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ISM MUSIC JOURNAL MAY/JUNE 2021

Welcome Spring feels like it is upon us with beautiful sunny days, birdsong and blossom adorning the country. Lockdown restrictions are being eased across the four nations and there is a glimmer of light emerging from what has been a very difficult year for so many in the music profession.

Live performance seems to be back – of course always with the caveat of social distancing – but the future is unsure. Pressure continues for the government to do more in terms of providing insurance cover for the badly-hit performance sector, and in particular for festivals. Please see our in-depth features on festivals not just in the UK but around the globe on pages eight to 20.

Above: Deborah Annetts Photo: Mark Thompson

While it is to be welcomed that school-age children are now back in the classroom, there is no doubt that the past year will have impacted adversely on music education – for more information please do read the Heart of the School is Missing, the research we published at the end of last year, at ism.org/news/heart-school-missing-report On a positive note, however, our very recent fees survey showed that despite all the challenges, music teachers have been able over the past year to maintain the level of fees they have been able to charge for private lessons.

And teachers are telling us that there has been an increase in adult learners, which is to be welcomed. Do read our feature on page 24; and the full report is available at ism.org/advice/the-isms-annual-survey-of-teachingexamining-and-accompanying-rates-survey-results-2021 Music education has been at the centre of discussion in England following the delayed publication of the Model Music Curriculum (MMC). The ISM was not involved in devising the MMC and we responded to its publication with a thought piece by Dr Jodie Underhill, our in-house researcher, and Kevin Rogers, our past Board member, music educator, adviser and former inspector; a summary of this article can be read on page seven and the whole piece is available at ism.org/news/reviewing-model-music-curriculum. Kevin has also produced many music education materials for the ISM, which can be read at ismtrust.org/resources/education-resources

Front Cover Corinne Bailey Rae performing at Bath Festival Photo: Bath Festivals See feature on pages 8-11 Insert images:

This year, our Members’ Day event called Building for the Future was held on 24 April and I am delighted that so many of you were able to attend. It was also great to have such a lively, open forum and to hear your own experiences of the past year. You can view the event online: ism.org/future Lastly, I would like to say a big thank you to Dr Jeremy Huw Williams who stepped down from the Board on 24 April. Jeremy has been the most wonderful President and Board member and steered the ISM through many challenges during his tenure. And I would also like to say a big thank you to Professor Chris Collins who has been President over the past year – it has not been easy but with the help of these two formidable Presidents we have made it through in one piece. Thank you.

See feature on pages 24-25

Contents 4 7 8 12 16 18 21 22 24 26 27 33 40

News & campaigns Reviewing the Model Music Curriculum Festivals: The show must go on Festivals: Beyond the UK Festivals: Terms and conditions to watch out for Festivals: The performers’ perspective Professional Development Phonographic Performance Limited ISM survey of fees 2020-21 Classified advertising News from our members News from our corporate members Ask me a question

Volume 88 / Number 1 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Incorporated Society of Musicians is a limited company registered in England No. 36882. Registered Office as address above.

Editor: Deborah Annetts Sub-editors: Vinota Karunasaagarar Clare Stevens Proofreader: Christine Gwyther-Scott All ISM publications are copyright

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Ruth McPherson, Senior Partnerships & Marketing Manager T. 020 7313 9316 E. Ruth.McPherson@ism.org Editorial and advertising copy date: 1 June 2021 for July/August 2021 issue Price: £7 per copy Subscription: £35 per year Circulation: 10,000 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

Printed by Optichrome, Woking GU21 5HX ISSN 0951 5135

See feature on page 7

deborah@ism.org

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS & CAMPAIGNS

News & campaigns The immediate impact of Brexit on musicians In recent weeks, as the situation for musicians has become clearer, protecting the viability of performing in Europe has been a top priority for the ISM. We have sought every possible opportunity to campaign for a reduction in the additional costs, delays and paperwork created by the Brexit agreement.

UK musicians from touring, as Europe begins to reopen after the coronavirus.

Read our report: ism.org/news/ professionally-paralysed-brexit-report We are continuing to call on the government to: • negotiate a bespoke visa waiver agreement with the European Union (EU) that is separate from the trade deal exempting touring performers, creative teams and crews from needing to obtain a visa when seeking paid work

We know how concerning this situation is for our members and we are committed to finding • prioritise bilateral discussions with individual collaborative solutions for a sector that is already EU Member States that do not offer cultural suffering. That is why we have joined forces with the exemptions for work permits, such as Spain, Italy, Musicians’ Union to maximise our impact. Our Chief and Portugal, as well as those which are financially Executive Deborah Annetts and MU’s General Secretary the most important to UK performers Horace Trubridge are working closely together and demonstrating a unified voice for musicians.

• publish guidance to help the performing arts sector navigate the different requirements for each Together with the Musicians’ Union, we have published European country. The ISM has already compiled a a report (31 March) with personal testimonies from comprehensive overview of these rules, but now we music professionals who are facing economic disaster need authoritative Government advice to provide as a result of Brexit. It contains 17 named case studies reassurance across the touring supply chain. and eight anonymous stories that reveal how new administrative and financial burdens are preventing

ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS & CAMPAIGNS

We have produced a guide summarising the visa and work permit requirements for UK performers touring in Europe, as part of a range of support and services that we offer.

View the ISM visa and work permit requirements guide: ism.org/advice/ eu-work-permit-requirements-for-musicians ISM’s Chief Executive Deborah Annetts gave evidence to the House of Commons Digital, Culture, Media and Sport (DCMS) Select Committee on 16 February on the impact of EU visa and work permit arrangements for creative workers, speaking alongside Lyndsay Duthie from the Production Guild of Great Britain and lighting designer Paule Constable of the Freelancers Make Theatre Work campaign. As calls continue to grow for the government to find a way of restoring frictionless work travel for musicians, the hearing was a valuable opportunity to demonstrate to Government the adverse impacts of the UK-EU Trade and Cooperation Agreement (TCA) on musicians and touring professionals. Speaking to the committee of MPs, Deborah and the panel provided personal testimonies from individuals across the music industry, a great many of whom relied on work in the EU and now face a crisis of livelihood. The session received widespread media coverage from across the UK, resulting in the ISM securing the most press coverage in its history.

View highlights of the evidence session: ism.org/news/ism-evidence-dcms-committee

Read more about the report and its recommendations: ism.org/news/ lords-call-new-brexit-agreement The following day (25 March) the Prime Minister gave evidence to MPs and said the government was working to find a solution to mobility issues around visas, work permits and moving goods between the UK and EU. When questioned by the Liaison Committee of MPs, Prime Minister Boris Johnson praised the creative industries and said that challenges around touring and cultural exports ‘must get ironed out’ as part of ‘a two-way street’ with the EU. Johnson also said that the government was working ‘flat out’ in bilateral conversations with EU member states.

This is crucial for securing visa-free touring and work permit exemptions for musicians and other creative professionals.

These comments followed questions from Julian Knight MP, Chair of the DCMS Committee ,who also asked about the challenges involved in the return of live performance, particularly related to COVID cancellation insurance. In response, the Prime Minister praised the work of his government colleagues in supporting the return of the sector.

COVID-19 campaigning

On 24 March 2021, peers in the House of Lords published a report that said the creative industries need a new agreement to resolve issues with mobility arrangements and moving goods between the UK and EU.

The coronavirus pandemic has had a devastating impact on the music industry and its workforce.

Venues have not been permitted to open due to safety restrictions or, when allowed, it was not viable for them to do so with reduced audience capacity.

The EU Services Sub-Committee report, titled Beyond Brexit: trade in services, used the ISM’s research as part of its examination of the future UK-EU relationship on trade in services. It adopted many of our recommendations in its section on the creative industries, noting that:

With over 40% of musicians not having received any financial support, and many more considering leaving the profession, it is imperative that the government protects our world-leading arts sector. That is why the ISM continues to campaign to ensure that musicians will not have to turn their backs on their careers and talents.

‘we agree with the Incorporated Society of Musicians that the UK should enter “bilateral discussions with individual EU Member States that do not currently offer cultural exemptions for work permits”.’

Following the Chancellor’s Spring Budget on 03 March 2021, the most important decision was the extension of the Self-Employed Income Support Scheme (SEISS), the furlough scheme and the £20 Universal Credit uplift. We were also pleased to see the extension of the reduced VAT rate and further funding for the arts and cultural sectors.

The report also suggested the sector needs new funding to replace the EU’s Creative Europe programme as well as the maintenance of high standards of protection for intellectual property.

Access the ISM’s new visa and work permit advice service The ISM recently partnered with touring experts Viva La Visa to offer a new visa and work permit advice service to ISM members who work overseas. You can access half an hour of free advice, helping you to navigate the

required work permits and visas in the country or countries you are visiting on your next work trip.

Find out more: ism.org/visa-service

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS & CAMPAIGNS

In recent weeks, we have campaigned for the government to implement these measures by writing to the Chancellor, making a submission to the Treasury as part of the Creators’ Rights Alliance and commenting on the new funding for the arts.

Read our response to the 2021 Budget: ism.org/news/ism-response-budget-2021 Over the next few months we will be calling on the Government to remove the obstacles to venues reopening, improve the viability of live performance and help ensure the sector continues to attract and retain talent. This will include our suggestions that were not adopted in the Budget, such as expanding existing support for freelancers, and creating a government-backed reinsurance scheme and new tax relief measures. We are also calling for improvements to the Cultural Recovery Fund.

As we start the second year of the pandemic, we know how challenging this period has been for our members. That is why we are more determined than ever to make the government appreciate the contribution of the music sector and how we need urgent, effective support to prevent an exodus of world-leading talent.

We received written confirmation from Arts Council England that the Department for Education has committed £79 million in the 2021-22 financial year for music education hubs. This is a welcome reassurance for music teachers and the future of hubs after a difficult year.

The funding announcement comes after Schools Minister Nick Gibb confirmed the national plan for music education has been put on hold following the outbreak of COVID-19.

The plan was announced in February 2020, just before the pandemic began, and promised to level up opportunities for children from all backgrounds to take part in musical education.

In a written response published on 17 March, Gibb said a call for evidence was launched to refresh the national plan but ‘due to the COVID-19 outbreak, analysis of the call for evidence and the refresh of the national plan is currently on hold’.

Read more about our COVID-19 campaigning and our policy asks: ism.org/campaigns/ coronavirus-campaigning

Championing music education across the four nations The new Model Music Curriculum (MMC) was released by the government in April 2021. It is a non-statutory document for potential use in England’s primary and secondary schools and offers guidance to help specialist and non-specialist teachers deliver music lessons.

The MMC aims to identify ‘the core concepts that are needed for pupils to progress in their study of music’ and demonstrate ‘how pupils can build their understanding of these concepts from year 1 to year 9’.

Read our next feature for a summary of our review of the MMC.

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This lesson explores the basics of al) the melodic (rāg) and rhythmic (tāl) structures of North Indian classical music sargam, as you gradually learn to play a short composition, Sargam Gīt. ism.org/indian-takeaway

ISM MUSIC JOURNAL MAY/JUNE 2021 | REVIEWING THE MODEL MUSIC CURRICULUM

Reviewing the Model Music Curriculum ISM Research Associate Dr Jodie Underhill and music education specialist Kevin Rogers examine the Model Music Curriculum, looking at how music teachers can use it to help review and critique their existing music curriculum, and introducing the ISM’s comprehensive review Despite the largely negative landscape for music education that has arisen as a consequence of government policy in recent years, the publication of the Model Music Curriculum (MMC) is an important contribution to the debate about the role of music education in schools, and in particular the role and nature of curriculum music for all students.

Above: Dr Jodie Underhill, ISM researcher

areas suggested by the MMC (defined as singing, composing, performing and listening) offer a different perspective on key learning that you might want to explore further?

• Do you emphasise in your own music curriculum any additional areas of learning that are not included in the MMC (i.e. overarching musical understanding)? Do you remain confident that The specific purpose of curriculum music is often these are justified within your own context? misunderstood. The MMC endeavours to spell it out, as well as making clear the essential links to instrumental • What strands do you currently focus on within the learning and ensemble participation and the breadth key areas of learning (e.g., improvising within of music making and sharing opportunities beyond the composing)? Are there any consistent strands in classroom that make music so important to a school’s the MMC that, on reflection, you think you might overall health and wellbeing. want to explore further in your own curriculum?

There is clear intent in the MMC that curriculum music • How do you define your expectations of progression should be a regular part of every student’s learning. in learning, and how do these compare with those Also welcome is the very clear message that curriculum described in the MMC – in particular with reference music for all is a distinct but hugely important strand to continuity of learning across year groups and within a school’s overall music education provision.

Key Stages? Does the MMC raise any questions The only way to ensure access for all pupils and levelling about progression for learning within your existing up of opportunities is through classroom music. curriculum, and how might you go about exploring potential developments?

Using the MMC

Above: Kevin Rogers, past Board member, music educator, adviser and former inspector

For the full review of the MMC, which investigates the policy decisions that led to its creation, and provides a more thorough interrogation of the document, see: ism.org/mmc

The ISM suggests that music teachers might use the MMC to help review and critique their existing music curriculum, which will no doubt have been developed over time in order to reflect a school-wide consensus on the values, purpose and functions of classroom music within the total curriculum provision of the school.

• What is your existing approach to creativity in the music curriculum (especially for any learning developed through composing activities), and does the MMC offer any new ideas over and above these?

• Does your curriculum ensure that a good breadth of both new and existing music is used to stimulate learning; and is it clear how specific pieces can be used in different ways to develop different learning? Are there any aspects of the listening lists in the MMC that you might wish to explore?

An important professional attribute is the ability to constantly question, review and enhance existing practice. Given the current Ofsted focus on curriculum intent, implementation and impact, and the return to • How will you engage with your local Music more normal teaching after a year of online provision Education Hub or other providers to promote during the pandemic, the MMC could become part of again the case for curriculum music in school, to an important ‘stock-take’. Teachers might, therefore, engage with CPD in specific areas that you feel are ask a series of questions using the MMC as a prompt to important, and to ensure that the links between gauge whether it offers new ideas that could enhance curriculum music and other aspects of music previous and future curriculum music provision. education (especially in the areas of instrumental learning and other musical events or opportunities) Examples of such questions might be: become a reality for all students?

• What key areas of learning do you currently use to frame your own curriculum around? Do the

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Festivals: The show must go on This time last year, one music festival after another was announcing either complete cancellation of their events, or plans to present virtual festivals of filmed performances by artists who had been booked to give concerts. Some offered immediate refunds to ticketholders; some appealed to their supporters not to claim refunds in order to help offset running costs; others advised patrons to hold on to their tickets for use in 2021.

Above: Clare Stevens Photo: Bruce Childs

Read our next feature to discover how other countries are returning to performing

Few people imagined that there would still be uncertainty 12 months later; but as this feature was being researched in early April, the websites of music festivals across the UK were still full of words such as ‘provisional’, ‘hybrid’, ‘virtual’ and ‘different’, with many performer line-ups listed as ‘to be confirmed’ and booking dates delayed for as long as possible.

Similar insurance policies are already widespread across Europe, and by comparison the German Federal Government pledged €2.5 billion to insure events for the second half of 2021, while Austria, Sweden and the Netherlands have invested around €300 million in One reason for this, is the failure of the commercial similar schemes.

Another issue facing performers is that of fees insurance market to offer suitable policies, which offer and one that event organisers need to be mindful cover against COVID-related cancellations. Industry of.

Recently the ISM wrote to Lamport Hall regarding sources have suggested that products will become their advertisement for an unpaid opportunity for available in the next 12 to 24 months but this is too musicians.

The letter focused on the importance of long to wait and we have already seen the cancellation music as a viable career and stressed the critical role of many festivals that had been announced for the that venues and event organisers will play in the summer – including Download, Kew the Music performance ecosystem by supporting musicians and and Glastonbury. To stop the flow of cancellations ensuring the continuation of the future talent pipeline. becoming a flood and to prevent another year without It is unacceptable for any venues or event organisers summer festivals, we must act now. to take advantage of musicians, many of whom find The ISM has signed a joint letter to the Prime Minister themselves in a desperate situation because of the calling for some of the remaining £400m from the adverse impact of COVID-19. £1.9bn Cultural Recovery Fund (CRF) to be used to fix this problem. As the letter notes: ‘there is simply no better or more efficient way to use CRF funds… than to enable people to get back to work’. Unlike much of the distribution of this money so far, it would be using public funding in a way that reached individuals and not just organisations – particularly the freelancers who have suffered the biggest loss of work during COVID.

Left: Sophie Ellis-Bextor at Bath Festival Photo: Nick Spratling

£500 million Restart Scheme for Film and TV which helped delayed productions obtain insurance has set an important precedent. Promoters and venues could pay into a dedicated fund, to be matched by the government, in addition to an additional premium paid by the insurance industry. A similar model has been used by an equivalent scheme covering terrorist attacks, which has generated £990m for the Treasury since it began in 1993 at no cost to the taxpayer. UK Music estimated that a £650 million fund would allow £2 billion worth of activity to go ahead.

In the aftermath of the effect of Brexit and COVID19 on the music sector, the government needs to prioritise funding the arts. The ISM believes that the

Our research indicates some festivals are proceeding, albeit cautiously and with the option to use digital.

Last year the legendary Glastonbury Festival’s 50th anniversary celebrations inevitably fell victim to the pandemic. The festival drew on archive footage to create a free #GlastoAtHome online festival in collaboration with the BBC, and had hoped to be able to put on a live event with audiences this year; but in January the organisers Michael and Emily Eavis were forced to announce that Glastonbury 2021 would be a Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

ticketed global livestream on 22 May. Details of the programme were revealed in March; filmed across Glastonbury’s Worthy Farm site in Somerset, at landmarks including the Pyramid Field and the Stone Circle, the event will see a range of artists giving their time to perform in support of the festival. Coldplay, Damon Albarn, HAIM, IDLES, Jorja Smith, Kano, Michael Kiwanuka, Wolf Alice, plus DJ Honey Dijon, will all perform as part of an uninterrupted film production.

Accessible only to ticket buyers, the online event will be broadcast in full around the world, and will support Glastonbury’s three main charitable partners, Oxfam, Greenpeace and WaterAid, as well as helping to secure the festival’s return in 2022.

In May 2020 Bath Festival consisted of a small number of archive films and a series of blog posts reminiscing about ‘A Day in the Life’ of members of the admin team, recalling how events are normally managed and some of their personal highlights of past festivals.

This year the festival is confident that it can go ahead from 17–24 May with a mixture of live and digital events, including the Gesualdo Six singing at the Roman Baths, the Bath Festival Orchestra in Bath Abbey, and the Heath Quartet performing the complete Beethoven Quartets – postponed from the composer’s 2020 anniversary year – in the Assembly Rooms.

‘Come what may, this year’s festival will showcase Bath for a global audience,’ according to chief executive Ian Stockley. ‘Unlike many other festivals that have to construct their own festival villages, we are able to use historic buildings which were built by previous generations to house large gatherings.

With their spacious rooms and high ceilings, they are adaptable for use adhering to social distancing rules.

Above, from top: Photos courtesy Fishguard, Bath, Portsoy, Edinburgh, Leeds & Towersey festivals

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necessary safety protocols will be in place, including testing for COVID. Another August Bank Holiday event is Towersey, a particularly family-friendly festival which takes place on the Claydon Estate in Buckinghamshire. ‘We ran a survey of our ticketholders back in February this year, asking how they would feel about attending, in order to inform our planning for 2021 and 2022,’ says organiser Joe Heap, whose grandfather founded Towersey in 1965.

‘Recent government announcements have been positive, but we’re not getting ahead of ourselves.

Unlike many of the larger events which are busy announcing that it’s all go, as a small independent we can’t take too much of a risk. The safety of our audiences, artists and staff will always come first; the end of August is still several months away and we all know a lot can happen between now and then.

‘I am confident that there will be a Towersey Festival this year, but what that is exactly is not quite decided yet. It will be different, that is for sure, but it will be safe. If it needs to be socially distanced it will be, if it needs to be smaller to allow that to happen it will be, if we need to have twice the number of toilets, cleaned twice as often as usual, then we will. We’ll follow the official guidelines and also make our own judgment as to what’s right for the festival. Whatever happens, it will be fun and full of Towersey magic.’

Leaving decision-making as late as possible while keeping potential audience members informed and giving them time to make travel and accommodation plans is a difficult balancing act, admits Alexis Paterson, chief executive of the Three Choirs Festival, which was cancelled completely in 2020. In early April this year she and her colleagues were authorised by the festival’s Board to proceed with a ‘Plan A’ for going ahead in Worcester 24 July–1 August, with a programme that carries echoes of their previous plan, but on a reduced scale. The biggest challenge is posed by the evening cathedral concerts that involve the professional Philharmonia Orchestra and a large amateur chorus – they are the essence of the festival, but even in normal times the number of people packed on to the stage is the maximum allowed by health & safety regulations.

‘Our team has worked long and hard to bring audiences a festival for our times. They have meticulously planned how to work under current government guidelines; audience and artists’ safety is paramount. During this shared experience of the pandemic the role of the arts has more than ever highlighted what makes us human and how vital music and books are to our lives. Bath Festival has been accredited with a “Good to Go” status by Visit England and we are very proud to present this unique ‘We’ve decided to start rehearsing the chorus hybrid programme which will both delight live audiences and showcase our World Heritage city to the for four concerts, hoping that the next stage of the government’s roadmap will allow them to perform, rest of the watching world.’

Liam Gallagher, Queens of the Stone Age, Stormzy, but we realise we may have to adapt our plans in response to changing circumstances,’ explains Post Malone and Nova Twins are among the acts Paterson. ‘Our booking system will be much more booked to appear at the linked Reading and Leeds Festivals over August Bank Holiday weekend. Tickets flexible than in the past, to allow for refunds if ticketholders have to self-isolate or late booking if we have been put on sale, and at the time of writing find we can reduce the two-metre distancing between were sold out for Reading, with a few still available household groups in order to increase seating capacity. for Leeds, but with the proviso that the festivals will And we are using a smaller number of venues, within a only take place if the situation in the UK is deemed safe by the government’s Chief Medical Officer, with all smaller radius of Worcester city centre, so that we are

ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Festival chairman David Urquhart said that he and not sending our audience off on coaches to churches or his colleagues simply could not plan with any degree of concert halls in outlying towns as we usually do.’ confidence that they could deliver the event the town In Wales, one of the biggest and most familydeserved, and their visitors had come to expect. ‘Public friendly music festivals is Green Man, which takes health has to be our key concern … the digital festival place in August on an estate just outside the will maintain our profile, providing some fun and picturesque town of Crickhowell in the Brecon Beacons. Tickets for 2020 were rolled over to this year entertainment on the weekend it was due to take place in Portsoy, and giving a taste of things to come in 2022.’ and the organisers are hoping that the event will be able to take place, but in the first week of April they had not yet announced the line-up or put tickets on sale, pending guidance from the Welsh government.

‘The health and safety of everyone at Green Man is our key priority and we’re closely monitoring the situation as it develops and will keep everyone posted,’ stated the festival website.

Fishguard and West Wales International Music Festival has announced a shortened programme, in early autumn instead of late spring.

It includes a new work by Steph Power for the official harpist to HRH The Prince of Wales, Alis Huws; performances by members of the BBC National Orchestra of Wales and Welsh National Opera Orchestra; and two concerts by Manchester-based quartet Kabantu, who celebrate marriages of different musical styles from around the globe. ‘It remains to be seen whether live performances will be permitted,’ says the festival’s artistic director, Gillian Green. ‘In any event, the concerts will be video-recorded for transmission online.’

Another Welsh festival, Presteigne, is planning to move some of its larger-scale events over the border to Leominster Priory and Hereford Cathedral, where there is more space to accommodate a distanced orchestra and audience than in its usual home, St Andrew’s Church in Presteigne. Artistic director George Vass sincerely hopes planned performances can go ahead between 26–31 August, with Cecilia McDowall as composer-in-residence, a celebration of the centenary of Malcolm Arnold’s birth and a mini-focus on the music of Michael Tippett, as well as the usual crop of premieres, but publication of the programme is not expected until mid-May, a month later than usual.

A more upbeat announcement, however, has been made by Edinburgh International Festival. ‘We are thrilled to announce our reimagined Festival for 2021, marking the return of live performance to Scotland’s capital city after over a year of silenced theatres and concert halls. Taking place 7–29 August, the 2021 International Festival will use bespoke, temporary outdoor pavilions in iconic, easily accessible spaces throughout the city, including Edinburgh Park and the University of Edinburgh’s Old College Quad, to safely reunite our artists and audiences to rediscover the magic of live performance.

‘The pavilions will feature covered concert stages and socially distanced seating to create a beautiful setting for audiences to safely enjoy live music, opera and theatre once more.

The health and safety of the entire festival community is at the heart of our plans for this year’s festival, so we are working with the Scottish Government, City of Edinburgh Council and other relevant authorities to implement appropriate COVID-19 safety measures, including shorter performances with no intervals, physical distancing, regular cleaning and contactless ticketing.’

Its sister event, the Edinburgh Fringe, has announced that it will return from 6–30 August and is currently working out what form it will take. It will be a real sign of hope if visitors can return to the streets of Scotland’s capital this summer.

Bathfestivals.org.uk

Throughout the pandemic, regulations relating to musical performance and public gatherings have been tighter in Scotland than in the rest of the UK, and many festivals listed on the ‘Scotland Welcomes You’ website are billed as ‘online’ or ‘returns 2022’. But others are hopeful that they can go ahead.

Edfringe.com

Organisers had hoped to stage The Scottish Traditional Boat Festival at Portsoy, in Banffshire on the Moray Coast, on the weekend of June 26-27, in a format meeting COVID-19 restrictions, but in midApril announced a digital-only festival for this year.

The event includes musical performances around the harbour and normally draws in a crowd of 16,000 people.

leedsfestival.com

eif.co.uk (Edinburgh International Festival) fishguardmusicfestival.com Glastonburyfestivals.co.uk greenman.net presteignefestival.com readingfestival.com stbfportsoy.org 3choirs.org towerseyfestival.com

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Festivals: Beyond the UK Successful control of COVID-19 infections means that some countries are allowing large-scale music festivals to go ahead, while others remain cautious. Clare Stevens reports Astonishing though it may seem to UK readers who went straight from Christmas into a long, long spring lockdown, on the other side of the world around 20,000 people are believed to have celebrated New Year in New Zealand by attending the nation’s largest music festival, Rhythm and Vines, in Gisborne on North Island from December 29-31, 2020. Due to New Zealand’s successful handling of the pandemic, ticketholders were not required to wear masks nor socially distance from each other for the festival, which saw performances by Fat Freddy’s Drop, Benee, and BROODS. On South Island, the Rhythm and Alps Festival marked its tenth anniversary by inviting 10,000 people to ring in 2021 in Wanaka, with sets by Six60, Chaos in the CBD, and Shihad. Northern Bass Festival in Mangawhai, an hour north of Auckland, also celebrated 10 years with a New Year celebration spanning three days and nights. More recently, at the end of March the harbourside in Wellington, North Island was packed for Jim Beam Homegrown, which as the name suggests has always been a Kiwi festival showcasing the finest musical talents that New Zealand has to offer, with more than 50 acts spanning genres and generations on six stages. COVID-19 was not even mentioned on the Information or FAQs pages of the Homegrown website.

The picture is not quite so positive in Australia, where the inaugural Inverted festival of punk and pub rock in Queensland due to take place on 1 May was cancelled at a month’s notice, due to concerns surrounding COVID-19 cases in Brisbane and new government Health Orders impacting people throughout Queensland, as well as those in the Northern Rivers area of New South Wales.

‘The decision has not been made lightly,’ said the organisers, ‘but comes at a time where preparations had commenced to create a festival event for fans, free of zoning restrictions.

Left: Kenneth Woods, artistic director of Mahlerfest

‘Inverted Festival was ambitious in size and scale, with a goal to become the largest standing music festival in Australia since the pandemic first hit. Following the recent last-minute Health Order cancellations of similar large events, it’s evident the

production of this large-scale event isn’t flexible enough to cope with the current fluctuating COVID status alerts and uncertainty in the community.’

And the Byron Bay Bluesfest in New South Wales (NSW), scheduled for the first week of April, was cancelled with just one day’s notice, according to the NSW health authority, ‘to minimise the risk of the highly infectious COVID-19 variant of concern being transmitted in the local area, as well as across states and territories.’ It added, ‘Infectious Queensland travellers attended a number of venues in the Byron Bay area and the new locally acquired case was infected at one of these venues.’

Smaller-scale events are less risky, however.

A semi-staged performance of Purcell’s King Arthur was able to go ahead with soloists, choir and orchestra in the beautiful outdoor quadrangle of St Paul’s College, on the University of Sydney campus in April; and the British pianist Kathryn Stott sincerely hopes to be able to welcome audiences in person to her final programme as artistic director of the Australian Festival of Chamber Music (AFCM) in Townsville 23 July–1 August. While many of the musicians who should have travelled from all over the world to take part cannot now do so, the festival stars more than 40 Australian musicians, 15 in their AFCM debut, as well as three ensembles, and will feature 133 works, 112 composers, four world premieres and five Australian premieres. ‘What a rollercoaster we have all been through with such unimaginable times on a global scale,’ comments Stott. ‘The world of live music became eerily silent for far too long, but I am so excited about an absolute thriller of a festival programme for 2021! I am incredibly proud to bring together such an outstanding group of Australian musicians.’

In Iowa, USA, Des Moines Metro Opera (DMMO) should be taking place as you read this issue of MJ, following the implementation of a detailed plan devised by general and artistic director Michael Egel to deal with the threat from COVID-19.

After adding a COVID Compliance Officer to the team in February, DMMO decided to implement a mandatory vaccination policy for all company

Photo: Benjamin Ealovega

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Above left: Kathryn Stott (centre) and colleagues at the Australian Festival of Chamber Music Photo: AFCM Above right: Marlboro Chamber Music festival, Vermont Photo: Pete Checchia

members, numbering over 200 and including singers, orchestral musicians, design and production personnel, apprentice artists and administrative staff.

opportunities to our musicians, to ease the loneliness and isolation they have felt, and to make them, once again, feel valued, respected, and supported.’

DMMO did not take this decision lightly, but they believe a vaccinated community is the first and baseline mitigation step in ensuring the safety of all and a return to staged performances in July 2021.

‘Vaccination will not be the only mitigation measure, but it will be our most important mitigation step if we all are to sing, work and play together safely,’ says Egel. State Governor Kim Reynolds agreed to make vaccines available through the Iowa Department of Public Health to any company member who was not able to source them in their current location.

DMMO covered the costs for all company members to make an early, pre-season visit to Iowa to be vaccinated at least two weeks prior to the start of rehearsals and work.’

The Mahlerfest in Boulder, Colorado, whose artistic director is conductor Kenneth Woods, also artistic director of the English Symphony Orchestra, has been moved from May to 24–28 August. ‘Our change of date will allow us to do more in-person activities with larger orchestras and audiences,’ says Woods.

‘We will be sure to follow all COVID-19 regulations and guidelines and are working with venues now to plan for the biggest and best festival possible.

Marlboro Music in Vermont has also committed itself to reconvening this year (17 July–15 August) after cancelling in 2020. ‘This winter and spring, we have been working to determine how best to balance our competing goals: to provide our young players with the mentoring, opportunities, and support that Marlboro uniquely provides, with the overriding necessity of protecting their health and that of our senior musicians, staff, and the Marlboro community more broadly,’ said President Christopher Serkin in a letter to supporters in April. Thanks to the roll-out of vaccines, Marlboro has decided that it can safely run coaching sessions and performances; but at the time of writing Serkin was not certain whether open rehearsals or public concerts would be possible.

‘This will depend on the continuing trajectory of the virus and on Vermont regulations concerning the size and conditions of group gatherings. Our program includes singers and woodwind and French horn players who cannot perform while masked, and additional protocols are necessary for them,’ he wrote.

‘While we all yearn for a Marlboro summer like the 69 that took place prior to the pandemic, it gives us great satisfaction to anticipate providing hope and

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‘Mahler’s Fifth Symphony will be the highlight of the season, along with the world premiere of Philip Sawyers’ Symphony No. 5. Sawyers was scheduled to be our visiting composer in 2020. His fifth symphony, another fifth in five movements, was written during the pandemic. We will also host our usual symposium, chamber music concerts, and hopefully a visit to Mount Mahler, since August is a better month to do that than May.’ Support from sponsors has helped festivals to survive the cancellations in 2020 and plan for this year. Salzburg Festival in Austria has acknowledged its gratitude to corporate sponsors including Audi, Siemens and Rolex, plus new global sponsor BWT, for keeping faith with the institution in these difficult times. All being well, the summer festival will take place in the city 17 July–31 August.

Pierre Audi, artistic director of the Aix-en-Provence Festival in the south of France (30 June- 25 July), is equally determined that his event will go ahead.

There will be eight new opera productions and a concert version of one opera, covering a wide range of eras and styles, from Monteverdi, Cavalli and Rossi to contemporary creations, and the festival’s usual ambitious programme of concerts and education projects. Special measures to protect the health of all members of the public, the artists and the festival staff will be put in place; for example, before each performance, ticketholders will receive the information necessary to facilitate their reception

ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

at the performance venue, including a suggested time of arrival, any requirements for wearing a mask, the organisation of intervals, and so on.

‘Since the cancellation of last year’s festival, replaced by #THEDIGITALSTAGE, we have expanded our ambitions for its 2021 edition, which we hope will be exceptional,’ says Audi. ‘We all have an urgent need to enjoy beauty and art together, live, in the present—even though we do not yet know what tomorrow will bring.’

Elsewhere in the world, the Cape Town International Jazz Festival (CTIJF) in South Africa, already postponed from March 2020, announced last December that with the country experiencing a second wave of COVID-19, the impact of which was likely to be felt ‘deep into 2021’, further postponement until 2022 was felt to be essential. ‘While the road to CTIJF2022 will be a long one’, said the festival’s letter to sponsors and ticketholders, ‘it will not be without the joy and nostalgia jazz music brings. We have been working hard behind the scenes to bring you a brand new series of online events and smaller live jazz experiences throughout 2021.’ These will be presented under the banner ‘Jazzfix’.

However, the Rocking the Daisies Festivals, which take place in Cape Town and Johannesburg later in the year (1–3 October), were set to go ahead at the time of writing. And the One Africa Musicfest in Dubai is still scheduled for 26 November. The Abu Dhabi Festival is maximising the use of digital technology to ensure that its 2021 performances can go ahead on various dates throughout the year, with the theme ‘The future starts now’. In South America, Colombia’s Festival Estério Picnic has been moved from April this year to September, while in Chile, the organisers of Lollapalooza are still hoping their festival can take place at the end of November.

In Japan, the Fuji Rock Festival is planning a ‘special Fuji Rock under special circumstances’ at Naeba Ski Resort, 20–22 August, implementing heightened health and safety measures to prevent the spread of COVID-19 so everyone can enjoy the festival in a safe and secure environment. ‘We believe that with everyone’s cooperation and through respect and compassion for each other we can create a safe and secure space together,’ says their statement. ‘We will move forward as one to hold this year’s festival … with the belief that the future of outdoor festivals is bright.

NO FESTIVAL, NO LIFE.’

Below: Marlboro Music Festival, Vermont Photo: Allen Cohen

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Festivals: Terms and conditions to watch out for John Robinson, ISM’s Head of Compliance & Legal, provides a reminder of some things to think about in order to make sure you and your employers are well prepared for any eventuality

With the prospect of live performances with audiences once again in sight, it is a good time to consider some points to watch for if you are getting offers for work or negotiating contracts. In this feature we take a look at some issues that may affect musicians who are contemplating performing at a festival.

Your contract: make sure you understand what it means Above: John Robinson, ISM Head of Compliance & Legal Photo: Emile Holba

Read our next feature for the performers’ perspective on returning to festivals

Practical details Your contract should also be clear about a number of practical details that are relevant when performing at a festival, including:

While we are all looking forward to live music resuming • date, time and duration of your performance.

Can the promoter change the time of your fully with audiences, it is still important to make sure performance without your agreement? Check this. that any contract you have been offered deals clearly with what happens if the event has to be cancelled as • transport – who is responsible for getting you to a result of a change in guidance from the government the festival site, and from the performance space about COVID-19. to any agreed accommodation? Will you pay for this or will the promoter?

Will the promoter try to argue that the contract is ‘frustrated’? If so, what are the provisions for your • arrival and access – when can you arrive and getting paid? Can you be paid for any preparation you what are the arrangements for access, passes, have undertaken? What happens if you have already parking? How far is the stage from your parking or incurred costs (eg already paid for or placed deposits accommodation? If you have any particular access for transport, equipment hire, additional musicians, needs, agree these in advance and get them in dancers, etc)? writing.

Your contract may contain a force majeure clause.

This could have a number of effects depending on the way that it is drafted. These can include the option to rearrange the contract for a later date, but you must be careful to make sure that these do not conflict with any other existing commitment you may have made.

What happens if you unable to agree to a suggested new date because of existing commitments? These are matters which ideally will be discussed and agreed in advance.

Clauses relating to cancellations and alternative dates can be complicated and drafted in a way which makes them difficult to understand, so we would advise you to check with our legal team if you are in any doubt as to the likely effect of the new contract you have been offered.

These sorts of considerations apply quite separately from the exceptional circumstances currently arising in relation to coronavirus: cancellation arrangements should always be clear in any contract that you sign,

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and you should always understand what will happen if for whatever reason the booking cannot proceed, or if you are unable to fulfil your obligations because of illness or other personal emergency.

• soundcheck – what time, and how long?

• equipment – will you be sharing equipment with other performers? Are there provisions to ensure COVID-safety?

• accommodation – how will this be arranged, and who will pay for it?

• food and subsistence – make sure you understand what provisions are in place for keeping you properly fed and watered while you are performing at the festival. If you have any particular dietary needs, you will need to let caterers or others responsible for providing food know well in advance.

• technical requirements – your set-up may well require you to work closely with the festival’s technical teams. We have prepared a ‘how-to’ guide for members for setting up a technical rider that you can issue as part of your arrangements with the festival.

ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

• marketing – you should agree with the festival promoter and the marketing team what marketing is going to be done for your appearance at the festival. You should also check how this will be paid for. Also check what obligations may be required of you: are you obliged to promote the event on your social media channels?

• merchandise – are you allowed to bring in your own merchandise (eg CDs and vinyls, T-shirts and other memorabilia, etc)? Will the promoter expect to receive a commission on your sales? Will this be the case, even if you are not being paid for your appearance? These details should be clarified in your contract.

• insurances – the festival should have proper insurance: if you are in doubt, ask to see insurance policies and certificates. It is also likely that you will need to show that you have your own public liability insurance: ISM members have £10m PLI included as a benefit of membership and can download the current policy documents from our website.

Working safely: COVID-19 risk assessments Make sure the promoter gives you full details of how it intends to implement COVID-safe working practices at the festival. Ask to see a copy of its risk assessment – and make sure that you are given any instructions you and your colleagues are obliged to follow as early as possible, so you can understand the impact on your work and make any changes to ensure that you are following the requirements of the risk assessment.

Make sure you undertake your own COVID risk assessment: the four national governments of the UK have issued guidance for performing arts which you may find useful.

See: ism.org\ images\files\ How-to-Prepare-atechnical-rider.pdf

See: ism.org/advice/ public-employersand-productliability-insurancedocuments

Any questions?

ISM members can contact our Legal Team legal@ ism.org with any questions or concerns about their contracts. Please also see our How to… play at a festival guide (ism.org\advice-centre\play-atfestival) for further reading.

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Festivals: The performers’ perspective Diaries are slowly filling up again for some musicians, but the logistics of getting back to work are proving complex, says Clare Stevens

If you are a performer, read page 16 for guidance on the practical things you should watch out for before signing your contract

Operatic tenor Thomas Elwin was looking forward to an exciting summer in 2020; after several years spent mainly working and training in Germany, he had returned home to England and was building his reputation with warm reviews for performances with the Classical Opera Company, English National Opera and English Touring Opera. He was due to sing the role of Lensky in Tchaikovsky’s Eugene Onegin for the first time at West Green House Opera in Hampshire.

Then along came COVID-19 and Elwin’s plans were shattered; he spent much of the summer of 2020 running and walking his dog in the fields around his Herefordshire home. English Touring Opera looked after its contracted artists well during the autumn, and he was able to record some performances that should have been presented on the company’s UK tour for release on YouTube through the winter, together with some education projects such as singing lessons for adults. His portfolio of online performances during the pandemic has also included contributions to the Equilibrium Young Artists’ programme, for which he was mentored by the soprano Barbara Hannigan.

But none of this is the same as performing in front of a real-life audience. As this summer’s festival season begins, Elwin is once more hoping to sing his first Lensky, as West Green’s production of Eugene Onegin has been rescheduled to 31 July and 1 August this year. The company has stated that short of circumstances beyond its control (such as further government/local authority-imposed lockdowns), it has every intention of going ahead with its season as planned. Social distancing measures will include staggered entry and departure times for guests, and there will be temperature checks for guests, creatives and staff.

Left: Lucy Schaufer Elegy for Young Lovers (Act 2) Lucy as Carolina

provide as normal an experience as possible for both artists and audiences, with four fully-staged operas and a semi-staged production of Wagner’s Tristan and Isolde.

ISM board member Nicky Spence will sing the role of Tichon in Kát’a Kabanová by his beloved Janáček; the cast is international, but they all arrived in the UK in time to self-isolate before the first day of rehearsals.

While most festivals are planning to go ahead this summer, with or without audiences, the uncertainty over COVID-19 regulations in different countries has made it difficult for artists to decide whether they can travel to fulfil engagements or not. Cellist Alice Neary is hoping to travel to Marlboro in Vermont, USA, at the end of June, and is expecting to quarantine for a week before beginning her performing and teaching activities, unless she has had both vaccinations; but the prospect of quarantining again on her return may make the trip impossible.

Pianist and composer Huw Watkins and his wife, composer Helen Grime, face a similar dilemma regarding their scheduled visit to the Santa Fe Festival in New Mexico, USA. Grime’s new string quartet, a commission postponed from the 2020 festival, is to be premiered by the FLUX Quartet on 4 August and she is due to take part in a pre-concert talk with fellow composer Augusta Read Thomas; while Watkins is involved in several performances including the first US performance of his own new work for piano and percussion with the Scottish percussionist Colin Currie on 10 August. But Grime and Watkins have two young children and the logistics involved in planning their trip with quarantine built in may prove insurmountable.

Fully vaccinated here in the UK, Wiltshire-based soprano Lucy Schaufer is heading for Iowa in May to Similar precautions are being taken at sing the role of Mrs Lovett in Stephen Sondheim’s Glyndebourne Opera Festival, where masks will be musical Sweeney Todd for Des Moines Metro Opera. worn around the site, audience numbers will be ‘The NHS provided my jabs, and due to the opera reduced and there will be reduced numbers in the company’s creative leadership, implementing chorus and in the orchestra. Glyndebourne receives no a vaccination policy for everyone involved in its public subsidy and has suffered a devastating financial productions, I feel confident that my wellbeing is impact from the cancellation of last year’s festival and considered and protected; I am truly grateful and the reduced box office income that will be inevitable eager to make work again.’ this year; however the opera house is determined to

Photo: Robert Workman

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ISM MUSIC JOURNAL MAY/JUNE 2021 | FESTIVALS 21

Above: Huw Watkins

Below: ETO Spring 2020 Cosi Fan Tutte L-R Thomas Elwin, Ferrando; Frederick Long, Guglielmo Photo: Richard Hubert Smith

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Regular COVID-testing has enabled the London Symphony Orchestra to work together in order to rehearse and perform streamed concerts during the pandemic, and at the time of writing they were hoping to resume concerts with small, distanced audiences at their LSO St Luke’s home in central London. The orchestra is scheduled to perform with its music director Sir Simon Rattle and with the Finnish conductor Susanna Mälkki and the young French conductor Clément Mao-Takacs at the Aix-en-Provence Festival in July. At the time of writing their concerts were still in the festival calendar, though Sir Simon has been outspoken in recent months about the difficulties caused by Brexit, and the complex new regulations that make European tours by symphony orchestras very difficult.

A solo performer, of course, can be much more flexible. Pianist Libby Burgess says she is well on track to perform the whole of J S Bach’s 48 Preludes and Fugues – The Well-tempered Clavier – in each of the 48 ceremonial counties of England during 2021, pandemic or no pandemic, raising money for musical charities as she goes. Venues will range from churches and theatres to shopping centres and stations, with associated educational events taking place in schools and universities along the way. Some performances will be given as traditional concerts, while others will take more unusual formats. Her first dates are in May and June in the East Riding of Yorkshire, Berkshire, Northamptonshire and Lancashire; future dates will inevitably be announced at short notice, as Burgess

negotiates changing pandemic regulations, but unless there is another complete lockdown she is optimistic about completing her own personal travelling festival.

Perhaps that’s the way to go in 2021!

abudhabifestival.ae/programme_categorymusic afcm.com.au bachproject48.co.uk desmoinesmetroopera.org espafrika.com festival-aix.com festivalestereopicnic.com fujirockfestival.com glyndebourne.com homegrown.net.nz lollapaloozacl.com mahlerfest.org marlboromusic.org oneafricamusicfest.com rhythmandalps.co.nz rhythmandvines.co.nz rockingthedaisies.com salzburgerfestspiele.at santafechambermusic.com westgreenhouseopera.co.uk

ISM MUSIC JOURNAL MAY/JUNE 2021 | PROFESSIONAL DEVELOPMENT

Professional development The ISM provides you with opportunities to build up your skills in the digital arena with our advice pages and webinars. We also have a collection of professional development videos and resources available to members and the wider music sector through our sister charity, the ISM Trust.

Catch up – past webinars Immigration matters: International talent in the UK

A neurodiverse journey in music In this webinar composer Ben Lunn takes us through the history of neurodiversity and talks about his experience navigating the music profession as a neurodiverse person.

The webinar is aimed at performers, composers and non-neurodiverse people to learn how to accommodate people with neurodiversity.

In this webinar, Geraldine Peterson and Gillian McCall, specialist immigration barristers from Richmond Chambers, take you through the immigration routes for creative artists coming to the UK for both short-term engagements and longer periods. The webinar is suitable for both overseas artists who are looking to work in the UK, and arts programmers, promoters and collaborators who want to work with international talent in the UK.

Future webinars

See the next feature for more information about our annual fees survey

Setting up your tuition fees Friday 7 May 2021 2-3pm

Introduction to Music Therapy Simon Procter, Director of Music Services for Nordoff Robbins, introduces music therapy, which utilises and shares the positive benefits of music to help people living with significant challenges.

In this webinar, Simon explains the Nordoff Robbins approach to music therapy, shares video examples of music therapy in action and explains how you could train as a music therapist in the UK.

Our annual teachers’ fee survey is the largest of its kind and gathers information from music teachers around the UK. Statistician Alix Naylor of Naylor Research Partnership will guide you through the results of the 2020 survey and help you consider the level of fee appropriate to your music tuition in this free webinar.

Alix will discuss differing prices based on regional variations, different areas of teaching work, and online rates as well as offering some tips for setting your own fees.

New: The Empowered Musician resource hub Following our successful digital conference for music professionals The Empowered Musician 2020, we have a launched a new resource hub for music professionals. Here, you can watch back all the sessions in full, including

speeches, interviews, panel discussions and a music tech masterclass, and discover advice and resources featured in and inspired by the event. ism.org/empowered

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ISM MUSIC JOURNAL MAY/JUNE 2021 | LEGAL & BUSINESS

Phonographic Performance Limited What is PPL and why should you become a member? Anna Wynne, ISM Advice & Information Officer, explains

Anna Wynne, ISM Advice & Information Officer Photo: Yvonne Thompson

If you are a performer, or someone who owns rights in recordings of music, you may already have heard of an organisation called Phonographic Performance Limited, usually known as PPL. In this feature we explain what PPL does, and why, if you perform on recordings or own rights in sound recordings, you should become a PPL member.

everything with a single licence. The licence allows businesses and organisations to play music legally in public settings, including live or via the radio, TV or other digital devices.

Founded in 1934, PPL is a collective copyright management organisation, which collects and distributes royalties to its members for their involvement in music recordings. PPL collects royalties by licensing the use of recorded music to radio stations, TV broadcasters and certain online services.

Revenue from the licence money is collected from broadcasters in the UK and also from around the world via international agreements with collective management organisations (CMOs) worldwide. PPL has over 100 agreements in place across 46 countries.

If you are a performer and regularly perform on recordings, you may be entitled to royalties. By becoming a member of PPL you can receive ‘equitable remuneration’, which might be owed where you have participated on a recording registered with PPL. Under these circumstances, you would join as a ‘performer member’ where you have a ‘qualifying performance’ on a registered recording. A qualifying performance includes any audible contributions but can encompass performances by conductors and studio producers too.

In contrast, PRS for Music provides licences for the use of written material by songwriters, composers and music publishers.

As part of the drive to modernise and simplify copyright licensing for consumers and businesses, PPL and PRS for Music teamed up in 2018 to create PPL PRS Ltd and launched ‘TheMusicLicence’. PPL and PRS for Music continue to operate independently but created TheMusicLicence so that businesses or organisations playing recorded music on their premises could cover

Why should I become a member of PPL?

Alternatively, you may be entitled to join as a ‘recording rightsholder member’ where you own or hold an exclusive licence to at least one recording expressly made to sell or distribute to the public.

Many members make their own recordings of their performances, and own rights in both. You can join PPL in both capacities, if necessary.

You can read about some of the many benefits of PPL membership at ppluk.com/membership/whybecome-a-member/. PPL has developed online tools for you to manage your account easily.

ISM membership – set up a Direct Debit to save money Take the hassle out of renewing your membership by setting up an annual Direct Debit. Your ISM membership will automatically renew every year and you won’t have to contact us unless you wish to cancel or change your payment method.

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If you are a full member, you will get £10 off your membership fee if you pay by annual Direct Debit.

It’s quick and easy to set up Direct Debit payments. Simply log in at ism.org/direct-debit, call us on 020 72213499 or email membership@ism.org

ISM MUSIC JOURNAL MAY/JUNE 2021 | LEGAL & BUSINESS

How does PPL allocate and pay royalties?

What do I need to do to become a member?

Where recordings are played in public, the statutory right of ‘equitable remuneration’ gives performers the right to claim payment for their performances in commercially published sound recordings from the owners of copyright. PPL pays its performer members in relation to sound recordings which are owned

by PPL or controlled through its record company members. Royalties are distributed after PPL has deducted any relevant costs.

Membership is free. All you need to show is that you have performed on recordings over the years. You can sign up online by pressing the ‘Join PPL’ button on their website. This will take you through a series of steps.

PPL has an extensive database which holds and manages information for over 15 million sound recordings. The database includes details about who owns the recordings and which performers have performed on those recordings, so that relevant payments can be distributed. There is further information about PPL’s Distribution Rules on its website: ppluk.com.

Further information

You need to make sure that you keep your details up to date so PPL can continue to pay you royalties if you are owed any.

Visit ppluk.com or contact PPL’s Member Services team on 020 8068 1054 or memberservices@ppluk.com.

You can also find details of when royalties are scheduled to be paid on PPL’s website.

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ISM MUSIC JOURNAL MAY/JUNE 2021 | ISM SURVEY OF FEES 2020-21

ISM survey of fees 2020-21 Statistician Alix Naylor, of Naylor Research Partnership, provides an overview of the ISM annual survey of teaching, examining and accompanying rates

This year’s survey of fees was open from 6 November 2020 until 10 January 2021, during which time 383 completed responses were collected. This number is lower than the previous year and may in itself be indicative of the prevailing situation, suggesting far fewer people were currently involved in music teaching. It is possible that many teachers who normally work in schools, either as employees or visiting teachers, were furloughed or not re-employed yet in the current school year, and this may have had an impact on the response rate.

Above: Alix Naylor

As with previous years, nearly half of the sample is from London and the South East of England, so the results from the survey are likely to be overrepresentative of the situation in this area, although this finding itself might be an indication that there is more work available in these regions.

The vast majority of respondents have more than 15 years’ experience, the proportion increasing on the previous year. It may be interesting to explore further the reasons for this – whether the demographic of the profession is currently heavily skewed towards very experienced teachers, or whether this is simply a profile of ISM members, who made up 90% of the respondents.

Private teaching A positive finding from the survey was the ability for many private music teachers to be able to continue teaching during the past year when in-person teaching was not possible. Close to 90% of the sample had been able to provide lessons online during the first lockdown and the same proportion continued remote teaching after September. Additionally, 71% of the sample had provided in-person lessons since September.

Most (88%) charged the same rate for lessons provided online or in person. There was just a slight drop of £1 in the median rate for remote teaching compared with face-to-face. Many teachers commented on being pleasantly surprised by the experience of giving tuition to pupils online, although there were sometimes issues such as limited space,

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internet reliability and lack of equipment.

Many respondents did not report a rate increase for private lessons this year, comments suggesting this was due to the pandemic, though there had actually been no increase in the median for the previous two years. Perhaps surprisingly, this year did see a slight increase of £1 in the median hourly rate across the sample – £33.

However, when we look at the data by region, median increases are restricted to the South East of England, North East of England and the West Midlands with all other regions remaining the same except for decreases in the South West and East of England.

Additionally, rates in the South East and London were significantly higher than in the rest of the UK, with rates in London also being statistically higher than those in the South East.

Teachers employed in schools Across the sample, only about a quarter had been employed in schools since September. This was less than in 2019, but not unexpected given the circumstances. The proportion of these teaching at independent schools was about 10% higher than in 2019 which could be due to these schools having more resources for safe teaching.

What will be important to monitor in the long term will be the reduction in student numbers, with over half of employed teachers losing pupils since the previous school year. Comments suggest the reduction is due to the pandemic, with pupils being concerned about starting a new instrument, or restrictions meaning certain instruments cannot be taught (singing lessons being prohibited). Additionally some teachers mentioned many pupils not wanting or not being able to participate in lessons online during lockdown and not continuing with lessons once schools reopened.

As with private lessons, hourly rates slightly increased on 2019 (lowest and highest rates increasing) although the median remains at £30.

Rates paid at independent schools were significantly

ISM MUSIC JOURNAL MAY/JUNE 2021 | ISM SURVEY OF FEES 2020-21

higher than those at state schools or music hubs, an average of £5 per hour more. Although samples across regions of the UK were too small to make statistical comparisons, rates were once again considerably higher in London. Only 23% of the teachers had received a pay rise this September, compared to 42% in 2019.

Self-employed visiting teachers 30% of the sample indicated they had done some work in this area, down 9% on the previous year – 23 teachers indicated that they normally would work as a visiting teacher but hadn’t done so since September due to the pandemic.

Accompanists and examiners

There was very little information from accompanists and examiners this year, which is not surprising given the lack of opportunity for this work. Only 27 Median rates were again slightly higher than in respondents had done accompanying work online 2019 at £34 per hour, with a large difference between and 23 had worked as an examiner (either inindependent schools (£40.50) and state schools (£31). person or remotely). Just over 30% reported doing Due to the current situation, visiting teachers were accompanying work prior to the March lockdown, asked if they had done any remote teaching instead of which is only slightly less than 2019 but due to the or as well as in-person lessons. A quarter had done so small sample size, once broken down across the and the vast majority (97%) were paid the same rate different areas, numbers are too small to make any for remote and in-person teaching. conclusions. Over the whole sample of accompanists, Interestingly, compared to employed teachers the median rate was £32 per hour, but this is difficult to (who were relatively evenly distributed across the UK), compare to 2019 as those rates varied a lot depending nearly half of visiting teachers were working in London on the type of work undertaken. or the South East of England. This may be part of the For more information on our survey and to read the reason why rates were significantly higher for selffull report visit our website at ism.org. employed teachers compared to employees – location being more important than contract status.

Naylor will be presenting a webinar on the fees Similarly to employed teachers, only 21% received survey on 7 May, 2-3pm. See ism.org/professionaldevelopment/webinars for more information. a pay rise in September, down from 41% in the previous year, and a large proportion (62%) had lost pupils since September 2019. Issues from the pandemic were again usually stated as the reason for the decrease in pupils, with respondents mentioning parents having less disposable income for lessons, school closures, pupils not wanting to learn online, and teachers needing extra time between pupils to clean equipment.

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Classified advertising HOW TO BOOK: please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org. Copy date by 1 June for the July/August 2021 issue.

PRIVATE AND TRADE 50p per word, minimum £5. Advertisements from ISM members are half-price (i.e. 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

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PROOFREADER AND COPYEDITOR: Karen Cox, Professional Member of the Chartered Institute of Editing and Proofreading (CIEP). Music graduate. For academics, I offer pre-submission copyediting and proofreading of books and journal articles, and preparation of music examples for publishing using professional music notation software. For PG students, I offer proofreading of theses and dissertations. Contact me to discuss how I can help you: karen@karencoxeditorial.co.uk.

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and high-res images. Please email mj@ism.org The next deadline for copy is 1 June for the July/August 2021 issue.

and The Humanities Research Board (now The Arts and Humanities Research Council)

Professor John Morehen, FISM JP MA DLitt PhD FRCO (Chm) FRCCO HonFGCM FRSA 03/09/1941–25/03/2021 ISM member since 1971 John Morehen was an organist, conductor and academic, with a particular interest in church music of the 15th, 16th and 17th centuries.

He was President of the ISM in 2003-4.

He was born in Gloucester, where he studied the organ with the then cathedral organist, Herbert Sumsion; later he edited the memoirs of Sumsion’s predecessor Herbert Brewer. At Clifton College, Bristol, he added piano, French horn and clarinet to his portfolio of instrumental skills, and he went on to study at the Royal School of Church Music, Addington Palace, and New College, Oxford. He was appointed lecturer in music at the University of Nottingham in 1973 and

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Subject Assessor (Music) for the Higher Education Funding Council for England (1994/5)

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Member of the ‘Music Research Panel’ of The Humanities Research Board (1994-7)

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Member of the Advisory Committee of Arts and Humanities Data Service (Performing Arts) (1995-2003)

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Music Adviser to the Commonwealth Scholarship Commission (1996-2000)

John Morehen’s interests included antiques, genealogy and the history and traditions of the City of London. He was fond of ceremony, commissioning a personal coat of arms that depicted full professor in 1989; he conducted two lyres to represent music as well the Nottingham Bach Choir and as a moorhen and its chick. He was served as president of the Nottingham an authority on the role of music in Harmonic Choir and Nottingham & freemasonry and served as master of District Society of Organists. He also the Worshipful Company of Musicians spent 20 years as a magistrate in in 2012-13, writing in its newsletter: the city.

‘I often reflect on how fortunate we are as musicians to earn our livelihood Much of Morehen’s career was taken through a range of activities which can up with editorial activities: he was general editor of the British Academy’s be as infinitely varied as it is artistically rewarding.’

Early English Church Music project, and a trustee of Musica Britannica, the national collection of British Dr Jane Manning, FISM, OBE music. He also published his own 20/09/1938 – 31/03/2021 editions of 16th-century church music by Christopher Tye and Thomas ISM member since 1961 Morley, and was editor of English The soprano Jane Manning was Choral Practice, 1400-1650 (1995), the a central figure in contemporary first book to survey the performing classical music for over 50 years, and practices in English choral foundations an inspiration to composers, to fellow of that period. performers of her own generation and His many additional roles as an to younger singers. educational consultant included: Born in Norwich, Manning took up • adviser to The Leverhulme Trust singing on the advice of a teacher

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

who recommended it as a therapy for asthma. She went on to study at the Royal Academy of Music, London.

Quickly developing an interest in contemporary music, she made her London debut with the Park Lane Group in 1964 and gave her first BBC broadcast the following year, singing Schoenberg’s Pierrot lunaire, which she went on to perform more than 100 times worldwide.

volumes of Vocal Repertoire for the Twenty-First Century (2020), in which she supplied insights into such matters as tessitura, vocal colour, voice types, text interpretation and technique.

Health-focused guide to working in the music industry

A bang up-to-date guide to the increasingly diverse structure of the music industry, with advice on improving performance skills, money management, cultivating creativity, social media, dealing with criticism, fame and fans, Sound Advice also explores the mental and physical health problems many musicians may face in their careers. Chapters cover substance use and addiction, eating disorders and body image, musculoskeletal issues and touring, vocal and hearing health, among other

Born in Bournemouth, she studied at the Royal College of Music, London, with Ivor James and Harvey Phillips, and then with Mainardi in Salzburg and Rome and with Pablo Casals in Switzerland and France. As a student she was a founding member of the Vivien Hind String Quartet; after graduating she was invited to play at the Newbury Festival, Berkshire, with the Newbury String Players and as a soloist, and through this connection she formed a strong friendship with the composer Gerald Finzi and his family and with Ralph and Ursula Vaughan Williams. Through this relationship she was able to play on Jacqueline du Pré’s Davidov Stradivarius cello for two years.

The Daily Telegraph critic Ivan Hewett wrote: ‘For many people Jane Manning is simply the voice of contemporary classical music in this country.

Anyone who took an interest in this burgeoning area of music in the 1970s Manning gave more than 350 world and ‘80s grew up with the sound of premieres, and worked closely with her astonishing voice in their ears. It’s composers such as Bennett, Birtwistle, instantly recognisable, but it’s also Cage, Lutyens, Knussen and Weir. a chameleon. Whether she’s faced Operatic roles created by her include with the pure angular leaps of Anton that of Max in Oliver Knussen’s Webern, the throaty suggestiveness Where the Wild Things Are. She gave of Schoenberg or the black, crazed the world premiere of John Cage’s humour of György Ligeti, Jane Manning Shuttleworth’s career blossomed in the Europera III at the Almeida Theatre is always equal to the task.’

1960s, when she frequently performed and toured it throughout Europe.

Composer Colin Matthews, executive on BBC broadcasts. She played with Judith Weir’s one-woman opera King producer of NMC recordings, described numerous chamber music ensembles Harald’s Saga, written for her in 1979, her as ‘someone who could tackle and gave recitals with pianists has become a miniature classic. Her anything and everything, with a sightincluding Bernard Roberts, Ian Brown, catalogue of CDs included the major reading ability, perfection of pitch and Martin Roscoe and John Thwaites. For song cycles of Messiaen, all Satie’s a sheer joy in performance second more than 30 years she was principal vocal music, and works by Berg, to none … Those who knew Jane will cello of the Midland Sinfonia, later the Dallapiccola, Ligeti and Schoenberg greatly miss her enthusiasm and English Sinfonia, and she also worked with conductors such as Boulez and bubbly personality, but she will always with many other orchestras.

Rattle, as well as many recordings of remain in the memory as one of the British music.

Shuttleworth held many teaching outstanding voices of our time.’ positions in England, including posts In 1988 Manning founded her own in York, Leeds, Canterbury and at both virtuoso ensemble, Jane’s Minstrels, Anna Shuttleworth, FISM together with her husband, composer the junior and senior departments of 02/05/1927–02/03/2021 the Royal College of Music in addition Anthony Payne. She served for a to her own private practice; her pupils number of years as a vice-president ISM member since 1964 included Adrian Brendel, Alexander of the Society for the Promotion of The cellist Anna Shuttleworth was Baillie, Natalie Clein and Jonathan New Music, travelled the world as a Del Mar. In 1964 Novello published voice teacher and compiled invaluable well known both as a performer and as a hugely influential teacher, whose Playing the Cello, which she wrote surveys: two volumes of New Vocal jointly with Hugo Cole.

Repertory (1986, 1988) and two further career spanned more than 50 years.

Sound Advice – written by music industry journalist Rhian Jones and PhD researcher and musician Lucy Heyman and published by Shoreditch Press on 28 February – is a health-focused performance and career manual for aspiring and established musicians and those who work with them.

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subjects. Through research-informed advice and information, Sound Advice aims to help enable artists to prioritise their mental and physical health while cultivating successful, sustainable and fulfilling careers.

‘Simply put, this is a must-read for anyone starting out in music today.’

David Joseph, Chairman and CEO Universal Music UK

ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

Rebecca Clarke. Recent pieces by Sadie Harrison, Nicola LeFanu and Tony Coe were added to the repertoire in a long day of recording squeezed Douglas Hollick has released two in just before the second lockdown. new CDs of keyboard music. Echoes It took a while to get used to the social of Advent was recorded on the distancing. Six players two metres wonderful Metzler organ of Trinity apart meant the ones at each end of College Cambridge, where Douglas the group had to use less than subtle teaches. The first recording since physical movements, and in a large Metzler cleaned the organ in 2019, it includes settings of the Magnificat and church it was challenging for balance and ensemble. Also, the engineer had Advent chorales. Centrepiece is the to ‘mic’ each instrument separately huge Magnificat setting by Melchior (unusual for him with us), and Schildt, perhaps one of the greatest composers joined us virtually through organ works of 17th century North a complex system of Zoom and mobile Germany. Other composers include phones, which worked most of the Scheidemann, Buxtehude, Guilain, time! However, with patience, good Corrette and Bach. h humour and lots of tea throughout the e eight-and-a-half hours, we made it.

New CDs from Douglas Hollick

Friday 12 August St. Mary’s, Frampton-Upon-Severn Thursday 18 August Chesterfield Parish Church Saturday 20 August Selby Abbey Saturday 27 August All Saints, Rothbury Tuesday 30 August Lancaster Priory Saturday 3 September St. Nicholas, Chislehurst Friday 9 September St. Mary’s, Shortlands Sunday 11 September Bromley Methodist Church

Saturday 17 September TThis is not a clarinet feature disc, more Holy Trinity Church, Cuckfield a programme of works involving that in instrument ‘in the mix’. An introduction Friday 23 September ccan be accessed via this YouTube link: St. George’s RC Church, Worcester y youtu.be/nwObpr4xcpY Sunday 25 September St. Margaret’s, Topsham, Exeter Light & Shade uses the 1909 Dolmetsch Chickering clavichord bought from Christopher Hogwood’s collection, a lovely instrument based on the 1784 Hoffmann that Dolmetsch used as the model for clavichords made at Chickering’s. The programme reflects repertoire contemporary with that original clavichord, a Fantasy of C P E Bach, three Haydn sonatas, and a sonata by Jiri Benda. It is particularly illuminating to hear Haydn played on his favourite keyboard instrument! £10 each including UK postage, from dwh@globalnet.co.uk

Socially distanced recording from Gemini

Friday 30 September St. Bride’s, Fleet Street Updates can be found at lenrhodesmusic.com

Music Matters Courses Len Rhodes 2022 UK Organ Tour Len Rhodes is planning an organ tour in August and September 2022, COVID permitting(!) in celebration of his 70th birthday, and in recognition of the 150th anniversary of the birth of Ralph Vaughan Williams. Len plans to feature Vaughan Williams and many of his contemporaries in the programme, which will include Len’s organ transcription of Pezzo Ostinato

by RVW which has been approved by the composer’s estate.

The latest CD by Gemini (whose director is clarinettist Ian Mitchell) entitled For clarinet and strings, is on the Métier/Divine Art label – the ensemble’s seventh with the company. Confirmed venues and dates: This disc arose from a prize in the Prudential Awards for the Arts, which provided initial funding to record three major but neglected works, by Cyril Scott, Howard Skempton and

Friday 5 August 2022 Holy Trinity Church, Aberystwyth Tuesday 9 August The Priory Church of St. Mary, Deerhurst

ISM members Gareth Green and Alex Shore are co-directors of Music Matters Courses Ltd. At mmcourses.co.uk they have created more than 20 online courses, covering various aspects of theory, aural training, orchestration, analysis, composition and much else. They have recently received awards from YouTube in recognition of surpassing 100,000 subscribers on their channel.

At youtube.com/c/MusicMattersGB they have now posted over 200 videos on a wide variety of musical topics that are viewed throughout the world.

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

Despite various threats to the security of music education it is fabulous that such resources are so widely available and so much appreciated by such a large number of musicians of all ages and backgrounds.

and musicians all banding together to create original and innovative films. adawitczyk.com/ composition-competition

Spirituality in the Music of John Tavener

Heart’s Ease – Spirituality in the Music of John Tavener ed. June BoyceTillman FISM and Ann-Marie Forbes Wild Plum Arts new music (Peter Lang 2020) is Volume 11 in the and residencies series on Music and Spirituality (edited New competition

by Prof Boyce-Tillman). The works of goes global Sir John Tavener (1944 – 2013) cross both Last summer an innovative competition cultural and disciplinary boundaries. was launched to challenge tired The composer illustrated how to deal baroque violin programming and with intense suffering and felt deeply redefine classical music on film. for the suffering of the world. He stands as an icon representing artistic Brainchild of violinist Ada Witczyk, expression as a way of generating the new competition offers another hope and transcendence. This book way of engaging with classical music includes both academic chapters online. No more static wide images and shorter meditations on the role of musicians in bow ties who frankly Tavener has played in practitioners’ look like they’d rather be anywhere practice. ‘Tavener was a composer who else, repeating the same concert could not separate the spiritual from programme for the hundredth time.

Wild Plum Arts was created in 2018 the musical, and this phenomenon

by Lucy Schaufer and ISM member ‘I couldn’t watch another Netflix Christopher Gillett to commission and is investigated in depth from many boxed set and let my brain turn to different perspectives in this analytical perform new music, and to start an mush. Audiences are crying out for artists’ residency in the UK that would book, with reference to some of his something original.’ – Ada Witczyk major works.’ ( Jeremy Huw Williams) mirror American organisations like Over 30 entries poured in from 14 MacDowell and Yaddo. So far they have countries around the world with three commissioned nine new works, with winners emerging: several more in the pipeline, including new song cycles by Arthur KeeganOstinato in 7 – Oscar Tysoe youtube.

Bole and Conor Mitchell. This August com/watch?v=GOLSnyuWY38 Wild Plum Arts will host their third artists’ residency at The Red House, in The Spectre – Erik Valdemar Aldeburgh, and members of the ISM Sköld youtube.com/ are encouraged to apply. A residency watch?v=wXNW6cp3L7U lasts six nights and all accommodation Yellow – Samuel Howley youtube. and meals are provided totally free. com/watch?v=w9MtFaMwcrk Full details and a simple application form can be found on the website.

Forget cello suites on the beach or Just look for Made At The Red House at other clichés, each piece has been transformed with composers, directors wildplumarts.org.uk

Explore further music, spirituality and wellbeing with an online conference 5-6 July 2021 mswinternational.org

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

music. We also present some as yet unpublished reading exercises.

Learn to sing jazz-style

Each course is tailored to the participants’ needs and experience.

Courses are being held monthly.

Jazz and world music vocalist Andria Antoniou is leading an online jazz workshop for three consecutive Saturdays, starting on 22 May.

Please email info@dogsandbirds. co.uk to register your interest.

See dogsandbirds.co.uk for more information.

Remembering the victims of Chernobyl ISM member Alla Sirenko FISM presented a Zoom concert of the Spiritual Music from Ukraine on Saturday 17 April in remembrance of the victims of the Chernobyl disaster.

Her programme consisted of traditional sacred Ukrainian music from the 15th century up to the present day, featuring Ukrainian male ensemble Kalophonia and a variety of beautiful orchestral and choir music from Ukraine by other distinguished performers. Proceeds from ticket sales will go directly to help victims of the Chernobyl disaster with their ongoing medical treatments.

Dogs and Birds Elza and Chris Lusher are running online courses for piano and music teachers on the Dogs and Birds approach (a method for teaching piano to 3 to 7-year-olds).

Each course consists of a one-hour introductory session and a fivehour main session (including three 15-minute breaks). There will be around five teachers per course and the cost is £60.00 per participant.

During a course we show how to incorporate the basic elements of the Dogs and Birds approach (singing, ear training, rhythm, finger exercises etc) from the start and to build on them as you work through the Nursery Rhyme Book and Book 2, to offer a seamless transition to using conventional

And So The Prophecies Have Come To Pass Michael Stimpson’s The Angry Garden/ Silvered Night is to be released on CD and fordownload in June.

The recording features the Royal Philharmonic Orchestra, the City of London Choir, Hilary Davan Wetton, and Mark Bebbington.

This workshop is for intermediate or advanced level singers of any musical style and training.

It focuses on the study of jazz songs (‘heads’) and famous solos based on one of the most common jazz chord progressions called ‘rhythm changes’. Through the study of rhythm changes, progressions and songs as well as the decoding of famous vocal jazz solos, participants will develop an understanding of this chord progression, expand their repertoire and learn how to improvise in this style (scat singing) using the appropriate vocal tone, melodic and rhythmic tools. Additionally, each week we are going to introduce jazz vocal exercises, ear training and rhythmic exercises to enhance your understanding of ‘jazz language’.

For detailed description please visit: andriaantoniou.com/jazzworkshop Dates and times Saturdays at 15.00-16.30 UK time 22/05/21 | 29/05/21 | 05/06/21 Cost £55 in total for four one-hour sessions About Andria Bio: bit.ly/bioandria

With climate change now so prominent, and further acknowledged with the UN COP26 Conference in Glasgow in the autumn, the release of The Angry Garden, a work concerned with environmental degradation, is timely. It was originally premiered at St. Johns’ Smith Square in support of the World Wildlife Fund. A special vinyl version of The Angry Garden will be released in September.

Silvered Night, for piano and orchestra, and featuring pianist Mark Bebbington, is a development of a piece for solo piano originally written to commemorate the centenary of the end of the First World War. Available from all digital outlets, Amazon, and michaelstimpson.co.uk Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR MEMBERS

which Graham Fitch provides insights on how to learn, practise and interpret Resources and Online Workshops for selected repertoire, in addition to offering tips on other elements such as the new ABRSM Piano Syllabus scales, sight-reading, preparation and Practising the Piano’s collection of performing. resources for the new ABRSM syllabus More information on our resources now features almost 100 videos, for piano examinations is available covering pieces from the Initial Grade here: mailchi.mp/informance/ through to Grade 8. As a complement to these resources, we’ve also created piano-examination-resources. a programme of online workshops in

Practising the Piano

ISM members are entitled to 30% discounts on online workshops and annual subscriptions (please visit mailchi.mp/informance/ismmember-offers for more information on ISM member discounts).

MEMBER COMMENTS Musicians and their managers and agents are all massively grateful that someone has taken this on in the absence of any clarity from the government.

Really do appreciate this immensely as it will affect directly whether we can work out whether the bands I represent are able to fulfil the bookings in Europe we have later this year or whether we need to cancel. Couldn’t be more important to musicians to have clarity now.

ISM member since 1998

Responses were always prompt and extremely helpful. Very kind and professional. I had a very stressful issue to deal with, and [the Legal Team] solved it in the best possible way.

ISM member since 2020 I would love to renew my annual subscription and thanks to ISM for everything they are doing for us musicians!

You are doing a remarkable work.

Emily Richou, ISM member since 2019

Would be lost without the incredible support from @ISM_music and @ HelpMusiciansUK for financial aid during the pandemic. Being excluded from government SEISS has been tough and these guys have really been there for me when the government was not.

I am so grateful.

Amy Blythe, ISM member since 2015 (edited from social media post) Keep up the good work – ISM campaigning is very impressive.

Fiona Yeomans, Friend of the ISM Trust since 2016

Obituaries: We are sorry to announce the deaths of the following members: Mrs Kathleen M Borland FISM of Winchester

Dr Jane Manning FISM OBE of London

Ms Anna Shuttleworth FISM of Leeds

Professor John Morehen FISM JP of Newark (ISM President 2003–04)

Mr Michael Toll OBE of Hockley

Professor Jeffrey Davies FISM of Cromer Mrs Barbara Kitson FISM of Doncaster

Mrs Margaret C Smith FISM of Harrogate

Recommend ISM membership to a friend With music professionals working in an increasingly uncertain world, ISM membership is more essential than ever. You can help to grow the ISM community by encouraging your friends and colleagues to join.

We’ll also give you money off your next year’s membership fee every time someone you recommend joins us at the full or early career rate – £20 off if you are a full rate member, or £10 off if you are an early career rate member.

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If they join at the full rate, we’ll give them £10 off their membership fee too.

Send the name and email address of the friend(s) you are recommending to membership@ism.org. Ask your friend to quote the code FULLREC if they are joining us at the full rate or EARLYREC if they are joining at the early career rate.

Find out more at ism.org/recommend

ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 150 words for platinum and gold members, max. 100 words for silver members) and good high-res images. Please email mj@ism.org. The next deadline is 1 June for the July/August 2021 issue.

BAM! Baird Artists Management Consulting

MusicFirst The Music Ed Tech Conference UK on 4–5 May, hosted and sponsored

by MusicFirst, offers two days of free professional development delivered by music education experts, covering topics including: •

composition

•

audio production

•

podcasting

•

performing

•

student assessment

•

strategies for Teaching in a Remote or Blended-Learning Environment

Touring possibilities are ramping up in North America – venues are starting to re-open as vaccination rollout increases and many artists are looking toward touring opportunities in late summer and the fall in the United States and Canada. As the situation improves, it is anticipated that travel restrictions currently in place for United States and Canadian entry will be eased and it will be possible for artists from the UK and other restricted countries to be able to get entry visas.

The State Department has indicated that it will re-open US Consulates abroad as soon as possible and will be processing entry visas. O or P work permit visa applications should now be in preparation for summer and fall tours. Robert Baird of BAM! Baird Artists Management Consulting is available for free consultation and advice pertaining to any questions or concerns with North American touring. Contact Robert at robert@ bairdartists.com

This free virtual conference is open to all music teachers and features an incredible line-up of music educators from a wide variety of backgrounds, including Keynote Speaker Simon Toyne, President of the Music Teachers Association.

In addition to the professional development sessions, the conference also includes a Student Showcase, a compilation of original student compositions. This is intended to provide inspiration and serve as a testament to student achievement, even during the most trying of times. musicedtechconference.co.uk

Lark Music instrument insurance Lark Music has worked closely with the ISM for over eight years and we know how important it is to protect your instrument but also make a saving.

That’s why we offer ISM members a 20% discount on their instrument insurance. Whether you play as a hobby or as a professional musician,

we provide cover for all instruments and equipment – and we’ll also give you a 20% no claims discount. With our policy you’ll be covered if your instrument is lost, stolen or damaged.

In addition, Lark Music offers a costeffective Practice at Home policy which is ideal for the current COVID-19 travel restrictions. Contact us to get your quote: T 020 3846 5271 E music@larkmusic.com

EPTA UK We have recently launched our online EPTA UK National Performance Programme, offering amateur pianists opportunities to showcase their playing through a non-competitive festival, a progressive competition (both adjudicated) and a series of concerts and masterclasses.

Discounted rates for students of EPTA-UK members.

Our webinar series continues: Dr Julian Hellaby explores the music of John Ireland, Robin Zebaida introduces creative fingering and Agnieszka Lasko offers improvisational ideas for firing children’s imagination.

In April/ May, members can join Springboard – a 30-day programme to re-energise teaching featuring trustee-led webinars, participant presentations and networking events.

All CPD events are FREE for members of EPTA-UK. epta-uk.org

The Piano Teachers’ Course UK In these times where piano teaching has become more isolated than usual, and motivating students has become increasingly harder, do you struggle to maintain your own energy or creativity and require help?

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

The Piano Teachers’ Course UK (PTC UK) provides you with such support – both online and on-site from September 2021! Not only can you build your own network of support by engaging with like-minded teachers, but you will also gain inspiring, expert advice from professional tutors.

enable aspiring jazz trumpeter Alex Polack to continue his studies at TL for 2021/22. Alex will also benefit from bespoke mentoring from Fela’s grandson Made Kuti, who is a fellow TL alumnus. trinitylaban.ac.uk/news/ tl-blim-partnership/

The PTC UK also offers DipABRSM and LRSM preparation courses for those who want to further their careers.

Join the hundreds of piano teachers whose teaching has been transformed through the PTC UK, by booking your course now for September 2021, with our 10% Early Bird Discount valid until 30th June 2021.

Enrolment open (online attendance available for all courses): pianoteacherscourse.org/courses T: 07833 687473 E: info@pianoteacherscourse.co.uk

Trinity Laban Trinity Laban (TL) has become the first London conservatoire to partner with Black Lives in Music (BLiM) – a taskforce including BBC Young Jazz Musician 2018 and TL student Xhosa Cole (pictured) and TL tutor Cleveland Watkiss MBE. The organisations will work together to actively improve the experience of young people of African and Caribbean heritages within jazz and classical music. This includes TL’s commitment to diversify and decolonise the curriculum and performance programme.

Centre for Young Musicians (London) CYM (London) celebrated what would have been, in normal times, the day of the Annual Gala Concert with an array of events online on Saturday 27 March. This included a music theatre masterclass with West End artist Helen Hobson as well as numerous live and pre-recorded solo and ensemble performances by students from all departments. Students and staff have adapted with great ingenuity to new ways of teaching and learning.

11 July AGM for members with Round Table discussion on the future of Musical Theatre training in UK hosted

by Sarah Leonard with Mary King, Adam Stadius and Wendy Gadian.

Save the date We expect to run our Autumn Conference in person at St Paul’s Girls’ School in London on 31 October. It will be wonderful to get back together and share our experiences.

To access all these events and take part in our member only forums come on and join us – the only UK organisation dedicated to singing teachers!

Find out much more aotos.org.uk

Steinberg Create stunning podcasts and videos for vlogging with WaveLab Cast from Steinberg

Steinberg recently announced the release of WaveLab Cast, a brandnew audio recording, editing and publishing software for making podcasts and videos for vlogging, ideal for publishing on YouTube and other We are delighted to have high numbers of applicants wishing to join social media platforms. With simplein September, and it is still not too late to-use editing, mixing, refinement and distribution tools, it is perfectly to apply for an audition.

Visit cym.org.uk for more information. suited to bring podcasts and vlogs into a broadcast-ready state, easily and quickly.

Association of Teachers of Singing (AOTOS)

Following our highly praised and well attended autumn and spring series of online events, AOTOS is continuing with our Summer Series. Events that are left include:

25 May 7.30pm on Zoom, our FREE Zoom event for members only centres As part of this work, TL has established on teaching children’s voices with specific funding for students of Nick Duncombe and Helen Everton.

African and Caribbean heritages by 12 June 5pm, we have a National introducing the Fela Anikulapo-Kuti Webinar open to all with Pippa Scholarship. Awarded in memory Anderson (BAPAM) and Natalie of TL alumnus, political activist and Eastwood (SLT) on the work that musician Fela Kuti, the scholarship is goes into a vocal rehabilitation funded by Partisan Records. It will programme in a clinic. This event

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will cost £10 for members and £15 for ‘yet to become’ members!

It is also great for use with the new Graded Exams in Podcasting and Graded Exams in Vlogging, recently launched by RSL Awards Ltd. (Rockschool). With WaveLab Cast you can use sound correction tools to remove unwanted noise

ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

or hum, rearrange different parts of an interview and add your favourite background music, which is automatically lowered when speech is detected on the voice track. WaveLab Cast connects you directly with five different podcast directories, including Spreaker, Podbean and Soundcloud.

You can export your audio in various formats, including MP3, WAV and AAC.

To find out more, visit mtbexams.com MILOŠ said: ‘Musical talent is everywhere, but opportunity is not, and the pandemic has only exacerbated the obstacles Naxos faced by young people from lowNaxos Education resources income families. Whilst nothing can FREE in May match the experience of making music in person, I hope that this session will Naxos UK are offering extended help bring together this community of free trials of two of their flagship young musicians and encourage them resources to education sector in their musical journeys.’

ISM members.

For more information visit steinberg.net/wavelabcast

Naxos MusicBox (finalist at the 2021 Music and Drama Education Awards), is a comprehensive introduction to the world of classical music for KS2 and KS3, including instruments of the orchestra, great composers, and World Music sections.

Music Teachers’ Board In February, Music Teachers’ Board (MTB) launched our new Performance Grades. Recorded in video, these exams allow candidates to experience the creative process of devising and delivering their own programme.

The performance exams require four to five pieces meeting a target duration, to develop the key skill of managing recital time for real-world performances. With MTB’s free choice option a candidate can select any music they really enjoy, as long as it is of the correct grade standard.

Performance grades can be recorded easily, using our new second generation app, in video, with just a smartphone or tablet. Our new performance grades run alongside our existing practical grades. Practical grades compromise a recital section, technical elements such as scales and technical exercises, and a musicianship section including aural and reading skills. All of our additional resources for practical exams are available to download for free on our website.

Naxos Music Library is an ad-free streaming resource with over 2.5m tracks, plus set-work essays, work analysis, composer studies and UK study guides.

The Curious Piano Teachers Founded by Dr Sally Cathcart and Sharon Mark-Teggart in 2015, The Curious Piano Teachers is a global, online community of piano teachers who love to learn as much as they teach.

The first five respondents will receive free access to NML and NMB for a month, by emailing jedwards@ naxosmusic.co.uk and quoting ISM

Awards for Young Musicians

Members can access a library of ready-to-use teaching resources and videos, with new content added monthly. In addition to professional development resources, members can connect with one another – inside the Facebook group, on live Zoom chats, on webinars and on memberexclusive courses.

Left: AYM Alumnus Haydn Bateman performs with AYM patron Miloš Karadaglić Photo: Edward Webb

If you’re curious to find out more, we’re offering all new, first-time members a free one-month trial.

More than 100 young musicians from low-income families were invited to meet chart-topping ‘Classical Guitar God’(The Times) MILOŠ in an inspiring online session exploring life as a classical musician, his career to date and top tips for young musicians.

Some of the young musicians also had the rare opportunity to perform for the guitar hero. The session featured young people supported by the charity Awards for Young Musicians (AYM). AYM encouraged MILOŠ early in his career and welcomed the guitar legend as Patron in 2014.

Sarah says: ‘I would like to commend everyone at The Curious Piano Teachers for building such a great community and bank of resources, it’s incredible!

I have learned so much already from fellow community members...’

Claim your free month of membership with the coupon code ‘FREESUPPORT’: thecuriouspianoteachers.org/join

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

National Children’s Orchestra Following an award-winning summer 2020 programme (youtube.com/ watch?v=m7mCzwEjQH8&t=4s), the National Children’s Orchestra (for children aged 7-14) has announced its exciting 2021 digital programme!

The programme has already begun and more than 600 children have signed up to participate - many of whom are based in London as well as across the country. There will be over 450 live sessions ,including special Easter holiday sessions with the London Symphony Orchestra, webinars with the Kanneh-Masons and a bespoke mentoring programme with members of the National Youth Orchestra.

It is especially important for the NCO to be creating a programme like this, with government restrictions halting all face-to-face activities for youth organisations for over a year now. This programme will give the chance for these children to have fun, meet other like-minded people and make new friendships along the way. nco.org.uk

British Voice Association (BVA) The BVA website – britishvoiceassociation.org.uk – contains a wealth of advice on many aspects of voice health. Many people who have had COVID-19 find themselves experiencing voice difficulties afterwards, so a group of our specialist Speech and Language Therapists have compiled a handy guide to the causes and treatment of post-COVID-19 voice effects.

It offers tips on how to manage symptoms and advice on when to see your doctor about it.

The website also contains information on our upcoming courses, including our international conference ‘Choice for Voice’, which will take place online in September 2021.

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Feldenkrais Guild UK

68 artists and delivered 18 workshops for teachers and creative professionals.

Get into shape as we return to work!

The Feldenkrais Method is a great way of getting yourself physically and mentally ready to be back on stage.

We are now looking forward with optimism. We have presented our new music offer to schools, launched ‘Fair Play’ to explore and improve equality, Benefits include improved performance, diversity and inclusion practices, our Furthering Talent programme is and greater wellbeing. Try out a underway, and we are preparing for a weekly class, or go to a workshop. big summer online concert!

In May and June practitioners are severnarts.org.uk offering workshops and classes for: string players: themovingbrain.com/ stringmoves Music Education Solutions flautists: niallflute.com

Music Education Solutions® is cellists and pianists: benslowmusic.org delighted to be hosting the first LIVE national music education conference singers: maggyburrowes. for over a year! The Curriculum com/working-with-maggy/ Music Conference will take place online-training in Birmingham on 22 June and features an array of practical and We also offer more general sessions discussion sessions for Primary, to improve the way you move, think, Secondary and EYFS music teachers. and play.

ISM members receive a 20% discount For more information about what we on this event with the code from the offer, and to join the mailing list visit: member handbook. More details at: feldenkraisresourcesformusicians. musiceducationsolutions.co.uk co.uk

Severn Arts What an extraordinary year! Like everyone, we have had to react quickly, changing our use of technology and ensuring our offer is accessible and relevant. We are proud of what we have achieved – we have worked with 86% of Worcestershire schools, taught over 23,500 individual online music lessons, commissioned

ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

Impulse Music Consultants Monetising your music online

Middlesex University

Composers Edition

Middlesex University has been increasing the online presence of its music courses, with a brand new Instagram page under the name ‘mdxunimusic’. This page is run by a team of students, staff and alumni, and showcases artists from the music courses. In addition to a series of online Open Mic events hosted by students, an informal talk show has also been launched on Instagram, hosted by two students and featuring their colleagues and alumni as guests to discuss their work, university life and music in general. These initiatives have brought the department closer to the students and provided a useful platform for a number of artists.

Commissioning – Fresh Thinking!

Among ongoing projects, final year undergraduate and MA research students are providing music for a re-imagining of Robert Cohan’s dance piece Tzaikerk, choreographed by Middlesex dance staff Sarah Sulemanji and Sian Hopkins, which will be livestreamed from campus spaces on 13 and 14 May as the culmination of this year’s dance-music collaborations. mdx.ac.uk

Composers Edition lead the way as the first independent service publisher for today’s composers. We’re now turning our attention to commissioning. How does it work? Who does it? Why? You might be surprised! We think that far more musicians both professional and amateur and audiences should be in on the joys of bringing brand new music to life. Alongside publishing an article by serial commissioner Kate Romano, we’ve prepared a short guide with examples to help inspire: composersedition.com/ our-services/commissioning-newmusic-a-short-guide

We are all longing to get back to live music with live audiences in live venues. Before that, and even when we can do that, let’s not forget everything we have learned and experienced through taking our music online. We have learned about home acoustics, about microphones, about cameras, lighting and backdrops, but what about earning from performances, plays, podcasts and promotions? As we wait to kick-start our live careers, there is still plenty we can find out about how to supplement incomes through online opportunities.

What are the platforms that facilitate that? How do we set up ticketing or an invitation to donate? How should we present performance in an online environment? How do we develop our audiences and extend our reach?

These questions and many more are answered in the resources (impulsemusic.co.uk/resources/monetizingonline-performance/) section of the Impulse website. Do take a look and contact us for further information: impulse-music.co.uk/resources Tel: 01760 441441

The National Schools Symphony Orchestra (NSSO) With an overwhelming response to our return to live music-making this summer, NSSO continues to work within Malvern College’s highly regarded COVID protocols, and government guidelines, to ensure courses are safe for our members, staff, and families. Rolling online auditions, measuring applicants against entry standards (not each other, at a fixed deadline) resulted in half our available places being quickly filled. Planning for 2022 is well underway, moving courses into the maintained sector school holiday, and dividing NSSO Academy into two, musically better-focused, ensembles.

Details of the 2021 NSSO Orchestras, Conducting Course, and Big Band can be found at nsso.org.

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ISM MUSIC JOURNAL MAY/JUNE 2021 | NEWS FROM OUR CORPORATE MEMBERS

to consolidate learning and offer an extra layer of fun.

We are very grateful to all our corporate members for their support.

Stay tuned …

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co.uk/music and follow us on Twitter

Musicians Insurance Services

Benslow Music Instrument Loan Scheme

Newmoon Insurance Services

Classic FM

BAM! Baird Artists Management Consulting

nkoda

Impulse Music Consultants

Duet Group

NMC Recordings

Hal Leonard Europe Ltd

Park Lane Group

Insure4Music

Portsmouth Music Hub

Kawai

Rocksteady Music School

Lark Music

The Royal Central School Of Speech & Drama

ABRSM

Allianz Musical Insurance

Leeds Conservatoire

The Royal Philharmonic Society

London College of Music

Trinity College London

Black Dress Code Collins Music Henri Selmer Paris London College of Music Examinations Middlesex University Music Mark Music Teachers’ Board musicteacher.com National Preparatory School Orchestras Oxford University Press Royal Birmingham Conservatoire Stainer & Bell Ltd Steinberg Media Technologies GmbH Take it away The Academy of Music & Sound The Curious Piano Teachers The Piano Teachers’ Course UK

Mark Allen Group

Victoria College Exams

Trinity Laban Conservatoire of Music and Dance Trybooking.com

Music Mind Hub

Yamaha Music Europe GmbH (UK)

Tutti University of St Andrews VLT Legal Services Ltd Voice Workshop Ltd

For further information about our different levels of corporate membership and a full list of over 180 corporate members, visit ism.org.

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Ask me a question

(and live streamed) by several orchestras and ensembles around the world. It has even been turned into a full ballet.

Who is your all-time favourite artist and why?

Dr Michelle Castelletti Director of Festivals, Curator, Conductor, Composer (Main employment at the moment: Director of Oxford Festival of the Arts)

This is the hardest question to answer!

Harder still if one considers all art forms…

I cannot say I have one. (Although when I was young, Pavarotti tugged at my heartstrings …)

Tell us a little about yourself I identify as an interdisciplinarian.

I always feel I need to define who or what I am, as I see connections everywhere.

Following my studies in music (including my Doctorate), I started different studies in Liberal Arts (visual arts, philosophy, literature, architecture …) as well as history, particularly through material culture. I want to, or rather, have to, contextualise everything. I am forever curious and I crave learning and understanding – and discovery. I am a bibliophile, am totally enamoured with illuminated manuscripts, love all art forms … I wish I could dance! I am transformed when on the podium and I feel nothing beats making music together, or the mixture of being the most powerful when you are at your most vulnerable and exposed – in your naked state on stage. I love the fact that I am Mediterranean. I have lived in the UK for about 15 years. I feel very lucky to have had a most beautiful upbringing – not materialistic in any way, but one surrounded by love. Character? My mum calls me her ‘mysterious daughter’.

Even I do not understand how I can be so bubbly and so introvert at the same time. I would not change it for the world.

Who (or what) has most influenced you and your career?

My 97-year-old grandfather was an artist (one of my ancestors, Giuseppe Calí,

nicknamed The Devil with the Brush, was one of the most prominent painters in Malta and Sicily in the late 19th/early 20th centuries, painting many of the frescoes in churches in Malta). I also remember my other grandfather walking down the stairs singing in a very operatic voice! I have always been surrounded by books; and have sung in choirs all my life. I was always made aware of nature – from the tiniest ladybird on a leaf, to the twinkling stars at night, the lapping ripples of waves and picking shells on a rocky beach five minutes away from home (Ta’ Xbiex, Malta), the faintest of breezes, the wafting smells of Spring and the changes of colour in Autumn. I guess what I am trying to say is that being highly sensitive to everything around us, the opening up of the eyes and ears of our minds, our imagination, and all the senses is what has influenced me most … and still does. I am in awe of our surroundings, and of creation.

What was the last CD or music download that you purchased?

My latest acquisition was Oscar Peterson Trio: Live from Chicago and a compilation of Jacques Brel! I have also just received Seiji Ozawa/Boston Symphony’s Mahler cycle as a gift – I think it is superb!

What are your plans for the future?

The truth? So, so much! But I have always tried to live like there is no tomorrow (although to do all the things I concoct in my head, I’d need a hundred lifetimes). I think that we should all embrace today; and do what we cannot do in real life in the time available, in our minds.

Finally, what is your ISM membership to you?

I cannot stress the importance of ISM membership enough. Not only has it been there for me when I needed it but it has made me feel part of something that keeps What would you say is your greatest on making a difference to people’s lives. achievement to date?

The ISM speaks out on behalf of many who sometimes cannot, or feel they do not know I always say I am proudest of what I am how. I am always hugely proud of being part doing at that particular moment. If I had of the ISM. At the moment, perhaps more to choose one thing in terms of music, I so, because of everything the ISM has been would have to say my completion/ doing with regard to the current situation re-working and arrangement of Mahler’s (both as a result of the pandemic, and of tenth symphony. Published by Universal Brexit), and, importantly, its unfaltering Edition Vienna, recorded by BIS Records and ARS Produktion, it has been performed commitment to music education.

Do you receive our email updates?

We regularly email members with the latest news, advice and guidance that music professionals need to know. If you haven’t been receiving our updates, please let us know, as it may be that we have incorrect contact details for you, or

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