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‘It’s the people I’ll miss most’
Upbeat spoke with the Royal College of Music’s outgoing Director, Professor Colin Lawson, about his hopes for the future of music, as he prepares to step down after nearly two decades of leadership.
As Professor Colin Lawson sits in his Royal College of Music office, sunshine streaming in through windows that overlook the Royal Albert Hall, he looks so full of the joys of spring that you would never guess he’s on the cusp of retirement. ‘I’ve loved coming into College every day,’ he said during a conversation with Upbeat in which he reflected on his time as Director of the Royal College of Music. It’s this enduring enthusiasm for the music and musicians of the College that has been at the heart of his success in presiding over the institution since 2005 – the second-longest directorship since Sir Hubert Parry.
Is it the kind of role he’d ever imagined taking on? ‘No! I was a credible candidate because I’ve always worked across theory and practice – alongside my role as a clarinettist, I’ve always had academic jobs. I went from being a student at Oxford and Birmingham to roles in Aberdeen, then Sheffield, Goldsmiths and Thames Valley University – that gave me plenty of preparation. A lot of this role is about an attitude of mind, which I’m probably quite good at. I have a horror of micromanaging; I try to bring out the best in people.’
Early Inspiration
Colin’s ‘attitude of mind’ is founded on a love of music that took root when he was very young. ‘My first musical memory is sitting in the front row in Ripon Cathedral enjoying Messiah when I was five. I was absolutely transfixed. My dad taught me the recorder, then I started the piano before I was seven and the clarinet before I was eight. It’s been quite a long journey.’ At Bradford Grammar, Classics took priority; his A Levels are in Latin, Greek and Ancient History. Even so, ‘music always felt like something I’d be doing; I’ve always enjoyed it more than anything else. I joined the National Youth Orchestra when I was 13 – at the end of the row. Then the late Thea King taught me until I went to Oxford; she was a big inspiration. She had been a student at the RCM in the 1940s and lived long enough to see me as Director, which was a great thing for both of us.’
Specialising in Historical Performance
When did historical performance become a particular passion? Not until he’d undertaken research in Birmingham, ‘where I wrote an MA thesis on the technique of writing for the clarinet in the 18th century. My wife said to me: “You’re doing all this research. Why don’t you play this music as well?”’ He started collecting instruments – now numbering over 30 clarinets. ‘Before I knew it, I was playing in period orchestras and in a wind octet – I really got cracking with it seriously. It became a very important part of my life.’ Performances followed with The Hanover Band, the Orchestra of the Age of Enlightenment, Sir Roger Norrington’s London Classical Players. ‘I played in The Marriage of Figaro at Glyndebourne under Sir Simon Rattle in the first season that early instruments were introduced, in the old house in 1989. I came back to Don Giovanni in the new house in 1994. That was terrific.’
Colin chose to promote Druschetzky’s Concerto for three basset horns as part of his farewell concert with the RCM Symphony Orchestra, alongside clarinet professor Timothy Lines and student Hannah Shimwell. ‘One of the highlights of my time here has been performing with students and staff. I’ve always seen myself as a member of the Historical Performance Faculty – something I hope will continue. When I first came here, I gave a lecture and a recital and people were pleasantly surprised that the Director could do that.’ He is already planning some post-retirement concerts: ‘I’m going to turn myself back into a performing musician. There’s still time to do that.’
An Accommodation of Mind and Spirit
Colin’s experience of being a professional musician has undoubtedly marked him out as a Director to whom both students and staff can relate, with his understanding of the industry, the discipline of practice, and the balancing of different demands. ‘I’m in the business and for me that’s been the way through the role.’ His collaborative spirit is also integral to his approach. ‘When I first took on the role of Director I knew that the RCM must find an accommodation of mind and spirit. One has to do one’s best, and I’ve managed to surround myself with fantastic people. Every member of Directorate is the best I could imagine at what they’re doing. Once you’ve got that, the place has its own momentum.’
Colin’s conversation is peppered with heartfelt tributes to staff. The Council, for instance, ‘has been extraordinarily supportive – it’s a side to the College that many people don’t see. What you learn from a Council meeting is just how complicated the place is’. Running a conservatoire has certainly become more intricate during Colin’s tenure. ‘David Willcocks, a distinguished former Director, visited and said, “Goodness me, this place has become complicated!” In the 1980s, when Willcocks was here, there was a Director and a Bursar; someone created a timetable and that was about it. I’m most proud of having breathed a lot of oxygen into the institution. The development of the campus followed; it was a matter of evolution rather than revolution. I didn’t come here intending to revolutionise the building – it’s just happened.’
I’ve managed to surround myself with fantastic people. Every member of Directorate is the best I could imagine at what they’re doing. Once you’ve got that, the place has its own momentum
The More Music Campaign
These changes required vision and determination, and Colin acknowledges that ‘Kevin Porter, my Deputy Director, said that he didn’t know what to make of me at first, except that I was very ambitious for the College. That’s true, I have been ambitious.’ On the academic side: ‘We’ve got a much more active research agenda now, with the new Performance Laboratory, Museum grant; all these things which are very important to me.’ In terms of the estate, the More Music Campaign began in 2012 and was launched publicly in 2015 by the then Prince of Wales, now our Patron, His Majesty King Charles III, aiming to raise funds for new building work, innovative projects and outreach activities, while augmenting the College’s endowment fund to support scholarships.
Colin recalls: ‘I realised early on that the Concert Hall was leaky in terms of soundproofing. David Hill came in with the Bach Choir and there was a saxophone quartet rehearsing just outside; eventually he gave up, went out, shut them up and then carried on – and I thought, we’ve got to do something about this. I’m proud of it; that was 2009 and it scrubbed up well – it still looks good. Ten years later, we had the new Flentrop Orgelbouw organ installed. I realised how important the estate is, for morale and everything else.’ He praises the ‘amazingly active’ Development and Estates teams who collaborated on these projects. The Halls of Residence were also revitalised by 2016. As for the Café, ‘how did we get on without it? It’s the centre of gravity now. Normally the word “reimagined” is a branding thing, but the Café really has reimagined that space.’
This leads us to the role of fundraising, which Colin describes as having been ‘a steep learning curve’. Over his nearly two decades as Director of the Royal College of Music, Colin has overseen the raising of over 83 million pounds in support of the College. For the Amaryllis Fleming Concert Hall refurbishment, ‘we raised 5 million pounds, including a million from the government.’ The Hall is adorned with portraits of key figures in the College’s history, although Colin observes that, if there were more wall space, he’d ‘like to add some modern art, perhaps from the Royal College of Art.’ This is telling: for all his respect for the College’s heritage, he always has his eyes on the contemporary. Even so, he acknowledges that many of the challenges facing Directors are perennial: ‘Successive Directors have grappled with the same problems. The external environment has been different but it’s all about the artistic side, the estate, government, the student experience.’ He’s had some unique challenges to face as well – the financial crash, Brexit, the pandemic.
The Future of Music
Colin has navigated the College through these storms with great assurance, and remains hopeful for the future. ‘Every institution needs a change of Director from time to time; that’s entirely healthy. James Williams has a terrific background and I’m very happy that he’s coming – he’s an inspired choice. I know that he’s also going to work on the principle of evolution rather than revolution; I’ll be delighted whatever happens. There’s a danger of an outgoing Director being gloomy’ (nothing could be further from his own outlook) – ‘but the College brand is very strong.’
The joys have far outweighed the challenges. ‘I’ve had a lot of fun.’ Personal highlights include meeting Bernard Haitink, whose modesty – ‘he didn’t like being called Maestro’ – seems to have resonated with Colin’s temperament. What will he miss most? ‘Everything. The people, the music.’ And what’s been the best thing about the role? Without hesitation: ‘The students. My hope for them is to be fulfilled as human beings and as musicians. Performing with them has been a breathtaking experience. It’s the music I’m going to remember.’
Joanna Wyld, RCM Publications & Content Officer
The Colin Lawson Fund
Colin has spearheaded numerous remarkable changes for the Royal College of Music throughout his tenure, particularly in advocating for talent, access and innovation. When reflecting on how he wanted to commemorate his time at the RCM, Colin proposed the establishment of a new fund to support the College. In recognition of his unwavering dedication and tireless contributions, the Colin Lawson Fund has been launched. To those who have already contributed, thank you for your generosity and camaraderie.
If you would like to learn more about this initiative and to make a gift towards the Colin Lawson Fund, please contact RCM Development Manager Natalie Matias: natalie.matias@rcm.ac.uk
