Highnotes, Autumn 2014

THE MAKING MUSIC MEMBERSHIP MAGAZINE | AUTUMN ISSUE 2014

Showing our worth Voluntary music’s importance to the UK’s live music economy • PAGE 12

TEN PIECES

Play your part in a national BBC music education project • PAGE 16

A HELPING HAND

Healthy performance practice for musicians • PAGE 10

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

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CONTENTS & EDITORIAL

The recent membership survey gave Making Music an overall satisfaction rating of 87%.

CONTENTS NEWS

5 In brief 6 Around the UK FEATURES

8 Stronger together 10 A helping hand 12 Showing our worth FROM OUR TEAM

Is that good enough? We believe it leaves plenty of room for improvement.

14 Membership and services 16 Opportunities 18 Volunteers

After learning that Arts Council England will no longer fund us as a National Portfolio Organisation from April 2015, we went as far as to ask ourselves how members would fare if there was no Making Music at all.

MEMBERS

19 Corporate members 20 Blow your trumpet 22 Readers’ page If you have suggestions or would like to contribute to Highnotes, please contact the Commissioning Editor, Henry Bird, on 020 7422 8291 or editor@makingmusic.org.uk

We decided that without us amateur music groups would find it more difficult to manage, would be more isolated, and have less opportunity for artistic development.

Ultimately we think this would mean fewer groups, and fewer individuals enjoying the benefits of making music.

The copy deadline for Highnotes Spring 2015 (published 2 January) is 3 November Any views or opinions expressed by external contributors may not necessarily represent those of Making Music

So, as Making Music is needed – and the survey tells us we are on the right track, if not quite at the finishing line – we will simply adjust to our reduced income and focus even more strongly on our members and services, to ensure that what we do is what you need and that we are engaging with you in the best possible way.

Highnotes is the official journal of Making Music, The National Federation of Music Societies, 2-4 Great Eastern Street, London EC2A 3NW 020 7422 8280 info@makingmusic.org.uk www.makingmusic.org.uk

You will probably see changes in your association over the next year, but none to our determination to serve you as best we can, and all, we hope, to the good.

A company limited by guarantee, registered in England and Wales no. 308632 Registered charity in England and Wales no. 249219 and in Scotland no. SC038849 If you need us to make any of this information more accessible, please get in touch £6 where sold, annual subscription £15 (3 issues)

Barbara Eifler Cover: Drum Works performs for the BBC’s Ten Pieces project Photo: BBC/Guy Levy

EXECUTIVE DIRECTOR, MAKING MUSIC Email: barbara@makingmusic.org.uk Twitter: @BarbaraEifler

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NEWS

IN BRIEF Left: Men of the 8th Battalion, East Yorkshire Regiment, during the Third Battle of Ypres in 1917 Photo: © IWM (Q 2978) Bottom right: Nicola Benedetti receiving the Sir Charles Groves Prize Photo: McPherson Stevens Creative Photography

Remembering the fallen Our members’ WW1 centenary activities range from new commissions to fundraising concerts On the evening of 4 August, lights across the UK were turned out to commemorate the 100th anniversary of Britain’s entry into the First World War. The conflict, which left 17 million soldiers and civilians dead, has made an indelible mark on our national consciousness, and we were inundated with replies when we asked Making Music members to let us know how they were marking the occasion. Such was the volume of your responses that we haven’t got space to list them all here, but we’ve compiled a

special WW1 centenary edition of our regular Member News feature on page 15.

If your group hasn’t yet planned an event but would like to do so, we have published details on our website of two suitable pieces of music, both available free of charge to Making Music members. The pieces, one by Anna Lush and the other by David Pendrill, are settings of In Flanders Fields, the 1915 war poem by WW1 physician and soldier John McCrae.

To find out more, visit bit.ly/ centenary-music.

Jonathan Dove commission We are commissioning a new piece exclusively for Making Music choirs from British composer Jonathan Dove. Scored for two pianos, five percussionists, double choir and children’s choir, the piece is intended for performance in the 2015/16 season, and can be performed as a companion piece to Carl Orff’s Carmina Burana.

Watch this space for further details. In the meantime, you can

find out more about Dove, whose BBC commision Gaia Theory was premiered at the 2014 Proms, at www.jonathandove.com.

“I’m thrilled to have been given this prize

by Making Music, which provides such invaluable support to the UK’s amateur musicians”

NICOLA BENEDETTI WINS SIR CHARLES GROVES PRIZE

Not content with an MBE and first prize in the BBC’s Young Musician of the Year competition, Nicola Benedetti has added yet another prize to her list of accolades.

The internationally renowned violinist has been awarded Making Music’s prestigious Sir Charles Groves Prize, given annually to an individual or organisation for making an outstanding contribution to British music. Benedetti received the award in recognition of her commitment to free music education for all; as well as working with Sistema Scotland, Benedetti has recently been named an ambassador for the BBC’s Ten Pieces initiative (learn more about this project on page 16).

The award was presented by Making Music’s Executive Director, Barbara Eifler, after Benedetti’s appearance at the Cheltenham Music Festival on Sunday 6 July, when the violinist performed Shostakovich and Holst with a large ensemble of young string players from Gloucestershire. www.makingmusic.org.uk/ grovesaward

Nicola Benedetti, Sir Charles Groves Prize winner

Correction: alcohol licensing We’d like to apologise for a mistake on page 13 of the last issue, which stated that a licence isn’t required if you’re offering alcohol for free and asking for a donation. This is true of private events but doesn’t apply to public events. While there are certain conditions that may mean you don’t need a licence to provide alcohol at a public event, if these are not met you will need a Temporary Event Notice. Learn more at bit.ly/1qRjkeh.

Autumn 2014

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5

NEWS

AROUND THE UK NORTHERN IRELAND

We’re hosting our first ever training event in Northern Ireland on 18 October. Held in Belfast, the session will give expert advice on how to reach new audiences and recruit new members.

We are running the event in conjunction with the Association of Irish Choirs (AoIC) and Voluntary Arts Ireland (VAI). AoIC will be delivering a workshop covering the basics of a healthy natural singing technique, while VAI will be offering free pop-in arts advice clinics, so you can come along and ask the experts about running your group. To find out more, including about the discounted rate for Making Music and AoIC members, visit www.makingmusic.org.uk/ ourevents.

SOUTH WEST

Barn storming Member group the Quangle Wangle Choir recently braved the elements to perform Noye’s Fludde Anyone organising an outdoor event in the UK is chancing it with the weather, but you’re really asking for trouble if you stage a performance of an opera about a biblical flood. And so it was that, on the afternoon of 19 July, the heavens opened 45 minutes before the curtain came up on Britten’s Noye’s Fludde, performed by a massive ensemble of more than 600 singers and instrumentalists conducted by Charles Hazlewood.

Britten had amateur musicians in mind when he wrote Noye’s Fludde, so the choice of voluntary groups such as the Quangle Wangle Choir to perform alongside the Philharmonia Orchestra was a fitting one. The concert also fulfilled Britten’s wish that his opera not be performed 6

HIGHNOTES Autumn 2014

in a theatre: it was held in a vast agricultural barn on the Bath and West showground, complete with flatbed trailers as stages and a digger with a raised platform for the Voice of God. Despite the inclement weather, the show was a great success.

‘The power and impact of 500 children singing at full voice was highly emotional,’ says project manager Ellie Velazquez. ‘A rainbow of confetti and streamers heralded the stunning close of the story, with gasps and spontaneous applause as the great doors of the barn were raised to allow the sunlight to enter following the storm. You simply had to be there to fully experience this unique moment.’ www.orchestival.com/ project-noye-2014

Above: Charles Hazlewood conducts Noye’s Fludde Photo: Charles Glover

YORKSHIRE AND THE NORTH OF ENGLAND

By the time you read this, the Grand Départ will well and truly have departed the bounds of Yorkshire. We reported on the accompanying Yorkshire Festival in the last issue, with various Making Music members having taken part. In addition, CheerSing, a community participation project, set out to help Yorkshire communities create and perform their own songs as a way to inspire the cyclists and crowds.

Watch a short video of the project at www.cheersing.co.uk.

WALES

New area manager Abigail Charles is getting off to a flying start, including by attending an event about Community Music Wales’s new ticketing platform, Tocyn, which aims to raise funds from booking fees for local community projects. Learn more about the project, which is still in development, at bit.ly/cmwtocyn.

NEWS

LONDON

Making Music is challenging you to take part in our pilot Grade1athon project. If you’ve always wanted to learn a new instrument, this could be just the ticket – all you need to do is ask your friends and family to sponsor you to take your Grade 1 exam. The challenge is that you take the exam in November (yes, in just two months’ time!).

You will need to find your own instrument and teacher, but we can help by entering you for the exam (including payment of the exam fee), providing you with a free accompanist on the day, supplying you with learning materials and books, and giving you advice for practice.

In return, we ask that you raise £100 in sponsorship to help Making Music continue its projects aimed at encouraging more people to experience the benefits of music making, such as Learn to Sing and Vocality. To take part, email sharon@makingmusic.org.uk.

Did you know?

You can download our new guide to hosting a ‘Come and Sing/Play’ event at bit.ly/ comeplaysing

NYCoS goes global One member group performed to an audience of 1.5 billion people as part of this summer’s Commonwealth Games opening ceremony Our members are always looking for ways to grow their audiences, but one group recently took this to an extreme by performing in the opening ceremony of the Glasgow Commonwealth Games. The National Youth Choir of Scotland (NYCoS) was lucky enough to perform alongside Eric Whitacre’s Virtual Youth Choir as part of the ceremony, with around 1.5 billion people watching around the world.

The latest element of Whitacre’s Virtual Choir project, the Virtual Youth Choir comprised 2,292 young singers from 80 countries, all performing Whitacre’s What If. These individual performances were broadcast on a 1,000 sq m screen, with NYCoS performing live in the stadium conducted by Whitacre himself.

To learn more and to watch a video of the performance, visit www.virtualyouthchoir.com.

EAST

All in a Rutter Trianon Music Group is hosting a ‘Come and Sing Day’ with star choral composer John Rutter

WEST

Any members that are seeking vocal soloists are invited to a Making Music showcase event at the Royal Northern College of Music on the evening of 17 October. Spaces on the event, which includes a reception, are limited, so to guarantee your place please contact stuart.isaac@makingmusic.org.uk.

SCOTLAND

Right: John Rutter

South East Invicta Wind Orchestra (IWO) has celebrated its silver anniversary with the premiere of a new work

by Paul Hart. Sink by Cinque pays homage to the Cinque Ports of the South East coast where IWO is based, reflecting the group’s anniversary in its five part structure, with each section written in meters of five. The premiere on 30 August was funded entirely by donations from the group’s members. www.facebook.com/InvictaWindOrchestra

Out of the 32 most popular composers listed on Classic FM’s website, only five are living and, of those, the only English composer is John Rutter CBE, whose beautiful choral music and arrangements are frequently performed by church and community choirs and broadcast worldwide.

Since 2007, Rutter has been President of Making Music member Trianon Music Group (TMG), an Ipswich-based symphony orchestra and choir. The choir celebrates its 50th anniversary this year, and as part of the celebrations there will be a ‘Come and Sing Day’ with Rutter at Suffolk One college, Ipswich on Saturday 6 September.

Professor Christopher Green OBE, who has conducted TMG since he helped to found it in 1959, commented: ‘We are very excited that John is able to return to Ipswich ... Trianon’s birthday is providing a great opportunity to learn some of his music first hand, as well as for singers of all levels of experience to meet and sing together.’

The workshop is now fully booked, although you can add your name to the waiting list by emailing comeandsing@tmg.org.uk.

Autumn 2014

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7

FEATURE

Stronger together Executive Director Barbara Eifler describes our work championing the needs of Making Music members to the powers that be The recent membership survey established that 84% of you want us to continue our work influencing on your behalf. You told us you are most concerned about music-related issues and music education, both of which are reflected in our current activities, such as our engagement with music libraries and our active support of the Protect Music Education campaign run by the Incorporated Society of Musicians (ISM).

The Protect Music Education campaign has been doubly successful: the government has agreed additional funding for music education hubs, and the Department of Education has clarified that local authorities will continue to have total discretion about whether they fund music services.

These triumphs, while masterfully led by ISM, are not theirs alone; they are yours, too, because you responded, retweeted, wrote, signed, took photos and engaged. As your membership association we can amplify your voice thousands of times and we can empower you to really make a difference to a cause you support.

Our music libraries campaign, too, relies on your input. Alerted by members to a consultation on Leicester Library’s Printed Music and Drama Service, Making Music ensured as many groups as possible knew of it; wrote to the mayor, councillors, Head of Libraries, and others; gave members template letters and details of contacts to approach; and secured coverage in the Leicester Mercury.

As a result there were a high number of responses, and the committee meeting discussing the consultation was well attended, meriting an unscheduled appearance from the mayor. The outcome was a commitment to consult with 8

HIGHNOTES Autumn 2014

Making Music on future proposals, and this is where we are at the moment.

Music libraries are a recurring theme, with other examples being the rescue, brokered by Making Music, of the Yorkshire music library in 2012, and a recent call for help from Ealing. And in last year’s treasurers’ survey 15% of you reported that your library is no longer offering Inter-Library Loans, a crucial element of the service. These are issues with a major impact on your ability to continue making music and to survive financially, so as well as working on individual cases – and do contact us if there is a problem in your area – Making Music will aim to: • Create a UK-wide campaign raising awareness of the importance of music libraries • Identify and work to address overarching issues more holistically • Find allies to increase our influence • Offer you the tools to run local campaigns • Investigate other cost-effective solutions.

None of this is straightforward or quick to achieve, particularly given the pressures on local authority funds. However, we should feel entitled to ask our councils to maintain a service – at a predominantly very moderate cost – that benefits so many groups who contribute immensely to the joy, pride and wellbeing of individuals and their communities.

The way to engage with local authorities is by offering solutions to improve the sustainability of the service while preserving its essential elements, and we are finding them willing to listen.

With your help, we can make a difference. Let us know if you agree that #weneedmusiclibraries.

Above: Amateur singers performing David Lang’s Crowd Out, commissioned

by Birmingham Contemporary Music Group Photo: Robert Day

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FEATURE

A helping hand Dr Jonathan White describes his work for the British Association for Performing Arts Medicine There is a link between musicians and medicine stretching back to classical antiquity: in Greek and Roman mythology Apollo was the god of medicine, music and poetry. Some doctors choose to give up their profession for performance, and musicians have been known to take up the stethoscope. Well known examples include Alexander Borodin, who worked as a surgeon and chemist in addition to his composing career, and Albert Schweitzer, a renowned organist and interpreter of Bach who took up medical studies in order to become a medical missionary in Africa.

As with any physical activity, musicians can suffer from injury as a consequence of practising and performing. This is often due to the ergonomics of the particular instrument they play, poor technique or over-practice. But if musicians experience pain while playing, many will put up with the discomfort and work through it. The ‘no pain, no gain’ attitude can lead to further injury or weakness, and in the worst case scenario a neurological disorder, dystonia, whose symptoms include muscle spasms and contractions. Of course, musicians often can’t just take a day off when they’re unwell; if they do not fulfil their commitments there may be someone waiting to fill their place in the orchestra, choir or band.

This is where the British Association for Performing Arts Medicine (BAPAM) comes in. We are a unique charity set up more than 25 years ago to provide free assessments, and to give advice about issues such as performance injury and stage fright. During consultations we have time to discuss all aspects of a problem and the way it relates to performance, 10 HIGHNOTES Autumn 2014

making appropriate examination and giving guidance as to where to seek the best treatment. We also have resources available with advice on healthy performance practice to prevent injury in the future.

In order to keep these assessments free of charge for musicians, I volunteer my time, seeing performers regularly in Birmingham’s CBSO Centre and regional Musicians’ Union office.

So how can BAPAM help amateur musicians and how can you help us? While we are set up to benefit professional performers, our health fact sheets are available to all. Our general advice, for example, is to limit intensive practice to 20-minute sessions with regular breaks to allow the muscles to recover from repetitive movement; as the session progresses the length of time spent playing should reduce and the time spent recovering should increase.

But potentially you can provide even more help to us than we can to you. You could make a one off donation or organise a sponsored event (one of your concerts?); join our Friends scheme and become a regular supporter; introduce us to potential donors; remember us when making a will; or you could work with us as a healthcare practitioner, as I do.

So if you are a musical medic or member of a profession allied to medicine who would be interested in providing support, please get in touch.

I find working with performers most rewarding, and when I retire from NHS practice next year I’ll continue to offer my services to BAPAM for as long as I can.

Learn more at www.bapam.org.uk.

“Limit intensive practice to 20 minute sessions with regular breaks”

Will Todd

Mass in Blue

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for soprano solo, SATB choir, and piano, bass, drum-kit, and optional alto saxophone

Duration: 37 minutes Photo: Beth Halliday ‘My music is about bringing people together — jazz musicians & church choirs; top class professional musicians & enthusiastic community music-makers; brass bands & opera singers.’

Will Todd’s Mass in Blue is a dynamic, uplifting, and highly popular jazz setting of the Latin Mass. The work features driving grooves and blues harmonies, with provision for short piano solos (notated or improvised) and great moments of musical interplay between soprano soloist and choir. It’s a worthy centre-piece for any concert.

For this edition the composer has revised the work, making it more widely accessible, and OUP is proud to publish it.

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Mass in Blue has been recorded by the Vasari Singers on Signum Classics

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Set of notated parts (piano, bass, drum-kit, and optional alto saxophone): 978-0-19-340481-6 £30.00 Backing CD recorded by the Will Todd Trio: 978-0-19-340214-0 £5.75 + VAT The vocal score and set of parts are also available on hire from OUP. A separate, compatible big-band version is available on hire from Tyalgum Press (willtodd.com)

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FEATURE

Showing our worth Catherine Tackley of the Making Music Council discusses voluntary music’s importance to the UK’s live music economy Amateur music making has long been a part of the live music culture of the UK, including as an accompaniment to work (e.g. sea shanties), in the recreational singing of glees (unaccompanied songs) in the 18th century, and in the large choral societies and brass bands which sprung up in the industrialised north in the 19th century. The tradition continues today in the jam sessions of young musicians determined to ‘make it’ in the music industry, the proliferation of ukulele groups inspired by the Ukulele Orchestra of Great Britain, and the flowering of community and workplace singing encouraged by Gareth Malone and Rock Choir.

Talk to anyone involved in amateur music and stories abound of how the activity enriches lives.

But voluntary music making is also a significant and integral element of the live music economy. Often, especially in more remote communities, amateurs are not only active as performers and listeners, but also create and support an infrastructure for live music.

Aside from implications of quality, categorising groups and performances as ‘professional’ or ‘amateur’ is often to draw an artificial distinction which in practice is frequently blurred, and which disguises some of the specific contributions of amateur music making to the wider live music

12 HIGHNOTES Autumn 2014

economy. Some participants in ‘amateur’ music might more accurately be termed ‘semi-pros’ – perhaps earning part of a living from musical performance alongside an unrelated occupation, or active professionally in a closely related field such as arts management or music teaching and sustaining their own musical performance on an unpaid basis alongside this. In this way, amateur music making allows music professionals to carry on being musicians.

Alongside the opportunities they provide to professional composers, conductors and soloists, amateur ensembles extend the necessarily limited experiences available to emerging professionals in UK conservatoires and university music departments. For gifted young musicians of school age, playing with local amateur groups can supplement the musical activities available through educational institutions and, importantly, provide access to role models who are not professional musicians but who continue to challenge themselves musically alongside other responsibilities at work or home.

The distinction between ‘professional’ and ‘amateur’ is also blurred with respect to audience members, who are becoming

Above: Member group Southampton Ukulele Jam. Find them on Twitter: @sotonukejam Photo: Sarah Filmer (@sezifilms)

FEATURE

“Stories abound of the way amateur music enriches lives”

increasingly savvy in their judgements about musical performances. We are all being encouraged and enabled to become music critics – most obviously, TV programmes such as The X Factor and The Voice give us an insight into the way professional musicians are judged by their peers. In an amateur performance, it is entirely possible that listeners might have more expertise in their particular branch of musical participation than performers.

Nevertheless, even when the professional alternatives are easily accessible, audiences are still attracted to attend amateur performances.

It is a mistake to view even the steady stream of amateur orchestra and choir concerts of standard repertoire as a cut-price and substandard counterpart to the mainstream professional live music scene.

Whatever the flaws or strengths of a performance, the experience of attending an amateur event foregrounds the intensity of human relationships. Indeed, it is the human connection not only between members of an ensemble but between performers and audience (typically composed of friends and family) which can often make amateur performances stand out from the more consistently proficient renditions provided by professionals. For me, one of the great pleasures of amateur music making is seeing musical performances being celebrated as life events.

This piece was first published by Live Music Exchange in March 2014. You can read the full article at www.livemusicexchange.org.

MAKING LINKS One of the main ways in which voluntary musicians contribute to the UK’s live music economy is through employing professional soloists, conductors and composers. According to our 2013 treasurers’ survey, Making Music members alone spend £18.5 million on engaging 34,000 professional artists each year.

Making Music has various services that facilitate the relationship between voluntary and professional musicians, including our online vacancies board (www.makingmusic.org.uk/ vacancies-board), and schemes such as Adopt a Composer and the Award for Young Concert Artists (see page 16).

If you want to cast your net wider, the Incorporated Society of Musicians (ISM) is ideally placed to help. The organisation has a membership of more than 6,500 professional individuals and organisations, ranging from accompanists to workshop leaders. Each ISM member is carefully vetted, and upon joining they are bound by strict codes of conduct, meaning you can be confident that they will be reliable and trustworthy. You can search through the ISM membership at musicdirectory.ism.org.

Autumn 2014

HIGHNOTES 13

FROM OUR TEAM

MEMBERSHIP AND SERVICES Helping you get the most from your membership Left: Sheringham and Cromer Choral Society with composer Patrick Hawes. The choir was able to commission a new piece from Hawes after securing funding from eight different organisations Photo: Anthony Kelly

You can book your place on any of the following events at makingmusicuk.eventbrite.co.uk.

Our new resources can help you develop your skills in areas ranging from PR to fundraising and Authors has given Making Music members permission to use a sample contract for commissioning a new piece from a composer, available at: bit.ly/composercontract.

Information sheets: we’re going to be busy giving these resources a spring clean over the coming months. The following sheets are either new additions or have been recently revamped: • • •

Please spread the word about our new membership scheme for individuals. Remember: if 10 of your group’s members sign up you get 5% off your 2015 renewal fee; if 10 or more members sign up you get another 5% off. A leaflet with details of the scheme is included with this magazine. If you’d like to request more copies to hand out to your members, email us at info@makingmusic.org.uk or call on 020 7422 8280.

DATES FOR THE DIARY

Making life easier We’re always looking for ways to ease the strain for our members and allow you to spend more time making music. We hope these new resources will do just that.

Funding directory: we know many members are feeling the pinch at the moment, but that the economic climate isn’t dampening your adventurous spirit when it comes to programming interesting concerts or commissioning new music.

There are many organisations that could fund your group, ranging from small trusts to national grant-giving bodies; to save you time hunting for the right one, we’ve published a directory at www.makingmusic.org.uk/ current-funding.

Sample commissioning contract: the British Academy of Songwriters, Composers

INDIVIDUAL MEMBERSHIP

‘Come and sing/play’ events PR: top ten tips Marketing your events: a stepby-step guide.

Voluntary Arts resources Don’t forget, Making Music members can also access the excellent resources published

by Voluntary Arts. Learn more at www.voluntaryarts.org.

National events • Making Music Open Day 12 September, London • Autumn Conference 11 October 2014, Derby

Did you know?

In the second quarter of this year, 1,111 programme notes were viewed online, and 341 were downloaded

Training • Reaching new people 18 October, Belfast 25 October, Cardiff 8 November, London • How to use social media 15 November, Sheffield • Raising funds for your group 6 September, Leicester 27 September, Bristol 8 November, York Information and advice sessions • Focus on promoting 20 September, Preston • Helping your group to thrive 14 September, Guernsey 18 September, Jersey 20 September, Ryde • Focus on committees 25 October, Redhill

CONTACTS Ben Saffell, Senior Membership Manager: ben@makingmusic.org.uk • Katie Calvert, Membership and Events Coordinator: katie@makingmusic.org.uk • www.makingmusic.org.uk/membership-advice-blog

14 HIGHNOTES Autumn 2014

FROM OUR TEAM

MEMBER NEWS The Armed Man by Karl Jenkins features frequently in members’ WW1 centenary concerts. In April, South Chiltern Choral Society teamed up with three local choirs to perform Jenkins’ mass as part of Reading’s WW1 commemorations. Urmston Choral Society is including the piece in its ‘Sing for Heroes’ concert on 18 September in Salford, with proceeds divided between military charity Help for Heroes and a local care home for former service personnel. Finally, Sutton Valence Choral Society will be performing the piece in Maidstone on 9 November with visiting German choir Ars Nova.

In July, Dorset’s La Nova Singers went back in time to perform classical choral music by composers who were active at the time of the war, including Holst and Debussy. The concert was given in period costume, and a donation from ticket sales went to Help for Heroes.

Aliquando Choir has commissioned a new piece of music from British composer Patrick Hawes, to be premiered on 8 November in Henley-onThames in aid of the Royal British Legion poppy appeal.

It isn’t just choirs that are hosting commemorative concerts. South Berks Concert Band will be giving numerous performances of We Remember, written by Elspeth Manders, who won the band’s 2013 Young Composer Competition. And Trinity Concert Band is giving a free performance in Wokingham All Saints Church as part of the annual Heritage Open Day on 14 September.

The most valued parts of membership are our practical services and advice

Membership survey The findings of our survey show that 87% of members are satisfied with our services, although there are still areas for improvement We would like to thank everyone who filled in our membership survey.

The results are extremely valuable in helping us to decide how best to use your membership fees and concentrate our energies and resources.

The good news • 87% of you said you were satisfied or above with your Making Music membership, while less than 3% were dissatisfied.

• Our customer service also scored highly, with 78% agreeing that we provide excellent customer service and only 4% disagreeing.

• By far the most valued parts of membership are the practical services and advice we offer, and we do a good job of delivering them – 84% of you said you were satisfied or higher with the services. You can rest assured that continuing to deliver and develop these quality services will remain a firm priority.

• The next most valued services are: lobbying and advocacy, allowing members to feel part of a wider community of musicians, and artistic services. As Barbara says on page 8, our activities on the lobbying and advocacy front continue to be successful, and we will start to focus on the other areas over the next two years.

Areas for improvement • Many of you reported problems with our website, both in terms of usability and speed. We’re aware of these issues, and know that dealing with the site can be frustrating, so please be assured that improving it is at the very top of our priority list.

• Another theme was that our members don’t necessarily know about all the services we offer. This is also something we are looking to remedy, starting by giving you the lowdown on our newest resources on the opposite page.

See the full results at www.makingmusic.org.uk/membersurvey.

Featured Corporate member: Rayburn Tours Through its ongoing partnership with Making Music, Rayburn Tours has been providing fantastic opportunities for a growing number of amateur music groups to share their love of music around the world. It’s been a busy year, with the most popular destinations being Belgium, the Rhineland and Normandy.

Sutton Coldfield Community Choir, whose tour of Belgium was organised by Rayburn, said: ‘We were very impressed with the way everything was organised.

The venues chosen were very good and well published, not only in the form of flyers but also in the local newspapers. We had a fantastic time in all the venues and have had complimentary emails from people who attended our concerts.’

Now is the perfect time to start planning next year’s trip, while the full range of great venue choices are all still available. With unlimited destinations on offer, the possibilities are endless. Where will your love of music take you next? www.rayburntours.com Autumn 2014

HIGHNOTES 15

FROM OUR TEAM

OPPORTUNITIES Keeping you up to date with our national projects and programmes Left: Teenagers from percussion collective Drum Works performing Anna Meredith’s special Ten Pieces commission, Connect It Photo: BBC/Guy Levy

ADOPT A COMPOSER

After a year of working with their paired music groups, the composers from the 2013/14 scheme, run in partnership with Sound and Music and funded by the PRS for Music Foundation, are now putting the final touches to their pieces. Quangle Quadrille, written by Jenni Pinnock for the Quangle Wangle Choir, was given its first airing in June in advance of the official premiere this month.

Details of this and the other premieres are given below:

Ten Pieces

•

The BBC is inviting you to help enhance the music education experiences of local schoolchildren

•

Many of you will have heard about Ten Pieces when it was launched by the BBC over the summer.

For those who didn’t, the project aims to act as a gateway to children learning more about classical music, and to inspire them to use music as a stimulus for their own creativity.

As the name would suggest, Ten Pieces revolves around 10 classical works, ranging from Baroque to contemporary and including a new commission from Anna Meredith. Next month there will be free nationwide cinema screenings of a film introducing these pieces, after which children will be asked to respond creatively to the music through compositions, dance or digital art. As well as providing a wealth of educational resources, BBC Learning has recruited more than 180 ‘champions’ to provide

support at a local level, and this is where your group could come in.

Following the email we sent out in July, numerous Making Music members have signed up to become Ten Pieces Champions, including Young Music Makers of Dyfed, Music in the Round and Berkshire Maestros. There is still time to take part, so if you’d like to support local children in the lead up to the Ten Pieces finale in summer 2015, you can request a sign up form by emailing tenpieces@bbc.co.uk with ‘Ten Pieces – Making Music’ in the subject line.

Jenni Pinnock, Adopt a Composer 2013/14

•

•

•

We’ve also finished the difficult task of selecting six pairings from more than 100 applications for the 2014/15 scheme, and will be announcing the winners at a launch event in London on 13 September. www.makingmusic.org.uk/aac

Award for Young Concert Artists We have changed the subsidies system for the 2014/16 Award for Young Artists in order to make it more affordable for you when your desired soloist needs an accompanist. Making Music groups can still claim back £120 from the £250 fixed fee for a solo performer, but from now on you will be able to claim £180 for a performer with an accompanist.

CONTACTS: Sally Palmer, Membership and Projects Coordinator: sally@makingmusic.org.uk

16 HIGHNOTES Autumn 2014

“The choir performed amazingly, accompanied by bird banners and cardboard swallows, wagtails, chiffchaffs and swifts”

20 September, Weymouth: Jenni Pinnock/Quangle Wangle Choir 11 October, London: Mak Murtic/Clapham Community Choir 22 October, Newcastle: Michael Betteridge/ Cobweb Orchestra 29 November, Cambridge: Chris Roe/City of Cambridge Symphony Orchestra 30 November, Bristol: Kim Moore/Bristol Reggae Orchestra

w

presents

FOURNIER TRIO Chiao-Ying Chang piano Sulki Yu violin Pei-Jee Ng cello

Friday 19 September 2014 7.30pm Supported by

The Gordon Foundation The Tertis Foundation

Beethoven

Registered charity 1014284

Variations on an original theme in E flat major, Op. 44

Arensky

Piano Trio No. 1 in D minor, Op. 32

Brahms

Piano Trio No.1 in B major, Op. 8 (revised)

WIGMORE HALL London W1U 2BP Director: John Gilhooly

Tickets: £20, £17, £14, £10 020 7935 2141

www.wigmore-hall.org.uk/whats-on/2014-09-19

Angela Brownridge 1/2p qe:Layout 1 06/08/2014 10:56 Page 1

Angela Brownridge Concerts "A major star in classical music, & one of the world's finest pianists". The New York Times.

Angela first performed in public aged six, and several of her compositions were published aged seven. She played her first concerto at ten, and made her debut in London’s Wigmore Hall aged twelve. Her professional career has taken her to major venues worldwide and she has recorded over twenty CDs, several being selected as ‘Critics’ Choice’ and one as ‘Record of the Year’ in the Absolute Sound magazine in America. She appears as soloist with many leading orchestras and at international festivals. She has appeared in several BBC TV programmes involving her in discussions about the music she performs, and a recital and conversations with Andrew Green on YouTube provides a thought-provoking and intimate journey into Angela’s musical world. She also possesses the rare talent of improvisation and playing by ear which has been with her since childhood.

In October 2014 Angela will begin a tour of the UK with a programme of some of the greatest works for piano by Beethoven, Chopin, Liszt, Debussy and Scriabin 30th Sep 5th Oct 7th Oct 12th Oct 24th Oct 25th Oct 2nd Nov 8th Nov 9th Nov

Watford Boys’ School Queen’s Hall Edin.

Sage Glasgow Royal Concert Hall The Guildhall, York Tonbridge School St George’s Bristol 1901 Club, London Norden Farm Centre for the Arts, Maidenhead 22nd Nov Dorking Halls, Martineau Room 30th Nov Adrian Boult Hall, Birmingham 6th Dec Dewsbury Town Hall 12th Dec West Road, Cambridge 6th Jan Fairfield Halls 9th Jan Caird Hall, Dundee 10th Jan The Braid Arts Centre, Balymena 12th Jan John Field Room, Dublin 30th Jan Sheffield Music Club 5th Feb Huddersfield Town Hall

Reviewers have described her as “....true genius. Her performances were passionate, rhapsodic and totally compelling. She is a marvelously exciting artist and a wonderfully assertive pianist with a strong sense of musical structure”.

The Times. “...velvety keyboard touch with stunningly beautiful tone and extrordinary command of nuance.

She gave one of the finest and most riveting performances I have ever heard”.

Daily Telegraph.

Email: artangela@btinternet.com • Website: Mary Kaptein management - mckaptein@planet.nl

FROM OUR TEAM

VOLUNTEERS Interested in volunteering for Making Music? Visit www.makingmusic.org.uk/volunteers BOARD MEMBER SPOTLIGHT

PERIS ROBERTS Director

VOLUNTEER SPOTLIGHT

JESSIE PELLING Digital Media Officer, South East

When did you join the Board?

May 2014.

When did you start volunteering with Making Music? Five months ago.

Why Making Music? To be honest, I represent a group whose sole purpose in subscribing to Making Music used to be to obtain cost-effective, convenient and appropriate insurance. But we’ve realised that to run a youth orchestra with 130 members and six music staff is really challenging for a committee and volunteers with limited available time. Making Music can use its clout to help members grow, manage staff, find volunteers, run their finances and avoid having to reinvent the wheel, and I would like to contribute to that.

What does your role involve? Managing the social media pages for the South East area.

What do you do when you’re not doing Making Music Board-related activities? I have had my own small business accountancy practice for several years, more recently running this alongside project management and research support roles at Liverpool University.

Do you play an instrument or sing? I consider myself a non-musician but in fact I do play a little piano – I have been a nerve-wracked accompanist for each of my children in their respective violin, trumpet and flute exams.

Which Making Music member group are you part of?

Warrington Youth Orchestra, where all of my children have been members. I became Treasurer in 2011.

Who is your favourite musician or composer (past or present) and why? Shostakovich – uncompromising and gripping.

What inspired you to volunteer with Making Music?

In March 2013 I suffered an acute stroke. I was in hospital for six months, and when I left I was still unable to go out by myself. I found myself stuck indoors with no sense of purpose. I needed something to keep my mind active, and this position was perfect, allowing me to work from home with manageable hours.

What do you feel you’ve got out of your role?

Making Music has given me a sense of purpose while boosting my confidence. The first time I went out by myself since my stroke was for my interview, while my first full day out was for my social media training. These experiences helped me realise how much my capabilities are increasing and have pushed me to do more.

What do you do when you’re not volunteering? A lot of my time is dedicated to stroke recovery, from hospital appointments to exercising with electrical therapy.

However I always make sure I allow time to enjoy life. I love music so I go to as many gigs as I can manage.

I would recommend volunteering with Making Music because ... Making Music has never put me under pressure.

They have always shown support and guidance, and Sharon [Moloney, Area Manager – South East] is always contactable. I feel appreciated even with all my limitations.

Want to advertise in Highnotes?

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18 HIGHNOTES Autumn 2014

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Gold members (cont.)

After over 60 years of music making in Devon, Dartington International Summer School has become something of an institution for amateur, professional and student musicians alike. Courses and concerts offering the best in classical, jazz, folk. www.dartington.org/summer-school

Gold members

Leeds College of Music is an AllSteinway School and Apple Accredited Training Centre, providing students with a world-class education, in worldclass facilities, enabling them to be confident, versatile and creative across their chosen fields. www.lcm.ac.uk

‘The world is a book and those who do not travel read only one page,’ said Saint Augustine. Calling all those groups who haven’t been on tour. Turn a new leaf. It’s an unforgettable experience. www.going4travel.com 020 8891 1575

Orchestral courses in London for advanced players Join us next season for music by Gershwin, Ravel, Shostakovich, Stravinsky and Wagner.

“The Rehearsal Orchestra does invaluable work on the quiet and with the minimum of fuss.“ www.rehearsal-orchestra.org Sir Simon Rattle

Silver and Bronze members

MEMBERS

BLOW YOUR TRUMPET Critical thinking

Conoco Phillips

Aberdeen Chamber Music Concerts recently launched a competition to find the city’s brightest young music writers. David Wemyss tells us more

In an innovative approach to the old problem of finding younger and more diverse audiences for classical events, last season Aberdeen Chamber Music Concerts introduced a review-writing competition for fifth- and sixth-year students at secondary schools in the city.

The competition, which we’re planning to repeat for 2014/15, was made possible by energy company

ConocoPhillips UK as part of a series of sponsorship and support arrangements agreed for last season.

Entry to any of the first five concerts of the season was free to any student with an official entry form, countersigned by a teacher. Contestants were invited to submit a review for any or all of the five events, with the prizes to be presented at the sixth and final concert.

The publicity material stressed that, although the competition would no doubt appeal to pupils studying music, there was no reason why an entry should not be submitted by a nonmusician, and that a literary essay rather than a review in the strictest sense would be equally welcome.

The standard was very high, and the atmosphere at the final concert of the season provided a taste of how the idea could be developed. First prize (£100 in

iTunes vouchers) was won by Adriana Draghici. Morag Forbes and Sandy Wooley were in joint second place and received £50 of vouchers each. The prizes were handed over during the interval of a performance by the Leonore Trio, and an informal reception was held at the end when the members of the trio posed for photographs with the winners and representatives of our sponsor.

Everyone had a marvellous time, and it was a microcosm of what we want to achieve. Now we have to find ways of improving channels of communication within the schools themselves and of making sure that pupils know what we are doing. Our three prize-winners did us proud, and we now believe that the competition can grow and grow.

You can read Adriana’s winning review at bit.ly/aberdeenreview.

Suzanne Hollens-Riley

Opera bites Russell Beaumont on Blackpool Symphony Orchestra’s bite-size production of Don Giovanni For our March concert, Blackpool Symphony Orchestra presented a reduced version of Mozart’s Don Giovanni. Our musical director, Helen Harrison, has always found the opera highly compelling, but wanted to present it in an appealing way for those who might be daunted by the full three-hour production.

We teamed up with local group Musica Lirica Opera to create a semistaged version of the piece with a running time of an hour. It took more than a year to bring the production to fruition, with the main challenge being 20 HIGHNOTES Autumn 2014

to decide what music could be left out without compromising the dramatic arc of the story. On many occasions the creative team apologised to Mozart in the hope that a bolt of lightning wasn’t heading their way!

There was a lot of work involved, with Helen running separate rehearsals for the singers and orchestra, but our efforts were well rewarded on the night. The Salvation Army Citadel was perfect as a venue, and we received an ecstatic response from the crowd, which was larger than that for our normal concerts as we were able to draw people from

three audience bases: Musica Lirica’s, the venue’s and our own.

We were particularly pleased when the project got the attention of local opera star Alfie Boe, who said: ‘Blackpool Symphony Orchestra and Mike Hall’s Musica Lirica are doing a great job with their latest co-production. I’m a big fan of local events which bring opera to people and Don Giovanni is one of my favourites – full of drama, wonderful music and, of course, terrific arias!’ www.blackpoolsymphony.co.uk

Rothay:Layout 1 12/04/2014 10:09 Page 1

Fours Galore! An exploration of chamber music for four musicians November 30th - December 5th 2014 Rothay Manor has been running music courses designed for people with an interest in classical music for over 25 years.

Guests require no special musical skills, although musical examples will be available to follow in some of the sessions. Groups are limited to 30, and are well suited to anyone on their own.

The holiday will culminate in a recital by the Solem Quartet, recent graduates of the RNCM, on the brink of their professional careers.

Join us on a relaxed and informal holiday in good company and pleasant surroundings with plenty of time to explore the Lake District.

Rothay Manor Hotel, Ambleside, Cumbria, LA22 0EH 33605 1 •16/03/2014 www.rothaymanor.co.uk Julian 015394 Dawes QE:Layout 21:34 Page 1

Julian Dawes Composer

Banks Music QE:Layout 1 01/08/2014 21:39 Page 1

Banks Music Publications “The Choral Specialists”

www.juliandawes.com • Instrumental and Chamber Music • Vocal, Song Cycles and Choral Music • Contemporary and Accessible

Amongst his 20th century English influences are the pastoralism and extended tonality of Herbert Howells, the richness of Walton, the elegant delicacy of Berkeley and the jazzy impetus of Rodney Bennett; wider European influences include the caustic irony of Shostakovich and Kurt Weil and the rhythmic impetus of Prokofiev and Stravinsky. Yet Dawes welds from his influences an individual voice that is distinctive and refreshing, displaying assured craftsmanship and characterful invention. (Malcolm Miller 2008)

Music Available from www.tutti.co.uk

Rosemary and David Goodwin are delighted to be the new owners of Banks Music Publications and will continue to offer the same high standard of service and quality of publications.

NEW for 2014

Songs from the First World War (Medley) Arrangements for TTBB, SATB, SAB & 2-part

by Alwyn Humphreys

Come and see us at the Making Music Conference in October!

The Granary, Wath Court, Hovingham, York YO62 4NN

Tel: 01653 628545 Fax: 01653 627214

Email: info@banksmusicpublications.co.uk www.banksmusicpublications.co.uk

MEMBERS

READERS’ PAGE This is your page and we’d love to hear from you: editor@makingmusic.org.uk.

Could you be an occasional or even our resident cartoonist? Would your group like to feature in a 60 second interview or send in an anonymous column?

CwpanAur We talk to Linda Osborn of CwpanAur, a promoting society whose coffee concerts have been causing a stir in Cardiff

6sec0ond

HAPPY LENDING w

rvie

inte

Describe CwpanAur in three words. Chamber music junkies.

What are its aims? CwpanAur was set up to remedy a lack of live chamber music in Cardiff.

Our aim was to put on affordable and accessible concerts that attracted a younger audience. We formed a partnership with Cardiff Museum, which gives us use of a wonderful venue – a 350-capacity amphitheatre called the Reardon Smith Theatre – for which we are extremely grateful. In addition to our regular series, we host the Cardiff Coffee Concerts, which are a series of Sunday morning concerts followed by a free sherry or coffee.

Tell us about a recent concert. In May, the Glendower Ensemble gave a tremendous performance of Messiaen’s Quartet for the End of Time alongside a new work by young composer Christopher Petrie, commissioned by CwpanAur to commemorate the WW1 centenary.

A few months ago, I decided to start volunteering at my local music library. My first week was a little overwhelming to say the least!

The first enquiry I had was from a lady calling on behalf of her choir. She asked if we had a piece of music by a composer I hadn’t heard of before, and when I asked her for some help with the spelling she insisted on speaking with someone who ‘knew what they were doing’. Although a little discouraged, I later looked up the spelling so that at least I’d know for next time.

The next customer was returning some orchestral music from a concert the previous weekend.

He told me how fed up he was of collecting parts covered in pencil markings. His frustration seemed

Rules from the Risers

BY PHILIPPA FARINA, THE CHESHIRE CHORD COMPANY

What methods do you use to grow your audience? Growing our audience is difficult as there is little critical arts coverage in Welsh newspapers.

However, for the past four years we have been fortunate to have online reviews of our concerts

by Glyn Pursglove, a senior academic at Swansea University and an excellent music critic. Alongside our promotional activities through our website and emails, we publicise our concerts through a network of other small promoters like ourselves. We also offer free tickets to all young people (aged 8-25) thanks to the support of the Cavatina Chamber Music Trust.

Why make music? However wonderful recordings are these days, the living experience of music performed by good musicians, even in its occasional imperfection, offers a special balance between social experience and personal response. www.cwpanaur.co.uk

22 HIGHNOTES Autumn 2014

to be self-perpetuating as he hadn’t removed any markings from the scores either. Luckily I had been forewarned about this predicament by one of my colleagues, but when I pointed this logic out to him he quickly dismissed it and stated that his orchestra would not be borrowing from us again.

I’ve learned that these are two of the most common and easiest problems to solve, but in both cases, a degree of understanding from the customers would have helped. With local authority cuts being made across the UK, many staff in music libraries have been drafted in from other departments, so we may not all be music experts. However, we’re still more than capable of giving good service, so please think of us, and help us to help you!

WWW.CHESHIRECHORD.CO.UK

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For more details, call 020 7422 8280 or visit www.makingmusic.org.uk/im Terms and conditions A membership fee of £15 or £25 is payable to join Making Music to access our Musical Households Insurance. Includes European-wide cover away from home and in locked vehicles. Making Music Insurance Services is a trading name of The Insurance Partnership Services Ltd (Reg No. 3937509) which is part of Jelf Group plc (Reg No. 2975376) and is authorised and regulated by the Financial Conduct Authority (FCA). Registered address: HillsideCourt, Bowling Hill, Chipping Sodbury, Bristol BS37 6JX (Registered in England and Wales). Not all products and services offered are regulated by the FCA.

Wigmore Hall | Monday 15 December at 7.30

Soh-Yon Kim violin

A Monday Platform Concert

Soh-Yon Kim & Maksim Štšura violin & piano Laura Snowden guitar

As part of the Young Artists’ Platform scheme promoters are offered sponsorship towards concert fees when booking these young performers.

Maksim Štšura piano

Complimentary tickets for the Wigmore concert for any promoter available from Katie Avey 0845 070 4969 | info@thetilletttrust.org.uk

www.thetilletttrust.org.uk Wigmore Hall | Monday 18 May 2015 at 7.30 | A Monday Platform Concert Jean-Sélim Abdelmoula piano | Keri Fuge soprano | Andrey Lebedev guitar

Laura Snowden guitar