wer

25

4

PHIL MCDONALD

28

IN THIS ISSUE COVER STORY

FEATURES

REGULARS

32 JANINA FIALKOWSKA

25 CRYSTAL BALL

5

EDITORIAL

6

LETTERS

7

INSIDE VIEW

Renowned Chopin specialist on UK tour

Top industry figures make their 2013 predictions

28 BIRTHDAY BREAKS

Why composer anniversaries dictate our listening

30 ANNIVERSARY CHOICE Our look ahead at a year of significant dates

COVER PICTURE: JANINA FIALKOWSKA – SEE PAGE 32.

PHOTO: ©JULIEN FAUGÈRE / ATMA

36 MUSICIAN INJURY Breaking the taboo

40 ROYAL PHILHARMONIC SOCIETY Two hundred years of hits

44 SYMPHONY ORCHESTRA OF INDIA Mumbai’s pro orchestra

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8

A poignant story Keith Clarke looks at 2013’s musical promise

NEWS

14 BARLINES 19 Q&A

Jonathan Cohen

21 PREMIERES 23 MANAGERS

65 BROADCASTING Anniversaries on air

70 DIARY

Arts grant increases of yore

REVIEWS

62 BOOKS 

Toscanini in Britain

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The Orchestra: A Very Short Introduction

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In Two Minds: Biography of Jonathan Miller

T

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63 CDS

Quick reviews, best of the fortnight

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New boss at IAMA

60 RECORDING 

Funding The Sixteen

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Reconstructing Ivor Gurney

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Alice Sara Ott

F

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40 ROYAL PHILHARMONIC SOCIETY

JANUARY 2013 ISSUE 980

tHe

Pages 48 Jennifer Pike University challenge

XX

52 Borletti BUitoni trUst ten years young

XX

54 lPo sParks a-level boost

XX

57 MUsician’s HandBook a trusty companion

XX

Matt Stuart for London MuSic MaSterS

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The MUSO Pages 

48 Jennifer Pike

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52 Borletti Buitoni Trust

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54 LPO BrightSparks

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57 Musician’s Handbook

From page

EDITOR’S LETTER

WELCOME

The changes coquettishly hinted at by my predecessor Keith Clarke in his editorial last issue have pretty much come to fruition. The first is that, as of this issue, we are a monthly magazine. CM has been fortnightly for 35 years, and although I think the printing press was around back then, pretty much every other aspect of publishing has changed. Our raison d’être has always been to bring you up-to-date and authoritative news coverage, and we’re going to keep doing that in the most efficient way possible, which happens to be the internet these days. Thus our now monthly rag can concentrate on doing what the print medium does better – gathering things together in one handy package.

The new website is now live at www.classicalmusicmagazine.org and we’d love to hear what you think. We’d be foolish if we didn’t expect some teething troubles, and you can help us to fix these by letting us know when things go wrong. We are also starting a daily roundup of classical music in the news, so every morning you can browse what’s been going on in the industry.

We are offering a number of different subscription packages to cover readers’ different needs, and you’ll find all the info about that on page 38.

Finally, admittedly rather more significant to me than anyone else, is my mug and these words on this very page. I have been deputy editor of the magazine for over five years now, and this is my first issue as editor – but don’t worry, I won’t be ripping out the panelling and pebble dashing the walls. However, if you would like to take this as an opportunity to tell us what you want more of and what you don’t like so much, feel free to send your thoughts to classical.music@ rhinegold.co.uk.

As for Keith, you won’t miss him, because he’s still here. He’ll be dispensing his wisdom every issue on page 7, and helping keep the ship steady in his new capacity as consultant editor.

KIMON DALTAS EDITOR

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YOUR SAY…

POIGNANT STORY

DEPUTY EDITOR Alex Stevens

SUSAN MEADOWES LONDON SW4

EDITORIAL ASSISTANT Hannah Beynon CONSULTANT EDITOR Keith Clarke

It is pretty amazing that BBC One should have devoted an hour and a half of prime-time viewing over Christmas to anything to do with classical music, and what a great drama we got in Loving Miss Hatto, the story of how pianist Joyce Hatto’s career was ‘extended’ by her husband with the help of other people’s recordings and some computer software. I don’t know how accurately the characters were portrayed but I did enjoy former Gramophone editor James Inverne’s remark in the Times: ‘I had suggested Johnny Depp for the role, my publisher had suggested Danny DeVito.’

In the end, we had a truly poignant story, and it is to the credit of the defrauded record companies involved that they chose not to

HEAD OF DESIGN & PRODUCTION Rebecca Ward Murphy PRODUCTION Joanne Roberts DESIGNER Daniela Di Padova HEAD OF ADVERTISING Myles Lester ADVERTISING SALES EXECUTIVES Ceri Wood John Ward MARKETING EXECUTIVE Frances Innes-Hopkins MANAGING DIRECTOR Mark Owens PUBLISHER Derek B Smith PRINTED BY Wyndeham Grange Ltd Butts Road Southwick West Sussex BN42 4EJ PRODUCED BY Rhinegold Publishing Ltd, Rhinegold House 20 Rugby Street London WC1N 3QZ ADVERTISING T: 020 7333 1733 F: 020 7333 1736 PRODUCTION T: 020 7333 1759 F: 020 7333 1768 EDITORIAL T: 07785 613 147 F: 020 7333 1766 E: classical.music@rhinegold.co.uk W: www.rhinegold.co.uk.

Telephone calls may be monitored for training purposes SUBSCRIPTIONS T: 01371 851892 F: 01371 851808 E: rhinegold@escosubs.co.uk Esco Business Services Ltd, Trinity House, Sculpins Lane, Wethersfield, Braintree, Essex CM7 4AY Classical Music tries to avoid inaccuracies. If readers believe that an error has been made they should contact the editor before taking any other action Save 15% on your sheet music at ScoreStore.co.uk. Enter RG817 as promotional code when ordering from the ScoreStore website, or call 0118 976 2020 to place your order.

ACADEMIC NOUS PETER SIMMONDS NOTTINGHAM I enjoyed reading Elena Gabor’s contribution to the ongoing debate about the value of El Sistema and its philosophically-aligned cousins in the UK [Letters, 15 Dec]. Few people reading this magazine are likely to disagree with the notion that classical music, and music education in general, has some intrinsic value. Yet, if we are going to make that point convincingly to those outside the music family, those holding the purse strings, it can only help to have some academic arguments at the ready.

Ms Gabor is of course careful to point out that more research is necessary. Yet that is surely one of the main benefits of the various In Harmony pilot projects in the UK, which have been criticised for being expensive and focusing their resources unfairly on small groups. I should like to see a breakdown of how much all those gold medals cost us before having much truck with that argument.

GOOD MONEY, BAD MONEY NAME & ADDRESS SUPPLIED LONDON RHINEGOLD PUBLISHING

BBC/LEFT BANK/BERNARD WALSH

EDITOR Kimon Daltas

I think it is reasonable to expect that the main ‘issue’ facing the arts in 2013 will be that of funding. Arts organisations are of course

Francesca Annis and Alfred Molina as Joyce and Barrie in the BBC’s Loving Miss Hatto

prosecute the erring husband, believing that what he did was not for commercial gain but to build a monument to his dying wife. accustomed to being creative when it comes to building an operating budget. Using a combination of sources – subsidy, lottery grants, tickets, fundraising, sponsorship – will be familiar to any arts company, or at least any which is serious about surviving.

But I wonder if anyone asks or cares where the money comes from. Do I stop to think that a lottery grant is the result of a regressive form of taxation? Or that the corporate entity I’m petitioning for loose change is not only using its clout to decide how tax revenues are spent – via match funding or even just gift aid – but most likely using all manner of ingenious schemes to avoid tax at the other end.

As a fundraiser, my job is to raise funds, not to look gift horses in the mouth. It’s a complicated world, and mostly I think that the money is better spent on music than going towards bonuses.

Then again, we don’t just take the money – we allow these companies to use our names to portray themselves as pillars of society. But do lines need to be drawn? Is oil money ok? Arms manufacturers?

It feels like a debate needs to be had.

EMAIL: letters@rhinegold.co.uk WRITE TO: The Editor, Classical Music, Rhinegold Publishing Ltd, 20 Rugby Street, London, WC1N 3QZ FOLLOW US ON FACEBOOK: Classical Music Magazine FOLLOW US ON TWITTER: @ClassicalMusic_

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inside view

Never mind the width, feel the quality Keith Clarke Consultant Editor New year, new beginnings. In January we emerge from the warm glow of nostalgia to face the cold light of a new dawn, whatever it may bring. In music, the warm glow got off to an early start at the tail end of November with an 80th birthday concert for former Wigmore Hall manager William Lyne, looking unbelievably sprightly for an octogenarian. (Top marks to senior house manager David King for his pre-concert warm-up act. ‘Coughing.

We don’t like it, so don’t do it,’ he said with schoolmarm severity, before swooping to the Steinway to lead us all in Happy Birthday to You, a duty he seems to perform for his old boss at ten-year intervals.) The programme was a classy version of These You Have Loved but also boasted the world premiere of From the Jersey Side by William Bolcom, who was in the audience.

What about the new dawn? By the time this issue hits doormats and iPads the Park Lane Group Young Artists series will have been putting some sparkle in the New Year (it runs 7-11 January, so early readers might still catch a bit of it in the Purcell Room) and the fact that the series has been running for half a century should not let us take for granted a positively inspiring celebration of young music-making with an emphasis on new music.

Contemporary music is the theme of the year, really, since the whole 12 months are

filled with the wonder of The Rest is Noise festival at the Southbank Centre, based on Alex Ross’s iconic book. With 250 events, 18 orchestras, 100 concerts, 150 talks, debates and film screenings, this is really one for the record books. But never mind the width, feel the quality. What better way of celebrating the soundtrack of the 20th century? It is amusing to see the London Philharmonic giving over a whole year to an exploration of ‘how war, race, sex and politics shaped the most important music of the 20th century’ so soon after suspending musicians on the basis that ‘music and politics don’t mix’, but

there we are. For me, the winning remark at the launch event was principal conductor and artistic advisor Vladimir Jurowski saying never mind the 20th century, when can we give over a whole year to the music of the 21st century?

There are not many cities in the world that could rise to the occasion with a festival on this scale. London 2012 might have got all the column inches, but 2013 looks like an absolute cracker from a music business that is up against the wall financially, yet time and again proves itself absolutely world class at putting on a show.

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news

New year honours 2013: classical music awards ALEX STEVENS

CBE XX Michael Berman, chairman, Southbank Sinfo-

MBE

nia – for services to music and philanthropy XX Ruth Mackenzie, director, Cultural Olympiad – for services to the London 2012 Olympic and Paralympic Games

XX Nicola Benedetti, violinist – for services to

OBE XX Prof Derek William Aviss, lately executive

director and joint principal, Trinity Laban Conservatoire of Music and Dance – for services to higher and music education XX Professor John Butt, Gardiner professor of music, University of Glasgow – for services to music in Scotland XX Keith John Griffin, musician – for services to music in Wales (founder of the National Youth Brass Band of Wales and the Welsh Amateur Music Federation) XX Darren Richard Henley, managing director, Classic FM – for services to music XX Pauline Etkin, chief executive, Nordoff-Robbins

music and to charity XX Spencer William Freeman – for services to

music and the arts in Eastbourne, East Sussex XX Coral Lydia Gould, singing teacher –

for services to music and the arts XX Trevor George Tipple – for services to church

music in Worcestershire XX Mrs Elaine Griffiths, music teacher, Stanley

Primary School, Teddington – for services to education XX Jillian Lesley Johnson, artistic director of concerts, University of Leeds – for services to higher education and music in Leeds XX Ms Jill Love, creative director, Silver Programme, The Sage Gateshead – for services to music in the community XX Lady Judy Gordon Martin, director, Young Person’s Concert Foundation – for services to music and to charity

Bob Jones

Decca/Simon Fowler

In a new year honours list dominated by sporting personalities, a number of figures from the classical music world were also recognised, including CBEs for Ruth Mackenzie, director of the Cultural Olympiad, for services to the London 2012 Olympic and Paralympic Games, and Michael Berman, chairman of the Southbank Sinfonia, for services to music and philanthropy.

Darren Henley, managing director of Classic FM, was awarded the OBE for services to music. Mr Henley is also an influential voice in music education.

Violinist Nicola Benedetti, who has been active as a mentor and advocate for the Sistema Scotland education project as well as maintaining her career as an international soloist, was awarded the MBE. The honour capped a successful year for the 25-year-old violinist, as her CD The Silver Violin was the best-selling disc of 2012.

Music Therapy – for services to music therapy David Munns, chair, board of governors, Nordoff-Robbins Music Therapy – for services to the music industry and charity XX František Jan Nevrkla, chair, Phonographic Performance Limited – for services to the British music industry

Honoured: Darren Henley OBE

Best-selling: Nicola Benedetti MBE

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