THE MAKING MUSIC MEMBERSHIP MAGAZINE | SPRING ISSUE 2017
Access for all Making sure your group is open to people with physical disabilities • PAGE 12
NORTH DEVON SINFONIA
We chat to the BBC’s Great Orchestra Challenge winners • PAGE 8
THE FIVE YEAR PLAN
We reveal our aims for the future of Making Music • PAGE 10
British Association of Barbershop Singers
43rd Annual Convention
SING 2017
Bournemouth 26th - 29th May 2017
Featuring
THE
THE KING’S SINGERS Internationally Acclaimed Vocal Ensemble
BIG ONE BIG GUESTS BIG VENUE BIG SHOWS
and
LEMON SQUEEZY
2016 International Silver Medal Barbershop Quartet
BIG CONTESTS BIG WEEKEND
BIC, Bournemouth 26th - 29th May 2017
Biggest Barbershop Event Outside North America
One, two and three day registration options available, or you can buy tickets for the King’s Singers Show on Saturday evening (9.00pm) at just £30 each.
Full details on our Convention web site
www.sing2017.com
CONTENTS & EDITORIAL
And we’re off! Making Music has finalised its five year plan which I’m thrilled to introduce in this issue.
CONTENTS NEWS
5 In brief 6 Around the UK FEATURES
8 North Devon Sinfonia 10 Our five year plan 12 Access for all FROM OUR TEAM
14 Membership and services 16 Projects 18 Volunteers
It’s taken a lot of work over the last two years to stabilise the organisation and upgrade its business systems, especially the website which has been extremely well received in its new incarnation.
MEMBERS
19 Corporate members 21 Blow your trumpet 22 Readers’ page
But now we’re in the starting blocks, ready to support, stand up for and celebrate member groups even more strongly than in the past. We have exciting and ambitious plans to grow our resources for you over the next few years, as well as the number and kind of groups we help.
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
We know making and presenting music together is an important and valuable part of many people’s lives and their communities; now we want to prove that impact and make it more visible too, so that more individuals and places can benefit.
The copy deadline for Highnotes Summer 2017 (published 1 May) is 28 February Any views or opinions expressed by external contributors may not necessarily represent those of Making Music 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
I hope you will remain with us — or join us — as travel companions on our journey to 2021.
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
Barbara Eifler
£6 where sold, annual subscription £15 (3 issues)
EXECUTIVE DIRECTOR, MAKING MUSIC
Designed by Cog Design Printed by Gemini Press Advertising by Space Marketing: 01892 677740
Email: barbara@makingmusic.org.uk Twitter: @BarbaraEifler Cover image: North Devon Sinfonia play the final of the Great Orchestra Challenge at the Royal Albert Hall Photo: Guy Levy/BBC
Photo: Damien McFadden
If you need us to make any of this information more accessible, please get in touch
Chetham’s School of Music
OPEN DAY
OPENING SEASON ON SALE JANUARY 9
Saturday 21 January Study with other young musicians Perform throughout the year Make the most of your musical potential
OPENING AT CHETHAM’S IN 2017 THE S TO L L E R HALL
The UK’s largest specialist music school, based in the heart of Manchester. Entry based on musical potential only, with funding up to full fees. A new purpose-built school building, with We’d love to a Concert Hall meet you! opening in 2017.
Manchester’s newest space for performance Now available to hire for events from May 2017
OPEN DAY Saturday 21 January ADVICE & AUDITIONS throughout the year
chethams.com | 0161 834 9644
New Year; New Concert Tour!
Tailor-made concert tours to match your ensemble’s sound and style
OR NE W F
2017
Take a peek at our new website rayburntours.com bursting with fresh inspiration for your next tour. You’ll find a range of exciting destinations, new and inspiring venues and sample itineraries jam-packed with new ideas. With our new Party Leader Launch Pack, getting your tour off the ground has never been easier! B E LG I U M
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THE RHINELAND
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THE NETHERLANDS
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PA R I S
NEWS
IN BRIEF Left: Sir Karl Jenkins Photo: Rhys Frampton
Sir Karl Jenkins recognised for contribution to amateur music This year’s Sir Charles Groves prize is awarded to one of the world’s most performed living composers Making Music has awarded the 2016 Sir Charles Groves Prize to Sir Karl Jenkins. One of the most performed living composers in the world, Sir Karl Jenkins’ prolific career spans the music worlds of classical, jazz, advertising and film. In 2015 he was named as the most popular living composer in Classic FM’s ‘Ultimate Hall of Fame’. The Board of Making Music was unanimous and enthusiastic in selecting Sir Karl Jenkins for this award, given the accessibility and enormous popularity of his works with amateur choirs in particular up and down the country, introducing new generations of
amateur performers and their audiences to ground-breaking work from a living composer. Barbara Eifler, Executive Director of Making Music said: “Many of our groups find not only that Sir Karl Jenkins’ music speaks to them, but that it is accessible and allows them to engage with new music and issues in today’s society. Sir Karl’s music transcends traditional genre classifications and brings communities together, which is very much in the spirit of what our members do, week in, week out, across the UK.” Sir Karl will be presented with his award during 2017.
CALL OUT FOR STORIES We want to shout about our members’ activities and achievements to the wider world, and we need your help! If you have an interesting or unusual story to share about your group, get in touch and tell us about it. Maybe there’s a fascinating story about how your group was formed, or maybe an individual has a remarkable tale to tell about the role of music in their life. Do you have thoughts on the role of community music in post-Brexit Britain? We’re keen to hear from you, get in touch at editor@makingmusic.org.uk
“In these difficult times for music subsidy, and governmental indifference, Making Music does a huge amount of work in supporting and promoting this aspect of the nation’s cultural life.” Sir Karl Jenkins
EPIC NOMINATIONS You have until 12 January to nominate your group for an Epic Award. The awards are given to groups who show how engaging, collaborative, innovative or creative amateur arts activities can be. This might be through partnerships, projects that reach out to local communities, activities that boost participation or engagement, or innovative uses of technology. Previous winners have included Making Music members Pandemonium Drummers and Harps North West. If you are proud of what your group has achieved this year, we encourage you to enter! voluntaryarts.org/epicawards OVERCOMING ANXIETY Many performers report experiencing stage fright at some point in their careers. If performance nerves are getting in the way of your ability to make music, help is at hand. Charlotte Tomlinson offers online courses on overcoming performance anxiety, from a no-cost five day trial to a more in-depth five week course. Each is designed with amateurs in mind and can be completed in your own home, with support from an online forum. beyondstagefrightacademy.com
Amateur music fan’s dying wish Welsh-born Hollywood actor Michael Sheen helped grant a former miner’s final wish — to have a traditional male voice choir sing at his funeral. Cliff Thomas from Pontyclun left detailed instructions for his daughter to arrange for a Welsh choir to sing his favourite song before being cremated. But with just days to go, his daughter was still searching for an available choir to help out — until Michael Sheen joined in the search. The actor tweeted Dawn’s appeal to his 263,000 Twitter followers asking for a group to be available on Friday afternoon and hours later Cliff’s final wish was granted!
Spring 2017
HIGHNOTES
5
NEWS
AROUND THE UK LONDON
YORKSHIRE
Happy new era for Huddersfield Acclaimed young choral director marks the start of a bright new chapter for Huddersfield Choral Society Hudderfield Choral Society has appointed Greg Batsleer as its new choral director. Greg, who is also chorus director of Scottish Chamber Orchestra and artistic director of the National Portrait Gallery Choir, began the new role in September, telling the Huddersfield Examiner that the choir “symbolises the British amateur tradition”. The appointment comes after a long period without a choral director and represents a new era for Huddersfield Choral Society, which is keen to take a more active approach in recruiting new members and staging more showcase performances. “ We want Greg to develop a strategy for the choir and its musical sound and to move the choir forward” explained Jeremy Garside, General Secretary of the society. Founded in 1836, Huddersfield
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Choral Society has earned national recognition for excellence over its long history. Admission to the 165 -strong choir is by audition, which keeps the quality high but can give the impression of making entry to a choir seem closely guarded – an image HCS is keen to shake off. “We don’t want to be perceived as elitist”, president Margaret Atkinson told the Examiner, “we are all from normal backgrounds but to achieve the standards we aspire to, which is competing with the best choirs in the country, we have to have auditions”. Greg plans to build on this reputation for excellence in his new role; “I will be assessing what we can add so we are seen to be vibrant and attractive to new singers”, he says; “it’s an honour to now be in charge”. huddersfieldchoral.com
Above: Huddersfield Choral Society at Huddersfield Town Hall. Photo: David Ward
London Concord Singers presented the world premiere of Alison Willis’ Thou Hast Made Me Endless, based on a poem by Rabindranath Tagore, at its 50th anniversary concert at the Priory Church of the Order of St John in London on 8 December. The new work was the result of LCS’ composition competition, held to mark its milestone birthday in 2016. Composers were invited to submit short settings on one of three texts, and Alison Willis’ submission was selected as the winning entry. Alison’s name may be familiar to Making Music members as a participant of the 2015/16 Adopt a Composer scheme, which saw her compose a new score for Chiltern Youth Chamber Orchestra. This new work, Journeys — a response to the ongoing refugee crisis — will get its broadcast première on BBC Radio 3 in January. Stay tuned for details. londonconcordsingers.org.uk WALES
Abergavenny Symphony Orchestra will be tackling one of Gustav Mahler’s most popular works this February, at an open workshop. Symphony No.2, the Resurrection Symphony, sees Mahler tackling gargantuan themes of life and death on an enormous scale, with symphony orchestra, church bells, an offstage brass section, an organ and a large choir. Musicians in Abergavenny will spend a day rehearsing the work before ending with a full playthrough, which friends and family can attend. The rehearsal takes place on 5 February from 10am til 5pm, with a break for lunch, and the orchestra welcomes any nonmembers who would like to join in. For details of costs and how to get involved, go to: abergavennysymph.org.uk/events
NEWS
WARWICKSHIRE
SCOTLAND
Taking place on the first May bank holiday each year, Leamington Music’s Festival Weekends have been a highlight for music-lovers in the area since 1990. The 2017 event takes place from Friday 28 April to Tuesday 2 May and features two concerts with baritone Roderick Williams, who will perform Die schöne Müllerin on 30 April and Howard Skempton’s The Rime of the Ancient Mariner on 1 May. The festival will also include a birthday celebration for composer Howard Skempton who turns 70 in 2017. Full details of the eleven concerts by leading continental and British musicians will be available by January, and booking opens in February. leamingtonmusic.org
Sir James MacMillan helps mark 140 years of Ayr Choral
SURREY
Aidan Woodcock, founder of member group Maiastra, died suddenly but peacefully at his home near Cobham, Surrey, on 23 September 2016. A much loved man with a passion for music, Aidan’s death will leave a huge hole in many lives. Aidan was passionate about supporting young musicians in chamber music and was keen that this should continue after his death. A memorial concert was held on 11 December. Maiastra will continue to build on Aidan’s remarkable work. maiastra.org
“Music in Chester and its environs would have been much poorer without Lila’s considerable and unstinting input and foresight” John Gough, Royal Northern College of Music
Chester We were delighted to award the 2016 Lady Hilary Groves Prize to Chester Music Society’s programme secretary Lila Hallett in October. Lila has always devoted her life to participating in and involving others in the field of music, particularly young people. Now in her 80s, Lila has been a piano teacher and accompanist since she was 17 as well as a music teacher in four Chester schools. The Lady Hilary Groves Prize recognises her enormous contribution to Chester’s amateur music scene over many decades.
140 years after its members first met on 16 October 1876, Ayr Choral celebrated its rich history this autumn with a special programme of ‘greatest hits’ and exciting new works. The programme, compiled from intensive research by the choir’s archivists, featured popular works that offer a fascinating glimpse into Ayr Choral’s past. One such piece is Handel’s Messiah — first performed when Ayr Town Hall opened in 1881, again when it was reopened in March 1904 after a serious fire in 1897, and once more when the refurbished Town Hall reopened in October 2007. Handel sat alongside
music by Mozart, Vivaldi and Fauré as well as contemporary works, reflecting the choir’s forwardlooking ethos. Patron of Ayr Choral and one of today’s most successful composers and conductors, Sir James MacMillan, created new work Quas ego non terras especially for the anniversary, set to words by Scottish poet and adventurer Arthur Johnston. Other highlights included Hugh Roberton’s version of Scottish folk song Iona Boat Song. To close the festivities audience and choir came together to perform Auld Lang Syne. ayrchoralunion.net
New members Our membership gets bigger by the day, so we thought it was about time we did proper introductions. Say hello to three of our newest recruits! Orchestra+ The South West’s first LGBT+ Symphony Orchestra. This all-embracing, all-inclusive, full symphony orchestra provides a supportive and safe place for local LGBT+ people and friends. facebook.com/southwestlgbtsymphony Ultimate Flyby Orchestra An exciting alternative to the traditional orchestra experience, the Nottingham-based UFO can morph from salsa band to Big Band to Asian fusion group to Hollywood session orchestra. facebook.com/ultimateflybyorchestra Music for Open Ears Shortlisted for the Music Teacher Awards for Excellence 2016, this promoting group aims to inspire the next generation of music lovers by running interactive concerts in primary schools throughout the UK. music4openears.co.uk
HIGHNOTES Spring 2017
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FEATURE
Selling music online North Devon Sinfonia won the BBC’s Great Orchestra Challenge this summer. We caught up with conductor Emma Kent about the experience and what happens next Thanks for your query. I’ve been selling music digitally for the last 10 years so I’m very happy to pass on some advice. It’s certainly possible to get your group’s music on iTunes - it has actually become much easier in recent years, but still not as simple as just uploading directly to the Apple Music Store, sadly. The simplest, and quickest, way to sell your group’s music through iTunes is to work with an online music publisher - they will make sure your music is sent to stores correctly, the recorded rights are registered with PPL, and collect all the royalties for you. The best that I have come across are Ditto Music, AWAL, CD Baby and Tunecore. They all offer slightly different deals so it’s worth comparing them to make sure they’ll do what you want. Here’s a brief rundown: Ditto Music I’ve used this company ever since I started selling music online. It’s quick to set up an account and the website is simple to use - you just upload your music and artwork, select which stores you want to sell through (iTunes, Spotify, Google Play etc) and submit. You pay a fee to Ditto for distributing your music (which varies on the number of stores you sell through) but you keep 100% of the royalties you earn. It can be slow - sometimes taking up to 3 weeks for your music to appear in the stores. https://www.dittomusic.com/ AWAL AWAL works in a similar way to Ditto but the joining process is more complicated - you have to apply and wait for them to accept you before being able to log in and upload music. They don’t
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charge a distribution fee but take a 15% share of all revenues. https://awal.com/services/ CD Baby and TuneCore I can’t vouch for these two companies as I’ve never used them, but they’re both trusted and widely used. They each charge a flat rate for album distribution and they also offer online mastering services and even CD manufacturing if you want to go down that route. Again, you can choose which online stores you want to sell through. http://www.tunecore.com/pricing https:// members.cdbaby.com/ As a side note to all this - if you are having your recordings professionally mastered then any of these publishers will be able to generate ISRC codes for you if you ask. The mastering engineer can embed these on the .WAV files, which means when you upload them to stores the recording copyright will remain registered to your group. It is possible to sell directly through Apple but they have many complicated stipulations about who they will work with. One of them is that they will only work with vendors who have a catalogue of 20 albums or more, so that rules out most music groups (essentially they only want to work with publishers, not individual artists). You can see their criteria at https://itunesconnect.apple.com/ WebObjects/iTunesConnect.woa/wa/digitalContra ctsSignup?ccTypeId=3&existingUser=No I hope this helps. We are planning to produce some guidance for groups on this subject so let us know how you get on, and feel free to get in touch again if you have any further questions.
Photo: Guy Levy/BBC
“Criticism is good and not to be feared provided the person is saying these things to help you”
Music at sea
Seek out adventure, explore new destinations, soak up cultures and traditions, and enjoy scenic sailing along rivers and through impressive fjords, all on a Fred. Olsen Cruise Lines holiday.
Fred. Olsen’s Group & Specialist Sales Team has many years of experience working with choirs, concert bands and other forms of musical groups, providing a bespoke service, which includes a tailor-made cruise fare quote, private rehearsal space on board, the opportunity to perform for other guests, private drinks parties, group dining and specialist shore excursions.
Harwich, Tilbury, Falmouth, Liverpool, Newcastle, Rosyth (for Edinburgh), Greenock (for Glasgow) and Belfast – meaning it has never been easier to enjoy a Fred. Olsen cruise.
In addition, depending on the size of the group, there are a number of ‘added-value’ benefits that may be included, such as free places for group escorts and funding towards transport to and from the departure port. Plus, Fred. Olsen is happy to extend any tailor-made offers to friends and family of any Group members.
The sail away were magical for us. Beautiful weather and just the best band gig venue we've ever done! Some of us got quite emotional as we played sailing, and time to say goodbye, and looked around at all the masses of people on all the decks waving their arms, and dancing around to sweet Caroline. Once again, thank you all for everything. It was our best band trip ever! Andy Burchfield & Jo Stephens, Adur Concert Band.
In keeping with its ethos of being the 'local, global cruise line' Fred. Olsen’s fleet of four smaller, more intimate ships – Balmoral, Braemar, Boudicca and Black Watch – set sail from a total of ten convenient, regional UK departure ports – Southampton, Dover,
For larger music groups, or bands and fan clubs, we can offer full ship exclusivity. Not only does this mean you'll have exclusive use of the ship but it also allows us to create a cruise specially tailored to suit you.
For a tailor-made quote for your group please contact our Group & Specialist Sales Team on 01473 746169 or email group.sales@fredolsen.co.uk from 9am until 5pm Monday to Friday
FOC355928_Making_Music_FP_Ad WC_21.11.16_V3.indd 1
23/11/2016 12:06
FEATURE
Somme100 More strength to your elbows, lifting the cloak of invisibility, and throwing open the doors: Barbara Eifler introduces Making Music’s new Five Year Plan Why have a five year plan at all? Because it’s setting the organisational sat nav — there might be various potential routes, but being clear about the destination makes it more likely we’ll actually reach it. Without a firm goal, we’d be forever meandering through the countryside, maybe occasionally, accidentally, arriving somewhere we’d want to be. We spoke to members (of course), and partner organisations; then staff and Board whittled the suggestions down to some clear objectives. Our vision: everyone has opportunities within reach to make and present their kind of music with others. • ‘within reach’: geographically, financially, technically • ‘make and present’: 14% of members are promoters; and most performing groups also promote their own events • ‘their kind of music’: ideally, music groups of any musical genre would be available and accessible • ‘with others’: once people leave their bedrooms (or showers?) and start undertaking musical activities together, Making Music can help. Our mission: Making Music is a membership organisation which supports, stands up for and celebrates groups of people making and presenting music together in their leisure time across the UK. • We wanted to remind everyone that we’re working for our members, first and foremost, although often our advocacy benefits all leisuretime music groups. 10 HIGHNOTES Spring 2017
In practice, what will Making Music do? 1. Help Making Music groups become stronger and better able to connect with new members and audiences. Public funding has all but disappeared for music groups, and project funding is really competitive – we will work to give members tools and resources to become more sustainable, financially and administratively, including help finding volunteers. We will also support groups with recruitment and retention of members, particularly people under the age of 35, and enable them to promote themselves better to potential members, audiences and other networks in their communities. Our strategy is to help members to help themselves. 2. Stand up for and celebrate Making Music groups, their members, and others coming together to make or present music in their leisure time across the UK. This is about what we can do that groups can’t do individually: advocacy, making groups’ collective voice heard, and raising the profile of music as a leisure activity through celebratory events. 3. Invite and welcome all kinds of music groups to become part of the Making Music community. We want to ensure Making Music reflects the full range of leisure-time musical activity in the UK and is able to welcome groups of any musical genre as members. While continuing to serve our existing membership, the umbrella could grow wider. Now we know where we’re going, we’ll start looking for the right means of transport, how to provide the fuel – and for some great travel companions.
Above: Member Engagement Manager Sharon Moloney at the Making Music Council in Manchester. Photo: Rey Trombetta
A fat document with fancy graphs which looks good and is read by nobody? It doesn’t have to be like that! For our refreshing version, see: making music.org. uk/5-yearplan
YAP Artists 2016 Wigmore Hall Showcase
BE O N S TA G E �
Part of the Monday Platform series
AS PART OF THE EDINBURGH FESTIVAL CHORUS AT THE INTERNATIONAL FESTIVAL
www.thetilletttrust.org.uk MONDAY 13 FEBRUARY 2017 AT 7.30PM
Perform with world class conductors and orchestras, and sing exhilarating choral repertoire – including Berlioz, Elgar, Prokofiev and Verdi. Led by exceptional Chorus Master Christopher Bell. Join as a full member or augmenter.
TO FIND OUT EVERYTHING VISIT EIF.CO.UK/CHORUS
Charity No SC004694
Emily Sun Violin
Vickers Bovey Guitar Duo
The Young Artists Platform scheme offers concert promoters sponsorship towards the fees of participating artists. Complimentary tickets for the Wigmore concert for promoters and further details of the artists available from info@thetilletttrust.org.uk
FEATURE
Access for all Jen Farrant looks at how you can make sure your group is open to people with physical disabilities Disabled people join community music groups for the same reason as everyone else; because they are a musician and enjoy making music with other people. Depending on the joining requirements of your group, they might be a highly talented musician or someone who wants to improve their musicianship and have fun with other like minded people. So how do you go about making sure your group is accessible to all abilities? A good starting point is not to make assumptions. For example, not all people who are wheelchair users are unable to walk. Some use a wheelchair due to pain, fatigue, extreme giddiness when standing or not being able to rely on their legs. One person may be affected one way by a condition and someone else may have the exact same condition and be affected totally differently. Many conditions affect a person differently from one season to the next, or even differently in the evening to the morning. Give people the information they need to make their own decisions about participation and what help, if any, they require. More than anything it is about creating an open culture of discussion, encouragement and support. Here are some suggestions: Welcoming new members Make it explicit on your website that you welcome
12 HIGHNOTES Spring 2017
disabled members, what access there is at your rehearsal room, and that you are happy to talk beforehand to discuss their particular requirements. Personal Assistants (PAs) should be able to attend free of charge. The same person who has that initial conversation should meet the disabled person and ensure they have all that they need, and are comfortable within the group. Everyone else should not try to ‘help’ the disabled person, but just make them welcome in the same way as any able-bodied person. As part of welcoming new members explain any requirements about how to interact with existing disabled members, e.g. ‘that’s Jen, please don’t move her crutches/push her wheelchair/make sure you have her attention before speaking to her as she’s hard of hearing.’ You shouldn’t give personal details, but just broad strokes. This should be done at the same time as pointing out the social secretary, chairman, musical director etc. so that the person’s disability doesn’t become a ‘big deal’. Visual impairment If you have singers with visual impairment then lyric sheets could be provided in bigger fonts,
The British Paraorchestra — the world’s first professional ensemble of disabled musicians — performing Terry Riley’s In C, with Extraordinary Bodies at Coulston Hall Photo: Paul Blakemore
FEATURE
some people find it easier with different coloured papers and you could talk to the RNIB to investigate braille options. You could also teach using a call and response method, or working one to one. You can also alter score size using Modified Stave Notation, through most notation software, such as the free MuseScore. Venues Ideally all venues will be fully accessible, with hearing loops, however, many community groups perform at venues such as old churches, which may not be. Ask venues if they are accessible as part of the booking process and what adaptations they can provide. The same goes for social events, everyone should be able to take part. Inform members of concert details, for example if there are stairs to get on to the stage, or if it is standing. This needs to be done when the concert is first discussed, so that people can make a decision to attend and what help they will need. Can reasonable adaptations be made – for example if it is standing, is it possible for chairs to be provided for those who need them? This is a huge topic and far exceeds the remit of this short article, but the key points are: don’t make assumptions, give people the information to make their own choices and be supportive of their needs. Read more of Jen’s writing at jenfarrant.com With thanks to: Lisa Devlin: clarinet/bass clarinet/ saxophone – Central Band of the Royal British Legion/All Saints Concert Band/ London Gay Symphonic Winds/London Saxophone Choir/Ameenda Berkowitz: Peckham Rye Sings/Rona Topaz: Dramatize, Marylebone Community Choir, and Sing and Mingle Carers Choir.
GOOD PRACTICE •
•
•
• •
•
Review all members’ needs annually through a survey. Disabilities vary from person to person and even day to day for an individual. Just because they were able to do something last time doesn’t mean that they can this time. Have a nominated person for disability issues, so that members can approach them directly if there are any concerns. The nominated person should clearly communicate disabled people’s needs to the relevant members, especially conductors and musical directors. Sometimes small things can make a huge difference, for example carrying instruments from green room to stage, having space in rehearsals to keep mobility aids near by, picking up music if dropped etc. These are usually arranged at a personal level between players and singers. Never move mobility aids, or push people in wheelchairs without express permission. If a disabled person works with a PA they may have a specific way they prefer people to interact with them, but remember the PA is not the disabled person’s friend. It is best to ask at the start how to work together. Communicate in different ways, for example announcements at rehearsals should be repeated in writing, by posting on the private Facebook group or through email. This helps those with hearing issues but also those who may be using all their energy to focus on the music.
Spring 2017
“More than anything it is about creating an open culture of discussion, encouragement and support”
HIGHNOTES 13
FROM OUR TEAM
MEMBERSHIP AND SERVICES Helping you get the most from your membership Left: Ensemble Hesperi, one of the young ensembles on the Brighton Early Music Festival Live scheme this year
INFORMATION & ADVICE EVENTS
• •
•
• •
Subsidies for promoters
In need of funding? There are two great opportunities available to promoting groups this season We are delighted to announce that our brand new Artists Expenses Subsidy has launched for promoters. Funded by income generated from advertising in the Selected Artists Guide, this new subsidy was developed from feedback you gave us about the high cost of artist expenses. The scheme is designed to allow promoters to cast their net a little wider and think about programming new and different artists. Any promoting group with an income under £7,200 per year can apply for a subsidy towards
the cost of artists’ travel and accommodation expenses. Go to makingmusic.org.uk/AES Another funding opportunity comes courtesy of the Brighton Early Music Festival, which offers its Promoters Fund for a second year. The fund runs alongside Early Music Live (a training scheme for exceptional early music ensembles) and offers promoting groups subsidies between £150 and £525 towards the fee of an Early Music Live selected ensemble for the 2017/18 or 2018/19 season. Find out more at makingmusic.org.uk/BREMF
New online resources (Sep—Dec) • • • • •
Child licensing — what you need to know Group accounts template Selected Artists guide — survey results Orchestra tax relief: what is it and how to claim — update Composer birth and death dates for copyright status
• • • •
• •
Artists Expenses Subsidies can be claimed by any promoting Making Music member group with an income under £7,200
•
• • •
For more information and to book go to makingmusic.org.uk/events
Running a committee: parts 1, 2 and 3 Example committee role descriptions How to update your group contacts and contact details PRS video: parts 1 and 2
Find more online resources and guidance at makingmusic.org.uk/resources
CONTACTS Ben Saffell, Membership and Services Manager: ben@makingmusic.org.uk Laura Shipsey, Membership Coordinator: laura@makingmusic.org.uk
14 HIGHNOTES Spring 2017
•
Making local connections 14 January, Nottingham Engaging with young people 4 February, Leeds 10 May, London Connecting with local press and radio 4 February, Cardiff 25 March, Warrington MDs of orchestras 11 February, London Every penny counts 12 February, Dorchester 18 February, Leominster 5 March, Peterborough Top tips for social media 25 February, Aylesbury Getting to grips with PRS 25 February, Glasgow Recruiting members and growing audiences 4 March, Dundee Ticket pricing strategies for concert clubs and societies 6 March, London Drop-in surgeries 11 & 12 March, Belfast Top tips for librarians 22 April, Scunthorpe Removing barriers to audience attendance 30 April, Bury St Edmunds
FROM OUR TEAM
MEMBER NEWS Congratulations to Clitheroe Concerts Society, which was nominated for a Lancashire Tourism Award in November. The Society, which has been presenting music in Clitheroe since 1952, was one of only three finalists in the Cultural Venue/Organisation category. clitheroeconcerts.org Inernational opera star Lesley Garrett joined Milton Keynesbased member Polymnia to mark its 10 year anniversary in October. The choir, which joined Lesley to perform some of her favourite songs, was described by the manager of the official Lesley Garrett Fan Club as “one of the best choirs that I have seen Lesley perform with, if not the best”. polymnia.org.uk Following news in our last issue of Weymouth Choral Society’s debut at Carnegie Hall, we are delighted to hear that Wymondham Choral Society will be following suit. Wymondham Choral Society was selected for its “dedication to musical excellence” and will participate in a performance of Brahms’ Requiem at Carnegie Hall in May 2017. We look forward to hearing about the experience. wymondhamchoralsociety.org.uk Former NFMS / Making Music officer Nancy Dale has passed away at the age of 92. Nancy was treasurer for the North West region committee from 1999 to 2007 and remained a stalwart supporter of singing in the North West. She will be greatly missed. Send your news to editor@makingmusic.org.uk
Don’t forget — If you have not yet renewed your membership, your insurance is no longer valid! You can renew online at http://bit. ly/2gPXVDQ
Making Music staff 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
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
Call 020 7939 6030 Email info@makingmusic.org.uk We are here Monday to Friday, 10am to 5pm
Make music, save money
A quick recap of all the discounts available to members: •
• • • • •
Subsidies on professional artists through our Philip and Dorothy Green Young Artists award 15% off location recordings Online ticketing through Ticket Source Discounts on piano lessons — options in London and for online lessons Piano hire — Steinway model C piano 10% discount on concert clothing
• Sheet music: - Various discounts from Josef Weinberger and Oxford University Press - 15% on John Brunning’s new piece Amazing Day - Free sheet music from Peter McGarr; 2013 Making Music category winner in the British Composer Award winner
You can find full details on all the above by going to makingmusic.org.uk/resources and selecting discounts in the search box marked ‘type’.
Orchestra tax relief — register interest This could be for you if you are an instrumental group with at least 12 instruments of whatever kind (symphony orchestra, ukulele group; brass band; string ensemble, etc.). Tax reliefs have been in existence for film and theatre on this basis for a number of years and we think, after attending HMRC training, that there will be real value in this for member groups. The good news: you can claim this again and again. Unlike funding, it’s not project by
project, nor are any demands placed on your activity. You are simply supported for putting on concerts, if they are eligible. It may mean that you have to adapt how you operate – but for real gain, so worthwhile, and we’re here to help you. Read the guidance at: makingmusic.org.uk/orchestra-tax-relief To use Making Music’s new Orchestra Tax Relief service, please register your interest by emailing info@makingmusic.org.uk
Spring 2017
HIGHNOTES 15
FROM OUR TEAM
PROJECTS Keeping you up to date with our national projects and programmes Left: A Festival of Making Music’s workshop leader Richard Michael in action
A wonderful weekend in Scotland Making Music’s inaugural weekend music workshop in Scotland was a great success, says Alison Reeves In early autumn, over 40 musicians came together in Perthshire for the pilot project A Festival of Making Music, a residential two day workshop exploring musical concepts and inspiring musicality. The event brought together violinists, clarsach players, drummers, organists, singers, saxophonists, accordionists (and more) and players of a wide variety of ages, playing experience and repertoire to work with educator Professor Richard Michael and a team of professional musicians. Over the weekend we sang, stamped, improvised, flossed out our ears, searched for our joy and
never read any dots! Richard’s inclusive methods meant that musicians at all levels gained in confidence, musicality and enthusiasm for playing together and took away something to build on. Funding for this event was provided by Creative Scotland to explore artistic development opportunities for the very diverse sector in Scotland, and we hope to offer more inspiring events to Making Music members in the future. Head over to the Making Music Scotland Facebook page to see photos from the weekend: facebook.com/ MakingMusicScotland
“Absolutely loved it and will definitely be listening to music differently!” “The entire course was excellent and extremely well organised. Thank you so much.” Feedback from A Festival of Making Music participants
Make Music Day 2017 The international celebration returns on 21 June, a Wednesday in 2017. We are working with charity Music For All to bring a higher profile to this event in the UK. With over 120 countries and 750 cities throughout the world now putting on events, we feel the UK is as yet lagging behind! What can you do? Start by saving the date and get thinking about events, which should be in a public space and free to attend and/or take part in. More information soon! Contact us with any expression of interest: info@makingmusic.org.uk CONTACTS: Sally Palmer, Projects and Membership Coordinator: sally@makingmusic.org.uk Xenia Davis, Youth Engagement Manager: xenia@makingmusic.org.uk
16 HIGHNOTES Spring 2017
ADOPT A COMPOSER LEGACY PROJECT Since it began in 2000, Adopt a Composer has produced over 89 new commissions, with many of the composers going on to have enormous national and international success. But what becomes of the pieces themselves, after they are premièred by a Making Music member group? Many of the works are recorded and broadcast on BBC Radio 3, but the fact that they are created specifically for one group can often mean they are not suitable for performance by other members, who differ in size or forces. This year, for the first time, Making Music is working with our AaC composers on a legacy plan that will allow the works to have a life beyond the project. Many of the composers will be creating ‘flexible scores’, meaning they can be adapted to suit other types of groups. The scores will be made available to download once the works have received their premiere on BBC Radio 3. In this first trial year we may not be able to offer scores for every new commission, but over time we hope this will become an integral part of the Adopt a Composer process – and that many of you will use the new scores, and let us hear the results! makingmusic. org.uk/resource/adoptcomposer-scheme
London Symphony Orchestra BRAHMS GERMAN REQUIEM
Sun 5 Mar 2017 11am–4.30pm BRUCKNER TE DEUM
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Sun 19 Mar 2017 7pm BRAHMS GERMAN REQUIEM
eld sh e c Pri again
To celebrate our tenth anniversary M4P will be giving
TEN FREE PLACE scholarships at our week long residential summer music school in The Yorkshire Dales. 5th - 12th August 2017 Download an application form from the website. www.m4p.org.uk or ring 0800 023 5631 Applications must be received by 29th April 2017
FROM OUR TEAM
VOLUNTEERS Interested in volunteering for Making Music? Visit www.makingmusic.org.uk/volunteers PRESIDENT’S AWARD WINNER
PAUL DE RIDDER Making Music Volunteer How does it feel to win this year’s President’s Award? I am fully retired now, and dedicate a lot of my free time helping various charities in whatever way I can. Being recognised is an affirmation that my efforts and input somehow are benefitting that charity, which is rewarding and gives a great sense of achievement. When did you start volunteering with Making Music? Six years: in October 2010 I approached Making Music and offered my services in the area of online (Google) marketing. At that point I had become a bit of a wizard in Google Grants for charities, which makes it possible for a charity to run a Google AdWord campaign without any cost in order to attract more visitors to its website. I successfully applied to Google for such a grant and set up the original AdWord campaigns. This dramatically increased the website traffic. What else does your role involve? After the initial Google project I was asked to help out at the office during November and December when memberships are being renewed. This means stuffing, franking and posting hundreds of envelopes, and then – a few weeks latter – opening, sorting and preparing the responses received from the members, followed by the most rewarding task of them all: banking hundreds of cheques! Do you play an instrument or sing? I used to play the guitar and (over 55 years ago) had my own reasonably successful rock ‘n’ roll band in Holland. I have sung in church choirs and I was part of a barbershop chorus for 12 years. Since 2013 I have sung with the London Oriana Choir which I absolutely love and which is a very challenging but rewarding hobby.
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18 HIGHNOTES Spring 2017
STAFF MEMBER SPOTLIGHT
ABIGAIL CHARLES Manager, Wales When did you join Making Music? 2014 What does your job involve? Meeting members in Wales, organising Information and Advice events for members in Wales, building networks/partnerships for services and lobbying and advocacy in Wales. What do you most enjoy about working with Making Music? What has been your most rewarding experience? I’m amazed by both the variety and quality of the music that our members produce. Visiting members in rehearsals and at their concerts has more than once sent a shiver of delight down my spine. What do you do outside of work? I also work for a local arts centre so get to see a wide variety of arts and culture on a daily basis. I’m also a Welsh learner and as well as going to a class once a week, I’m always looking for opportunities to practice. I am Chair of Cardiff Amateur Flute Ensemble which meets every other week. Do you play an instrument or sing? As well as the flute, I play piano and saxophone. I have a few instruments at home which I’d like to be able to play better like my accordion, harp, violin and ukulele. My husband is just waiting for the day when I bring home a cello! If you could invite one person, past or present, to dinner, who would they be? Ella Fitzgerald — her version of Bewitched, Bothered and Bewildered is one of my favourite songs. What was the last piece of music you listened to? If I’m being truthful it was Love is an Open Door from Frozen!
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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
The British Association of Barbershop Singers Registered Office: 6 Corunna Court, Corunna Road, Warwick CV34 5HQ Registered Charity No: 1080930
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MEMBERS
BLOW YOUR TRUMPET Children’s orchestra workshop This London-based orchestra rehearses weekly at St Botolph’s church in the heart of the City. Last September it held an open rehearsal as part of BBC Get Playing, writes Leo Patsalides
CFO’s mantra is “No child should be deprived of learning a musical instrument on grounds of cost.” Crucially, forty enthusiastic children provided a ready-made workshop infrastructure, and had rehearsed their music over several months. Choosing appropriate tutors is vital. Pavão Quartet tick the boxes: superb musicianship; proven record of inspirational teaching of children; friendly personalities; collectively the mothers of six young children. Since many CFO children and their
families had never heard a string quartet, Pavão included rehearsing and performing two pieces of music, demonstrating the beautiful sound of a top-class quartet. Senior CFO players heard part of Schubert’s “Death and the Maiden” quartet, with Pavão discussing solving problems which the music posed. Then followed coaching, rehearsal and performance of Bach’s double violin concerto: several CFO players were soloists in the movements. Pavão’s Jenny Sacha immediately relaxed and inspired these apprehensive soloists, their confidence growing as they responded to advice. Likewise the orchestra’s sound rose to a new standard. Then the entire CFO heard Pavão play a carefully-chosen piece – Haydn’s “Emperor” quartet’s slow movement variations. Pavão repeated it, asking who
was playing the main tune at a given time – which kept the attention of even the youngest pupils! The afternoon coaching session was for the younger players, divided into three age groups, all rehearsing Pachelbel’s Canon. Parents accompanied the youngest children to a special session by Jenny Sacha. Afterwards, one little girl said “Please Mummy, can she be my violin teacher?” All the groups combined for a final rehearsal and performance, led by Pavão. CFO’s director Jack Maguire said “The whole day was absolutely magnificent – the youngsters benefited enormously.” Supported by Wessex Young Musicians Trust and Poole Audi.
Building bridges in Bristol For a decade Bristol Choral Society has helped young people get involved in music with its Choral Apprenticeship Scheme Bristol Choral Society offers a range of musical education and outreach opportunities for young people of all ages. We take outreach into Bristol primary schools, stage shared concerts with local schools, and annually perform a family-friendly ‘mini Messiah’. At the other end of the scale, a new Choral Scholarship Programme offers bursaries for auditioned young semi-professional singers at the start of their careers, providing performing opportunities within a large choir, and a chance to widen their repertoire. For the age group inbetween, a Choral Apprentice Scheme has been running for 10 years, for young people from Year 9 upwards, which doesn’t require prior knowledge or experience of singing, just a love of music. They join the choir and each 21 HIGHNOTES Spring 2017
is supported by an individual mentor. They sing in all concerts, with professional soloists and orchestras in national venues, at no cost. There are also opportunities to work towards an Arts Award. One of our Apprentices, 15 year old Hannah, explains how she came to join the scheme and what it means to her: “I went to a few BCS concerts and really liked them. I asked if I could join, and I’m still there, well over a year later! “There’s a lovely atmosphere at rehearsals every week, the people are incredibly friendly and helpful, and I have met a lot of amazing people I wouldn’t have normally met. But the main reason is: it’s fun! “Young people and children need creative outlets to express themselves
and their opinions, and even to just chill out for a while, and there aren’t enough opportunities for them to do so. Music gives me a chance to relax and completely tap out of my busy life. When I play or listen to music I forget about the things I need to do for a while and that’s really amazing. “Music is one of those things you can’t have enough of, especially as the curriculum is being starved of the more creative subjects, in favour of English and Maths. This is incredibly unhealthy for the students, not just the naturally more creative ones, but every other student too. There’s an underlying problem of people not wanting to try new things,
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?
Skipton Community Orchestra Demand for a relaxed place to make music led to the creation of this member group, explains co-founder Catherine Davison
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Describe SCO in three words. Friendly, fun and informal. Why was the group formed? SCO was set up by two local mums in January 2012. We were both lapsed players with small children. At a toddler group we both said how we missed playing in a group, wanted to inspire our own children but then moaned how we didn’t have time to play! There didn’t seem to be an informal, local group that you could just turn up to when you had time. So in a moment of madness, we decided to rent a room and asked everyone we knew if they played an instrument. We managed to find ten rusty players and just grew as a group from there. The only requirement for our players is a willingness to have a go and be prepared to laugh when you inevitably play very loudly in the wrong place – it will happen no matter how experienced you are! We now have around 30 regular members and do at least three free concerts per year in the local community. We play a variety of music, from well-known classics to more contemporary tunes, musicals and film themes.
BOOK REVIEW: 365 Tips for a More Successful Choir by Tim Knight Following on from his Survival of Your Choir book, “choir doctor” Tim Knight turns his attention to the nitty gritty of running your group. The format is simple — 365 tips, one for each day, on a wide range of subjects from how to use social media to how to retain members. More conscientious readers may feel the need to stick to reading one tip per day, in chronological order, but really the benefit of this structure is that it is very easy to dip in and out of at any point. A broad range of ideas are easily condensed into short, one or two sentence suggestions. Some of these may be more useful to members than others and inevitably the need to find 365 points can sometimes feel like one or two are there to fill space. On the whole, however, this is a really useful guide for anyone managing a choir, or in many cases any music group — the tips on how to write and format programme notes, when to stage concerts and how to manage costs would be suited to groups of all styles. A useful quick reference guide for every music group leader to have to hand. Published by Spartan Press; spartanpress.co.uk
COPYRIGHT © B&L CAPITAL DISTRIBUTED BY INK BOTTLE SYNDICATE
How does being part of the group fit in with your members’ working lives? From the start we knew that everyone led busy lives, so we just held one rehearsal a month. However, our members soon asked to increase this. We now rehearse twice a month, which seems to suit everyone and gives us enough rehearsal time to make a pretty good sound!
12/23/2015
What was your most memorable performance in the last year? It was in June at Buckden Gala. Buckden is a small village in the heart of the Yorkshire Dales and as you can imagine it has an absolutely stunning backdrop. It was just so beautiful to play in, looking at the hills and village. It was made even more memorable when a llama walked past us while we were playing! Why make music? Music has the power to bring you to your feet, it can calm you, heal you, relieve stress, it brings people together and can make you cry. We aim to inspire, involve and share the joy of music-making to all – it’s good for you and just plain fun! What would be your desert island disc? The Wallace and Gromit theme as it was our signature piece for a long time and got the audience smiling! skiptoncommunityorchestra.org.uk 22 HIGHNOTES Spring 2017
“certainly, a law degree is a worthwhile endeavor, son, but you need something to fall back on. now... practice your banjo.”
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
Backing musicians throughout their careers. Registered Charity No. 228089.
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