Making Music Brochure 2011

Music and Wellbeing: the opportunity for volunteers

Making Music Conference and 76th AGM 2011

Royal Conservatoire of Scotland, Glasgow Saturday 10 and Sunday 11 September 2011 PROGRAMME GUIDE Making Music 2011 - Cover page.indd 1

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Classical guitar student Sean Shibe, winner of the Royal Overseas League’s Gold Medal

WE ARE MAJOR, CRESCENDO, APPASSIONATO, VIVACE, VIRTUOSO. WE ARE TECHNIQUE, WE ARE DISCIPLINE, WE ARE TALENT. WE ARE LEADERS, ENTREPRENEURS, INNOVATORS, EXPLORERS, AND CREATORS. WE ARE DANCE, DRAMA, MUSIC, PRODUCTION, AND SCREEN WE ARE THE ROYAL CONSERVATOIRE OF SCOTLAND Our students flourish as knowledgeable and confident individuals, and are inspired to generate truly innovative work. They enjoy an extraordinary blend of intensive tuition, professional partnerships, performances, and the space to co-create across disciplines, supported by the best facilities in Europe.

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Formerly the Royal Scottish Academy of Music and Drama

Royal Conservatoire of Scotland 100 Renfrew Street Glasgow G2 3DB 0141 332 4101 www.rcs.ac.uk

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At Making Music we believe that the more music people make, the happier and healthier we all are. This year our conference is set against the background not only of the wonderful scenery but also of the new direction which our volunteering in the community is taking. Our members contribute a huge amount to the enhancement of community life and our theme of music and wellbeing will explore many opportunities for voluntary music groups to increase this contribution. As usual we have an exciting range of topics and speakers to share, not just from the community music sectors but also from education and health, culminating in our keynote address from Professor Lord Robert Winston.

Music and wellbeing is of national concern to Making Music and figures prominently in our new strategic plan.

This conference will inform our stocktaking of all the ways in which our members contribute, encouraging, I am sure, many more groups to consider the part they can play in this important area.

Besides the talks and workshops, we look forward very much to Orchestra Caledonia’s presentation during their course which runs alongside this event. Please also use this time as an opportunity to meet other members and exchange encouragement and ideas. Making Music plays a very special and valuable role in all the nations and regions of the United Kingdom. The more far-flung its membership is, the more it contributes to the health of communities, groups and individuals. Music is always a pleasant medicine to take!

Andrew Potter, Chair, Making Music

A welcome to Glasgow from Making Music Scotland On behalf of Making Music Scotland I’m delighted to welcome you all to Glasgow for this conference on music & wellbeing, a topic which is becoming more and more popular. I’m especially pleased that you’ll be able to see our orchestral project (ORCAL) in action at the start of its third season.

Welcome and supporters

A very warm welcome to Scotland at this time of changing colours on the beautiful hills and fells which surround the Clyde and the culturally energised city of Glasgow!

Our membership in Scotland covers almost 450 miles from the Shetland Isles in the north to Gretna in the south.

Supporting such a widespread fraternity brings its own challenges, but that’s what makes life interesting!

If you are extending your break, please do explore the city further. It’s a mixture of the very old and the very new and has a character all of its own. I hope to have the opportunity to meet many of you over these two days and wish you an enjoyable, productive and sociable weekend.

Linda Young, Chair, Making Music Scotland

Our supporters and partners Arts Council England The Austin and Hope Pilkington Trust Creative Scotland BBC Radio 3

The Paul Hamlyn Foundation PRS for Music Foundation Classic FM WeGotTickets

CLIC Sargent Musicians Benevolent Fund Headley Trust Superact

Notes All refreshments and meals will be served in the Café Bar area of the RCS. Cloakroom facilities are available in Room 2.23. A range of organisations is represented at a trade exhibition held throughout the day in the Café Bar area (see page 19 for a list of exhibitors).

Disclaimer We reserve the right to alter the published programme and speakers without prior notice.

Making Music, 2-4 Great Eastern Street, London EC2A 3NW Telephone: 020 7422 8280, Fax: 020 7422 8299, Email: info@makingmusic.org.uk, www.makingmusic.org.uk Making Music, the National Federation of Music Societies. A company limited by guarantee. Registered in England no. 308632. Registered Charity no. 249219.

Front cover photo credit: Alex Rumford, www.alexrumford.com

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Sometimes it’s not the piano that needs restoring, it’s the pianist If you need our help or want to help us, call 020 7239 9100 or visit helpmusicians.org.uk

Supporting musicians for 90 years

7-11 Britannia Street, London, WC1X 9JS Patron Her Majesty The Queen Chairman The Hon Richard Lyttelton Chief Executive David Sulkin Registered Charity No. 228089

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timetable

saturday 13.30

Concert hall

Fyfe lecture theatre

Room AG13

Welcome address

13.40-14.00

Music & wellbeing: setting the scene

14.00-14.20

Health & wellbeing through song

14.20-14.40

Health & wellbeing through song workshop

Big Noise: Sistema Scotland Community music

14.40-14.50

Music in healthcare settings

14.50-15.10

RNCM Music for Health

15.10-15.30

Superact

20,000 Voices

15.30-16.00

Coffee/tea - Café Bar

16.00-17.00

Introduction to music therapy

17.00-17.10

Music & mental health

17.10-17.40

Polyphony/Common Wheel Trust project

17.40-18.10

Music and mental health Q&A

18.10-18.30

Exploring case studies

19.00-19.45

ORCAL workshop demonstration

20.00-20.45

Buffet supper - Café Bar

Buffet supper - Café Bar

Buffet supper - Café Bar

Concert hall

Fyfe lecture theatre

Room AG13

Coffee/tea - Café Bar

Coffee/tea - Café Bar

SUNDAY 09.15-10.15

Making Music AGM - the National Piping Centre

10.40-11.00

Coffee/tea - Café Bar

11.00-11.30

Coffee/tea - Café Bar

Coffee/tea - Café Bar Silver song club workshop

Silver song clubs

20,000 Voices singing workshop Polyphony percussion workshop

11.30-11.50

Music & public health

11.50-12.10

Commissioning NHS services

12.10-13.10

Evaluation workshop

13.10-14.00

Lunch - Café Bar

14.10-14.40

Keynote address: Professor Lord Robert Winston

14.40-15.20

Music & wellbeing: the future landscape

15.20-15.30

Closing remarks Coffee/tea - Café Bar

Concert Promoters' Group

Lunch - Café Bar

Lunch - Café Bar

Coffee/tea - Café Bar

Coffee/tea - Café Bar

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11.00-13.00 11.30-13.30

Making Music Council meeting Fyfe Lecture Theatre Delegate registration

Café Bar area

Tea and coffee will be available to delegates arriving for registration, and the RCS Café Bar is open for refreshments

13.30

Opening address

Concert Hall

Andrew Potter, Chair, Making Music

13.40-14.00

Setting the scene

Concert Hall

Ken Scott, Strategy Director, Making Music An introduction to music & wellbeing, and Making Music’s strategy to promote activity in the area of music & wellbeing.

14.00-14.20

Health and Wellbeing through song

Concert Hall

Alan Tavener, University of Strathclyde Alan will talk about his ongoing research into the holistic benefits of choral singing, and introduce the course he runs at the University of Strathclyde entitled ‘Health and Wellbeing through Song’.

14.00-14.30

Big Noise: music for social change

Programme

Saturday 10 September 2011

Fyfe Lecture Theatre

George Anderson, Sistema Scotland In the mid 1970s in a car park in Venezuela a remarkable man called José Antonio Abreu began running music lessons for a handful of children. His organisation became known as El Sistema and today involves over 300,000 children in centres across Venezuela. El Sistema has produced some of the finest classical musicians in the world, but behind these musical achievements is an even more exciting story. It produces not only musicians, but also happy and well-equipped citizens, often from the poorest and most chaotic backgrounds.

In 2008 the charity Sistema Scotland established its Big Noise orchestra in Raploch, Stirling. Officially partnered with the Venezuelan programme, it has the same aim as El Sistema – to transform lives with music.

George will outline what has happened in Raploch and discuss the potential for symphony orchestras to be engines for social change in other communities.

14.20-14.40

Community music and wellbeing

Room AG13

Kathryn Deane, Sound Sense Kathryn will speak about the role of the professional community musician, and how voluntary music groups and individuals might come into contact with community musicians, and what kinds of activities they run to benefit local communities. Kathryn will also talk about Vocality, a new project developed between Making Music and Sound Sense which will see a number of community choirs established around the country in deprived areas.

14.30-15.30

Health and wellbeing through song workshop

Concert Hall

Edward Caswell, Cappella Nova Edward directs the course ‘Health and Wellbeing through Song’ at the University of Strathclyde together with Alan Tavener, and will run a participatory workshop demonstrating how the course works.

14.40-14.50

Music in acute healthcare settings

Fyfe Lecture Theatre

Kate Murdoch, South East Development Officer, Making Music Kate will talk about what it means to bring participatory music making to acute healthcare settings, what kinds of initiatives are taking place around the UK and elsewhere the impact that they can have in this environment – for patients, their families and healthcare professionals.

14.50-15.10

RNCM Music for health programme

Fyfe Lecture Theatre

Lilli Brodner-Francis, Royal Northern College of Music The RNCM runs a programme in music for health which trains students and other individuals to deliver participatory music programmes in hospital settings. Lilli has worked to establish a long term relationship with the Manchester Children’s Hospital in this way, and will talk about how this developed. She will highlight some of the opportunities but also the risks and challenges associated with developing this kind of project, and in particular about the sensitivities required when working with vulnerable groups.

14.50-15.10

20,000 Voices - case study

Room AG13

20,000 Voices promotes, supports and develops participation in singing across Northumberland and the North East, helping to bring together local communities, which are often isolated from any nearby urban centres. It runs singing workshops, supports and sets up community choirs, presents days for singing, vocal study days, Find Your Voice courses and runs exciting education projects with young singers. Anne will introduce the programme and share its focus on enhancing wellbeing in the communities it serves.

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Programme

15.10-15.30

Superact: working with NHS Trusts

Fyfe Lecture Theatre

Jonathan Ray, Superact and Ruth Sidgwick, North Bristol NHS Trust Working with North Bristol NHS Trust, Superact takes music to the wards and waiting rooms of Frenchay and Southmead hospitals. Jonathan and Ruth will talk about how the project developed, and what impact it has had on patients, carers and staff. They will also talk about how Making Music and Superact are working together, exploring ways of supporting volunteers who want to become involved in music and wellbeing activities.

15.30-16.00

Break

16.00-17.00

Introduction to music therapy

Café Bar area

Concert Hall

Rachel Verney, Nordoff Robbins & Stuart Wood, Barchester Nordoff Robbins Initiative Rachel and Stuart will talk about Nordoff Robbins and about the work of music therapists who are practitioners in health, social care, special education and community settings.

16.00-17.00

Silver song club workshop

Room AG13

Adrian Bawtree, Director, Sing for your Life Ltd Adrian will give a participatory workshop demonstrating how a Silver Song Club works to engage its participants in music making to improve concentration, physical wellbeing and memory, and uses volunteers to facilitate sessions benefitting individuals over 60. Silver Song Clubs will be explained in more detail at 17.10

17.00-17.10

Music and mental health

Concert Hall

Speaker tbc An introduction to the area of music and mental health, and how music can be used as a tool to enhance mental wellbeing.

17.10-17.40

Polyphony/Common wheel Trust

Concert Hall

Katherine Waumsley, Common Wheel Trust and Dr Alistair Wilson, University of Glasgow Katherine will introduce the mental health charity Common Wheel and its Polyphony music project. Common Wheel’s overarching philosophy is to engage mind and body in creative activity, and to support people to become involved in productive activities that they can feel a part of, and be proud of – one of the key factors generating feelings of confidence and worth on which positive mental health depends. It developed the Polyphony project to use the power of music as a means of enhancing mental health. The project focuses on performance, participation and composition, and seeks to capture creative energy and promote positive wellbeing. Clinical psychiatrist and founding Director of Common Wheel Alistair Wilson will talk about his research in this area which led to the development of the project, and will show a short film demonstrating the project in action.

17.10-17.30

Silver song clubs

Fyfe Lecture Theatre

Stuart Brown, Director, Sing for Your Life Ltd The Silver Song Club project was developed by Sing for Your Life as a model in which song clubs for older people take place in community settings and with an experienced facilitator with volunteer support from members of an amateur choir. It provides a successful model for participation and engagement, with benefits to mental wellbeing, enjoyment, breathing, memory and concentration. Stuart will talk about the model, how it has been applied across the South East of England and beyond, and what plans lay ahead for its future development.

17.40-18.10

Music and mental health Q&A

Concert Hall

A panel will field your questions about music and mental health.

18.10-18.30

Exploring case studies

Concert Hall

We will review some of the case studies available on music and wellbeing, and consider how best to share these to inspire individuals and organisations wishing to become involved.

18.30-19.00

Break

Café Bar area

Café Bar will be open

19.00-19.45

ORCAL, Orchestra Caledonia

Concert Hall

ORCAL (Orchestra Caledonia, Making Music Scotland's orchestral project) will give a presentation halfway through its autumn weekend workshop.

20.00

Buffet supper

Café Bar area

The RCS bar will be open until 21.30

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AGM

National Piping Centre

The 76th Annual General Meeting of Making Music, the National Federation of Music Societies Please note that the AGM will take place in the National Piping Centre, which is a short walk from the RCS.

10.30-11.00

Coffee/tea

11.00-11.30

20,000 Voices singing workshop

Café Bar area

Concert Hall

Anne Suggate, 20,000 Voices Vocal leader Anne Suggate will give a vocal workshop to start the day and show how 20,000 Voices works with its broad range of participants to get them all singing.

11.00-11.30

Polyphony percussion workshop

Fyfe Lecture Theatre

The Commonwheel Trust will run a participatory percussion workshop for delegates demonstrating the Polyphony project and showing how it has been adapted for use in different in hospital and care home settings.

Please note that this workshop is limited to 15 participants.

11.30-11.50

Music and public health

Concert Hall

Gregor Henderson will talk about how music is perceived in the wider context of public health, and how perceptions of wellbeing, and approaches to healthcare, are evolving from the paradigm of the illness model to that of wellbeing.

11.50-12.10

NHS Commissioning

Concert Hall

Stuart Brown, Director, Sing for your Life Ltd Stuart will give an introduction to commissioning and how the approach to commissioning of services to the NHS in England and Wales is changing.

12.00-13.00

Concert Promoters’ Group

Fyfe Lecture Theatre

Scottish practice and experiences in running a music club, booking artists and arranging tours Voluntary concert promoters are invited to join a networking session in the Fyfe Lecture Theatre. John Kerr from Kintyre Music Club will speak about his experiences with his current society and with Argyll and Bute Concert Tours, a network of music clubs which organises tours of artists. Edmond Fivet, Chair of Making Music’s Concert Promoters’ Group, will explain the work of the group, focusing on the Guide to Selected Artists.

12.10-13.10

Evaluation workshop

Concert Hall

Professor Norma Daykin, University of the West of England This session will provide an introduction to evaluation and an overview of best practice identified from a recent review of evidence undertaken on behalf of Youth Music. It will guide participants through the evaluation cycle including defining aims, working with participants and stakeholders, ethical issues and data protection, information gathering, similarities and differences between monitoring, evaluation and research, techniques for eliciting feedback from participants, data analysis, reporting and dissemination.

There will be an opportunity for questions and discussion.

13.10-14.00

Lunch

14.00-14.30

Professor Lord Robert Winston

Café Bar area Concert Hall

Internationally renowned for his research in the field of reproductive medicine, Professor Lord Robert Winston is also a keen amateur musician and Chairman of the Royal College of Music (RCM). Professor Winston is a great advocate for the benefits of music making to individual and social wellbeing, and a champion of RCM Sparks, the RCM’s Learning and Participation programme. We are delighted that he is joining us as our keynote speaker at this event.

14.30-15.20

Panel discussion and Q&A

Concert Hall

Four panellists will share their visions for a future landscape for music and wellbeing, and take questions from the floor.

15.20-15.30

Closing remarks

Concert Hall

Peter Lawson, Chair elect

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Programme

09.15-10.15

Programme

Sunday 11 September 2011

www.procorda.com

PRO CORDA SUMMER COURSES PRO CORDA WEST 7th-14th August 2011 A course at Wells Cathedral School directed by Anita Strevens, for talented string, piano and wind players, from Grade 3 upwards. As well as chamber music, sessions include musicianship/improvisation, Dalcroze Eurhythmics, orchestra and choir.

PRO CORDA NORTH 13th-20th August 2011

A course at Sedbergh School, Cumbria, directed by Louise Lansdown, string players and pianists aged 8-18.

Each student will take part in 2-3 chamber music groups and sessions in Eurhythmics, Composition, Improvisation, Dynamic Rehearsal Techniques and even Art.

PRO CORDA PLUS: BRAMLEY 15th-20th August 2011 An audition course for the ICMA courses at St. Catherine’s School, Bramley, directed by Anita Strevens.

Creative sessions will support compositions which will be recorded and can be used for GCSE coursework. Other sessions include chamber music, creative musicianship and Dalcroze Eurhythmics.

All three courses are for ages 8-18.

For more information & to book your place now, contact us on 01728 831354 or mail@procorda.com Full Page, CM July 2011.indd 1 010_MM_2011.indd 10

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Patricia Romero Pianist Contact: Hanesworth Management: Tel: 0208 660 4096 E-mail: patricia.romero@btopenworld.com www.patriciaromeroconcertpianist.co.uk

“She has considerable manual gifts for piano playing, matched by intelligence and musicianship.”

- Louis Kentner

A sensitive and experienced performer with a very extensive repertoire, who has performed worldwide.

Solo recitalist, concertos, chamber music and lecture recitals.

Concerts in London

Photo: Caroline Miller

St. John the Baptist Greenhill, Harrow 20th October at 12.30pm Flute and Piano Recital with Odinn Baldvinsson First Latin American Piano Festival Bolivar Hall 54 Grafton Way London W1 5DL 9th November at 6.30pm Piano Recital

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Royal Opera HouseCrush Room 28th November at 1pm Piano Trio Violin: David Hanesworth Flute: Odinn Baldvinsson Piano: Patricia Romero Fairfield Hall Park Lane Croydon CR9 1DG 24th January 2012 at 1pm Fute and Piano Recital with Odinn Baldvinsson 16/08/2011 10:50:16

Sore muscles, lost your voice, stage fright – or any health problem arising from your job or studies as an instrumentalist, singer or music teacher Come to BAPAM - a free medical support and health education service H assessment clinics for professional and student performers and teachers H directory of practitioners and clinicians H unique teachers’ workshops providing health and fitness advice

0845 602 0235 or 020 7404 8444 www.bapam.org.uk Generously funded by

Charity No: 1083295

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Speaker biograhies

George Anderson, Sistema Scotland George is a writer and communications consultant who was part of the team which launched Big Noise – Sistema Scotland.

Adrian Bawtree, Programme Director, Sing For Your Life Adrian has just left Christ’s Hospital (a large boarding school in Horsham) where he was Director of Music and has very recently started working for Sing For Your Life. He has held many choral and orchestral conducting positions and also retains his passion for teaching the organ, giving solo organ recitals and accompanying choirs. Adrian is passionate about intergenerational music, inspired by his work as a freelance facilitator with the Silver Songs Clubs set up by Sing for your Life. He has worked as a tutor at the Orpheus Centre, a performing arts organisation for people with disabilities and he is also a keen composer and arranger.

Lilli Brodner-Francis, Royal Northern College of Music Lilli has worked with the Music for Health team at the Royal Northern College of Music (RNCM) since 2010, managing the college’s training programme for RNCM students and professional musicians to develop the necessary skills to make music with and for people in health and social care settings.

Stuart Brown, Sing for your Life Stuart has been involved in singing since he was press-ganged as a boy treble at school. He sings tenor with Folkestone Choral Society and Cantores Dominicae, a chamber choir. He has served in a voluntary capacity as Chairman of Making Music South East since 2004. In 2003 he became involved with a small research group working to identify and understand the value of participatory singing to support health and wellbeing, which developed into the Sidney De Haan Research Centre for Arts & Health at Canterbury Christ Church University. In 2005 he started a charity, Sing For Your Life, to deliver programmes developed by the research centre to support older people affected by long term conditions, through a network of Silver Song Clubs. There are now 50 Silver Song Clubs in England and similar groups in Finland & Western Canada. The majority of Club members have Dementia or Alzheimer’s Disease but models are being developed to help people with Parkinson’s Disease, respiratory disease and mental health conditions. Stuart has extensive experience of developing partnerships between a charity wand NHS and Local Authorities.

Edward Caswell, Director, Cappella Nova Edward is a versatile and widely respected choral conductor and chorus master, regularly guesting throughout the UK and Europe. Based in Scotland, Edward is a Council member of the Association of British Choral Directors (ABCD). He works as a lecturer in the Department of Vocal Studies at the Royal Scottish Academy of Music and Drama and teaches singing at the University of Glasgow. As Outreach Director of Cappella Nova he conducts the Scottish Plainsong Choir and leads workshops across Scotland. He directs the course ‘Health and Wellbeing through Song’ at the University of Strathclyde.

Professor Norma Daykin, University of the West of England Norma is a social scientist working at the University of the West of England, and its first Professor of Arts in Health, presented with the Royal Society of Public Health Award in 2008 for her contribution to music and health research. Norma’s current focus is arts and health and she leads a multidisciplinary research programme at the University of the West of England. Her current work includes a three year study with Live Music Now, funded by Big Lottery Research, exploring the impact of music on mental wellbeing and attitudes to offending among young people in youth justice settings. On behalf of Youth Music Norma and her team are undertaking an evidence review of the impact of music projects on young offenders. She is also leading a two year Knowledge Transfer Partnership with Willis Newson, a leading UK arts management company, that seeks to develop evaluation skills and capacity in evaluation for the arts and health sector. Her next project will involve exploring music and arts as tools for service development in the field of speech and language therapy. Aside from her scientific and academic credentials, Norma is a saxophone player and composer, and MD of the Bristol Reggae Orchestra. Her musical interests are in contemporary jazz as well as latin and afrocuban rhythms, and she has written for a wide range of ensembles from amateur groups to professional big bands.

Kathryn Deane, Director, Sound Sense Kathryn is director of Sound Sense, the UK professional association for community music and musicians.

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Kate Murdoch Kate Murdoch specialises in music for wellbeing using voice and 'ilimba' (a harp-like instrument), following studies in Tanzania, and at the Guildhall School of Music & Drama. She has a particular interest in music making in acute healthcare settings, including babies and children, and end of life, and has been leading activities in hospitals, and other settings. Kate will shortly begin training as a trainer of musicians in healthcare with Musique & Santé (Paris) and the RNCM, in an EU-funded programme, and is leading a Youth Music-funded project exploring wellbeing for early years children in Hastings.

Jonathan Ray, Superact Jonathan’s background is in radio broadcasting both locally and nationally. He has worked for the BBC and commercial radio. His interest in the link between arts in health and wellbeing developed from his broadcast work and his own experience of being a patient in hospital. This has driven his desire to research, create and develop elements within an arts framework, which help patients and staff in the healthcare environment. He is Superact’s Project Manager for Health and Wellbeing and is currently working with on project ideas in partnership with Making Music.

Speaker biograhies

Gregor Henderson Gregor works as an adviser and consultant to a number of UK and overseas government departments, public, community, private sector and NGO organisations on mental health and wellbeing. Part of his current work is advising the UK Department of Health in England on public mental health and wellbeing. He is also a policy adviser to Mental Health Europe and an adviser to a Scottish Government funded project on culture, wellbeing and public health at Glasgow University (www.afternow.co.uk).

Gregor writes on mental health, wellbeing, social and public policy issues and lectures across the UK, Europe, and internationally.

Ken Scott, Strategy Director, Making Music Ken has enjoyed and supported choral singing for almost 40 years. Experienced as a business consultant Jazz E 85x124.ai 1 10/06/2010 09:43:57 helping organisations to improve performance, he has a keen interest in arts and health, and is Chair of Maidstone Area Arts Council. As Making Music’s Strategy Director, he is concerned with the organisation’s response to its changing environment, and the growing importance of third sector activity in social wellbeing. Ken represents Making Music on the national initiative on music and health, of which he is a founding member with Robin Osterley.

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Three easy moves...

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Ruth Sidgwick, Arts Programme Y Manager, North Bristol NHS CM Trust MY Ruth has worked for a range of organisations including Welsh NationalCY Opera, the Royal Exchange Theatre in CMY Manchester and Sadler’s Wells Royal K Ballet, small community arts groups and many more. She is passionate about the transformative qualities of arts interventions for everyone involved: “Whatever changes there might be in national and local government policy, revenue streams or the whims of management, the interaction between ordinary people and professional artists never fails to surprise, fascinate and inspire me”.

As a result of its unique design, the Jazz unfolds from a flat pack no larger than the size of the tray, and under 5cm thick. It does this with no knobs, no finger traps, and no hassle; just three easy moves.

TEL: +44 (0)20 8741 4804

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Welcome to the home of Gypsy music Attracting capacity audiences

photo: Luke Kelly 2006

The Boros Gypsy Ensemble

The rare, enchanting viola d’amore with 14 strings! recitals, illustrated talks, music with voice or flute

Viola and Piano music by Bach, Shostakovich, Dodgson & Schubert Elizabeth Watson and Geoffrey Pratley

Gypsy music played at the level of the concert hall stage

19 January 2012 at 8pm Barnes Music Society Methodist Church, Station Road SW13

Tomi Boros Solo Violin & Artistic Director

Elizabeth Watson - viola d’amore “Fluently musical throughout” - The Times (after viola recital with Andrew Davis - Wigmore Hall)

with Robert Aldwinckle - harpsichord or piano

‘That Real Gypsy Thing’

Enquiries to Elizabeth Watson 3 Ormonde Road, London SW14 7BE 020 8876 1445 lizwviola@yahoo.com www.elizabethwatson-violadamore.org.uk

Solo Violin, Cimbalom, Double-bass, Piano and other instruments - up to an ensemble of 12. ‘‘Superb players of Classical and Hungarian Gypsy music.’’

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The Anglo-Hungarian Mirror

‘‘Great skill and depth of feeling... an ensemble expanding boundaries; playing Gypsy-Classical Fusion, and giving lecture recitals.’’

The Hereford Times

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Davies Music International management for ensembles, instrumentalists, singers and conductors, including some of the world’s finest specialists in early music and historically informed performance

International management for ensembles, instrumentalists, s Giving Concerts, Lectures, and conductors, Please including some of the world’s finest speciali contact us for suggestions if you would like to include an early contemporary music concert in your festival or series, Workshops, and Recitals. early music orand historically informed performance or for soloists for your forthcoming choral society concerts.

Invited to lecture & give workshops on Hungarian Gypsy music at the: Darlington International Summer School.

The Rroma History Month Seminar of the University of Greenwich.

The Holocaust Exhibition.

Artists include:

Elizabeth Kenny lute (Making CPN would 2012/13) Please contact usjuice for suggestions ifMusic you like to includ vocal ensemble, Pantagruel (Making Music CPN 2011/12) Londonmusic Baroque (Making Music CPNin 2010/11) early or contemporary concert your festival or ser Ensemble Meridiana, Grand Désir and Le Jardin Secret all prizewinners York Early Music Festivalchoral International Young or for soloists- for yourat the forthcoming society concer Artists’ Competition London Handel Players, Revolutionary Drawing Room New in 2011: Voces Intimae, Steven Devine, Consortium5

Artists include: Elizabeth Kenny lute (Making Music CPN 2012/13) Classically juice vocal ensemble, Pantagruel (Making Music CPN 2011 Trained London Baroque (Making Music CPN 2010/11) Virtuosos www.daviesmusic.com Jill Davies Ensemble Meridiana, Grand Désir and Le Jardin Secre +44 (0)1684 850112 Phone/Fax: +44 (0)20 8907 7953 +44 (0)7721 317030 - all prizewinners at the York Early Music Festival International jill@daviesmusic.com email: info@gypsy-music.com A member of the International Artist Managers’ Association www.gypsy-music.com Artists' Competition London Handel Players, Revolutionary Drawing Room New in 2011: Voces Intimae, Steven Devine, Consortium Davies Music runs Concert Directory International, which has been providing vocal soloists throughout the UK and abroad for over 35 years with repertoire ranging from Monteverdi through the Bach Passions, to Verdi and Mahler and the 21st century.

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Davies Music runs Concert Directory International, which has

Alan Tavener, Director of Music, University of Strathclyde Alan combines teaching, research, concert promotion and ensemble direction and, as Organist and Choirmaster of Jordanhill Parish Church, also directs a community choir to serve the locale as well as the church. In 1982 he co-founded the professional vocal ensemble Cappella Nova, with whom he has made a speciality of conducting the work of the 16th century composer Robert Carver, and made 12 CD recordings principally of historic and contemporary Scottish choral music. In recent years he has facilitated a number of open-access group-singing opportunities, allied to the healthy use of the voice, which has led to the development of investigative research into the holistic benefits of choral singing.

Rachel Verney, Nordoff Robbins Rachel was a piano student at the Royal College of Music in 1971 when she heard Paul Nordoff, American pianist and composer, and Clive Robbins, a Special Educational Needs teacher, talk about their pioneering work in music therapy. Intrigued and inspired, Rachel knew instinctively that this was the work she wanted to do. In 1975 she trained as a music therapist on the first full-time ‘Nordoff Robbins Music Therapy Training Course’ and for the past 35 years she has worked as a music therapy practitioner, educator, supervisor and mentor. Her music therapy practice has been with people of all ages in a multitude of different medical, social care, education and community settings both in the UK and abroad. She is currently Director of Music Services for the Nordoff Robbins charity, responsible for the development of the charity’s music services nationally.

Speaker biograhies

Anne Suggate, Song Manager, 20,000 Voices Anne Suggate has been Song Manager for 20,000 Voices since 1993, when it was a project. Since then Anne has developed 20,000 Voices into a company and a charity, which now works with around 8,500 voices each year, encouraging participation in singing for all ages and abilities, and in a wide range of styles. Anne also works with singers - running two evening community choirs and a Silver singing group, as well as delivering workshops with young people and adults.

Katherine Waumsley, Common wheel Trust Katherine is the Music Officer for Glasgow-based mental health charity Common Wheel, and since joining the organisation in 2005 she has been instrumental in developing an approach for music making with people with dementia and older people in psychiatric hospitals. She is also a self-employed community musician, with experience of working with a wide range of groups including adults with additional support needs, pre-school children and people doing prison sentences. Born in Inverness in 1981, Katherine also performs in Glasgow’s Gamelan Naga Mas and with freak folk singer songwriter Jo Mango.

Alistair Wilson, Consultant Psychiatrist, Gartnavel Royal Hospital Alistair was a founder of the mental health charity Common Wheel, established in 2000 with the aim of enhancing the lives of people with mental health issues by providing opportunities to engage in meaningful and productive activities. The initial focus of the organisation sought to explore the therapeutic effects of recycling and repairing bicycles, and the ways that this could be used to provide meaningful activity for people recovering from a mental health issues and other illnesses, and to support them to develop core skills.

stuart wood, Barchester Nordoff Robbins Initiative Stuart qualified as a music therapist at the Nordoff Robbins Centre in London in 2000. In 2005 he started the Barchester Nordoff Robbins Initiative (BNRI), a unique collaboration between the UK’s premier healthcare company and Nordoff Robbins. Today this brings music therapy to 20 nursing care centres, along with developing and researching new innovations in music therapy, musicality training and community music. Stuart writes for specialist music therapy textbooks and journals, and other music publications. He is a frequent speaker at national conferences in the UK and is a student on the Nordoff Robbins PhD Programme, at City University. He also teaches on the Nordoff Robbins music therapy training programme, and at the University of Health Sciences, Sapporo, Japan.

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2011 Artist List Soprano

Martene Grimson Dame Emma Kirkby Mhairi Lawson Gillian Ramm

Patricia Rozario Julia Sporsén Kate Valentine

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Anne Marie Gibbons Gaynor Keeble Lina Markeby

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We welcome the following organisations and partners as exhibitors at this event. Please visit them in the Café Bar area throughout the day: Acumen Common Wheel Trust The Firebird Trust National Youth Choir of Scotland Opera Anywhere Superact The Violin Shop WeGotTickets

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Exhibitors

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   

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Residential Courses Day Courses Saturday Talks Summer Schools and Concerts

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INVITATION TO COMPOSERS

by The London Schubert Players Trust A ground-breaking, visionary and educational project 29th June - 31st October 2011 One of the European Commission’s success stories, the project enters its last phase presenting 16 World Premières by 14 composers from UK, Romania, Norway, Sweden, France, Italy, Croatia and Belarus. Its concerts, workshops, seminars and forums in UK, France and Romania, are musical journeys that combine performance with music analysis and give audiences a chance to explore the creative process together with the composers and the performers.

Highlights

outstanding compositions for 12 solo instruments, and for septet with voice/viola/piano and string quintet Le Jardin Enchanté 29 June Bolivar Hall, London Song that Never Ends 6 July Romanian Cultural Institute, London Endsummer Night’s Dream 27 & 28 August Heritage Churches, Norfolk Enescu’s Farewell 19 September Kings Place, London Les Adieux 23 October Royal Academy of Music, London Artistic Director Anda Anastasescu The project acknowledges generous support from Lionel Tertis Foundation and the Romanian Cultural Institute in London. www.invitationtocomposers.co.uk

LONDON SCHUBERT PLAYERS

lsp@londonschubertplayers.co.uk Tel: 020 7603 1396 Registered Charity No. 1000053 This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Anneke Scott

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Members of Making Music’s Choir with no name, created for past and present homeless people

The feel good factor Aside from the endless rehearsals and hours of solemn practice, there’s no doubt making and listening to music makes us feel good. Susan Nickalls previews this year’s Making Music conference on music and well-being

A

nyone who sings or plays an instrument, or indeed takes part in any musical activity, whatever their level of ability, will admit to getting a huge amount of enjoyment and satisfaction out of it. With the government now determined to quantify everything from health to happiness, it’s timely that the focus of Making Music’s annual conference in Glasgow, 10-11 September, is ‘Music and Wellbeing’.

It is also significant that the keynote speaker is professor Robert Winston, who is internationally renowned for his expertise in reproductive medicine and who also happens to be a keen amateur musician.

Although there is a lot of anecdotal evidence as to the benefits of taking part in musical activities, to date there has been little quantitative research that would satisfy the number crunchers. However, that is slowly changing, says Robin Osterley, chief executive of Making Music, the organisation for voluntary music which supports more than 3,000 music groups throughout the UK. He says that Making Music is engaged with a number of experts and institutes involved in this area including professor Stephen Clift and his recently established Sidney de Haan Research Centre for Arts and Health at Canterbury Christ Church University and professor Susan Hallam at the University of London’s Institute of Education.

Osterley points out that, along with the social aspects of any musical activity, there is an important well-being preventative agenda, keeping people out of hospital longer, as well as a therapeutic value for people with existing health problems. ‘There seems little doubt that there are physical benefits to be had from performing and playing music, particularly singing where you have to learn how to breathe properly, or playing or blowing down an instrument in terms of the effects on muscles and posture.’

The organisation currently works with the British

Lung Foundation on a national programme of Breathe Easy Clubs to provide singing activities for people with respiratory difficulties of one kind or another, and together with the Sidney de Haan Research Centre, Making Music South East is providing opportunities for elderly people to sing and participate in music-making through the Silver Song Club project. This project is being monitored by the research centre.

A

s to the health and well-being of Making Music itself, Osterley remains upbeat despite Arts Council England slashing the organisation’s annual grant by nearly half, 48.5%, earlier this year. ‘We’re not downhearted as we find ourselves in a position – because we’re a membership organisation – whereby subscriptions form a substantial part of our income, so we can insulate ourselves against some of the nastiest effects of the cut.

We will look at our membership subs to see if there is a fairer way of raising money, we will be tightening our belts even more and placing a renewed emphasis on fundraising. There will be overall trimming and squeezing around the edges and we might have to scale back some of the projects, but none of them will have to go.’

This will mean that national projects such as a range of Learn to Sing courses run in partnership with Choir of the Year and the British Association of Barbershop Singers and plans to set up more community choirs may not have quite the same reach as initially envisaged. However, Osterley hopes to reap the benefits of the recent restructuring of Making Music’s volunteer force, whereby Peter Stokes, in the newly created post of head of volunteer management, will oversee the increased recruitment and better training of the organisation’s volunteer force. ‘We want to look after them a bit more, celebrate and praise them, so we will be creating new documentation policies and procedures

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to do this with funding from the Paul Hamlyn Foundation. There are a large number of arts organisations who use volunteers but very few know how to run them well, so we’re hoping we can provide a model of best practice for arts groups and possibly run policy services and training courses to promote that.’

Harnessing the enthusiasm and commitment of a volunteer force is something that could be replicated in lots of other areas and Osterley believes the government would do well to note that these types of activities have been demonstrating the principals of the big society for years. ‘The government has little understanding of how the big society operates in an arts context. Volunteers are very well organised, for instance there would be no live music making going on in some of our member communities if not for what our members get up to. Although there is no payment changing hands, it isn’t that difficult to quantify a volunteer’s time. The government is looking to fix things that aren’t broken.’

Future plans include teaming up with Sound Sense, the UK-wide development agency for supporting community music, to create ten new choirs in deprived areas, from late autumn and throughout 2012. Meanwhile, the Making Music Overture Project is taking place as part of the Cultural Olympiad: between the Music Nation Weekend at the beginning of March 2012 and the end of the Olympics, there will be around 150 performances of Making Music’s Olympic anthem, commissioned from composer Orlando Gough. Osterley says any of their member groups, irrespective of genre or where they are based, will be able to perform what he hopes will become a popular piece.

As to the future of Making Music beyond 2012, Osterley is confident that the organisation’s current five-year plan will sustain its vision of communities and individuals flourishing through music-making for the foreseeable future. ‘I think we’ve come out of a significant period of internal change reasonably successfully and healthily and that we are now in a stronger position to address the funding challenges than we were before. We’re confident and comfortable as an organisation and if in five years’ time we’ve helped organisations and individuals around the country make more music then I would be very happy.’

T

he World Federation of Amateur Orchestras has taken advantage of Making Music’s annual conference at the Royal Conservatoire of Scotland in Glasgow to hold its annual general meeting and general assembly concurrently from 9 to 11 September. This comes at a crucial time in the organisation’s history following the death last year of its founder and driving force, Motoyasu Mirishita.

Before his death, Mirishita requested that Richard Chester take over as chairman. Chester, as director of the National Youth Orchestra of Scotland, was one of the founding delegates of the 1991 World Youth Orchestra Conference in Tokyo which eventually developed into the World Federation of Amateur Orchestras in 1997. While it is primarily led by Japanese delegates and formally constituted in Japan, it does hold meetings outside of the country. With Making Music’s Robin

Osterley also a board member of WFAO, Chester felt the advantage of combining the two events would give the 30 or so delegates expected the opportunity to attend sessions at the Making Music conference.

It’s also an opportunity for Orchestra Caledonia, the national amateur orchestra of Scotland run by the Making Music Scotland committee, to take part in a national project.

One of the key items up for discussion is the governance of the WFAO says Chester. ‘I only agreed to become chairman on an interim basis in the knowledge that the governance of the federation needed to be looked at again and amended. Various working groups will be looking at the constitution and membership funding, all the basics of running such a membership organisation. Part of the problem is that the secretariat is based in Japan so we’re never sure how many members there are, probably around 60 or 70, but we are always on the lookout for new members.’

WFAO is not cash-rich so how it is funded is another topic under discussion. The organisation supports a number of international projects, most recently a fundraising concert given by a local orchestra in Mumbai to mark the first anniversary of the terrorist attacks in the city. There have been projects in South Africa to enable townships to buy musical instruments and WFAO operate an international exchange programme between student orchestras.

It is expected that there will be strong representation from European organisations at the conference, particularly the European Orchestra Federation which represents predominantly high-quality amateur orchestras throughout Europe – tens of thousands of amateur musicians from some 5,000 orchestras in 17 European countries. The EOF was created in 2009 as a successor to the European Association of Youth Orchestras and the European Association of Amateur Orchestras (adults), both founded over 30 years ago.

EOF president Daniel Kellerhals points out that music making is not always recognised as an integral part of civil society and that the organisation is continually advocating for the values and benefits of music making for young people and adults. With this in mind, Kellerhals aims to set up a website over the next few months as a platform for the exchange of news and information between orchestras. www.makingmusic.org.uk www.wfao.org

Keynote speaker professor Robert Winston with the Imperial College London wind band

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Main Contributor – Nordea-fonden

Lorin Maazel as your mentor?

Enrol now for a Certificate of Higher Education in Performance and Creative Practice: Opera starting this autumn.

Stand in front of 22 leading orchestras and win a prize of 20,000 euros. This is all yours if you have the talent and drive to compete in the world’s most exciting competition for young conductors.

Birkbeck, University of London, is still taking applications for our Certificate of Higher Education in Performance and Creative Practice: Opera starting this October.

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That guarantees that your performance will be met with the best possible judgment. In addition, Maestro Maazel offers to be a mentor for the winner!

Check www.malkocompetition.com to apply online, learn more about our jury, the prizes, and what it takes to win.

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The last day for applications is 1 October 2011 Presented by Danish National Symphony Orchestra & Nordic Artists Management

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Richard Wainwright, Bath Philharmonia

Photo: Joseph Boyle

As well as giving you a prestigious University of London qualification in its own right, students awarded the Certificate of Higher Education may apply for admission to Birkbeck’s part-time foundation and undergraduate degrees in arts-related subjects.

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Coull Quartet

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‘Literally transcendental’ Times ‘Exquisitely sung’ Stage ‘Powerful sense of atmosphere’ Independent

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New Music Tailored to Your Project

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SIMON SPEARE composer

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Play music of the 17th – 21st century on Oboe, Oboe d’Amore, Cor Anglais, Bass Oboe and Piano

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“…a glittering duo…..two masters of their instruments” Walsroder Zeitung, Germany “…the exhilaration…driving pulse and sheer panache…was bound to result in prolonged applause…”

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President: Lord Harewood • Honorary Patron: Elly Ameling

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Overcoming stiffness

D

espite well-intentioned comments from teachers and a clear awareness of their own physical tension, many students and amateur players still find it impossible to unlock their wrists, loosen their elbows, keep their shoulders down and refrain from straining their necks. Sadly, it is also not uncommon to find students who play with rigid spines and gritted teeth. Tension and stiffness of this nature is most obviously unhealthy and undesirable. Clearly, one of the main technical issues that pianists face is how to remain relaxed and free while still retaining firmness in the fingertips, knuckles and feet.

Unfortunately, it is often the case that the co-ordination necessary to achieve focus with freedom in these anatomical areas just proves too difficult – even after years of practice, lessons, thought and experimentation. It is one thing to understand what you should do, but quite another to realise freedom in practice. These issues have been frequently examined in past instalments of this series, so the following article is not a repetition of past advice, but rather an attempt to embrace a few elementary principles from the Zhan Zhuang system of Tai Chi in the hope that it will move players directly towards a freer approach at the piano.

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Towards freedom

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While I am not, by any stretch of the imagination, an expert in Tai Chi, I was surprised to discover recently how many of the simplest exercises from this extraordinary system relate to my own work at the piano. Tai Chi is excellent for overcoming stress in many manifestations – the very first lesson it gives is to relax. It stimulates many muscles, but relaxation and ease are always encouraged. It is therefore ideal for eliminating accumulated physical tension at the piano. Tai Chi’s flowing movements and sustained rotations can be used as daily technical warm-up routines and can help to de-stiffen all of the critical areas already listed. Every Tai Chi exercise begins

Freedom in practice

After visualisation and breathing exercises away from the piano, it is helpful to sit at the instrument and recapture that same feeling of firm feet and fingertips while playing.

EXAMPLE 1 (Busoni Berceuse, bars 18-21) is ideal for this purpose as its hushed sonorities and slow, wide intervallic movements require relaxed arm weight and light, unhurried agility. It works well with generous pedalling and can be practised hands separately if it appears too challenging at first.

Space prevents more than a mention of the many important elementary Tai Chi exercises that will further help relaxation of the neck, shoulders and spine, but we can also adopt principles from Tai Chi to focus on the wrists. From the Wu Chi standing position, raise both arms until they form a 90-degree angle from your shoulders to your torso. Breathing deeply and keeping lightness and freedom as vital priorities, ‘shake’ both wrists continuously – firstly in up-and-down movements, then in rotary movements. EXAMPLE 2 (Chopin ‘Revolutionary’ Etude, op.10 no.12 bars 29-30) can then be tackled. Try to feel the same degree of easy mobility from the wrists when you play that you felt when you did the Tai Chi exercise. Again, working hands separately may be the best starting point, especially if you can continue to breathe slowly and remember to feel as light and free as possible. Only the feet and fingertips should feel firm and ‘anchored’ – to the floor and keyboard respectively.

In the most difficult repertoire, freedom often needs to be synchronised with economy of movement and concentration of effort in order to overcome the challenges. This can be seen in EXAMPLE 3 (Schumann’s Toccata, bars 21-23). Along with

International Piano September/October 2010

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and ends with stillness, which is essential for visualisation and for energising the work you are doing in music. Both Tai Chi and piano technique are propelled from the mind, and visualisation and serenity are essential starting points for both.

Breathing exercises from Tai Chi will help you start a fulfilling technical work-out at the piano. Try breathing deeply and slowly while holding your hands over your abdomen. Calmly feel your stomach fill up with air, then exhale equally calmly. Try this for a few minutes each day, then continue with the same slow breathing as you play five-finger exercises and scales. Next, consider your overall posture. The Wu Chi position – a posture that emphasises primal energy – is an excellent stance for pianists to cultivate and then adopt at the instrument. Stand with your feet shoulder-width apart, facing forward. Let your hands loosely hang at your sides and relax your shoulders. Next, slowly bend your knees so that your torso is lowered by about ten centimetres. Keep relaxed and feel light as you hold yourself in this new position for two to three minutes before ascending.

Keep your feet firm and focus on a ‘lightness’ in your wrists, elbows, neck, shoulders, mouth and spine.

16/08/2010 16:53

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