Music Journal - September-October 2015

September/October 2015 Welsh National Opera and RWCMD partnership: a ‘no-brainer’ Alan Davey: The new controller of BBC Radio 3 Bacc for the Future II – help save arts subjects in schools

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Welcome

Above: Deborah Annetts Photo: Mark Thompson

As we all return refreshed from our summer break, ready for the new season I would like to start with some very good news. Many of you will be renewing your ISM membership over the next few months and I am delighted to be able to let you know that your membership fee for the ISM for 2015 – 2016 will not be subject to any inflationary increase. The governing body of the ISM has taken the view that with the continuing challenges facing musicians, no matter what sector you work in, the ISM should work hard to keep your membership fee at an affordable level. With the cost of student membership being held at £12 for the fifth year running and a discount for full membership when paying by annual direct debit the ISM will continue to offer extraordinary value for money to its members.

The full range of services will continue and be expanded where possible.

These include the highly regarded advice from our in-house specialist legal team who can help you with your work problems from contracts and unpaid fees to recording advice and copyright issues, a full range of insurances including public liability and legal expenses insurances and a comprehensive range of professional development seminars and webinars. We will also continue to offer business advice to members through our bespoke arrangement with our experienced consultant Joel Garthwaite.

Perhaps the ISM can also see into the future. When we approached BBC Radio 3 for an interview with Alan Davey, its new controller, little did we expect that the interview would be published in this edition of Music Journal alongside news of two consultations on the future of the BBC. Whatever you may think about some of the BBC’s programming, the fact remains that it plays a central role in the cultural and artistic fabric of the life of the United Kingdom and beyond.

The ISM has worked for many years with the BBC. Most recently we have been a close collaborator on the BBC’s ground breaking Ten Pieces initiative which has brought wonderful music into the lives of so many primary school children.

Front Cover Emyr Wyn Jones as Papageno and Aoife O’Connell as Pamina in WNO’s production of Mozart’s The Magic Flute at the Sherman Theatre in Cardiff.

See feature on pages 11-13.

Photo: Kirsten McTernan

The Government’s consultation on the Review of the BBC’s Charter closes on 8 October. If you have a few spare minutes please do take the time to respond www.gov.uk/government/collections/bbc-charter-review.

And lastly as the autumn term begins, we cover the troubling revival of the EBacc policy which, if it becomes a reality, will jeopardize the position of music in our secondary schools in England. It is at times such as this one looks to Scotland for inspiration. Having recently met with Education Scotland I have reached the conclusion that there seems to be a better appreciation of music and its transformative power in education north of the border rather than south. Let’s hope that sense ultimately prevails and that this policy, which we persuaded the last government to drop, is mothballed for a second time.

deborah@ism.org

Contents 2 4 6

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News & campaigns Legal help Membership benefits and your membership fee Your letters Professional development

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Welsh National Opera and RWCMD partnership: a ‘no-brainer’ Alan Davey: The new controller of BBC Radio 3 Bacc for the Future II

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

Volume 82 / 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 Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Wimbledon Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 October for November/ December issue Price: £6 per copy Subscription: £30 per year Circulation: 7,000 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.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

News & campaigns Future of the BBC under debate The Royal Charter which governs the BBC expires next year, in 2016. This means the new Charter is up for discussion; the future of the BBC as we know it could be at risk.

Henry Vann, Head of External Affairs, ISM

The Government has launched a consultation on the future of the BBC, with John Whittingdale, the Culture Secretary asking if the BBC should ‘still be all things to all people.’

Among the options being considered would be changing funding arrangements: either a reformed licence fee, a household levy or a combination of the two would be considered.

2. You can also respond to the BBC Trust’s own

consultation by Friday 18 September 2015 at: www.bbc.co.uk/tomorrowsbbc

If you have particular views about what the ISM should be saying in response to either of these consultations, you can let us know by emailing me on henry.vann@ism.org or phone me on 020 7313 9327.

English Baccalaureate challenged in Parliament

On Wednesday 22 July Lord Aberdare raised concerns The review will look at the BBC’s mission, purpose and about the omission of art and music from the English Baccalaureate (EBacc) in the House of Lords. He was values, the scale and scope of the BBC’s services and operations, the way in which the BBC is funded and the supported by many members of the House of Lords who were also concerned about the lack of art, design BBC’s governance and accountability. and music from the new compulsory EBacc proposals.

BBC at risk?

Initial responses from the BBC have expressed concern that the consultation would ‘herald a much diminished, less popular BBC,’ with the BBC’s Director of Music, Bob Shennan, warning that the proposals presented a ‘very material threat to the status quo.’ Helen Boaden, the BBC’s Head of Radio adding that ‘this is a critical moment in the BBC’s history. So it is vitally important that if you feel strongly about the BBC, you speak up and add your voice to the debate.’

You can read more about the EBacc proposals on p18-20.

Funding for the arts and music

John Whittingdale MP, the Culture Secretary, responded saying he was ‘a little surprised that the BBC expressed such disappointment at the green paper’ adding that ‘the last thing I want to do is undermine the BBC.’

The Chancellor’s spending plans mean that every Government department outside of health, schools (not the total education budget), defence and foreign aid would need to plan for cuts of between 25% and 40% over the next five years.

Fiona Hyslop MSP, the Scottish Culture Secretary said the Green Paper must not be used as a cover ‘to slash and diminish’ the broadcaster and called for improvements in national coverage for Scotland.

Details of these proposals, and any further cuts to Government budgets are expected in late November or early December as part of the ‘autumn’ spending review.

Have your say on the future of the BBC 1. The Government consutlation on the Review of the

BBC’s Charter closes on 8 October 2015. You can find out more about this consultation on the Government’s consultation website: www.gov.uk/government/ collections/bbc-charter-review

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The question secured the backing of former Education Secretary Ken Baker (now Lord Baker of Dorking) and the Government Minister responding agreed that he would ‘look at the proposals further.’

At this stage, the amount of funding that will be made available for music services and music education hubs or for Arts Council England’s overall arts funding budget has not been made clear.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Composers’ and Performers’ Round Tables Led by our Performers’ Special Interest Group, the Performers’ Round Table will take place on Monday 7 September 2015, 12-3pm at 4-5 Inverness Mews, London W2 3JQ. The meeting will focus on a new ISM Performers Pack, fair contracts and remuneration for performers, and an update on instruments on planes and the BBC Charter Review.

Led by our Composers’ Special Interest Group, the Composers’ Round Table will take place on Wednesday 9 September 2015, 12-3pm at 4-5 Inverness Mews, London W2 3JQ. The meeting and will focus on self-publishing and fair contracts and fair pay for composers.

If you would like more details about these events or would like to attend, you can let us know by emailing Derin Adebiyi, Public Affairs & Policy Officer at derin.adebiyi@ism.org

PRS launches ‘Streamfair’ A new campaign has been launched by PRS for Music, aiming to close loopholes that enable websites to avoid paying musicians.

Ambiguity about the current law means that some large online sites which allow people to upload music and share it can deny any responsibility for copyright.

Some services that allow users of music to upload content use European Legislation called ‘safe harbour’ to justify their refusal to take a licence and pay musicians when their works are streamed. This has a negative impact across the music industry and those licensed music services trying to build business models which can support songwriters and creators’ income.

However, non-featured artists – the majority of choral, orchestral and big band musicians – will continue to receive nothing from streaming services until the law changes to protect performers.

A new creative curriculum for Wales Wales has put creativity at the heart of its new National Curriculum proposals, with expressive arts forming one of six key strands of a new National Curriculum. This news, which stems from the Donaldson Report on education in Wales, Successful Futures, has been welcomed by the ISM.

In March, £20m was pledged to support creative learning as part of the Creative Learning through We are supporting a campaign, run by PRS for Music, the Arts initiative, with £10m of this coming from which calls for this ambiguity to be clarified. the Welsh Assembly Government and a further £10m Deborah Annetts, Chief Executive of the ISM has from Arts Council Wales. At the time of going to print, spoken in support for the campaign, saying: we are awaiting more details on how this funding ‘Streamfair is a crucial campaign. Composers are losing will be spent. out as commercial sites do nothing to tackle copyright infringement and instead hide behind out-dated ‘safe harbour’ regulations. We fully support PRS’ calls for Tougher sentencing for online legislative reform to protect music creators’ rights infringement in the music streaming market and we also support the continued push for online music services to be At the moment, the maximum sentence for properly licensed.’ copyright infringement is two years’ imprisonment.

This is contrasted with ten years’ imprisonment being the maximum penalty for physical copyright Apple Music climb-down infringement. The Government (the Intellectual Property Office) have proposed equalising this so In the last edition of Music Journal ( July/August) that the maximum sentence is increased from two to we covered the topic of Apple Music and the fact ten years. We have supported these proposals, given that most professional musicians – unless working the impact online copyright infringement has on specifically as ‘featured artists’ on recordings – musicians and the consultation on the proposals took receive nothing from streaming royalties. place over summer. We are awaiting a response from The successful musician Taylor Swift, has since the Government. challenged Apple Music who were not paying musicians at all during the free trial period of Henry Vann, Head of External Affairs, ISM Apple Music.

020 7313 9327, henry.vann@ism.org She was successful in challenging this practice, with Apple Music Backing down and promising to pay musicians.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Legal help Working from home – some legal issues for teachers and performers

David Abrahams, Head of Legal, ISM

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Planning permission and business rates

Occasionally I am asked whether musicians need planning permission to teach or practice at home or whether they run the risk of liability for business Many ISM members work from home, whether rates. The answer to these questions is, generally they are using their home as a practice venue for themselves or small ensembles, or whether they are speaking, no. It is perfectly lawful to teach or practice at home without obtaining planning permission or teaching pupils privately at home. Although it is very paying business rates provided the primary use of the common for work of this kind to be undertaken by premises remains residential. However, legal issues musicians in their own home, there are a number of legal and practical issues that you need to think about could arise if you were to dedicate a room in your house solely to your work as a musician (so that it in relation to working from home. was obvious that it was solely being used for business rather than residential purposes). This problem rarely Insurance There are two types of insurance you need to consider arises in practice, but it is worth thinking about if you are planning to create a dedicated music studio in if you are teaching from home. Public liability insurance will cover you for any liability for accidents your own home. From a legal point of view, it may be preferable to retain flexibility so that it is clear causing injury to your pupils or their property while they are in your home. Although this is probably most that the room is still suitable for residential as well as business use. relevant to music teachers, public liability insurance would also cover if an accident happened to a Noise complaints and statutory nuisance fellow-performer attending an ensemble rehearsal If you are regularly practicing or teaching in your home in your home. ISM members obtain ÂŁ10 million of it is unfortunately possible that you will receive noise public liability cover automatically as part of their complaints from your neighbours, particularly if you membership of the ISM. However, you also need to are teaching or playing for long periods without a think about your home insurance (buildings and/or break. There is always a risk that your neighbours contents) in order to provide cover for any accidental damage to your property or its contents. Most insurers may make a complaint to the environmental health department of your local authority, alleging will want to know whether you are operating any that you are committing a statutory nuisance. In kind of business from your home when you apply my experience it is exceptionally rare for such a for home insurance. If you have a large number of pupils coming to your home for lessons (or performers complaint to be upheld, because local authorities generally accept that playing a musical instrument at coming to your home for ensemble rehearsals), your reasonable hours is a normal activity in a residential insurers may increase your premiums or even refuse property (analogous to listening to the radio or cover entirely. However, if you decide not to tell your watching television). However, the process of being insurer about work you are carrying out at home, investigated by the local authority can be a stressful and you do subsequently try to claim for an accident one and may lead to a further deterioration in your related to this work, the insurer may refuse cover relationship with your neighbours. My strong advice entirely. Obviously it is well worth shopping around would be to try to maintain good relations with your among different insurance providers in order to get neighbours, informing them what times you will be the best deal. teaching or playing, and making sure that the hours you teach or practice are reasonable (I would advise against teaching or playing after 9pm) and taking all reasonable steps to try to minimise disturbance and avoid problems arising.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Help with your tax returns

Rented and leasehold property

If you are a tenant renting your property, or own a flat on a long leasehold basis then your occupation of your home will probably be governed by the terms of a tenancy agreement or lease. Often the terms of the lease or tenancy will be very restrictive. There may be a clause stating that you must not run a business from the premises, or that you must not play any musical instrument so as to be audible outside your home. In practice it is common for such clauses to be disregarded. So long as there are no complaints from neighbours, your landlord or freeholder may well not be concerned about you practising or teaching pupils from home. However, there is always a risk in these types of situations that a complaint will be made and that a landlord or freeholder will then feel obliged to take action in order to enforce the terms of the lease or tenancy agreement. Ultimately, you could then face legal action and your tenancy could be put at risk. You should therefore read any lease or tenancy agreement carefully before teaching or practising in rented or leasehold property and take all reasonable steps to avoid disturbance to your neighbours, in order to avoid any complaints arising.

Filling in your annual tax return can be difficult and time-consuming. What’s more, ther e are penalties for missing HMRC’s deadlines.

We have arranged for accountancy firm Performance Accountancy to take awa y the hassle.

Performance Accountancy offer ISM members their tax return completion service for a low flat fee of only £150, provided your bookkeeping has been done and you provide complete reco rds of your income and expenses (Performance Accountancy can do this bookkeeping for you for an additional fee). To access this service, contact Loui se Herrington on 01344 834262 or at ism@performanceaccountancy.co.u k

Safeguarding issues

If you are teaching children (anyone aged under 18) at your home you need to be aware of safeguarding issues. You may wish to encourage parents or carers to sit in on lessons or wait in an adjacent room with the door open while the lesson is taking place. You should always inform parents or carers about who else will be present in your home while their children are having their lesson.

David Abrahams, Head of Legal, ISM

Leave a gift to the ISM Trust and help us make the future of music The ISM Trust, which is the ISM’s new charitable arm, has been created with the clear purpose to ensure that we live in a society that values and supports the power of music and music education.

The ISM Trust offers invaluable support, guidance, knowledge and encouragement to musicians and the greater music community in order that music continues to be a strong and developing force within our society. We do this through advice and guidance documents, events and professional development, shaping our programme according to the feedback we get from musicians and music lovers alike.

We promote the value of music to society through research papers and information, which will continue to show the unique benefits that music brings to our world, be it economic, educational or in terms of health and wellbeing.

Please help us to continue our work to ensure music is valued within our society by leaving a gift to the ISM Trust.

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

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Membership benefits and your membership fee Membership fees frozen for 2015-2016

We are delighted to tell you that your membership fee will not be increasing for this coming year. We are working hard to ensure that you receive the highest quality services while keeping your membership fee at an affordable level.

Do you know about the range of vital benefits that you receive as part of your ISM membership?

Simon Frais, Membership Officer, ISM

If you are a full, graduate or student member you are entitled to a huge range of benefits including public, employers’ and product liability cover of up to £10m.

Having public liability insurance in place is not just a sensible move it is a requirement for a lot of the work musicians undertake, including public performance and teaching. Rest assured that you are also covered for up to £100K of legal expenses in the event of a legal dispute related to your work.

Remember that our in-house, specialist legal team is here to advise you on legal matters affecting your work; from simple queries to complex issues, and from contracts and employment matters to copyright and intellectual property, employment disputes, unpaid fees, health and safety, discrimination and more.

If you have a legal query, email legal@ism.org or call us on 020 7221 3499. In 2014 our legal team recovered over £100,000 for our members.

If you have a legal enquiry which is not connected to your work or you would like to speak to someone out of office hours, you can ring our 24-hour legal helpline which is staffed by experienced legal advisers: 01206 368994. If you need advice regarding tax, you can call the same number during the day to speak to trained tax advisers.

You can promote yourself for free through the ISM Music Directory, the UK’s only online directory of musicians with proven professional credentials.

All full, graduate and student members can list themselves free of charge. The directory is viewed by over 2,000 people looking for musicians every month.

You can set up your profile and start promoting your work by logging in at http://bit.ly/ISMmdLogin

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Build your knowledge, expand your horizons and meet other musicians at our seminars and events. All members are entitled to up to 30% off and if you are a student member you get an even better discount.

As you are a member of an official professional body, you are also entitled to use our letters after your name to demonstrate your professional status: Membership type

Post-nominal letters and logos FISM

Fellow (15 years or more of continuous membership)

MISM Full, graduate and retired

SMISM Student

You can download specially designed member logos to use on your website and stationery at ism.org/members You can find out about all the benefits you are entitled to at ism.org/benefits

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

New benefits and improvements

We have great plans for the coming year to make sure your membership suits your needs even more with the development of new services. We are also putting on more events to help you connect with like-minded professional musicians and to support you more as your career develops.

Over the last year we have introduced new membership benefits and we have improved the ISM Music Directory to make it easier for members of the public to find your profile and offer you work, including the introduction of ‘search by county’ and ‘search by musician’ options.

New membership benefits introduced this year: • B usiness advisory service – one-to-one advice on marketing and developing a music related business: ism.org/members • E ssential advice packs to help with your career, including a Composers Pack and Guide for Young Musicians which you can download from our website • M ore webinars and seminars giving you increased opportunity to understand key issues in the music profession and build your knowledge: ism.org/training • R egular free meet-ups giving you the chance to meet like-minded professionals from our community of over 7,000 musicians • G CSE and A level reform comparison charts to help classroom music teachers prepare for the new GCSE and A level qualifications: ism.org/gcse and ism.org/alevel To find out more about your discounts and how to claim them, visit ism.org/members/discounts 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 with your work in the music profession.

2015-2016 subscription rates* Full

Graduate (year 3) Graduate (year 2)

£167 or £162 annual Direct Debit £16.70 per month for 10 months £120 £12 per month for 10 months £90 £9 per month for 10 months

Graduate (year 1)

£70 £7 per month for 10 months

Student

£12

Retired

£84

Associate

£84

Friend

£50

Corporate

from £100

*These rates apply to all renewals until 31 August 2016

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.

If you would like to set up a direct debit, if you have any feedback or want to suggest a benefit we could introduce to help you further with your work in the music profession, you can contact our Membership Officer, Simon Frais, on 020 7313 9311 or email simon.frais@ism.org

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Your Letters Unqualified teachers

Above all a good teacher will be able to inspire, and no degree can give you that attribute. Whenever the I was interested to read the correspondence subject of qualifications comes up, I am reminded of a generated by David Meacock’s letter (Music Journal conductor I worked under in the London Theatre world May-June 2015) concerning music tuition and degrees. nearly fifty years ago talking to a prospective applicant ‘Your qualifications are impressive, but I want to Certainly the issue of unqualified teachers is a thorny hear how you can play, not see how you can play.’ one, but I have to ask the question ‘by what standard And the same applies here, the wrapping paper does are people either qualified or unqualified’? Colleges not assure the quality of the goods, only reputation may set a standard that others respect but that is not can do that. to say that those who do not hold their qualification are consequently unsuitable, far from it. In a subject Barry Waterfield, ISM member like the arts all qualifications are subjective.

How would it be if we just said that there are many The formal qualifications desired of a classical excellent qualified teachers, also many excellent musician are of scant importance to the world of pop unqualified teachers? Equally many poor and for instance. And then there’s the issue of experience, unenlightened teachers in both categories. I firmly is the newly qualified holder of a teaching degree a believe this to be true and am always amazed at the more suitable teacher than a man or woman with a way that, when looking for a teacher, so few people lifetimes professional experience? I think not. actually audition me for the post. So often, all they The bottom line comes to this, the proof of the pudding is in the eating, or in this particular case, the teaching. A good teacher will have a good reputation, one that stands up to scrutiny, he or she will have a commendable record of success, both in terms of examination achievement and public appreciation.

He or she may or may not hold a piece of paper that declares recognition from the elite, but they are competent teachers, other pupils will attest to that.

want to know is how much I charge and whether or not I have a vacancy.

Sue Greenham, ISM member

Keep in touch.

Send your lette rs and news to

mj@ism.org

What’s your ISM?

My ISM is

The ISM matters to me because it can speak with a united voice for all of us who are members, wha tever diverse role we play in our common pursuit of excellent music-making.

If you would like to share your story, feedback, knowledge or even a word that you feel sums up the ISM for you, then here are the various ways you can do this:

Paul Hoskins Conductor and Music

ISM Member since

1993

Director, Rambert

• Write us a letter and send it to Freepost

RTHK-YYEJ-YCLB, Incorporated Society of Musicians, 4-5 Inverness Mews, London W2 3JQ port for me and has The ISM is a huge sup issues

Nicola Corbishley Soprano ISM member since

2008

# ism is facebook.com/m yismis

ism.org

the important a real influence on lance musicians. affecting today’s free

• Send us an email to membership@ism.org Share at facebook.com/myismis Share your word Twitter #myismis

We look forward to hearing from you.

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with the title ‘My ISM is’

# ism is yismis facebook.com/m

ism.org

rship Join our growing membe ns. of professional musicia Make us your ISM.

My ISM is

Join our growing membe of professional musicia rship ns.

Make us your ISM.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Professional Development Good safeguarding practice in music education ISM/ABO seminar Monday 5 October 2015, 10:30am – 4:30pm Guildhall School of Music and Drama, London EC2Y 8DT Following the highly successful Safeguarding Conference held at Chetham’s School of Music last year, we have partnered with the Association of British Orchestras (ABO) to provide you with this important one-day seminar. This event will bring together representatives from music education alongside those within the sport and dance sectors to discuss good safeguarding practice in music education. Debate and discussion of the use of physical contact in music education will be central to the day and we will explore the following key questions: • I s the use of touch in music education necessary or conducive to learning?

• I f so, what kinds of touch are appropriate? How does practice vary across different types of music education e.g. for different instrument groups • W hat can we learn from safeguarding practice in other fields such as sport or dance?

• W hat might constitute best practice in relation to touch in music education?

The day will include panel discussions, in-depth discussion in smaller groups, and feedback sessions.

Prices and booking • £40 + VAT for ISM or ABO members • £50 + VAT for non-members You can book your place online at https://goodsafeguarding-practice-in-music-education. eventbrite.co.uk/ Lunch and refreshments are included in the cost.

If you have any questions, please call our Events Administrator, Ceri Wood, on 020 7221 3499 or email ceri.wood@ism.org. Booking deadline: Monday 28 September at 9.30am.

Webinars ISM contract and legal know-how for private music teachers Wednesday 23 September, 1-2pm

Join the ISM’s Head of Legal, David Abrahams for a free webinar aimed at musicians who offer private tuition.

This one-hour online session will provide essential legal know-how for private music teachers and will introduce a newly updated version of the ISM’s Private Teachers’ Contract and guidance notes, with the aim of giving our members greater flexibility and ensuring that the contract is suitable for use in a wide range of private teaching situations.

Find out why using a contract is so important and how it can improve your teaching business – register now at http://bit.ly/NewISMContract.

Life after levels – A guide to progression, curriculum and assessment in Key Stage 3 Music Tuesday 6 October at 4-5pm

Aimed at secondary classroom teachers, music hub and service leaders, this free webinar, led by Professor of Education at Birmingham City University Martin Fautley and education consultant Dr Alison Daubney, will help you develop your curriculum, pedagogies and approaches to assessment in order to better support teaching and learning across Key Stage 3 Music. It will unpick some of the challenges around ‘progress’ and ‘progression’ and how these are impacted by the ways in which learning in a school is organised.

Register now at http://bit.ly/LifeafterLevels.

Which way now?

GCSE music: challenges and choices Thursday 15 October, 4-5pm

September 2016 hails the introduction of new GCSE qualifications in music. This free webinar with Dr Alison Daubney and Kirsty Devaney will help music educators to choose the most appropriate qualification for their pupils by considering the key changes and exploring the new qualifications from each awarding body in depth. It will also briefly explore other qualifications currently counted within the Progress 8 and Attainment 8 measures.

Register now at http://bit.ly/WhichWayNow.

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Welsh National Opera and RWCMD partnership: a ‘no-brainer’ Last year, the Royal Welsh College of Music & Drama in Cardiff celebrated the 10th anniversary of their partnership with the Welsh National Opera. They share with the ISM’s Music Journal the details of the work this innovative collaboration has created over the years. opera company, WNO needs the best possible access to emerging talent, and there is no better way to gain that than by working directly with the growers!’

RWCMD’s Principal Hilary Boulding agrees, saying ‘The collaboration with WNO is a great endorsement for RWCMD, which is in the fortunate position of delivering arts performance training in a city that is home to an internationally renowned opera company. This partnership maximises all the potential of such a relationship to benefit the most talented singers, theatre designers and musicians of the rising generation.’

Nowadays, the WNO orchestral placement scheme, which offers students an immersive experience of working as part of a professional orchestra, are open by audition to the most talented musicians from RWCMD’s strings, brass, woodwind and percussion courses.

Left: Student violinist Jess Townsend with WNO leader David Adams.

Photo: Oliver Edwards Above: Having graduated from RWCMD last year David Doidge now works as a full-time repetiteur at WNO. Photo: Kiran Ridley

Last year, the Royal Welsh College of Music & Drama (RWCMD) celebrated the 10th anniversary of a unique working relationship with the Welsh National Opera. The collaboration, which began with the establishment of a professional orchestral placement scheme for brass students, has since evolved into a holistic partnership taking in the full range of orchestral performance as well as opera performance, repetiteurship, production and design.

WNO’s Artistic Director and Chief Executive David Pountney has described the relationship as a ‘no-brainer’. He calls the RWCMD ‘an absolute lynchpin of Wales’ extremely high international profile in the arts,’ and continues, ‘As a world class

Violinist Jess Townsend has been part of the scheme since September. ‘I have been invited to play with the orchestra for their opera rehearsals, including sitzprobes and dress rehearsals in the orchestra pit at Wales Millennium Centre,’ she explains. ‘I am essentially expected to play as any other section member and I’m treated as an equal, which helps me get a true picture of how an orchestra like this operates. I feel very fortunate to be able to approach an orchestral career from such an informed position.’

The relationship has also given rise to WNO’s biannual residency at RWCMD, which gives more students the opportunity to play in special ‘side-byside’ concerts with the professional players.

Continued overleaf È

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Chris Vale, a bassoonist with WNO for the last 30 years, observes that this side by side experience is a hugely positive learning experience for the students, allowing them to work in a professional environment with orchestra players, chorus members, conductors and singers. RWCMD’s Head of Ensemble Performance Zoe Smith agrees, saying ‘Our partnership with WNO’s Orchestra has enhanced our orchestral and ensemble programme in many ways: students who successfully audition gain from experiencing first-hand the way an opera orchestra works, but also, larger groups of RWCMD community are able to participate in vibrant performance projects, sitting next to professional opera musicians whom they previously may only have seen from a distance in the pit, providing inspiration for our instrumentalists, giving them extended, informal contact with people who already do what they hope to do. ‘ The placement scheme has been established so successfully, and with the full support of WNO management and players, that students develop as orchestral players to such an extent that they are regularly called upon to work professionally with WNO, either as extra players or stage band musicians. Graduates of the placement scheme have gone on to regular employment with WNO and other leading orchestras.

Below (from left to right): Music students Luke Millard, Benjamin Jones, Jess Townsend, Isobel Scott and Lowri Thomas taking a break in rehearsals at WNO Photo: Oliver Edwards

Another milestone in the relationship was marked in 2010 with the establishment of a two-year master’s degree in opera performance at RWCMD. The course gives students regular access to WNO rehearsals where they can observe the professional production process at close hand. Each student has a professional mentor from the company, and there is weekly coaching with their WNO repetiteurs.

The course has already enjoyed immense success with graduates going on to perform with Royal Opera House, English National Opera, Glyndebourne and others. Justina Gringyte, who joined the National Opera Studio, then the Royal Opera House’s Jette Parker Young Artists Programme after graduating, won the Best Young Singer at the International Opera Awards this year, gathering rave reviews for her ENO debut in the title role of Carmen: ‘Justina Gringyte is a fabulous Carmen: irresistible yet inscrutable, voluptuous yet vulnerable, with a bewitching sultriness in her full-toned mezzo’ (What’s On Stage). Fellow graduate Rhian Lois playing Frasquita in the same production, has also been singled out for praise, ‘Rhian Lois … the classiest, brassiest Frasquita… you’re likely to see’ (What’s On Stage).

The production will be broadcast across UK cinemas as part of ENO Screen.

The relationship has also created opportunities for RWCMD’s singers to perform with WNO. For last year’s youth opera production of Paul Bunyan, almost all of the principal roles were cast from RWCMD, and last season six opera students appeared in the company’s major production of The Magic Flute. ‘We’ve been able to really watch the lead performers, and see how they use their breathing, and what they are doing technically,’ explains opera student Rachel Mills, ‘ And because RWCMD has such great links with WNO, we know a lot of people already which has been really reassuring. We’ve been made to feel very welcome and have been treated just like professionals from the very start.’

As for RWCMD, there are also benefits from being part of WNO’s wider professional network: WNO’s former Artistic Director, John Fisher – now RWCMD’s International Chair in Opera and Head of Casting at the Metropolitan Opera in New York, continues to teach College students as part of his regular connection with RWCMD. Strong links with the prestigious National Opera Studio in London have led to joint masterclasses at RWCMD with leading figures from the world of opera including conductor Peter Robinson, baritone Donald Maxwell and soprano Kathryn Harries.

For RWCMD’s pianists, access to WNO and enhancements to the opera training have opened up potential new career paths. They can now choose to specialise in opera repetiteurship at Master’s level. David Doidge, who completed his studies last year, appeared on stage in David Poutney’s Lulu while still a student, and on graduating took up a full time role as a WNO repetiteur. ‘I had an amazing six years at RWCMD and I felt really well integrated into the professional world, not just here but in London too’ he says.

‘It’s been amazing to watch how RWCMD has

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been transformed since I started – not just the building and the new facilities but the teachers and professionals who are coming in, and the number of graduates going on to places like the National Opera Studio.’

This close relationship between RWCMD and major professional music organisations has seen the BBC Cardiff Singer of the World return to RWCMD for 2015. This year students have worked alongside competitors in masterclasses with the jury, and it’s also provided important networking opportunities with industry professionals who spent the week in RWCMD, as well as work experience placements for the students with BBC broadcasters.

supplies scenery to leading performing companies around the world. One of the hallmarks of RWCMD’s offer is to provide opportunities, not just for professional placements, not just for WNO, but BBC NOW, Pinewood and BBC Drama studios, in many cases leading to professional careers.

Above: The WNO production of The Magic Flute featured RWCMD MA opera students Katrina Nimmo, Jenny Bianco and Rachel Mills Photo: Robert Workman

‘It’s about employability,’ says Hilary Boulding, ‘the students will operate in a highly competitive world and they are very savvy and will take these opportunities and work with them. They know they have to be proactive, which is why this relationship is such a positive force. ‘

As the relationship continues to evolve, both organisations stand to reap the many benefits of BBC Radio 3 broadcast the BBC Cardiff Singer of working together to identify and nurture the best the World, and also took up residency at RWCMD, new talent, and ultimately making a significant broadcasting programmes live over the finals contribution to the long term success of opera in weekend, including its flagship programme In Tune Wales and beyond. which featured MA Opera students Emyr Jones and Helen Dunning, Publicist, Royal Welsh College of Chanae Curtis.

Music & Drama Links are also well established between the organisations’ respective production and design departments. This has opened up a range of opportunities for students to gain professional experience in production roles with WNO, and with Cardiff Theatrical Services, which is not only the company’s in-house workshop but also

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Alan Davey: The new controller of BBC Radio 3 With a review of the BBC Charter unveiled by the culture secretary John Whittingdale asking fundamental questions about the future of the BBC, including options to replace the £145.50 licence fee, BBC Radio 3 has never been under more focus. The ISM’s Francesca Treadaway finds out in an exclusive interview with the new controller Alan Davey about his vision for the future.

‘I was always interested in making the best culture there is available to as many people as possible. But I never planned to become controller of a radio station. I only secretly hoped.’

Left: Alan Davey Photo: BBC

The role of Controller of BBC Radio 3, BBC Proms and the BBC Performing Groups, is arguably one of the most important roles in the music industry.

BBC Radio 3 – the ‘flag carrier for classical music, jazz and even world music’ within the wider strategy of the BBC Music brand – along with the Proms and the BBC Performing Groups forms a unique cultural institution in our overall British culture. And as Alan Davey, the newly-appointed Controller puts it; this cultural gem is ‘truly the envy of the world’.

Alan was announced as the successor to the long-serving Roger Wright last October to mixed reviews. Unlike his predecessors Roger Wright and Nicholas Kenyon, who had both followed classical music-specific paths prior to their appointments, Alan’s path to Controller was less of a musical one. After graduation Alan became a civil servant working for the Department of Health then for Culture, Media and Sport before becoming chief executive of Arts Council England seven years ago.

Alan’s reputation, thanks to a round of fairly controversial funding cuts at Arts Council initiated by the DCMS, preceded him. What will the future of BBC Radio 3 look like with Alan in place?

But, from where I was sitting (opposite Alan at BBC Broadcasting House, tea in hand) the future looks bright.

His formal music training is limited but his experience with music has been life-long.

His experience with music began with transistor radio at four years old which led to dabbling with listening to all kinds of music throughout his teenager years – whether it be ambient pop, folk music and punk, his father’s collection of ’78s, jazz and singers from the 40s and 50s. If it were ever possible to experience all kinds of music in one sweep, Alan has made it so.

But, after stumbling across Mahler on BBC Radio 3 by accident and experiencing his first ever orchestral concert with Simon Rattle and the CBSO upon arrival at University of Birmingham, Alan realised that classical music gave him a huge amount to explore – ‘and as far as I am concerned the exploration goes on’, Alan said with a smile.

Exploration is certainly what Alan is bringing to BBC Radio 3. As we sit down, I am catching the tail-end of a discussion about BBC Radio 3’s latest partnership in what will be a unique fusion between medicine and classical music.

With enthusiasm, Alan explained, ‘Music has inspired me my entire life; it has the ability to physically affect us and the power to affect us in mysterious ways.

I’m delighted to say that BBC Radio 3 will be working with Wellcome Collection for the first time to delve into why music has such an impact on humans.’

Continued overleaf È

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This kind of innovation and passion for creating connections makes his vision for the future of BBC Radio 3 all the more exciting.

Alan explained, ‘No one in classical music has solved the problem of repeat performances and how it really happens. But, interestingly, the actual In his own words, Alan’s role as controller ‘is to run way we programme – the way that everyone Radio 3, the BBC Performing Groups and the Proms in classical music programmes new pieces and well, and to continue to serve audiences in the best ensures that there are more performances and that it’s not just the sexiness of the premiere – is possible way.’ actually allowing the piece space to develop. That’s He has fairly strict guidelines set by BBC Music something that we are all interested in.’ and BBC Trust, however. How flexible can he be And with regards to creating a distinctive output as with his plans? the BBC Trust suggests?

Alan expanded on this, ‘I want us to find ways Alan said, ‘I regard jazz, world and contemporary within the BBC music brand that classical music, music of an interesting kind to be a key part of our jazz and world music can find a place and to use them as a way to bring more attention to BBC Radio remit too – whether it is in Hear and Now or in that extraordinary mix that is Late Junction. I think it 3 itself and what Radio 3 is about.’ is important that we are pushing boundaries One of the main objectives of the BBC Music and innovating as well as rediscovering things strategy is to support emerging talent in terms from the past.’ of broadcast opportunities, repeat performances The BBC Trust also states that the BBC Radio 3 and commissions. BBC Radio 1 already has a BBC service should appeal to any audience – but how Introducing platform that covers this area. What can Alan work around this when classical music does Alan have in mind to meet this objective? can be seen as stuffy and unapproachable?

‘One of the things I think we lack is a BBC Alan makes it clear quite quickly that he has not Introducing platform for classical musicians.

There is already a platform under this title for pop, been brought in to increase listener figures, rock, jazz and world music. I think finding a version ‘We are pretty constant at 2million listeners with for classical music would be important. a similar number online. But I think we have so much to offer curious and inquiring minds and I ‘We do however, invest so much in live music, in new music, and talent development in various kinds want more people to listen – because they’ll find and give both broadcast space and concert space to something unique and special.

Above left: BBC Radio 3 Free Thinking Festival 2014 Photo: BBC / Celia Topping Above centre: Petroc Trelawny and Clemency Burton-Hill Photo: BBC / Jude Edginton Above right: Donald Macleod Photo: BBC / Jude Edginton

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emerging talent. That is a vital role of what we do.’

But more importantly, has Alan solved the impossible issue of repeat performances of new works? Not quite, but he is interested working with the wider industry to solve this. BBC Radio 3 currently offers a solution by offering repeat programmes on iPlayer and radio.

‘In terms of attracting new listeners, I think if you burdened the airwaves with a lot of explanatory material that wouldn’t necessarily be the right approach in an everyday programme. If something is hard we recognise that but explain it in a clear way.

That’s the kind of approach I want everywhere and it is what should characterise us.’

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

With cuts to budgets an ever threat, Alan has a fight on his hands to keep BBC Radio 3, the Proms and the Performing Groups at the high standard that they already are.

However, Alan doesn’t seem to be too concerned about this prospect,‘The licence fee helps us deliver the equivalent of 4000 concerts in concert halls a week, so if it was taken away, that would be lost.

I’ve talked to people abroad and they are amazed that we can do it. The licence fee is a real investment in music through BBC Radio 3, performing groups and Proms, and – if you like – in the classical music industry as well as the ecosystem for interesting music of all kinds. The fact that we can invest in new music; give them the time and the platform and follow through by using the licence fee is great.

‘But the last licence review recognised that, in terms of classical music, we have a big role in the classical music industry. And I think if the licence fee was scrapped, there would be something else in its place.’

With this in mind, I broach a tricky subject: bandwith.

With less to go around, would Alan be forced to move BBC Radio 3 to an online-only service?

He carefully replies, ‘Who knows where broadcasting in general is going to end up.

Our high quality DAB signal is important.

FM has a quality of its own and we have a lot of listeners on FM.

‘Admittedly we can go further online – we can do HD sound and broadcast the Proms in surround sound – you couldn’t do that in any other way than online. And the ability to listen again for thirty days on iPlayer is really important because it gives people a chance to catch up.

‘As online technology develops we will get better and better sound out of it. But there’s no talk of BBC Radio 3 going online – not for a long while, at least.

BBC Radio 3 serves people well at the moment.’

Long-term listeners of BBC Radio 3 will have already noticed that subtle changes have been made. Within a few weeks of Alan’s arrival at BBC Radio 3, the headlines and listener’s phone calls from BBC Radio 3 Breakfast were removed.

Alan admits that removing these aspects of the Breakfast show was nothing to do with saving time but instead allowed for the presenter to let their personality to link to the music a bit more.

‘I want the listener to feel that they are listening to the presenter’s choices’, he explained.

With Alan already making small changes to the existing schedule, I have one last question: can listeners expect a completely different BBC Radio 3 in the future?

‘To be honest, there is so much going on in current strands that we can highlight and explore more.

There is a lot we can do in our current format which is already interesting.’

He paused. ‘I wouldn’t want there to be a revolution.’

Francesca Treadaway, Communications Officer, ISM

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Bacc for the Future II The campaign to save arts qualifications in schools

The Department for Education has unveiled plans to make studying English Baccalaureate (EBacc) subjects compulsory for all secondary school students in the UK. This means that every secondary school student will have to study English, maths, a science, a language and a humanities subject (defined as only geography or history). Whilst this might not be a disaster in itself, by excluding any arts subjects from this new school accountability measure or league table, the Department for Education is sending out mixed messages about the arts in education. The ISM’s Public Affairs team take a look at what this means for schools and the wider creative industries.

History, repeating itself The English Baccalaureate (EBacc) was first proposed by the last Government in the 2010 Schools White Paper The Importance of Teaching.

The EBacc was originally another league table which only took into account GCSEs in five ‘pillars’ of learning: Maths, English, languages (ancient or modern), sciences and humanities (defined as history or geography).

Unlike the completely separate International Baccalaureate or IB, the EBacc was for GCSE students (Key Stage 4), not A-level, and did not place any value on music, or other arts GCSEs. Thanks to a successful cross sector campaign – Bacc for the Future – coordinated by the ISM, the EBacc was dropped as the main school accountability measure in February 2013.

Now, the Department for Education has unveiled plans to make studying English Baccalaureate (EBacc) subjects compulsory for all secondary school students in the UK. This means that they will have to study English, maths, a science, a language and a humanities subject (defined as only geography or history).

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600

500

400

What is the new English Baccalaureate proposal?

The new English Baccalaureate proposal was unveiled on 11 June 2015 when the Schools Minister, Nick Gibb MP, gave a speech outlining the intention of the Government to make the English Baccalaureate (EBacc) range of subjects compulsory in schools. He said: ‘In due course, we will also set out details of our expectation that secondary school pupils should take English Baccalaureate subjects at age 16. In doing so, we will listen closely to the views of teachers, head teachers, and parents on how best to implement this commitment.

And we will ensure that schools have adequate lead in time to prepare for any major changes.’ www.gov.uk

At the time of going to print the Government has yet to publish the details of the new proposal.

However, the Conservative Party’s election manifesto does give us a hint about the proposal which says: ‘We will require secondary school pupils to take GCSEs in English, maths, science, a language and history or geography, with Ofsted unable to award its highest ratings to schools that refuse to teach these core subjects.’

This would not be good for music in schools.

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Decline in arts GCSEs 700,000

600,000

500,000

400,000

300,000

200,000

100,000

0 2009/10

• Performing Arts* • Dance • Music • Media/Film/TV • Drama • Art & Design • Design & Technology

2010/11

2011/12

2012/13#

2013/14

*will no longer exist after June 2017 as a result of the Government’s Wolf-Review Government u-turn on the EBacc took place in this year

#

Source: Department for Education statistics and figures from the Joint Council for Qualifications

Does the EBacc harm creative subjects in our schools?

Since the first time that the EBacc proposal was announced in 2013, the uptake of creative subjects (music, art, drama and design & technology) in our schools has dwindled. Research by Ipsos MORI, published by the Department for Education (DfE), found that 27% of schools say that some courses have been withdrawn or have failed to recruit enough pupils for the 2012/13 academic year due to the EBacc.

The most commonly withdrawn subjects are drama and performing arts (23% of those schools withdrawing courses), art (17%) and design technology (14%).1 In 2010, 270,401 students studied Design & Technology and 46,045 studied music at GCSE level.

In 2014 this was just 200,133 and 42,668.2 On top of this, the new proposals are for the EBacc subjects to become compulsory. Whilst this may not be a challenge for confident head teachers, there is no doubt that in more constrained and vulnerable schools, creative arts will be forced out of timetables. We already know that the mantra ‘we value what is measured rather than measuring what is valuable’ is prevalent in schools, this new perverse incentive will make it worse.

Continued page 21 È

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Mixed messages The problem is, that we are now getting mixed messages from the Government on the importance of the creative professions.

The Secretary of State for Education made a welcome commitment to arts education on 16 July 2015.

Nicky Morgan MP emphasised the importance of the arts to her own life, including the ‘relief from the pressures of the legal career [she] felt when singing in the City of London Choir.’ She stated that the arts ‘underpin our understanding of Britishness’ and repeated the facts – often cited by the ISM – that the UK’s Creative Industries are worth £77 billion a year to the UK economy.

They also accounted for 1.7m jobs in 2013 (5.6% of all UK jobs).3

In 2012/13 alone, more than 22m people attended London theatre performances and London theatre takes more than £600m at the Box office.

This economic significance is recognised by the Chancellor of the Exchequer, George Osborne when he said: ‘So this is our plan for growth.

We want the words Made in Britain, Created in Britain, Designed in Britain, and Invented in Britain to drive our nation forward.’4

But this – along with the investment of hundreds of millions of pounds in music services and music education hubs – will be for nothing if music is forced out of schools and the vital networks that school teachers support are lost.

We know we have the backing of the public.

It was reported in The Stage on 22 June 2015 that 77% of adults in the UK think arts subjects should be compulsory at GCSE.

Our own polling in 2014 revealed that 94% of adults in the UK believe that children should at least ‘have the opportunity to learn music.’ (ISM/YouGov poll).

So how can I support the campaign to help save arts subjects in schools?

When the Government last proposed the EBacc as a league table of schools, a host of creative organisations, artists, musicians and individuals came forward to speak out against the damage 1 2 3 4 5

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it was doing to music and creative education in schools.

Darren Henley – then Managing Director of Classic FM, now Chief Executive of Arts Council England – warned rightly that the EBacc would devalue music as a subject.

Two select committee reports questioned the choice of subjects in the EBacc, including the Select Committee formerly Chaired by the new Secretary of State of Culture, Media and Sport and research has been published which questions the evidence base behind the EBacc.5 ,6

And the ISM ran a successful cross sector campaign – shortlisted for a campaigning award – with the backing of 46,000 individuals, 120+ creative industry bodies.

The EBacc was dropped as the main school accountability measure on 7 February 2013.

We want your help once again.

The Bacc for the Future campaign has been relaunched in response to this new proposal.

It has an accompanying petition and website.

So far, in July, more than 7,000 individuals have joined the campaign, alongside more than 50 creative organisations including: Shakespeare’s Globe, the Liverpool Institute of Performing Arts (LIPA), the Music Industries Association (MIA), Directors UK, the Design Council, the University of the Arts London (UAL), and the Choir Schools’ Association.

Individual: To get involved with the campaign, simply visit www.baccforthefuture.com and sign the vital petition. You can also tell your friends, family and colleagues about the campaign and spread the word on social media using the hashtag #baccforthefuture Corporate: If you are an ISM corporate member of any grade and would like to publicly pledge your support, you are able to send in a statement and a high-res logo to francesca.treadaway@ism. org to be included in the supporter’s section of the website and in upcoming press releases.

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

Source: The effects of the English Baccalaureate, Department for Education / Ipsos MORI Source: Joint Council for Qualifications, 2010-2014

Source: Creative Industries statistics release, www.gov.uk

Source: The Virtuous Circle by John Sorrell, Paul Roberts and Darren Henley

ources: Think again about English Baccalaureate, Education Select Committee, Think again about English Baccalaureate, Culture, S Media and Sport Select Committee Source: Russell Group quizzed on ‘facilitating subjects’ list, BBC, 26 September 2013

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

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

The next deadline for copy is 1 October for November/December issue

Right: Buster Birch Below: Brixworth Church

New CDs from Michael Stimpson They say things happen in threes, and following a busy 2014, three new recordings of Michael Stimpson’s music will be released in 2015/16.

The Sharecropper’s Son features Songs from the Opera Jesse Owens – a collection of songs, arranged for soprano, baritone and piano, and gives a tantalising flavour of the emotional breadth of Michael’s new opera, Jesse Owens.

Dylan features Roderick Williams, baritone and Sioned Williams, harp in a superb performance of a biographical song cycle of Wales’ most renowned poet. This is paired with The Drowning of Capel Celyn, commissioned by Sioned in commemoration of the 50th anniversary of the flooding of the Tryweryn Valley which falls this year.

Finally, Age of Wonders was written to mark the 200th anniversary of the birth of Charles Darwin. Recorded by the Philharmonia Orchestra and conducted by Stuart Stratford, this CD will mark the culmination of a huge project that began at London’s Wigmore Hall and completed in Darwin, Australia, as a commission for the Darwin Symphony Orchestra.

For release dates, launch concerts, and to pre-order CDs, please write to helenharrismusicservices@gmail.com

Brixworth Music Festival Centred on the beautiful and historic saxon church, the second Brixworth Music Festival will take place in this lovely part of rural Northamptonshire from 18 -27 September. The Artistic

Directors are Gwion Thomas, freelance opera and concert soloist and teacher, and Vivienne Olive, composer and Professor at Nuremberg Hochschule. After the success of last year’s venture, funding has just been established for further music making this Autumn in this wonderful building and its amazing acoustic.

Performers range from early vocal music from Ensemble Marquise, with period instruments and costumes, to Rarescale, the contemporary flutes and electronics ensemble. Further concerts include Northampton Chamber Orchestra and the awardwinning Youth Brass 2000, as well as a duo vocal recital from Gwion Thomas and his wife, Chloe Willson-Thomas, who is the vicar of Brixworth. This year’s Festival will feature the music of Judith Weir, Master of the Queen’s music, and everyone is looking forward to welcoming her in person on the final evening. brixworthmusicfestival.co.uk

Tribute To The Greats Bromley Youth Music Trust will present Buster Birch’s Tribute To The Greats – a special jazz concert celebrating the masters from the past and showcasing the young future jazz stars of tomorrow – on Friday 11 September.

The show features nine of the great pioneers and legends of jazz.

It highlights some of their many achievements and contributions to the development of the music as well as giving some insight in to their lives and explains some often misunderstood preconceptions. It includes a live music sound track performed by his fantastic quartet featuring some of the finest professional jazz musicians in London ( Jo Fooks on sax, Jim Treweek on piano, Pete Ringrose on bass, and Buster Birch on drums).

The concert also includes performances by various staff and student jazz groups from BYMT music centre including Quinto Piani (five pianos all at the same time!), The Jazz Troopers and The New Generation Big Band and a workshop group from an under-18s improvisation workshop given by Buster earlier in the day (wokshop details from sam@bymt.co.uk). busterbirch.com Continued overleaf È

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

The film Orchestra From an idea by Worcester-based member Jane Whittle, The film Orchestra (TfO) is the UK’s first amateur orchestra dedicated solely to performing an eclectic array of music from the world of film, television and gaming.

The orchestra brings together musicians of all ages (currently 8 – 85) to develop their ensemble-playing skills, mentored by senior/professional players, based at Malvern College.

The project has proved so popular that a number of graded wind bands, orchestras and choirs are being set up at satellite centres across the West Midlands, including Birmingham, Kidderminster and Ludlow.

The senior orchestra and concert band will be performing a concert Screams From The Screen at Kidderminster Town Hall on Saturday 31 October.

With the help of artistic director, Hilgrove Kenrick, TfO is finalising plans for a world premiere performance of a film score. thefilmorchestra.com

a stirring and moving account of the sea battle which saved one of the vital convoys in the North Atlantic.

Penelope is delighted to be joined by the renowned actor, Timothy West, and, as guest artist, the well-known baritone, Stephen Varcoe. impulse-music.co.uk/ penelopethwaites

The Cappella Singers Philip Colls, formerly a lay-clerk at Gloucester Cathedral, has been Musical Director of The Cappella Singers since 1981. They are presenting a special concert on 17 October at Holy Trinity Church, Minchinhampton, to mark 700 years since the consecration of altars in Gloucestershire. The programme features music from 1315, 1415, 1515 and so on, using appropriate instruments. The instrumentalists will be led by Adrian Woodward, Musical Director of Shakespeare’s Globe; and the concert ends with a work commissioned from Stephen Gowland: Jubilate Deo, for choir, brass, timpani and organ. cappellasingers.co.uk

British Citizen Award

All performers in the Octagon Concert Series give of their time so that the proceeds can be given to charity or good causes, and since its inception in 1984, £150,000 has been raised.

The Creative Choir James Neilson Graham has recently published a new book entitled The Creative Choir – A Holistic Approach to Working with Singers (Temple Lodge Publishing, ISBN 978 1 906999 75 9, £18.99).

Choral singing is enjoying a renaissance, and this timely book contributes to our understanding of what choir work can and should be about. Starting from the idea that education underpins the rehearsal process, James delves into the theory and practice or working with singers, drawing on the insights of Emile Jaques-Dalcroze in relation to movement and Valborg WerbeckSvärdström in relation to the voice. templelodge.com

Rivita’s Heartbeat Singer and songwriter Rivita Goyle has recently released a new single, Heartbeat – a song about following your heart and dreams rather than going with the flow. The song is an interesting mix of pop/rock with Eastern tones. Rivita who is based in London incorporates her culture in the track beautifully.

On 9 July 2015 at the Palace of Westminster, Norfolk member Mary Rae was presented with a British Citizen Award for Services to Arts. It was given for 30 years organising the Octagon Concert Series.

She was one of only 31 people in The track can be heard at www.

Britain to be given this. soundcloud.com/rivita/heartbeat

Above: The film Orchestra (TfO)

A Poet at War Pianist Penelope Thwaites marks the centenary of her poet father, Michael, with a concert of his poetry, interspersed with evocative works by Chopin, Bach, Schumann and Grainger on Sunday 25 October, 11.30am at Kings Place, London.

Winner of the King’s Medal for Poetry, Michael Thwaites served in the British Navy during the second world war.

Some notable poems came out of that experience – including The Jervis Bay,

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During the past 30 years, many ISM members have performed in the Octagon Concert Series based at the elegant and historic Octagon Chapel, Norwich, and several times it has included a Platform Concert for students of ISM members.

The British Citizen Awards recognise individuals that positively impact others and highlights the positive aspects of multi-cultural communities, workplaces, community groups and charities throughout the UK. BCAs are awarded twice annually, and recognise ‘everyday’ people whose achievements may otherwise be overlooked.

facebook.com/Rivitag Soundcloud.com/Rivita instagram.com/Rivitag

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

evenings at 6pm from 24 September to 31 October (with the exception of that on Saturday 26 September, which will begin at 7pm). Except for the first and last, each concert will last for approximately one hour.

Margaret Phillips begins the series with a performance of Clavierübung Part III, the collection of mature chorale settings in highly varied styles, framed by the majestic Prelude and Fugue in E flat major BWV 552, ‘the St Anne’.

Above: The Ridgeway Ensemble Middle: Margaret Philips

Discovering Albert

The series ends with the complete Leipzig Chorales (‘The 18’) in The Ridgeway ensemble, singer Judith a recital which is both the opening Sheridan, pianist Valerie Ashworthconcert of the London Bach Society’s Pirillo together with cellist Margaret 25th Anniversary Bachfest and Richards, have recently been pursuing the 3rd anniversary recital of musical detective work. Always on St George’s organ. the lookout for music written for their unusual combination, Margaret margaretphillips.org.uk discovered three songs written by Prince Albert for voice, cello and piano which had not previously been published. Having performed the songs on several occasions, they prepared a performing edition due to be published by Fountayne Editions (fountayneeditions.co.uk).

During the course of their research, a picture of Victoria and Albert’s musical romance, their life together and concert practices of the day began to emerge. This culminated in Victoria and Albert – A Musical Romance, a programme of music interspersed with extracts from their letters and journals. This can next be heard on 18 November at the Hampstead Music Club.

A full article on this discovery entitled Discovering Albert can be found in the features section on the ISM website (ism.org/news/features).

Margaret Phillips Internationally acclaimed concert organist Margaret Phillips will perform the complete organ works of J S Bach on the celebrated Richards, Fowkes & Co organ at St George’s Church, Hanover Square, London W1 this autumn.

The series of concerts runs weekly on Thursday, Friday and Saturday

The recital can be heard twice: at Clapham Omnibus (omnibus-clapham. org) on Saturday 19 September at 6pm and at St Mary’s Primrose Hill (stmarysprimrosehill.com) on Sunday 18 October at 3pm.

Warren Mailley-Smith Acclaimed concert pianist Warren Mailley-Smith is to perform all Chopin’s solo piano works in an eleven-month series at St John’s Smith Square, beginning on 4 September at 7.30pm. A self-confessed lover of Chopin’s music Warren is the ultimate Romantic pianist and English though he is, Chopin lies in his very heart.

The Complete Chopin Cycle he has devised is structured into themed programmes with each one contrasting early and later works, wellknown and lesser-known works, and a major work or group of works, such as the Ballades, Scherzos or Etudes, featuring as a main theme.

To attract new and younger audiences to the music of Chopin, each concert will be preceded by events such as talks, masterclasses and dance performances. warrenmailley-smith.com

Thames Concerts London Pictures: London Pieces South East London-based pianist Charlotte Way will be giving a recital of piano music to accompany lithographs of London in the 1890s

by Whistler and his assistant T R Way, Charlotte’s great-grandfather.

‘The idea for this concert came to me a few years ago when I was learning John Ireland’s London Pieces, the first of which is called Chelsea Reach.

As I was practising, my attention was caught by a copy of Whistler’s etching of the river at Chelsea on my wall, and I thought it would be interesting to marry up some of the Whistler and T R Way prints with piano pieces of around that time. This recital is my personal response to a piece of family history.’

Thames Concerts’ Artistic Director Benjamin Costello writes: Thames Concerts (founded in the 1960s) is a charitable trust presenting an annual series of high-quality concerts held at St Andrew’s Church, Surbiton, a stunning church with excellent acoustics and facilities.

This year’s series runs from October to February and is typically eclectic, featuring a wealth of internationallyrenowned talent, including Brit Awardwinning saxophonist Amy Dickson, pianist Ashley Fripp, Juice Vocal Ensemble, the Magnard Ensemble, organist Benjamin Sheen, and guitarists Laura Snowden and Tom Ellis. Running alongside the main series, free Saturday morning concerts will showcase local up-andcoming talent. thamesconcerts.com

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

outline of the role the theatre played in Szymanowski’s career, before tracing the evolution of King Roger from conception to completion, and examining the various strands which make up its ideology. The music itself is analysed with the aid of numerous examples and the final section of this richly illustrated study charts the performance and reception history of the opera. A foreword is provided by the conductor of the ROH production, Sir Antonio Pappano, who describes the book as ‘an essential guide to Szymanowski’s deeply disturbing but ultimately moving opera’.

D’Arcy Trinkwon

Above (l to r): George Vass (director, City of Canterbury Chamber Choir), Thomas Hyde, David Matthews, Cecilia McDowall, Deborah Pritchard, Edward Kemp-Luck.

Photo: Christopher Gunning

Right: D’arcy Trinkwon

26

Concert in memory of John McCabe Edward Kemp-Luck premiered two solo organ works on 28 June at Faversham parish church, as part of the City of Canterbury Chamber Choir’s concert in memory of the choir’s President for many years, John McCabe (1939-2015).

The concert, which raised funds for Brain Tumour Research, included five specially commissioned memorial pieces; the organ works were David Matthews’ A Chorale Prelude for John, Op 135 No 2, and Robert Saxton’s Passacaglia on the name joHn mcCABE, and there were three a cappella choir anthems, Thomas Hyde’s Orpheus with his lute (Shakespeare), Cecilia McDowall’s Be not afeard (Shakespeare) and Deborah Pritchard’s Peace (Henry Vaughan). The concert was attended

by Monica McCabe and also included music by Fauré, Byrd, Purcell, Tippett and John McCabe.

D’Arcy Trinkwon recorded a new DVD as part of the project to restore the famous 1909 Hill organ in Selby Abbey which is now available. The programme features a wide and typically colourful and fascinating selection of music including works from Stanley, Bach and Couperin, via Liszt and other great Romantics, to Cochereau.

The DVD is available from The Selby Abbey Organ Appeal at £15 +PP (selbyabbeyorganappeal.org.uk). All proceeds go the the fund.

Featured in a five-page retrospective in The Organ Magazine’s Spring issue (see darcytrinkwon.com) – he more recently answered ‘Five Questions’ with The Lady Organist, the online magazine for organists: theladyorganist.com

Beryl Foster Edvard Grieg has been keeping Beryl Foster busier than ever this year.

In January she gave a presentation on the songs and was on the jury for a singing competition at a Grieg Festival in Sarasota, Florida. The festival was such a success that a new Edvard Grieg Society of America is currently being set up. More ‘jury service’ followed in the Netherlands in May, before the International Grieg Society’s conference in Bergen, attended by delegates from over 20 countries, where Beryl gave the opening keynote lecture. Then it was off to Berlin to give a paper at a Grieg Day at the Universität der Künste. Later in the year, there will be concerts and seminars in Bratislava and Katowice.

Beryl has been working with Grieg and Norwegian vocal music for over 30 years, but could never have envisaged how wide-spread the interest would become outside Scandinavia. To have new societies and interest groups across Europe, as well as in Japan and Russia and now America, is very exciting and gratifying. As well as her own writing, Beryl also translates Norwegian books and articles on music, including most recently a long introduction to a new album of choral music by Knut Nystedt, whose centenary falls this year.

Obituaries With regret, we report the deaths of: Lesley White of Ryde, Isle of Wight Adrian Davies of Lewes Helena M Colquhoun of Hadley Green Dr Claudia L Clarke of Brighton Grace M Allen Desmond Hayes-Lynge of King’s Lynn Doreen O’Gorman of Northwood

Alistair Wightman

Ursula Snow-Beamish of Emsworth

In connection with the Royal Opera House’s recent well-received production of Szymanowski’s King Roger, Alistair Wightman’s study of the opera was published in April by Toccata Press. The book opens with an

Cynthia Laurie of Girvan Andrew Cuthbertson of Lavenham

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Our new members

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

Devon & Cornwall

Birmingham

Mark Bennett LMusTCL Catherine Davies BEdHonExeter LTCL QTS Ian Hiscock LMusTCL Andrew Wilson BMusRoyalHolloway

John Stephen Carvell ABSM Joe Cooper BAHonsOU Andrew Charles Davis BAHons PGCE Sam James BMusHonsBCU Margaret Jones MAMusOpen

Bournemouth David Fawcett BAHonsNotts

Brighton Andrea Barker Sonia Dembinska BA Mairi-Louise Guzman BAHonsNewcastle PGCE Zara Kershaw BMusHons Henry Melbourne BMusTrinityLaban

Bristol Valerie Winning Hart BAHonsNewcastle PGCE Jennifer Knight BAHonsBathSpa Ruth Phillips BAHonsBath CertEdBristol LTCL Kristina Takashina PGDipRSAMD

Cambridge Daniel Andrews BAHonsMiddlesex Daniel Boutwood Richard Hinitt Elizabeth Mullen BLibWales Darrell Richings BAHonsLeicester MMusReading

Cheltenham Gemma Fifield BAHonsBathSpa Emma Overthrow BAHonsExeter

Guildford Benjamin Thornton BMusHons

Hereford & Worcester Mandy Harding Shaun Ward MAHuddersfield

Kent Mark Harding BMusHonsCCCU MMusCCU

Kent Fiona Hillyar BMusRCM PGCE ALCM Andrew Parry BMusHonsManch Abigail Pascoe QTS

Lea Valley Scott Brooker BAHonsMiddlesex Holly Eade BMusHonsKingston Timothy End DipRAM Laura McGinity BMusHonsTVU Matthew Strover BMusTrinityLaban

Leicester Melanie Cotton LTCL

Lincoln Emma Howick BMusHonsSheff

Liverpool Lucy Hannant LRWCMD PGCE QTS

London – North Craig Apps BMusHonsCityUnivGSMD

Croydon

London – North

Alyson Elliman Neil Thomas BAHons DipMusOU Kimberley Wong BMusHonsRNCM

Thomas Barratt Deborah Borg Brincat MMus Sophia Brumfitt BALancaster PGDipRCM

28

Shauna Hill Gabriella Swallow Sophie Timms BMusHonsKings Beatrice Weiss BMusHonsRNCM

London – South East Robert Bray Astrid Brook MMusBathSpa Graham Devine Caroline Harris Hannah Masson-Smyth BMusHonsRCM Daniel Nasir BMusGoldsmiths Valtie Nunn BMusHonsTCM Anna Tam BMusHonsCityUnivGSMD

London – South West Tansy Bennett BMusHonsRAM Charles Macdougall Susan Moss Timothy Murray MMusLond Rachael Pedley Philippa Rose Gill Taplin CTABRSM DipABRSM Anna Tetsuya MMusRCM Dawn Wren BMusRoyalHolloway

London – West

Mid-Wales

South Wales

Karen Morgan BMusGoldsmiths

Sioned Meri Edge Sian Jenkins BEdWales Rhain Jooste Angela Lewis GWCMD Rhianwen Lewis BAHonsWales Andrew Michael Walters BMusHonsWales

North of England Mark Edwards Rebecca West BMusHonsManch MMusManch

North Yorkshire Steve Jones BMusHonsRNCM Jessica Sytsma BAHonsYork Michael Ward PGCE PhDLeeds BMusHonsSheff LRAM

Northern Ireland Lorna Balmer Sam Staunton BMusHonsRCM

Nottingham Gail Dallali Serena Lindsay BAHonsBathCHE Dana de Waal BAStellenbosch BMusHonsStellenbosch MMusPretoria PGDip QTS

Oxford Catherine Cochrane BAHonsOxon

Portsmouth Cai Martlew BMusHons

Reading

Rosa Conrad BAHonsMiddlesex Charlotte Fairbairn BMusHonsKings Dan Miller LRSM Sorrel G Nathan LRAM Paulo Santiago BMus MMus

Celia Armstrong GTCL

Manchester

Alan Emslie BAGlas

Victoria Clarke BMusHonsLeeds PGDipRNCM Frances Evans BMusHonsRNCM Simon Mercer BMusHonsSheff ARCO Jim Molyneux BMusHonsRNCM Emma Smith BMusHons

Reading James Manwaring QTS

Reading Katharine May DipRCM GRSM

Scotland – South East Scotland – South West Ian Smith ARCMHorn

Sheffield George Morton BMusHonsSheff Gordon J Truman LRAMTrumpet

Southampton Nicola Duncombe BEdHons DipABRSM Caroline Laythorpe BAHonsSoton PGCE Shelagh Lee BEdHons

St Albans Geoffrey Ewen AdvCertTCL BMusGoldsmiths MMusGoldsmiths Nicola Hickey ARCM LRAM ProfCertRAM Nicholas Murdoch BMusLond Jacob Shaw BMusHonsRWCMD

Suffolk Timothy Pells LRAMGuitar John Stafford Jane Wright LGSM

West Yorkshire Deryn Cullen BMusHons LMus Sarah Ogden BMusHonsBirm MMusRNCM Suzanne Peers Nik Rutherford BAHonsLCM

Wiltshire William Blackham BAHonsSoton Jan Forsyth BEdHons Lynn Hawkins MABirm Hugh Hetherington BAHonsCantab Sam Poppleton BAMusOxford Carmen Tunney PGCE

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Our new members (continued) Overseas

Lea Valley

London – South East

Daniel Battle BMusHonsWales

Alexandra Abbott

Student members

Isla Thomson

Roxanna Albayati Sophie Dicks Jamie-Lee Sarah Glinsman Nicholas Wibberley

Birmingham David Partridge

Brighton

Joanna Patrick Gaia Pennisi Laura Snowden

Bristol

Benjamin Jarvis BMusCardiff

Croydon Samuel Gee

Guildford

Richard Hames Hannah Martin

Kent

Lincoln

Liverpool

London – South West

James Hall

London – North Francisco Correa Felicity Cowell George Ellis Ioana Forna Rolando Fuentes Garcia Jess Goff Tom Harrison Valter Lima Alanna Macfarlane Joseph Perkins BMusCityUniv Jane Salmon Louise Stone

Wendy Wood

Peter Falconer Rivita Goyle Edyta Lajdorf Cn Lester Matthew Ridley

London – West James Carrabino Vicki Garson Nick Giannakakis Dani Howard Emily Kemp James Maltby

Daniel White

Norfolk

Sohyun Park

North Yorkshire James Williamson

Northern Ireland Ciara McCartan

Scotland – South East Iain Carleton Catriona Purchase

Sheffield

Ieva Dubova Steve Jouanny

South Wales

Corporate members ALFA Education Ltd Carolyn Hudson E: admin@alfaeducation. co.uk T: 07772 858580 W: www.alfaeducation.co.uk Impulse Music Consultants Sarah Rodgers & Geraldine Allen E: contact@impulse-music. co.uk T: 01760 441448 W: www.impulse-music. co.uk

Angharad Davies Berri Munn

West Yorkshire

Manchester

Will Blackstone

Greta Gasser Chris Mansfield

Mario Maxwell Muller

Overseas

Classified advertising

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

Private and Trade 50p per word, minimum £5.

Advertisements from ISM members are half-price (ie, 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

MUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com

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

CONCERT PIECES FOR VIOLIN – Chaconne and Bulgarian Etude – by James Hewitt. View and buy on www.tutti.co.uk.

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COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1495 ONO. 07974 412269

BASSOONS several good student instruments from ALL YOUR MUSIC £600, 07974 412269 PUBLISHING NEEDS CAN BE MET. Professional SPINNETT WITTMAYER typesetting by (German) 4 octaves, C-D, experienced musician – light walnut. BGC needs digital realisations of your tuning, hence £650 for music, arrangements a quick sale. Tel 07974 etc. – all to the highest 412269 standards and at a very reasonable cost. Phone TRUMPETS! Bach700 01234 822703 or e-mail (several) Excellent muserv@globalnet.co.uk condition. All serviced. £100 each. 07974412269

PAESOLD 3/4 concert double bass. Model 590. £1250 ono. 01747 828552 SW FRANCE: Beautiful gites for rent in the most idyllic surroundings.

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

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29

AUTUMN 2015

THE BELL TWENTY-EIGHTH YEAR OF PUBLICATION

FREE TO ALL ISM MEMBERS The Bell is a unique publication, read by over 10,000 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 2015

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.

Kate Goatman, an alumna of the Guildhall School, has been appointed Head of Centre. The Centre will receive support from Essex Music Education Hubs for the first year, together with significant investment from Saffron Walden County High School, Saffron Hall and the Guildhall School.

Royal Northern College of Music

If you are a tutor or student and would like more information about Saffron Centre for Young Musicians please email info@saffronhall.com.

Established earlier this year after the famous soprano made a donation to the Foundation following the sale of two pieces of Cartier tiger jewellery (formerly from the collection of the Duchess of Windsor and a gift from her then husband, Andrew Lloyd Webber), the Scholarships will support Alexandra and Alexander in their postgraduate studies at the College.

cym.org.uk Above: Sir Simon Rattle conducts the LSO and Guildhall Symphony Orchestra in rehearsals for Walton’s First Symphony.

Photo: ©LSO_Alastair Muir

Right: RNCM soprano Alexandra Lowe

Guildhall School of Music and Drama The Guildhall School is delighted to announce that renowned conductor Sir Simon Rattle will take on the role of Artist-in-Association with the School and the Barbican Centre. This new role will be undertaken alongside his appointment as Music Director of the London Symphony Orchestra from the 2017/18 season, when Rattle will become involved in exploring cross-arts collaborations and special projects across the LSO, Barbican, and the Guildhall School. Initiatives include a series of orchestral sideby-side projects with the LSO and the Guildhall School and championing the development of new Guildhall postgraduate courses in conducting and choral training. gsmd.ac.uk

Centre for Young Musicians CYM, a division of the Guildhall School, will open a new branch in Saffron Walden in October 2015. A specialist Saturday music school, Saffron Centre for Young Musicians will enhance progression routes in music education by collaborating with Saffron Walden County High, Saffron Hall and Essex Music Education Hub, with a bursary scheme to promote access.

Birmingham Conservatoire Our new Principal Julian Lloyd Webber has lost no time in making plans to lead from the front in what he has termed the ‘continued search for excellence’ and the ambition to make the Conservatoire the ‘go to’ place for musicians in the UK, and indeed internationally.

His driving force has come at an ideal time in the history of the Conservatoire, with the turf about to be cut to start work on the new £56 million building, which will open in 2017. One cannot underestimate the impact that such a cutting edge practice and performance space will have; both on the students and staff that inhabit it, and also on the Conservatoire’s position as a respected part of the internationally-acclaimed music scene in the City. Maintaining and developing links with the other concert venues in Birmingham is a priority for Professor Lloyd Webber, as is concentrating on music outreach and access for students from all backgrounds and financial means.

He has developed some innovative plans that are already being put in place, and everyone is excited to be a part of the coming months and years under his leadership. bcu.ac.uk/conservatoire

RNCM soprano Alexandra Lowe and tenor Alexander Grainger have been awarded the inaugural Andrew Lloyd Webber Foundation Sarah Brightman Scholarships.

Andrew Lloyd Webber said: ‘It is crucial that proper training is available for the performers of the future. I am grateful for Sarah’s donation’.

Sarah Brightman added: ‘The jewels which Andrew bought gave me immense pleasure and I’m so pleased proceeds from their sale will now play a part in enabling Alexandra and Alexander to enjoy their training without the financial concerns that are a burden on young singers.’ rncm.ac.uk

Making Music Figures released by the UK’s leading charity for amateur musicians, Making Music, reveal its largest rise in membership numbers since 2010.

The increase, which was announced at the Making Music AGM in London Continued overleaf È

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

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

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ABRSM

NMC Recordings

ALFA Education Ltd Birmingham Conservatoire Colchester Institute

Avid Bath and North East Somerset Music Hub Leeds College of Music Luton Music Service Make Music Swindon

Park Lane Group

Dartington International Summer School

Rhinegold Publishing

Forwoods

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

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

Trinity College London

Trinity Laban Conservatoire of Music and Dance Wigmore Hall

MSST – The Andrew Lloyd Webber Programme

Victoria College Exams

Musicguard

Yamaha Music Europe

earlier this month, comes as a result of significant restructuring within the organisation and a renewed focus on expanding its membership numbers.

Drums for Schools

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

The HMC is a warm, friendly, charitable organisation of amateur musicians HMC will be celebrating 70 years of and a few professionals dedicated music making in Hampstead in our to promoting the performance, coming season. appreciation and enjoyment of music At the end of 2014 there were 3,022 in Hampstead. Instrumentalists and amateur music groups registered On Wednesday 18 November at Burgh singers interested in joining the Club as members with Making Music.

House, Hampstead at 8.05pm, as part are heartily welcome to do so at any This represents a net increase of of our Weekday Evening Concert Series time. No audition is required.

3% on the previous year and has given by professionals and hosted subsequently resulted in increased by the club, the Ridgeway Ensemble hampstead-music-club.co.uk income from subscriptions as well as – Judith Sheridan (voice), Margaret special events and member services.

Richards (cello), Valerie AshworthThe Worshipful Company Pirillo (piano) with William Winfield Further details of Making Music’s of Musicians (reader) will present Victoria and year can be found in the 2014 Albert – A Musical Romance. It brings Michael Lewin, Court Assistant, writes: Annual Report, available online at to life the musical world of the royal The Company’s website now contains makingmusic.org.uk/resources/ couple through readings from their a link to its considerable archives, publications/2014-accounts. For a letters and diaries, and contemporary including the Court Minutes from 1772printed copy please contact George accounts of meetings with composers 1918 together with photographs and Acock, Publications and PR Manager at such as Mendelssohn, Clara audio links of important manuscript george@makingmusic.org.uk.

Schumann, Liszt, Grieg and Sullivan. scores, including Elgar’s Elegy which

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Hampstead Music Club

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

is played annually at the Company Evensong in St Paul’s Cathedral.

By mid-June the Yeoman Programme had organised 83 visits to schools, reaching over 4,100 children and 89 performance opportunities for its Yeomen at festivals from Rye to Buxton and venues from the Athenaeum Club to Keele University for 2015-16. In recognition of its achievements, the Programme has received a major grant from the Richard Reeves Foundation.

The 2015 Lifetime Achievement Jazz Award was made to nonagenarian Frank Holder and the Lord Mayor’s Composition Prize this year was won

by William Cole. The Company is also proud to announce substantial donations from the Rothschild Bank and the Eranda Foundation, in memory of Liveryman Leopold de Rothschild, to increase the endowments of the Prince’s Prize. Proceeds from the Gala Concert in October at the RCM will be put to enhancing the John Christie Award, as it celebrates its 50th Anniversary as Glyndebourne’s premier award for young singers. wcom.org.uk

Association of Teachers of Singing Our 40th Anniversary Summer Conference took place at the lovely Jacqueline du Pre Music Centre at St Hilda’s College, Oxford on 17-19 July 2015. Presenters included Mary King with an insightful and entertaining workshop; Paul Harris outlining his excellent analysis of a virtuoso teacher; Declan Costello enthralled us with the work of the human larynx in singing and the ISM’s Caroline Aldred informed us with important legal and business matters. There were many other interesting and varied presenters over the three days. We were entertained at a celebration dinner by The Elysian Singers and materials from our 40-year archive were on display, with many tributes to members and anecdotes from past Chairmen of AOTOS who attended.

Our next conference takes place at St Paul’s Girls’ School in London on

1 November 2015. In a conference titled Our Bodies, Our Voices, guest speakers include Nicholas Sears (Head of Singing at The Royal College of Music), Linda Hutchison – speaking on ‘The Larynx – from womb to tomb’ and Nicholas Gibbins (The Holistic Voice Clinic – Consultant Laryngologist – Lewisham). aotos.org.uk

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: After a thrilling performance in July of Sir Karl Jenkins’ The Armed Man with singers from as far afield as Australia, we enjoyed our second summer school in Warwick, culminating in a concert at Coventry Cathedral. In October TRBC singers will be cruising on the Danube; for a really relaxing Easter holiday with a difference, why not join us for our next singing cruise on the breathtaking River Douro (23–30 March 2016)?

Our Scratch® Youth Messiah was voted ‘Best Classical Music Education Initiative’ in the 2015 Music Teacher Awards, and more than 1,200 young singers have already signed up to sing on 29 November at the Royal Albert Hall. Come along and be amazed at their achievement.

Singing adds positive vibes to everything, especially Christmas shopping! Experience Nuremberg’s amazing Christkindlesmarkt, and explore Christmas music old and new for concerts with ISM President Jeremy Jackman (2–6 December). trbc.co.uk

British Voice Association Each British Voice Association study day aims to fulfil its multi-disciplinary aim by incorporating science and vocal health as well as aspects of vocal pedagogy. Following a successful event on young voices in July, there is a Rock and Pop day planned for 13 September and a further Accent Method (breathing) course on 17 and 18 September.

Music Education Solutions Music Education Solutions Ltd launches a brand new course for instrumental and vocal teachers this October.

Excellence in Instrumental and Vocal Teaching is suitable for both peripatetic teachers employed by music hubs and schools, and private teachers working with children or adults. The course focuses on the different approaches required to effectively engage and motivate pupils in a variety of settings including one-to-one, small group and whole class and ensemble teaching.

The course will cover research and pedagogy around instrumental and vocal teaching, including up-to-date ideas for the planning and assessment of lessons, and Ofsted guidance in relation to instrumental and vocal teaching in schools. Excellence in Instrumental and Vocal Teaching runs in Birmingham on 17 October, London on 30 October, Manchester on 20 April and Leeds on 21 April.

Places cost £70 and can be booked at musiceducationsolutions.co.uk.

Composers Edition Composers Edition welcomes Vic Hoyland, Brian Inglis and Craig Vear. Hoyland has led a long and distinguished career, at the heart of which is a triptych of BBCcommissioned orchestral works: Phoenix, Qibti and Vixen. Inglis specialises in writing for voice, including works for baritones Mark Oldfield and Roderick Williams as well as choirs such as BBC Singers and New London Chamber Choir.

Craig Vear’s software-based scores are both easy to setup and highly engaging music works. At Composers Edition we like bringing artists together so in addition to providing full details and previews of all works we make it easy for visitors to contact composers directly via their profile pages. So if you find something of interest, why not get in touch with the composer directly via composersedition.com.

britishvoiceassociation.org.uk

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

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

ISM Representatives We are currently looking for members to act as local group representatives for Guildford. The deadline for applications is 11 September 2015.

For more information or an application form please call 020 7221 3499 or email bess.walker@ism.org.

Saturday 19 September

Sunday 4 October

Sunday 18 October

Devon & Cornwall Annual Meeting with bring-andshare lunch

North London Annual Dinner

North of England Annual Pupils’ Concert

7pm, Genzo Restaurant, 212-216 High Road, East Finchley, N2 9AY The Annual Dinner enables members to network, make connections with likeminded musicians and provides a chance to meet the committee members who represent your interests in North London.

Partners and friends – whether they are musicians or not – are very welcome too!

Contact: Judith Sheridan, cantalirica@ breathemail.net, 01525 222131

3pm, Church of St Nicholas, Station Road, South Gosforth, NE3 1AN A high quality grand-piano and pipe-organ are available for our use. Organ practice may be requested on the return slip below.

Pupils at all levels, playing an instrument or singing to an appropriately high standard, are invited to take part. Deadline for entries 21 September 2015.

Cost: £5 adults, £4 members, under 16s and performers are free.

Contact: David Whittaker, whittakerdh@ blueyonder.co.uk, 0191 284 5874

11.30am, St Margaret’s Church, Topsham EX3 0EY Members are warmly invited to our Annual Meeting with bring-and-share lunch. The Local Group’s Annual Meeting is very much a do-it-ourselves event this year. We are asking for members to please bring a contribution of food to share for lunch. After coffee at 11.30am, there will be a formal meeting to decide the future of the Devon & Cornwall Local Group, not only which events you would like to see happen next year, but also how the Local Group is to be run. Our after-lunch talk on the life and work of composer Gian Carlo Menotti will be given by Paul McClure, with examples of Menotti’s work from contralto Carolyn Harries and soprano Margaret Aagesen Hughes.

Cost: £8 members, £10 non-members Contact: Carolyn Harries, carolyn.harries@ gmail.com, 01392 680642

Monday 28 September Lea Valley Behind the Scenes at Lea Valley 11am, Epping Quaker Friends Meeting House, Hemnall Street, Epping, Essex, CM16 4LL Come and meet your committee members, have your say on future events and enjoy a cup of tea and some nibbles. Not far from Epping Central Line Station so we can come and collect you from the station quite easily.

Limited parking on site but roads nearby.

Please RSVP by 25 September.

Contact: Carolyn Richards, ismleavalley@ ntlworld.com, 07768 086123

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Lea Valley Make Your Own Music Broxbourne, Hertfordshire A chance for members to enjoy an informal afternoon of chat and music making in pleasant surroundings. Don’t forget to bring your party piece if you wish to play/sing but no pressure! A relaxing Sunday afternoon is planned. All members are welcome just to enjoy socialising together. Refreshments – £3 on the day. Please RSVP by 30 September.

Contact: Carolyn Richards, ismleavalley@ ntlworld.com, 07768 086123

Sunday 11 October Wiltshire Lunch 1pm, The Bear Hotel, 2-3 The Market Place, Devizes, Wiltshire, SN10 1HS A chance to meet and catch up with fellow members over a convivial meal.

Contact: Liz Adams, liz@singingintherain.biz, 07970 320208

Sunday 8 November Lea Valley Advanced Pupils’ Autumn Concert (Grade 6 – 8) 2.30pm, St John’s Centre, St John’s Walk, off Market Street, Old Harlow, Essex, CM17 0AJ We would love to see new pupils enter, for confidence boosting and experience before examinations.

Cost: £6 adults, £4 members and concessions, under 5s and performers are free.

Contact: Carolyn Richards, ismleavalley@ ntlworld.com, 07768 086123

Sunday 15 November North London Pupils’ Concert 2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing. Both children and adults are welcome to perform, whether individually, in duets, or in larger ensembles. Pupils may be at grade 1 or any level above, but should have their performance item at a concert standard. Ensembles would be particularly welcome. Deadline for entries 4 November 2015.

Cost: £5 adults, £2 children, performers and teachers presenting pupils are free.

Contact: Sara Medina, 25 Twyford Avenue, London, N2 9NU, 020 8883 2082

LEEDS COLLEGE OF MUSIC EXPERIENCE DAYS Don’t let your students miss the opportunity to enjoy live workshops and staff Q&As at our upcoming Experience Days:

SATURDAY 26 SEPTEMBER SATURDAY 14 NOVEMBER

@LeedsMusic www.lcm.ac.uk

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2015

Ask me a question

Lucy Pankhurst Composer, teacher, workshop leader and performer

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

Who is your all-time favourite artist and why?

My primary supervisor at the RNCM, Professor Adam Gorb, has been a hugely positive influence. Starting out as a young composer can be a very confusing time and I struggled to begin with; I was very self-conscious of my work – always comparing myself to everyone else. During my Masters, he encouraged me to find my own compositional voice. He assured me that this was quite normal and actually helps to form your own personal aesthetic (and also makes you work very hard).

Adam was always the voice of reason and he encouraged me to take on different projects to push my abilities forward and gain valuable experience. He was also very down-to-earth and realistic about working as a professional musician and is very supportive of the different writing projects I take on – no matter how unusual! Having someone with so much experience and understanding has been invaluable and has shaped me into the person I am today.

This is such a difficult question, as I admire so many musicians and artists. I still enjoy listening to Britten – particularly his folk song settings. I find myself drawn to pieces that reflect or distort in some way.

Sir Harrison Birtwistle has also been a big influence on my writing, after playing several of his pieces when I had first started to compose. I’m also a huge fan of Frank Zappa. I like music that has the courage to be what it is and grabs hold of you – whether you want it to or not!

What would you say is your greatest achievement to date?

Tell us a little about yourself.

I am a composer living and working in the northwest of England. I started out my musical career as a brass player, but during my performance degree at the RNCM in Manchester, I began to compose my own music and it gradually started to take over!

I am currently researching towards a PhD in contemporary composition at the RNCM and I am also a music workshop leader and brass tutor in Halton and Warrington.

In 2011 one of my pieces – In Pitch Black became the first brass band work to win a British Composer Award. I was also the first female composer to win in the Wind Band and Brass Band category. It was a total shock – I couldn’t believe I had even been shortlisted. Since then, I have had some wonderful opportunities and worked with some amazing musicians. It really felt like a huge turning point for me.

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

ELO – Secret Messages (1983) What are your plans for the future?

I’m currently working on a large-scale commission that has been funded by the Arts Council, for three brass bands (simultaneously). It will be premiered in July as the closing event of the Brass; Durham International Festival and will feature the Cory Band, Tredegar Town Band and Reg Vardy. I have several projects lined up for next year, but, beyond that, I’m looking forward to starting some local education composition projects in September and continuing my PhD work.

Finally, what is your ISM membership to you?

My ISM membership gives me the security and confidence to work doing what I love.

It’s not always the easiest route; so knowing that I have the support from ISM and so many other like-minded artists is very reassuring. lucypankhurst.moonfruit.com

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).

£10

Off

Membe rs

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.

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hip

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.

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 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

New Strings Syllabus 2016 – 2019

Available now

Our Strings syllabus supports the way string players learn, testing performance and technique through exciting repertoire, carefully selected technical work and specially designed studies.

New technical work including newly commissioned studies (Grades 1-5) and newly selected orchestral extracts (Grades 6-8) for all bowed strings, and refreshed scales & arpeggios requirements for all instruments Brand new repertoire lists for violin, viola and harp featuring a wide range of styles and genres and updated repertoire lists for all other instruments Sound at Sight books for violin, viola, cello and double bass provide examples of the sight reading tests Separate repertoire lists for Scottish traditional fiddle Our Strings exams provide: Unparalleled choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers A uniquely diagnostic mark scheme providing detailed musical feedback

To find out more visit www.trinitycollege.com/strings Teacher support At the heart of our activity in music education is teacher support. We hold events all over the world and offer free teaching resources, articles, forums and more through our online learning platform.

Find out more at www.trinitycollege.com/support

To purchase visit www.trinitycollege.com/shop /TrinityCollegeLondon

@TrinityC_L

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