Highnotes 32, Autumn 2016

THE MAKING MUSIC MEMBERSHIP MAGAZINE | AUTUMN ISSUE 2016

Millennial gap Why young people don’t join amateur music groups and what we can do about it • PAGE 12 NEW YORK, NEW YORK

Weymouth Choral Society takes to the stage at Carnegie Hall • PAGE 6

CAVATINA Tips on developing young audiences • PAGE 10

ONLINE LEARNING

Can you really learn an instrument over Skype? We give it a go • PAGE 8

AMATIS PIANO TRIO Mengjie Han piano Lea Hausmann violin Samuel Shepherd cello Winners of the 2015 Parkhouse Award, the Amatis Piano Trio will perform works by

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01332 527 761 • R AY B U R N TO U R S .CO M British Association of Barbershop Singers

MIXED VOICE BARBERSHOP CHORAL CONTEST

2nd Year

Barbershop Harmony Contest for Mixed Voiced Choirs 29th May 2017 - Bournemouth The British Association of Barbershop Singers is inviting mixed voice Acappella groups to enter the second UK Mixed Voice Barbershop Choral Contest, which comes with a £500 first prize.

The open contest will be held on Bank Holiday Monday, the 29th May 2017, at the Bournemouth International Centre.

Entrants need to perform two unaccompanied songs in four-part barbershop harmony.

Traditionally barbershop has been exclusively single voice, for either men or ladies, but now we are encouraging mixed SATB choirs to sing a different type of harmony!

Entries are welcome from choruses and choirs of between 18 and 80 mixed voice singers (min age 14).

2016 Winners Strictly Barbershop from Hertfordshire Send for Details Today!

For full details, conditions of entry and guidance on song choice, please email: mixedchoralcontest@singbarbershop.com

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CONTENTS & EDITORIAL

You have been fantastic as ever responding to the surveys we have thrown your way.

CONTENTS NEWS

5 In brief 6 Around the UK FEATURES

8 Online learning 10 Building new audiences 12 The millennial gap FROM OUR TEAM

14 Membership and services 16 Projects 18 Volunteers

In this issue we report on your feedback to the Selected Artists guide, but you’ll have to wait a little longer until I’ve crunched the numbers on the Treasurers Survey (thank you, 719 of you, for completing that mammoth task!).

MEMBERS

19 Corporate members 21 Blow your trumpet 22 Readers’ page

We’ve also been asking you about your needs, and your answers will feed into our new plan, out by Christmas. To have your say before it is finalised, why not join or attend the Making Music Council on 15 October in Manchester, all members welcome (details on p15).

If you have suggestions or would like to contribute to Highnotes, please contact the Commissioning Editor, George Acock, on 020 7939 6041 or editor@makingmusic.org.uk

As Highnotes is only sent to three people in your group, three times a year, make sure you and your members are signed up for our monthly digital iNotes, which keep you up to date on resources, campaigns and opportunities.

The copy deadline for Highnotes Spring 2017 (published 1 January) is 31 October Any views or opinions expressed by external contributors may not necessarily represent those of Making Music

There are a raft of free information and advice events this autumn now open for booking, to help you run your group and make local connections. Find one near you: makingmusic.org.uk/events.

Highnotes is the official journal of Making Music, The National Federation of Music Societies, 8 Holyrood Street, London SE1 2EL 020 7939 6030 info@makingmusic.org.uk www.makingmusic.org.uk

Enjoy your music and keep inspiring your members and audiences!

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) Designed by Cog Design Printed by Gemini Press Advertising by Space Marketing: 01892 677740

Barbara Eifler Email: barbara@makingmusic.org.uk Twitter: @BarbaraEifler Cover image: Stern Auditorium at Carnegie Hall photo: Jeff Goldberg/ESTO

Photo: Damien McFadden

EXECUTIVE DIRECTOR, MAKING MUSIC

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NEWS

IN BRIEF “I feel so lucky through this series to be seeing at first hand the spirit and passion that goes into amateur musicmaking up and down the UK.” Katie Derham

Great Orchestra Challenge The search is underway for the orchestra that best captures the spirit of British amateur music-making All Together Now: The Great Orchestra Challenge, which began broadcast at the end of August on BBC Four, follows five orchestras (including three Making Music members!) as they compete for a place in the Grand Final.

Each episode has a distinct musical theme, from symphony to opera. The orchestras present a performance based on the theme, judged by conductor Paul Daniel, Music Director of the Orchestre National Bordeaux Aquitaine and Principal Conductor and Artistic Director of the Royal Philharmonic Orchestra of Galicia.

The four part series is part of the BBC’s nationwide Get Playing

campaign, which is encouraging everyone to play music together - from lapsed players who want to dust off their instruments and brush up their skills, to enthusiastic amateurs who play regularly. Partners of the project are ABRSM, Music for All and of course Making Music.

Get Playing culminates in a huge celebration on the Last Night of the Proms on 10 September with the BBC’s first ever ‘virtual’ or digital orchestra. Many Making Music members are taking part in the virtual orchestra (including several of the Making Music staff!) so be sure to tune in. bbc.co.uk/getplaying

BACC FOR THE FUTURE 100,000 people signed an official Parliamentary petition asking the Department for Education (DfE) to include expressive arts in the English Baccalaureate (EBacc). This was submitted to the House of Commons on 4 July. The government’s response was underwhelming but with a new Prime Minister and Education Minister in place, it’s worth writing to your MP again. Bacc for the Future has a template letter you can download at baccforthefuture.com and we have some tips at makingmusic.org.uk/news.

Above left: Presenters of the Great Orchestra Challenge: Katie Derham, Chi Chi Nwanoku and Paul Daniel

BOOK REVIEW: Upbeat, the Story of the National Youth Orchestra of Iraq Bravery, sensitivity, collaboration and devotion to music come together in Upbeat, the story of the National Youth Orchestra of Iraq.

An orchestra formed out of the ashes of war through an unlikely collaboration between the visionary young Iraqi pianist Zuhal Sultan and the Scottish conductor Paul Macalindin, this book gives an unprecedented insight into a project founded on hope. Upbeat follows the journey from the beginnings of an idea, to building an international team, a $50,000 tweet, and the experience of music itself.

The National Youth Orchestra of Iraq and its formation are a truly collaborative musical investment in a better future with wide ranging support including from Sir Peter Maxwell Davies, Making Music, and the British Council.

This is an honest account of an at times controversial experience but above all a story of faith, imagination and music making at its best. £19.99, Sandstone Press, published 18 August 2016.

Germany’s record-breaking orchestra More than 7,500 classical musicians packed themselves into a German football arena in July, setting the world record for the biggest-ever orchestra. Participants, made up of professional and amateur musicians from Germany, Austria and the Netherlands, performed a 45 minute concert conducted by Wolf Kerschek. Music included works

by Dvořak and Beethoven. The concert was the brainchild of music teacher Jens Illemann from Hamburg. It breaks the previous set record from Australia in 2013, when 7,224 musicians performed together at the Queensland Music Festival.

Autumn 2016

HIGHNOTES

5

NEWS

AROUND THE UK NEWCASTLE

DORSET

Start spreadin’ the news Weymouth Choral Society makes its debut at New York’s Carnegie Hall this autumn

Above: Carnegie Hall, New York. Photo: Jeff Goldberg / ESTO

‘Rooted in the north east’ became the theme of Newcastle Choral Society’s June concert when family connections played their part in Land of Singing Waters: Words and Music from Northumbria.

The search for a suitable theatrical venue became a ‘Who do you think you are’ for choir chair Charmian Marshall, when research revealed that George Stanley, the first actormanager of the Tyne Theatre, was her great great grandfather! So of course Tyne Theatre and Opera House became the chosen venue.

Choir ambassador Michael Chaplin compiled local poems and invited his friends, Kevin Whately (of Morse fame) and his wife to read them, while Kevin’s daughter sang.

The choir sang Northumbrian songs, some with Will Lang and guests who played traditional folk instruments and clog danced. newcastlechoralsociety.org.uk CORNWALL

Weymouth Choral Society is in for an exhilarating experience this autumn as its heads for the bright lights of the New York City, to perform at Carnegie Hall.

The society’s members will join other choristers to form the Distinguished Concerts Singers International, participating in a performance of Howard Goodall’s Eternal Light; A Requiem.

The performance is part of the Distinguished Concerts International New York City series, which brings together excellent musicians from different countries to perform in some of the world’s most spectacular venues.

Howard Goodall will be present as composer-in-residence, with DCINY’s Artistic Director and Principal Conductor Dr. Jonathan Griffith leading the performance.

Griffith says: “The Weymouth 6

HIGHNOTES Autumn 2016

Choral Society received this invitation because of the quality and high level of musicianship demonstrated by the singers and the high quality of their audition recording. It is quite an honour just to be invited to perform in New York. These wonderful musicians not only represent a high quality of music and education, but they also become ambassadors for the entire community. This is an event of extreme pride for everybody and deserving of the community’s recognition and support.”

The singers will spend five days in New York City in preparation for their concert, with approximately 10 hours in rehearsals before giving a performance at Carnegie Hall on Sunday 20 November.

To find out more about WCS visit weymouthchoralsociety.org.uk, learn about DCINY at dciny.org

What began in 1947 as a small group of music enthusiasts gathering to listen to gramophone recordings at the local WI, is now one of Cornwall’s most popular amateur music societies.

In 2017 Bude Music Society celebrates 70 years of bringing live music to the region, with a season that features some of its most popular artists from the last decade.

Recent musicians have included Amy Dickson and Alec FrankGemmell (judges in the final of the BBC Young Musician 2016), Fontanella Recorder Ensemble, and the Katona Twins Guitar Duo. “We are pleased to be able to bring live music to this part of Cornwall, where opportunities to hear professional artistes are limited” says the society’s secretary Margaret Hobbs. Discover more at budemusicsociety.com

NEWS

LONDON

It’s no secret that female composers are underrepresented in today’s music scene. In September 2015 the Independent reported that one of the UK’s biggest exam boards was forced to change its A-level music syllabus after a student found there was not a single woman among the 63 composers featured on the syllabus. At the BBC Proms in 2015, only 12 of the 116 (10%) composers performed were women, and only 11 of the 30 (36%) living composers were women.

The London Oriana Choir is seeking to address this with a venture aimed at promoting new choral works by British women composers. Called 5.15, the choir plans to work with five female composers over the next five years to commission three works each per year. Find out more at londonoriana.com

Did you know?

Making Music published its annual report for 2015 this summer. Take a look at bit.ly/2ahdLXn

BIRMINGHAM

We were sad to hear of the death of Guy Woolfenden in April. A prolific composer, Guy made a considerable contribution to both the professional and amateur sector, writing more than 150 scores for the RSC, where he was head of music for 37 years. He was a keen supporter of Making Music member Birmingham Symphonic Winds (BSW). The group’s director Jayne Allen said: “We are so fortunate that he worked with us on a regular basis. We all have lost a true gentleman.” BSW recorded a collection of Guy’s music last year, which can be found at bsw.org.uk

Wales South Wales Gay Men’s Chorus teamed up with Brighton Gay Men’s Chorus in July for their summer show Legends; a selection of music by favourite artists as voted by the audience. swgmc.com

CUMBRIA

Arion and the Dolphin Pro Nobis Singers and Poco Amabile gave a successful performance of Jonathan Dove’s new work On Saturday 18 June the Pro Nobis Singers of Kendal and the children’s choir Poco Amabile gave the first performance in Cumbria of Jonathan Dove’s Arion and the Dolphin, commissioned by Making Music in 2015.

Countertenor Iestyn Morris sang the part of Arion, accompanied by pianists Lindy Tennent-Brown and Paul Plummer. Members thoroughly enjoyed working on the piece, which was well received by the audience, and both groups said they would recommend it to other amateur choirs looking for an exciting challenge.

Both choirs are small in number (28 adult singers and 18 children) so chose not to include the percussion parts:

“We found that the work can be performed satisfactorily without the percussion so long as there is an electronic keyboard which can substitute for the vibraphone in several places in the score” says Clive Walkley, Director of Pro Nobis Singers. “The sound of two small choirs carried over the percussive piano writing”, he added. Clive’s advice to other groups considering a performance of Arion and the Dolphin is that the work does require two first-rate pianists and a strong countertenor.

If any members would like to hear more about Pro Nobis’ experience of performing this work, they can be contacted via pronobis-singers.com

NOTTINGHAM

Royal recognition Nottingham Symphonic Winds co-founder honoured for her contribution to local music Congratulations to Margaret Frogson, Secretary of Nottingham Symphonic Winds (NSW), who was awarded the MBE in this year’s Queen’s Birthday Honours, in recognition of her outstanding contribution to music in the community in the East Midlands.

Margaret has been secretary of NSW for almost 30 years since she and her husband, David, founded the group in 1987, and was awarded the Making Music Lady Hilary Groves Prize for her outstanding contribution

to music in the community in 2006.

The MBE caps off a remarkable career supporting music in the local area of Nottingham.

On hearing about her award, Margaret said: “It was a very delightful yet unexpected surprise. I am truly honoured and humbled to have been nominated and accepted for the MBE.” For more on Nottingham Symphonic Winds see bit.ly/2apJHJj HIGHNOTES Autumn 2016

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FEATURE

Online learning Can you really learn to play an instrument over Skype? George Acock road tests the latest development in music tuition According to a 2014 survey by Music for All, there are 13.6 million people in the UK who could be described as a lapsed player, of which almost 70% stopped by the time they were 16 years old. I count myself as one of them. At school I took lessons in violin and trumpet but gave them up before I’d even left my teens.

These days I’m lucky to have a piano in my flat as I live with a pianist, but until recently I had no idea how to play it. I contemplated lessons but dismissed them on the grounds that I’m too busy, they’re too expensive and I didn’t have time to find a teacher near me (or even know where to start).

Then someone suggested online lessons. You can play in your own home, at your own pace and at times to suit you. Sounds great! But can it really work? I got in touch with YourSpaceMusicLessons.com to find out.

YourSpace was founded by sisters Olwen and Abigail in October 2014. Olwen lives on the island of North Uist in the Outer Hebredes, while Abigail is based in Huddersfield. Struggling to agree on a suitable location to host a 60th birthday for their mother, the siblings landed on the novel idea of hosting a dinner party over Skype. The party was a success and an idea was born – if you can have dinner over Skype, why not music lessons?

After trialling the idea with 10 pupils, YourSpace was launched. It now boasts over 200 music students, ranging in age from 4 — 70, all at differing levels of experience. How would I fare as an online student?

After an initial meeting over Skype to discuss my musical experience and help set up my camera, I was ready to go. I had briefly tried learning piano using YouTube tutorials before, and found learning through a screen quite distancing. However I was quickly put at ease by Olwen’s relaxed manner and the responsive element of Skype (like being able to ask questions —

8

HIGHNOTES Autumn 2016

you can’t do that on YouTube!)

Olwen sent me a link to the teaching book I would need and over the course of the past two months we have worked our way through the exercises. Each lesson is 30 minutes, costing £15, so the fees are roughly on a par with regular music lessons. I’ve found that the key to a successful lesson is making time to practise as much as possible between sessions and using the one-on-one Skype time to go over difficult areas and set challenges for the week ahead.

The most striking thing for me has been how easy it is to learn through a laptop screen. In just four hours of teaching Olwen has got me playing confidently with both hands, and is even starting to talk about Grade 1!

“We wanted to offer a screened teaching service with DBS checks and referenced experience, to give a quality experience for the pupil” explains Abigail. “The school was to reflect the work of talented teachers, their qualifications and experience to raise the game in online music tuition.”

Certainly web-learning has become far more commonplace in recent years. Is the future of learning online? “I think it’ll be a mix of the two” says Olwen.

“There will always be a place for face to face learning.

The online medium comes into its own when access and time are issues, which is the case for many people.”

As for the development of students, Abigail says there is no difference between the abilities of those who learn online compared to those who learn in ‘real life’. “Progress is often equal to or better than face to face learning”, she says.

From my own point of view this style of learning has been a revelation. I can fit it around my work hours, which is often a reason that people give for discontinuing music lessons once they leave education. So now I have no excuses!

Photo: YourSpaceMusic Lessons.com

“The online medium comes into its own when access and time are issues, which is the case for many people”

FEATURE

Building new audiences Reaching close to 10,000 young people a year, CAVATINA Chamber Music Trust is helping to build the next generation of audiences for chamber music, explains Thomas Hancox Founded in 1998 with the aim of developing the next generation of chamber music lovers and players, the charity CAVATINA Chamber Music Trust exists to bring chamber music to young people, and young people to chamber music. To this end its work is divided into two broad channels: on the one hand is a series of highly engaging school concerts and workshops delivered by experienced and celebrated ensembles, introducing and hopefully developing an appetite for chamber music amongst the pupils encountered; on the other is a subsidy programme – known as the Ticket Scheme – that works with a variety of concert promoters to cover the costs of admitting young people to chamber music concerts, so that they can access professional music-making without charge.

The Ticket Scheme currently has around forty members, comprising a variety of music clubs, festivals, and concert venues, reaching throughout England, Wales, and Scotland. Each member receives a subsidy of £7.50 for each young person (8 to 25 years old, inclusive) they admit without charge to a chamber music concert – defined as instrumental duos to nonets performing classical music without a conductor. Each member is asked to take out corporate friendship with CAVATINA (£100 per year) by way of signalling a reciprocal belief in the cause of introducing young people to this rich tradition, with the vast majority of members receiving this sum returned several times over in subsidy.

10 HIGHNOTES Autumn 2016

Furthermore, if one of the ensembles that CAVATINA works with is engaged to perform by a member of the Ticket Scheme, CAVATINA will pay for a visit to a local state school (or cover half of the fees for a visit to an independent school) to tie in with the public performance. Beyond the immediate educational purpose of such a school concert, it is hoped that such links between local schools and members of the Ticket Scheme will help develop and sustain the next generation of their audiences.

Though these two principal strands – school concerts and the Ticket Scheme – constitute the backbone of CAVATINA’s work, they are not the extent of its endeavours. Other projects include a series of family concerts that seek to introduce young children – and their parents – to chamber music, whilst CAVATINA’s annual intercollegiate chamber music competition, held at the Royal Academy of Music, acts as a competitive showcase for some of the very best young ensembles that are coming to the fore.

Originally the philanthropic vision of Simon and Pamela Majaro, CAVATINA is now sustained through the kindness of a network of friends and the generosity of several sponsors. To find out more about its work – whether as a potential supporter, an interested school, or as prospective member of the Ticket Scheme – please visit www.cavatina.net or e-mail info@cavatina.net for further information.

Image: Shutterstock

“CAVATINA Chamber Music Trust exists to bring chamber music to young people, and young people to chamber music.”

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FEATURE

The millennial gap Struggling to recruit younger members? Making Music’s Youth Engagement Manager Xenia Davis has some solutions The biggest barrier to young people joining music groups isn’t repertoire, or classical music being perceived as ‘stuffy’, or the age profile of the group. Making Music’s recent research into the music-making behaviour of under 35s found time pressure to be the overwhelming barrier to young people joining music groups. In an age of economic uncertainty, when young people are leaving university saddled with debt, facing a shrinking employment market, and juggling multiple jobs in order to afford rising rents and living costs, there is a widespread feeling that “we just don’t have the time for it.” “We’re too busy with other things,” explains Jennie. “Most of my peers work two jobs and/or have a family”.

And yet music making in groups has been found time and again to have a positive impact on physical and mental health. In an era when young people’s stress and anxiety levels are higher than ever, it’s crucial to find ways to make music making accessible to all, especially to those with busy and stressful lifestyles.

The silver lining to this finding is that the phrase “I’m too busy” is usually subjective. While it can definitely feel true to the person uttering it, we can (usually) pick our priorities. The challenge to music

12 HIGHNOTES Autumn 2016

groups is: how can we support people who feel like they don’t have time to fit anything else into their over-packed schedules to re-prioritise?

Triggers A key principle in community engagement is not to expect people to come to you, but to go to where people already are. This holds true when reaching out to people not actively looking to get involved in music. Workplaces, shopping centres, festivals and public transport are all game. Renee, 29, got involved in singing after taking part in a workshop at a staff away day. “I hadn’t sung since I was at school, and to be honest, it wasn’t really on my radar,” she explains. “But it made me remember how much I loved it! I now sing regularly in two choirs.”

One-off projects Project based opportunities are appealing if you are worried about having time to make a regular commitment. Chaps Choir have previously put on one-off workshops in the lead up to concerts, where they have taught one or two songs from their repertoire. Workshop attendees are then invited to join the performance for the songs

AYCA winner Yoanna Prodonova performs at the Making Music AGM Photo: Ivan Gonzalez

FEATURE

they learnt. Sing Out Streatham organised a flashmob which attracted a high number of new members due to its one-off nature. A ‘project based’ opportunity can be a great way for people to dip their toes in the water in a noncommittal way, and then get hooked.

Saying it’s low commitment ...and meaning it But won’t relaxing attendance requirements lead to a drop in standards? Not necessarily. It suits some people to attend fewer rehearsals and fit in the practice in their own time. “I work as a nurse and sometimes my shifts are really unpredictable,” explains Jess, 23, “so it’s great to know I don’t have to be there every week.”

“For lots of people starting out on careers, you become a slave to your job and can’t guarantee being able to get to a regular weekly rehearsal by 6.15pm every week” says Katie from the Bach Choir. The key is to be clear around expectations. How will you support people who have missed a session to not feel guilty about holding other people back? Is there an expectation to catch up before the next session?

Be clear so people know where they stand and no one is projecting frustration on people who have missed a week.

Get them hooked Convenience isn’t the only appeal. A key reason for dropping out of groups was “it stopped being fun”. “Creating an atmosphere beyond playing” is crucial, says Polly from the Stowmarket Concert Band. But good social dynamics don’t just happen by accident. Bristol Choral Society uses a buddy system to welcome and integrate new young members. You could have a revolving welcoming team to make sure new people aren’t left on their own, and a break so people can chat. Social events, weekly trips to the pub, Christmas dinners, and picnics and jamming in the park can all be worth a go – but make sure these don’t generate an ‘in crowd’ clique. Performances can also play an important role in creating a sense of purpose and something to work towards.

“Making Music’s research found time pressure to be the overwhelming barrier to young people joining music groups”

Engaging younger people in music groups has no simple answer; it’s a long-term project requiring effort and buy-in from conductors and committees alike. The good news to be gleaned from this report is that there are practical steps you and your group can take to help you do just that, and Making Music is looking at how it can best support you on the journey. Read Xenia’s full report on youth engagement at makingmusic.org.uk/youth

Autumn 2016

HIGHNOTES 13

FROM OUR TEAM

MEMBERSHIP AND SERVICES Helping you get the most from your membership INFORMATION AND ADVICE

There are lots of opportunities to brush up your knowledge on a range of subjects this summer. Information and Advice events take place around the UK and are free to Making Music members and the general public. For more information and to book go to makingmusic.org.uk/events •

Making local connections Wed 14 Sep, London Sat 17 Sep, Stoke-on-Trent Sat 1 Oct, Norwich Sat 22 Oct, Newcastle upon Tyne Sat 12 Nov, Dorking

•

Every penny counts – tips for improving your income Sun 25 Sep, Banbury

•

Removing barriers to audience attendance Sun 9 October, Leicester

•

Connecting with young people through Arts Award Sat 22 Oct, London

•

Good practice for committees Sun 30 Oct, Bridgwater

Feng Yu

Left: Pupils from Dobcroft Infant School perform with Hallam Choral Society as part of Carols for Everyone. Photo: Alex Rumford

Child licensing

With many of you having increasing trouble with local authorities on child licensing, we have new guidance ‘Clear as mud’ is a term we have heard used to describe the current regulation on child licensing. The fact that it is at the discretion of each local authority (LA) to interpret the legislation makes it hard to disagree.

There is progress though, in the shape of recent guidance issued by the National Network for Children in Employment and Entertainment (NNCEE).

It is not binding but is at least understandable to a layperson.

If you feel you need more advice than is in the guidance or our resources it may be best to contact us or local schools and hubs in the first instance for practical advice, since we have specific music experience.

Remember that when working with children your safeguarding policies and procedures are paramount — read our guidance (makingmusic.org.uk/

safeguarding) to find out more.

We also have a brand new online DBS check service making it quicker and easier to get your checks.

What next? We think amateur music activity with children should be removed from the licensing regime altogether.

Sport is exempt so why not music? It is an unnecessary barrier to an educational activity with a considerable administrative burden for volunteers. We are lobbying for exactly this, via the Music Education Council, with the Department of Education. More examples make for a stronger voice - so if you have been affected by licensing issues please get in touch at info@makingmusic.org.uk We have distilled the key aspects of the NNCEE’s guidance at makingmusic.org.uk/child

CONTACTS Ben Saffell, Membership and Services Manager: ben@makingmusic.org.uk Laura Shipsey, Membership Coordinator: laura@makingmusic.org.uk

14 HIGHNOTES Autumn 2016

Our online resources have been viewed and used 95,480 times since the start of the year

Is there a subject you need more guidance on? Let us know: info@makingmusic.org.uk

Online resources (May—Aug) • • • •

Guidance: Orchestra tax relief Guidance: Top tips for treasurers Guidance: Ticketing case study Tools: Finding a funding opportunity

• • • •

Guidance: Tips for arranging pieces Guidance: Event management Guidance: Running a tour Publications: Making Music annual report 2015

More at makingmusic. org.uk/resources

FROM OUR TEAM

MEMBER NEWS 2016 is turning into an extra special year for Bromley’s male acapella chorus, The Kentones. Following their winning performance at the Top Choir Kent competition held under the auspices of the Rotary Club of Canterbury, they recently competed in two categories at the Croydon Performing Arts Festival, staged in the magnificent Croydon Minster, where they won first place with distinction in both Adult Choirs Male Voice and Barbershop Chorus. Excellent work, chaps! thekentones.org Rhyl Music Club has announced an impressive line up of musical talent for its forthcoming winter season. Highlights include Richard Ormrod and Mary Hofman, The Jørgensen Trio (St Martin-in-theFields winners 2016-17) and a Christmas concert from the Vale of Clwyd Singers. rhylmusic.com La Nova Singers gave the world premiere of their collaboration with Ed Scolding in Dorset this July.

Created through Making Music’s Adopt a Composer scheme, the piece will be broadcast on BBC Radio 3 next year. “We really wanted the chance to sing something which has been written specifically for women’s voices, and plays to our strengths”, says La Nova Singers’ Holly Stroud. lanovasingers.co.uk 10 members had their recordings played on BBC Radio 3’s In Tune and Breakfast shows in August, as part of the Get Playing campaign.

Find a list of the winning entries at makingmusic.org.uk/news Send your news to editor@makingmusic.org.uk

Useless fact: The results are in! 411 Making Music group names begin with an S, making it officially the most popular letter among members

Making Music staff Barbara Eifler Executive Director Workineh Asres Head of Finance Ben Saffell Membership and Services Manager Sally Palmer Projects and Membership Coordinator Laura Shipsey Membership and Office Coordinator Alexandra Scott AYCA Administrator Ollie Mustill Marketing and Communications Manager

George Acock Publications and PR Manager Rey Trombetta Communications and Events Coordinator Sharon Moloney Member Engagement Manager Abby Charles Manager – Wales Alison Reeves Manager – Scotland Xenia Davis Youth Engagement Manager Call 020 7939 6030 Email info@makingmusic.org.uk We are here Monday to Friday, 10am to 5pm

Making Music Council

Get involved in our next council meeting, which takes place in Manchester on Saturday 15 October The Making Music Council is the voice of the membership and represents a cross section of member groups. Here at MM Towers we always look forward to the annual Council meeting as it never fails to produce lively debate and fresh ideas.

This year we will look at our new business plan and ask how we can best serve your groups and the voluntary music sector. In addition to the usual open discussion forum we will have breakout sessions for vocal,

instrumental and promoting groups.

Anyone from a member group is welcome to attend the October meeting, but being a member of the Council itself is about more than that annual meeting.

Core members are consulted throughout the year on key issues and in their area of expertise. Find out more, apply to join the council and book your place on our website at makingmusic.org.uk/council

Corporate members

Do you know about our corporate members? What would you like to get from these relationships?

As amateur music groups we know that you use music related business and services. We want to develop our corporate membership with these types of businesses to offer real value to you and them – building lasting relationships and giving you a helping hand.

You can see all of our corporate members

listed on page 19. We are still in the early stages of expansion and would like to hear from you about what types of business you would like us to work with and how we can offer you extra value – let us know your thoughts by getting in touch.

Email info@makingmusic.org.uk or give us a call on 020 7939 6030.

Autumn 2016

HIGHNOTES 15

FROM OUR TEAM

PROJECTS Keeping you up to date with our national projects and programmes Left: A Festival of Making Music leader Richard Michael giving a workshop

A Festival of Making Music Creative Scotland funds a brand new initiative aimed at developing musicians from every genre Scottish members have a fantastic opportunity to join award-winning educator, professor Richard Michael BEM for a weekend of creative music making in the beautiful Perthshire countryside this autumn.

A Festival of Making Music, funded by Creative Scotland, will take place on Saturday 8th and Sunday 9th October at Kilgraston School in Bridge of Earn. Whatever your musical background, you will join with Richard and his colleagues, drawn from across the classical, traditional and jazz

spectrum, in exploring shared concepts of rhythm, melody and harmony, using simple and familiar Scottish tunes as a basis for improvisation.

Sounds scary? Don’t worry, mistakes are cool, and we can guarantee that you will have plenty of fun making them! And you’ll go away with new skills, new confidence and new friends.

To find out more and to book your place, please visit makingmusic.org.uk or contact Ruth Irons on 07592 374745 or ruth@makingmusic.org.uk

AYCA Our Annual General Meeting in June included a concert showcasing the newly selected Philip and Dorothy Green Young Concert Artists, who are now available for you to book at subsidised rates, either as soloists to perform alongside your choir or orchestra or to present in concert, if you are a promoter. All the artists are of a fantastic standard – recordings are now available so you can judge their musical ability, as well as their presentation skills, for yourself. Listen to the performances online at soundcloud.com/makingmusicuk CONTACTS: Sally Palmer, Projects and Membership Coordinator: sally@makingmusic.org.uk Xenia Davis, Youth Engagement Manager: xenia@makingmusic.org.uk

16 HIGHNOTES Autumn 2016

“A Festival of Making Music is a fantastic platform for amateur musicians to work with leading musicians as their tutors across a range of musical genre, instruments and traditions” Clare Hewitt, Music Officer at Creative Scotland

SELECTED ARTISTS GUIDE This guide for all Making Music members includes the subsidised Philip & Dorothy Green Young Artists, frequently booked by performing groups as soloists for choral works and concertos, as well as ensembles recommended by the Selected Artists Panel to fellow members. Recently, we asked our promoters - who have traditionally used this guide most heavily – for their views about it.

71% had used the guide regularly or occasionally, and 84% used its Selected Artists and 76% the Young Artists once or more a year. 96% would like Making Music to continue producing it annually, with 86% rating its usefulness at 4 or 5 out of 5.

You can find a fuller summary of responses at makingmusic.org. uk/SAfeedback ADOPT A SCOTTISH COMPOSER Now in its 16th year, Adopt a Composer is a UK wide project funded by the PRS for Music Foundation and the Philip and Dorothy Green Music Trust, matching six emerging composers with six amateur music groups for up to a year, supported by an experienced mentor, resulting in a new piece for the group and a broadcast by BBC Radio 3.

We are delighted that Creative Scotland will fund a seventh pairing for 2016/7, for a Scotlandbased emerging composer paired with a Scottish group. We will announce the latest pairings, including this first-time ScottishScottish pairing very soon.

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FROM OUR TEAM

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

Funding Research Volunteer

BOARD SPOTLIGHT

DOROTHY WILSON Trustee

When did you join Making Music?

June 2015

When did you join Making Music?

July 2016

What does your role involve?

Researching regional and national websites with the purpose of finding funding for voluntary music groups.

Why Making Music? Good question! I’m involved in lots of arts and music organisations and I am the Director of a professional arts centre in Birmingham. I’ve been very fortunate in my career, working with wonderful colleagues and putting my time into organisations I believe in — as an employee, as a volunteer and as a board member (also a voluntary role of course). I’ve learned a lot as I’ve done that and I want to continue being useful.

Throughout my life I have sung and played music, often with Making Music societies, and this seemed like the right time to offer my time and experience to the organisation which lives up to its name – championing music across the country and all those involved in making and promoting it.

What inspired you to volunteer with Making Music? I am passionate about music and eager to help anyone grow their shared interest in this subject. I like the purpose of Making Music and how it helps people on their musical journey.

What do you feel you get out of volunteering with Making Music? It’s quite fulfilling helping amateur musicians find sources of assistance with their musical activities. It’s also quite interesting to see how the country helps musicians through the various locations.

Do you play an instrument or sing? I play the pianoforte and trumpet.

If you could invite 3 people, past or present, to dinner, who would they be and why?

1.

John Barry the composer for screen. I’d like to ask where he got his inspiration for such beautiful music.

2.

Gautama Buddha. I’d like to question him on his Eastern philosophies and making sense out of modern life today.

3.

Mrs Vassie my old piano teacher who was 80 when she helped me pass my Grade 2 piano at the age of 14. She was the loveliest.

I would recommend volunteering with Making Music because... There’s no other national organisation like it. Plus everyone who works here is really friendly and helpful.

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18 HIGHNOTES Autumn 2016

Do you play an instrument or sing? I am a singer – mostly as a soloist as there is a limit to the number of nights in the week for regular rehearsals, and I am a violist playing with Redditch Orchestra, Volante Strings, Inkberrow Sinfonia, and I help out Worcester Philharmonic, Halesowen Orchestra, and many more.

Who is your favourite musician or composer (past or present) and why? The answer to that question changes at least weekly – I tend to get obsessions with particular composers for a while, research and play their music intensely for a period and then move on. My current obsession is Handel operas – introduced as so often by a wonderful voice – that of the late, great Lorraine Hunt Lieberson in this case. If you’ve not heard her recordings, you’re in for a treat.

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VOLUNTEER SPOTLIGHT

CORPORATE MEMBERS

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Celebrating 60 years at the beautiful Dartington Hall, Dartington International Summer School offers courses and concerts for musicians and music-lovers of all ages and abilities.

Workshops for amateurs, teachers and group leaders in playing, singing, composition and conducting delivered by industry professionals. dartington.org/summer-school OneStage is a team of musicians and travel experts providing tailormade tours for all types of choir and instrumental ensemble, and one of the few tour operators dedicated solely to concert tours. With a great reputation, their focus is squarely on the music. 0121 2402972, 020 8568 5486, tourenquiries@onestage.co.uk.

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MEMBERS

BLOW YOUR TRUMPET Shhhhhh!

Bob Meyrick

Never seen a jazz gig in a library? Then you’re missing out, says Chairman of Nottinghamshire Jazzhouse David Shepherd I suppose that a library would be the last place you would look for a jazz gig, given that they are supposed to be quiet places.

However, there is always the exception to the rule — here in Nottinghamshire, Jazzhouse Ltd along with the Libraries event management team, run a highly successful series of jazz gigs on a monthly basis.

We run gigs on three consecutive

evenings at three libraries across Nottinghamshire. These include spring and autumn/winter seasons at Worksop, Southwell and West Bridgeford libraries.

Our last season began with a performance by Jeanie Barton, a wonderful local jazz singer who studied with Anita Wardell and supported Georgie Fame. She was supported by a local trio called Bohop who were excellent. It was very well received.

This was followed by local big band The Shipstone Street Jazz Orchestra.

These musicians are all amateurs and they play with lots of enthusiasm. They are fronted by a wonderful singer named Sarah Simonds who sang with the Swingle singers. This band and Sarah are a big favourite and have played for us on several occasions.

I have to mention our star performer of the season, who performed for us in May — Remi Harris. Remi plays all styles of jazz guitar, but mainly Django Reinhardt gipsy jazz. A fantastic evening, with people asking me to book him again, which I have already done.

In terms of the practical considerations of playing in libraries, all of our venues have great acoustics — the artists bring their own PA systems and we use electric pianos. Feedback is always very positive.

I would recommend other members contact the events department of their local library and suggest a concert idea to them; it works very well for us.

I could write lots more but I have used up my allowed space! Find our more about us at jazzsteps.co.uk

Minnesota Module Keith Morgan on how his Swansea-based band went from a small support group for recovering addicts to a community project for all The ‘Min Mods’ was formed in 2012, originally as a diversionary activity to help adults who were recovering from alcohol and drug dependency. The project was set up and funded by myself, as I am experienced in both the musical and addiction fields, along with the help of a handful of volunteers.

At first the band rehearsed in each other’s homes, but within a year we had expanded enough to need somewhere bigger. Many people who had no issues with alcohol or drugs loved the idea that the emphasis of the group was to play only alcohol or drug free events, and that all events were family orientated.

It was agreed in one of the committee meetings that we should become a community band that would be suitable 21 HIGHNOTES Autumn 2016

for anyone who could be supportive of the no alcohol or drugs emphasis of the group. It was also decided that kids could get involved as long as they were accompanied by a parent.

As group numbers grew we organised family fun days, beach meet-ups and barbecues. We have even organised camping trips and will be making our third annual trip to Oxwich this year.

The band has become a real community asset. In 2014 building renovations at our usual venue forced us to find a new rehearsal space. Luckily we were allowed to use Odo Street Community Centre as we were now a community band and here the kids have become more involved in music and also practice their dance routines or even

circus skills. They also have their own band ‘The Mini Soda Models’ who hope to take over the world one day!

As well as performing at many events in the local community we regularly play for Neath Gardens in their wonderful bandstand and at many special needs day centres throughout Swansea. We have played as far afield as Cardiff, Newport, Aberystwyth, Weston-super-Mare and once were even sponsored by Tata Steel to play a memorial concert in Nottingham.

The Minnesota Module has never received any funding and relies solely on donations from the organisers, band members and public. Find out more at facebook.com/Minnesota.Module

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?

Wight Diamonds Marching Band 6sec0ond

Tradition, friendship and w inclusivity are at the heart rvie inte of this Isle of Wight-based marching band, says its secretary John Wersby Describe WDMB in three words.

Friendship, community, stimulating Why was the group formed? Before the turn of the year 2000, myself and a number of others were members of another local marching band which was not keen on developing young people into marching music. Over several months we got together and decided to set up our own marching band to encourage both young and old to enjoy music and marching. 16 years later we are still going strong!

Our group has the aims of providing marching band music in the community, for the community and with the MUSIC SNOBS “All musicians are equal but some musicians are more equal than others.” That’s how it sometimes seems to me when I read about different genres.

Whether it’s newspaper reviews, comments online or just in general conversation I am always struck by the differing levels of importance people seem to give various styles of music.

I play in a small group which does covers of pop songs as well as the occasional classical piece.

22 HIGHNOTES Autumn 2016

community. This to us means accepting players of any age from 8 to 70+ and of any musical or marching ability, to work as a team to develop ourselves to provide entertainment for local events including carnivals, fetes, and formal parades and in recent years, concerts. At the same time we are enjoying what we are doing in a friendly, non-competitive environment.

How does being part of the group fit in with your members’ working lives? We try to ensure that the majority of our group activities (rehearsals and performances) are outside of either school or work hours. Occasionally, clashes occur and we hope to have sufficient strength in depth to cover those who are unable to be there.

What was your most memorable performance in the last year? It was at the Kingston Borough Bands Tattoo in South London. This was a non-competitive event at which seven marching bands gave individual marching and playing performances before combining at the end of the day for a mass band grand finale. We have taken part in this event three times, after meeting Kingston and Malden Scout and guide band at a local carnival on the Isle of Wight in 2011. This friendship which has built over the years truly encompasses the band motto “Music with Friendship”.

What would be your desert island disc? A difficult choice, but with my love of military marching band music, the selection would be Colonel Bogey on Parade by Kenneth Alford. This being a medley of some 12—15 of Alford’s best known marches includes highlights and themes from many of my favourite pieces written by the British March King (as opposed to J. P. Sousa – the American March King!).

wdmb.org

We have found an audience and we enjoy playing this sort of music. But as soon as I say the word ‘pop’ to some people, I immediately see their ears close up! Why? All music styles should be treated equally. Classical music was popular music in its day.

Music snobbery does no one any favours and it’s time we said goodbye to it!

Anon Got something to say?

Let us know: editor@makingmusic.org.uk

Reproduced by kind permission of PRIVATE EYE magazine / Colin Whittock www.private-eye.co.uk

Manic depression stopped me from playing to the point of getting rid of my guitar to pay for somewhere to live.

Help Musicians UK got me back on my feet. I dread to think where I would be without them.

Your support means we can help more musicians like Matt when a crisis stops them from playing.

Donate at helpmusicians.org.uk or call 020 7239 9100

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Barber Evening Concerts 2016/17

Barber Evening Concerts 2016/17 Season Wednesday 19 October

Berlin Philharmonic Wind Quintet

Wednesday 26 October

The English Concert

Wednesday 9 November

Carolyn Sampson (soprano), Joseph Middleton (piano)

Wednesday 22 February

The Heath Quartet

Wednesday 22 March

I Fagiolini

Wednesday 10 May

6 Hands: John Williams, John Etheridge, Gary Ryan (guitars)

Wednesday 17 May

Martin James Bartlett (piano)

Evening concert tickets: £18, £15 concessions, £5 student. Concerts start 7.30pm.

Join us on campus every Friday in term time for FREE concerts by some of the UK’s rising stars in classical chamber music.

Top from left: Berlin Philharmonic Wind Quintet, Amy Harman, Barber Concert Hall, Carolyn Sampson, Heath Quartet. Bottom from left: Clare Hammond (Presteigne Festival soloists), I Fagiolini, John Williams, Harry Bicket (The English Concert), Martin James Bartlett

Box Office: 0121 414 7333 barber.org.uk