Highnotes issue 39, spring 2019

THE MAKING MUSIC MEMBERSHIP MAGAZINE | SPRING ISSUE 2019

Not just for fun The research on music and wellbeing that’s paving the way • PAGE 8 & 9

MUSIC, IN AN EXHIBITION? Celebrating leisure-time music groups • PAGE 10 TIME FOR A YOUTH HEALTH CHECK? How can groups improve their appeal to younger people? • PAGE 12

OTR service

Earplugs review

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CONTENTS & EDITORIAL

CONTENTS

Welcome

NEWS

5 The bigger picture 6 Around the UK FEATURES

8 10 12 18

By the time you read this, big changes may be about to happen.

Not just for fun Music, in an exhibition?

Youth Health Checks Exploring music making

You may be preparing for whatever version of Brexit is about to hit the country. And any version, we all now know, will mean big changes – in our daily lives and in the way our country relates to the rest of the world.

FROM OUR TEAM

14 Membership and services 16 Projects 26 Making Music people

But in this climate of uncertainty it is reassuring to know there are some things that are not going to change: week in and week out, people will continue to get together locally to make music.

MEMBERS

11 20 23 24 25

Blow your trumpet Exploring music Drop the mic Readers’ page Corporate members

Throughout the first and second world wars, music continued to be made, and in fact played a crucial role in lifting the spirits both of those at home and those in the field – witness the countless imaginative and moving tributes held by many members for the 100th anniversary of WWI in autumn last year.

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

And whatever bureaucratic barriers may be put up between us and other countries in future, music is a universal language to connect us. So celebrate what you do and share it with the rest of the world on Make Music Day, 21 June, the perfect antidote to any version of Brexit.

The copy deadline for Highnotes Summer 2019 (published 1 May) is 22 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 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: Contact David Hobden at Space Marketing: 01892 677721 davidh@spacemarketing.co.uk

Barbara Eifler Cover image: Premiere performance of The Great War Symphony, Royal Albert Hall Photo: Andy Berry

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

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Samuel Shepherd cello

Monday 15 April 2019 7.45pm

NEWS

THE BIGGER PICTURE SURREY PERFORMING ARTS LIBRARY (SPAL) - MIXED NEWS

Music education Free access for all

England – there are only a few days to go for the petition by amateur trombonist Ralph Riddiough, supported by Making Music, to reach 100,000 signatures and secure a debate in Westminster: https://petition.parliament.uk/ petitions/223408 The government response on the petition page points to the role of music education hubs ‘which includes ensuring that every child has an opportunity to learn a musical instrument free of charge’. Alas, for 24% of children that means only the minimum requirement of one term (or three terms for 64%) of whole class teaching on an instrument not of their choosing during their entire 13 year school career. Only those with parents who can pay (and understand what it could bring to their children) are able to carry on after that.

That is not good enough and access to free instrumental tuition should be available to every child, whatever their background and family finances.

This would lay the foundations equally for everyone to access the

personal and community benefits associated with life-long musical activity and make them more likely to succeed in their chosen career too, according to new research.

Scotland – that same petition has created real momentum in Scotland, with much high-level debate in parliament. An investigation by the Education Committee is likely to result in some positive action in the New Year, though it’s likely to be a battle won, rather than the war.

Wales – a debate in the Senedd, some short-term funding and a feasibility study into its recommendations are practical follow-ups to Hitting The Right Note, the recent report by the Culture, Welsh Language and Communications Committee of the Welsh Assembly. A shake-up of the existing structure is certainly needed, with current provision patchy, depending on local authority finances. Is a new model needed, and will Wales find it?

Find research on the benefits of music and music education here: www.makingmusic.org.uk/ evidence/#music-education

Did you know?

If you’ve already signed the petition, you can use our open letter to help you write to your local MP and urge them to bring the music education debate to parliament: www. makingmusic. org.uk/openletterorg.uk/

The June Cabinet meeting of Surrey County Council decided SPAL would be given to the new charity (NewSPAL) set up to take over its running (which includes Making Music CEO Barbara Eifler as one of its trustees), on condition that a robust business plan was delivered to Cabinet for decision in the autumn.

NewSPAL duly delivered a 60+ page plan addressing all the queries and issues raised by Surrey officers, for decision on 27 November. However, NewSPAL was then told no decision would yet be taken after all, as Surrey’s legal department says a public consultation is necessary.

On 27 November, NewSPAL asked Cabinet a public question about the new anticipated timeline and was told a consultation would conclude in time for decision by Cabinet on 26 February.

This consultation may be running by the time you read this, so if you have an interest in SPAL, please respond – check how on www.makingmusic.org.uk/ spal-consultation or sign up for updates by emailing: barbara@makingmusic.org.uk

Lady Hilary Groves prize Big congratulations to Dr Mark Lawrence, winner of the prestigious Lady Hilary Groves prize awarded annually for outstanding contribution to music in the community.

For over 25 years, Mark has worked with musicians of all ages and abilities in a variety of local settings, from hospitals to schools, universities to care homes: www.makingmusic. org.uk/lhg-award

open-lette

Spring 2019

HIGHNOTES

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NEWS

AROUND THE UK SCOTLAND

BELFAST

A transatlantic commemoration Belfast Philharmonic Society This year, member groups up and down the country took part in a range of fantastic events and performances to commemorate the First World War. The Belfast Philharmonic Choir of about 120 adult singers, and the Belfast Philharmonic Youth and Chamber Choirs participated in Patrick Hawes’ epic choral piece, The Great War Symphony, along with other Making Music member groups including the Tapestry Singers, The Pangbourne Choral Society and Cecilia Consort.

The Belfast Philharmonic Youth Chamber Choir and the Dublin Youth Chamber (together known as the Cross Border Youth Choir) joined together in Dublin for a filmed performance of extracts from The Great War Symphony. The film was later shown at the Royal Albert Hall during the UK premiere of the piece, which was recorded

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and broadcast by Classic FM. Listen to the Cross Border Youth Choir sing The Dead Soldier: www.youtube.com/ watch?v=fDr64G-7KzI Meanwhile, after working hard to rehearse their parts at home, 16 members of the Belfast Philharmonic adult choir travelled to New York where they joined around 200 other singers from America, Canada, Europe and Great Britain for rehearsals with Patrick Hawes, culminating in a thrilling performance at the US premiere of the symphony at Carnegie Hall.

The Belfast Philharmonic adult choir holds auditions in September and January each year and welcomes new singers, especially first sopranos and tenors, which are in short supply. Contact the manager to find out more. manager@belfastphilharmonic.org.uk

Above: Patrick Hawes rehearses the massed choirs in preparation for the Carnegie Hall performance.

Photo: Andy Berry

Did you know?

Member groups were among the many musicians up and down the country that joined forces on social media to play the same commissioned piece, ‘Armistice’ at the same moment in time on 11 November for #iPlay4Peace

In Scotland, Helensburgh Orchestral Society became the first leisure-time orchestra to perform Martin Suckling’s commission for the Scottish Chamber Orchestra, Meditation (after Donne) that explores themes of celebration, loss, community identity and the legacy of war. The piece commemorates the centenary of the end of WWI, and is written for chamber orchestra and electronics, with the idea being to allow communities to take ownership and remake it in their own ways.

Inspired by the massed ringing of bells to mark Armistice, the composer invited members of the public from across Scotland to capture and contribute recordings of their local church bell sounds to provide the source material for the electronic part of the performance. www.h-o-s.co.uk ESSEX

Quire, a world music community choir, presented a concert entitled ‘Pack up your troubles’, singing songs from the trenches and songs that reflect the work of women in WWI. The programme also went beyond the Great War to include a selection of songs from more recent conflicts reflecting the ‘international’ nature of Quire’s repertoire. Yo Te Nombro, Libertad (I cry out for liberty) from Chile tells of those detained during the Pinochet regime while March of the Beloved recalls the struggle of South Koreans for democracy and human rights and the Kwangju massacre of May 1980. The concert featured music and verse from Britain, France, Holland, Ireland, Germany and Russia that reflects the triumph of the human spirit. www.quire.org

NEWS

Member announcements New appointments, anniversaries, awards and projects Hertford Choral Society was founded in 1938 and this year, working together with the University of Hertfordshire, celebrated its 80th anniversary by recording some of its 135 members, and its musical director, talking about their experiences of the choir. The university’s oral history team trained nine choir members to interview fellow singers and the result is an engaging oral history, contained in 30 separate interviews, of life inside a choral society. Listen to the interviews:

In September, members of the Teddington Choral Society and Battersea Choral Society joined the Choir With No Name, Sing the World Choir from Australia and other singers to give the London premiere of the Street Requiem by Dr Jonathon Welch. The concert, at Central Hall, Westminster, raised funds for people sleeping rough, and the requiem itself highlights the struggle for people living on the streets, and challenges the audience to step outside their comfort zone and take action. www.teddingtonchoral.co.uk www.batterseachoralsociety.org www.choirwithnoname.org

herts.ac.uk/heritage-hub/ oralhistoryarchive/hertfordchoral-society

Brass group, Amersham Band, is working on an ambitious project to build a new music centre for the local community. The band has already raised around 75% of funding for professionallyled groups, a new youth band, additional ensembles, and a brass academy for music teaching.

Although the centre will be aimed at improving accessibility to brass music, it will be available for other community music groups to use as well. www.amershamband.com

60-second interview

Reading Phoenix Choir turns 50 years old this year, and will be celebrating with the release of a new CD, ‘Golden Phoenix’, and members old and new will join together for a 50th gala concert in July 2019. Among many other activities, the choir will also be celebrating its history of charitable giving by partnering up with and raising funds for a number of different charities. www.readingphoenixchoir. com

6sec0ond

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Would your group like to feature in a 60 second in interview? Email editor@makingmusic.org.uk Soprano, Jenny Reynolds, introduces Calne Choral, a modern choral society with Victorian roots.

How would you describe your group in three words?

Innovative, enthusiastic and welcoming.

When was the group first formed?

We’re one of the oldest choral societies in England. Mr W Pullein, organist of St Marys Church in Calne, formed the choir and gave the first concert in Calne Town Hall in December 1886.

What sort of music do you sing?

We sing everything from full ancient choral works going back to the 15th century to modern day music by composers such as Gareth Treseder and Will Todd.

We like to try out new music and commission music from time to time. Earlier this year we performed a jazz mass composed for us by local jazz musician and pianist, James Harpham. It was a little difficult to learn but we thoroughly enjoyed rising to the challenge of doing something entirely new and our practice pianist Helen Heaton is amazingly helpful when we are rehearsing. The mass was premiered at the Calne Music and Arts Festival and our performance was rewarded with a standing ovation from our audience!

Who sings in the group?

There are 70 of us and we operate without auditions, as we like to welcome everyone – some of our best performers don’t consider themselves to be music readers! We’re mostly approached by people who have just moved to the area, and are looking for a musical activity to get involved in. Most of us are aged over 40, though we do have some younger members.

Does being in a rural area pose any challenges to running the group?

No, not really – we still manage to mount large-scale performances, often with an orchestra and always have a really good turnout. We’ve been around for a long time too, so we’ve developed a longstanding reputation in the area which helps! www.calnechoral.co.uk HIGHNOTES Spring 2019

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FEATURE

Not just for fun Research to support the link between the arts and wellbeing is gathering pace For those of us who make music in our spare time, we often intuitively feel that it’s good for us. We habitually leave a rehearsal feeling better than when we started. Rehearsals are a positive space for creating and making something with others, and can be a relief from the daily grind. We might experience a few performance nerves, but overall, music performs many functions for us in terms of health, wellbeing, and creating social connections.

Awareness grows Over the last few years, public and political awareness of the relationship between the arts and health has grown. Organisations such as the Tenovus Cancer Care Trust runs ‘Sing with us’ choirs that are open to patients, survivors, carers or anyone who has been bereaved through cancer. The London Philharmonic Orchestra and Humber NHS Trust’s Hull Integrated Community Stroke Service have developed Strokestra, a stroke rehabilitation programme that uses group creative music-making alongside professional musicians and clinicians to drive patient-led recovery.

Research has demonstrated that choirs and drumming groups can help reduce anxiety, depression and stress.

In January of 2018, the Department of Digital, Culture, Media and Sport launched an inquiry to assess how participation in culture and sport could tackle challenges in society including in education,

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community engagement and diversity, and health and social mobility, and to measure the impact of the government’s provision of cultural or sporting programmes. Towards the end of 2018, policymakers announced more funding for social prescribing (the prescribing of non-clinical services) of the arts, and a wish to fully understand and engage with the arts in its broadest sense as part of that initiative. Could it be that more GPs will soon start prescribing a trip to a museum, encouraging engagement with song writing, or joining a local craft group?

However there is still much work to be done to get there. Dr Daisy Fancourt is a researcher at University College London who specialises in how the arts affect wellbeing, how they can be used as an intervention, and the large-scale outcomes of participation in the arts for public health. “We know about ‘get your 30 minutes of exercise’ and ‘get your five-a-day fruit and veg’, but at the moment there is no equivalent for arts and culture,” says Dr Fancourt, who recently authored the book, Arts in Health: Designing and researching interventions, which looks at how to go about undertaking research and practice in the field.

In the autumn of 2018 she launched the MARCH Network research programme, which aims to take an ‘asset-based approach’ to mental health interventions, giving prominence to the resources that exist within our communities, including music groups.

FEATURE

A current public health study HEartS is a new major public health study investigating the health, economic and social impacts of the arts led by the Centre for Performance Science, a partnership between the Royal College of Music and Imperial College London, and funded by the Arts and Humanities Research Council. The main objective of the project is to offer a significant step forward in advancing our understanding and ways of documenting the scope of the arts in benefiting people’s lives and impacting on society at a national level.

Community projects such as workplace choirs, singing for breathing difficulties (such as COPD or asthma) or Parkinson’s choirs, are often explored in discrete research projects, such as ‘interventions’ or narratives of people’s experiences. This approach is really helping us to understand much more about the impact of community and music on wellbeing, but sometimes the findings from these projects can seem a little disjointed and displaced across the country. However, we can enhance our national understanding of the arts and wellbeing by both exploring and generating ‘big data’; information that is more representative of the UK population’s cultural activities. Only then can we start to answer questions at a national level.

What are people’s relationships with music and culture really like? What do people feel they really benefit from? How can we start

understanding the impact of the arts across the UK? We are keen to not only find out the effects of culture on health and happiness, but the reasons for those effects. Does, for example, belonging to a brass band improve your mental health because the band feels like a family and socialising is important to your wellbeing? Or is it the act of creating together, performing a concert, or competing at a national level? Or is it something about the physicality of playing an instrument? How do pursuits like this differ from a night at the cinema, or joining a knitting club?

Work like this is hugely important, firstly in giving voice to people like you from across the country. And secondly in trying to capture the significance of the arts in a time when politics is devaluing arts education and arts participation.

By documenting the UK’s real cultural practices and beliefs, our work can support changing political opinion and potentially be used to secure more funds for supporting the arts. We would love you to take part. You can join our national HEartS music survey on music and wellbeing at: www.heartsmusic.co.uk Dr Ula Tymoszuk, Dr Kate Gee, Dr Rosie Perkins, Professor Aaron Williamson, HEartSO Keep up to date with the Centre for Performance Science on Twitter @CPerfSci or at our website www.peformancescience.ac.uk

Photo: Member group The Choir With No Name sing at One Day One Choir, on International Peace Bristol Saxophone Day 2018 Ensemble

“Could it be that more GPs will soon start prescribing a trip to a museum, encouraging engagement with song writing, or joining a local craft group? “

Spring 2019 HIGHNOTES

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FEATURE FEATURE

Music, in an exhibition?

How do you create a visual celebration of an aural experience? Chief Executive Barbara Eifler reveals how The Barbican Music Library sits in the middle of the arts centre in the City of London and their music librarian is active in promoting this resource to the local community, the Guildhall School of Music students next door and the 350,000-plus workers flooding into the City every working day.

As part of that promotion, the music library, which might otherwise be a far more hidden treasure, has successfully started hosting exhibitions.

But when the music library approached Making Music about curating one of these exhibitions, we were a bit stumped – this is not within our expertise! Until we remembered, of course, that our members include all sorts of people from all walks of life, with all sorts of professional skills. A call-out assembled 12 volunteers with an amazing array of enthusiasm and relevant experience around the table to brainstorm.

We soon learnt from our volunteers about the principles of creating an exhibition and how we could visually celebrate what is after all an aural experience. The Making Music Board was also enthusiastic about the exhibition: as an opportunity to invite our friends, partners and stakeholders to get an inspiring impression of what our members do, and for this to be communicated in a different way. We were finally convinced!

How, though? … And how to give all of Making Music’s over 3,500 member groups (from all over the UK!) the chance to get involved without creating more work for everyone?

Hence our call-out for posters and recordings, and we’ll be delighted to include almost all of them to illustrate one of three themes we decided to focus on in this exhibition: the breadth and variety of leisure-time music groups. For this strand, we will also be profiling 10 HIGHNOTES Spring 2019 10 HIGHNOTES Summer 2018

four different groups in detail.

The sheer scale of the leisure-time music sector (and its engagement with music professionals) is the second theme, and this is shown through a colourful infographic on groups (with all the impressive data we can muster) and a second with stats about the professionals and how significantly and closely they influence and interact with leisure-time musicians.

Our third theme is about showing that involvement in music is for everyone, whatever their background or previous experience, and what it can bring to their life.

Through a survey, we asked you for your words on what making music in a group means to you. This elicited over 400 responses, which will not just help us pick great quotes and longer stories to dot around the exhibition, but also to make the case for your musical activity in lots of other contexts. Thank you so much for taking the time to inspire us, make us laugh – and cry. Your stories have reminded us once again why we do what we do at Making Music.

Your quotes and stories will be used in this third strand, woven around photographic portraits we have commissioned of individual leisure-time musicians in their day-time role, juxtaposed with their musical activity.

So by the time you read this, the exhibition will be about to open (Wednesday 16 January, runs until 23 March) and a launch event will be held in the early evening of Monday 28 January to which you are all cordially invited (register free here: www.makingmusic.org.uk/event/making-musictogether-launch).

We are also hoping to livestream on Facebook from the event, so do please join us virtually if you cannot be there in person.

“How to give all of Making Music’s over 3,500 member groups (from all over the UK!) the chance to get involved without creating more work for everyone?”

MEMBERS

BLOW YOUR TRUMPET Bringing chamber music to Norfolk articles, and we are highly active on social media. Although the majority of our audience are in the upper age bracket, we offer free or highly discounted tickets to students and young people.

We started an ambitious educational outreach project in 1999 when Norfolk and Norwich Hospital asked the Almira Quartet to give two informal recitals in a number of the hospital wards. The next year, vocal ensemble I Fagiolini visited local schools with singing and performance workshops financed by the club. This success has attracted benefactors, leading to today’s varied outreach offering, which includes school workshops, support for talented local students, and support for a youth orchestra which operates in more

Since its foundation in 1951, Norfolk and Norwich Chamber Music club (NNCB) has benefited from the passion and dedication of two highly effective chairs (Miriam Cannel and Roger Rowe).

Their devotion to chamber music over many years has enabled a wide audience from across Norfolk and beyond to hear musicians of international standing.

Our success rests heavily on maintaining a very high standard of performance - for which we are grateful to our Artistic Director, Misha Donat, formerly of Radio 3. At the John Inners Conference Centre, we are also fortunate to have a venue with good acoustics, good sightlines, comfortable seating, and excellent car parking. We publicise heavily with a good brochure and flyers, widely distributed, an active website, magazine advertisements and press

Left: The Haffner Ensemble in concert, arranged by NNCB Photo: Paul Moss

Peter Lawson introduces the thriving Norfolk and Norwich Chamber Music, and its place at the heart of the local community

socially challenged areas of the city.

We have a regular and friendly audience who love the music and meeting up with each other. We try hard to welcome newcomers, and make sure that everything we do helps to maintain this jewel in the Norfolk musical scene. www.norwichchambermusic.co.uk

Playing in harmony Stephen Whitehead, founder of Newcastle band Whickham Wind, talks to us about how a culture of inclusivity can still prevail, no matter how much a group evolves

Eight years ago, Newcastle-based band Whickham Wind modestly sprang into existence following a small advert in the local newspaper by Stephen Whitehead. A retired primary school teacher and trumpet player, he had been encouraging his wife, a novice flautist, to take up playing in a group to help develop her skills. But despite trying out a local group, she felt put on the spot due to her lack of experience.

So Stephen set up Whickham Wind, with a ‘come and play’ ethos, to cater for his wife and people like her. ‘We accepted adult members with some ability to read music and to be open to those with less confidence just wanting to have a go.’ Starting out with about ten members, Stephen conducted the group and arranged the parts. To date, Whickham Wind does not collect membership fees – however a plate is left out at each rehearsal to collect donations, which covers the cost of running.

Fast forward just eight years and the band boasts about 45 members, some coming from as far as 50 miles away. How does Stephen cope? ‘In the third year of running we needed to put a committee in place,’ says Stephen. ‘Although I will

always defend people’s right to come just to play if that’s what they want to do, you do need a few people who are committed and willing to run things.’ The group has evolved to meet demand and now has a waiting list. The level of playing has also changed, and although the door is still open to all, the standard of playing is at grade 4 or 5. The group runs come and play events with other local bands, gives concerts of its own accord and is frequently invited to play at local church fairs or for charity.

What’s the key to the Whickham Wind’s success? ‘We enjoy laughing at our mistakes together,’ says Stephen. ‘Although our group has been through a great change, that’s something that has stayed the same’. www.facebook.com/whickhamwind

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FEATURE

Youth Health Checks One of the biggest challenges music groups face is attracting and retaining members under the age of 35. Could it be time for a Youth Health Check?

To help groups address the issue of attracting underis easy to find on your website. It’s great that 35s, we recruited a team of volunteers to conduct Youth you’re celebrating your Xth anniversary this year, but Health Checks. a prospective new member wants to know what day We initially piloted this scheme in Manchester, Oxford of the week you rehearse, what time, and where. and London, putting out a call to groups in those areas to 4. Put your prices and joining information on offer them a Youth Health Check. We matched groups to a your website. As one volunteer pointed out, Youth Engagement volunteer, who visited one of the group’s talking about money can feel awkward, but it plays a rehearsals, had a look at their online presence, and then gave significant part in deciding whether or not to join. suggestions to the group on how they could better reach 5. Be friendly and welcoming. Actively welcome out to under-35s. new people to rehearsals. Introduce them to your Lots of the groups that had a Youth Health Check were MD and section leaders. Put up signs outside your already taking a range of positive actions and making a point rehearsal venue if it’s tricky to find the way in. Have to be welcoming and friendly to new joiners in particular. music ready to give to people. Actively invite new However, several areas for improvement came up more than people to join you if you’re going along to the pub once, and the volunteers made some recommendations afterwards for a drink. which could be very useful for groups to all start implementing if they haven’t already. Here are some of their What next? suggestions, most of which are online.

One of the things we’ve learned from our volunteers is 1. Use images more. Not just images of your latest that online presence and social media are the main areas concert poster, or formal photos of your group. that need the most improvement. So we’ve created a Think about capturing the personality of your group number of new resources on websites and social media – birthday cakes in rehearsals, the trombone section to help you: www.makingmusic.org.uk/resource/youthall in matching socks, summer picnics or trips to the engagement-resources pub. Not all photos need to be taken by professional We can offer your group a Virtual Health Check, where photographers – smartphones are perfectly good, a volunteer will look at your online presence remotely and especially for social media. offer suggestions. We’re also working to grow our pool of 2. Use video more. There’s a real opportunity here Youth Engagement volunteers to cover more areas of the not just to show off your sound with soundbites country. Depending on your location, we may be able to from rehearsals, but also to record mini ‘vox pops’ of ask a volunteer to visit your group in person. members talking about what they love about your To find out more and to book a Youth Health Check, group or about music making in general. contact our Youth Engagement Manager, Xenia Davis, at 3. Make sure key information about how to join xenia@makingmusic.org.uk 12 Spring 2019

HIGHNOTES

“It’s great that you’re celebrating your Xth anniversary this year, but a prospective new member wants to know what day of the week you rehearse, what time, and where. ”

© Internationale Koorweek Gent

JULY 5-15, 2020

Photo Credits: Choirs: © Nolte Photography , Landscape: © Fotolia

INTERKULTUR.COM/FLANDERS2020

FROM OUR TEAM

MEMBERSHIP AND SERVICES

CONTACT US info@makingmusic.org.uk / 020 7939 6030

Helping you get the most from your membership

EVENTS Whatever support you need on running your group, here are some of the events we’ll be running to help you in 2019.

• Helping your group to thrive Sat 12 January, Kettering Sat 19 January, Bournemouth Sat 16 February, Kendal • Making local connections Sat 2 February, Harrogate Wed 6 February, Lewes

Have you put in a claim yet?

• Making the most of your online presence

So far we‘ve helped groups claim a total of £21.7K from HMRC with our new Orchestra Tax Relief service

Thu 28 February, London

The first thing to say is that your group doesn’t have to be an orchestra or pay tax to claim OTR! Your group does have to be an instrumental group that organises their own concerts and has at least 12 instrumentalists (they could all be the same instrument).

If this sounds like your group, then the next step is to read our guidance: ‘OTR: Is it for you?’

This will help you decide if you qualify and how much money you could get. The average payment so far has been equal to 15% of a group’s annual concert costs.

If your group is eligible to make a claim, we have lots more detailed guidance to help you get set up, including template documents.

OTR will involve making some changes, and the first year does involve more work than usual.

14 HIGHNOTES Spring 2019

But the chance to claim will be available each year and claiming should get easier each year. It really is money for doing what you do anyway – putting on performances.

We will be on hand to help throughout, including submitting an OTR claim to HMRC on your behalf (there is a fee for this service).

You can read our guidance online or contact us for more information. To answer a common question now – OTR is unlikely to be affected by Brexit.

To view all our guidance visit makingmusic.org. uk/resources and select ‘Orchestra Tax Relief’ from the topic drop down menu.

• Taking part in local and national celebrations Sat 23 March, Dundee

Did you know?

Even if you aren’t using our model constitution, or would like to register as a CIO or Scottish Charity, you can still use our Charity Registration Service.

Find out more: www. makingmusic. org.uk/charity

• Growing your membership (with a focus on under 35s) Tue 19 February, Preston To check for events in your area and to book your place, visit: makingmusic.org.uk/events

New online resources (Sept-Dec) • • • • • •

Making music discounts – overview An introduction to…music genres Point of sale applications and card readers Free score and parts for Still the Sirens The committee members’ toolkit Case study: Get your community connected online

Visit makingmusic.org.uk/resources for more resources and guidance

FROM OUR TEAM

CONTACT US info@makingmusic.org.uk / 020 7939 6030

New members A warm welcome to the 88 new members who joined between 1 August and 30 November!

Baroque Week Wimbledon International Music Festival Romulus Singers Regent Brass Brass Bands England Colla Voce Bowes Park Community Choir Irish Video Game Orchestra Worsley Concert Band Pendle Community Orchestra Waltham Forest Community Choir Junior LCoM Ensemble Creative Witham Valley Community Band The White Rose Concert Band Take Note Wellingborough Singers Chantry Quire Wantage in Harmony Singing for Fun East Midlands Amersham Band Bilton Silver (Rugby) Band Patcham Silver Band Trentham Brass Band Tribo Band

Cuckfield Music Festival Lewes Festival of Song Eclectic Voices UniBrass Cambridgeshire County Community Choir Penwith’s Alternative Naughty Theatrical Organisation (PANTO) Orchestra of the City Amber Valley Voices Dorking Loud and Proud Community Choir Stockport Silver Band Bognor Regis Concert Band The Leeds International Piano Competition Singalong Shaldon Vox Populi at West Malling Play for Progress Shires Symphonic Wind Orchestra The Choral Network Hitchin Chamber Orchestra Electronic Keyboard Music Group Tutti! Leeds Community Concert Band

Brass in Concert Camberwell Choir School Eastbourne Concert Orchestra Friezland Brass Band Dorset Bach Cantata Club Shropshire Chamber Orchestra The Counterpoint Choir Brecon Singers James Emmett’s Ragtime Revellers Fulham Brass Band Swansea Philharmonia Welsh Camerata Comber Brass The Eclectic String Band Stockport Schools Brass Bands United Kingdom Harp Association Calder Valley Voices Fullscore Singers Laudamus Chamber Choir Sheffield 13 Brass Ensemble Derwent Brass St Dennis Brass Band Whatlington Singers The Treasury Singers Stamford Brass

Jubilate Community Choir Eastbourne Oompahlievable Take Note Essex Vox - Farnham Chamber Choir Coro 94 Vocal Zones Choir Little Strummers Leicester MusicFest Birmingham Concert Band The Brass Bands of Marple Ashdown Sinfonia Garforth Brass G W Group Crowle Singers Shrewton Silver Band Orchestra of Everything Smiley Tunes Royal Spa Brass The Ridgeway Singers and Band

Making Music staff Barbara Eifler Chief Executive Workineh Asres Finance, IT & Facilities Director Ben Saffell Membership & Operations Director Sally Palmer Membership & Projects Manager Caitlin Goreing Projects & Membership Assistant Joe Hooper Membership Coordinator Lily Funnell Office & Membership Assistant Sharon Moloney Member Engagement Manager Iori Haugen Manager – Wales

Alison Reeves Manager – Scotland Liz Clark Marketing & Communications Director Natalie Joanes Marketing & Communications Manager Molly Dixon Marketing & Communications Officer Xenia Davis Youth Engagement Manager

Don’t forget !

If you haven’t renewed your membe rship yet, you r insurance wil l have expired on 31 Decem ber 2018).

Renew online today at: www.ma

renewals

kingmusic.o rg.uk/

Contact us on 020 7939 6030 or info@makingmusic.org.uk We are here Monday to Friday, 10am to 5pm Spring 2019

HIGHNOTES

15

FROM OUR TEAM

PROJECTS Keeping you up to date with projects and programmes DATES FOR YOUR DIARY As the new year gets into full swing, why not plan your events to coincide with one of the following projects?

Samir Savant introduces what’s in store for the Handel Festival in 2019

On Sunday 31 March, Laurence will lead a special ‘Come and Sing’ event, working through excerpts from this celebrated piece, including the famous ‘Hallelujah!’ chorus, with full baroque orchestra and talented soloists. The event will take place at the beautiful St.George’s church in the heart of London’s Mayfair where Handel himself worshipped. All those taking part will also receive regular tips and insights into this choral masterpiece in advance to help you prepare.

16 HIGHNOTES Spring 2019

For full details and to book your place visit the website. www.london-handel-festival. com

•

Creativity and Wellbeing Week 10-16 June 2019

•

Big Big sing (all year round)

•

Have a Go Month / Festival of Learning (ongoing)

Find out more: www. makingmusic.org.uk/ opportunities

Our Come and Sing events are always popular and all are welcome, although we do ask participants to be able to sight read and have some choral experience.

The 2019 London Handel Festival has ‘Handel’s Divas’ as its theme, and will explore the lives of the famous women, on stage and behind the scenes, who sang, celebrated and caused a stir around his music. Our packed calendar of events includes opera and grand oratorio, intimate chamber concerts, walks, talks and the internationally acclaimed Handel Singing Competition.

Get Creative Festival 11-19 May 2019

You can usually list your event on the relevant website for extra, free publicity.

Something for everyone Come and experience the joy of singing Friedrich Handel’s Messiah under the inspirational leadership of Laurence Cummings, one of the world’s pre-eminent conductors of baroque music and Musical Director of the London Handel Festival.

•

JOIN MAKE MUSIC DAY 2019

Did you know?

How would you like to go to Italy? There’s still time to apply to be part of the Cremona Orchestra Festival from 2-6 July 2019: www. cremonafestival. org

Make Music Day is a global celebration of music on 21 June every year. In 2018 over 500 free performances took place in the UK reaching audiences of 100,000 people live and online.

Organisers are now gearing up to make 2019 bigger and better than ever before, by connecting with performers, venues, businesses and music organisations interested in bringing live music experiences to new audiences.

If you want to be part of the largest grassroots music festival in the world come along to a networking event taking place near you in Jan and Feb 2019. See the full list at https:// makemusicday.co.uk/local/

Leamington Music Festival Weekend

3–7 and 9–10 May

Leamington Music celebrates 30 years of Festivals in the elegant setting of the Assembly Hall in the Royal Pump Rooms, Leamington Spa. Aronowitz Ensemble • Jonathan Cunliffe Ensemble 360 • Fitzwilliam String Quartet Andrey Gugnin • Leonore Piano Trio Tasmin Little • Martinů String Quartet Gemma Rosefield • Adéla Ševčíková Raphael Wallfish • Roderick Williams John York and Takács String Quartet

London Conducting Workshop has been established for over 14 years offering courses annually in London and elsewhere with tutors Dr John Farrer (President, Conductors Guild) and Howard Williams, (Professor of Conducting, Royal College of Music). LCW is renowned for encouraging a supportive and helpful environment for conductors to develop their craft, within a uniquely non-competitive environment.

All courses take place with the benefit of professional, hand-picked musicians who provide genuine valuable and instant feedback.

Our next London course will be at the Royal Academy of London from 22 – 26 July.

For further information and to apply visit www.london-conducting-workshop.com info@london-conducting-workshop.com

NEW FOR 2019:

29-31 MARCH, Loreto College, Dublin, Ireland 3-5 MAY, Montecchio Castle, Reggio Emilia, Italy

Works by Arensky • Bach • Bartók • Beethoven Brahms • Delius • Feld • Glazunov • Haydn • Klein Mozart • Mussorgsky • Prokofiev • Schubert Shostakovich • Howard Skempton • Strauss Szymanowski • Tchaikovsky • Weinberg and Roderick Williams

Visit www.leamingtonmusic.org for tickets and full details

Where will your ensemble be next summer?

Get away from it all…perform…have fun

Freephone: 0800 496 4996 www.club-europe.co.uk/music-tours | travel@club-europe.co.uk

Follow us on Facebook

FEATURE

Exploring music making Barbara Eifler discusses our investigation into the landscape of leisure-time music beyond current Making Music membership One of the three priorities in our five-year-plan (which we started working to in 2017) is to invite and welcome all kinds of music groups to become part of the Making Music community.

But how to achieve this? Our starting question was: we clearly provide the right kind of support for classical genre groups such as choral societies and orchestras (as so many of you stick with us for many years!). But why are other genres not finding us equally useful? Do they even have leisure-time groups? And if they do, are they already being supported by networks?

Is there potential for Making Music to join forces with other genres to strengthen our voice and create more choices for individuals and more impact for communities?

With a grant from Arts Council England, we engaged project manager Fiona Goh to find some answers and she delivered her report earlier this year.

What will Making Music do as a result?

The first discovery was that this topic is the size of an elephant, so where to start and stop?

Priorities were therefore agreed: to investigate the musical genres we were already at least partly aware of; and to keep the investigation quite high-level.

18 HIGHNOTES Spring 2019

First things first, though: what was the starting point? At the beginning of 2017, Making Music had 3,294 members of which 66.5% told us that their main repertoire was classical. We had a smattering of members in lots of other genres (9.8% modern, 4.5% rock/pop/reggae, 3.7% barbershop, 2% world music, 2% jazz, 2.4% musical theatre, 1.7% folk, 1.2% opera, 1.1% samba, etc).

35% of members classified themselves as a choral society, chamber choir, male or female voice choir, 17% as orchestra, chamber orchestra or string ensemble, 15% as community choirs, and 13% as promoters; the remaining 20% or so defined themselves as everything from brass, wind or jazz band, to percussion ensemble and folk group, from barbershop ensemble to gospel choir.

Fiona’s report focusses on jazz, brass, folk/ traditional, and South Asian music, and nonclassical singing and drumming groups, and examines how they operate, and how support needs are met and/or cross over with those of existing Making Music members.

Following the conclusion of the funded project, Making Music has decided to spend a year implementing some of the report’s findings before reviewing what its next steps should be in terms of further research. We will focus on three areas of work in 2019.

FEATURE

1. Strategic partnership building, learning more about and attending events in the brass, jazz, folk and festival worlds, inviting them also to connect with us 2. Membership and resources development, reviewing and increasing resources where we’ve become aware of gaps through this research 3. Communications and language, auditing our online presence and resources to ensure they speak to everyone What does this mean for you?

It means we will be continuing to provide the services and resources we already have, but that we have a fresh impetus to create new ones and to make sure that what we have is accessible to everyone.

We hope it also means that in future we will be an even larger community of leisure-time music groups, making us stronger together and surely discovering, in the words of MP Jo Cox, that we ‘have far more in common with each other than things that divide us’.

Exploring Music Making report: some key findings Jazz Which types of jazz groups are most similar to Making Music members?

• Big bands/swing bands • Volunteer promoters running jazz nights What network organisations are there? There are regional associations and a new Jazz Promoters

Network, but much of their services are focused on professionals.

Brass bands Brass bands are often similar to other Making Music members in the way they are run. But they are less likely to promote their own concerts, instead looking for bookings from promoters for performances which are more likely to be outdoors, presenting a specific set of challenges.

There are many network organisations in the brass band world, mostly focussed on competing, apart from Brass Bands England.

Folk/traditional music Folk and traditional music is more about individual musicians, with fewer established/continuous ensembles. Network organisations exist in Scotland, Wales and England.

The biggest similarity to Making Music members is the way promoters and festivals operate, generally volunteer-led and run, facing comparable challenges to classical promoters.

South Asian music This is a huge area of its own - more time needs to be spent exploring its nuances and potential areas for contact or overlap. Some starting points for further work have been identified.

Non-classical singing and drumming groups A substantial number of Making Music members already fall into these categories, and the report has identified that we need to explore in more detail how they operate, and what their needs and challenges are. Access the full report:

“Is there potential for Making Music to join forces with other genres to strengthen our voice and create more choices for individuals and more impact for communities?”

www.makingmusic.org.uk/exploring-music-report

Spring 2019 HIGHNOTES

19

MEMBERS

EXPLORING MUSIC Readers tell us about the music they love. Email editor@makingmusic.org.uk

Jukebox Readers share how a particular piece of music inspires them All I have to do is dream by The Everly Brothers https://www.youtube.com/ watch?v=tbU3zdAgiX8

When first asked to write a piece about my favourite song or piece of music, I was faced with the dilemma of which to choose. There are so many songs and pieces of music that I love. To help make my decision, I thought about my love of Mersey Harmony, an allfemale barbershop chorus that I have belonged to for 15 years.

I realised my passion for singing developed in childhood. My father was a pianist and, as my mum sang along with the music,

he harmonised. From a young age, I went to sleep hearing these beautiful, melodic sounds drifting up the stairs.

In 1960 my sister Celia bought The Everly Brothers single, All I Have to Do is Dream. The close harmony sung by Phil and Don Everly made me cry. It was so beautiful, and the lyrics intensified the emotion. Whenever I hear that song, those harmonies wash over me, and I am transported back to 1960, to relive the emotions I felt then.

This love of harmony is the root of the joy I experience when singing barbershop. The weekly rehearsals are the highlight of my week and, during a particularly difficult time in my life, the harmonic singing brought me peace. ‘All I have to do is dream’, has been a motto throughout my life, and I have been fortunate that sometimes those dreams have become a reality.

Never stop dreaming.

Angela Stevenson, Mersey Harmony www.merseyharmony.co.uk Email us and tell us about your favourite song or piece of music editor@makingmusic.org.uk

Eastern European gypsy music Sarah Montague, of member group the London Gypsy Orchestra, gives an overview Music has always done its best to transcend borders. Gypsies travelling throughout Asia, the Middle East and Europe cherry -picked music along the way.

Instruments used in gypsy music are fairly similar to those used in the West. In Serbia and Macedonia there is a huge brass band tradition (Guca in Serbia has the most amazing virtuoso trumpeters). Further East in Romania you’ll hear romantic violins. In and around Bulgaria, you start to hear unusual sounding instruments: the gajde which is a bagpipe, the zurna (an oboe with holes instead of keys), and the davul which is a large drum. Each region has its own folk songs but you will often hear these played by just a melody instrument.

Most of what we know as ‘gypsy songs’ actually come from Russia and Hungary.

Gypsy music has plenty of unusual time signatures, especially from Bulgaria, for example alternating between 11/8 and 7/8 every bar throughout the song! Also lots of songs in the Phrygian dominant (or Spanish gypsy scale) or the Hungarian gypsy scale (like a natural minor scale with a raised

20 HIGHNOTES Spring 2019

4th). The sound is a bit more emotional and ‘exotic’ than the Western classical minor keys. Think of the beginning of ‘Misirlou’ (famously used in the film Pulp Fiction). Also it’s important that you know where to put the accents, especially for dance tunes.

Today there are still hugely creative musicians writing songs that quickly become part of the standard repertoire such as Goran Bregovic’s tunes, which appear in Emir Kusturica films.

Gypsy jazz, a relatively new kind of music, is also growing in popularity. In the West, groups like ours play music from all across Eastern Europe and the Balkans, as well as tunes from Russia, Klezmer (Ashkenazi Jewish music) and even tunes from the Middle East.

Want to find out more? Join the London Gypsy Orchestra on the second Thursday of every month. http://londongypsyorchestra.co.uk/

Join us at Guildhall this summer

Sherborne

Summer School of Music 28 July - 11 August 2019

Passionate about singing?

Composition Jazz Wind Ensemble Choirs

Guildhall School offers a range of music performance courses for singers and musicians of all ages and abilities, led by expert tutors in our City of London campus.

Lighter Side Choir Cappella Chamber Choir Choral Course Voices in Harmony

Orchestras

2019 courses include: •

•

•

Chamber Orchestra Symphony Orchestra

Contemporary A Cappella with Accent

Vocal Masterclasses

Singers’ Weekend: Jazz, Gospel & World Music

Piano Masterclasses

The Art of Song Communicate through Singing Piano Course Piano Accompaniment

Vocal Summer School for Classical Singers

•

Jazz & Rock Week

•

Junior Jazz & Rock Week

Conducting

Wind Conducting Practical Conducting Choral Conducting George Hurst Conducting Course

Find out more and book your place at gsmd.ac.uk/shortcourses

Sherborne Summer

School of Music

email summermusicschool@btinternet.com tel +44 (0)1342 893963

www.sherbornesummerschoolofmusic.org

For all your

music education & performance equipment

Sound-isolating Music Practice Rooms Music Stands, Lights & Accessories Music Folders Music Chairs & Accessories Instrument & Sheet Music Storage Conductor’s Equipment Staging & Risers Acoustic Products

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Music Folders for Choir & Orchestra -elegant, lightweight, high-quality music folders to help you organise your sheet music.

Personalised gold-blocking service available.

Just call us on Freephone 0800 072 7799

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Please speak to David Hobden at Space Marketing on 01892 677721 or email davidh@spacemarketing.co.uk Unleash the composer in you www.calmus.is

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The Certificate is an accessible opportunity to study with a Conservatoire and take part in a week-long residential in London.

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Making_Music_Highnotes_Magazine_half_page_ad_180x117mm_18_nov.indd 1

16/11/2018 12:59 pm

FROM OUR TEAM

DROP THE MIC If you have any software, hardware or performance tips you would like to share, email editor@makingmusic.org.uk ARE YOU FIT TO PLAY?

Hear today

Playing regularly in a music group can affect your hearing over time. But which earplugs are best?

Whatever your instrument or style of music you play, try to take a holistic approach to your practising and performing. Here are a few tips to remind you to think about yourself as well as your art!

1. Never try to play through pain – stop beforehand.

2. Always do a series of physical warm-up exercises away from your instrument, to prepare for each episode of playing.

We asked some musicians from member groups to test some earplugs and give us their feedback.

TinkSky soft silicone corded (from £4.49/pair) Earplugs on a string can be worn about the neck and put in and removed quickly without players having to fumble about finding them during a rehearsal or concert.

They take the edge off a loud sound without losing too much detail. Although players appreciate knowing they’re available I don’t feel usage of them is high enough given that we have an extensive brass section. We haven’t tried other types but feel that these are cheap and effective.

Matthew Leese, Endcliffe Orchestra Alpine Musicsafe (from £17/pair) I’m in my 45th year of playing French horn; nothing wrong with my hearing - or so I thought, until last year. It started off as a very quiet hiss, something you were not even sure was there, but by the autumn I knew I had a problem. After a doctor’s appointment he confirmed tinnitus.

To immediately protect my hearing, I purchased a set of Alpine MusicSafePro plugs.

They work in reducing the volume but I did not find them easy to use, everyone has different shaped ear canals and mine bend

at almost ninety degrees so straight plugs don’t work well. After much reading I ordered a set of Elacin ER calibrated flat response musician plugs which are custom made (from £165) and lets you hear the true sound and frequency range of the music accurately, but at a safe and comfortable level.

Jimmy MacDonald, Ludlow Orchestra ACS universal high fidelity hearing protectors (from £13.99 with up to 50% discount for Making Music members) The earplugs fit nicely into the ear and are quite discreet, but there is only a small flap to help remove them. I attached the plastic (non-tangle) cord that came with them to help get them out, and would have been hesitant about using them without this. They were supplied in two different sizes – you have to change the small filters over to use the other size.

This was a little fiddly but the instructions were clear and it wasn’t a problem. Overall I was happy wearing them whilst playing, they were comfortable and they muted the sound in all registers very well. I felt that I could clearly hear and balance to the other musicians I was playing with, although a colleague commented that I was playing a little quieter than normal. I will definitely use them in future.

Lynne Williams, Blackpool Symphony Orchestra

3. Allow a few minutes to adjust physically after playing. Do cooldown exercises to let your body unwind.

4. Ensure that your technique is as sound as possible - seek professional advice, whatever your level of playing.

5. Ensure that you are as comfortable as possible when playing your instrument. Check your own posture when playing (a full-length mirror may be helpful – or even better, videoing yourself). Adaptations (e.g. chin rests, shoulder pads, supports, straps) are designed to help you, so make sure that you take full advantage of what is available.

6. Always check the position and height of your music stand, chair, piano stool or organ mirror, to ensure that playing is as comfortable as possible and that you maintain good posture while playing. Changes made by others may not suit you, and adjustments may be necessary.

For more advice on looking after your physical health when playing or singing, see the British Association of Performing Arts Medicine website: www.bapam.org.uk/perf_advice.html HIGHNOTES Spring 2019

23

MEMBERS

READERS’ PAGE Got something to say? We’d love to hear from you: editor@makingmusic.org.uk.

Why I make music

BOOK REVIEW

Who? Graham Ranson What? Cello, Ipswich Symphony Orchestra

I began playing the cello by accident when I was twelve years old. Those were the days when free tuition was available in schools! My closest friend had chosen the violin and I put my name down for the double bass. But the headmaster said I really wasn’t big enough to cope with the double bass at that time and put me down for the cello. I accepted his advice and arrived for my first lesson not quite understanding what a cello looked like, but when my teacher showed it to me I immediately fell in love with its beautiful appearance and sound - I shall never forget

Welcome (ish) You know how it is – you have finally plucked up the courage to try a music group, persuaded by a friend. On arrival your friend hands you over to the Chairman and retreats to his own seat.

You are allocated a chair between two complete strangers busy catching up with their respective neighbours. You’re not quite sure what to do – this is your first time not just in this group, but in any group of this kind. Rehearsal starts and half the time you have no idea what the conductor is talking about. You manage to play about one in ten notes over the 24 HIGHNOTES Spring 2019

that moment. And the cello is such a tactile instrument to wrap one’s body around!

I joined the Ipswich Symphony Orchestra in 1965 and rejoined, after a brief absence, in 1974, when I was appointed principal cellist.

From that time I played in 128 consecutive concerts, usually three per year. I have played under eight different and inspirational conductors over that period.

I stayed with ISO because I have enjoyed playing the music they programme, which also features top international soloists - a wonderful experience. I like making music and socialising with my colleagues from a wide age range. I have been very fortunate to be supported by a very stable and committed cello section, many going back more than twenty years. I value the strong commitment ISO has to young people both within the orchestra and in its audience. I have also played with several other local groups, sometimes raising money for charity, and a piano trio with my wife as pianist.

At the dress rehearsal for ISO’s June 2018 concert I was given a presentation from the orchestra and also awarded life membership of ISO, entitling me to attend future concerts with a guest free of charge. next hour and a quarter, at which point you intuit the rehearsal is over by the fact everyone starts packing up.

Thinking you should talk to someone ‘official’ about how this group works and what is expected of you (and fearing you’re not good enough), you are dismayed to be told, possibly with the nicest intention, that ‘you can see how it goes over the next few weeks’. Does that mean I have failed some sort of unofficial audition? I flee for the hills, never to return.

Oh, you don’t know how it is? Maybe you should try it some time…

Anon

Bandstands: Pavillions for Music, Entertainment, and Leisure by Paul Rabbitts Paul Rabbitts’ book looks at the rich history of music in public spaces, and how it has evolved over 160 years.

The idea to create bandstands was part of a larger social plan by the Victorians to ‘improve upon the moral integrity of the working classes’, by creating spaces for ‘musical cultivation’. Urban landscapes were growing and the government sought to enhance the population’s health and wellbeing. To this end, in 1833 a Select Committee for Public Walks established public parks, recreation grounds, promenades and pleasure gardens and the bandstand provided the centrepiece to a vision of communal open-air entertainment.

Rabbitts takes us on an historical tour of the bandstand from the conception of the ‘Pleasure Garden’, through a golden age of prevalence, via post-war decline to emerge in a modern-day revival encompassing traditional brass bands to rock concerts. Here we find bandstands in a plethora of otherworldly structures, elaborately designed, practical and relevant to our demands for musical performance today.

As well as looking at their social value, Paul Rabbitts offers a fascinating insight into bandstands as brilliant pieces of architecture, fashioned from materials as varied as wrought-iron, stone and glass.

The book closes with enthusiasm for the dawn of a new age for public music. (Cue google search ‘bandstand near me’).

Molly Dixon

CORPORATE MEMBERS

Premium corporate members

Rayburn Tours is a specialist in creating tailor made concert tours throughout the UK, Europe and further afield for all types of youth ensembles! Your repertoire, venues and excursions will be selected to meet both the performance and leisure objectives of your group. rayburntours.com

Audio production company 360 Music is now offering Making Music members a 15% discount on all services. The 360 Music team can help with every stage of your recording project. All genres and size of ensemble are catered for, from Jazz trio to full-scale opera.

360music.org.uk

Steinberg specialises in audio and music technology products.

Cubase is one of the most popular sequencers (DAW) with schools and professionals whilst Dorico is the future of scoring notation software. Both can be used with Steinberg’s UR audio interfaces, apps and VST instruments. steinberg.net

Black Dress Code is a completely new concept in performance wear. Designed specifically to meet the needs of classical musicians, their stylish range allows freedom of movement to play at your best. Chic clothes in breathable, easy-care, crease resistant fabrics - perfect to take on tour. blackdresscode.com

Corporate supporters

nkoda is an industrytransforming subscription service for sheet music.

Providing the world’s largest digital library of scores, parts and educational material in a rich, AI-driven, collaborative environment. nkoda.com

ACS specialises in hearing protection for musicians and music lovers. ACS offers a range of attenuating earplugs that reduce damaging frequencies but still allow you to hear the music – ideal for a leisure time-musician. acscustom.com

ChoirCommunity is seeking to provide a marketplace of high quality musical arrangements of a wide range of titles and genres at a much lower individual price, but fully approved from the relevant publishers. choircommunity.net

Corporate members

HAWES MUSIC PUBLISHING

FROM OUR TEAM

MAKING MUSIC PEOPLE Interested in getting involved? Visit makingmusic.org.uk/volunteers

VOLUNTEER SPOTLIGHT

ADAM MATHIAS

BOARD MEMBER SPOTLIGHT

PAUL GRAHAM

SELECTED ARTISTS PANEL LISTENER/ FUNDING RESEARCH VOLUNTEER

TRUSTEE

How long have you been volunteering with Making Music?

Why Making Music?

Just a few months – I started in October.

What does your role as a Funding Research Volunteer involve?

To search out funding opportunities for Making Music members and add these to the website.

What do you do as a Selected Artists Panel Listener?

I attend various concerts by performers seeking to be part of Making Music’s Selected Artists scheme and write reports of them for the selection panel. A wonderful job!

What inspired you to volunteer with Making Music?

I’ve been very lucky to have had great support and encouragement to play music from a young age – a significant part of that was through choirs, orchestras, and other musical ensembles – so I want to make sure others have that same opportunity.

What do you do when you’re not volunteering for Making Music?

Most of my time is spent in a library, writing my PhD on 13th-century music!

Do you play an instrument or sing?

I started off on the piano and cello, but now I’d brand myself primarily as an organist. I’m a Fellow of the Royal College of Organists and keep up an active performance profile as a recitalist and accompanist in London and further afield.

What was the last piece of music you listened to?

I’m always trying to discover and listen to new music. A friend recommended saxophonist Camilla George and her album The People Could Fly, which I think is fab!

26 HIGHNOTES Spring 2019

I am passionate about live music and wanted to give something back to society. I believe that we need to support the performing arts as a key sector of the UK economy, and fear that with the decline of music in schools, this may be threatened in the future.

What is your day job?

I work in the City as chief economist for Sumitomo Mitsui Bank Corp. My focus is on how modern technology is affecting traditional working practices.

How did you come up with the idea of setting up the Trinity Folk Festival?

We realised that there were a lot of brilliant young performers on the folk scene who were not getting the opportunities their talents deserved. Also folk needs to expand its reach beyond its traditional market if it is to thrive.

Do you play any instruments or sing?

I have tried a number of instruments without demonstrating any significant talent, but I have regularly sung average first bass in church choirs including visits to major cathedrals such as Durham, Exeter and Norwich.

Do you have a particular favourite piece of music or song?

Very difficult to choose but my favourite hymn is Love Unknown, favourite modern folk song is Come on England by Merry Hell and I have always loved the music of The Beatles with Penny Lane being a favourite.

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

Kenny Dalglish - my all-time favourite footballer, Ralph Vaughan Williams - favourite classical composer with his focus on folk song, and Nelson Mandela - why would you choose anybody else?

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