Diwali, October, November and December is a time of reflection. For musicians it’s a time of intense work and activity as the orchestral season gets fully underway and pantos line up across the land to thrill young audiences everywhere. And of course, music teachers, whether in schools or in music education hubs, are hard at work inspiring youngsters as they put on concerts and musical festivals. And with that in mind, this festive edition of Music Journal has an inside look at the fantastic music education offered at Coloma Convent Girls’ School. I was lucky enough to spend a day with their music department back in the summer and saw them in action. The extraordinarily high standard of musicianship was really inspiring. Read more on pages 8-11. Many ISM members will be performing in some of our most prestigious concert venues. We are lucky enough to have interviews with the CEO of Bridgewater Hall, the Managing Director of Sage Gateshead and the CEO of Birmingham Performances Ltd and they gave Francesca Treadaway, our Communications Manager, a real insight into what it takes to run these highly complex concert venues in a challenging economic climate. Lastly, I am able to bring you the results of the Composers’ Survey for 2016. Many thanks to all of you who took part in the survey which looked at a range of issues affecting composers in the UK. There are a number of recommendations that come out of the questionnaire. We will be speaking to both PRS and the BBC to take these recommendations forward. Certainly with diversity being at the heart of so many policy announcements from the new government and a key part of the policy work of the nations’ Arts Councils, it is important that the music world fully embraces diversity in all its forms. We were particularly struck by what appears to be a lack of transparency in the BBC’s process in commissioning new works other than the embedded scheme they run with Sound and Music. It is vital that the BBC embraces these recommendations so that all composers can feel that a proper process has been followed when it comes to commissioning new work. There were also recommendations for the ISM and we will be following these up in 2017. So, thanks again for all your valuable contributions.

Front Cover Bridgewater Hall See feature on pages 12-14 Photo: Ben Blackall Inset images: Coloma Convent Girls’ School pupils See feature on pages 8-11

In amongst all of these developments, endless discussions around how the UK should leave the European Union continue. We want to hear your views on the priorities for the profession and you can find out how to contribute to the ISM’s work by reading News & campaigns on page 2. I would like to wish you all season’s greetings and if you manage to get a break over the festive period, do enjoy it in front of the fire while reading Music Journal.

Contents 2 4 7

News & campaigns Business support Professional development

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The importance of a strong music education Running a concert venue: what does it take? ISM Composers’ Survey 2016: the results

12 16 21 27 31 31 32

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

Volume 83 / Number 4 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Deer Park Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 December for January/ February issue Price: £6 per copy Subscription: £30 per year Circulation: 7,250 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

deborah@ism.org

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

News & campaigns ‘Orchestra’ tax relief comes into effect The Government’s orchestral tax relief has been implemented after the 2016 Finance Act passed through Parliament and was given Royal Assent on 19 September.

Henry Vann, Head of External Affairs, ISM

The relief was first proposed following lobbying by the Association of British Orchestras (ABO) and supported by the ISM and others across the music sector.

EU Referendum update We want your views! The UK voted to leave the European Union on 23 June 2016. Since then, whilst we have not formally implemented the measures required to leave the EU, the Government has set up a ‘Department for Exiting the European Union’ with David Davis MP as its Secretary of State.

In October we conducted a survey of members The good news is that the Government listened to lobbying by the ISM, reducing the minimum ensemble covering a range of issues including: size eligible for tax relief from 14 to 12 musicians, • Funding and direct benefits including the and only requiring a minimum of one orchestral European Union Youth Orchestra (EUYO), European instrument to be included rather than four, allowing Union Baroque Orchestra (EUBO) and the impact larger string groups, and wind and brass bands on orchestral tax break rules. to be covered. • Movement for professional musicians, including Deborah Annetts, Chief Executive of the ISM has tax and visa rules, touring, instruments on planes welcomed the implementation but added: ‘We hope and selling goods (postage and hire costs of in due course the relief will be expanded to include music). choral groups, smaller acoustic ensembles and the • Education including student intake and research production of new music.’ funding across conservatoires and university music departments.

Alternative Baccalaureate announced The Former Conservative Education Secretary Lord (Ken) Baker launched an alternative to the English Baccalaureate (EBacc) on 28 September.

• Copyright regulations including the regulation of collecting societies, the Digital Single Market and protection of copyright in a Government more vulnerable to lobbying from Google and Facebook etc.

• Employment law protections and which EU His New Baccalaureate report explicitly criticised the regulations you would like to see protected omission of music and other creative subjects from the if we leave the EU. EBacc and called for a new Baccalaureate to be created However, we are keen to continue to receive views which recognised technical and creative subjects. about these, and other issues, that may be affecting professional musicians. The Government’s consultation on the EBacc closed on 29 January 2016 but the Government has yet to respond. We are asking members of the ISM to write to their local MPs to encourage them to ask the DfE to abandon its plans for the EBacc. The Bacc for the Future website (baccforthefuture.com) has a template letter to help you do this and you can share any replies you get by emailing them to baccforthefuture@ism.org.

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You can read more about the implications of Brexit at ism.org/Brexit and the article on page 4 of this MJ. If you have any information you think the ISM should be aware of, please email us at brexit@ism.org.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

ISM Discount+ Giving you access to a huge range of new discounts including Sainsbury’s, M&S, Apple and Boots September 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.

PPL Annual Performer Meeting confirmed for November The Annual Performer Meeting (APM) of the collecting society PPL will take place at 3pm on Thursday 24 November at the Rich Mix cinema, 35–47 Bethnal Green Road, London E1 6LA.

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time it takes to create content, as well as how long it takes to consume the content. As an ISM member, you can help to tell the story of the importance of time by telling your own story of how long it has taken to craft your skills as a musician. To tell your story, all you have to do is: Left: Carrie Hope Fletcher supports #GetItRight

PPL collects royalties for record labels and distributes payments to performers, and their Performer Board – elected at this meeting – decides how the performer element of these royalties is determined. Members of PPL should register beforehand and in order to vote must have received payment from PPL for the last two years. For further information, contact apm@ppluk.com or derin.adebiyi@ism.org.

The ISM is supporting Get it Right from a Genuine Site The ISM is supporting Get it Right from a Genuine Site (Get it Right), a campaign encouraging consumers to make the right choice about purchasing creative content including music, film, books, games, sport and art online. As well as the ISM, the campaign is supported by organisations from across the creative industries, the four major internet service providers (BT, Sky, Virgin and TalkTalk) and the Government.

1. Calculate l how h much h time you spend d (or ( spent) on your creative passion as a creator or artist 2. Write that amount of time on a piece of paper – and add ‘Support genuine sites. #GetItRight’ 3. Take a photo of yourself holding the paper and share it on Twitter and Instagram using #GetItRight You can see examples of this at twitter.com/getitright

The current phase of the Get it Right campaign is called Henry Vann, Head of External Affairs, ISM ‘Time’. Its aim is to remind consumers of the amount of 020 7313 9327, henry.vann@ism.org

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Business support Brexit

This matters, because a significant employment law in the UK relevant to ISM members comes originally from Europe, including regulations governing working The UK Government has now disclosed its intentions time and the right to paid holiday, rights of part-time in relation to the exit of the UK from the European and atypical workers, family-friendly policies and also Union (EU), following the referendum result in June collective issues such as provisions for redundancies, which saw a majority vote in favour of leaving. Prime Minister Theresa May announced at the start of and certain protections in the event of a transfer from October that she would trigger Article 50 – the clause in your current employer to a new one. the Lisbon Treaty which defines the process by which a Brexit Secretary David Davis gave a clear undertaking at the Conservative Party conference in Birmingham member state leaves the EU – in March 2017. that employment rights would not be eroded as a This will signal the start of the two-year exit process, consequence of the Government’s Brexit plans. under which it is envisaged the UK will leave the European Union during the course of 2019. At this stage little more is known about what will happen, and whether the UK will be successful in negotiating a satisfactory position as regards its future relationship with the EU. The Government itself appears not to have a shared view of an optimal relationship, which makes the period between now and March 2017 important: the UK will need to have its position lined up before it starts negotiations with Brussels next year. What we do know is that the Government is contemplating legislation which will achieve two things at the point of British exit: an act to repeal the 1972 European Communities Act (which created among other things the means to bind the UK to European law), and legislation to enshrine all law currently on the UK statute books as a result of European law directly into UK law. The Government can then choose to repeal any legislation which originated under European law – obviously without the risk of being in breach of a European Directive or Regulation as these will no longer apply.

This is all intended to take effect on the day Britain finally leaves the EU in 2019, at the end of the two-year period envisaged by Article 50. What form of relationship the UK will have with the EU, and the consequent impact on the free movement of people, goods, services and capital the UK currently enjoys, remains to be seen: this will be the subject of negotiations between the UK and Europe. At this stage it is too soon to say what the impact will be on your ISM services and benefits such as public and product liability insurance and legal expenses insurance. For the time being Brexit has not yet happened so all the rights and ISM benefits you currently enjoy remain unchanged. We will continue to update members on developments and their implications as they happen. We also want to know what matters to you. So we have undertaken a survey and will share our findings as soon as we have analysed the results. ism.org/Brexit

The reported aim, according to statements by the Prime Minister, was to deliver some certainty to business, but also to signal a concern for the protection of workers’ rights.

Continued overleaf È

Make Music Work with our free advice packs To follow on from our popular Make Music Work event last year, we have published a series of free advice packs to help you build up a successful and sustainable career. All of the packs are supported by the ISM Trust and can be downloaded for free from the Members’ Area of our website or ism.org/professional-development/advice-packs.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Enhancements to your public liability insurance cover Your new public liability insurance certificate, covering the 12 months to 30 September 2017, is now downloadable from our website. This year we have negotiated two additional elements of cover. Firstly, the policy has been extended to cover damage to property owned by a third party which is held in your custody or control for the purposes of your music work. This means, for instance, that if you borrow an instrument our PLI now covers you for damage to it. Secondly, cover has been extended to members’ small limited companies and formal partnerships. Our cover now extends to limited companies where there are no more than two directors and employees and either (i) each of these is an ISM member or (ii) one is an ISM member and the other is a family member engaged in clerical duties only. It also covers formal partnerships where two ISM members are the sole partners. ism.org/advice/public-employers-liability-insurance John Robinson, Head of Service Delivery & Systems, ISM

What are music teachers charging? – take part in our fees survey The questionnaire for our 2016 survey of teaching and accompanying rates 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 musicians have been charging. So please help us to help you by completing the questionnaire. The questionnaire should take no more than ten minutes to complete. You can access the questionnaire at surveymonkey.co.uk/r/ISM-fess2016/ The password is fees2016. If you have difficulties completing the questionnaire online, please contact us on 020 7221 3499. The deadline for you to complete the questionnaire is 30 November. We will publish the survey results early in the New Year.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

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

Orchestra Tax Relief – it’s not just about orchestras Tuesday 29 November, 1-2pm Do you know that a new tax relief is available for orchestral productions from 1 April 2016? Did you know that you don’t necessarily have to be a 30-plus ensemble to qualify? Are you part of a larger string group, or wind or brass band that could also benefit from the tax relief? Register for our free webinar given by the HMRC experts who designed the relief at bit.ly/OrchestraTaxRelief to find out more.

Harriet will explain composers’ rights, why they matter, and how PRS for Music licenses the use of its members’ musical works to generate and distribute royalties. Harriet will also explain how you can join PRS for Music if you’re not already a member. There will be an opportunity to ask questions, so register now at bit.ly/RoyaltiesForComposers

Assessment in Key Stage 3 music A Music Excellence London webinar delivered by the ISM Trust Wednesday 11 January, 4.30-5.30pm In a world without National Curriculum levels, the challenge is for music teachers to devise meaningful and valid strategies for assessment. Ofsted advise us that these should not simply be a rehash of the levels system. In this webinar, Jane Werry, Head of Music at Hayes School offers some ideas for how this could be done. Register for this free webinar at bit.ly/ AssessmentKS3

Royalties for composers: PRS for Music and you Thursday 15 December, 1-2pm Are you a composer? Are you interested in copyright and royalties, but wondering how to make sense of it all? If so, this free webinar is for you. We cover some copyright basics and take a close look at PRS for Music, with guest presenter Harriet Wybor, Classical Account Manager at PRS for Music.

Music Excellence London is a professional development network for London’s Key Stage 3 music teachers. It is funded by the London Schools Excellence Legacy Fund, supported by the Mayor of London, and is a partnership between Sound Connections, Trinity Laban Conservatoire of Music and Dance, Music Mark, University of Greenwich, and Barbican Guildhall. Find out more at musicexcellence.org.uk

Be instrumental in supporting the musicians in your life – give them the gift of ISM membership. © iSto ckphoto /Cinob y

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 degree-level 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. ria.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

The importance of a strong music education ‘Music is not simply important, it is vital for the education of every child’, says Hilary Meyer, Assistant Headteacher and leader of the esteemed music, music technology, drama and performing arts department at Coloma Convent Girls' School. Read about upcoming activities in the department and her thoughts on how music beneďŹ ts her students.

Music is not simply important, it is vital for the education of every child. The ability to hear and produce sound is natural to all human beings and the development of the creativity bound within that is fundamental to education. All cultures have their own music. EVERY child should have access to ALL kinds of music ALL the way through their formal education and beyond. At Coloma Convent Girls’ School we believe that D JRRG PXVLF HGXFDWLRQ EHQHÀWV WKH GHYHORSPHQW of each girl and it is well supported by Coloma’s 7UXVWHHV *RYHUQRUV VWDͿ DQG SDUHQWV DV ZHOO DV our students.

The beneďŹ ts of a strong music education 7KH EHQHĂ€WV WR WKH SXSLOV RI D VWURQJ PXVLF education are well-documented. There is much research which says that children gain in FRQĂ€GHQFH WKURXJK SDUWLFLSDWLRQ LQ PXVLF 0XVLF improves their concentration and their ability to problem-solve which in turn leads to greater examination success throughout the curriculum. Participation in an ensemble of any kind enhances team-building and collaborative skills, skills QHHGHG ZHOO EH\RQG WKH FRQĂ€QHV RI VFKRRO

Left: Year 7 pupils at Coloma Convent Girls’ School

Performance skills are certainly transferable – LPDJLQH WKDW Ă€UVW LQWHUYLHZ IRU D MRE RU IRU KLJKHU education – how much better is that child going to be, having stood in front of an audience and understood the fear, but also the excitement, of ‘presenting’ him or herself to others. The production of musical sound adds an extra layer of concentration and technique to do it and especially to do it well.

All the girls at Coloma who take part in musical DFWLYLWLHV EHQHĂ€W IURP PDNLQJ IULHQGV DFURVV DOO year groups. In the collective enterprise of singing a song, for example, barriers are removed and they MRLQ WRJHWKHU IRU D FRPPRQ JRDO , KHDUG +RZDUG *RRGDOO VD\ WKDW LQ D IRRWEDOO WHDP LW LV MXVW RQH person who scores a goal. In a choir a collective goal is scored in trying to sound as if there is only one voice. That is hugely symbolic and extremely powerful. Apart from anything else music is known to release endorphins which in turn aid good mental and physical health and music has healing properties which aid us when we are sad. I will never forget at Coloma, when one of our choir died as a result of an undiagnosed heart complaint MXVW D ZHHN EHIRUH VKH ZDV GXH WR VWDUW KHU *&6(V The collective shock and grief was unimaginable. To sing at her funeral must have been one of the hardest things the girls ever had to do but it was as if it was all we could do. Music speaks where words fail. As a school where faith is central to everything, we believe there is life after death, but expressing that through music is powerful beyond words. The Coloma musical tradition stretches back to the foundation of the school in 1869 and the current department has had successes both within the curriculum and outside it. The school has only ever EHHQ MXGJHG LQ IXOO LQVSHFWLRQV DV 2XWVWDQGLQJ E\ 2IVWHG ZLWK WKH PXVLF GHSDUWPHQW EHLQJ DQ 2XWVWDQGLQJ GHSDUWPHQW ZLWKLQ WKDW There are many girls taking GCSE and A level Music but also Music Technology and Performing Arts. At KS3 all girls have music lessons and in years 7 and 8 they also have one dedicated singing lesson. In 2008 Coloma’s music department was Continued overleaf Ăˆ

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

:H SHUIRUPHG LQ WKH 5R\DO )HVWLYDO +DOO LQ El Nino by John Adams as ‘the children’s choir’ and sang ZLWK WKH /32 LQ WKH %ULJKW 6SDUNV *&6( FRQFHUW Next year we will be touring in the USA, performing at St Patrick’s Cathedral in New York among other exciting venues. It is not only in choral work that girls at Coloma KDYH VXFFHHGHG 7KHUH DUH MXVW XQGHU individual instrumental lessons at the school, lessons which range from harp, strings, brass, woodwind, percussion and guitar to singing. Girls can participate in a wide range of instrumental ensembles from Coloma Chamber 2UFKHVWUD WR WKH .LQJ 'UXPPHUV ² D ¶6WRPS· style group in which anything that can make a sound could, potentially, be hit.

Above: GCSE composition at Coloma Convent Girls’ School

featured in Going for Great ed. Macfarlane and Woods. This book was produced by the London Leadership Challenge and Coloma’s music department features as world class within it.

Outside the curriculum 2XWVLGH WKH FXUULFXOXP WKH VFKRRO KDV D UHSXWDWLRQ for excellence in choral work. There are over 500 girls (about half the school) who regularly participate in the main school choir. This means WKDW WKH )DLUÀHOG +DOOV LQ &UR\GRQ KDV EHHQ SDFNHG with Coloma community and wider audience every Christmas. The main choir divides into VHSDUDWH FKRUDO JURXSV ZKLFK IRFXV RQ GLÍ¿HUHQW material from gospel, blues and pop to Renaissance polyphony and complex contemporary pieces in a ridiculous amount of parts. The girls frequently participate in competitions. For example, the Juniors have been runnersup in the Songs of Praise Choir of the Year competition and this year the St Cecilia Singers were awarded Barnardo’s Senior Choir of the Year and consequently will be singing in the Barnardo’s <RXQJ 6XSSRUWHUV· &RQFHUW DW WKH 5R\DO $OEHUW +DOO on 28 November.

Although the girls regularly perform what might be considered ‘traditional’ music – Zadok the Priest with 500 at the Christmas Concert with imported tenors and basses – all styles of music are valued. Every year the girls hold a ‘Charities week’ in which they raise money for their chosen cause. They form their own bands and go on to perform throughout the academic year. There is an annual chamber music concert at St Paul’s Covent Garden where the Senior Strings may play the Bach Double Concerto, for example – not bad considering this is a comprehensive, nonselective state school with instrumentalists who are SURÀFLHQW HQRXJK WR SOD\ WKLV NLQG RI UHSHUWRLUH 7KHUH LV DOVR D MD]] HQVHPEOH DQG WKULYLQJ VHQLRU DQG MXQLRU EUDVV EDQGV The music department is a busy one and the ZRUNORDG LV H[WUHPH EXW WKH UHVXOWV DUH WHUULÀF ,W LV so rewarding to have concerts packed with young people keen to play and perform whether it be at %UDVV (YHQLQJ -D]] &DIp 6WULQJ 1LJKW RU D VRLUHH for the A level students preparing for their recitals.

Forthcoming special events Special events that are coming up soon would GHÀQLWHO\ LQFOXGH OHDGLQJ VLQJLQJ DW WKH 5R\DO $OEHUW +DOO LQ WKH 0DVVHG (QVHPEOH IRU WKH 6FKRROV Prom on 15 November.

This will be a performance of The Pearl E\ +RZDUG *RRGDOO LQ ZKLFK ZH ZLOO EH MRLQHG E\ VWXGHQWV from other schools and accompanied by Bromley Youth Music Trust. The Pearl was commissioned for The girls have performed in the National Festival of &RORPD·V WK DQQLYHUVDU\ E\ RXU +HDGWHDFKHU Music for Youth every year since 2008 and in Choir 0UV 0DXUHHQ 0DUWLQ DQG ÀUVW SHUIRUPHG E\ of the Year biennially. &RORPD DW WKH 5R\DO )HVWLYDO +DOO LQ ,W LV D The girls sing on tour in Europe. We have been hosted beautiful work with words taken from a poem by by St Mark’s in Venice, the Duomo in Florence, *HRUJH +HUEHUW D WK FHQWXU\ PHWDSK\VLFDO SRHW Cathedrals in Pisa, Siena, Barcelona and the Basilica DQG DOWKRXJK FRPSOH[ DW ÀUVW JODQFH FOHDUO\ VXPV of Saint Anthony in Padua amongst others. up the essence of the school. The fact that we may learn a great deal about our world but that our spiritual relationship with God is more important

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

than anything else is encapsulated in the school motto ‘Laborare est orare’. This will be a lively performance with Coloma’s newly formed dance academy providing movement, streamers and material to represent elements of the poem. The logistics are extraordinary but hopefully the result will be a fantastic partnership and produce a spectacular result.

The Seniors produce a musical after the exams in July. Last year Hairspray ZDV D WHUULĂ€F VXFFHVV The girls take the lead and this could simply not be performed without their independent input.

There is so much else that could have been written here; the incredible team in the department who work unfailingly for the good of the students, the OHDGHUVKLS RI WKH +HDG *RYHUQRUV DQG 6/7 ZLWKRXW whom none of this would happen, and support There will be two Christmas services this year of friends and family who come to concerts and kindly hosted by Westminster Roman Catholic SLFN XS WLUHG EXW KDSS\ RͿVSULQJ ZKR KDYH WR EH Cathedral and St George’s Roman Catholic Cathedral, Southwark. In the spring there will be an brought down to earth after experiencing some of ,QVWUXPHQWDO ([WUDYDJDQ]D LQ WKH VFKRRO LQ ZKLFK the above. we will showcase all our instrumental ensembles. I really feel Coloma is a very special place. The lived faith of the school is tremendous and music is an In March the Juniors will perform their annual musical. Last year our younger pupils were expression of how we can nurture all talents of all children all the time. involved in Alice in Wonderland. I think the team spirit is particularly evident in a show like this Hilary Meyer, Assistant Headteacher and leader of the with so many children to dress/paint/calm/ music, music technology, drama and performing arts RUJDQL]H WKDW WKH UROH PRGHOOLQJ RI WKLV PXVW VXUHO\ department, Coloma Convent Girls’ School help all those who want to consider any kind of event management. To see the work that takes place at Coloma visit ism.org/blog. coloma.croydon.sch.uk

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Running a concert venue: what does it take? The UK is home to some of the most prestigious concert venues, but what exactly does it take to create a success story? Managing audience expectation whilst dealing with funding cuts, leading a world-class venue has never been so challenging. The ISM’s Francesca Treadaway speaks to Andrew Bolt, Chief Executive of Bridgewater Hall, Abigail Pogson, Managing Director of Sage Gateshead and Nick Reed, Chief Executive OfďŹ cer of Birmingham Performances Ltd.

Âś<RX GRQ¡W MXVW RSHQ WKH GRRUV DQG WDNH WKH FDVK ¡ ODXJKV 1LFN 5HHG &KLHI ([HFXWLYH 2΀FHU RI Birmingham Performances Ltd who looks after %LUPLQJKDP¡V 7RZQ +DOO DQG 6\PSKRQ\ +DOO RWKHUZLVH NQRZQ DV 7+6+ YHQXHV 5XQQLQJ D YHQXH LV D FRPSOLFDWHG VFLHQFH 2U DV $QGUHZ %ROW &KLHI ([HFXWLYH RI %ULGJHZDWHU +DOO says, a challenge comprising ‘the coordination of the necessary requirements of a number of VLJQLĂ€FDQW FKDOOHQJHV¡ )URP WKH DUWLVW RQ VWDJH right through to the quality of the bar service at the interval, every component is considered. ‘The stage LV RQO\ RQH IDFWRU LQ SUHVHQWLQJ D Ă€QDO SURGXFW You have to think about the whole of the audience experience – the air conditioning, the seats, and if they were able to park their car easily’, Andrew says.

Balancing the programme to meet this expectation brings a fresh layer of challenge, Abigail Pogson, Managing Director of Sage Gateshead, explains. This is especially the case for Sage Gateshead, which Abigail tells me is essentially four separate businesses. ‘We have a contract chamber orchestra (Royal Northern Sinfonia); a music events and festival programme and a commercial conference and events business with anything from party conferences to weddings. We programme three spaces for music or conference events and 25 spaces for what is essentially a music school. (DFK RI WKRVH EXVLQHVVHV KDYH REMHFWLYHV ZKLFK DUH ERWK Ă€QDQFLDO DQG DUWLVWLF

Âś$OVR WKH IRXU EXVLQHVVHV ZRUN RQ D GLÍżHUHQW WLPH frame. For example, the orchestra will programme a full season then launch it, sell it and then work Managing expectation while being both culturally through it over a 12-month cycle, whereas our UHOHYDQW DQG Ă€QDQFLDOO\ UHVSRQVLEOH LQ ZKDW LV D music, events and festivals programme is operating changing market is also a challenge. ‘You must HQVXUH \RX DUH EHLQJ UHVSRQVLEOH WR PDMRU DXGLHQFHV a really wide range of timings. who have an expectation of a venue like this, ‘The challenge is really interesting.’ while maintaining your commitment to the likes So what is a typical day for a concert venue manager? RI WKH +DOOp %%& 3KLOKDUPRQLF 2UFKHVWUD DQG Unsurprisingly, with so much to consider, 0DQFKHVWHU &DPHUDWD PDMRU FOLHQWV RI %ULGJHZDWHU a ‘typical day’ is rare. ‘There isn’t such a thing as +DOO EXW DW WKH VDPH WLPH RQH KDV WR EH UHDOLVWLF a set rhythm’, says Abigail Pogson. and make sure there is a product for everybody ‘There is quite a strong focus in my role on external in the community in this venue. Especially in a growing city such as Manchester, cultural relevance relationships within the city and the region with partners and artists. I spend as much time out of PHDQV GLÍżHUHQW WKLQJV WR GLÍżHUHQW DXGLHQFHV ¡ the building as I do in the building.’

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

1LFN HFKRHV $ELJDLO ¶0\ MRE · KH VD\V ¶LV UHDOO\ mixing the managing of the artistic and the ÀQDQFLDO KHOP RI WKH RUJDQLVDWLRQ :H DUH D Â… P turnover business, and unlike the theatre where you might have a clear split between the Artistic Director and the Executive Director, in our sector those roles might be vested in one post. ‘My typical day might go from programming; planning ahead for the next season and reviewing DUWLVW RÍ¿HUV WKDW FRPH LQWR XV WR PHHWLQJ ZLWK EDUV and catering managers checking that our margin is where it should be. We must have that granular understanding that we are a business; and to DFKLHYH RXU DUWLVWLF REMHFWLYHV ZH VKRXOG EH RQ WKH top of our game in understanding every aspect of the venue, including margins and the bottom line, and driving the yield from each seat.’ Like all businesses, concert venues rely on income to keep delivering what they are good DW +RZHYHU ZLWK WKH FXWV LQ ORFDO DXWKRULW\ funding and Arts Council funding, venues are under pressure. And now with demands on their VHFRQGDU\ LQFRPH LQFOXGLQJ WKH SURÀWV PDGH on catering, car parking and more, venues are having to pull the purse strings even tighter.

Below: Thinking Digital at Sage Gateshead Photo: Thomas Jackson

0RVW RI 7+6+·V LQFRPH 1LFN WHOOV PH FRPHV WKURXJK WKH ER[ R΀FH XQOLNH RWKHU DUHDV RI WKH cultural system (for example, museums), with WKHLU ¶PDMRU XQHDUQHG LQFRPH· FRPLQJ IURP Birmingham City Council. The bricks and mortar RI 7RZQ +DOO DQG 6\PSKRQ\ +DOO DUH RZQHG E\ WKHP +RZHYHU WKHLU IXQGLQJ KDV JUDGXDOO\ IDOOHQ IURP Â… P LQ WR Â… P LQ

‘Aside from a modest grant that supports our -D]]OLQHV SURJUDPPH ZH GR QRW UHFHLYH DQ\ $UWV Council revenue funding. That cut in unearned income is felt doubly so. We do a lot of work with both individual and corporate donors, and trusts and foundations. We bring in a good amount of revenue that way, but a lot of that support is IRU YHU\ VSHFLÀF SURMHFWV LQ WHUPV RI OHDUQLQJ and participation and community activities. That funding is restricted and ring-fenced to deliver certain parts of the programme. No doubt it is a huge challenge.’ The biggest impact from cuts in funding on %ULGJHZDWHU +DOO $QGUHZ WHOOV PH LV RQ WKH FOLHQWV ZKR XVH %ULGJHZDWHU +DOO ¶%ULGJHZDWHU +DOO does not receive much in the way of funding. :H DUH PDLQO\ DÍ¿HFWHG E\ FXWV WR IXQGLQJ RQ clients which impacts their ability to use the venue. They would come to us in a number of ways and say they can do less concerts; they need a better deal; we renegotiate with them. The winds of change are upon us for various reasons – Brexit in particular. :H DUH H[WUHPHO\ LQWHUHVWHG LQ ZKDW WKH HÍ¿HFWV RI that will be.’ Abigail adds, ‘Cuts in other services, that you might say have absolutely nothing to do with the arts, have come into play. We have noticed that need and demand for what we do – in particular the learning and participation programmes, which range from a class that someone might buy tickets for through to music therapy or healthcare setting – has gone up because the services are less available than they used to be.

Below right: Sage Gateshead Photo: Mark Savage

Continued overleaf È

13

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

‘This has presented a challenge to us as we have to make sure we can maintain as much of our programme as possible.’

bar service – an experience. Artists and producers DUH H[SHFWLQJ WKDW YHQXHV ZLOO RͿHU PRUH WKDQ ZKDW is on the main stage for their product.’

+HDOWK DQG VDIHW\ LV DOVR D PDMRU IDFWRU LQ UXQQLQJ D You do not necessarily need to have studied a concert venue. I was interested in how funding cuts UHOHYDQW VXEMHFW WR ZRUN LQ WKLV ÀHOG , ÀQG RXW IURP KDG DÍ¿HFWHG WKLV DUHD RI YHQXH PDQDJHPHQW Nick Reed. $QGUHZ UHDVVXULQJO\ VD\V ¶, DOZD\V VD\ WR P\ VWDÍ¿ that there is no funding shortage when it comes to health and safety. It doesn’t matter what we are JRLQJ WKURXJK ÀQDQFLDOO\ LW UHPDLQV WKH KLJKHVW of priorities. We have committees that look after and identify our health and safety requirements; who report and assess our health and safety regularly, and review practice and process. Ensuring everyone who uses the venue can do so safely is our highest priority.’ Nick echoes this sentiment, adding ‘We work closely with the orchestras in terms of hearing protection and a safe environment for musicians to work in.’ So why become a concert venue manager – a role so hugely varied? ‘It is a hugely rewarding area of work’, says $QGUHZ ¶2QH WKLQJ , HQMR\ YHU\ PXFK DERXW WKH role is the marrying of numerous disciplines on stage to entertain audiences. You are faced with challenges of the audience experience that run past what happens on the main stage, as the stage is only RQH IDFWRU WR SUHVHQW D ÀQDO SURGXFW 7KH FKDOOHQJHV are interesting and diverse; a blend of what you have from a technical point of view, for example the audio, lighting, changes in technology and what the artist wants to incorporate in their performance, down to the audience member themselves. Patrons QRZ GRQ·W MXVW ZDQW WKH VKRZ WKH\ ZDQW GLQQHU

14

‘My way into this was – like a lot of music mad kids – I wanted to play in a band. I found out through WKLV WKDW , TXLWH HQMR\HG WKH EHKLQG WKH VFHQHV putting on gigs and promotion. Although I studied IRU D 3ROLWLFV GHJUHH , SXUVXHG WKLV HQMR\PHQW post-university.’ Abigail echoes this. ‘It is a varied skillset being a Chief Executive of a venue, and you can come to this role through more than one route. ¶7KH UROH LV KXJHO\ YDULHG DQG KXJHO\ IXOÀOOLQJ What motivates me is when you see people coming in for a class or an event, or an artist making new work that they are really pleased with ... when you see that happen we know that we have given the best context for that to happen. That is where it really ignites for me.’ Francesca Treadaway, Communications Manager, ISM bridgewater-hall.co.uk sagegateshead.com thsh.co.uk

Above left: The Wizard of Oz with live performance from the BBC Symphony Orchestra at Birmingham’s Symphony Hall Above: Jedward in concert at Birmingham’s Symphony Hall Photos: Jason Sheldon

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PIANOFORTE TUNERS’ ASSOCIATION

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

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

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

ISM Composers’ Survey 2016: the results Earlier this year, the ISM Composers’ Special Interest Group launched a survey that looked at a range of issues affecting composers in the UK. The ISM’s Henry Vann and Francesca Treadaway summarise the results.

The ISM Composers’ Special Interest Group launched a survey earlier this year looking at a UDQJH RI LVVXHV DͿHFWLQJ FRPSRVHUV LQ WKH 8. including matters around the BBC commissioning process, PRS for Music and what the ISM can do for composer members.

Question: Have you ever been commissioned by the BBC or had your music broadcast by the BBC? 52%

In particular, the survey looked at ways to respond to the BBC’s desire – in their own words – ‘to clarify the process for Radio 3’s commissioning of new music’ and look more broadly at ways in which the BBC could support new music beyond commissioning. It also considered the progress made at PRS for Music since the last ISM composers’ survey in 2012 and also looked at ways in which PRS for Music could further improve its work with contemporary writers of new music. Finally, building on the services the ISM provides to its professional composer members, and our well-received composers’ pack (including template contracts), self-publishing guide and professional development programme, the survey looked at what the ISM could do next for composers.

The BBC’s commissioning and broadcasting of new music The importance of the BBC as one of the biggest funders for new music was recognised and – when they get it right – their commitment to new PXVLF ZDV SUDLVHG +RZHYHU LW DSSHDUHG IURP WKH UHVSRQVHV WKDW FRPSRVHUV Ă€QG WKH %%&¡V commissioning process opaque and confusing. The BBC is seeking to address this challenge, and a series of positive recommendations derived from comments made in survey responses were put forward to help the BBC address this challenge.

16

33%

15%

Yes

No, but my work has been broadcast

No

2YHU KDOI RI WKH UHVSRQGHQWV UHSRUWHG WKDW WKH\ have never been commissioned or had their music broadcast by the BBC, with 89% of all survey respondents stating that they do not know how the BBC commissioning of new music works, or how the selection of new music to broadcast works. This is despite 48% of respondents having been commissioned or having had their work broadcast on the BBC. The other questions relating to the BBC were openended in order to encourage composers to suggest ZD\V IRUZDUG IRU WKH %%& •

DQ \RX QDPH DQ\ VSHFLĂ€F HYHQWV RU & opportunities which you think the BBC should be aware of?

•

Are there any other ways in which the BBC could improve its engagement with composers and assist you with your development as a composer?

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

•

Are there any other ways in which the BBC as a whole could expand its coverage of new music?

•

+ DYH \RX JRW DQ\ RWKHU VXJJHVWLRQV IRU the BBC?

From leaving the questions so deliberately open, ZH GLVFRYHUHG WKDW WKHUH DSSHDUV WR EH VLJQLĂ€FDQW variation in commissioning practice at the BBC. From further research, we learned that 24 of the 30 world, UK and London premieres at the BBC Proms this year were works by male composers, DQG MXVW six were works by female composers. Composers repeated their simple calls for more new music to be broadcast and also asked for more open calls for compositions to be put out by the BBC. If a high volume of works were submitted through this method, it would be possible to set up a voluntary reading group with the help of professional bodies to support the BBC.

Question: If the BBC is to expand the range of new music they are engaging with, which of the following alternative sources of new music would you consider to be priorities? 43%

45%

25%

50%

18%

35%

14%

• and regional • Local networks Festivals

• Competitions commissioners • Other of new music • Music Information Centres • Educational institutions • Other

6SHFLÀFDOO\ UHVSRQGHQWV FRQVLGHUHG ZKHUH WKH SULRULWLHV OD\ IRU ZKHUH WKH %%& FRXOG ÀQG new music.

Recommendations for the BBC 2YHUDOO XVLQJ WKH UHVXOWV DQG FRPPHQWV IURP WKH survey, the following recommendations were put IRUZDUG WR WKH %%& 1. The BBC should follow the example of Sound and Music (Because It’s 2016) and collect and publish diversity data on commissioning and broadcasting of new music. 2. Geographical diversity should be taken into account within diversity considerations to ensure that regions outside London are not omitted. 3. The BBC should investigate the possibility of creating a single point of contact for composers, writers and creators of new music to ensure open access. 4. 2SHQ FDOOV IRU VFRUHV VKRXOG EH KHOG ² SHUKDSV DORQJ D WKHPH EXW QRW QHFHVVDULO\ MXVW ZLWKLQ BBC performing groups – to enable a wider range of composers to engage with the BBC. Any scores submitted should where practical be anonymised prior to presentation before those selecting to minimise the risk of unconscious bias within selections. 5. To help address some of these problems, the BBC should look to work with existing ensembles, festivals, networks and venues which promote new music to expand its reach. 6. Broadcast more new music, particularly through local and regional radio networks, at varied times within the schedule (not overly reliant on Hear & Now for the presentation of new music). 7. Investigate ways in which archived recordings can be made available for sale by individual composers, building on existing best practice (for example the AIM/BBC agreement).

‘ Commissioning for broadcast or Proms has a reputation for being a “who you know� kind of thing with too much emphasis on London!’ – Composer

Continued overleaf Ăˆ

17

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

PRS for Music PRS for Music’s work with contemporary composers and writers of new music has improved substantially since the appointment of a dedicated Classical Account Manager, and the survey revealed that any problems were the result of a lack of information being shared with composers. It remains the case, however, that accurate reporting, regional contacts and classical concert WDULͿV FRQWLQXH WR EH VXEMHFWV RI GLVFXVVLRQ Comparing our 2012 data with our 2016 data, whilst a number of composers still do not feel they are paid enough by PRS for Music, it is clear that there has been a marked improvement on previous years.

YES

Question: Does PRS for Music pay you the right amount in royalties?

NO

Further training and resources around collecting royalties will also be developed.

Recommendations for PRS for Music

2. Notify members (and professional bodies such as the ISM) as a new database becomes available so that composer members can easily access and understand what to do.

36%

3. Work with the ISM to develop online FAQs, and produce a live performance guide and webinar.

77% 63%

• 2012 • 2016 (The chart above only shows comparable data between the two surveys – it omits ‘not applicable’ option from 2012 and the one survey respondent who reported in 2016 that they were paid too much by PRS for Music.)

Question: Do you think the website and other elements of PRS for Music are now more easy to use?

74%

26%

18

7KH RSHUDWLRQ RI WKH FODVVLFDO WDULͿ LV LQHYLWDEO\ being scrutinised following PRS for Music’s recent UHYLHZ RI WKHLU SRSXODU PXVLF WDULͿ :KLOH WKH FODVVLFDO WDULͿ LV QRW XS IRU IRUPDO UHYLHZ DW SUHVHQW the ISM will work with composers to consider what position we would want PRS for Music to take should it be reviewed.

1. Continue to promote the new Classical Account 0DQDJHU +DUULHW :\ERU DV D VSHFLDOLVW ORRNLQJ to increase classical revenues and reporting.

7%

YES

2EVWDFOHV WR WKH HDVH RI UHSRUWLQJ SHUIRUPDQFHV and unlicensed venues continue to be perceived as a challenge and PRS for Music are working to improve their processes – including introducing a new portal for reporting performances – which venues, performers and composers will be invited to use.

NO

4. : RUN ZLWK FRPSRVHUV WR RͿHU WUDLQLQJ RQ the reporting of small venues for licensing should they a) not appear on PRS’s list of larger venues b) currently be operating without a licence or c) currently be operating without reporting performances. This should include the development of a specialist seminar and/ or webinar on how live music licensing and reporting works at PRS for Music. 5. Ensure that composers, performers, promoters DQG RWKHUV XQGHUVWDQG KRZ WKH FODVVLFDO WDULͿ RSHUDWHV DQG LI UHYLHZHG KRZ WKH WDULͿ could change. For example, currently, single pieces of new music in every concert will result in better royalties for works still in copyright than single concerts consisting wholly of new music.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

What the ISM can do to further support composers 7KH ÀQDO VHFWLRQ RI WKH VXUYH\ ORRNHG DW ZKDW WKH ISM (and our charitable arm, the ISM Trust) could do to further support our composer members. A surprisingly high number of composers were still not fully aware of resources such as Women LQ 0XVLF·V H[FHOOHQW &RPSV DQG 2SV SDJH (womeninmusic.org.uk/compsandops.asp) – regarded as an invaluable resource by some at the ISM composers’ round table.

Recommendations for the ISM 1. The ISM should produce guidance for booking and working with performing groups. This could be incorporated into the Composers’ Pack and include practical examples of composers working with performers. 2. The ISM should develop training on applying for grants. Editor’s note: The ISM Trust held a webinar titled ‘An introduction to Grants for the Arts with Arts Council England’ on 22 September 2016. A recording of this webinar and more information about the ISM Trust’s webinar programme can be found on our website: ism.org/webinars

This suggests there is still something that the ISM can do in terms of sign-posting composers to possible commissioning and competition opportunities.

3. The ISM will refresh its guide for composers on where to look for commissioning opportunities.

Question: Which of the following (free) composer 4. The ISM should investigate facilitating links resources are you aware of?

73%

between composers and performing groups looking to commission work and work with composers.

Henry Vann, Head of External Affairs, ISM Francesca Treadaway, Communications Manager, ISM

67% 62%

Notes

69%

The ISM Composers’ Special Interest Group ODXQFKHG WKLV VXUYH\ RQ )ULGD\ 0DUFK ORRNLQJ DW D UDQJH RI LVVXHV DͿHFWLQJ FRPSRVHUV in the UK.

46% Composers Pack • ISM (including template contracts)

And Music • Sound Composers

Commissioning Survey

Self-Publishing Pack • ISM and webinar And Music’s • Sound Opportunities page

The survey was closed on Tuesday 3 May 2016 DQG UHFHLYHG UHVSRQVHV IURP D EURDG UDQJH of composers. 7KHVH ÀQGLQJV DQG UHFRPPHQGDWLRQV ZHUH WKHQ discussed at an ISM Composers’ Round Table on Tuesday 12 July 2016. For more information about this report, contact derin.adebiyi@ism.org ,I \RX DUH LQWHUHVWHG LQ MRLQLQJ RXU &RPSRVHUV· Special Interest Group (SIG) please contact derin. adebiyi@ism.org with a short biography.

In Music’s • Women Competitions and

Opportunities page

19

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

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

Right: Emma Abbate and Evva Mizerska

Philip Moore’s Requiem Timothy Rogers of Encore Publications will be publishing a Requiem by Philip Moore. It will be given its world premiere on Friday 18 November 2016, 2pm, at St Paul’s Church, Knightsbridge in a concert by the BBC Singers, conducted by David Hill. Much of the Requiem is based on two motto themes that appear at the start of the first movement. The music of Domine, Jesu Christe is strong and rhythmic, while the sadness of Lacrimosa highlights the tranquillity of Pie Jesu. During In paradisum, a slow moving pedal line suggests a procession of mourners to the graveside. Philip Moore, who was Organist and Master of the Music at York Minster, has an international reputation as a composer. He studied at the Royal College of Music, and before moving to York, held posts at Canterbury and Guildford Cathedrals. In 2015, he became President of the Royal College of Organists. info@encorepublications.com

Stephen Dodgson’s complete music for cello and piano Emma Abbate and Evva Mizerska have just released their third disc with Toccata Classics: the worldpremiere recording of the complete music for cello and piano by Londonborn composer Stephen Dodgson (1924–2013). These works present Dodgson’s musical personality in a nutshell. The style is direct but rich in allusion, from Purcell to Janácˇek, with a lively, sometimes brittle, sense of humour adding a Shostakovichian irony, all fused together in an elegant, individual voice. And the remarkable clarity of the instrumental textures underlines a strong sense of narrative, with the cello akin to a human voice, unfolding its story with understated passion. Emma and Evva are very grateful to The Stephen Dodgson Charitable Trust which has made this recording possible. emmaabbate.com toccataclassics.com

Anthony Hill memorial service A memorial service will be held at St Simon Zelotes, Chelsea, SW3 2QF on Friday 2 December for member Anthony Hill, pianist, organist and composer, who died in July. Anthony was organist at this church for over 25 years, but for more than 50 years he served on the part-time music staff of Bishop’s Stortford College and until recently taught at the Junior Royal College of Music, London. Married to Joan Havill, Senior Professor of Piano at the Guildhall School of Music and Drama, many of Anthony’s compositions featured in the piano and string examination syllabuses of ABRSM. The service, which will commence at 7.30pm, will include performances of his own choral, organ and piano music played by renowned artists who knew him. A retiring collection will be made in support of the National Hospital for Neurology and Neurosurgery.

Continued overleaf È

21

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Cromarty Youth Opera

Above: Cromarty Youth Opera

After successes with Britten’s Noye’s Fludde and The Little Sweep, and Cinderella by Peter Maxwell Davies, Cromarty Youth Opera turned to Dido and Aeneas for its annual August production in Cromarty West Church. ‘Like previous choices’, explains Artistic Director Edward Caswell, ‘it could have been written for us, particularly as we could cast the principal roles so strongly: Miranda Evans and Donald McDiarmid as the lovers and Matilda Walker as Belinda’. Director Will Kerley and designer Izzy Thomson brought the drama into the 21st century with choreographer Antonia DiCarlo drawing on hip-hop, street and Gangnam style. Dido first appeared in her dressing gown, watching daytime TV, eating ice cream out of the tub; Sorceress and Witches were spiteful hoodies plotting in a graffitied bus shelter. A total audience of over 600 reacted well to their first Baroque opera and having their hearts broken. Next year: Elephant Angel by Gareth Williams.

Ambitious students of Grade 7 and 8 standard could really enjoy this SSafari is a new collection of atmospheric, approach to tone as well. pianistic beginner to pre-Grade 1 p The book provides a selection of pieces pieces for piano from June Armstrong, p of music, carefully chosen to allow ccomposer of the popular Toy Box – flautists to develop their tone. All are Very First Pieces for Piano. The book V excerpts from the flute repertoire – ccontains 23 short piano pieces taking solo, chamber music, symphonic and yyou on a journey through a day in opera and ballet. Africa, beginning with African Dawn A aand ending with Night Sky with Stars, The book is available at three flute encountering the landscape of the e shops: justflutes.com, topwind.com ssavannah and many of the animals and allflutesplus.com. – lions, giraffes, baboons, swallows, vvultures and zebras – along the way. New work for Gemini

Safari – Adventures for Piano

M Many of the pieces involve a rote le learning element, but all are very readily accessible at pre-Grade 1 level. June has published 12 volumes of piano music – Toy Box, Paint Box, Enchanted World, Puffin Island, The Nine Glens of Antrim, Stars, Magical World, The Girona Suite, Strangford Sketchbook, Causeway Coast Fantasy and Rayan’s Duet Book, ranging from beginner to diploma level and one book of arrangements of Irish traditional music – Ireland’s Most Beautiful Ancient Airs. All of June’s publications are available to purchase worldwide from junearmstrong.com where you can listen to all of the music, see sheet music samples, and download all audio tracks free.

Obituaries

Leonard Rhodes Leonard Rhodes continues to add to his publishing catalogue with two new arrangements of Herbert Howells’ wonderful hymn tune All My Hope On God Is Founded for SATB and piano; and for SATB and organ. These are published through unique licensing with G Schirmer Inc/Music Sales and, along with Len’s many additional arrangements and transcriptions, are available for instant download on his website. lenrhodesmusic.com

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Ian Mitchell will conduct Gemini (of which he is Director) in the premiere of a major work written for the ensemble by Philip Grange, Professor of Composition at the University of Manchester, on 16 December. The concert marks his sixtieth birthday. Ian, Gemini and Philip have a long association stretching back to the late 1980s, with Gemini having commissioned three works, recorded two CDs of his music (both chosen as a Critic’s Choice of the Year in the magazine Gramophone), and toured the UK and Taiwan with him. The new 30-minute work is based on Samuel Beckett’s novel Malone Dies, which has fascinated Grange since his teenage years, and the programme links closely to Beckett’s musical interests. Two works by Beckett’s close friend Morton Feldman frame a performance of Beethoven’s Piano Trio Op 70 No 1 (Ghost). The trio is integral to Beckett’s television opera The Ghost.

With regret, we report the deaths of:

Inspiring Flute Tone Alison Myles, flute tutor at Royal Holloway, University of London, has just published a new book on flute performance called Inspiring Flute Tone. She explains that ‘the book is designed to inspire university and college students to practise their tone more – long notes are often neglected, so delicious excerpts of music can be more tempting’.

Anne J Geoghegan of Staffordshire Anthony Hill of London Catherine Jary of Granada, Spain Mary Newnham of Middlesex Robin J A Wells of Godalming Hazel Wood of London

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

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

Full members Birmingham Tim Harding BADurham MABirm PGDipRWCMD Fay Monypenny BASouthampton Martyn Sanderson BMus (Hons) Eileen Smith BMusHonsBirm David Taylor PGCertMus

Bournemouth Ugne Tiskute MARAM

Brighton Cadwein Bacon BMusHons Gareth Gay Natasha Merritt BAHonsSoton Tatyana Stratford Dip St Petersburg Sophia Vaughan BMusHonsTCM

Guildford

London – North

London – West

Portsmouth

Eleanor Beere BABristol James Cross BAHonsSolent Steven Price BMus Rebekah Smit BMusSurrey Amy Tribe BMusHonsRCM Margaret Roberts BAHonsOxon

Rachel Barnes Craig Carri BMusHull Julian Chou-Lambert BACambridge Helena Gourd BMusHonsRAM Amy Haynes Gemma Hildred BAHonsBathSpa David Hickson Berxwedan Kockaya BMusHonsBirm Alma Konjhodzic BMusHons Nicola Mills BMusHonsRSAMD Ivana Murray BASussex Sandra Ramal Viejo MMus Joanne Watson BMusHonsGlas

Tansy Aked BAHonsDurham Charlotte Ashton BMusHonsRAM Sabina Im MMusRCM Joseph Michael Jury Harry Nowakowski-Fox BMusHonsRCM Georgia Scott BMusHonsRCM Krystyna Palamarchuk MMusRAM

Felicity Jane Frewer GradDipLCM Jane A Pegler Julie Twite BMus William Waine

Hereford & Worcester Duncan Cresswell BMusHonsBCU Rebecca Gueran BA Anita Huber PGDipMus(Open) Hannah West BA

Kent Andrew Miles BMusHons

Lancaster

Naomi Colton BMusBirm Eleanor Roberts BASouthampton

Geoffrey Dey Simon Larner BMusHons(UCE) ADBC LLCM(PfAcc) ALCM(PfT) Miranda Rimmer BMusManch

Cambridge

Lea Valley

Pamela Burnard Robert Emery BMusHons(RCM) Helen Yeeles

Frances Chilvers PGDip Katie Hasler Lorraine Hayes MMus

Bristol

Devon & Cornwall Peter H Canter Josie Denning BAHonsPlymouth

Leicester

Eastbourne & Hastings

Lincoln

Audrey Fitchett BMusHonsManch Rebekah McGarvey BAHonsChichester

Roxanne Gull BACam Jane Foster Jonathan Jarvis BMusHonsHuddersfield Avalon Summerfield BAHonsYork

Liverpool Michael Bryan BMusHonsTCM Alan Hughes Adam Roberts BAHons

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London – South East Alex Haigh BAHonsHull Jennifer Fisher BMusHonsGSMD Lucy Gray BMusHonsTCM Clodagh Kennedy BMusHonsTCM Marit Kesa BMus Timothy Keasley Mali Llywelyn Lewis BMusHonsRCM Tania Notte PGDip Rachael Ueckermann BMusHonsTCM Marianne Wright BMusHonsTCM

Manchester Gillian Blair BMusRNCM Sean Boyes BMusRNCM Roland Parsons BMusHonsRNCM Kenny Sturgeon BMusHonsRSAMD

North of England Robert Daglish BMusHonsLancaster Sara Louise Field BAHonsSunderland Stephen Hunter-Brown David Michael McRae BScCityUniv Wayne McAloon BAHonsSunderland

Northern Ireland Suzanne Bennett BMus Danielle Rogan BMusHonsBelfast

Reading Jenny Broome Emma Clark LRAM PGDip BMusHons Eleanor Dunsdon BAYork Marie Louise McGahon BMusHonsRCM LRAM

Scotland – North East Edward Friday BA

Scotland – South East David Gerrard BAHonsOxon Hanah Mack BMusAberdeen Margaret Ruth Rowland BMusHonsBirm PGCE(music)

Scotland – South West Ben Eames BMusHons

Sheffield Samantha Hamstead BAHonsLCM

South Wales

Stephen Rhodes BMusLCM David Wilson BAHonsNott

Donald Clist Daisy Evans MARWCMD Hannah Grimley BMusHonsRWCMD Megan Morris BMusHonsRWCMD James Saldivar BMusHonsRWCMD

London – South West

Oxford

Southampton

Anthony Hewitt MMus Bronwyn Fleming BA(Mus) DipMusEd Beatrice Leadbetter BMusHons Simon Lloyd BMusManch Leigh O’Hara Angharad Watkeys MARWCMD

Louise Hoare BAHonsDurham Clare Myers BMusHonsBirm Elizabeth Parkin BMusHons Anna Shackleton BMusHonsBCU Stephanie Waldron BMusHonsKings

Teresa Dando BAHonsBathCHE Clare Hughes BAHonsYork

Nottingham

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

St Albans Charlotte Grimsey BAHonsSoton Emma Lewis BAHonsYork Alison Wyatt BMusHonsRAM Charlotte Yeoman BMusHonsGSMD

Suffolk

Student members Bournemouth Nathalie Marie Pearson Green-Buckley

Bristol Katja Cross Emily Hill Ella Polczyk-Przybyla Sarah Wynne

Caroline Dearing Ewan Duffus BAHonsMiddlesex Caryll Newnham ARCM

Eastbourne & Hastings

Warwickshire & Northamptonshire

James Girling

Kim Keeble LRAM

Harry O’Keefe

West Yorkshire Matthew Millership Jasper Minton-Taylor BAHonsOxon

John Sturt

Hereford & Worcester Lea Valley Leicester

Samuel Plackett Lewis White Sophie Young

London – West

Nottingham

St Albans

Thomas Lawrie

Alicia Higgs

Scotland – South East

West Yorkshire

Alan Rowland

James Mainwaring Mary Emmett

Scotland – South West

Andrea Basiola DipMus Matyas Csiba

Andrew Macdonald Tiffany Vong

Manchester Clark Brydon Isabella Dembinska-Kenner

Norfolk

Sheffield Oliver Butterworth BMusHonsRAM

South Wales

Selina Hawker

North of England Paul Emmett

North Yorkshire

Corporate members Steinberg Media Technologies GmbH Richard Llewellyn r.llewellyn@steinberg.de + 49 (0) 40 - 210 35 263 steinberg.net

Isabel Harries Eliza Jenkins Lydia Mee

Ruth Sanderson

Jack Thompson

Liverpool Clary Amelia Taylor

Wiltshire

London – North

Katie Griffiths BMusHons(CityUniv/GSMD) Ben Ridge BMusHons Henry Smith BMusHonsManch Sara Trenchard BMusHonsHuddersfield MAHuddersfield

Elena Abad Martinez Jams Coleman Elena Giusto Duygu Ince Elena Toponogova Kemal Yusuf

London – South East Robert Griffin Lillie Harris Kathryn Huntley Ksenija Laskova Jonathan Parkin

e Letters after your nam are As a member of ISM you use letters to ed automatically entitl ember of the (M SM after your name: MI mber of the Me t en ud ISM) or SMISM (St tinuous con in en ISM). If you have be re, you mo or rs yea membership for 15 tus. sta ) ISM the of gain FISM (Fellow m the fro o log ate pri pro Download the ap bsite to add to members’ area of our we tionery and your website, personal sta marketing materials.

ISM/MMA JOINT PROMOTION Join both professional bodies and get 25% off each membership! If you are an existing ISM member and would like to join the MMA then we have good news. As of this month we are offering anyone who becomes a member of both organisations 25% off both your 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.

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James O’Donnell, Organist and Master of the Choristers, welcomes enquiries at any time www.westminster-abbey.org/choirschool music@westminster-abbey.org 020 7654 4918

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

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 December for January/February issue.

Hampstead Music Club HMC are pleased to welcome soprano Anna Slavina as their new Chairman. Pianist Masa Tayama, who has led the club for five years working hard on the continuation of the club’s traditions and increasing its popularity, will remain on the committee. There will be four events soon, which are open to the public, held on Tuesday evenings at Burgh House at 8.05pm. The Autumn Concert on 8 November centered around HMC’s 70th birthday celebrations will have contributions from past and present members.

Above: Trinity Laban students will join players from the BBC Symphony Orchestra in the Side-by-Side series Photo: JK Photography

Trinity Laban Conservatoire of Music and Dance Highlights of Trinity Laban’s new performance season include Trinity Laban’s Early Music Vocal Ensemble performing in association with English Touring Opera (ETO) for a performance of JS Bach’s St John Passion at Blackheath Halls in November. The performance is part of ETO’s new English translations of the chorales from writers of different faiths, and of no professed faith. Additionally, the Trinity Laban Symphony Orchestra return with the ever popular Side-by-Side series, joining players from the BBC Symphony Orchestra at the iconic Maida Vale studios.

As part of the London Jazz Festival in November, Trinity Laban’s innovative and flexible ensemble Shapeshifter will perform Mark Lockheart’s Brave World, which has been co-commissioned by the festival and Trinity Laban. At the end of the year, Shapeshifter will be joined by the Trinity Laban Chamber Choir at Blackheath Halls for a double bill of jazz, featuring a reprise for Brave World alongside Will Todd’s Mass In Blue.

On 6 December jazz pianist Dorian Ford will be giving a solo collage-type recital, Improvisations, Renditions and Responses, covering many aspects of his musical voice. This is one of three invitation concerts per season given by professional musicians. These concerts now have an established reputation with performers and members of the audience alike. There will also be two masterclasses. The first for singers with Helen Cannell on 24 January 2017 and another for instrumentalists (tutor tba) on 31 January. e-voice.org.uk/hampstead-music-club

Love Your Lunchtime are a series of free concerts lasting around 45 minutes that can be enjoyed in the middle of the day in and around the Greenwich area. For full listings and ticket booking please visit the Trinity Laban website: trinitylaban.ac.uk/whats-on

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

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 Leeds College of Music

Luton Music Service Make Music Swindon

Park Lane Group

Colchester Institute

Rhinegold Publishing

Drums for Schools

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

NMC Recordings

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

Trinity College London MiSST – The Andrew Lloyd Webber Programme

Dartington International Summer School

Victoria College Exams

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

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

Above: Impulse Music Consultants partners, Geraldine Allen (r) and Sarah Rodgers Photo: Sheila Burnett

IImpulse Impu mpullse lse Music Musiic Consultants At the beginning of October, Impulse Music Consultants partners, Geraldine Allen and Sarah Rodgers, took part in a Making Music networking event at the Millennium Library in Norwich. Their aim was to signpost choirs and ensembles to new and exciting repertoire by living composers who are either promoted on the Impulse

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Classical Music website or who sell Class their music through tutti.co.uk, including ISM members – Fionagh inclu Bennet, Benn Martin Dalby, Patricia Hanchet, John Hearne, Betty Roe, Hanc David Davi Stoll, and Robin Wedderburn. Impulse Impu has many years’ experience of managing commissions and they talked about the benefits of commissioning as well as the commissioning process and were able to draw the group’s attention to helpful resources on the ‘Know How’ section of the Impulse Classical Music website. Here they have commission fee guidelines and a sample commissioning

contract together with other industry information on rates and royalties. There was a lively discussion about the new music ‘economy’ where, in order for new music to thrive, everybody needs to be supported – commissioner, composer and performer. Contracts are there to ensure that commissioner and composer get the very best out of the partnership and the creative process is strengthened through clarity on the business side. Once agreements are completed, then everyone can get on with the joy of bringing new work to life.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Royal Welsh College of Music & Drama The Royal Welsh College of Music & Drama is delighted to announce a Strategic Alliance with the Arts Council of Wales (ACW). This unique arrangement recognises and builds on the national conservatoire’s vital contribution to Wales’ cultural industries through the development of exceptional young artists, and to the wider cultural life of Wales through its acclaimed public performance programme.

Below: Emyr Wyn Jones, in rehearsal for the title role of Falstaff, the College’s summer opera, conducted by RWCMD International Chair, Carlo Rizzi. Emyr completed his postgraduate Opera Performance this summer, and is one of the first recipients of the newly created Pathfinder Awards, funded by the College’s Arts Council Award. Photo: Kirsten McTernan

‘We are enormously excited about this new development. Additional investment from the Arts Council of Wales recognises the Royal Welsh College’s success as a promoter and producer of high quality music & drama, as well as our distinctive role within the Welsh cultural infrastructure as Wales’ national conservatoire,’ RWCMD Principal Hilary Boulding said. The International Artists Season, launching this autumn with ACW funding in the Royal Welsh College’s Dora Stoutzker Hall, will feature some of the world’s greatest classical music artists, including French keyboard aficionados Katia & Marielle Labeque, renowned German soprano Anne Schwanewilms, acclaimed countertenor Iestyn Davies and leading baroque violinist Rachel Podger.

Schools Music Association (part of the ISM) Competition to write a music-story for children at KS2 The ISM-SMA Steering Group is aware that many teachers, in the course of their everyday work in schools, will have written music-stories of their own for performance by the children they teach. Perhaps you’re in the process of writing something at the moment? Or perhaps you have a work which you have written in the past? So long as it is entirely original and has never been previously published or won an award, then you can enter it for this competition. There is no charge for entry and the competition is open to everyone (whether or not you are an ISM or ISMSMA member). The main proviso is that you are working regularly in a school (or schools) with young people either as a class teacher or visiting specialist, and are not a full-time professional composer. There is a £1000 prize on offer (£500 for the creator/s and £500 for the school/s in which they work), and the winning work will also be considered for publication by ISM corporate member Lindsay Music. This is to be a work for children aged 8-12 consisting of songs and narration (or cast) based on a folk tale or original story. The work should be of 30-40 minute duration and contain a minimum of five songs. The songs can be in unison or two parts. The accompaniment should be for a keyboard but there can be additional parts for children to play consisting of melodic instruments and pitched and unpitched percussion. The work can be written for concert performance or for a staged presentation. The spoken part can be for a narrator (or narrators) or can be written for a variety of characters to act out. The work may be written by more than one person. Full details are on the ISM website –

ism.org/sma-competition The deadline for entries is midnight on 31 March 2017. The winner will be announced no later than 1 July 2017 with results jointly posted on the websites: ism.org and lindsaymusic.co.uk.

London College of Music The summer months offer opportunities for LCM to spread its research wings and collaborate with other institutions. Thus an illustrious quintet of academics and research students attended the Performance Studies Network’s conference, hosted by Bath Spa University in July. As members of a panel, Dr Andrew Bourbon and Professor Simon Zagorski-Thomas gave a presentation on their AHRC-funded Hyper Production project. Doctoral student Agata Kubiak presented her PhD research, reflecting on her own solo performances (as singer and violinist) and those of the string quartet of which she is leader. Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Liz Pipe presented her research in the teaching of gesture in musical performance, while Anthony Meynell concentrated upon his own project, Re-enactment in the Studio, which casts a forensic light on the studio performance practices of two bands, The Beatles and The Byrds, in 1966. In early September there was a strong LCM presence at Creativity, Practice and Praxis, the 2016 conference of the International Association for Study of Popular Music held in Brighton. Papers were presented as a panel by Dr Bourbon, Anthony Meynell, Liz Pipe and Simon Zagorski-Thomas, with supporting individual papers by research students Christos Morales and Jose-Manuel Cubides, and by staff members Daniel Hagan and Dr Sara McGuinness. Professor Simon Zagorski-Thomas has also been co-ordinating a research network on 21st century music practice which includes participants from 16 universities across London and the South East. The launch event will be held in the University of London’s Weston Hall on Saturday 26 November.

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: Ben Parry leads our fourth award-winning Scratch® Youth Messiah featuring 1,500 young singers on 27 November at the Royal Albert Hall (2pm). Come and be amazed by their achievement! Tickets including family discounts available by phone from RAH Box Office: 020 7589 8212.

Right: Composer John Rutter, whose setting of the Gloria (in the version for full orchestra) will be sung by The Really Big Chorus at the RAH on 9 July 2017

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We commemorated 9/11 in New York performing Fauré’s Requiem and enjoyed Gounod’s St Cecilia Mass in a return visit to Guernsey in October with Brian Kay. Travel with us to Mallorca to perform Vivaldi’s Gloria and Rutter’s Requiem in the Basilica de Sant Francesc (30 March–2 April 2017), or to Riga for Haydn’s Nelson Mass (5–8 October 2017). In the UK, our Summer Singday® on 9 July 2017 at the Royal Albert Hall features Gloria! That’s the Jenkins, Rutter and Vivaldi arrangements. Booking is now open for this and our 7 May 2017 RAH concert: Mozart’s Requiem, all with Principal Conductor, Brian Kay.

Friends of the Musicians’ Chapel The Friends annual Requiem Service is becoming an established feature of the Musicians’ Chapel and this year will be held on Tuesday 1 November at 6.30pm at St Sepulchre. The service will be sung by the Choir of St Sepulchre under the direction of Peter Asprey, when the setting will be the Requiem by Herbert Howells. The date of the 2017 Annual Service of Thanksgiving is Tuesday 2 May when the music will be provided by the Royal Academy of Music and the preacher will be The Dean of Westminster, the Very Reverend Dr John Hall.

Visit trbc.co.uk for details.

Steinberg

Guildhall School of Music & Drama

Steinberg have been making award-winning, technologically advanced products for musicians for more than 30 years. Cubase has been their main program, used by professional producers and musicians for composing, recording, mixing and editing music. Cubase combines outstanding audio quality, intuitive handling and a collection of highly advanced audio and MIDI tools. There are three differing levels of Cubase, ranging from entry-level Cubase Elements, to Cubase Artist to the studio-grade DAW Cubase Pro. These range in price from £80 (RRP) with educational discounts offered.

The Guildhall School of Music & Drama together with social enterprise Cause4 have announced its first cohort of creative entrepreneurs since the scheme was opened to aspiring entrepreneurs across the creative industries. They will be supported to set up their own businesses/ social enterprises and develop their entrepreneurship skills through its Creative Entrepreneurs scheme. The new entrepreneurs – Benedict Lloyd-Hughes, Celine Hispiche, Joanna Procter, Kate Hayes, Katy Bignold, Mark Llewelyn Evans and Becky Chalmers – will take part in an intensive 12-month programme of training and individual support. Training will be provided in vision development, business planning, marketing, sales and funding, and individual support will include the provision of mentoring, coaching and business plan development. This year’s entrepreneurs come to the scheme from around the UK. The business ideas include a website where actors can unite as a community, a music therapy service to schools and organisations in the East of London and community theatre to support the growth and development of people who are marginalised.

Steinberg are just launching a brand new notation program, called Dorico. Dorico has been developed over the past four years and will bring a new professional standard in scoring software. Designed by musicians for musicians, Dorico has incredible flexible note input to give you beautifully engraved scores, offering you an alternative to Sibelius or Finale. For further information, please contact Richard Llewellyn (UK Education Manager) at r.llewellyn@steinberg.de or telephone 07841 516066. steinberg.net

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

LOCAL EVENTS LISTINGS Full listings can be found on our website: ism.org Sunday 13 November

Saturday 19 November

Sunday 20 November

North London Pupils’ Concert

Cheltenham Song Recital and Annual St Cecilia Supper

Lea Valley Advanced Autumn Pupils’ Concert

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing by 4 November. Both children and adults are welcome to perform – individually, in duets, or in larger ensembles. Each pupil must not exceed 7 minutes and each teacher may enter up to 5 pupils. Pupils may be at grade 1 or any level above, but should have their performance item at a concert standard. An accompanist can be provided if requested in advance. Admission will be by programme on the door. Light refreshments will be available. Please encourage pupils to bring an audience. Cost: £5 adults, £2 children. There is no charge for performers and teachers presenting pupils. Contact: Sara Medina, 020 8883 2082

Classified advertising NEW EARLY KEYBOARD INSTRUMENTS for sale. Visit www.harpgear.net for details. VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel: 07974 412269. MUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com. STUDENT CELLOS, mostly German, various sizes, from £100. Tel. 07974 412269.

MUSIC ARRANGING AND COPYING SERVICE. Bespoke arrangements and professional typesetting service. Contact Melanie Thorne: 01848 200117; email: info@sempremusic.co.uk; www.sempremusic.co.uk. BASSOONS several. 07974 412269. 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.

2.30pm, United Reformed Church, Mill Lane, Broxbourne, Herts EN10 7BQ Our concert for advanced pupils (Grade 6 upwards) in a new venue. Please consider joining us in the audience even if you do not teach music. Refreshments will be served after the concert. Contact: Carolyn Richards, ismleavalley@ ntlworld.com, 01245 440004

7pm, Park House, Thirlestaine Road, Cheltenham, Gloucester, GL53 7AS ISM President Nicolas Chisholm will start our popular Annual St Cecilia Event with a song recital. Contact: Helen Marcus, helenmarcus@ blueyonder.co.uk

Sheffield Autumn Concert 2.30pm, Shirley House, 31 Psalter Lane, Sheffield, S11 8YL Our autumn concert is for pupils of all ages. It is non-competitive, and a wonderful opportunity for pupils to become more at ease with performance. All instruments and grades are welcome and with a varied repertoire, including solos, duets and ensembles. If you would like any of your pupils to take part in the concert, please contact Pearl by Monday 7 November. Contact: Pearl Woodward, pearlwoodward@ btinternet.com, 0114 266 0399

We are currently looking for members to act as ISM Representatives for the South West Scotland local group. This opportunity is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area. For more information or an application form please call 020 7313 9323 or email membership@ism.org. The deadline for applications is Friday 16 December.

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

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.

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

DOUBLE BASS PAESOLD concert model 590. Excellent condition cost £3k plus in 1997, £1200 ONO 01747 828552.

COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1195 ONO. 07974 412269.

BLUTHNER grand piano 5’6”, mahogany, 1935. Serial 120141. Restored 1992, properly maintained, gorgeous tone, sensitive action. Professionally owned by ISM member now retired. STEINWAY MODEL O. Insured for £23,000; MAHOGANY. Built 1990. asking price £16,000 ono. 2 careful owners. An Location Cornwall; lovely especially beautiful accommodation available instrument and in for viewing. Negotiable excellent condition. re leather stool and Reason for sale, arthritic transportation costs. thumbs. Complete service 01326 290399 or michael. by Hamburg trained edwards49@btinternet. Steinway Technician 2015. com. £37400 ONO. For more details/enquiries email jennyquick@gmail.com. KAWAI 5ft baby grand piano for sale in shiny black.7 years old & well maintained.Owned by professional.Contact derazey1840@aol.com

FRENCH HORNS, Several from £150. 01747 828552.

PERFORMANCE NERVES? Anxiety? Call Rosemary Wiseman Tel. MUSIC TYPESETTING: 0208 958 8083 www. Competitive rates. Contact rosemarywiseman.com Michael on 0208 288 1380 or mjregan47@mail.com for details. PROOF READING: Dissertations, essays etc. Musical subjects a specialty. Contact 020 8288 1380 or mjregan47@ mail.com.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2016

Ask me a question Emma Lines Programme Manager at Drake Music Scotland and owner of ELM School of Music

piano and used to run my primary school recorder group and choir too and entered us for both Worcester and Cheltenham Music Competition Festivals. I was also invited to join her private recorder group, Broadheath Players, and through this experience at a very young age I knew then that my life had to be in music. My career has gone in many directions through playing, composing and teaching, but all of it comes from the start that I had from Linda and the influence she had on me at such a young age. What would you say is your greatest a achievement to date?

M My greatest achievement to date was very re recent actually, and the project I am most p proud of. Drake Music Scotland were invited to host the ISME (International Society of M Music Education) Pre Conference Seminar in Special Music Education and Music Therapy in July 2016, and I took on this event on top of my normal role as Programme Manager w with Drake Music Scotland. I liaised with the Sp Special Music Education and Music Therapy Co Commission and invited guests, and singleh handedly organised the conference over a number of months. Over the four days of th the conference there were 38 papers, six po posters, 12 workshops and six individual Tell us a little about yourself. yourself performances and an additional evening I am a 33 year old musician based in Edinburgh. concert, presented by 116 delegates and I am Programme Manager for Drake over 70 performers attending, representing Music Scotland (drakemusicscotland. 18 countries. This was a record breaking org) who are Scotland’s national leading ISME Pre Conference Seminar in Special organisation in inclusive music. I oversee Music Education and Music Therapy, with the and manage the artistic programme for the most delegates and most presentations organisation and work with many partners ever. My role involved liaising with across Scotland and the rest of the UK. I organisations and individuals from across am also owner and tutor at ELM School of the world as well as logistics, design and Music (elmschoolofmusic.com) which I managing social media presence. set up in 2010. In the past I have been an It was so lovely to hear everyone’s kind instrumental instructor for local authorities words throughout the week making all in Edinburgh and the Lothians, a composer the hard work so worthwhile. of film music and I also wrote a beginner recorder tutor book, Recorder Roundabout, Who is your all-time favourite artist and why? in 2008. I’m generally a very creative person and as well as playing, writing and It’s hard for me to pin down just one, teaching music I am a keen photographer but from all the genres of music I listen to, and silversmith too, which I do in my spare my favourite is rock and alternative and time … if I get any. I’m always on the hunt for new bands to Who (or what) has most influenced you and your career? My first music teacher – Linda Massey – who gave me an excellent and inspiring start in music. She taught me recorder and

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listen to. The band I always come back to though is The Shins. Their music speaks to me in a lot of ways and whatever my mood their music is always the right choice. My favourite song is New Slang. I discovered it from watching the film

Garden State (which in my opinion has the best soundtrack of any film). There is a scene where this song and The Shins are introduced and it stuck with me forever. I was recommended the film while I was writing my first ever film soundtrack and took my inspiration from this song. What was the last CD/music download that you purchased? Back To The Story – The Idle Race. I’m a huge ELO fan and recently started looking back at some of Jeff Lynne’s earlier music. He’s such an amazing musician and hearing some of his earlier music is fascinating and you can really see the influences on ELO before they were even established. What are your plans for the future? To continue working for Drake Music Scotland and to continue my own business, ELM School of Music. I am currently on the Music Education Council Additional Support Needs Working Group, so I will continue to work with them, and hopefully make some positive impacts on ASN in Music in the UK. Through this working group I am collaborating with Jonathan Westrup from Drake Music in England on a resource for those looking for more information about ASN in Music, so keep a look out for the Rough Guide to Accessible Music Education on the MEC website soon. I have a lot of ideas in the pipeline for a new book, and other new projects too… Finally, what is your ISM membership to you? The ISM is a fantastic organisation and offers excellent services and advice to musicians across the sector. I am privileged to be an Ambassador for the ISM, and very pleased to do this role and promote their work. Knowing that they are there as support for musicians is very important, particularly as a freelancer when you can often feel isolated in your work.

Traditional and Contemporary exams that have been encouraging performers and teachers for 125 years.

Proud Corporate Members of ISM, EPTA, ESTA, ERTA, AOTOS, MEC, abcd, Music Mark & the Worshipful Company of Musicians. www.vcmexams.com info@vcmexams.com (020) 7405 6483 52 Bedford Row, London WC1R 4LR

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

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

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

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Make any instrumental rearrangements you want

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

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

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

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

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