Music Journal - September/October 2014

137 years of internationally respected music exams

New music syllabuses and publications available now New syllabuses for piano, woodwind, jazz woodwind, electronic keyboard, brass and singing are available now. A range of exciting new supporting publications are also available.

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Our music exams offer the choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers. ◗ Our approach to assessment — through our exams we:

• examine real musical skills specific to each instrument or voice • include options for candidates to improvise and perform original compositions to express their individuality • offer precise and specific feedback through a diagnostic mark scheme ◗ Choice and quality of repertoire — we work with a wide range of specialist composers, teachers and musicians to develop varied and diverse repertoire

◗ Our heritage and recognition — we’ve been assessing in music since 1877 and our exams are internationally recognised and accredited by education authorities around the world

◗ Our teacher support — we hold events all over the world and offer free teaching resources, articles, forums and more through our online learning platform

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Sir Simon Rattle on music in the UK Can making music support well-being in older age?

To find out more visit

www.trinitycollege.co.uk/music

MUSIC-AD-SSP-19 (A5 NEW)

September/October 2014

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City Music Foundation

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Pete French - Head of Music, Lancaster and Morecambe College

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Welcome This month’s cover story (see page 11) features a specially commissioned interview for the ISM of the world-renowned conductor and ISM member Sir Simon Rattle. Sir Simon is interviewed by Richard Morrison and talks about the future after completing his tenure at Berlin Philharmonic Orchestra. Sir Simon will be performing at the Proms on Friday 5 and Saturday 6 September.

Above: Deborah Annetts Photo: Mark Thompson

The Proms, which is possibly more diverse than ever, has remained a key part of performers’ and concert goers’ annual diaries. ISM members have been performing, conducting and commissioned to write for this great institution since its inception and it is wonderful to see it still evolving more than 100 years since it was founded. At the time of writing, we were still waiting to hear who would be curating the Proms, and indeed Radio 3 following the departure of Roger Wright. Radio 3 will continue to be faced with increasing demands from all kinds of interested parties as well as challenges to the Licence Fee, so it is vital that it keeps faith in its own content while at the same time being responsive to cultural shifts.

ISM members have a keen interest in what happens to Radio 3 given that many of you are engaged by it from performance to being commissioned to create new work. The challenges facing performers have recently been clearly highlighted in the ISM Performers Survey and you can read more about the results on page 2. The key issues which emerged were fair pay, the importance of public liability insurance – something you receive as part of your membership, and the vital need to make sure you have a written contract before you start your engagement.

The excellent ISM legal team still see too many cases where a member had hoped things would be OK only to find out too late that he or she had been left utterly exposed because there was no written contract. Make sure you are protected and speak to the ISM legal team if in doubt. And just so you know our legal team in 2013 recovered over £150,000 in compensation for ISM members, just one reason to be an ISM member.

You can read more about the ISM’s most recent successful campaign – Protect Music Education on page 4. Over 5,000 individuals and 134 organisations from across the world of music and some of the country’s most distinguished musicians persuaded the government to drop its proposal which would have stopped local authorities funding music services. What is more, the government also announced as a result of pressure from the ISM, funding for music education hubs for 2015-2016, increasing the funding by £18m to £75m (the second highest funding since 2007). So many thanks to all of you who took part in the campaign in making music education more accessible.

Contents 2

News & campaigns

5

Legal help

6

Membership benefits and your subscription

9

Professional development

11

Sir Simon Rattle

14

Can making music support well-being in older age?

17

City Music Foundation

21

News from our members

29

News from our corporate members

34

Classified advertising

35

Local events – listings

36

Ask me a question

Volume 81 / Number 3 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

Design: Cog Design www.cogdesign.com Advertising: Cabbell Publishing Ltd, Wimbledon Studios 1 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 October for November/December 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.

Front Cover Sir Simon Rattle Photo: Mat Hennek, Warner Classics

deborah@ism.org

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

News & campaigns First results in from the ISM Performers Survey

But there was good news for live music

7 in 10 musicians risk working without a written contract

Just 17.4% of performers had experienced difficulties putting on a live music event – this news comes just a few years after our successful campaign in support of the Live Music Act. The Act was pushed through Parliament by Lord Clement-Jones, Mike Weatherley MP and Don Foster MP among others.

43% think they are not fairly paid when their recordings are played in public 78% of performers are working mostly or entirely freelance

One of the problems survey respondents highlighted was ‘getting cover for Public Liability if all members of the various groups are not individually covered.’

The results of the ISM Performers Survey demonstrate precisely why it is now more important than ever to be Fortunately, if you are an ISM member, you are covered a member of the UK’s professional body for musicians. by Public, Employers’ and Product Liability Insurance for up to £10 million.

One performer said: ‘Considering the amount of practice, experience and work it takes to be a professional musician, being asked to perform for free, or being almost tricked into signing a dishonest contract in some cases, is demoralising.’

7 in 10 performers admitted that they work without a written contract despite 78% working mostly or entirely freelance. From contract advice and legal guidance through to campaigns to make the life of performers better, it has never been more important to be a member of the ISM.

And if you persuade your whole ensemble to join the ISM you can get a £10 discount on your next year’s membership subscription per musician!

Members who need help and advice with a written contract or any other matter related to their work as a musician can contact the legal team by telephoning 020 7221 3499 or by emailing legal@ism.org.

David Abrahams, Head of Legal, said:

Radio 3 overtaken by Radio 6 Music

‘These results remind us of how easy it can sometimes seem to just take an opportunity without checking the deal beforehand. Whether playing in a venue or recording with a producer, it is really important to make sure you are covered by a written contract when working.

Figures published on 31 July show that – for the first time – BBC 6 Music has overtaken BBC Radio 3 in listening figures for April to June (Quarter 2) prompting concerns over the direction of BBC Radio 3 as the Proms take place and a new head is appointed.

‘You may be tempted to skip signing contracts if you are promised a fee, but it is incredibly important that you see and sign a contract before committing to any work because in the long run, it prevents a potentially distressing situation.’

Listening figures, in millions, for BBC Radio 3, BBC 6 Music and Classic FM Radio station Classic FM

Listeners in Quarter 1 5.307

Listeners in Quarter 2 5.439

Radio 3

2.087

1.884

BBC 6 Music

1.927

1.891

You can read the full figures at www.rajar.co.uk

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Parliament hears about intellectual property and live music Rock the House is a competition in which Members of Parliament enter ensembles and solo musicians from their constituency who can then win the opportunity to perform in Parliament. The ISM supports the competition, which raises awareness of intellectual property and the importance of live music.

It is Parliament’s biggest competition – run by the former Chair of the APPG for Music Education, Mike Weatherley MP – and the finals took place on 1 July 2014.

Composer Round Table The ISM hosted a third Composer Round Table on 17 July 2014. For the first time, PRS for Music, the royalty collecting society for composers and publishers, answered questions direct from members.

Members were able to raise their concerns directly with PRS for Music’s new Classical Account Manager, Naomi Belshaw, who was appointed following campaigns by publishers and the ISM for better representation of contemporary composers within PRS. Following the meeting, we will be working with PRS for Music to help them simplify their website, improve the experiences of classical and contemporary

DIARY 2015 Musicians Incorporated Society of

T: 020 7221 3499 E: membership ism.org

Photo: Erica Corder

composers when reporting performance and getting paid royalties, and develop training for composers of all ages.

We will also be discussing the growing role of selfpublishing in the music industry as publishers engage fewer and fewer composers directly.

If you have any comments about the challenges facing composers, you can let Henry Vann, Public Affairs & Policy Officer know on 020 7313 9327 or at henry.vann@ism.org.

Scottish music education consultation The Scottish Government is consulting on a vision for music education to serve as ‘a clear statement of how we value music education and the learning of a musical instrument, including singing.’ We want to include as many comments from Scottish based members as possible in our submission: you can send in your comments to Henry Vann by email at henry.vann@ism.org.

ISM 2015 DIARY DIARY 2015

4–5 Inverness Mews London W2 3JQ

Left: Mike Weatherley MP talks to MPs about the value of music at the Rock the House finals in July.

Enclosed with your Music Journal is the ISM 2015 Diary for keeping track of all of your performances, teaching and adjudicating that you might be doing over the course of the year. Don’t forget that you can submit your concert details to the ISM for promotion on our social media. Please email events@ism.org.

The ISM handbook for 2014/15 will follow in November.

Continued overleaf

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Next steps for Protect Music Education Despite the campaign’s success, local authorities across the country continue to cut their funding for music services and there is a general election taking place next year, adding to the uncertainty.

Above: LMN (Live Music Now) musicians Westcombe Brass and LMN Director Nina Swann hand delivered their consultation responses to the Department for Education

Protect Music Education success £18m extra secured for music in England The ISM secured a historic win for music in July.

Working with thousands of individual members and more than 134 music education and music industry organisations we persuaded the Government to properly fund music education.

The next priority for Protect Music Education will be to challenge councils which are cutting music education funding and to secure continued funding commitments in political party manifestos for the next General Election.

‘ I am both ecstatic and relieved the proposal advising local authorities to cease funding music services has been dropped, and that millions of pounds of extra funding has been dedicated to music education. This level of support helps to ensure that future generations will have the enriching musical experiences that so The Department for Education has now confirmed that, many, including myself, have had. The future of music education is now on the right path..’ for 2015/16, music education hubs (most led by a Alison Balsom, trumpeter music service) will receive £75m.

On 22 July 2014, in a double announcement, the Government backed down on its plans to tell local authorities to stop funding music services and committed an extra £18m in support of music education, bringing music education funding to its second highest ever level.

Supporters of the campaign included ABRSM, PRS for Music, Yamaha, Trinity College London, MI Pro and the Music Industries Association.

‘Well done. Great effort. It’s wonderful that it is possible to get governments to listen ’ Doug Williams, Upstage Productions ‘Fantastic news! Well done and thank you ’ Elspeth Wyllie, pianist ‘Such good news! ’ Julian Lloyd Webber, cellist

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

helpline 24-hour legal ell as tax advice

Legal help We have had some excellent feedback from members about our legal team:

Safeguarding issues:

‘I shall be forever grateful for all the help and advice I recently received from the legal team at the ISM.’

The Disclosure and Barring Service has issued new guidance in relation to the eligibility for DBS disclosures. The guidance gives us considerable cause for concern.

‘I just wanted thank you and the team so much for your help with my unpaid fees. I am amazed by the service the ISM gave, so thank you.’

New definition of ‘regulated activity’ and eligibility for DBS disclosures

There are three levels of disclosures available for those who work with children: 1. Standard disclosure 2. Enhanced disclosure 3. Enhanced disclosure with children’s barred

list check The third and highest level of disclosure (enhanced disclosure with children’s barred list check) is only available for those engaged in regulated activity.

In order to count as ‘regulated activity’ work with children must be frequent (at least once a week) or intensive (take place on 4 or more days within a 30 day period).

s of law as w Covering all area 01206 368994

level of disclosure. The result is that anyone who teaches, trains or instructs children, even on a oneoff or infrequent basis can be asked to undergo an ‘enhanced’ disclosure. Similarly anyone who works in schools, and whose work gives them opportunities for contact with children, can be asked to undergo an ‘enhanced’ disclosure, even if that work is one-off or infrequent.

We are particularly concerned about the impact that this could have on performing musicians going into schools to do outreach work on a one-off basis. In our view requiring such players to undergo an enhanced disclosure, especially when their work is likely to take place under the supervision of permanent teaching staff, could place an unnecessary burden on performing musicians who work on an occasional basis in schools.

We are currently in discussions with the Disclosure and Barring Service, Ofsted, and the NAHT to explore what the impact of these new regulations is for musicians working on the ground, and to consider whether there is a case for trying to get the regulations amended. If you are an ISM member, who has been affected by the new regulations, please get in touch with us and tell us about your experiences. You can contact the legal team by telephoning 020 7221 3499 or by emailing legal@ism.org.

Our concerns relate to eligibility for the second level of disclosure (enhanced disclosure). The law previously stated that in order to be eligible for this level of disclosure work with children needed either to meet the ‘frequent or intensive’ test for regulated activity or involve the ‘regular’ training or supervising of children. David Abrahams, Head of Legal Regulations introduced in the last few months have considerably lowered the bar for the ‘enhanced’

Help with your tax returns Whether you have simple or complex tax affairs, completing your tax return can be a hassle. What’s more, you incur financial penalties if you file your return late after HMRC’s deadlines. Expert advice can help you not only to meet these deadlines but also to make full use of expenses and capital allowances so as to keep your tax liability as low as legally permissible.

Accountants LB Group offer ISM members their tax return completion service for a low flat fee of £125 plus VAT. To access this service, download LB Group’s form from our website or phone them on 01206 867551, remembering to tell them you are an ISM member.

LB Group also offer ISM members a discount on their other tax, accountancy and financial services. Find out more on our website.

For more advice on tax, watch our latest free webinar ‘An Introduction to Tax’ presented by ISM member and highly experienced accountant Trevor Ford: www.ism.org/webinars.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Membership benefits and your subscription ‘I am very proud to have the ISM look after my needs in all kinds of ways, and my annual fee is worth every penny.’

‘I must say that of all the memberships that I belong to, the ISM is the best value and by far the most worthwhile society.’

Thank you to everyone who contributed to our membership survey. Your feedback is very important to us and enables us to improve and develop our benefits to meet your needs as musicians.

We are always open to your suggestions and you can call us on 020 7221 3499 or email membership@ ism.org if you have any feedback or want to suggest a benefit we could introduce to help you further in your working lives.

We know that you continue to value greatly the insurances you get with your membership. These include public, employers’ and product liability cover of up to £10m, and legal expenses insurance cover of up to £100K. Did you know we also offer discounts of up to 20% on musical instrument and equipment insurance, and generous discounts on buildings, contents and home insurance? To discover all the discounts you are entitled to as an ISM member, visit www.ism.org/members/discounts Remember that our specialist legal service is always here for you. Our in-house legal team are highly experienced experts in law affecting musicians and can advise on anything affecting your career as a musician; from simple queries to complex issues, and from contracts and employment matters to intellectual property rights, unpaid fees, health and safety, discrimination, copyright and more. If you have a legal query, call us on 020 7221 3499.

The results of our membership survey show that the ISM’s legal service continues to be highly valued by members working in all areas of the profession. With nearly 50% of members saying they have used the service, it is clearly a critical piece of support for your professional lives.

If you have a general legal or tax enquiry or would like to speak to someone out of office hours, you can ring our 24-hour legal and tax helpline which is staffed by experienced legal advisers: 01206 368994.

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Did you know that you get 25-30% off when you book a place at one of our seminars or events? If you are a student or graduate member you get an even better rate so that you can afford to take advantage of our professional development opportunities while you pay for your studies or embark upon your career.

New benefits and improvements Over the last year we have introduced new membership benefits and we are improving the ISM Music Directory so that we can effectively promote your expertise to the public to help you find work.

You can now use letters after your name to demonstrate your status as a member of the UK’s professional body for musicians: Membership type

Post-nominal letters and logos MISM

Full, graduate and retired

SMISM Student

FISM Fellow (15 years or more of continuous membership)

You can download specially designed member logos to use on your website and stationery: ism.org/members

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

We are improving the ISM Music Directory so that your listings can be found easily through search engines like Google and Yahoo.

We are also improving the directory’s search to make it is easier to use. There will be a ‘search by musician’s name’ option and it will be possible to search by county.

To promote yourself for free through the ISM Music Directory, the UK’s only online directory of musicians with proven professional credentials, update your profile by logging in at http://bit.ly/ISMmdLogin.

Other new membership benfits introduced this year: • free ISM webinars – you can attend our online seminars at work, home or on the move: www.ism.org/webinars • free subscription to Grove Music Online: http://bit.ly/ISMgrovesub • 10% off custom hearing protection from Read Audio • discounted room rates at the In & Out members club in Central London • 20% off Audition Oracle membership for one year. Audition Oracle is an audition notification service for singers looking for work in musical theatre, opera or oratorio.

To find out more about your discounts and how to claim them, visit www.ism.org/members/ discounts

2014-2015 subscription rates* So that we can continue to offer you premium services, some of our subscription rates will increase slightly from 1 September: Full

£16.70 per month for 10 months or £167

Graduate (year 3)

£12 per month for 10 months or £120

Graduate (year 2)

£9 per month for 10 months or £90

Graduate (year 1)

£7 per month for 10 months or £70

Student

£12

Retired

£84

Associate

£84

Friend

£50

Corporate

from £100

*These rates apply to all renewals until 31 August 2015

Direct debit If you are a full member paying £167, you can receive a £5 discount if you pay by annual direct debit.

Alternatively, full and graduate members can spread the cost of membership by paying in ten monthly instalments of £16.70.

If you would like to set up a direct debit, please contact our Membership Officer, Emily Adams: membership@ism.org, 020 7313 9313.

Did you know?

Some musicians do not get paid for more than three months after a performance* – our legal team can help!

If you are having trouble with unpaid fees for either a performance, recording or teaching work, please contact our legal team (020 7221 3499 or legal@ism.org) who will be able to help you.

* ‘How quickly do you usually get paid for your performances?’

ISM Performers Survey, 2014

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ABRSM teacher conference

Musical progression and the role of assessment

18 October 2014, The Grange Hotel, Tower Hill, London Offering an extensive range of inspiring presentations and workshops, ABRSM’s teacher conference will include highlights of its vibrant and exciting new Piano syllabus, present thought-provoking ideas for developing the all-round musician and explore the significant role the revised ABRSM marking criteria can play in supporting effective teaching and learning.

Sessions include: •

Exploring the repertoire: highlights from the new 2015 & 2016 Piano syllabus

•

The role of assessment in encouraging musical progression

•

Creative ideas lesson ideas and activities

•

The art of interpreting the score and owning your performance

Book your place for ABRSM’s teacher conference at www.abrsm.org/conference www.abrsm.org facebook.com/abrsm @abrsm ABRSM YouTube

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ABRSM: the exam board of the Royal Schools of Music

Supporting and promoting the highest standards of musical learning and assessment since 1889.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Professional develpoment ‘I’ve just attended the Child Protection Webinar, which I found most useful, thank you very much!’

‘I thought the webinar was a really useful way of informing and communicating.

The format was excellent: 20 minutes talk with slides and then questions.’

Forthcoming 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.

Child Protection, Safeguarding and the DBS On Wednesday 24 September at 1- 2pm our Head of Legal, David Abrahams, will be presenting a free child protection webinar for all members who work with under 18s.

The webinar will cover child protection and safeguarding best practice and will address some common issues and questions. David will give an

update on changes to the law around the checks carried out by the Disclosure and Barring Service (DBS) and will explain the eligibility criteria for DBS checks.

There will be an opportunity for members to ask David questions during the webinar.

To register for this free online seminar, go to http://bit.ly/ISMwebinarCP

Progression, Curriculum and Assessment Following the huge success of our first Progression, Curriculum and Assessment webinar with Dr Ally Daubney and Dr Martin Fautley in July, we are planning a follow-up webinar in October. Look out for further details in our e-news bulletins and our website.

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.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Sir Simon Rattle Richard Morrison, chief music critic of The Times, catches up with ISM member Sir Simon Rattle So are the rumours true? No better time to pop the question to Sir Simon Rattle than when you have him captive in a taxi on the way to a rehearsal at Covent Garden. He pretends to look blank. ‘About you returning to Britain as principal conductor of the London Symphony Orchestra when you leave the Berlin Philharmonic,’ I add.

He laughs. ‘I know only what I read in your columns in The Times,’ he says – which isn’t true, but is a characteristically quick-witted reply. In fact, although Rattle has now been a decade at the Berlin Philharmonic he has also, in a sense, never left Britain. In the last few months, for instance, he has conducted Beethoven, Schumann and Henze with the LSO at the Barbican, a spectacularly beautiful performance of Poulenc’s Dialogues des Carmelites at Covent Garden, Haydn’s The Creation with the Orchestra of the Age of Enlightenment at the Royal Festival Hall, and Bach’s St Matthew Passion in a semi-staging at the Proms.

Even so, Britain’s most famous conductor is, in a sense, currently semi-detached from the British music profession. So how does it look from Berlin, where he now resides?

‘Having lived on mainland Europe for ten years, I just realise how hard everybody has to work to survive in Britain,’ he says. ‘It’s simply staggering what British musicians are able to do, and if there was ever a chance that they would be given a reasonable kind of work schedule in which to do it, and the proper facilities to do it in, I would fight for it. When I think of what we take for granted in Berlin, I find it almost shaming to see what there is in London, or almost anywhere else in Britain.

Left: Sir Simon Rattle Photo: Mat Hennek, Warner Classics

‘At least the City of Birmingham Symphony Orchestra has its own hall, but the players often don’t get to rehearse in it! In London and so many other parts of the country it’s really pillar to post. Yet still the musicians manage to produce wonderful things. And of course these days they are also expected to be evangelists and educators as well as performers. Not only must musicians

be more stylistically aware all the time, they must also be increasingly knowledgeable about how to work with all kinds of people who are not professional musicians.’

Surely working conditions for musicians have improved somewhat since the 1970s, when Rattle was first cutting his teeth as a boy-wonder conductor? ‘Yes, of course it has improved from the days when the kids of Bournemouth Symphony Orchestra players used to say “are you going to church again, mummy?” because the orchestra was forever rehearsing in some draughty church.

But what I still see in Britain is musicians being forced to work far too hard, simply to survive.

The miracle is that they cope with that, and yet still often produce really artistic results.’

Isn’t there another miracle to cheer us up, too?

That, except for the demise of the Bournemouth Sinfonietta in 1999, not a single British professional orchestra has collapsed in the past 40 years, and many exciting new ones – such as the OAE, Britten Sinfonia and Aurora Orchestra – have flourished?

‘Yes,’ Rattle agrees. ‘I don’t know how an orchestra such as the Royal Philharmonic manages to stay afloat. But they do. And that’s surely part of the problem in the UK. People say “oh, musicians are born survivors, they will keep going”. But when I look at the work schedules of some of my British musician friends – what they have to do to survive – well, I need to lie down to recover!’

There was, I remind Rattle, a wonderful story about Claudio Abbado encountering the LSO, of which he was then the principal conductor, in an airport lounge, and having no idea that, before his rehearsal with them the following day, the band was flying to Spain and back for a gig with another conductor. ‘Well, of course, that’s wonderfully Claudio!’ Rattle laughs. ‘A great musician, but gloriously unrealistic about the practicalities of musical life.’

Continued overleaf

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Rattle has always been a passionate champion of music education, and when he was still principal conductor of the City of Birmingham Symphony Orchestra he led a spirited campaign to keep music in the national curriculum. It must pain him, I suggest, to see that we are still fighting exactly the same battles now – with the Incorporated Society of Musicians (of which he has been a member since 1993) currently running a passionate campaign to reverse the potentially catastrophic cuts to funding for music services and music education hubs.

‘It’s extraordinary that highly intelligent people in government just don’t get it,’ the conductor exclaims. ‘People make the same ignorant mistakes again and again. I remember, back in the early 1980s, going to talk to Sir Keith Joseph when he was Mrs Thatcher’s Education Secretary. ’He wanted to know why there were not more firstrate soloists coming out of our conservatories, and what could be done about this. The trouble was that the answer I gave him – that it starts with putting properly trained music teachers in primary schools – was, in his eyes, simply the wrong answer! He was a highly intelligent man, albeit with Neanderthal political views, and yet he simply could not understand that infrastructure means infrastructure. He somehow believed that if you threw money at the end of the chain, you would miraculously get something wonderful.’

With local education funding of music services declining from a £25 million high a few years back to, perhaps, nothing in future, and a cloud of uncertainty hovering over the national government’s commitment to hub funding (already down to £58 million from £82 million), the future seems very bleak for instrumental teaching in state schools. ‘Yes,’ Rattle agrees, ‘and that will lead to a huge problem when suddenly there are no young bassoonists, viola players or bass players, for instance, and where parts of the country that historically have nurtured a lot of musical talent have no music teaching provision, or when it becomes apparent that the music profession has become a class-based business again. I understand that local authorities are struggling.

But decisions about cutting music teaching that

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seem quite minor early on have extraordinarily bad ramifications later.’

With his wife, the Czech mezzo Magdalena Kozena, Rattle is now bringing up three children in Berlin. Is the music education any better in German schools? ’Well, my nine-year-old goes to a pretty extraordinary state primary school in Berlin, where there is music each afternoon,’ he replies. ‘But it would be foolish to pretend that everything in middle Europe is a paradise. And, interestingly, a lot of the music teaching techniques in Germany have been learnt from the British. The fact is that, at its best, British music teaching is the envy of the world.’

In fact, didn’t Rattle have to import education and outreach experts from London when he first went to the Berlin Philharmonic? ‘Oh yes, orchestral education work simply didn’t exist in Germany,’ he replies. ‘Part of my remit in Berlin was to say to the Philharmonic: “Look guys, I know this is not what you normally do, but if we do this sort of work successfully, you can become a beacon for other German orchestras.” And this, thank God, is what has happened. ‘

Above: Sir Simon Rattle with Richard Morrison and Francesca Treadaway, the ISM’s Communications Officer, at the Royal Opera House stage door.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Does Rattle believe that the educational establishment, and the politicians who lead it, are now too obsessed by the ‘STEM’ subjects (science, technology, engineering, mathematics), to the extent that the humanities, and especially the arts, are being marginalised and starved of resources?

‘Well, again, it’s a return to the old Thatcherite dogma, isn’t it?’ he replies. ‘Yet I meet many people in the business world, and when they talk about young people they say that they don’t want worker bees any more. They need people who can make connections between different areas, who can think laterally, who are creative, and who understand how to work in teams. And as it happens there is nothing much better than music for creating that.

Musicians are utterly dependent on each other.’

Rattle’s admiration for dedicated music teachers stems from his own Liverpool childhood, when his nascent love of classical music was nurtured by several inspirational figures. ‘None of us can exist without mentors, sung and unsung,’ he says. ’Very early on I was lucky enough to have an extraordinary music teacher called Geoffrey Arnold - who actually left what was at the time one of the least musical schools in the northwest of England to become chorus master of the Sydney Opera House. I was the first pupil in the school ever to do a music O-level, let alone A-level.

Unfortunately, they said: you have to choose between music or German O-level, you can’t do both. With hindsight, German O-level would have been so much more use to me! Little did I know.

border with the Czech Republic so my wife can easily see her family.’

Nevertheless, can he see himself as a figurehead again in the campaign to keep music and music education alive in Britain – as he was in his Birmingham years? ‘Well, there is always a need for figureheads,’ he says. ‘What’s terribly important, though, is that the figureheads should know what they are talking about. I am well aware that, having lived abroad for the past ten years, I know relatively little of what’s going on. That’s a problem. A few years ago, when I was involved in the fight to keep music in the curriculum, I made damn sure that I knew what I was talking about and that I was very well briefed. In fact I got one extraordinary telephone call in the middle of it from an anonymous civil servant who said: “Mr Rattle, you don’t know me, but I know you are scheduled to go on TV and debate with Ken Clarke, and I know the Education Department has decided to discredit your knowledge, because you won’t know the answers to everything. So please don’t do the interview.” Well, to this day I have no idea who he was – but he saved me from a huge embarrassment.’

Richard Morrison, chief music critic of The Times and honorary member of the ISM This interview took place on 27 May 2014. Please see page 4 for further information on the recent successes in funding for music education.

‘The remarkable thing was that Liverpool in the late 1960s was full of amateur orchestras, youth orchestras, theatres, poetry groups – all the things that define a lively, cultural city. We took it for granted. Often today kids have to search very much harder.’

Whatever conducting post Rattle decides to accept in the future, he is certain about one thing.

He won’t be returning permanently to live in Britain. ’We love it in Berlin, we have a wonderful house, and we are a middle-European family now.

And Berlin is in the middle of everything, it’s a wonderful and vibrant city, and quite close to the

13

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Can making music support well-being in older age?

Susan Hallam presents the results of Music for Life – a research project which studied the role that making music might have in promoting well-being in the older generation.

Major demographic transitions are underway in the developed world, with life expectancy continuing to rise, with the expectation that by 2020 there will be a quarter more people over the age of 80, trebling to 9.5 million by 2071. Ways need to be found to support the quality of life of this ageing population, maintaining their good health and general wellbeing for as long as possible.

A recent research project, Music for Life, has studied the role that making music might have in promoting well-being in the older generation. The research was conducted in partnership with the Sage, Gateshead; Westminster Adult Education Service; and the ‘Connect’ programme at the Guildhall School of Music & Drama with musical activities including singing in small and large groups, rock groups, and classes for guitar, ukulele, steel pans, percussion, recorder, music appreciation and keyboard. The project’s aim was to explore the way in which participating in music making activities might enhance the lives of older people, and whether this might have an impact on their social, emotional and cognitive well-being.

Those who participated in non-musical group activities compared to those making music scored higher on a range of measures of quality of life.

These benefits continued into the over 75 age group. Musical activities contributed to well-being and a reduction in stress, enabled participants to acquire and demonstrate new skills and provided them with intellectual stimulation. Their social lives were enhanced and their physical health supported.

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The perceived benefits of actively making music Social benefits included: • • • • •

giving structure to daily life fun and enjoyment

generating a sense of belonging

providing opportunities to socialise with others including those from a different generation opportunities to give back to the community through performance

Cognitive benefits included: • • • •

challenge and a sense of achievement

enhanced concentration and memory keeping mentally active

an increased appreciation of music

Emotional and mental health benefits included: • • • • • • • •

protection against depression protection against stress

the generation of positive emotions support following bereavement

opportunities for creative expression having a sense of purpose

confidence and empowerment feelings of rejuvenation

Physical health benefits included: • • •

alleviation of asthma and breathing difficulties

contribution to overall, general, physical health the opportunity for a physical workout

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Left: Photo courtesy of the Sage, Gateshead Silver Programme

‘ For people like me who live alone outside activities are very important, if not an essential part of life. They give us a chance to meet people, make new friends, socialise, as well as learning new skills which give us a sense of achievement’.

The individuals facilitating the musical activities played often more than one instrument, worked in different genres, and had a wide range of qualifications at different levels. They reported many benefits of working with older people, and that for them it was a rewarding and fulfilling experience. Their expertise was appreciated and the interactions with those in the groups were warm and mutually respectful. The older people characterised the individuals taking the group as knowledgeable, patient, enthusiastic, able to enhance motivation, having a sense of humour, responding to their needs and maintaining a good pace and focus.

The facilitators themselves aimed to generate enjoyment while offering challenge. Achieving the optimum balance between these was important.

Choice of repertoire was particularly important as participants preferred music that was relevant to their life histories, which provided the facilators with an increased knowledge of many genres.

The teaching included working informally as fellow musicians playing along with participants and adopting a more traditional leadership role.

This depended on the nature of the activity, the size of the group and available space. All of the groups worked towards a musical performance, which made a major contribution to the feelings of accomplishment of the groups, particularly when family and friends praised performances.

Continued overleaf

15

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Left: Photo courtesy of Westminster Adult Education Service.

Above: Photo courtesy of the Sage, Gateshead Silver Programme.

When working with older people it is important to: • •

• • • • • • • •

take account of the richness of the participants’ social, professional and personal histories

select repertoire with care adjusting to individual and cultural expectations in terms of musical genres

A further issue was a lack of musicians who were interested in working with older people. While most musicians are experienced in working with manage resistance to unfamiliar music, different children and young people, making music with older people was seen as challenging. There genres and styles were also few opportunities for training and repeat and revisit repertoire ongoing professional development. Addressing adapt activities for differing physical abilities this issue, the Music for Life research team (mobility, eyesight, hearing) developed a training guide which is available on adopt a slower pace, and speak slowly and the ISM website at www.ism.org/news/article/ clearly facilitating-music-making-for-older-people be patient Professor Susan Hallam, Institute of Education, keep sessions short to avoid tiring participants University of London maintain a positive, uncritical atmosphere make the sessions fun but ensure that they have purpose (ultimately a performance)

However, there were some barriers to participation.

The first was the lack of information locally about available musical activities, as the majority of participants found out about the activities through word of mouth. Other barriers included the location or access to the activities (eg. stairs); time of day, lack of transport or distance to the activity; ill health; cost; competing activities including caring for young or other relatives; and lack of confidence or motivation. To support ongoing attendance facilitators and the participants themselves provided social and pastoral support while some groups set up buddying systems and

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when people were absent this was followed up. As a result very few people dropped out with the main cause of dropout being ill health. Other common problems were poor accommodation and a lack of instruments and a shortage of space to store them.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

City Music Foundation The start of the 2014/2015 season is a hugely exciting time for City Music Foundation (CMF) as they welcome nine new CMF artists into their programme. Artist Manager, Tabitha McGrath tells us more.

The City Music Foundation, established in 2013, provides professional musicians in the UK in the early stages of their careers with expert advice, guidance and support to help them to build successful careers in music.

What makes us different from other musical charities is our focus on professional development; the business acumen offstage that helps to develop the skills required for sustainable and successful music performance career. Our enthusiastic team of staff is built up of Alan Watt, previously of Budapest Festival Orchestra, Sydney Symphony Orchestra and Australia Youth Orchestra, Yasmin Arbee, who has worked for the FT and the Lord Mayors Appeal, Tabitha McGrath, previously of HarrisonParrott, IMG Artists and the CBSO and Claire Goddard, who joins us from European Union of Music Competitions for Youth, where she was Secretary General.

Above: (l-r) Cordelia Williams, Alastair Penman and Claire Iselin Photo: All photos courtesy of City Music Foundation.

Our Artist Programme Our Artist Programme is split in to two sections: the core activities that are available to all of our artists and includes our series of Professional Development workshops encapsulating the role of agents and promoters; programming; presentation skills; understanding contracts; finance for musicians; understanding contracts and marketing and media training. We also provide access for each artist to have two mentors, one artistic and one business leader, and a variety of performance opportunities.

In addition, the Artist Manager works closely with the artists, and with guidance from friends of the CMF, devises a bespoke project that will be specially designed to assist the artists progression to the next stage of their career and can include further performance opportunities; commissioning of new works; further marketing and communications skills including promotional videos and photographs, website creation and specially created PR campaigns; professional recordings; as well as the possibility of covering costs for master classes and music competitions.

Continued overleaf

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Our 2013 Artists Our 2013 Artists are already a year in to their programme:

and look forward to releasing this in early 2015 which will be promoted during their nationwide tour in spring 2015.

Recorder player, Miriam Nerval, has recently graduated with a post- first class honours from the Guildhall School of Music and Drama and has given performances at Wigmore Hall, Kings Place and Milton Court Concert Hall (the first recorder player to perform there!). As part of the City of London Festival, Miriam performed at St Sepulchre-without-Newgate taking the audience on a journey through the history of the instruments, supported by HH Judge Brian Barker, the Recorder Since becoming the Piano Winner of the BBC Young of London (pun very much intended) as he spoke Musician 2006, Cordelia Williams has continued about his position within the City. In conjunction to build an international solo career. Cordelia’s with CMF, Miriam will be curating a series of focus for 2015 is her large-scale multi-event project promotional videos for her work and music and has entitled Messiaen 2015 – Between Heaven and Clouds, had mentoring sessions with Michala Petri – look which focuses on Messiaen’s Vingt Regards and out for her in the BBC Music Magazine in November! complements the musical performances with Claire Iselin, our harpist, is currently based in commissioned poetry and paintings at a number France and has recently enjoyed success with a of events throughout 2015. The project begins Carnegie Hall recital in May following recognition with a launch event on 4 December 2014 at 49 from the IBLA prize. Claire’s aim is to re-focus Queen’s Gate Terrace. The CMF has also helped the concert hall atmosphere and experience. With Cordelia secure her concerto debut with the Royal the help of the CMF team, she is developing ideas Philharmonic Orchestra in December 2014. on how to take her ideas and transport them in to Eclectic alternative-folk group Tir Eolas formed festivals within the UK. four years ago at the Royal College of Music. The Bridie Jackson and The Arbour – Bridie Jackson has been performing since her childhood and with the addition of her band, The Arbour, has helped to secure them as a regular on the folk scene with recent performances at all the top UK summer festivals. The CMF were proud to support the band by funding their second, full length album, New Skin, which has garnered critical acclaim from UK and international newspapers

Above: (l-r) Bridie Jackson and The Arbour, Mikhail Nemtsov, Miriam Nerval (Photo by PhotoChris) and Tir Eolas Photo: All photos courtesy of City Music Foundation.

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band – Philippa Mercer, Ruairi Glasheen, Laura Snowden, Georgie Harris and Hedi Pinkerfeld – draw on their Celtic and English folk roots to create their unique combination of traditional folk songs/ tunes and original material. With support from the CMF, Tir Eolas have just recorded their first album,

Saxophonist Alastair Penman is a recent graduate of RNCM and performs nationally as a soloist and as part of a number of chamber groups.

The CMF has helped Alastair by introducing him to colleagues at Harmonia Mundi/ Aparte record labels and producer Craig Leon, who

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

he will be working closely to execute a project commemorating the end of World War One focussing on the songs and poems of the era and treating them with 21st Century electronic equipment in an improvisatory style.

Mikhail Nemtsov has fast become one of the top young cellists working out of the UK in a number of years. Recent solo performances include the Manchester Camerata, London Festival Orchestra, European Chamber Orchestra and Porto Symphony Orchestra. Mikhail has also benefitted from mentoring from Ian Ritchie, Paul Watkins (of Emerson String Quartet and ECO) and Steven Isserlis care of CMF and from September 2014, he will be the principal cellist in the Mozarteumorchester Salzburg.

Mari Poll is an Estonian violinist who now splits her time between Oslo and the UK. After studying at the Royal College of Music, Mari has received mentoring from Jennifer Pike and looks forward to concerts as a soloist with the Norwegian Radio Orchestra in September 2014.

Keen to promote synergy between our artists the CMF also produced, as part of the City of London Festival, a trio concert featuring two of our artists Mikhail and Mari (with piano accompaniment from Jennifer Hughes and Elena Nemtsova). The concert, held in the historic Mercers’ Hall on 2 July, was preceded by a fantastic appearance by the trio on BBC Radio 3’s InTune programme on 1 July.

Our 2014 Artists Now in its second year of artist support, the City Music Foundation is proud to announce CMF Artists 2014!

For the first time, the CMF has enrolled three jazz artists: drummer and percussionist Pedro Segundo, clarinettist Giacomo Smith and bassist Misha Mullov-Abbado. As well as this, we have three soloist: pianists Dinara Klinton and Samson Tsoy and clarinettist Joseph Shiner, and three chamber groups, the Kaleidoscope Saxophone Quartet, the violin-piano duo Foyle-Stsura Duo (Michael Foyle and Maksim Stsura) and cello-piano duo, y-squared (Yelian He and Yasmin Rowe).

The City Music Foundation was established with seed funds from the 2013 Lord Mayor’s Appeal but we now need support to continue this life changing experience for outstanding musicians. To find out more about the many ways you can make a genuine difference and enhance the career prospects of talented musicians and for more information about the CMF in general please visit our website: www.citymusicfoundation.org Tabitha McGrath, Artist Manager, City Music Foundation info@citymusicfoundation.org www.citymusicfoundation.org

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

NEWS FROM OUR MEMBERS If you would like to share your news with the ISM community, please email mj@ism.org with 150 words and a high resolution image. The next deadline for copy is 1 October for November/December issue.

Right: Penelope Thwaites

Richard Simm

Photo: Rory Isserow

Iceland’s only ISM member, the British pianist, Richard Simm, has branched out into an unusual field since he took up residence in the country almost 25 years ago: His company, 2pianovirtuoso.com, publishes his own advanced concert transcriptions for two pianos of popular classical orchestral music, as well as new piano reductions of popular instrumental accompaniments.

Richard’s transcriptions have also been published by Belwin, Warner Bros Thorarinsdottir, at the opening concert Publications and Alfred Music. of the first Harpa International Music His main occupation is coaching and Academy in Reykjavik’s stunning new performing at Iceland’s recentlyconcert hall, and his performances at founded Academy of the Arts in the 2014 Academy with the young Reykjavik, and he performs regularly Korean violin virtuoso, InMo Yang, and with Iceland’s most prominent three recent string prizewinners from musicians, recently recording the Norway confirmed his reputation as a country’s first sonatas with the top-rank pianist.

Icelandic violinist, Rut Ingolfsdottir.

Richard can be contacted through Together they have brought their fascinating programmes to audiences 2pianovirtuoso.com. in Tokyo, Paris, Brussels, Beijing, Lanzhou and Rome.

Penelope Thwaites Last summer Richard performed to great acclaim with the Manchesterbased Icelandic violinist, Eva

Right: Richard Simm

40th anniversary

Quartet. She marks her latest CD with the opening Bach/Liszt Fantasia and Fugue, and also the theme of folk music in the fascinating Grieg Slatter and Grainger settings that follow, culminating in Dvorak’s magnificent Op 81 Piano Quintet.

An exciting world premiere will end the first half of the programme: a youthful piano concerto movement by 13 year old Percy Grainger when he was studying in Frankfurt (1896), orchestrated by Ben Woodgates and played with the Fitzwilliam String Quartet and 11-piece ensemble.

Internationally known and admired as www.impulse-music.co.uk/thwaites. a solo and concerto pianist, composer, htm editor, broadcaster and festival curator, www.kingsplace.co.uk/thwaites Penelope Thwaites has pursued a many-faceted career, pioneering many new works.

Competition success for Penelope will celebrate the 40th anniversary of her London debut with a Grainger world premiere on Wednesday 8 October at Kings Place in London. There are echoes in this anniversary programme of the memorable 4-day Grainger Festival at King’s Place 2011, for which Penelope was Artistic Director, and she is delighted to be joined again by the hugely admired Fitzwilliam String

composer Two works by composer Ian Assersohn have recently enjoyed success in international competitions.

Crossing The Bar for TTBB chorus and piano was awarded first prize in the Cornwall International Male Voice Choral Festival composition competition. Adjudicator Alan Bullard praised this ‘effective and moving Continued on page 23

21

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Right: Emma Abbate

work which represents the best of the Male Voice Choir tradition, with shapely melodic lines, a sense of musical climax, and a traditional but effective harmonic control’. It will be premiered at the 2015 CIMVC Festival in Truro Cathedral by Epsom Male Voice Choir, conducted by the composer.

Another of Ian’s works, As The Rain Hides The Stars for SATB a cappella choir has won the Nicola Dando composition competition run by the Music Makers of London. The song, which was premiered at the Voices of London Festival in July, was praised by adjudicators Judith Weir and Stephen Jackson. www.ian.appletreemusic.net

Kenneth van Barthold Kenneth van Barthold has decided, after 55 years, to stop regular teaching in London. He joined the Trinity College Senior Piano Staff in 1959, followed by his appointment as Head of Music at the City Lit where he managed to persuade Sir Peter Pears, Sir Malcolm Williamson and Peter Katin to join him in the teaching of a small number of select post-graduate classes. He resigned in 1983 when he was appointed Senior Piano Tutor for the Inner London Education Authority.

When ILEA was disbanded he continued teaching at Steinways and latterly at Jacques Samuels Studios.

He proposes to continue his Intensive Piano Workshop, now in its 48th year, in Edinburgh at Napier University during the International Festival. It culminates in public recitals which give participants the chance to perform works they will subsequently be playing in recitals or recording on CD. kvanbarthold@aol.com

In addition to highly competitive ticket pricing, under-16s, full-time students, and accompanying carers of the disabled are admitted free to all concerts (subject to availability).

Tickets for all concerts attract a 10% discount if purchased in advance from Ticketweb ((www.ticketweb.co.uk / 08444 771 000), and a season ticket offers even more value for money. www.thamesconcerts.com Sonata in B-flat major to the epic grandeur of Schubert’s Fantasy in F minor. Their programme will also include two of Dvorák’s Slavonic Dances and a rarely-heard gem by Stephen Dodgson.

On 30 September she will be with the Polish cellist Evva Mizerska performing virtuosic works by Janáˇcek, Prokofiev and the late-romantic English composer Algernon Ashton. The series will conclude on 28 October with the Welsh mezzo-soprano Caryl Hughes, who has appeared as a guest soloist with Bryn Terfel. Their programme covers music from four different countries with works by Haydn, Debussy, Copland, Rodrigo and Obradors.

All concerts start at 1.05pm and cost £5 each. www.fairfield.co.uk www.emmaabbate.com

Thames Concerts Thames Concerts’ Artistic Director, Benjamin Costello, writes: Thames Concerts Ltd (founded in the 1960s) presents an annual series of highquality concerts in the Royal Borough of Kingston.

The 2014/15 series runs from September to February and is typically eclectic, featuring a wealth Italian pianist Emma Abbate will be of internationally-renowned talent, presenting a varied series of lunchtime ranging from clarinettist Joseph concerts at Fairfield Halls in Croydon Shiner, pianists Frederick Brown, Daryl this Autumn. On 23 September, Emma Griffith and Simon Ferris, soprano will perform piano duets with the Alison Pearce, mezzo-soprano Janet conductor and harpsichordist Julian Shell and organist D’Arcy Trinkwon, Perkins in a programme ranging from through to jazz singer Ian Shaw, the domestic delights of Mozart’s Kingston Chamber Singers, Thames

Emma Abbate and Friends

Right: Sioned Williams

Youth Orchestra, and the Percussion Ensemble of London.

Sioned Williams’s Spiralling Sixtieth Harpist Sioned Williams has had the busiest year ever with many recitals, a concerto with BBCNOW, one to come with the BBCSO, illustrated-lectures and radio interviews, and all whilst still working as Principal Harpist of the BBCSO! She decided to create a concept of performance and creativity for her sixth decade. Spiralling Sixtieth is an exploration around the number six exploring different strands of her life including orchestral, new music, research, retrospective, educating and charitable. The exploration began on her birthday, 1 July 2013 with a Wagner rehearsal for the 2013 Prom season, and is spiralling beyond 2014!

The next event will be a solo recital entitled A spiral of discovery and adventure in the Purcell Room on London’s South Bank on 14 October at 7.45pm. Presented by Park Lane Group and UK Harp Association (UKHA), the performance includes six premieres of works for solo harp by English composers Anthony Bolton, Michael Finnissy, Dominic Murcott, Paul Patterson, Andy Scott, and Michael Stimpson, honouring Sioned’s extraordinary career. www.sionedwilliams.com

Continued on page 25

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I’m a violinist and Help Musicians UK helped me financially and emotionally when I had cancer.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Right: George Chlitsios

Saint Saëns in Albania

Variations. It is the fifth time George has performed in the Albanian capital the last few years, after his very successful concerts and live recordings with the Tirana Opera House and New Sounds Chamber Orchestra.

George will also be conducting the opera Magic Flute in Ioannina, Greece, on 6 January 2015, which is the new production of Epirotiki Opera Tsakalof, where George is Principal Conductor.

Ealing Autumn Festival 2014

Conductor George Chlitsios (Greece) has been again invited to conduct the Albanian Radiotelevision Symphony Orchestra in Albania, on Friday 10 October. The programme will include Saint Saëns’ Piano Concerto No 2, Kydoniatis’ Greek Suite No 1 op 89 and Vasil Tole’s Kontrast Symphonic

The festival will feature the world premiere of a new opera, Galileo! - an exciting operatic celebration of Galileo Galilei’s groundbreaking discoveries in astronomy. The new opera owes much to the huge success of the 2013 production of Britten’s Noye’s Fludde and, similarly, calls on opera singers and instrumentalists of the highest calibre to lead a cohort of singers and players drawn from absolute beginners to experienced amateurs and brilliant young people.

www.ealingautumnfestival.co.uk Gillian Spragg writes: West London’s award-winning, multi-arts festival, will Obituaries take place during the last two weeks of October (10-26 October) at venues in With regret, we report the deaths of: the London Borough of Ealing.

The festival puts a special focus on classical music through highly innovative programming that also encompasses visual art, literature, film, drama and heritage events.

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

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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.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Our new members

We offer a warm welcome to the following members who joined before 31 July Full members

Birmingham Peter Holder

Bournemouth Rachael Holland BALeeds

Brighton Robert Beattie LRSM Alexandra Dalton Abi Dance BALiverpool Mandy Morgan LRSL Russell Morgan

Bristol Joanna Hall BAMiddx

Cambridge Kristina Coleman ARCM Ian Pickering HonsAngliaPolyUniv

Cheltenham Tim Cambray Rachel Howgego BACambridge MACam DipMusTherapyRIHE LRAM Ellis Thompson BMusHonsBirm

Croydon Lois Geldard ARCM DipAdvStudiesRAM Peter Andrew Sparks

Devon & Cornwall James Tucker BAPlymouth MAUWE

Eastbourne & Hastings Louise Salter

Hereford & Worcester Amanda Ballard PGDipUCE BMusHonsLond ABSM

Kent Tessa Palacios BMusHonsCCCU

Lancaster Carl Anthony Desmond

Lea Valley Dan Allen BMusCardiff

Richard Evans BAExeter DPhil Diplom-MusiklehrerFrankfurt Naoko Inoue Diplom-PrufungFrankfurt Joe Waggott BMusHonsBCU

London - North Amparo Lopez Comino BEdMusTGranada Benjamin Shepherd MMusTrinityLaban BMusTCM LTCL FTCL Dave Smyth BAYork

London - South East Tom Adams

London - South West Jean-Philippe Calvin Miriam Grant GRSM LRAM ALCM Harriet Hougham-Slade BMusHonsKings Roderick Seed BMusHonsRAM Piers Tattersall MMusRCM BMusHonsRNCM

London - West Andrew Collis LTCL Christian Mason BAHonsYork Richard Stroud BMusHonsRAM Rika Zayasu PGDipGSMD MPhilYork

Manchester Martin Bickerton BMusHonsRNCM Katharine Curlett BMusHonsRNCM Jane Edgar BMusManch PGCE Jane Jackson

Nottingham Alicia Fletcher BAHonsHull Emily Harrison BADurham Gillian Shaw BMusHonsHuddersfield

Oxford Julie Boulter BMusHonsQueenslandCons Jack Gibbons Sarah Hobbs BMusUCE Anthony Wilson BAHonsNotts MALond LLCM

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Reading Victoria Benjamin BMusLeeds Andrew McKenna BMusToronto BEdUWesternOntario

Hayley Miller LTCL Miranda Summers-Pritchard BAOxfordPoly

Suffolk Daniel Johnson BAColchesterInstitute

Warwickshire & Northamptonshire Sara Austin BMusLancaster

West Yorkshire Nicola C Harrison BAHonsSurrey Joseph Hillyer BMus Colin Honour Mark Wilkinson GLCM

London - North Nathan Gregory

London - South East George Barton Filippo Di Bari Giulia Semerano

London - West Duncan Anderson Avril Kinsey Pablo Ortiz De Urbina

Manchester John Horrocks

North of England Christos Mavridis

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Eng Soon Eric Loh ATCL DipMusLCM LLCM ALCM BScSingapore MBusAdmin GDipBusAdmin

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Composers’ Edition Dan Goren E: info@composersedition. com T: 0330 223 0558 W: www.composersedition. com J & A Beare Simon Morris E: violins@beares.com T: 020 7307 9666 W: www.beares.com

Scotland - South East

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Northern Ireland Catherine Brogan Gillian Hanna

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

27

Musical Director TIMOTHY SALTER

VOICE TRIALS for boys aged 7 & 8 8 November 2014 Substantial scholarships are awarded and choristers enjoy the superb and extensive facilities of St Edmund’s School.

The Master of Choristers, David Flood, is always pleased to meet and advise parents and their sons.

For further details please telephone

01227 865242

davidf@canterbury-cathedral.org

Registered Charity no. 285277

Experienced singers with sight reading ability are invited to audition for this chamber choir.

Repertoire: Renaissance to present, emphasis on contemporary. Concerts in central London and further afield.

Rehearsals in central London on Tuesday evenings.

For more information on how to join us for a taster session please contact: Ulla Gray (Secretary), 2 Upland Road, London SE22 9EE on 020

8693 1051 or 07950 143916 info@ioniansingers.co.uk www.ioniansingers.co.uk

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2

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

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 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 1 October for November/December issue.

Trinity College London Trinity College London has announced that the first four centres to offer its Certificate for Music Educators qualification are CPD Centre West Midlands, Norfolk Music Service, East Midlands Hub Consortium, and RAF Air Cadets Music Service. Of these, CPD Centre West Midlands and Norfolk Music service are open to all learners.

East Midlands Hub Consortium and RAF Air Cadets Music Service will begin as closed centres, initially operating as workforce development programmes.

New Principal for Leeds College of Music:

Musicguard/ Orchestralguard

Leeds College of Music has appointed Gerry Godley as the conservatoire’s new Principal and Managing Director from 22 September 2014.

Orchestralguard have been insuring musicians since 1997, and we believe that flexibility is the key to great customer service which is why Orchestralguard is designed so that Gerry Godley is currently director of you can create your own cover. This Improvised Music Company (IMC), means you get the cover you really an Arts Council funded resource want and don’t have to pay for options organisation for jazz and related music. you’ll never need.

He is a saxophonist and has worked both as a freelance musician as well as Very often the cover available a teacher. With strong entrepreneurial for orchestral instruments under a skills, he has built and delivered a typical home contents policy can be Recommended in the government’s programme of educational provision quite limited, particularly if you play 2011 National Plan for Music Education for emerging practitioners, and has outside of the home or play for money. and developed through extensive served as Secretary General of the In addition, many insurers do not consultation with the music education European Jazz Network. provide cover for any loss of value to sector, the Certificate for Music your instrument after an accident or Outgoing Principal, Philip Meaden, Educators enables music educators repair, often referred to as diminution. added: ‘I was delighted to learn working in any setting or musical of Gerry Godley’s appointment.

Orchestralguard insurance is genre to develop their skills and gain His experience and skills make suitable for anyone playing stringed, recognition for their professional him perfectly suited to leading the woodwind, percussion instruments or abilities. It is assessed through practical next phase of the conservatoire’s pianos and for home or studio based demonstration in the real working development, and I look forward to musicians, performing musicians, keen environment. learning more of his exciting plans for amateurs, semi-pro and professional Trinity is offering its own accredited its future.’ musicians, Orchestras, music teachers version of the qualification (the Trinity and students.

Gerry Godley said: ‘It’s a great honour CME) through centres that it approves to be appointed to this significant role Our flexible cover options include to offer complete programmes at Leeds College of Music. While I’ve accidental damage, theft and loss, of training and assessment. Any worked with artists in many genres instrument breakdown, theft from a organisation that is equipped to offer and at many stages of their life in vehicle, diminution of value (covering a Trinity CME programme can apply music, my focus over the last decade you against any loss in value due to become a centre, including music has been at the early stages of career to a claim repair), new-for-old education hubs, music services, development, and it’s given me replacements plus hire of instruments specialist subject associations and valuable insight into the challenges and equipment whilst waiting for a other training providers. and opportunities for musicians and claim repair or replacement. Policy www.trinitycollege.com/cme educators throughout Europe. As it Terms and Conditions apply. marks fifty years, I’m looking forward For more information or to get a quote, to playing my part in the next stage please visit www.orchestralguard. of the conservatoire’s journey, and co.uk/ism or give us a call on 0844 826 embracing life in one of the UK’s 2299. academic and cultural hubs.’

Continued on page 31

29

Corporate members of ISM, Victoria College Exams are a truly independent A w a r d i n g B o d y, d e d i c a t e d t o e n c o u r a g i n g p e r fo r m e r s a n d supporting teachers since 1890.

F r i e n d l y, u n d e r s t a n d i n g e x a m i n e r s visit a network of centres including schools and teachers’ own studios.

Individual useful exam reports and certificates are sent to teachers within days of the exam.

A n u n p a r a l l e l e d ra n g e o f i n s t r u m e n t s i s e x a m i n e d i n b o t h t ra d i t i o n a l a n d c o n t e m p o ra r y g e n r e s , o n f l e x i b l e dates convenient to teachers.

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AUTUMN 2014

THE BELL TWENTY-SEVENTH YEAR OF PUBLICATION

FREE TO ALL ISM MEMBERS The Bell is a unique publication, read by over 11,000 people each issue. Produced by corporate member Stainer & Bell, the 16 page A5 full-colour booklet contains details of new publications, reviews, articles of general interest, and our very popular competitions. The Bell has been an award winner in the ‘Good News’ category for newsletters from the Royal Mail.

‘There is nothing else quite like it! Keep them coming please.’

‘It’s the only periodical I receive that I don’t consider a throw-away.’

‘I always look forward to receiving it.’

‘Many congratulations on a most interesting and informative edition.’

To obtain your free copy, either by post or email, just contact us with your name and address by telephoning 020 8343 3303, or email your details to post@stainer.co.uk

Stainer & Bell Ltd PO Box 110, Victoria House, 23 Gruneisen Road, London N3 1DZ England www.stainer.co.uk

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

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

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

Birmingham Conservatoire ABRSM

NMC Recordings

Bath and North East Somerset Music Hub

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Charanga

The Royal Philharmonic Society

Colchester Institute Forwoods J&A Beare London College of Music National Preparatory School Orchestra Oxford University Press

Leeds College of Music

The Opera Awards

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Trinity College London

MSST – The Andrew Lloyd Webber Programme

Yamaha Music Europe

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

Musicguard

Guildhall School of Music & Drama The Guildhall School of Music & Drama has been granted Taught DegreeAwarding Powers by the Privy Council of the United Kingdom. Taught DegreeAwarding Powers give UK higher education providers the right to award bachelors and master’s degrees.

City University London has been the School’s sole validator since 2002.

By gaining the right to award its own degrees, the School can take full ownership of the relationship between professional training and higher education, putting it in a prime position to respond rapidly to the developing needs of the performing arts and to drive change in the

professions and in society. One of the aims for the School’s new facilities at Milton Court, which opened in September 2013, was to support the launch of an extended range of programmes, marking the beginning of a fresh phase in the institution’s development, and gaining Taught Degree-Awarding Powers will further enable this to happen.

Professor Barry Ife CBE, Principal of the Guildhall School, said, ‘There is an increasing expectation among students, stakeholders, peer institutions and other agencies in this country and abroad that highlyrespected institutions should have gained academic autonomy. I am absolutely delighted that after several years of hard work on quality assurance, the School has been officially recognised by the Privy Council in this way. ‘

Right: The Guildhall School of Music & Drama has been granted Taught DegreeAwarding Powers

It is expected the School will award its first degrees at its graduation ceremony in the autumn of 2015.

Continued overleaf

31

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Association of English Singers and Speakers

and both audience and competitors were given a thought-provoking insight into the requirements of being a performer. The winner of the £1,000 prize, sponsored by the Toni Fell Trust, was Lizzy Andretta from the East 15 Acting School.

Thanks are due to the Toni Fell Trust, to Chris Mear, the official accompanist and to all the other entrants and their accompanists. Jean Hornbuckle and Jane Roberson, the AESS co-ordinators deserve much gratitude for their work. www.aofess.org.uk

Music Education Solutions Above: Marilyn Cutts and Lizzy Andretta – the adjudicator and the winner of the AESS Toni Fell Musical Theatre Prize

Graham Trew writes: On 1 June, a receptive audience was treated to a wonderfully devised tribute to Michael Head for which all the credit goes to Patricia Williams. The carefully selected programme of song and poetry was linked with history and reminiscence by Liza Hobbs and Graham Cooper. Poems were read

by Una Warnes and songs sung by Margaret Cadney, Lesley Cooper Lyn Cook, Julia Dewhurst, Sarah Leonard, Katarina Melling, Melanie Mehta, David Phillips, Graham Trew, Alexandria Wharram and Patricia Williams. The pianists were Diana Bickley, David Williams and Patricia Williams. The programme finished, most appropriately, with a recording of Michael Head singing and playing Had I a Golden Pound.

A week later the final of the second AESS Fell Musical Theatre Prize was held at the Sylvia Young School.

The adjudicator was Marilyn Cutts, a founder member of Fascinating Aida currently starring in Wicked. Her summary was most comprehensive

32

Music Education Solutions and Target Education Alliance’s partnership project CPD Centre West Midlands has been successfully validated to provide the Trinity CME. As Registered CME Centre 0000001, CPD Centre West Midlands will provide face-to-face, and online learning, including personalised mentoring, for music educators in the West Midlands region and beyond.

It will cater for the needs of schoolbased curriculum staff,instrumental and vocal teachers, and community musicians and workshop leaders.

Applications are open now, and will be accepted on a rolling basis throughout the year (cme-westmidlands.co.uk).

Elizabeth Stafford, Director of MES Ltd said: ‘We are thrilled to have been successfully validated as a Trinity CME centre. We view this qualification as the jewel in the crown of our nationwide CPD offer for music educators, and look forward to welcoming the first learners to our centre later in the year.’ www.musiceducationsolutions.co.uk

National Youth Orchestra of Great Britain The National Youth Orchestra of Great Britain has been accepted into Arts Council England’s new national Portfolio for the first time. It is to be funded as part of its new national Portfolio organisations 2015/18.

The National Youth Orchestra of Great Britain has an unparalleled tradition for artistic excellence in orchestral performance and a world-class reputation unique among youth arts organisations. It’s vision is to be the most inspirational orchestra for young people in the UK and aims to expose every teenager to classical music within the next decade.

NYOGB gives young musicians an unrivalled experience of excellence that is powerful, transformational and lasting. Sir Simon Rattle, Chief Conductor and Artistic Director, Berlin Philharmonic, and former percussionist in NYOGB said: ‘I’ll never forget my time with the orchestra and genuinely believe it to be one of Britain’s greatest musical assets.’

Royal College of Organists Simon Williams writes: On 27 September in Birmingham the College joins forces with the Birmingham Organists’ Association, British Institute of Organ Studies (BIOS) and Incorporated Association of Organists (IAO) for OrganFest 2014. Presentations, lectures and exhibitions will explore the work of these institutions, and the day will also feature a recital by Thomas Trotter at Birmingham Town Hall and a Choral Mass at St Chad’s Cathedral.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

The RCO London Organ Forum on 1 November will look at the music of three composers, Reger, Karg-Elert and Widor, all granted Honorary Membership of the RCO shortly before the outbreak of World War I in 1914.

The programme will include concerts, illustrated lectures and discussion, plus the option to attend the 2nd anniversary recital for the organ at St George’s Church, featuring David Briggs improvising an organ sound track to the 1925 silent film Phantom of the Opera.

Finally, the RCO’s spectacular yearlong 150 for 150 Anniversary Recital Challenge will draw towards its close at Royal Festival Hall on 10 December with a special anniversary recital by Martin Baker, featuring repertoire by composers connected to the College, as well as a new Simon Holt work co-commissioned by the RCO and Southbank Centre. www.rco.org.uk.

British Voice Association Vibrato! Often mentioned, yet seldom discussed. What is it and how is it used? When does a thrilling vibrato become a bleat or a wobble? Are choral blend and vibrato awkward ‘bed fellows’? The next British Voice Association study day on 12 October at the Royal College of Music will look in depth at this interesting and often misunderstood topic.

Friends of the Musicians’ Chapel

Concerts from Scratch/The Really Big Chorus

The Friends of the Musicians’ Chapel held the AGM and Thanksgiving Service on 29 April at St Sepulchrewithout-Newgate, the home of the Musicians’ Chapel. At the AGM the retiring Chairman, Simon Lindley was presented with a pair of engraved cufflinks and thanked for all his work as Chairman.

Marianne Barton writes: Our 2013 Scratch Youth Messiah at the Royal Albert Hall with free places for young singers up to age 25, was such a success that we are repeating it on 30 November 2014! Almost 1,000 young singers are already signed up, but we can take many more this year, and singing places are still free (there is a very modest registration charge). Once again we are working alongside the charity WaterAid, which will benefit from programme sales and sponsorship and from the ‘bottle it’ scheme which involves singers (plus parents and friends) filling 50cl water bottles with loose change. A morning rehearsal at 11:15 is followed by a lunch break and then the performance at 14:00, with professional orchestra and soloists conducted by ISM PastPresident Suzi Digby OBE.

The newly elected Chairman, Andrew Morris, was delighted to welcome to the service Dame Felicity Lott, DBE, FRAM, FRCM our new Patron.

The music this year was provided

by Trinity Laban Conservatoire with the Choral Scholars of the Old Royal Naval Chapel under the direction of Ralph Allwood. Dame Felicity read the first lesson. Forty-three names were added to the Book of Remembrance and the preacher was Rev. David Ingall, Priest-in-charge of St Sepulchre-without-Newgate.

Full details are available at www. youthmessiah.co.uk. To be sent an information pack please e-mail youthmessiah@trbc.co.uk or write to PO Box 4211, Bath BA1 0HJ.

The Friends are holding a Service of Requiem at 6pm on 12 November, again at St Sepulchre-withoutNewgate with the Choir of St Sepulchre conducted by Dr Andrew Earis.

Come and hear just how good 1,000+ young voices can sound. Tickets Next year’s Service of Thanksgiving available now from the Royal Albert will be held on Tuesday 28 April when Hall Box Office (online or at 0845 401 the music will be provided by the Choir 5005). of King’s College, London, under David Trendell. The address will be given by Miss Catherine Bott.

www.britishvoiceassociation.org.uk

33

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

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

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

ISM Representatives We are currently looking for a member to act as treasurer for the Guildford local group and two representatives for Devon & Cornwall.

For more information or an application form please call 020 7221 3499 or email membership@ism.org. The deadline for applications is 18 September for Guildford and 30 September for Devon & Cornwall.

Wednesday 24 September

Sunday 5 October

Saturday 11 October

BOURNEMOUTH Annual Cuthburga Lecture Music & Landscape: Knowlton as inspiration by David Owen Norris

LEA VALLEY BAPAM Talk and Meeting

NORFOLK Annual Meeting & Dinner

2pm, The Epping Friends House, Hemnall Street, Epping, Essex CM16 4LL A member of staff from BAPAM (British Association for Performing Arts Medicine) will be giving a talk to help with any medical questions and information that members would like to know in relation to performing.

Contact Carolyn Richards, ismleavalley@ntlworld.com

6.30pm, Park Farm Country Hotel, Hethersett, Norwich, NR9 3DL For the Annual Meeting this year we shall return to the delightful setting of the Park Farm Hotel. Professor Barry Ife CBE, current ISM President and Principal of the Guildhall School of Music & Drama will be our guest speaker.

Cost: £35 per person (drinks purchased separately).

Contact Henry Macey, henry@hcmacey. freeserve.co.uk before 1 October

7.30 pm, Wimborne Minster Tickets: £7 unreserved (£5 members of the Friends Association and ISM members).

In advance from Friends of Wimborne Minster, Church House,High Street, Wimborne BH21 1HT (please supply SAE); email: friends@wimborneminster.org.uk or on the door (please bring membership card to obtain the discount price)

Sunday 28 September WILTSHIRE Piano Masterclass with Timothy Barratt 2.30pm, The Old Hall, Dauntsey’s School, West Lavington, Devizes, Wiltshire, SN10 4HE A masterclass for piano students over grade 6 level. Teachers are invited to submit an entry of one student who will work for up to 25 minutes with Timothy. Teachers of the students selected will be notified and will be required to pay a fee of £12.

Admission: £5 members, £6 non-members, £2 students (including tea).

Contact Liz Adams, 01793 346635, 07970 320208, lizadams@uwclub.net

SOUTH EAST LONDON Group Re-launch

Sunday 9 November

3pm, Trafalgar Tavern, 27 Park Row, Greenwich, SE10 9NL Re-launch of the ISM SE London Group at an annual meeting. President of the ISM and Principal of Guildhall School of Music and Drama, Professor Barry Ife, will be a guest speaker.

Cost (includes refreshments): £5 members, £7.50 guests Contact Janet Munro, janetmunro59@mac. com for tickets and further information.

3-6pm (masterclass), 7pm (concert), Lawrence Hall, London College of Music, University of West London, St Mary’s Road, Ealing, London, W5 5RF Contact Ivor Flint, ivor.flint@virgin.net, 020 8968 9605

Tuesday 7 October

Sunday 30 November

SOUTH WALES Vocal recital and drinks reception

LEA VALLEY Autumn Pupils’ Concert

1pm, St David’s Hall, The Hayes, Cardiff CF10 1AH Complimentary tickets to a vocal recital, to include the world premiere of If I touched the earth by Cecilia McDowall, followed by an exclusive complimentary post-concert wine reception for ISM members to meet the composer.

Contact the box office, 029 2087 8444 (quoting ISM)

WEST LONDON Adult Students’ Masterclass and Concert with Peter Jacobs

2.30pm, St John’s Centre, ARC, St John’s Walk, Old Harlow, Essex, CM17 0AJ Autumn Pupils’ concert (up to Grade 8 standard). This will form a networking opportunity for musicians from different areas of the music industry.

Contact Carolyn Richards, ismleavalley@ntlworld.com

Oxford: An appreciative and enthusiastic audience of ISM members and friends gathered at the Oxford High School on 15 June to hear Sally Cathcart speak about her work as the Development Director of the Voices Foundation. 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.

35

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2014

Ask me a question

to write another note again, performer friends continued to ask me to write for them and when my composer father (Andrzej Panufnik) died, 22 years ago, I grabbed the bull by the horns and left my BBC job to be a composer. And here I am…

Roxanna Panufnik Composer

Who was the person who most influenced you, and how?

It’s inevitable that my father was a massive influence – both genetically and morally. I inherited his composer genes and his love of major-minor harmony. Both my parents loved me unconditionally and taught me to always be myself and never to copy anyone else – whether it be socially or professionally. Both those things set me up for life.

What are your plans for the future?

To be the best possible mother to my three children and to carry on composing as long as I’m asked to!

What would you say is your greatest achievement to date?

Tell us a little about yourself.

I come from a musical family but wanted to be a midwife or paramedic during my childhood. It soon became clear that I was never going to do well academically so, almost by default, ended up studying composition at the Royal Academy of Music. Despite deciding on a ‘glamorous’(!) career in TV production and swearing never

Wow. That’s a tricky one. I’m very proud of my mission to build bridges between musical faiths and that has moved me to produce what I think are my best projects – my violin concerto Abraham (also adapted into a symphonic overture Three Paths to Peace) which combines Christian, Jewish and Islamic chant and my multi-faith CD Love Abide. I had to raise £40K to make the latter…

What was the last CD/music download you purchased?

I’ve just bought Viktoria Mullova’s Stradivarius in Rio CD – can’t wait to listen to it!

Who is your all-time favourite artist and why?

Jordi Savall – he combines his phenomenal playing skills with extraordinarily informative and beautiful explorations into ancient music of many nationalities and faiths. I also loved his singer wife Montserrat Figueras and her stunning voice – so sad that she died so tragically young.

What do you find most valuable from your ISM membership?

I love the way that if I have any problem or worry I can ring up and get support. I also really enjoy the Journal and reading about what everyone’s up to. What a fantastic community we’re living in! www.roxannapanufnik.com www.loveabide.com www.tallinnmass.com

£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

rship

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.

36

r e n t r a p n o i a educ t

Your Music

Sound-isolating practice rooms

EDUCATION > HOME > RECORDING

Having enough space to practise is often an issue in music departments; our modular, relocatable Music Practice Rooms provide an excellent solution to this problem.

Each module offers an individual space for solo or ensemble practice, whilst providing an effective acoustic barrier to avoid disturbing other classrooms.

besPoke leasing and Finance Packages

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inventorY analYsis Pr and Web suPPort

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YaMaha artist PrograMMe

Head of Music at Lancaster and Morecambe College, Pete French, was delighted with the new sound-isolating practice rooms installed by Black Cat Music: “The facility used to be a lecture theatre. It was just one space we could use; now we’ve got three spaces. The modules are being used every day with all three year groups time tabled in, so they are getting maximum use.”

The rooms, from MusicPracticeRooms.com, use a prefabricated panel design that is affordable, easy to install and allows rooms to be custom configured to suit available space. “We are very happy having them here,” continued Pete French.

“The music practice rooms have changed the whole nature of the course, because they are so sound-proofed. The students love them and yes, they work very effectively.”

To watch the video of this interview scan here or go to youtube.com/musicpracticerooms

let’s talk music

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.

Pete French - Head of Music, Lancaster and Morecambe College

Brought to you by

“The Music Practice Rooms have changed the whole nature of the course, because they are so sound-proofed.

The students love them and yes, they work very effectively.”

Get in touch

Telephone: 0844 846 9740 www.musicpracticerooms.com

137 years of internationally respected music exams

New music syllabuses and publications available now New syllabuses for piano, woodwind, jazz woodwind, electronic keyboard, brass and singing are available now. A range of exciting new supporting publications are also available.

Why Trinity?

Our music exams offer the choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers. ◗ Our approach to assessment — through our exams we:

• examine real musical skills specific to each instrument or voice • include options for candidates to improvise and perform original compositions to express their individuality • offer precise and specific feedback through a diagnostic mark scheme ◗ Choice and quality of repertoire — we work with a wide range of specialist composers, teachers and musicians to develop varied and diverse repertoire

◗ Our heritage and recognition — we’ve been assessing in music since 1877 and our exams are internationally recognised and accredited by education authorities around the world

◗ Our teacher support — we hold events all over the world and offer free teaching resources, articles, forums and more through our online learning platform

◗ Our examiners — our exams are assessed by a panel of friendly examiners who are rigorously trained and standardised.

Sir Simon Rattle on music in the UK Can making music support well-being in older age?

To find out more visit

www.trinitycollege.co.uk/music

MUSIC-AD-SSP-19 (A5 NEW)

September/October 2014

/TrinityCollegeLondon

@TrinityC_L

City Music Foundation