Music Journal November-December 2014

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November/December 2014 Orchestras 2014/15 – your guide to the new season Composer Jim Aitchison Changed by Art ABRSM’s Making Music report: more music, but access remains an issue

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Welcome

Above: Deborah Annetts Photo: Mark Thompson

With the orchestral year and the academic year now in full swing, musicians will be very busy in the run up to Christmas which is now just a very short time away. Following on from the ISM conference in April, I am delighted that one of our speakers, Jim Aitchison, has put together an article on the inspiration he takes from visual stimulus such as the paintings of Gerhard Richter when creating his own work. Jim has composed extraordinary works which have played in diverse and unusual venues up and down the land and really demonstrate the innovation of modern contemporary music. This month’s Music Journal also features an interesting report which covers the state of instrumental tuition in the United Kingdom. Not only does it look at which instruments are being learnt, but it also investigates the satisfaction that teachers derive from teaching. The results make for some surprising reading.

Lastly, there is a round-up of some of the themes and significant events which underpin the orchestral programmes of many of our leading orchestras.

I am also delighted to be able to share with you news about the next ISM Conference and Members’ Day (see page 6). Conference will be held on 31 March 2015 at Guildhall School of Music & Drama’s Milton Court.

Members’ Day will be held on 23 April 2015 in London and is a great opportunity for members to come together and share their ideas and contributions about the ISM. However, please do not just wait for Members’ Day. The ISM really does want to hear from you about what could be happening in your orchestra, conservatoire, school, or band. Or the challenges you face in creating new work. We really do rely on you the member to tell us what is going on at grass roots level. If you tell us, then we will try to help.

On the theme of community, and what it is to be an ISM member, please do take a moment to read page 7 on the My ISM is campaign. I encourage you all to respond if you have a minute to spare.

Lastly, you will find your ISM Handbook 2014/15 enclosed with this issue of Music Journal. Your Handbook contains information about all the benefits of membership and how to use them as well as a listing of your fellow members – both individuals and organisations.

Front Cover Main picture: Members of Royal Northern Sinfonia at Sage Gateshead Photo: Mark Savage Inset pictures: 4096 Colours (1974), Aunt Marianne (1965)

With very best wishes to everyone over the festive season.

Contents 2

News & campaigns

4

Legal help

5

Business advice

6

ISM Conference and Members’ Day 2015

7

What’s your ISM?

9

Changed by Art

12

Orchestras 2014/15 – your guide to the new season

15

ABRSM’s Making Music Report

21

News from our members

27

News from our corporate members

30

Classified advertising

31

Local events – listings

32

Ask me a question

Volume 81 / 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: www.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

deborah@ism.org

Design: Cog Design www.cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Wimbledon Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 28 November for January/February issue Price: £6 per copy Subscription: £30 per year Circulation: 6,700 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.

© Gerhard Richter 2014

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

News & campaigns Theatre tax break scheme launched Benefits for musicians working in ballet, theatre and opera At first glance, the Government’s widely publicised ‘theatre tax break’ might not seem to have direct relevance to performers and composers.

Henry Vann, Head of External Affairs, ISM

Correction In the feature Can making music support well-being in older age?, published in the September/ October 2014 issue of Music Journal, there was a mistake in the wording.

The sentence ‘Those who participated in non-musical group activities compared to those making music scored higher on a range of measures of quality of life’ is the wrong way round. It should be those who participated in the music activities scored higher than those in the non-music groups as was clearly demonstrated through the research project Music for Life.

However, the tax credit scheme for new ‘dramatic productions’ includes not just theatre but also opera, ballet and potentially any new production where performers ‘play roles.’ This will include semi-staged opera and could even extend to oratorio productions.

The tax break – which is payable to production companies putting on live performances – was introduced to support the creation of new productions following similar tax breaks in the film and videogames industries.

It will enable new productions to claim 20% of the tax back on production costs (or 25% if the production is touring) and the tax break covers production costs, not presentation costs, so it will only cover the costs of bringing a work to a live performance, not the repeated costs of presenting a performance.

For a production to be eligible: • Performers must give their performances through the playing of roles • The performance must be live and in front of an audience • The production company’s main object in relation to the production must be live performance, rather than the making of a recording Do you put on dramatic performances?

If so, your production company could be eligible for the theatre tax break on production costs.

This could cover rehearsal calls for musicians, arrangements, commissioning of new work and other production costs and the costs associated with touring. If you think your production might be eligible for the theatre tax break, you can contact the ISM’s legal team by email at legal@ism.org or phone 020 7221 3499 for further advice.

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ISM’s David Abrahams to speak at composer event PRS for Music and Trinity Laban are hosting an event for composers at the Southbank on Tuesday 18 November.

Open to composers from Conservatoires and members of PRS for Music, the session will include discussions on developing projects and earning a living from a composing project.

Our in-house Head of Legal, David Abrahams will be speaking at the event which will focus on classical, TV, film and gaming composition.

What contracts do composers need help with?

Composer Special Interest Group Following the last Composer Round Table held on 17 July at the ISM, and further consultation with the Composer Special Interest Group, it has become clear that contract advice is needed for composers.

With this in mind, we are seeking your views on what contracts you need the most help with. We are also keen to understand what template contracts you would find it most helpful for the ISM to provide for our composer members.

You can send any views you have on this to me at henry.vann@ism.org. These will then be developed into a complete contract guide (including a contract checklist) for composers as the next stage in our campaign for better treatment of composers and songwriters.

#ProtectMusicWales Welsh music services under threat There is no identified central funding for music services in Wales and music services are under threat as local authorities cut their budgets. Some areas have no music service at all.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Leave a gift to your Society and help us continue our strong support of the music profession You’ve shared with us the importance of many of our services and support, from our dedicated and specialist legal guidance that helps members through choppy waters, to the advice and professional development that helps members to reach their full potential as professional musicians. We constantly strive to offer the very best and support our members as much as possible, and we thank all our members who have given us wonderful feedback regarding how our services have helped to make a difference to their lives.

We know that in this modern age, the support for your profession is even more vital than ever before. Cuts to funding across the music sector including orchestras, higher education or schools and the continued exploitation of musicians’ rights without proper remuneration are just some of the issues we tackle on behalf of members. We are also continuing to develop the support and guidance we provide to musicians so that you get the advice you need through every step of your career.

Please help us to continue to do more to safeguard professional musicians by leaving a gift to your Society.

You can find out more at ism.org/giving or call Natalia on 020 7313 9318. Thank you.

Most recently, the Rhondda Cynon Taf music service and Bridgend music service have all been put at risk by local authorities proposing to cut their funding. If this happens, access to music education in Wales could become the preserve of those who can afford it.

A high quality music education should be accessible to all children in Wales and we are joining with members in Wales to call for a music education plan and a commitment to central, ring-fenced funding of at least £6m.

Performers Round Table Our performers survey re-emphasised the ‘culture of insecurity’ which faces many performing musicians in the UK. Following on from our successful composer round tables, we will be hosting a Performer Round Table on Thursday 20 November 2014 in the ISM’s boardroom at 4-5 Inverness Mews, London, W2 3JQ. If you are interested in attending, please let me know (henry.vann@ism.org, 020 7313 9327).

Elections to the Performer Board of PPL Annual Performer Meeting: Wednesday 26 November PPL is the organisation which collects royalties on behalf of recorded performers and record producers.

We recommend that any ISM members who have been recorded commercially join PPL and you can find out more about how to do this in the next edition of Music Journal.

They have announced the date of their next Annual Performer Meeting and elections to the performer

board. The meeting will take place on Wednesday 26 November at London’s East End arts venue Rich Mix. If you are eligible to vote and wish to attend the meeting you should email apm@ppluk.com. If you cannot attend the meeting but still wish to vote, please contact me for assistance in completing a proxy form.

Concern over GCSE, AS and A level reforms The Government consultation on GCSE, AS and A level music has ended and we are waiting for the final version to be published.

Despite encouraging initial discussions with the Department for Education and Ofqual (the exams regulator), the current proposals need more work.

As an example, the Government insisted on just one compulsory area of study: music composed in the Western classical tradition between 1700 and 1900.

Whilst undoubtedly an important period of history, this proposal would enable exam boards to create GCSEs where students interested in early music, jazz, and 20th Century music would have to learn about these as an extra area of study.

The proposal risks missing out some of the greatest examples of British music (Purcell, Byrd and Tallis and late Elgar) and four of the top Classical FM’s Hall of Fame winners as well as five of the BBC’s 10 pieces of music.

We are now involved in discussions with the DfE and Ofqual about how to revise the proposals before they are finally published.

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

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

helpline 24-hour legal ell as tax advice

Legal help A survey of performers carried out by the ISM in the first half of 2014 has given us a unique insight into some of the challenges faced by professional musicians. One of the issues identified is that performers work in what could be described as a culture of insecurity. Whilst most freelance professional musicians accept that a certain degree of insecurity is inevitable, there are steps that performers can take to reduce the risks.

David Abrahams, Head of Legal, ISM

Peter Lappin, Legal Adviser, ISM

‘I joined the ISM on the recommendation of colleagues. When an organisation was not paying for work done, David [Abrahams] at the ISM helped me to deal with the legal matters with efficiency, empathy, understanding and with diplomacy. Frankly I was amazed at the quality of service. I have since learned of the other benefits of becoming a member, and I would not hesitate to recommend the ISM to my friends and colleagues.’

Peter Sparks, ISM member

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Commercial recordings Most performers (67%) responding to the survey had been commercially recorded. Any performer who has been recorded has an inalienable right to be paid when those recordings are played in public (known as equitable remuneration). This right remains even if you have been paid a fee at the time of recording. Equitable remuneration payments are administered by PPL, and in order to receive these payments performers need to be members of PPL. However, the results of the survey show that 59% of recorded performers are not members of PPL and are therefore missing out on a potential income stream.

There is no charge to join PPL.

s of law as w Covering all area 01206 368994

The ISM legal team can advise members on the terms of any contract. Contracts should clearly set out what you will be expected to do, how much you will be paid and when. Contracts should also address matters such as your property rights in the performance, for example whether you are waiving your moral right to be identified in a recording. You cannot waive your right to equitable remuneration with regards to payment when the recording is played in public or broadcast. The contract should also address matters such as expenses and who is responsible for the provision of equipment. It should also cover cancellations, contract duration and any termination provisions.

If you are employed, by law, you must receive written particulars of employment within two months of starting your employment. Unlike other forms of contract, the law dictates what particulars must be included in an employment contract.

Unpaid Fees

Our survey shows that whilst the majority of performers are paid within 30 days of any performance, a significant minority have to wait up to three months or longer. A written contract should state when payment must be made by. If you are not paid within this time, then the other party will be in breach of Employment and Contracts contract and you can pursue them for payment and Almost 80% of those surveyed work mostly or entirely any loss suffered as the result of late payment. on a freelance basis, whilst just under 5% work on an The ISM legal team can assist members in the employed or mostly employed basis. A major concern recovery of unpaid fees. arising from the responses is that 70% of performers If you are unsure about a contract, think it is unfair, do not ensure that they have a written contract when don’t understand its terms or require any other legal they work. It is very important to have a written advice regarding your work as a performer, including contract when undertaking performing engagements. chasing late or unpaid fees, then please contact the A good contract will clearly identify the obligations ISM legal team. You can contact us by telephone on of each party and will be helpful in avoiding disputes 020 7221 3499 or by emailing us at legal@ism.org in the long term. It is always much more difficult to negotiate terms or sort out disputes after you have Peter Lappin, Legal Adviser, ISM done the work.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Business advice Ways to help reduce the ‘culture of insecurity’

Caroline Aldred, Business Support Officer, ISM

As Peter Lappin has explained on the previous page, the most important step you can take to reduce the ‘culture of insecurity’ surrounding your work as a musician is to ensure that you have a written contract for every piece of work you do. Members can find our template forms of contract on our website.

that you can claim all these expenses against your tax and so keep your tax liability as low as possible.

You may be surprised how extensive the list of taxallowable expenses is. For instance, it includes your ISM subscription. There is a list of the main expenses musicians might claim on our website.

Plan ahead for large bills. As an example, you could try setting aside each month an amount towards your tax payments due in January and July. The same might There are also a number of other steps you might want apply to other, more enjoyable, expenditure, such as on a holiday. to consider taking in order to improve the security of Be careful using your credit cards. It is best to avoid your professional work and your finances: charging to your cards more than you can afford to Think about asking for advance payments for repay each month. If you find yourself unable to clear all your work. It is standard practice for tuition fees the sum outstanding, you might consider transferring to be payable in advance at the start of each term. the balance to another card offering to charge zero You might also consider asking for an advance down interest on transferred balances. payment when you are booked to do a performance or accept a composition commission. This will give you greater financial protection should the party engaging you subsequently cancel the contract.

Be sure to set or accept a reasonable level of fee.

Be prepared to negotiate for a higher fee if the fee you are offered initially is below the going market rate.

On the other hand, you should not insist on such high fees that you risk not only being undercut by other musicians but also not receiving offers of further work from the people engaging you. You need to know your value in the marketplace. Our fees survey results, which you can find on our website, as well as local networking can help you to keep your finger on the pulse here.

Keep comprehensive records. As well as copies of all your work contracts, we strongly recommend that you keep copies of all invoices you send out.

These will be important evidence if you experience problems obtaining payment. In addition, keeping comprehensive records of when you need to send out invoices and when fee payments fall due will help you to chase promptly any payments which are overdue to you. Members can download invoice templates and a template invoice-recording form from the Business & Tax section of our website.

Other records which you should keep carefully and comprehensively are those relating to your taxallowable business expenses. Keep all receipts so

Claim any welfare benefits for which you qualify.

Self-employed, as well as employed, people are eligible for working tax credit if they work for 30 or more hours per week and their income is sufficiently low. Musicians should include in their working hours total not only the time they spend performing and teaching but also time spent in rehearsal, private practice and other preparation, administration and marketing.

And finally, make full use of the benefits of your ISM membership. These include: • standard templates for written contracts, invoices and recording invoices and expenses • help from our in-house legal team in chasing unpaid fees • public liability and legal expenses insurance (free with membership) • tips on setting your fees • listing in our online Music Directory • a wide range of discounts, including an excellent value tax return completion service from LB Group accountants, and • access to further legal and business advice on our website.

Caroline Aldred, Business Support Officer, ISM

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

ISM Conference and Members’ Day 2015

Above: Milton Court, Guidhall School of Music & Drama

ISM Conference 2015

Members’ Day 2015

Conference next year will take a different format to previous years. The next ISM annual conference will be held on 31 March 2015 at Milton Court – the wonderful new performance space at Guildhall School of Music and Drama – from 10am to 6.30pm.

Taking the theme Make Music Work, the day will focus on creating a successful career in music but all are welcome to attend the event. We will have speakers from across the music sector as well as some outstanding performers and composers.

The day will finish with a drinks reception.

More details on the programme will be released shortly and booking will open on our website www.ism.org/conference in November.

Following last year’s inaugural Members’ Day, which was found to be very successful, we will be holding the next Members’ Day in April 2015. In a recent e-newsletter we asked for feedback from members as to a selection of dates and locations for this to be held. The responses have been collated and the most popular date and location chosen, which is Thursday 23 April in London. We are still working on securing a venue that will suit us and more details on this will follow in the next edition of Music Journal.

The day will include the AGM, as well as sessions for members to get involved and offer suggestions about the work of the ISM. That evening, we will hold a Presidential drinks reception when members will have the chance to meet the outgoing and incoming Presidents as well as talking to members from across the UK. As last year, attendance at Members’ Day will be free of charge and includes refreshments and lunch.

The Presidential reception will be open to members and their guests at a cost of £20 per head.

A call to all music teachers and accompanists – take part in our fees survey The questionnaire for this year’s survey of teaching and accompanying rates is now available online.

Even if you do only a small amount of teaching work please complete the questionnaire. Your input is essential 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.

Please help us to help you. Our questionnaire should take no more than ten minutes to complete.

You can access the questionnaire at www.surveymonkey.com/s/Fees2014 . The password is fees2014.

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 and we will publish the survey results early in the New Year.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

What’s your ISM? My ISM is

Ed Scolding Composer

The ISM is like a crash mat – it’s the support and security which helps to give me the freedom to take bigger creative risks.

Photo: Emile Holba

With thanks to the Asylum, Peckham

ISM member since 2011

# my ism is facebook.com/myismis

ism.org

Join our growing membership of professional musicians.

Make us your ISM.

Share your stories, feedback, knowledge or ISM word with us Over the years we have heard some wonderful stories from you about the life-long friendships and collaborations that have flourished through members meeting each other at our local groups, our annual conference or the many events we run which also double up as opportunities for members to meet, connect and share ideas.

It’s also a real boost when we get great feedback from you about an ISM service you’ve just used that has helped you in your work as a professional musician. The feedback we receive from you is incredibly important as it helps us to shape the Society for our members.

What also helps us is the knowledge you are gathering at grassroots level, those issues or concerns about the wider music sector or concerns that have a direct impact on your work. The intelligence you are gathering in your work as a professional musician or music teacher may be something the ISM could support as the collective voice for other musicians and teachers.

If you would like to share your story, feedback, knowledge or even a word that you feel sums up the ISM for you, then here are the various ways you can do this: • Write us a letter and send it to Freepost RTHK-YYEJ-YCLB, Incorporated Society of Musicians, 4-5 Inverness Mews, London W2 3JQ • Send us an email to membership@ism.org with the title ‘My ISM is’ • Share at facebook.com/myismis • Share your word Twitter #myismis We look forward to hearing from you.

ISM Webinars ISM webinars offer members the chance to access key professional development opportunities at work, home or on the move.

If you can’t join us for the live broadcasts, you can catch-up by watching recordings of the sessions on our website at www.ism.org/webinars.

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Changed by Art Composer Jim Aitchison on learning musical lessons from one of the world’s most important living visual artists.

University and Yamaha Music London. In the second half of the evening, the Kreutzer Quartet performed exactly the same music, recomposed for strings, at the Royal Academy of Music alongside projections of the paintings by Richter.

Right: Seascape (Sea-Sea), 1970, © Gerhard Richter 2014

Standing in front of paintings by Gerhard Richter at Tate Modern a little over two years ago, my reaction was probably not that of most people: I decided to compose a piece of music in response to these artworks. What I did not know was just how profoundly this decision would come to affect many of my conceptions and approaches to composition, both during and after the process.

The creative result was a large scale project supported by Arts Council England, the PRS for Music Foundation, Yamaha, Falmouth University, the Royal Academy of Music and Goldsmiths University, unveiled on Saturday 22 February 2014, when pianist Roderick Chadwick and the Kreutzer Quartet performed my piece, Portraits for a Study, in two different versions, for solo piano and then for string quartet, each lasting about an hour, to four venues across London and Cornwall simultaneously. Roderick performed on a Disklavier piano, a modified concert grand piano made by Yamaha, at the Royal Academy of Music, joined via the Internet to three other Disklaviers in London and Cornwall, which recreated exactly what he played simultaneously, by themselves, to audiences at Falmouth University, Goldsmiths

As it happens, I have made interactions with visual artworks a central part of my work as a composer for more than a decade, often with my long time collaborators, the Kreutzer Quartet and friends (Peter Sheppard Skærved, Mihailo Trandafilovsky, Morgan Goff, Neil Heyde, Michael Thompson, Nicholas Clapton and Roderick Chadwick).

Since childhood, I have always experienced music more intensely with images in my mind, and in 2002 a commission to respond to paintings by Jeremy Annear brought an astonishing realization that I could take aspects of visual artworks such as ideas and concepts, shapes, colours, textures, patterns and intervals and translate these into ways of affecting musical material that I would never have considered otherwise. Subsequently, I have created many pieces of music in response to artists and artworks, notably, to Antony Gormley, presented at his studio and at Kings Place, to Doris Salcedo’s Shibboleth Installation, performed and filmed in the Turbine Hall at Tate Modern, to the 2008/2009 Mark Rothko exhibition commissioned

by Tate Modern and performed in the exhibition, and to Anish Kapoor, performed at the RA. In turning to Gerhard Richter, I found myself contemplating art famously controversial for seeming to be so violently diverse in style and approach: photo-real depictions of people, objects and landscapes, severely minimal impersonal constructions, dynamic abstractions, and works that merge aspects of these areas. For me, as a composer struggling to find any sense of musical legitimacy in the C21st, the discovery of Richter’s acceptance and elevation of uncertainty into a guiding artistic principle came as a kind of epiphany.

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

From uncertainty, comes obscuring distance, a rejection of dogma and any attempt to ‘explain’ the world, leading to a preoccupation with appearances, and a host of strategies with which to engage with surface. And yet, there is no sense in which the work is in any way superficial.

Deeper layers are not rejected; they are simply not explained or signposted, and as such, all aspects of living that surround the artist, from the apparently mundane to the apparently sublime, are leveled out, and in each case we are invited to contemplate a surface and perhaps something else, but we are not led by the hand anywhere.

Above: (l-r) Aunt Marianne (1965), 4096 Colours (1974), Dead (1988), 48 Portraits (1972) © Gerhard Richter 2014

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nonetheless became a ubiquitous presence in the piano stools of households from the C19th until quite recently. Here was a musical snapshot, both personal, and one floating almost anonymously through a larger vessel of collective consciousness.

Accordingly, for the entire span of musical responses to Richter, I conceived a loose trajectory: a passage from Bach to Beethoven, over a partial erasure of Dussek, all passed through a variety of filters derived from procedures used by Richter and associated with particular artworks.

Regarding such procedures (blurring, erasure, Palimpsest, blowup, the use of multiples, distance (expressive and literal), chance limited and Richter’s practice of responding to what was mediated through formal processes), all have around him led me initially in the direction of seeking to copy and manipulate aspects of a wider played an enormous role throughout Portraits for a Study, and I put a great deal of effort into contemporary musical environment. However, issues of copyright militated strongly against this, generating corresponding musical analogues.

These were manifested particularly in harvesting, so I had to rethink. This prompted me to consider re-assembling and ‘painting over’ tiny fragments both Richter’s, and my own engagement with the or even whole pieces of music by Bach, Dussek and past. Given the questions regarding uncertainty Beethoven according to simple pre-established and the presence of multiple musical pasts, rules (in one movement, I used fragments from working through filters derived from Richter’s all 371 chorale harmonisations by Bach). Also, in procedures turned out to be decisive. creating transcriptions of ‘photo-improvisations’, And so, I allowed chance to decide my fundamental in applying rigid filters to large spans of material, musical source material, choosing both what was and in using strict methods of cutting and renearest, lying around me in my office, and rightly ordering material where the outcome of this was or wrongly, music that happened to be potent, uncertain. Uncertainty and literal geographical dominating and canonical: scores bearing the distance was also built into the performance weighty presences of JS Bach and Beethoven. configuration itself: there was no way of knowing In contrast, I also selected what was most visible to exactly how much of the data performed by me in my own musical memory: when I was a child Roderick Chadwick would come through, someone in my family used to play a Rondo from a transferred as it was via the Internet over the little Sonatina for piano by the obscure early C19th 300 miles separating the remote Disklaviers.

Czech composer, Jan Ladislav Dussek, music that

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

To give just one example of how I engaged with a painting that treads a long distance back to a hidden past: Aunt Marianne, painted in 1965, depicts a disarmingly ordinary image of the artist as a baby with his aunt before WWII, as a blurred, black and white photo-real image painted in oil on canvas. There are no indications on the surface that point to Marianne’s fate at the hands of the Nazis (she was a schizophrenic, sterilised and ultimately euthanised by the SS). As curator Paul Moorhouse puts it, the facts, once known, “infiltrate a shard of flint within a seeming sweetness.” (Moorhouse, Gerhard Richter Portraits: Painting Appearances, National Portrait Gallery, London 2009, p.88).

ever undertaken as it has challenged my notions, fundamentally, regarding musical past and present, image and music, chance and design, and has enabled me to find the courage to embrace uncertainty in both the familiar, and unfamiliar.

It was also a success as a performance, with the music itself leaving the strongest impression rather than only the technology. The legacy of the project is two substantial pieces, one for conventional solo piano and another for string quartet, which I hope pianists and quartets might be interested to explore in future as concert pieces. It has also ignited a new phase of work where I am seeking to develop both musical and visual objects, building upon the insights gained from my work with Richter and It seemed appropriate, given its specific associations all the artists I have worked with. I am currently for me and its broader, innocuous place in history, developing a project with pianist Ashley Wass and that the Rondo from Dussek’s Sonatina in G major, National Portrait Gallery curator Paul Moorhouse, Op.21, be presented in its entirety as a ‘mechanical’ exploring the idea of creative death (and recopy, and that this ‘object’ should engage with ignition) through the lens of contemplating Artur the process of blurring used by the artist. I used Schnabel’s final performance, and art by Albrecht very simple pianistic means to achieve a kind Dürer and several modern and contemporary of analogue to this: the application of a ‘slow visual artists. tremolo,’ extreme octave displacements, the softest dynamic level and high resonance via the sustain Jim Aitchison, composer pedal. In the string quartet version, the music was Honorary Research Fellow, Royal Academy of Music more or less completely rewritten: far less textural Associate Lecturer, Falmouth University activity was required from the strings in order to achieve a similar effect, while the range of new www.jimaitchison.com timbral possibilities suggested that the whole movement could be composed in harmonics.

The expressive outcome in both cases was that of a disquieted, blurred sweetness.

The project to make responses to Richter’s artworks was an exhausting and daunting one, and yet, probably the most rewarding I have

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Orchestras 2014/15 – your guide to the new season September is always an exciting time with the launch of the new orchestral season.

As the autumn and winter weather sets in, what better way to spend the longer evenings than with one of the United Kingdom’s finest orchestras?

Although funding still remains tight after the Arts Council England settlement some weeks ago, our orchestras, the very centre of Britain’s musical life, have announced their new orchestral seasons. Many are celebrating the great tradition of orchestral music with performances of entire cycles but are also championing the new. There are several themes running through our orchestra’s new seasons, including major Beethoven performances, marking the centenary of WW1 and saying goodbye to Principal Conductors.

WW1 focus With the centenary of WW1 this year, dedicated performances have been scheduled in several 2014/15 seasons. On Remembrance Sunday weekend, the Royal Scottish National Orchestra (RSNO) will be performing Cecil Coles’ Behind the Lines, a work co-commissioned between the RSNO and London Symphony Orchestra (LSO).

The LSO will have performed the same work on 1 and 2 November. The idea for Equal Voices came from Sir Andrew Motion, whose powerful collection of poetry Laurels and Donkeys reflects on many aspects of war. The London Philharmonic Orchestra (LPO) is marking the WW1 centenary with a performance of Britten’s War Requiem in the Royal Albert Hall, featuring Bryn Terfel as a soloist, also on Remembrance Sunday. The Hallé Orchestra’s WW1 centenary celebrations comprise four different works from the era from composers Butterworth, Elgar, Bax and Sibelius. What is most notable about this programme is that Elgar’s work, The Spirit of England was composed during the time Butterworth was killed in action.

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Russian culture focus The quintessence of Russian music is a theme for more than one orchestra this 2014/15 season.

The LSO launched their 2014/15 season with the first of five all-Russian programmes including iconic works by Tishchenko, Prokofiev, Shostakovich, Tchaikovsky, Balakirev, Glazunov and Rachmaninov, to celebrate the orchestra’s Principal Conductor, Valery Gergiev, whose tenure draws to a close next year. The RSNO will also be performing an all-Russian programme in its December concerts, performing Prokofiev’s Russian Overture, Shostakovich’s Piano Concerto No 2 and Rachmaninov’s Symphony No 2, while the CBSO schedule in two aptly named ‘Russian Classics’ dates for their celebration of Russian music.

The LPO is also embracing Russian culture by celebrating the music of Rachmaninov in their 2014/15 season. The orchestra will be exploring the composer’s major orchestral works alongside the lesser known Spring Cantata and opera The Miserly Knight. The grandfather of Principal Conductor Vladimir Jurowski is an integral part of this celebration of Russian culture – he is the arranger of various Rachmaninov songs that will be performed by the orchestra in April 2015.

With its Youth Orchestra honouring Rachmaninov with a performance of his second Piano Concerto in December, the senior Hallé Orchestra is referencing another prominent Russian composer this season with a performance of all six Shostakovich concertos.

These concertos will be played by young soloists including violinists Viktoria Mullova and Henning Kraggerud, cellists Jian Wang and Alisa Weilerstein and pianist Benjamin Grosvenor.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Beethoven focus

New music and commissions

Beethoven’s works are landmarks of western classical music culture, as shown by the new seasons of various orchestras from the UK.

As part of their ongoing commitment to twentiethcentury and contemporary music, in late 2014 the BBC Symphony Orchestra will perform the UK premiere of composer Brett Dean’s The Annunciation. Dean is the orchestra’s Artist in Association and the work comprises his Christmas cantata, inspired by and commissioned for the 800th birthday of Bach’s St Thomas’s Choir in Leipzig.

The BBC Philharmonic Orchestra will be performing the Emperor piano concerto, his violin concerto, two full symphonies, and, as will the Scottish Chamber Orchestra (SCO) in their season, the complete incidental music to Egmont, complete with narration.

The RSNO is dedicating a performance of Beethoven’s Coriolan Overture to the centenary of WW1 on Remembrance Sunday, while the LSO will be performing Beethoven’s Piano Concerto No 5 (The Emperor) as part of their celebration of the centenary.

The Royal Northern Sinfonia will perform an entire cycle of Beethoven’s symphonies throughout their programme. In addition, Palestinian-Israeli pianist Saleem Ashkar will continue his marathon performance of Beethoven’s complete set of 32 Piano Sonatas. The BBC National Orchestra of Wales’ season is also featuring the cream of Beethoven’s piano works with a performance of his Piano Concerto No 1 featuring British pianist Benjamin Grosvenor, while the Hallé Orchestra will end their season in 2015 with Missa Solemnis.

The CBSO began their farewell season to Andris Nelsons with a three-week long Beethoven celebration, encompassing two entire cycles of all Beethoven symphonies in performance spanning over Europe. On the other side of the world in Australia, the Aurora Orchestra collaborated with the Australian National Academy of Music Orchestra to perform Beethoven’s Symphony No 3 (Eroica).

Above: The London Philharmonic Orchestra Photo: Benjamin Ealovega Far left: Members of Royal Northern Sinfonia Photo: Mark Savage

Continuing their dedication to new music having celebrated twentieth century music as part of The Rest Is Noise Festival last year, the LPO will be premiering works by Harrison Birtwistle, both Composer in Residence Julian Anderson and new Composer in Residence Magnus Lindberg, and acclaimed film composer James Horner.

The BBC Philharmonic Orchestra will continue their tradition of championing British Music with the premiere of David Matthews’s Eighth Symphony which follows the orchestra’s critically acclaimed performance of Matthews’s A Vision of the Sea which premiered at last year’s BBC Proms.

Like the LSO and Gergiev, a main theme in the CBSO’s new season surrounds Principal Conductor Andris Nelsons whose seven year tenure draws to a close. As well as performances of Nelson’s favourite repertoire throughout 2014/15, the CBSO will be performing a new, unnamed, choral work

by Latvian composer Eriks Ešenvalds, which has been jointly commissioned with Nelsons’s new orchestra in Boston. This will take place as part of the ‘Andris Nelsons Farewell Concerts’ at the end of the season.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Guest conductors and iconic works The LSO is referencing much of their history with the return of two former Principal Conductors - Laureate André Previn and Michael Tilson Thomas, as well as inviting six of Britain’s finest conductors to join the orchestra. ISM members Sir John Eliot Gardiner and Sir Simon Rattle, Sir Antonio Pappano, Daniel Harding, Robin Ticciati and Sir Mark Elder will be performing with the orchestra over a period of several dates comprising performances of iconic works such as Brahms’s Symphony No 3, Mahler’s Symphony No 4 and Tchaikovsky’s Symphony No 6 among others.

Above: The London Symphony Orchestra at the Barbican Photo: Igor Emmerich

Notable celebrations Continuing their self-proclaimed mission to place the best contemporary classical music at the heart of today’s culture, the London Sinfonietta is celebrating its long standing relationship with composer Harrison Birtwistle, who has helped define the ensemble over the past 45 years.

To celebrate his recent birthday, the orchestra are also performing Birtwistle’s recent commissions (including In Broken Images, which is due to be released on NMC Recordings in the spring) as well as performing a world premiere of a new work. Performances will feature musicians from the Royal Academy of Music, embracing a new generation of professional players alongside Birtwistle’s repertoire.

To celebrate the past 150 illustrious years of composer Carl Nielsen, the BBC Symphony Orchestra, the BBC Philharmonic Orchestra, the Royal Northern Sinfonia and Hallé Orchestra have included the composer’s most popular works in their 2014/15 season. The BBC Symphony Orchestra and BBC Philharmonic Orchestra will be performing an entire cycle of Nielsen’s symphonies while the Royal Northern Sinfonia marks the composer’s birthday with a performance of his clarinet concerto, featuring clarinettist Julian Bliss.

Next year also sees the 90th birthday of composer Pierre Boulez, where the BBC Symphony Orchestra will be celebrating with an ‘Immersion Day’ dedicated to the composer. The orchestra will perform Pli selon pli (featuring soprano Yeree Suh) and Notations I-IV & VII. While birthdays are celebrated, the Aurora Orchestra are dedicating an evening to the memory of contemporary composer Steven Martland, who was described in a Guardian obituary last year as ‘one of the most vibrant, unconventional and dynamic forces in British music’. As well as Martland’s Starry Night, the orchestra will be performing John Adams’s Chamber Symphony.

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The Hallé Orchestra’s focus is also on iconic works including Mahler’s Symphony No 5, Britten’s Young Person’s Guide, Holst’s The Planets and Ravel’s Daphnis and Chloé, all under the baton of guest conductor Sir Mark Elder. Other guest conductors Cristian Macelaru and Andrew Gourlay also feature, with performances of Bartok’s Concerto for Orchestra and a complete performance of Tchaikovsky’s The Nutcracker.

Among Andris Nelsons’s farewell celebrations, young conductors Lahav Shani and Gustavo Gimeno will be making their debut performances with the CBSO, performing Prokofiev’s War and Peace and Tchaikovsky’s Overture: Romeo and Juliet.

Francesca Treadaway, Communications Officer, ISM To view the full seasons of each of the orchestras in this feature, please visit their websites.

Aurora Orchestra: www.auroraorchestra.com BBC National Orchestra of Wales: www.bbc.co.uk/bbcnow BBC Symphony Orchestra: www.bbc.co.uk/symphonyorchestra BBC Philharmonic Orchestra: www.bbc.co.uk/philharmonic City of Birmingham Symphony Orchestra: www.cbso.co.uk Halle Orchestra: www.halle.co.uk London Sinfonietta: www.londonsinfonietta.org.uk London Symphony Orchestra: www.lso.co.uk London Philharmonic Orchestra: www.lpo.org.uk Royal Northern Sinfonia: www.sagegateshead.com/rns Royal Scottish National Orchestra: www.rsno.org.uk Scottish Chamber Orchestra: www.sco.org.uk

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

ABRSM’s Making Music report: more music, but access remains an issue In one busy week in September, music education was brought to the forefront of all minds.

The widely anticipated second instalment of James Rhodes’ Don’t Stop the Music was broadcast – which reminded us of the value of music education – the latest government consultation on new GCSE, AS and A levels closed, and ABRSM, the exam board of the Royal Schools of Music, published the Making Music report.

The Making Music report represents a major collaboration with partners from across the music education sector. Its recommendations have been informed not only by the survey’s statistical data, but also by a roundtable discussion and a series of one-to-one interviews with many organisations and individuals, including the Incorporated Society of Musicians. Where possible, results have been tracked back to data available from research conducted in 1993, 1996 and 1999 for previous ABRSM Making Music reports.

How the research was conducted The research for this report was conducted in two stages, one involving online interviews with adults and children, and the other with music teachers.

Adults (aged 18 and over) and children (aged 5–17) were interviewed via an online panel partner.

In total 1,726 children and 1,255 adults were interviewed.

In order to obtain views from teachers throughout the United Kingdom, the online survey was emailed to ABRSM and Trinity College London teachers, and a number of leading partner organisations who have members that work in music education. In total 4,491 teachers were interviewed.

The survey Teaching

Overall, music teachers who took part in the survey expressed great satisfaction and commitment to their work, with a respondent describing their job as ‘varied’ and ‘rewarding’, despite being faced with challenges. Respondents rated their professional fulfilment level as 8 out of 10, with one in five scoring 10 out of 10. Only 8% of respondents rated their job as zero to 5 out of 10.

A love of teaching and desire to pass on skills were the dominant factors that motivated music

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

teachers, with fulfilment increasing the longer they remained in the profession. [Fig 34] However, half of respondents cited negative aspects to their profession. Lack of support from schools and parents, and a lack of student motivation were as named the main issues. The survey also showed that classroom teachers’ experiences depended on whether they worked in the public or private sector. Respondents who taught for music services and music centres had lower levels of professional satisfaction. The expectation placed upon music education hubs, along with pressure on local authority budgets and reduced central government funding, has had a negative effect on teachers working in this context than on others.

In addition to this, one respondent reported the instability that comes with working as a peripatetic music teacher; that they are ‘working on a temporary cover/supply contract with a music service, with no hope of being made permanent’, and that they are ‘only paid for the hours worked’.

With this insecurity, those who wished to teach but not rely entirely on hours from music services taught privately; this being the case for 85% of respondents overall. Comments from music

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teachers indicated that the flexibility of private teaching is valued as they were able to fit teaching around family life and other commitments. Against this background, it is perhaps not surprising that the survey found that 56% of teachers who worked for music services and music education hubs have undertaken work in music which was not teaching, and that one out of five have worked in other industries. [Fig 36] With regards to music lessons, the majority of teachers who responded to the survey said they taught students individually. Teachers who worked for music education hubs, music services and in state schools taught groups on a regular basis, although progression from whole-class instrumental teaching was shown to be minimal, with only 18% of students having continued with the same instrument while 16% continued with a different instrument after their group-teaching experience. The most commonly group-taught instrument is recorder, followed by singing. One reason for this could be that the instruments available to students in a group lesson may not necessarily be the one they would pick themselves.

[Fig 41]

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Instruments and lessons

The survey’s opening line – ‘seven in every 10 children (69%) in the UK say that they currently play a musical instrument’ – is good news, and is an increase on previous results from research conducted by ABRSM.

Once considered unpopular by the previous ABRSM surveys, the electric guitar, bass guitar and keyboard rose favourably in popularity and all appeared in the top ten of instruments played.

The piano, the most popular choice in 1999, remained in the top ten but was much more accessible to those from advantaged backgrounds.

Therefore, because of its accessibility to lower socioeconomic grades, the keyboard pushed the piano off the top spot and took the number one place.

Even though it was the most popular instrument learnt by children aged 5-14 years in 1999 and most recently, one of the most popular instruments used in group teaching, the recorder increased in popularity by only 3% - a considerably lower rate in comparison to other instruments. [Fig 26]

There was also an identifiable gender division in instrumental choices, with more boys playing drum kit and twice as many playing percussion compared with girls. At the same time, more girls than boys are playing recorder, violin and flute.

Socioeconomic grades

There was a noticeable difference between socioeconomic grades and access to formal lessons which has had an effect on the subsequent progression and sustainability of learning.

The survey showed 74% of children from an affluent background had instrumental lessons by comparison with 55% from a lower socioeconomic grade. The majority of learners are group taught in school. However, almost half of children who had individual lessons in school or taught privately were from a higher socioeconomic grade.

Progression through graded examinations was seen more in children from advantaged backgrounds – namely those who had private lessons. Results also showed that less than a third of children who have instrumental lessons at school had taken a formal exam. [Fig 17]

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

‘Funding is directly related to access and progression.’

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Barriers to accessing music

school while in Wales and Scotland, 10% fewer children play instruments than in England and As shown in the report, there is a financial barrier Northern Ireland. So what are the Welsh and to learning music which has hindered levels of Scottish governments going to do to address this progression and sustainable learning. 64% of teachers and 29% of children who had never played inequality in access? Perhaps even more concerning an instrument cited cost of instruments and lessons is the news that, in the absence of ring-fenced central funding for music services, numerous the main issue. [Fig 19] Welsh local authorities are beginning to propose There are also major geographical variations scrapping their music services. We urgently need contributing to this financial barrier. While a Welsh music education with funding attached.

Northern Ireland has issues with continuation Despite the piloting of a teacher training module of study (more than half of respondents from as part of the National Plan for Music Education, Northern Ireland have stopped instrumental lessons), access to music in Wales in particular is of huge challenges remain around the supply of musically confident primary teachers. This also grave concern as 47% of children stated that they relates to the continuing concerns around Ofsted’s had never played an instrument. inspection framework and the omission of music, and the evidence that music is ignored in some The next steps school inspections. So, the ISM will continue to call There is much to be celebrated in the Making Music for Ofsted’s inspection framework to include music report. However, there is still some way to go before at a meaningful level. We also need to ensure that music education in the UK is available to all. there is a commitment for sustained funding for music education hubs to at least 2020. Funding is The cost of lessons and a lack of support from directly related to access and progression. We know schools have been identified as ongoing problems that if funding falls below a certain level then it will which lie at the heart of access to music education be impossible to deliver the National Plan for Music and progression. As seen in several results in the Education. So a minimum commitment of £75m per survey, private teaching is still the best route for annum is essential. progression and sustainable education, but this is a path only for those who can afford it. This only When noting ABRSM’s references to their reports echoes Julian Lloyd Webber’s – Protect Music of the past, the musical landscape has altered Education supporter and chairman of Sistema considerably, sometimes for the better and England – thoughts that some results in the survey sometimes not. As Julian Lloyd Webber (and more ‘continues to foster the misguided belief that recently, Sir Simon Rattle) said, ‘Music should be a classical music is a white, middle-class and elitist birth-right for all children.’ We can only agree. activity.’ In addition to this, there are also clear Read the full report at http://gb.abrsm.org/en/ geographical variations that are affecting access on making-music a regional scale and beyond. The survey showed that 40% of children from lower socioeconomic Francesca Treadaway, Communications Officer, ISM grades said they had no opportunity to learn at

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NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email mj@ism.org.

The next deadline for copy is 28 November for January/February issue

Young Musicians, Anglia Ruskin University, Cambridge Youth Music, Christine Gwynn and Frances Quintrell Hills Road Sixth Form College and the faculties of Education and Music at the have launched a new season of Arbutus Music singing events in Essex, University of Cambridge. which began on Thursday 16 October This concert is presented in association with Sing All Around My Hat, a ‘flowerwith Kettle’s Yard with financial powered’ day of singing. Designed support from John Lewis and to encourage group singing, Arbutus Cambridgeshire Music Hub. Music workshops offer opportunities for both experienced choristers and those new to singing to develop vocal Oxford Philomusica Piano technique, part-singing, blend and Festival and Summer tone, whilst exploring a diverse array Academy 2014 of music. The 2014-15 season includes sacred music, a range of musicals and Rosemary Wiseman writes: What is so special about the Oxford shows, music for Christmastime and Barbara White – pupil’s Philomusica Piano Festival? Even a New Year Sing Gym day. outstanding achievement attending for just a morning or an For details of all events visit afternoon can be most worthwhile, 10-year-old pianist James Chen, www.arbutusmusic.net as I was to discover. I was inspired by from Stockton-on-Tees, is one of the the informal and friendly atmosphere, youngest in the world to be awarded created by Marios Papadoupolos MBE, Young Composers’ Network the prestigious performance Diploma the Artistic Director of the Festival. from the ABRSM. James obtained a Student members Alex Woolf and distinction in it, just eight months There were masterclasses and lectures Alex Cook not only share a name after achieving 140 out of a possible with a high calibre of musical artists, and a hometown of Cambridge, 150 marks for Grade 8. including an amazing pedagogy but a passion for composition. lecture with 94-year-old Dame Fanny On 18 November, they are curating His teacher, Barbara White, a concert Waterman. I was impressed with the a showcase of their works and pianist, teacher of nearly 40 years high standard of the students, who are those of other young, Cambridgeexperience and ABRSM examiner, told selected only after auditioning. based composers in Kettle’s Yard, us: ‘James came to me in April 2012, Cambridge, and are keen to show just started to explore a vast amount of It has been wonderful to apply so how vibrant and varied new music repertoire with me, and also began much of what I learnt at the Festival can be. For further information, go to compete and perform in public, into my own teaching and performing achieving a great deal of success. I am to alexwoolf.net and facebook.com/ work. Make a date next year to attend thrilled to witness his latest remarkable alexcookcomposer. this Piano Festival and take your own achievement. He is also such a musical masters course in Oxford.

Dr Frankie Williams adds: determined young person, with a real Co-ordinated by Composers in Action, www.oxfordphil.com/piano-festival passion to learn. Despite his high level this event combines the talents www.rosemarywiseman.com of achievement on the piano, violin of the Young Composers’ Network and academically across the board, and Aldeburgh Young Musicians. he is very polite and humble. I am sure Composers in Action was set up to his attitude will take him far.’ encourage young people to write James has started at Chetham’s School music. The organisation achieves of Music in Manchester this September this through a range of projects and to study piano, violin and composition. opportunities, working closely with the following partners: Aldeburgh

Arbutus Music

Above: Frances Quintrell (left) and Christine Gwynn

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Mary Dullea’s autumn projects

Photo: Doug Blanks

Pianist Mary Dullea is playing a coast-to-coast tour of the USA in November with her piano trio, The Fidelio Trio with concerts in Seattle, Sacramento, SubCulture New York City, Princeton, Bowling Green and Boston and seminars and masterclasses at Peabody, Curtis and MIT. Another autumn highlight is ‘The Fidelio Trio and Friends Winter Chamber Music Festival’ in Belvedere House, Dublin, on 5-7 December with guest artists, Nicholas Daniel (oboe) and Meghan Cassidy (viola). They will premiere three new works by Gerald Barry and Seoirse Bodley and also host the European Chamber Music Teachers Association Winter Gathering which will run concurrently with the Festival in Dublin. CD releases include Eric Craven’s Sonatas 7, 8 and 9 and ‘Gothic’ Jeffery Wilson is delighted to New Piano Music from Ireland, both on announce plans for 2015. He has just completed a new trumpet and piano Metier Divine Art. piece for Paul Archibald entitled The In August, Mary launched a new Boy King. His Clarinet Concerto will venture – an annual chamber music be premiered by the dedicatees, HM festival on Valentia Island, Co. Kerry.

Band of the Welsh Guards during their centenary year. New for 2015 is the www.marydullea.com composition of a new choral work www.fideliotrio.com for The Waltham Singers, its central theme – ‘a sense of place’. An electro Octagon Concert Series acoustic piece for Victoria Soames celebrates 30 years.

Samek called Journeying is nearing The Series of concerts, started 30 years completion. ago by Mary Rae, has raised thousands of pounds for charity. All performers have given freely of their services throughout the history of the series.

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Camden Music have just published a set of three books called Jazz Paraphrase for flute, clarinet and saxophone respectively. Saxtet Publications recently released Jeffery’s Iconic Sonata – so called since the music refers to some of the most ‘iconic’ players of the tenor sax.

Jeffery is delighted that Brasswind Publications have published his Timpani Concerto and Three Haiku for Clarinet Choir.

The composer writes in the programme; ‘I feel privileged to www.jefferywilson.co.uk have been commissioned to write for such an auspicious occasion, and Panufnik centenary I am humbled and inspired by the celebrations tireless dedication of Mary Rae and the Octagon Concert Series team.’

A host of high-profile concerts and events have taken place in the UK www.octagonmusic.org.uk throughout this year for the 100th anniversary of the birth of the Jeffery Wilson distinguished international composer Sir Andrzej Panufnik (September 1914 – October 1991) in 2014. Born in Poland, he spent half his life working in England and was knighted for his services to British music in his last year.

Right: Mary Dullea

Far right: Jeffery Wilson

The 30th Anniversary Concert will take place on Saturday 15 November in the Octagon Chapel in Norwich.

The concert will include the first performance of a large scale choral work Transfiguration by Kenneth Ian Hÿtch with other ISM members taking part; Karen Harries (mezzo-soprano), Claire Moore (flute) and Judy Tovey (piano), with the Octagon Singers and a string orchestra.

As well as major performances from leading British orchestras and CD releases including compositions

by Roxanna Panufnik, Panufnik’s autobiography Composing Myself has been republished with a new postscript by Lady Camilla Panufnik covering the last years of his life.

A day of celebration at Kings Place – Panufnik 100: A Family Celebration – will take place on 30 November featuring the Brodsky Quartet and Friends. A feature about the day, written by Jill Barlow, will be available on our website in early December.

Obituaries With regret, we report the deaths of: Sharon Burnham of Ripley Millicent S Clarke of Waltham Abbey Christopher Hogwood CBE of Cambridge Joyce Lindley Parker of Cheshire Jose Tute of Louth Monica Wykes of Chorleywood

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Right: Christopher Hogwood CBE

In memoriam Christopher Hogwood, 1941-2014

Photo: Marco Borggreve

Performer, polymath, entrepreneur, instinctive educator I was so lucky to work with and learn from Christopher Hogwood over decades.

Whether with the Academy of Ancient Music (AAM), with mainstream players, or with students, he was genial, positive, and generous with his knowledge, to colleagues and audiences alike. He started as a chamber player, on early harp, then harpsichord; and a CD of 2002 showed his flair and finesse on clavichord.

As musicologist and director, he chose to invest in pioneering players of period instruments, while other, now major, figures held back from this seemingly shaky area. Those early AAM sessions, (called at the time by the players ‘earn as you learn’), produced many of our best instrumentalists and helped to put ‘historically informed’ playing on the map.

Sharing with him a background in Classics, I treasured his love of words and concern to see them embodied in performance, but was also in awe of the breadth of his further skills and interests. He produced important books, and excellent editions, from Corelli to Martinu (he was fluent in Czech); and had happy associations with orchestras and opera companies all over the world.

In good time, he planned the future of AAM by appointing his successors, currently Richard Eggar and Pavlo Besnosiuk, who continue its pioneering work, performing world- wide and serving the next generation with the ‘Aamplify’ programme at the Barbican and Guildhall School.

Last time I visited him, in early August in his beautiful house in Cambridge, he was mostly in bed but alert and positive, wanting to organize more live music there: ‘all these floors full of instruments!’ (countless performances around the country featured a keyboard instrument ‘on loan from Chris’).

I will miss him as a friend; and, in our musical world, an irreplaceable figure.

Dame Emma Kirkby Christopher Hogwood was the recipient of the ISM’s Distinguished Musician Award in 1997.

ISM meeting room We now have a fantastic meeting room available for hire at our new home at 4–5 Inverness Mews, London W2 3JQ. Members can hire the space at the special members’ rate of £100 for a half day or £190 for the full day. Included in your hire rate is free use of tea and coffee, internet facilities and flat screen TV. The room takes up to 16 people board room style, with 25 theatre style.

For further details and bookings, please contact Rebecca Mair at roombooking@ism.org or 020 7313 9321.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Our new members

We offer a warm welcome to the following members who joined before 30 September Full members

Kent

Birmingham

David Brazier BMusHonsCCCU Michael J Yeoman PGCE BAHonsKent

Sarah Chamberlain BMusHons Dominic Macmillan-Scott BMusHonsBCU Alexandra Wynne BMusHonsBCU

Brighton Madeline Dunn BAHonsChichester Simon Hoskins BMusBrighton Ola Kargbo-Reffell BABrighton Chris Ostler BASussex Duncan Purvey ALCM GLCM PGCE Jeremy Ralph Swanwick GBSM ABSM

Bristol Penelope Appleyard MAChichester DipABRSM Natalia Gittings DipRCM Sally E Hallett LLCM ALCM Clare Sealey Cambridge Maureen Brathwaite BA

Cheltenham Eleanor Freeman Croydon Alastair Warren BMusHonsRCM

Devon & Cornwall Jude Cummins BMusSurrey

Eastbourne & Hastings James Treweek BAHons

Guildford Caroline Clarke Monika Didziulyte LRAM BMusHonsRAM Jean Gauci BMusHonsKingston LGSM Howard Johnstone

Hereford & Worcester Rebecca Murray-Gilling BAHonsNott

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Lancaster Hannah Peel BMusHonsRNCM

Lea Valley James Williams MARAM BMusTrinityLaban

Leicester Robert-John Edwards

Lincoln

Elizabeth Murphy GTCL LTCL

Liverpool Owen Bryce BAHonsLiverpool Rebekah Pritchard Adair BALeeds Robert Shorrocks

London – North

Sarah Clarke BAYork Tanya Cracknell BAEAnglia Katherine De La Matter BMusQueensCanada Will Glaser BMusHonsGSMD Giorgia Macellari BMus Tereza Privratska BMusHonsRAM Catherine Saumarez PGDipRCM Sebastian Stear Bernadeta Urbonaite LRSM BMusLithuania Natalie Watson BMusHonsRAM

London – South East Rhuti Carr BMusHonsRCM Ellen Gallagher BAHonsWales MAWales Rosie Glass PGDipTCM Daniel Gooch BMusHonsRWCMD Emma Hughes BMusCardiff James Risdon LRSM

Moises Silva BMusESMAE

London – South West Rupert Caney BAUEL Michele Farrow BEdHonsKent Charis Jenson BMusHonsRCM Natalie Johnson-Hyde BMusHonsBCU Stefanie Leitner BAAntonBruckner BASalzberg Ricardo Panela MMus Susan Sturrock BMusHonsRCM Kenneth Virgin Geoffrey Williams BAAngliaRuskin

London – West Alberto Antonio Barreto BMusUWL Hester Chapman BMusHonsRNCM Katarina Dordevic MARAM Matthew Fletcher BMusLeeds Patricia Hammond Matthew Redman BMusHonsLond Alanna Tonetti-Tieppo MMusRCM BMusHonsRAM

Manchester Karen Lindop BALeeds PGCE Richard Anthony Lye Alison Mancini BABathCHE PGCE Hilary McArthur LWCMD PGCertEd

Norfolk Fiona Kerr North of England David J Biermann MACantab ARCM Christopher Davies BMusHons James Hedges BAHonsNewcastle Fiona Lander BAColchesterInstitute PGCE

Northern Ireland Helen Aiken BMusHonsBelfast

Claire Bowes BAHonsBelfast Amy Fitzsimons BMusCincinnati Loreto McAuley BMusBelfast

Nottingham George Pierson BMusHonsSurrey

Oxford Sue Snell DipTCL PGCE

Portsmouth Thomas Courtney BMusHonsCCCU Christopher Mason BAHonsSolent Hazel Ricketts MASoton

Reading Andrew Harding BMusHonsSurrey Sarah Maxted BMusHonsRWCMD Virginia McMurtrie BMusBirm DipOrchStudies Jacqui Scott

Scotland – North East Jayne Carmichael Norrie BMusHonsAberdeen

Scotland – South West David Munn BMusHonsGlas

Sheffield Andrew Dressler DipLCM Yang Hearnshaw MMusSheffield Joanne Robertson BMusUCE QTS PGCE Daniel Timmins PGCE BMusLondon QTS MEdCambridge

South Wales Eugene Monteith BMusHonsBelfast PGDipRWCMD MAWales James Rutherford BMusHonsBCU Charlotte Jenna Shiells BMusHonsWales Don Sweeney BMusWashington

Southampton Andrew Daniels MASurrey Louise Tubb ALCM PGCE BABath

St Albans Robert Clarke Debora Davies LTCL Fiona Hammacott BMusUCE Martin Hellewell LLCM Kathryn Laughton Sebastian Stanley BMusHonsRCM PerfDipRCM Kate Warner

Suffolk

Andrew Leach John Matta MAKingston

West Yorkshire Hepzibah Deane BAHonsLCM Jemma Johnson BAHonsLCM

Wiltshire Joyce Barnes LRAM GRCM Helen Heaton BEdWales BMusReading Jason Wrobel

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Our new members (continued) Student members

Birmingham

London – South East

Nathan Jones Mark Pringle

Louis Archer Coline Infante

Cambridge

London – South West

Alastair Chilvers

Devon & Cornwall Hannah Birt

Oliver Cuttriss Nadine Galea

Sheffield

Friends

Corporate members

Eleanor Smith

Sarah Goffin

Royal School of Church Music Andrew Reid E: enquiries@rscm.com T: 01722 424848 W: www.rscm.com

South Wales Mark Fortnum George Howle

West Yorkshire Adam Sangster

Manchester

Lea Valley Sophie-Anne Chaplin

Liverpool

Lauren Bedford Nicholas Birch Megan Collis

Norfolk

Helen Pile PGCE

London – North Duncan Appleby Darragh Brogan Georgia Hannant Luca Romano

Roseanna Skikun Isabel Thompson

Charlotte Evans

Portsmouth Tina Gelnere

Do you have a musical instrument that you could lend to the Benslow Instrument Loan Scheme?

Contact us and help to inspire the next generation of young musicians.

Tel: 01462 420748 Registered Charity No. 313755 www.benslow-musical-instrument-hire.org.uk

As a member of ISM, you can add our logo to your stationery or website. ber You can download our fellow, mem the and student logos directly from org. members’ area of our website, ism.

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TO

AT T

© CERI WOOD PHOTOGRAPHY

EN

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

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 28 November for January/February issue.

Drums for Schools Right: Andy Gleadhill

Music educator Andy Gleadhill has just returned from an action-packed four-week tour of South East Asia, where he has been spreading his uniquely practical and inclusive approach to music making to teachers and pupils in Singapore, Malaysia and Bangkok. The participating schools were so impressed by Andy’s approach that they’ve all invited him back next year. Andy’s approach is so accessible that it’s also suitable for teachers who are not music specialists and it’s so practical that delegates can put their new expertise into practice immediately they return to the classroom. For information about student workshops and professional development training in the UK contact andy.gleadhill@ drumsforschools.co.uk.

London College of Music London College of Music (LCM) is delighted to announce two new courses: BMus Performance and BMus Composition. Both take a fresh look at the needs and challenges of an ever-evolving industry. Performance students will be concentrating on an enhanced variety of performance

skills, with added weight placed on collaboration within ensembles and on developing the contextual skills that underpin practice-led research.

Composers will gain from an added series of seminars on the most recent developments in the compositional world. There is also a new specialist provision for Film Music Composers, with a dedicated module on The History of Film Music. A collaborative media project will empower our students to develop their team membership skills in film, animation, dance, drama, computer games or music theatre.

A ground-breaking new degree course developed by the Guildhall School and delivered in association with the Barbican is now open for applications. The BA in Performance and Creative Enterprise is aimed at training enterprising students, from musicians and theatre makers to spoken word artists and beatboxers, to be highly employable artists who will significantly contribute to the future of the arts. Subject to validation the programme will begin in 2015.

The School’s Orchestral Artistry specialism delivered in All this is an exciting extension of association with the London Symphony major changes at the University of Orchestra has enabled Guildhall West London which have already seen musicians to work with two high-profile relocation of LCM to dedicated new visiting conductors this term: Sir Antonio premises. LCM has just welcomed as Pappano and Bernard Haitink. its new Head of Classical Performance Studies Emilie Capulet: a virtuoso Royal Welsh College of Music pianist and widely-acclaimed lecture& Drama recitalist with a particular research interest in the interaction of literary The Royal Welsh College of Music narratives and music. & Drama welcomed the world this month when the NATO summit came to South Wales, bringing with it the Guildhall School of Music largest gathering of world leaders & Drama ever to take place in Britain.

Librettist and dramatist Stephen As well as hosting the meeting of Plaice has joined the Guildhall School NATO foreign ministers, the Royal as Writer in Residence for the new Welsh College provided musical MA in Opera Making and Writing entertainment for some of the key programme, which begins this year events. Royal Welsh College Harpist in association with the Royal Opera Sophie Clark and students performed House. He will support, supervise and for the NATO foreign ministers and mentor students on the full-time, oneRWCMD graduates performed at year Masters programme which allows a reception of the world leaders, composers and writers to focus on including President Barack Obama and how new opera is created, developed hosted by HRH The Prince of Wales. and performed, and is led by the Royal harpist and RWCMD graduate School’s Head of Composition Julian Hannah Stone, and the Welsh National Philips, in collaboration with its Opera Opera Brass Quintet also performed. and Technical Theatre departments, and Director of Opera for The Royal Following the summit, RWCMD Principal Opera, John Fulljames.

Hilary Boulding said, ‘Since the College Continued overleaf È

27

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

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

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ABRSM

NMC Recordings

Bath and North East Somerset Music Hub

The Royal Central School Of Speech & Drama

Charanga

The Royal Philharmonic Society

Leeds College of Music

The Opera Awards

Make Music Swindon

Trinity College London

MSST – The Andrew Lloyd Webber Programme

Yamaha Music Europe

Birmingham Conservatoire Colchester Institute Forwoods Drums for Schools J&A Beare London College of Music National Preparatory School Orchestra Oxford University Press Paritor For further information about our different levels of corporate membership and a full list of over 160 corporate members, visit ism.org

Musicguard

opened its new facilities in 2011, the venue has been used by a wide range of organisations and events including BBC Cardiff Singer of the World, World Stage Design 2013 and BBC Young Musician. It is now recognised as a major landmark in our capital city, and we have been privileged to play our part in one of the most prestigious events ever held in Wales.’

Royal Northern College of Music

perform internationally as a solo and chamber musician.

and Dance), Benslow Music Trust, and the New London Music Society.

Chris Hoyle, fellow cellist and Head of the School of Strings, said ‘It is a real privilege to watch this consummate artist teach and perform for our students.

My colleague Petr Prause of the Talich Quartet describes him as a ‘living legend’ and our International Chair in Viola, Nobuko Imai, as a ‘true genius’.’

He has served variously as Chair, Vice Chair, Company Secretary, Trustee and/or Director for several musical charities and companies, and is both a long-standing Member and a Fellow of the RCO.

Royal College of Organists

The Royal College of Organists has Miklós Perényi has been announced as appointed Philip Meaden as its new the RNCM’s new Haworth International Chief Executive.

Chair in Cello, a position made possible He joined the College on 1 October by support from The Haworth Trust.

2014, having moved from his previous Born in Hungary in 1948, Miklós is role as Principal and Managing Director recognised worldwide as one of the of Leeds College of Music. greatest cellists of his generation.

Philip has more than 20 years’ senior A multi-award winner, he completed leadership experience with wide his studies at the Franz Liszt Academy variety of musical and educational of Music in Budapest where he later organisations, including Morley College became a lecturer and professor. In London, Trinity College of Music (now addition to his numerous educational Trinity Laban Conservatoire of Music commitments, he continues to

28

Having studied organ at the Royal Academy of Music and Goldsmiths’ College, Philip still performs as a concert organist and is Associate Organist at Leeds Cathedral. www.rco.org.uk.

Hampstead Music Club Dorian Fords Jazz Trio will be performing at our Professional Concert Series (open to the public) on 19 November at Burgh House (8.05pm) There will be a light hearted Christmastide Celebration for members and their guests featuring participation by members from all sections of the Club at Burgh House on 2 December (8.05pm).

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

We look forward to our annual Autumn conference at St Paul’s Girls’ School, London on 2 November with our four Concert pianist, Mei Yi Foo, and viola eminent speakers Moria Little, Barbara concerto soloist, Philip Dukes, were both awarded Foundation Fellowships Houseman, Kathryn Davidson and Eileen Field. Let Me Tell You a Story by the Wells Cathedral School focuses on text. We will look at the Foundation at its annual awards anatomy of the articulatory muscles evening at the start of October. and there is fresh folk song repertoire They join a select group which includes for us all to learn. Two sessions international cellist Jamie Walton, with pupils will look at emotional Grammy-award winning sound engineer meaning and relevance of stories, Sam Okell and Gramophone awardand on how folk songs are assessed in winning counter tenor Iestyn Davies. examinations and festivals.

Wells Cathedral School

All events are open to non-members.

Go to www.aotos.org.uk for further details.

Stainer & Bell

Above: Philip Dukes and Mei Yi Foo have been honoured with Fellowships from Wells Cathedral School.

Mei Yi and Philip are both alumni of Wells Cathedral School and have been honoured with Fellowships in recognition of their contribution to the music world for their endeavours and achievements.

Winner of the BBC Best Newcomer of the Year award, Mei Yi Foo dazzled critics and audiences with her ‘liberating’ and ‘virtuoso display’ (The Times) at the prestigious BBC Music Magazine Awards 2013.

As a concert soloist, Philip Dukes has appeared with the BBC Philharmonic, London Philharmonic and the BBC National Orchestra of Wales. He is also Professor of Viola at the Royal Academy of Music.

Association of Teachers of Singing Our annual three-day Summer Conference was held at Warwick University in July. The keynote speaker was Dr Meribeth Dayme and was attended by over 70 member and non-member delegates. We were delighted at this conference to confer Honorary Life Membership to Paul Deegan and Coral Gould MBE in recognition of many years of service to our association.

An exciting catalogue of sixteen choral works for a cappella or accompanied choir – all available to view online in their entirety – Choral Now is a new digital series from Stainer & Bell.

There are three titles from established figures Ronald Corp, Philip Moore and Rhian Samuel, plus a further thirteen from Richard Bullen, Peter Foggitt, Alex Hall, Edmund Jolliffe, Richard Peirson and Benjamin Woodgates – young composers with impressive reputations and something original to say. This growing collection will embrace a rich diversity of styles, moods and functions, appealing to all serious singers and directors as an indispensable resource for choral music.

Supplied as PDF files, the pieces are available to view and purchase through the secure Stainer & Bell online shop at www.stainer.co.uk/ choralnow, which gives full details of each title together with composer profiles.

British Voice Association

Members come from the fields of singers and singing teachers, actors and voice coaches, laryngologists, voice scientists, and speech language therapists.

This diversity will be brought to the fore in the conference on 25 January 2015 in London. Called Collaborative Working, it will feature a clinical psychologist and a speech language therapist, a singing teacher and an Alexander Technique teacher, showing how diverse fields of expertise can work together to help the voice. www.britishvoiceassociation.org.uk

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: We are now gearing up to our second Scratch Youth Messiah at the Royal Albert Hall at 2pm on 30 November 2014. A ticket order form can been downloaded from our website, with half-price tickets for children aged 3–15. Over 1,000 young singers are signed up for the free singing places, and we are hoping to raise many thousands of pounds for WaterAid. Visit our website at www.trbc.co.uk for full details.

Information about the rest of our programme for the next 15 months can be seen in the brochure inserted into this issue of MJ. Choral singers who have always wanted to visit India, will find that our Rendezvous with Rajasthan (25 March–2 April 2015) ticks all the boxes, and ISM President-Elect Jeremy Jackman will conduct John Rutter’s evocative Requiem for us at the Royal Albert Hall on 10 May. All details are on our website, where you can also sign up to join our mailing list. If you don’t like using the Internet, you can write to us at PO Box 4211, Bath BA1 0HJ. We invite you to look through our brochure: with nearly a dozen singing events from which to choose, we are sure you will find something to tempt you to come and sing with us!

The British Voice Association is the dynamic, forward-looking forum connecting art, science, and medicine.

29

JazzviolinpiecesforChristmas

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♦ Expert arrangements and compositions at intermediate level (Grades 4-7) ♦ Wide range of jazz styles, from swing standards to contemporary ♦ Written-out solos, accessible yet idiomatic ♦ CD of full performances and backing tracks recorded by Ros Stephen and Nikki Iles

♦ The author’s credentials, as a celebrated jazz musician and educator, guarantee an authentic jazz sound £10.95

NEW Nikki Iles was a founder member of the Creative Jazz Orchestra, and has played with established musicians such as Kenny Wheeler, Art Farmer, Julian Argüelles, Norma Winstone, and Tina May. She is visiting professor at the Guildhall School, Royal Academy, and Trinity College in London, and jazz adviser to ABRSM.

with CD

www.oup.com/uk/music

Classified advertising NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and affordable recording services throughout Southern England and Wales. 10% discount for ISM members. www. chantrysound.co.uk or phone 01954 231117

A NEW DICTIONARY OF COMPOSERS is a chronological and alphabetical listing of over sixteen hundred composers including nationalities. A good way to establish composer anniversaries. Only $5.95 (approximately four pounds) as a eBook download - go to: www.

MUSIC COPYING SERVICE. lenrhodesmusic.com Quality printed music produced at reasonable BASOONS several good prices. For further details student instruments from contact David Turner, £600, 07974 412269 computer based music copyist, at 23 Overbrook, NEED AN ORCHESTRATOR OR ARRANGER? Hythe, Southampton Experienced orchestrator SO45 5BE, Tel: 02380 848146, email: dfturner@ and arranger available for hire – competitive waitrose.com rates. Please visit www.anthonyesland. com or email info@ anthonyesland.com for more information.

Available from music shops or direct from OUP: +44 (0)1536 452630, or music.orders.uk@oup.com

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 28 November for the 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.

PERFORMANCE Nerves?

Stage fright? Call Rosemary Wiseman Tel. 020 8958 8083 www. rosemarywiseman.com

COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1550 ONO. 07974 412269

HARPSICHORD. John Storrs 1980 2 manuals 8’ 8’ 4’ & buff. vgc £3000 01206 210306

SPINETT WITTMAYER (German) 4 octaves, C-D, light walnut. BGC needs tuning, hence £695 for a quick sale. Tel 07974 412269

FLEMISH SINGLE MANUAL HARPSICHORD. 5 Octaves, F-F. Padded Cover, £2,250 ONO, TEL: 0208 505 3631

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

Tel: 07974 412269.

STUDENT CELLOS, mostly German, various sizes, from £120. Tel. 07974 412269

NEED AN ACCOUNTANT? 15% discount for ISM members. Tel: (01373) 302468. www. fromeaccountant.co.uk SW FRANCE: Beautiful gites for rent in the most idyllic surroundings.

ISM members discount and use of Steinway B possible. Full details: www.frenchconnections. co.uk property 157289 or tel. 07860238733 moira_ hayward@yahoo.co.uk

HAFFNER ORCHESTRA, LANCASTER Musical Director / Principal Conductor is sought for this excellent amateur orchestra. There are currently three concerts annually, in November, February and June, with rehearsals 5 weeks prior to each concert. Excellent train communications.

Closing date 10 December. Visit www haffnerorchestra.org for details.

TRUMPETS! Bach700 (several) Excellent condition. All serviced. £100 each. 07974 412269

UPRIGHT PIANO: Schimmell Diamond Traditional 132, purchased new 12 years ago.

Beautiful instrument to play. It has been regularly maintained and tuned. Very good condition. £9,500 ono.

Potential buyers will need to provide their own transport to pick up from Wigan, Greater Manchester. rayparkin@ macace.net

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

LOCAL EVENTS – LISTINGS Full listings can be found on our website, ism.org

ISM Representatives We are currently looking for members to act as Secretary and Treasurer for the Devon & Cornwall local group.

For more information or an application form please call 020 7221 3499 or email membership@ism.org. The deadline for applications is 5 February 2015.

Sunday 9 November

Sunday 30 November

Monday 8 December

NORTH LONDON Winter Pupils’ Concert

LEA VALLEY Autumn Pupils’ Concert

NORTH LONDON Informal Gathering at Café Rouge

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Winter pupils’ concert, with light refreshments available. Please come along and support what promises to be a great event.

Cost: £5 adults, £2 children. There is no charge for performers and teachers presenting pupils.

Contact Sara Medina, 020 8883 2082

2.30pm, St John’s Centre, ARC, St John’s Walk, Old Harlow, Essex, CM17 0AJ Autumn Pupils’ concert, up to Grade 8 standard. Closing date for entries is 7 November.

Cost: free for performers and children 5 & under. £4 for members & concessions. £6 for non-members.

Contact Carolyn Richards, ismleavalley@ntlworld.com

7.30pm, 6-7 South Grove, Highgate, London, N6 6BP An informal gathering to enable new members to meet each other, and to meet older members of the Society. You are very welcome to meet us for a meal, or just for a drink.

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

WEST LONDON Masterclass with Peter Jacobs and Annual Adult Students’ Concert 3-6pm (masterclass), 7pm (concert), Lawrence Hall, London College of Music, St Mary’s Road, Ealing, London, W5 5RF Eminent pianist Peter Jacobs will give a masterclass. ISM members, friends and, in particular, adult students aged 18 years and over are invited to take part in this event.

Cost: £30. To observe the masterclass (including refreshments) and to attend the concert we suggest a donation of £15 for ISM members and concessions and £20 for non-members. Suggested donations for the concert only is £5 for ISM members and £7 for non-members.

Contact Ivor Flint, 07961 864795, ivor.flint@virgin.net

SOUTH WALES Complimentary Drinks Reception 12.30pm-1.15pm, The Cardiff and County Club, Westgate Street, Cardiff, CF10 1DA Complimentary wine reception for all Welsh members of the ISM. This will be followed by an optional luncheon, at a cost of £45 a head for three courses including wine. Partners are also welcome to attend.

Contact Jeremy Huw Williams, 07771822545, jhw@jeremyhuwwilliams.com

Wiltshire: An event was held at Old Hall of Dauntsey’s School, West Lavington, where Timothy Barratt offered help and encouragement to six pianists from young teenager to adult, at different stages of piano playing. To see all of our event reports, please go to the Local Group section in the members’ area of the website at www.ism.org

ISM shop As an ISM member, you are entitled to a fantastic 20% discount on all gifts in our online gift shop. Simply go to ism.org/shop, select the gifts you’d like to buy and enter the code ISMMEMSHOP at checkout. Alternatively, you can call, free of charge on 0800 1814233 to make your order.

Our ISM branded range of gifts are perfect for members wishing to celebrate their membership, or alternatively purchase as gifts for your music students and friends alike.

Our hugely collectible Thomas Tallis range gives you a wonderful link to ISM history through extracts from an adaptation of Spem in Alium which was performed by ISM members at our conference in 1898. This particular adaptation has only two known printed copies in existence, one of which belongs to the ISM. ism.org/shop

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2014

Ask me a question Chris Woodham Percussionist

performing and teaching career I enjoy attending weekly football training with a group of local musicians and experiencing new cultures by taking opportunities to travel when I can.

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

The biggest influence has to be my two teachers at music college – Kevin Nutty and John Chimes, both of the BBC Symphony Orchestra – whose passion and straight talking attitudes towards the subject have shaped my outlook on the profession.

My three close friends Owen Gunnell, Olly Cox and Sam Staunton have performed along with me as Batterie Percussion Quartet since leaving music college.

Working as a team with them and their varied talents and enviable abilities has also played a huge role in my love of music and performing.

What would you say is your greatest achievement to date?

Tell us a little about yourself.

Growing up in South East London and Kent I was lucky enough to have a great grounding in drum kit, orchestral percussion, music theory and ensemble playing at the old Saturday ‘CYM’ in Pimlico.

I later studied at Trinity College of Music enjoying two years at its former base in Central London as well as two years at its more recent home in Greenwich.

In addition to classical music, a good proportion of my work is teaching world percussion and I have enjoyed playing with folk bands at both small-scale and major UK festivals. Outside of my freelance

Being part of the Inspire-works facilitator team which earlier this year achieved a Guinness World Record for the world’s largest Samba band at the Royal Albert Hall. It raised a considerable amount of awareness for the charity Street Child World Cup, and subsequently appearing on Blue Peter (even if it was only the back of my head) has to be a lifetime goal ticked off!

Who is your all-time favourite artist and why?

of his talents in multi-tracking can be found on Songs in the Key of Life.

What was the last CD/music download you purchased?

As a teacher working predominantly with teenagers I find myself downloading and transcribing lots of popular music. The last three purchases were by the bands Bullet for my Valentine, The Script, and the artist Aloe Blacc who is signed to Simon Fuller’s XIX Management.

What are your plans for the future?

I’m aiming to work towards an FRSM in Music Direction, having just started Conducting a Youth Orchestra for Surrey Arts. I have made a tentative start with the DipABRSM and will hopefully manage to get the arrangement submitted before too long – though, as usual, life gets in the way!

Finally, what is your ISM membership to you?

The webinars have been brilliant and I really feel like the ISM is coming up with some excellent new and innovative ways to support its members. What the Protect Music Education campaign achieved is actually quite astonishing in the face of what is happening elsewhere across the industry. chrisjwoodham.com inspire-works.co.uk oduo.co.uk

Without a doubt – Stevie Wonder. He is transsiberianmarchband.com inspirational in so many musical disciplines; Chris is one of the Representatives for song writer, recording artist, pioneering the ISM’s South East London local group new instruments and most mind-blowingly as a multi-instrumentalist. A good example

£10

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

Off

Membe rs

hip

Simply email membership@ism.org with the name and email address of the friend(s) you are recommending and ask them to use promo code ISM12HF when joining. If they join at the full rate we’ll give them £10 off their membership fee too.

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

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

32

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Yamaha’s expanding Music Education Partner initiative is performing an increasingly vital role in supporting the musical activities of schools and institutions.

We offer a range of guaranteed benefits and an opportunity to significantly enhance the value of students’ musical experience while creating valuable media opportunities for participating establishments.

To find out what we can achieve together, contact our Education Business Manager, David Halford, on 07967 708765 or email david_halford@gmx.yamaha.com.