ISM Music Journal - March/April 2016

March/April 2016 Pierre Boulez, 1925-2016 Our annual review for 2014-15

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Welcome

Above: Deborah Annetts Photo: Mark Thompson

As John F Kennedy said ‘Change is the law of life. And those who look only to the past or the present are certain to miss the future.’ And so it is in the world of music. Change is all around us. The CBSO has just appointed the 29 year old Lithuanian Mirga Grazinyte-Tyla as the new Music Director of the CBSO, a key role in British Classical music. Much attention has been paid to her gender particularly in the light of some concerning statistics behind the 2016/2017 seasons announced by the London orchestras with neither the LSO nor the Philharmonia fielding a single woman conductor and the LPO mustering just one. There is concern that it is not a level playing field when it comes to the appointment of female conductors and that stereotyping still exists.

It will be interesting to see if with the appointment of Mirga Grazinyte-Tyla our other orchestras follow suit. There is no reason why not.

And onto another institution where change is the order of the day, the English National Opera. The ENO has had its subsidy from the Arts Council cut by £5m a year from 2015 – 2018. In response to these financial pressures the Board of the ENO is considering reducing the size of the permanent chorus, renegotiating the contracts of the chorus and the orchestra and changing the programming model. These plans have not gone unnoticed with Sir Antonio Pappano saying: ‘Plans to reduce its chorus members’ contracts and limit its productions to eight a season threaten to destroy the ENO.’ Notwithstanding the turmoil off stage, artistically the ENO is on a high with Mark Wigglesworth, the ENO’s Music Director, being praised for his leadership. And this is the point. When the Board is thinking about business models for the future it must not lose sight of the fact that it is the musicians who make the opera in the first place and without them and their support any turnaround of the beloved ENO is unlikely to succeed. Partnership and collaboration must lie at the heart of any plans for the ENO’s future.

Front Cover French conductor and composer Pierre Boulez conducting the SWR Symphony Orchestra in October 2008. Boulez died at the age of 90 on 5 January 2016 in Baden-Baden, Germany

Turning to news from the ISM, this edition of Music Journal showcases the ISM’s annual review so please do read what your professional association has been doing over the past year. And Members’ Day will take place on 14 April in the Embassy Theatre at The Royal Central School of Speech and Drama. Full details are on page 5 and remember the event is free.

I look forward to seeing you there.

Inset images: Dame Emma Kirkby and Carl Davis – our special guests at Members’ Day

2 5 6 7 8

News & campaigns Members’ Day Legal help Professional development Business advice

10 14 20

Pierre Boulez Annual review Members Fund annual review

24 26 29

News from our members Classified advertising News from our corporate members Local events listings Ask me a question

35 36

Volume 82 / Number 6 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 Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX

See feature on pages 10-12 Photo: © ROLF HAID/ AFP/Getty Images

Contents

ISSN 0951 5135

deborah@ism.org

Design: Cog Design www.cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Wimbledon Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 April for May/June issue Price: £6 per copy Subscription: £30 per year Circulation: 7,250 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.

See page 5

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ISM MUSIC JOURNAL MARCH/APRIL 2016

News & campaigns #fairterms for creators campaign launched The ISM has joined forces with the Creators Rights Alliance, Society of Authors, Association of Illustrators and other organisations representing creators to launch a Fair Terms for Creators campaign.

Henry Vann, Head of External Affairs, ISM

The campaign aims to address an ‘inequality of bargaining power’ between individual creators – performers and composers – and those who make a profit from their work.

The cross sector campaign believes that creators should be treated fairly when they sign contracts – whether it is the terms and conditions of a media platform or the standard contract offered to artists by galleries, record labels and platforms.

You can sign up to the campaign by going to fairtermsforcreators.org

What are fair terms? What is the campaign calling for all contracts to address?

Clarity on contracts.

Remuneration when your creative work is used.

Good News: Orchestral tax relief starts from 1 April Could your ensemble be eligible?

A new tax relief for orchestras will be introduced from 1 April 2016 following a second consultation in January and February 2016. The tax relief follows successful campaigning by the Association of British Orchestras (ABO) to see the successful theatres tax relief being extended to include orchestral productions.

The ISM successfully lobbied to extend eligibility for the tax relief to ensembles with at least 12 musicians (the Government initially proposed a minimum of 14 musicians).

The originally proposed definition of orchestra would also have required all eligible ensembles to include at least one brass, woodwind, string and percussion instrument. Following lobbying by the ISM, eligibility was extended to include all ensembles, whatever the mix of instruments. The only requirement is that a majority of the instruments must not be electronically or directly amplified.

We will be publishing some brief guidance on the tax relief in the members’ area of our website, including guidance on how to get more detailed advice from HMRC.

Exploitation: A requirement that those who own your work promote it.

Accounting that is fair and understandable.

Terms in contracts which have time limits.

Ownership that is recognised and respected.

Reasonable contracts as a general legal principle.

BBC Radio 3 commissions 70 works for 70th anniversary BBC Radio 3 has announced that it will celebrate its 70th anniversary this September by commissioning 70 ‘new works across speech and music’ including a substantial number of new commissions.

Combining performer and composer opportunities, seven composers given their first Radio 3 commission for a 10-minute work, to be performed by either a BBC Performing Group or Radio 3 New Generation Artist.

In its press release, the BBC said that ‘A key role will be to make contemporary classical music part of everyday listening and to explain and demystify new music and the process of composition.’

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Our partnership with the Royal College of Organists If you are both a member of the ISM and the Royal College of Organists (RCO), take advantage of our new partnership designed to increase the breadth and availability of support for organists and choral directors. The partnership sees the ISM and RCO working together to build and deliver a wide range of services, information and development opportunities for organists and choral directors.

Members of either organisation are able to join the other at a 25% discount. The RCO supports and represents organists and choral directors of every age and all levels of attainment.

Music sector comes together to protect music in schools Update on the English Baccalaureate (EBacc) campaign On Friday 29 January 2016 the Department for Education’s consultation on plans to make the narrowly defined EBacc all but compulsory for secondary pupils closed.

If it goes ahead as planned, 90% of secondary school pupils will be required to study a narrow minimum of seven GCSEs (with the number likely to be more), with no room left for music or other arts subjects.

(The average number of GCSEs studied by pupils in England is eight.)

For more information about this exciting new partnership including how to join either organisation, visit ism.org/join/rco, contact the ISM membership team on membership@ism.org or 020 7221 3499 or visit the RCO website: rco.org.uk

ISM composers’ survey The ISM Composers Special Interest Group have launched a new composers’ survey and want to hear your views on the following issues: 1.

The BBC’s commissioning of new music – how could the BBC improve and open up its commissioning process for new music?

2.

Next steps for PRS for Music – how they could improve their service for composers?

3.

Building the relationship between performers and composers – with the ISM uniquely placed to represent both performers and composers, how can we help foster these networks?

4.

ISM resources – with our successful self-publishing pack launched, and our template contracts supporting composers as they negotiate contracts, what could we do to support composers next?

The Bacc for the Future campaign, coordinated by the ISM, has secured the support of Conservatoires and other higher education institutions, from the music world including the Association of British Choral Directors, Association of British Orchestras, British and International Federation of Festivals for Music, Dance and Speech, Centre for Young Musicians, IMG Artists, Music Education Council, Music Industries Association, Music Publishers Association, Royal Liverpool Philharmonic, Royal Northern College of Music, Royal Philharmonic Society and Sound Connections.

To respond, simply visit ism.org/composing

But support is also coming from across the creative industries, including: Aardman Animations (who made Wallace and Gromit), the Royal Institute of British Architects, Design Council, Directors UK, and Shakespeare’s Globe for example.

Inspire Music is a national initiative from the Paul Hamlyn Foundation, an arts and education charity, to ‘build, extend, deepen and develop a community of practice that embraces all those involved in the musical development of children and young people.’

Campaign action We are now encouraging people to write to their local MPs to ask for their help in ensuring that music is properly valued in school league tables and accountability measures. You can download a template letter from BaccfortheFuture.com and you can share any reply you get from your local MP with us by emailing Derin.Adebiyi@ism.org

Inspire Music launched by Paul Hamlyn Foundation

Professor Graham Welch, who holds the UCL Institute of Education (formerly University of London) Established Chair of Music Education, has written a blog post introducing the principles behind the project which you can read at ism.org/blog/article/ art-of-practice-inspiration.

Part of the aim of the project will be to ‘capture’ inspiring music education from across the country across all ages, musical genres, and diverse settings.

Continued overleaf È

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ISM MUSIC JOURNAL MARCH/APRIL 2016

The aim will then be for this work to act as a shareable professional development portal where best practice examples can be easily accessible.

A selection of some of the first examples will appear later this year on the ‘inspire music’ website at: inspire-music.org.

PPL and PRS for Music to work together on musicians’ rights PRS for Music and PPL have announced that they will be working together to collect public performance rights for recorded performers, composers, publishers and record labels.

When music is publicly performed (whether recorded music or live in a venue), royalties are paid to musicians.

The composers and publishers collecting society, PRS for Music and the recorded music collecting society, PPL announced that they will be creating a new company – jointly and equally owned by PPL and PRS for Music – for public performance licensing.

This will cover all public performances of music.

The preparations will take place over the ‘next few months’ with more information coming out for regulators and interested parties.

BBC Ten Pieces II Deadline for uploading responses approaches In the November/December edition of Music Journal we covered the exciting BBC Ten Pieces Secondary project. This project is extending the original BBC Ten Pieces project to secondary school pupils, with ten new pieces of music (with accompanying explanatory videos) to engage pupils and encourage creative responses.

With the new film released and available for free, the BBC is encouraging pupils to produce their own videos of their creative responses be they compositions, dances, digital art or animations or performance poetry.

The BBC is asking students to submit their creative responses online by Thursday 24 March.

Find out more: ism.org/bbctenpiecesII If you require any assitance from the Ten Pieces team please give them a call on 0800 015 9021 or email tenpieces@bbc.co.uk

Henry Vann, Head of External Affairs, ISM The aim is for the new company to begin licensing in 020 7313 9327, henry.vann@ism.org 2017, which will then be followed by a 12 month period during which the full transition of public performance licensing would be completed. The likelihood is that the new joint venture will be located in a city outside the M25.

Give the musicians in your life the security and peace of mind that comes with being part of a professional body. Buy your musician colleague, student, family member or friend a year of ISM full membership for £167 or a year of graduate membership for just £70 (if they graduated from their first degree-level qualification in music in the last ten years).

Or why not buy your pupils ISM student membership when they go off to university or conservatoire? oire?

Student membership is just £12 a year.

To order your gift and find out more, go to ism.org/join.

If you have any questions about gift membership, please call us on 020 7221 3499 or email our Membership Officer Simon Frais at simon.frais@ism.org.

Please note: to be eligible for ISM membership the recipient of the gift must satisfy our entry criteria.

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© iStockphoto/cinoby

Be instrumental in supporting the musicians in your life – give them the gift of ISM membership.

ISM MUSIC JOURNAL MARCH/APRIL 2016

Members’ Day This year we are inviting all our members to a free day of musical events at The Royal Central School of Speech and Drama in London NW3 on Thursday 14 April, 10am-5pm.

Places are free and include refreshments and lunch.

Book now at http://bit.ly/ISMMembersDay Our special guests on the day will include world renowned composer and conductor Carl Davis and illustrious soprano and early music specialist Dame Emma Kirkby who has been a member of the ISM for over 20 years.

For our first session of the day we are honoured to be welcoming Carl Davis, now in his eightieth birthday year, to talk about his remarkable life in music with Professor Gavin Henderson, Principal of The Royal Central School of Speech and Drama.

At midday we will be holding our AGM and open forum for members only. The AGM agenda and proxy voting form appear on page 22 of this Journal.

In the afternoon we have a fantastic opportunity for you to watch one of the world’s finest early music performers, Dame Emma Kirkby, in action leading and coaching singers and lutenists at our masterclass.

Both of these sessions are open to non-members too so please feel free to invite your fellow musicians, pupils and friends to enjoy them with you. They can book online: (http://bit.ly/CarlDavisISM and http://bit.ly/EmmaKirkbyISM) or contact us on the details below to reserve their free places.

Booking If you would like to attend Members’ Day, please call us on 020 7221 3499, email membership@ism.org or book online (http://bit.ly/ISMMembersDay) by Thursday 7 April. Please let us know of any dietary or accessibility needs at the time of booking.

Members’ Day schedule: 10.00

Registration and refreshments

10.30

Welcome from Jeremy Jackman, President 2015-16

10.35

Carl Davis in conversation with Professor Gavin Henderson

11.35

Break

12.00

AGM and open forum

13.15

Lunch

14.30

Masterclass for singers and lutenists with Dame Emma Kirkby

16.30

Presidential medal ceremony and closing words

16.40

Refreshments

17.00

End

The day will conclude with the handing over of the ISM Presidential medal from Jeremy Jackman to Nicolas Chisholm MBE.

Right (from top to bottom): Dame Emma Kirkby Carl Davis Photo: Trevor Leighton

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Self-publishin g Pack for com posers Our new Self-pu blishing

Legal help

Pack, the latest Make Music Wor addition to the k advice series, is available to do wnload for free from

Self-publishing for composers In an environment where it is often difficult for composers to find a publisher it is increasingly common for composers to consider ‘self-publishing’ – where a composer endeavours to take on the roles that have traditionally been carried out by music publishers. These roles include: David Abrahams, Head of Legal, ISM

1.

Making music available for sale or hire to the public

2.

Marketing and promoting music to artists and ensembles

3.

Registering composers’ works with collecting societies such as PRS

4.

Seeking commissions and negotiating commission fees for composers

5.

Developing relationships between composers and music industry professionals

6.

Providing administrative services for composers (such as writing biographies or arranging travel and accommodation)

In considering the self-publishing approach, composers have to weigh up the advantages of selfpublishing (principally the fact that a self-published composer does not need to worry about securing a publishing deal, will not have to pay a commission to a publisher and retains far more control over their music than a composer who has signed a traditional publishing deal) against the disadvantages (the fact that the composer will either have to undertake the roles outlined above for themselves or make arrangements for someone else to undertake those roles on their behalf).

ISM Self-publishing Pack In order to assist composers who are considering self-publishing the ISM has recently produced a Self-publishing Pack launched at a webinar on 27 January this year. Both the Pack and access to a recording of the webinar are available free of charge on the ISM’s website (ism.org). The Pack addresses some of the key issues that composers need to consider in relation to self-publishing (legal and tax

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ism.org/self-p ublishing-pack

issues, business structures and the practicalities of promoting, producing and selling music to the public).

The key advantage of self-publishing is that, provided composers are able to devote sufficient time to promoting and distributing their music, self-publishing allows them to retain considerably more of the money their music generates, as well as affording them the freedom to set their own fees, workload and deadlines.

Income streams Self-published composers need to be aware of all the income streams that may be available to them (Physical and digital sales of sheet music; Rental from the hire of scores to artists and ensembles; Royalties generated by live performances, broadcasts and streaming services; and royalties generated by the use of music in films and computer games) but also need to be realistic about the very low returns that some income streams generate. For example, PRS has estimated that a track needs to be streamed 60,000 times on a streaming service in order to generate just £100 of revenue for the composer.

Digital or physical sales?

Digital sales of music via an online platform involve zero production costs, thus allowing composers to retain much more money from each individual sale. On the other hand, it is also possible for selfpublishing composers to make money from the sale and hire of music in physical formats, provided they find a cost-effective way of dealing with print and production costs.

Networking and Marketing Self-publishing composers need to develop good networking and marketing skills to generate new commissions and royalties from live performances.

We recommend developing a marketing plan which is likely to include developing close working relationships with performing musicians, attending industry events, and effective use of social media such as Twitter and Facebook to reach out to ensembles, festivals and other industry contacts.

David Abrahams, Head of Legal, ISM

ISM MUSIC JOURNAL MARCH/APRIL 2016

Professional Development Webinars ISM webinars offer members the chance to access key professional development opportunities at work, home or on the move.

Our next webinars are:

Music and dyslexia: Definitions, difficulties, strengths and strategies On Wednesday 30 March from 1-2pm we are offering music teachers a free opportunity to learn about dyslexia and other Specific Learning Difficulties that can affect their pupils.

In a one-hour long webinar our two expert speakers, Sally Daunt (Chair of the British Dyslexia Association’s music committee) and Dr Paula Bishop-Liebler (an additional support tutor and assessor who works with conservatoire students) will cover:

Setting your tuition fees On Tuesday 5 April from 11am-12pm, Caroline Aldred, our Business Support Officer will explore how you can use our fees survey results and other information to decide on your own fees.

Register for this webinar at http://bit.ly/SetYourTuitionFees

A guide to progression, curriculum and assessment One day seminars led by Dr Alison Daubney Tuesday 7 June (for primary school teachers) and Monday 11 July (for secondary school teachers)

9.30am-4pm at ISM, 4-5 Inverness Mews, • Definitions and features of dyslexia and other Specific London W2 3JQ Learning Difficulties, especially those which can These ever-popular workshops offer a framework affect musical activity, including areas of strength for reflecting upon the development of the music curriculum and music education in your school or • Co-occurring difficulties including visual stress hub. Using examples from schools and hubs, the • The ways in which music teachers may spot workshop will present a range of new and developing indicators of dyslexia and what they can do approaches to music education and will encourage you • Strategies that teachers can adopt which may help to share, critique and develop your own work. dyslexic individuals (of all ages) and indeed may lead In order for the workshop to be personalised and to more creative and ‘inclusive’ teaching in general in-depth, the maximum number of delegates for each • Signposting to further help and education about day is 15. To book (£30 members, £40 non-members the topic, including information about exams and including refreshments and lunch), reasonable adjustments email ceri.wood@ism.org or call 020 7221 3499.

There will be an opportunities to ask Sally and Paula questions during the webinar.

Register for this webinar at http://bit.ly/MusicandDyslexia

Do you teach pupils with dyslexia?

Do you specialise in teaching children and adults with dyslexia or any other Special Education Needs?

We’re working with British Dyslexia Association to identify members who have this specialism and are happy for this to be listed on the ISM’s online Music Directory. Please let us know by emailing louise.goodwin@ism.org. For more information about the BDA visit bdadyslexia.org.uk.

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Business advice Fees for music tuition Thank you to all of you who responded to our recent survey of tuition fees. Almost 1,400 music teachers took part, making this survey the largest of its kind in the UK. The survey results are summarised below. They are not recommendations. Competition law prevents us – and other trade associations and organisations – from recommending rates for musicians’ freelance work.

However, we are permitted to recommend fees for employed music teaching. Our recommendations for the 2016/17 academic year are also shown below.

For our tips on setting your own fees, including how to assess where you yourself fit within the overall range of fees, please go to the Advice area of our website.

Survey results for self-employed visiting music teachers As in previous years, the latest survey results indicate significant differences between fees paid in independent schools, in state-funded schools and by music services and hubs. They also continue to suggest that rates in London are higher than elsewhere and that outside London there are no significant regional differences in rates charged. However, within each region, a wide range of rates was reported.

Self-employed music teachers in schools: lesson rates in September 2015 (in £ per hour)

Central range* London

Survey results for private tuition The latest survey results continue to suggest that teachers in Central London charge significantly more than teachers in Greater London who, in turn, charge more than teachers living elsewhere in the UK. Previous surveys had consistently indicated that outside London there are no significant differences between the rates charged in different regions of the UK. However, within each region, there is a wide range of different fees charged. This probably reflects, amongst other considerations, the variations in economic prosperity between different localities within each region and the different levels of qualification and experience of individual teachers.

independent schools

£34-£42

maintained schools

£25-£34.50

music sevices and hubs

£25-£31

Rest of UK independent schools

£32-£39

maintained schools

£25-£32

music sevices and hubs

£23-£29.50

* Most respondents charged fees within this range.

(Only 20% charged more and 20% charged less.)

Room hire charges Fees for private music tuition in September 2015 In our survey we also asked self-employed visiting (in £ per hour)

Central range* Central London

£30-£50

Greater London

£30-£40

Rest of UK

£25-£35

* Most respondents charged fees within this range.

(Only 20% charged more and 20% charged less.)

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music teachers whether the school charged them for use of the school’s teaching facilities.

Most respondents told us that their school does not make any charge. Many other schools charge only a nominal fee (perhaps as little as £1 per pupil per term). However, a small proportion of schools charge substantially more than this. If your school is proposing a more than nominal charge, you may want to draw the school’s attention to these findings. If you are an ISM member, you should contact our legal team for advice (020 7221 3499, legal@ism.org).

ISM MUSIC JOURNAL MARCH/APRIL 2016

Recommended rates for employed visiting music teachers We have now published our recommendations for fees for employed visiting music teachers in schools in the academic year 2016/17. These are set out in the table below. They are exclusive of holiday pay, which schools should pay in addition.

You can find more information about our survey results and recommendations as well as our tips on how you could use this, and other, information to determine the level of your own fees in the ‘Advice’ area of our website under ‘Fees’. You should take into account the general level of fees in your area and your own growing skills and experience. If you are selfemployed don’t forget to make allowance also for holidays, sickness and pension provision.

Recommended fee ranges for employed visiting music teachers in 2016/17 (£ per hour) Caroline Aldred, Business Support Officer, ISM

London

Rest of UK

independent schools & specialist music schools

£36-£40

£30.50–£35

all other schools, music services and hubs

£29–££34

Fees for accom panists We

£26–£30

have also publ ished the resu lts of last year ’s survey of fees for accompany in g.

You will find th in the Advice ar ese ea of our websi te (ism.org).

ISM/MMA JOINT MEMBERSHIP Join the two leading independent bodies in music education via our joint membership scheme, offering superb value. Music teachers holding an ISM/MMA membership will have access to the complete range of services a music teaching professional needs today, along with connections across the music education sector in the UK. Joint membership is just £193 for ISM/MMA full membership, or £188 for ISM/MMA instrumental membership – both levels represent a saving of 15% on the normal subscriptions. For more information including how to sign up, visit ism.org/join/ism_mma, contact the ISM membership team on membership@ism.org or 020 7221 3499 or visit the MMA website: mma-online.org.uk

ism.org

mma-online.org.uk

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Pierre Boulez, 1925-2016 Dr Paul Max Edlin reects on the legacy of one of the most inuential conductors and composers of our time. and he was succeeded by Sir Colin Davis. Glock had been in post at the BBC since 1959, and it wasn’t until 1971 that Boulez became the new chief conductor, when he was 46 years old. He combined this BBC role with similar posts with the Cleveland Orchestra (1970 to 1972) and the New York Philharmonic (1971 to 1977). He left the BBCSO in ZKHQ WKH %%&¡V UHDFK LPSDFW DQG LQà XHQFH in classical music was surely at its strongest. , GRXEW DQ\RQH FDQ GLVDJUHH WKDW RI WKHVH LQà XHQWLDO conductors it was Boulez who left the greatest mark, changing the orchestral repertoire and transforming the way we perceived familiar and much loved works. The music of Stravinsky, Bartók, Schoenberg, Berg, Webern, Varèse, Ravel and Debussy was presented with startling kaleidoscopic clarity and precision, yet imbued with a natural lyricism that avoided clichÊ.

Then there was the music of those seeming radicals of the age, such as Stockhausen and Berio; even Messiaen’s was considered a new voice in the 1970s. Challenged by the brave new sounds of the Second Viennese School, French impressionism and Darmstadt, we could hear the heartbeat of mainland Europe in our own capital. New horizons had emerged.

Above: Pierre Boulez composing at home (1971) Photo: Š Carlo Bavagnoli/ The LIFE Picture Collection/ Getty Images

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In the UK, we can associate Pierre Boulez – who was awarded the ISM's Distinguished Musician Award in 2005 – with the period of Sir William Glock’s tenure as Controller of BBC Radio 3.

Boulez was Glock’s third appointment as chief conductor of the BBC Symphony Orchestra. +LV ÀUVW DSSRLQWPHQW ZDV $QWiO 'RUDWL FKDUJHG ZLWK UHPRXOGLQJ WKH %%&¡V à DJVKLS RUFKHVWUD

In 1976, Boulez conducted Bayreuth’s centenary production of Wagner’s Der Ring des Nibelungen.

Once again, we heard Wagner anew, with tensions transformed through a reassessment of pace and transparency of texture. But Boulez had been to Bayreuth before, to conduct Parsifal in 1966, replacing Hans Knappertsbusch who had just died.

It was not just in the UK and Bayreuth that Boulez was making an impact. The celebrated 1969 recording of Stravinsky’s Le Sacre du Printemps with the Cleveland Orchestra had made musical headlines. New York concert management, with their reliance on private subscribers, might have

ISM MUSIC JOURNAL MARCH/APRIL 2016

Above: Pierre Boulez conducting in 1964 Photo: Š Erich Auerbach/ Getty Images

In 1970, President George Pompidou asked Boulez to establish an organisation that could do cutting edge research in music. In 1973, IRCAM (Institut de Recherche et Coordination Acoustique/Musique) was completed, beautifully and appropriately placed literally underneath Place Igor Stravinsky in central Paris. Boulez was in charge of the centre Let us remember that Boulez succeeded Sir Colin and shaped it as it developed, handing over its Davis in the UK, Leonard Bernstein in New York and he replaced Hans Knappertsbusch at Bayreuth. leadership in 1992 when he became its honorary director. IRCAM is synonymous with new music, In a similar vein to Gustav Mahler, another and we should remember the many leading great and favourite conductor of The New York composers who have spent many months there 3KLOKDUPRQLF DQG %D\UHXWK %RXOH] ZDV ÀUVW DQG foremost a composer. As a parallel, if this was May creating whole new musical soundscapes. Take for instance Jonathan Harvey, whose Mortuos Plango, DQG ZH ZHUH UHà HFWLQJ RQ 0DKOHU¡V OLIH RXU Vivos Voco and Bhakti immediately stand out. focus would surely be on his work as a conductor.

Sir Harrison Birtwistle’s Mask of Orpheus owes more Now we remember Mahler as a composer. than its fearsome transformations of harp sonorities In his personal life, Boulez was intensely private. to IRCAM. George Benjamin’s magical Antara is Professionally, he was always patient, generous, another British work literally shaped by IRCAM. respectful and increasingly genial to the musicians In 1976, Boulez founded Ensemble he worked with, to the point where they would ,QWHU&RQWHPSRUDLQ ,W ZDV WKH ÀUVW SHUPDQHQW support other concerts he gave. Musicians all music ensemble in the world to solely promote point out Bouelz’s unparalleled aural skills – contemporary music, created with the support of he could spot tiny mistakes in the midst of the the then French Minister for Culture, Michel Guy. densest textures. Subsequently, he demanded The ensemble has given well over 500 premieres, (and inspired) the highest standards of others – many becoming established works in the and himself. He commanded respect by virtue of UHSHUWRLUH %RXOH] ZDV WKH NH\ ÀJXUH LQ (QVHPEOH his exceptional ability and supreme intelligence.

InterContemporain, only resting his metaphorical He was also particularly astute and very capable baton as his health began to fail. of charming politicians‌ presumed that Boulez’s desire to transform the musical diet of a great world city might literally fall on deaf ears. To the contrary! In 1969, Boulez WUDQVÀ[HG ERWK PDQDJHPHQW DQG SOD\HUV RI WKH New York Philharmonic, thus inviting him to succeed Leonard Bernstein as chief conductor.

Continued overleaf Ăˆ

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Of all the books of the latter half of the Twentieth Century, few have had a greater impact than Boulez on Music Today, translated by Susan Bradshaw and Richard Rodney Bennett. In it, we are drawn into the world of Darmstadt, confronting music systems, structural concepts and musical technique in a host of aspects. It is not a huge tome, being EDUHO\ SDJHV EXW LW RYHUĂ RZV ZLWK SURYRFDWLYH and illuminating thoughts. Boulez demands us to rethink, to challenge the past yet respect it. He revealed what he believed to be his true calling and made clear that there should be no room for idleness in creativity.

Born in 1925, the son of an engineer and director of a steel works, Boulez was educated at a local Catholic school, where a grueling daily schedule of work and prayer drilled into him extraordinary levels of self-discipline, but left him with scant regard for the Catholic faith. He was good at music and mathematics, and he famously studied at the Paris Conservatoire with Olivier Messiaen.

Through Messiaen, Boulez discovered ‘twelvetone technique’. As a key member of the Darmstadt School, Boulez kept company with the leading composers of that generation, including Bruno Maderna, Luciano Berio, Luigi Nono, John Cage and Karlheinz Stockhausen.

In the fullness of time, Boulez’s compositions will surely command our primary focus. From the early exquisite cantatas of the 1940s, Le visage nuptial and Le soleil des eaux to the epic second piano sonata of 1948, Boulez never lost that combination of the highly elaborate fancy (an exotic fantasy, perhaps caught up in a mix of French EDURTXH RUQDPHQWDWLRQ DQG WKH $VLDQ LQà XHQFHG sonorities so admired by Debussy and Messiaen) and of mathematical and intricate rigour. All was established at the outset, and each of his works was yet another coruscating demonstration of these bejeweled aspects of musical creation.

From 1953 to 1955 (with revisions until 1957), Boulez concentrated on Le marteau sans maĂŽtre (The hammer without a master). Setting the surrealist poetry of RenĂŠ Char for contralto and chamber ensemble, Le marteau Ă€UPO\ JDOYDQLVHG Boulez’s reputation as a composer of modernist DQG VHULDOLVW ZRUN :H PXVW UHĂ HFW RQ LWV LQWHQWLRQDO exoticism. It is scored for a ‘treble heavy’ ensemble, thus heightening a non-Western sound world, arguably akin to Balinese Gamelan and African music. It is a beautiful score to look at, especially for those lucky enough to own the facsimile published E\ 6FKRWW LQ WR FHOHEUDWH Ă€IW\ \HDUV VLQFH LWV premiere. Each and every page has a grace and beauty in its calligraphy, and the variety of notation imbues it with yet another degree of musical ‘colour’.

12

From 1957 to 1962 (with revisions in 1980), Boulez set the equally surreal poetry of StÊphane MallarmÊ. Pli selon pli (Fold upon fold) weaves a particularly intoxicating spell. Boulez clearly needed to explore concepts of improvisation, and WKUHH RI WKH ÀYH PRYHPHQWV XVH WKLV DFWXDO WHUP LQ their title. Scored for soprano and orchestra, this vast musical tapestry mesmerises for over an hour, making it Boulez’s longest work.

From the 1970s, Boulez’s music takes on new freedoms, throwing aside the potential shackles of complete serialism and embracing that French ideal of ‘libertÊ’. ÂŤH[SORVDQWH Ă€[HÂŤ (1971–1972), DĂŠrive II (1988, rev. 2002/2006), RĂŠpons (1980/82/84) and Sur Incises (1996/1998) all possess a sense of light and shade across a translucent palette of colours, and all demonstrate Boulez’s fastidious desire for perfection, revealed by their revisions.

Surely the most extreme example of revision is in Notations. From the 20 year old composer’s Douze Notations for solo piano (a set of tiny miniatures, each lasting barely one minute) to the newly created frescos for large orchestra of the 1980s that are vast elaborations of numbers 1 to 4, we see how Boulez has metamorphosed into a mighty story teller.

Every page is a lesson in orchestration, brim full of the most varied colours, ranging from the magical to the visceral. $W WKLV PRPHQW WKH ZLGHU SXEOLF PD\ UHĂ HFW on Boulez the conductor while academics and researchers may be more likely to ponder over his writings and over IRCAM. Composers, for whom Boulez ‘the composer’ remains one of the greatest JXLGHV PRXUQ KLV ORVV SURIRXQGO\ ĐŻ KH ZDV D wizard who urged us to follow new paths, making us think about the essentials of musical creation.

No musician has had a greater impact on classical music in the last sixty years. Boulez changed the repertoire of orchestras and ensembles.

He established a desire to properly explore and develop new technologies. He made sure that ‘new music ensembles’ were central in the promotional aspect of music. He was a composer of masterly and LQĂ XHQWLDO ZRUNV LQ ZKLFK HYHU\ QRWH LV H[TXLVLWHO\ placed. He was undoubtedly selective, but, in all respects, Boulez’s legacy is beautiful.

Dr Paul Max Edlin Composer Director of Music, Queen Mary University of London Artistic Director, Deal Festival of Music and the Arts ISM President, 2011-12

ISM MUSIC JOURNAL MARCH/APRIL 2016

Annual review Deborah Annetts summarises the ISM’s activities for the year ended 31 August 2015 The ISM is the UK’s professional body for musicians, established in 1882 to promote the art of music and to protect and support the interests of musicians and the music profession. This founding vision continues to serve the Society well. The key areas of activity for the ,60 IRU WKH ÀQDQFLDO \HDU LQ TXHVWLRQ ZHUH DV IROORZV

Continue to position the ISM as the membership organisation for the music profession

Make Music Work in March 2015 Clockwise from above: Participants at Make Music Work; The Jury’s Out panel discussion; Juice vocals; Ksenija Sidorova; Benjamin Baker Photos: Mark Woods-Nunn

This year was a very exciting year for the ISM. Council after much thought and discussion took the decision to overhaul the ISM conference. Council explored various options and made the decision that there was a need for a conference covering a range of themes to support musicians as they develop their careers as performers or composers. A highSURĂ€OH ODUJH VFDOH HYHQW HQWLWOHG Make Music Work, was devised featuring many key speakers from the industry, focused on helping aspirational performers and composers build their knowledge around key business developments such as marketing, networking, negotiation techniques and copyright.

The President, Professor Barry Ife CBE, very kindly made Milton Court at the Barbican available free of charge to the ISM for Make Music Work which was held on 31 March 2015. In four main sessions, interspersed with live music, panels of prominent music leaders and young professionals discussed how to encourage creative initiative and artistic FRQYLFWLRQ EXLOG FRQĂ€GHQFH DQG PLWLJDWH ULVN develop a distinctive ‘voice’ in the profession; hone entrepreneurial skills and understand how things really work in the profession.

Over 25 partners worked alongside the ISM on the event namely Association of Teachers of Singing, Birmingham Conservatoire and Birmingham City University, Canterbury Christ Church University, City Music Foundation, Composers Edition, Concordia Foundation, Goldsmiths University of London, Guildhall School of Music and Drama, Help Musicians UK, Leeds College of Music, Live

14

ISM MUSIC JOURNAL MARCH/APRIL 2016

2013/14

Over 300 delegates and participants attended Make Music Work, and via our partners the event had a reach of over 178,000 composers and performers.

The ISM would like to thank all its partners who worked so collaboratively to make the vision a reality.

The day has been followed up with a number of online resources which will provide musicians from all areas of the profession with the tools to establish a successful and sustainable career. The Make Music Work series already includes a Guide for Young Musicians, Performers Pack and Composers Pack.

More resources will follow in the coming year.

Figure 1 ISM website usage 228,469

2014/15

Music Now, Making Music, MIA, Music Publishers Association, Musicians Answering Service, Park Lane Group, PPL, PRS for Music, Royal College of Music, Royal Philharmonic Society, the Royal Society of Musicians, The Sixteen, The Musicians Company, Trinity Laban Conservatoire of Music and Dance, University of West London, and Women in Music. &ODVVLFDO 0XVLF ZDV WKH R΀FLDO PHGLD SDUWQHU

248,644

183,761

202,840 0

50,000

100,000

150,000

200,000

250,000

• Sessions • Individual users

Partnerships continued to play an important role at the ISM. The ISM was delighted to be invited to join the BBC Ten Pieces Secondary project as a stakeholder and the promotion of this important work will continue into 2016. The ISM supported the RPS Music Award for Opera and was conference sponsor at Music Education Expo. The ISM also worked to ensure that the merger with the Schools Music Association was a success.

Below: Dame Felicity Lott receives the 2014 Distinguished Musician Award from Professor Barry Ife Photo: Kris Brown

ISM membership continued to grow during 20142015. By 31 August 2015 membership had risen to over 7,000 members. Retention levels continued to be strong at 92% overall. The level of student and graduate membership changed very little from the previous year. ISM web presence continued to be strong and page visits and individual users to LVP RUJ LQFUHDVHG FRPSDUHG WR sessions increased by 20,175 and the number of The prestigious ISM Distinguished Musician Award users increased by 19,079. (Figure 1) for 2014 was presented to Dame Felicity Lott by A total of 43 events were held by the Society’s active the President Professor Barry Ife CBE on 30 January ORFDO JURXSV GXULQJ WKH ÀQDQFLDO \HDU 2015 at Milton Court following a masterclass.

Four local groups became dormant – Bournemouth, Dame Felicity was awarded the Incorporated Norfolk, and Reading were unsuccessful in recruiting Society of Musician’s Distinguished Musician new representatives. Guildford local group will Award for her illustrious career that spans a wealth hopefully be reinstated this year after a successful of musical achievements as a performer with recruitment process. many of the world’s leading opera companies at The ISM held its second Members’ Day on 23 April some of the most iconic venues.

2015 at the Royal Overseas League in London.

The AGM and Open Forum took place as part of WKH GD\ ZKLFK RͿHUHG PHPEHUV WKH RSSRUWXQLW\ WR OHDUQ DERXW DQG RͿHU IHHGEDFN RQ WKH ,60¡V membership services. At the close of the AGM Jeremy Jackman took over as President for 2015-16.

Develop the ISM’s services to members and the wider music community The ISM continued to strengthen its services to members. Legal services were delivered via the in-house legal team, the legal helpline run by Law Express and legal expenses insurance which is a EHQHÀW IRU DOO ,60 PHPEHUV 'XULQJ WKH ÀQDQFLDO year the legal team dealt with a total of 580 new HQTXLULHV 7KHVH HQTXLULHV FRYHUHG ERWK RQH RͿ advice and support to members involved in longrunning disputes. 646 enquiries were received by the Law Express legal and tax helpline.

Continued overleaf Ăˆ

15

ISM MUSIC JOURNAL MARCH/APRIL 2016

‘The invaluable work of the ISM, including encouraging and supporting members in expanding their market presence, networking and collaborating creatively and attracting more work, could not be more important in these challenging times.’ )HHGEDFN ZDV SRVLWLYH ‘As expected, the settlement money has arrived in my account. Thank you so much for all your help in making this outcome happen. I am really pleased that they didn’t just ‘get away with it’ as they expected. I hope that they will treat musicians better in the future, having realised from this case what the consequences could be if they don’t.’ ‘It was an arduous 18-month journey, but we got there in the end. For your advice, guidance, hard work, and general common sense: thank you!’

•

advance education;

•

advance health; and

•

promote the arts particularly music.

The ISM Trust in the year in question has already started to deliver professional development and 140 people took the opportunity to take part in these programmes.

‘I want very much to write to thank you for your help, immense patience and kindness over the past 10 months. ‘

Support the music profession through a range of advocacy initiatives

Business and professional development advice for ISM members

7KH 3XEOLF $ͿDLUV WHDP KDG PRUH WKDQ PHHWLQJV with external organisations and key stakeholders in 2014-15. This included meetings with the BBC, PRS IRU 0XVLF 33/ WKH ,QWHOOHFWXDO 3URSHUW\ 2΀FH WKH Creators Rights Alliance, the Cultural Campaigning Network, Classic FM, the British Copyright Council, the Alliance for IP, the Creative Coalition Campaign, the Creative Industries Federation (CIF), UK Music, the Department for Education, the Department for Culture, Media and Sport, the Royal Philharmonic Society, the Institute of Musical Research, Ofsted, Arts Council England, Music Education Council, most UK conservatoires and a number of higher education establishments, music education hubs, various unions and professional associations including the National Association of Head Teachers (NAHT), the Music Publishers Association (MPA), Association of British Orchestras (ABO), members of the AllParty Parliamentary Group for Music Education and other Parliamentarians, the Council for Subject Associations, the Warwick Commission, awarding organisations and many more organisations relevant to the music profession. This represented an increase of 21% on the previous year.

On 1 March 2015 the ISM launched a new business and career development advice service for its members. All ISM full members (including students) ZHUH RÍżHUHG DQ KRXU RI FRQVXOWDQF\ DGYLFH IUHH of charge.

The ISM continued to develop its professional GHYHORSPHQW SURJUDPPH LQ WKH Ă€QDQFLDO \HDU 15 with a total of 12 webinars and four seminars and WUDLQLQJ HYHQWV 7KH IUHH PRQWKO\ ZHELQDUV RÍżHUHG members of the profession the chance to access key professional development opportunities at work, home or on the move. Topics covered ranged from safeguarding, business structures and personal Ă€QDQFH WR ZRUNLQJ DV D SRUWIROLR PXVLFLDQ DQG introductions to the role of PRS and PPL. Events held during the year included a seminar for instrumental and vocal teachers led by Paul Harris and Sharon Mark-Teggart in Belfast and two sold-out training days with Dr Alison Daubney on Progression, Curriculum and Assessment for primary and secondary school teachers. A total of 707 musicians engaged with the ISM’s professional development programme during the 2014-15 year, of which 488 were members and 219 were non-members. )HHGEDFN ZDV SRVLWLYH ‘The invaluable work of the ISM, including encouraging and supporting members in expanding their market presence, networking and collaborating creatively and attracting more work, could not be more important in these challenging times.’ In order to support and develop the professional development work of the ISM the Directors of the

16

ISM set up a new charity called the ISM Trust.

7KH REMHFWV RI WKH ,60 7UXVW DUH WR

Fourteen consultation submissions were submitted to key stakeholders (an increase of a more than 50% on 2013-14) covering a wide range of topics.

7KH SURĂ€OH RI WKH ,60 ZDV UDLVHG WKURXJK D UDQJH of media outlets including the Independent, BBC News, The Times, The Guardian, the Telegraph and more including Classical Music Magazine, Music Teacher magazine, The Stage, Classic FM, BBC Music Magazine, Arts Professional, International Arts Manager and Music Week on everything from exam reform to performers rights in online music streaming services.

ISM MUSIC JOURNAL MARCH/APRIL 2016

‘Equating the arts to ‘den building’ is infuriating enough for those in the creative industries, who fear that millions of children will leave school without the most rudimentary cultural skills. Even more frustrating is the perception that – as the Incorporated Society of Musicians (ISM) put it this week – Gibb’s announcement is a ‘Uturning of the previous Uturn’.

Richard Morrison, The Times http://www.thetimes. co.uk/tto/arts/article4473586.ece ‘The Incorporated Society of Musicians, the musicians’ professional body, welcomed the news‌ that Apple has reversed its payment policy and will now pay artists for music streamed during trial periods.’ The ISM went on to comment ‘But the fact remains that this service‌ will pay them virtually nothing.’ Streaming BBC News, 22 June 2015, http://www. bbc.co.uk/news/entertainment-arts-33220189 Additional resource has been added to the ([WHUQDO $ÍżDLUV WHDP ZKLFK KDV HQDEOHG WKH ,60 to develop its membership engagement networks providing support for the Educators’, Composers’, and Performers’ Special Interest Groups, ISM Ambassadors, Round Table meetings and the formation of the Higher Education Initial Teacher Education (HEITE) group.

Ensure the ďŹ nances and internal structures are strong to secure the future of the ISM. 7KH Ă€QDQFLDO \HDU ZDV SRVLWLYH ZLWK D surplus of ÂŁ167,001 being recorded as at the year end.

This was lower than the surplus from the previous year, but it was a good result given the reductions in VRPH VSHFLÀF LQFRPH VWUHDPV 7KH GHFUHDVH LQ QRQ membership income was accounted for by lower capital gains realised through the sale of part of the ISM’s invested portfolio and by a fall of 14% in cable royalties. Against this membership income increased by 3%. Total expenditure fell from £1,420,377 (2014) to £1,395,917, a reduction of nearly 2%. As at the year end the reserves stood at more than £3.9M. As is good practice Council reviewed the provision of audit services and appointed Lindeyer Francis Ferguson Limited to undertake the audit for 2014-15.

Under the transitional rules pursuant to the new Articles, three Elected Council members, namely Graham Phillips, Jeremy Huw Williams and Walter Blair and two Appointed Council members, namely Virginia Rushton and Tim Daniell (who had been co-opted) stood down at the AGM in 2015. Professor David Smith, Virginia Rushton and Meinir Heulyn Key achievements for the year in question were were elected unopposed as Council members for DV IROORZV Scotland & Northern Ireland, the North and Wales. • At the start of the 2014/15 year the ISM led A number of ISM members applied to be considered a successful campaign #before1700 and as Appointed Council Members and after careful #beyond1900 to secure changes to GCSE consideration, Tim Daniell and Sue Sturrock were music to include a wider range of music. both appointed by Council to this role. Council This campaign was subsequently shortlisted also appointed Nicolas Chisholm MBE to become DV D ÀQDOLVW IRU WKH 3XEOLF $ͿDLUV $ZDUGV. President Elect for 2015-16. Council would like • The ISM supported the Association of British to thank the tremendous contributions made by 2UFKHVWUDV¡ $%2 HͿRUWV WR VHFXUH DQ RUFKHVWUDO Council members who retired during the course of tax relief for UK orchestras (following on WKH ÀQDQFLDO \HDU QDPHO\ *UDKDP 3KLOOLSV -HUHP\ from the theatre tax relief) and successfully Huw Williams and Walter Blair. Having served the campaigned to ensure it covered a wide range of ISM for six years as Treasurer, Trevor Ford retired ensembles and not just a romantic orchestra. from the Board in April 2015. The ISM is greatly • The ISM became the custodian of the Don’t Stop indebted to the tremendous guidance and support The Music campaign with its partners the Music Mr. Ford has given the ISM over so many years. Peter Dunkley who has a strong management background Industries Association. and holds an MBA as well as being a performer and • The ISM’s membership networks and Special conductor took on the role of Treasurer at the AGM ,QWHUHVW *URXSV KDYH FRQWLQXHG WR LQà XHQFH in 2015. policy, advocacy and resource development It is with great sadness that the ISM must report that at the ISM. Two round table meetings were Virginia Rushton passed away during the course held for performers and composers, one for of the year having served the Society with such educators, and training sessions for ISM distinction for many years in a variety of positions.

Ambassadors. •

The All-Party Parliamentary Group for Music Education continued to operate in 201415 informing MPs and Peers about music education issues.

Deborah Annetts, Chief Executive, ISM

17

ISM MUSIC JOURNAL MARCH/APRIL 2016

Summarised income and expenditure account

2014–15

Total income

2013–14

1,613,633 subscription fees other income

898,109 715,524

membership services governance and administration property and equipment staff marketing and external relations professional costs irrecoverable VAT charitable donations

-250,863 -39,096 -130,384 -731,824 -125,096 -67,201 -15,803 -35,650

Total Expenditure

1,678,543 872,291 806,252

-1,395,917

-1,420,377 -187,714 -52,154 -198,374 -702,754 -138,659 -118,629 -22,093 –

Surplus before Taxation

217,716

258,166

Taxation

-50,715

-58,715

167,001

199,451

Surplus for the year

Summarised balance sheet Fixed assets

2014–15

2013–14

4,667,738

4,660,614

571,480

402,668

Liabilities

-1,298,984

-1,290,049

ISM net reserves

3,940,234

3,773,233

Current assets

Council’s statement The information provided here is not the full statutory accounts but a summary of the information which appears in the full ÀQDQFLDO VWDWHPHQWV 7KHVH VXPPDULVHG ÀJXUHV PD\ QRW FRQWDLQ VX΀FLHQW LQIRUPDWLRQ WR DOORZ IRU D IXOO XQGHUVWDQGLQJ RI WKH ÀQDQFLDO DͿDLUV RI WKH 6RFLHW\ )RU IXUWKHU LQIRUPDWLRQ WKH IXOO DQQXDO DFFRXQWV LQFOXGLQJ WKH DXGLWRU·V UHSRUW VKRXOG EH FRQVXOWHG 7KH IXOO DQQXDO DFFRXQWV LQFOXGLQJ WKH DXGLWRU·V UHSRUW DUH DYDLODEOH WR PHPEHUV LQ WKH PHPEHUV· DUHD RI WKH FRPSDQ\·V ZHEVLWH ZZZ LVP RUJ

Respective responsibilities of Council and the Auditor 7KH &RXQFLO DUH UHVSRQVLEOH IRU SUHSDULQJ WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV LQ DFFRUGDQFH ZLWK DSSOLFDEOH 8QLWHG .LQJGRP /DZ 2XU UHVSRQVLELOLW\ LV WR UHSRUW WR \RX RQ WKH FRQVLVWHQF\ RI WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV ZLWK WKH IXOO ÀQDQFLDO VWDWHPHQWV DQG &RXQFLO·V DQQXDO UHSRUW

:H FRQGXFWHG RXU ZRUN LQ DFFRUGDQFH ZLWK ,6$ ¶(QJDJHPHQWV WR UHSRUW RQ 6XPPDU\ )LQDQFLDO 6WDWHPHQWV· LVVXHG E\ WKH ,QWHUQDWLRQDO $XGLWLQJ DQG $VVXUDQFH 6WDQGDUGV 7KH IXOO DFFRXQWV ZHUH DSSURYHG E\ WKH &RXQFLO RQ )HEUXDU\ %RDUG 2XU UHSRUW RQ WKH &RPSDQ\·V IXOO ÀQDQFLDO VWDWHPHQWV DQG D FRS\ ZLOO EH VXEPLWWHG WR WKH 5HJLVWUDU RI &RPSDQLHV GHVFULEHV WKH EDVLV RI RXU RSLQLRQ RQ WKRVH ÀQDQFLDO VWDWHPHQWV 7KH DXGLWRU KDV LVVXHG DQG XQTXDOLÀHG RSLQLRQ RQ WKH IXOO DQG RQ WKH &RXQFLO·V 5HSRUW DQQXDO ÀQDQFLDO VWDWHPHQWV DQG RQ WKH FRQVLVWHQF\ RI WKH &RXQFLO·V UHSRUW ZLWK WKRVH ÀQDQFLDO VWDWHPHQWV Opinion

Independent Auditor’s statement to the Council of the Incorporated Society of Musicians :H KDYH H[DPLQHG WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV IRU WKH \HDU HQGHG $XJXVW

,Q RXU RSLQLRQ WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV DUH FRQVLVWHQW ZLWK WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV DQG &RXQFLO·V UHSRUW RI WKH ,QFRUSRUDWHG 6RFLHW\ RI 0XVLFLDQV IRU WKH \HDU HQGHG $XJXVW Lindeyer Francis Ferguson Limited North House, 198 High Street, Tonbridge, Kent Date: 15 February 2016

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Members Fund annual review Caroline Aldred outlines the ISM Members Fund’s activities for the year ended 31 August 2015 The ISM Members Fund – the working name of the Benevolent Fund of the Incorporated Society of Musicians, registered charity no. 206801 – helps needy members of the ISM, former members and their dependents.

The Fund’s work in 2014-15 'XULQJ WKH \HDU WKH )XQG RͿHUHG DVVLVWDQFH WR UHOLHYH D ZLGH UDQJH RI GL΀FXOW DQG RIWHQ distressing circumstances of poverty. The Fund VSHQW … … RQ JUDQWV ,Q WRWDO LQGLYLGXDOV UHFHLYHG DVVLVWDQFH 7KH\ LQFOXGHG QHZ EHQHÀFLDULHV ,Q addition, there were times when applicants to the Fund were signposted to other sources of help, such DV PHGLFDO VXSSRUW GHEW DGYLFH ZHOIDUH EHQHÀWV and other charities.

2YHU KDOI RI WKH UHFLSLHQWV RI WKH )XQG¡V ÀQDQFLDO assistance were members unable to work due WR VHULRXV LOOQHVV RU LQMXU\ 2QH ÀIWK HLWKHU ZHUH H[SHULHQFLQJ SUREOHPV ÀQGLQJ VX΀FLHQW ZRUN RU were limited in the amount of work they were able to undertake by family problems and associated FDULQJ UHVSRQVLELOLWLHV 7KH UHPDLQLQJ EHQHÀFLDULHV were struggling with a less than adequate income LQ WKHLU UHWLUHPHQW \HDUV %HQHÀFLDULHV ZHUH ZLGHO\ GLVWULEXWHG DFURVV GLͿHUHQW DJH JURXSV DQG UDQJHG in age from 22 to 89.

The Trustee wishes to thank everyone who has helped to further the work of the Fund, especially Gregor Logan, the Fund’s Hon. Investment Adviser, for his invaluable advice and the members of the Grant-Making Committee, who make a key FRQWULEXWLRQ WRZDUGV WKH IXOÀOPHQW RI WKH )XQG¡V charitable objectives.

Donations and Bequests The Trustee acknowledges with thanks a bequest to the Fund from the estate of the late Joan Carter.

The Fund received ÂŁ42,495 from this estate during WKH \HDU Â… 'XULQJ WKH \HDU WKH )XQG ZDV QRWLĂ€HG RI D EHTXHVW IURP WKH HVWDWH RI WKH ODWH Colin Thomson. As yet the amount of this future legacy is unknown.

The Trustee is most grateful to all the individuals who made bequests or donations or organised fundraising initiatives.

During the coming year, the Trustee will continue to HQVXUH WKDW WKH )XQG JLYHV HÍżHFWLYH VXSSRUW WR ,60 members and their dependants who are in need.

22%

20

Throughout the year, the Head of Members Fund Operations liaised with Help Musicians UK and the Royal Society of Musicians over shared help for MRLQW EHQHĂ€FLDULHV

Plans for the Future

Problems faced by beneďŹ ciaries 2014/15

• Long term illness • Injury • Family problems • Work-related issues • Low retirement income

The Fund continued to provide an outsourced telephone counselling service available to all ISM members and their families.

47%

9% 12% 10%

Caroline Aldred, Head of Members Fund Operations, ISM

ISM MUSIC JOURNAL MARCH/APRIL 2016

Summarised income and expenditure account

2014–15

Unrestricted income

2013–14 151,403

quoted investments interest received

151,324 79

legacies donations

42,495 2,319

130,228 129,998 230

Endowment income

44,814

50,973 50,000 973

TOTAL INCOMING RESOURCES

196,217

Resources expended

181,201

-144,691

charitable activities other costs (net of refunds) NET INCOMING RESOURCES

-130,545 -14,146

(before movements on investments)

Gains/losses on investments Net movement in funds

Summarised balance sheet

51,526

35,459

-54,243

166,588

-2,717

202,047

2014–15

Long term investments

-145,742 -134,631 -11,111

2013–14

3,464,895

3,332,072

Current assets

118,411

214,944

Liabilities

-40,581

-1,574

3,542,725

3,545,442

Net reserves Reserves distribution

3,542,725 permanent endowment expendable endowment unrestricted funds

Trustees’ Statement The information provided here is not the full statutory accounts but a summary of the information which appears in the full ÀQDQFLDO VWDWHPHQWV 7KHVH VXPPDULVHG ÀJXUHV PD\ QRW FRQWDLQ VX΀FLHQW LQIRUPDWLRQ WR DOORZ IRU D IXOO XQGHUVWDQGLQJ RI WKH ÀQDQFLDO DͿDLUV RI WKH FKDULW\ )RU IXUWKHU LQIRUPDWLRQ WKH IXOO annual accounts, including the independent examiner’s report, should be consulted. These can be obtained, free of charge, from WKH FKDULW\¡V R΀FHV ,QYHUQHVV 0HZV /RQGRQ : -4 The full accounts were approved by the Trustees on 10 February 2016 and a copy will be submitted to the Charity Commission. The independent examiner has issued an XQTXDOLÀHG VWDWHPHQW RQ WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV

3,027,120 378,503 137,102

3,545,442 3,037,375 384,767 123,300

Respective responsibilities of the Trustees and the Independent Examiner The Trustees are responsible for preparing the summarised ÀQDQFLDO VWDWHPHQWV LQ DFFRUGDQFH ZLWK DSSOLFDEOH 8QLWHG Kingdom Law and the recommendations of the charities’ SORP 2005. Our responsibility is to report to you on the consistency RI WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV ZLWK WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV DQG 7UXVWHHV¡ DQQXDO UHSRUW Our independent examiner’s report on the charity’s full ÀQDQFLDO VWDWHPHQWV GHVFULEHV WKH EDVLV RI RXU UHSRUW RQ WKRVH ÀQDQFLDO VWDWHPHQWV

Opinion

Independent Examiner’s statement to the Trustees of the Benevolent Fund of the Incorporated Society of Musicians

,Q RXU RSLQLRQ WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV DUH FRQVLVWHQW ZLWK WKH IXOO DQQXDO ÀQDQFLDO VWDWHPHQWV DQG 7UXVWHHV¡ report of the Benevolent Fund of the Incorporated Society of Musicians for the year ended 31 August 2015.

:H KDYH H[DPLQHG WKH VXPPDULVHG ÀQDQFLDO VWDWHPHQWV IRU WKH year ended 31 August 2015.

Lindeyer Francis Ferguson Limited North House, 198 High Street, Tonbridge, Kent Date: 15 February 2016

21

ISM MUSIC JOURNAL MARCH/APRIL 2016

Annual General Meeting This page gives formal notice of the arrangements for the Annual General Meeting which will take place on Members’ Day on 14 April 2016 at The Royal Central School of Speech and Drama. appointment of the Appointed Members of the Council.

Notice is hereby given that the Annual General Meeting (the ‘Meeting’) of the Incorporated Society of Musicians (the ‘Company’) will be held at The Royal Central School of Speech and Drama, 62-64 Eton Ave, London NW3 3HY at SP WR WUDQVDFW WKH IROORZLQJ EXVLQHVV

3. To receive and approve the Accounts of the Company for the year ended 31 August 2015, and to receive the Auditor’s report (to be proposed as an Ordinary Resolution).

1. To approve the minutes of the Annual General Meeting held at the Hall of India and Pakistan, Royal Overseas League, Park Place, St James’s Street, London, SW1A 1LR on Thursday 23 April 2015 at 10.30am as printed in Music Journal, July/August 2015 (to be proposed as an Ordinary Resolution).

5. To re-appoint Lindeyer Francis ² ,QYHUQHVV 0HZV /RQGRQ : -4 Ferguson Limited, Chartered 1 March 2016 Accountants, as Auditors for the ISM DQG WR DXWKRULVH WKH &RXQFLO WR À[ WKHLU An open forum will take place after remuneration (to be proposed as an the AGM. Ordinary Resolution).

A form of proxy for members who cannot 6. To note the retirement of those attend the AGM but wish to vote on the members of the Council who wish to resolutions, appears below. retire or who are retiring by rotation.

2. To receive the Annual Report of the Council of the Company for 2014-15 (to be proposed as an Ordinary Resolution).

4. To receive a report on the ISM Members Fund for 2014-15.

By order of Council Jeremy Jackman, President 2015-16 Incorporated Society of Musicians,

7. To note the election of three Elected Members of the Council and the

Notes on completing the proxy voting form

ISM Proxy voting form Before completing this form, please read the explanatory notes below I

(Name)

of

(Address)

being a full member of the above named Society hereby appoint Jeremy Jackman, President of the Society, or failing him (Name) of

(Address)

as my proxy to vote in my name and on my behalf at the Annual General Meeting of the Society to be held on Thursday 14 April 2016 at 12pm and at any adjournment thereof.

This form is to be used in respect of the resolutions mentioned overleaf as follows: Resolution 1 (Agenda Item 1)

FOR/AGAINST*

Resolution 2 (Agenda Item 2)

FOR/AGAINST*

Resolution 3 (Agenda Item 3)

FOR/AGAINST*

Resolution 4 (Agenda Item 5)

FOR/AGAINST*

* strike out whichever does not apply

Unless otherwise instructed the proxy may vote as he or she thinks ďŹ t or abstain from voting.

Signed

7R FRQĂ€UP WKH WLPH DQG SODFH RI the next Annual General Meeting.

Dated

1. As a member of the Society you are entitled to appoint a proxy to exercise all or any of your rights to attend, speak and vote at a general meeting of the Society. You can only appoint a proxy using the procedures set out in these notes.

2. Appointment of a proxy does not preclude you from attending the meeting and voting in person. If you have appointed a proxy and attend the meeting in person, your proxy appointment will automatically be terminated.

3. A proxy does not need to be a member of the Society but must attend the meeting to represent you. To appoint as your proxy a person other than the Chairman of the meeting (the President), insert their full name. If you sign and return this proxy form with no name detailed, the Chairman of the meeting will be deemed to be your proxy. Where you appoint as your proxy someone other than the Chairman, you are responsible for ensuring that they attend the meeting and are aware of your voting intentions.

4. To direct your proxy how to vote on the resolutions strike out whichever does not apply.

If no voting indication is given, your proxy will vote or abstain from voting at his or her discretion. Your proxy will vote (or abstain from voting) as he or she thinks ďŹ t in relation to any other matter which is put before the meeting.

5. To appoint a proxy using this form, the form must be: • Completed and signed; • Sent or delivered to the Society at 4–5 Inverness Mews, London, W2 3JQ; and • Received by the Society no later than 12pm on 12 April 2016.

6. Any power of attorney or any other authority under which this proxy form is signed (or a duly certiďŹ ed copy of such power or authority) must be included with the proxy form or a revocation of such form (see below).

7. If you submit more than one valid proxy appointment, the appointment received last before the latest time for the receipt of proxies will take precedence.

8. To change your proxy instructions simply submit a new proxy appointment using the method set out above. Note that the cut-off time for receipt of proxy appointments (see above) also apply to amended instructions; any amended proxy appointment received after the relevant cut-off time will be disregarded.

9. Where you have appointed a proxy using the hard-copy proxy form and would like to change the instructions using another hard-copy proxy form, please contact the Society.

10. In order to revoke a proxy instruction you will need to inform the Society by sending a signed hard copy notice clearly stating your intention to revoke your proxy appointment to 4–5 Inverness Mews, London, W2 3JQ. Note the cut-off time for receipt of proxy appointments (see above) also apply to revocations. If you attempt to revoke your proxy appointment but the revocation is received after the time speciďŹ ed then, unless you attend the meeting, your proxy appointment will remain valid.

PGCert Performance Teaching New part-time programme at the Guildhall School, designed to support professional musicians who teach as part of their practice or portfolio career The course prepares students for employment as an artist-teacher in a range of contexts, including: · Higher Education institutions · Specialist performing arts schools and junior conservatoires · State and independent schools · Community and lifelong learning · Inclusive learning programmes such as Sistemainspired initiatives

Find out more at gsmd.ac.uk/perfteaching Application deadline for entry September 2016: 28 March 2016

ISM MUSIC JOURNAL MARCH/APRIL 2016

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email mj@ism.org.

The next deadline for copy is 1 April for May/June issue

Anne Applin and Geoffrey Pratley At the end of 2015 Cambridge-based Anne Applin and Geoffrey Pratley gave a recital in the Bateman Auditorium of Gonville & Caius College Cambridge, celebrating 25 years of duet partnership.

Above: Oxford Flute Summer School

Oxford Flute Summer School August 2016 will see the 30th anniversary of the Oxford Flute Summer School, co-founded and directed by Janet Way. The original idea was inspired by a desire to provide an environment where players of widely differing abilities could share their love of music and the flute. The eagerness of people to respond to new ideas, develop their skills, or make some small but vital change is key to the success of our course.

For 30 years we have welcomed many teachers and players from the world’s great academies and orchestras.

William Bennett, Patron of the Oxford Flute Summer School, is a regular visitor and Robert Winn is now a key member of our team.

The programme reflected their approach to widening the awareness and appeal of piano duets and the repertoire they have acquired during that time of attractive, less often heard works and composers’ own arrangements for piano duet of their works for other forces; it included pieces by Beethoven, John Ireland, Chaminade and John Carmichael (most of whose piano duets they have premiered) as well as the first movement of Brahms’s own arrangement for 4hands of his first piano concerto.

The past year has seen the start-up of a new course at Benslow Music for pianists who are would-be duettists but do not have a regular partner.

Also, as the Classical Musicians on board several cruise ships they have travelled as far afield as the North Cape, Istanbul and the Caribbean.

All this alongside other tutoring and recitals.

They are delighted that another performance of John Carmichael’s Concierto Folklorico for piano duet and string orchestra is in the diary for July The course is internationally recognised 2016 as well as recitals and tutoring. as inclusive, stimulating and a very piano-duet.co.uk special experience for many flute @pianoduet players, of all ages, all abilities, and all nationalities, and a trust fund is in place to give financial help to young talented players. oxfordflutes.co.uk

24

A Babe is Born Assistant Head of Music Faculty at St Edward’s College (Choir School to Liverpool Metropolitan Cathedral) Dr Robert Howard has recently completed a new arrangement of his Christmas Carol A Babe is Born – a re-working of his original 2002 setting for unison choir and organ.

This new version is for solo voice (soprano and tenor) and piano.

The work was given its first performance at the Mayor of Prescot’s Charity Christmas Concert at Prescot Parish Church, Merseyside in December 2015 by the tenor soloist David Kernick, with the composer at the piano. The piece was well received by the audience of 350 in a community concert that also featured festive music performed by five local school and church choirs as well as the Liverpool Brass Ensemble.

This annual event which raised over £1,000 for the Mayoral charities was organised by the Prescot Festival, of which Dr Howard is Founder and Artistic Director (prescotfestival.co.uk) Further details of Rob’s recent compositional developments and other musical activities can be found at his website. roberthowardmusic.co.uk

Piano Planets Surrey based pianist, teacher and composer Alison Mathews has had her first collection of solo piano pieces published by Elena Cobb, EVC publications. Piano Planets, written for pianists at Grades 1-2 level, is a collection of descriptive pieces in a variety of styles that explore the colour and range of the piano.

ISM MUSIC JOURNAL MARCH/APRIL 2016

Birmingham’s musical treasures; 30 years since the founding of Bournville Young Singers. Founded Stella Jean Compton Dickinson (RAM 1972-1976) (GSMD 1993-1995 in the famous garden suburb in 1986 Music Therapy) (KCL MSc. graduate

by Anne Ellis, BYS has made contact with the choir of Frankfurt Cathedral 2003) was awarded the Doctor of who will be participating in the 30th Philosophy in October 2015 in a Anniversary Gala Concert on 24 April at ceremony at the Cambridge Corn the Ruddock Performing Arts Centre, Exchange, for her ten year NHS based research in music therapy: A Feasibility King Edward’s Schools, Birmingham.

Trial of Group Cognitive Analytic Music They aim to fire the imagination Many friends of the choir, former Therapy in Secure Hospital Settings. and above all encourage expressive members and invited guests will be playing. The book is part of the Piano joining current members of BYS to Her research studies were made For Fun Series and is available in perform in this very special concert. possible through collaboration both digital and hard copies from the Bournville Graduates will also be between the Institute of Psychiatry, publishers website – elenacobb.com. singing. This a cappella Chamber Choir Psychology and Neuroscience King’s has developed from the youth choir After many years composing pieces for College London with Anglia Ruskin University, Cambridge. Stella’s project in recent years, as a result of popular her own pupils, Alison is delighted to demand from former members of be able to share her work as a resource was the first randomised controlled BYS. They sing regularly around the for teachers and inspire young pianists. manualised Music Therapy Patient Midlands with the same enthusiasm Preference Trial to be implemented To contact Alison, please email and love of the music which is in a national high secure hospital. alisonmathews20@gmail.com. You The results demonstrated statistically demonstrated by the younger choir. can hear recordings of all the pieces and watch specially visuals on Alison’s significant improvement in favour of Tickets and further information the treatment arm in how patients youtube channel: youtube.com/ available by ringing Anne Ellis channel/UCVU-tyeLr_rHG43P1uE13Gw related to others, with improvements 0121 458 2331. in relating sustained at follow-up.

A higher percentage of treatment Sioned Williams Ten Pieces for Organ participants moved to conditions of In addition to the varied programmes lower security over a shorter period of It is a fact that classical music (in the Sioned Williams performs regularly time than those in control. widest sense of the term) is a as part of the BBCSO, in the last few minority interest in the UK; it is also months she was honoured to take acknowledged that the appreciation part in Sir David Willcock’s memorial of organ music forms but a tiny part of concert at King’s College, performed that interest. With the BBC’s initiatives Britten’s A Ceremony of Carols with Ten Pieces primary and Ten Pieces the choristers of St Paul’s Cathedral, secondary as her inspiration, concert gave classes on the same work in organist and private music teacher the Royal Conservatoire of Scotland, Dr Gillian Ward Russell has devised a and presided over the UK Harp recital programme headed Ten Pieces Association’s Christmas event. for Organ with the aim of attracting young people to come and experience Sioned performs Spirals on a CD of Funding for the research project was works by Paul Patterson on SFZ and the thrill of the organ and its music. awarded from the Invest to Innovate her latest CD is on Stone records; a The programme comprises ten fairly Fund, Nottinghamshire Healthcare performance of two works by Michael NHS Trust, where Stella held the short pieces taken from the core Stimpson, Dylan, a biographical song repertoire – from Bach to Bovet – post of Head of Arts Therapies and cycle about the iconic poet, (sung by Clinical Research Lead in Forensic Arts each of which will be introduced in Roderick Williams, baritone) and The an appealing way by Gillian. She will Therapies from 2001-2013.

Drowning of Capel Celyn, written to launch the presentation on Tuesday commemorate the flooding of a valley 30 June at 1.15 at St Mary’s Church, Bournville Young Singers in North Wales to create a reservoir for Frinton, Essex, and will repeat it at Liverpool. You can watch a short video Birmingham has a number of notable Chelmsford Cathedral on Friday 7 about the CD here: youtube.com/ October at 12.30. Gillian’s hope is that, anniversaries to celebrate in 2016, embed/HRVV571RlnY from these initial performances among them being the 50 years of (to which schools will be especially cultural exchanges with the German invited) others will take up her lead city of Frankfurt. This milestone is and turn this into a national project. being celebrated in conjunction with another anniversary of one of

Music Therapy research

Above: Alison Mathews

Right: Stella (centre) celebrating with her two research supervisors: Professor Paul McCrone, KHE Deputy Director and Helen OdellMiller OBE Professor of Music Therapy and Director of The Music Therapy Research Centre at Anglia Ruskin University.

Continued overleaf È

25

ISM MUSIC JOURNAL MARCH/APRIL 2016

Roy Howat and Emily Kilpatrick Volumes 1 and 3 of the new Peters critical edition of Fauré’s complete songs, edited by Roy Howat and Emily Kilpatrick, are now in print (EP 11391 & 11391); each is available in high- and medium-voice editions, incorporating many corrections and interesting variants from manuscript and other rare sources, along with relevant background and interpretative information; trilingual prefaces include the poem texts in French, English and German. Volume 1 – awarded ‘Best edition 2015’ by the German Publishers’ Association – covers Fauré’s first 34 songs (up to op 27 of 1882); Volume 3 brings together for the first time all Fauré’s 17 settings of Verlaine, including the magnificent cycle La Bonne Chanson. These volumes join Roy’s and Emily’s first publication in 2013 of Fauré’s complete (40+) Vocalises (Peters, EP 11385). The entire project has its research base at the RAM, with support from the Arts and Humanities Research Council; Volumes 2 and 4 are to follow.

Toccata Classics have just released a selection of these songs sung by the bass Jared Schwartz.

Most are first recordings by a bass, two of them recorded for the first time with their original texts in Tuscan (toccataclassics.com/cddetail. php?CN=TOCC0268).

Peters Sounds will also soon release a CD of tenor Tony Boutté performing the entirety of the new Volume 3, with Roy and Emily at the piano.

Roy has also now been commissioned to edit the complete Etudes of Chopin for the new Peters Critical edition, a project bringing together an international team of editors and garnering musical sources across the world. As an experienced editor and pianist, Roy’s aim is to check original sources exhaustively for everything useful they can yield, and to ensure everything makes sense to the ear and under the fingers (as was always Chopin’s aim). Roy will be test-driving his work, as it progresses, at the RCS and RAM, where he holds Research Fellowships.

My Spirit Sang All Day

Born shortly before the Second World War, Elizabeth has been immersed in music since childhood. From early beginnings at Dartington, she spent seven years in Canada, returning to England to complete her education in London and at Cambridge. A pupil of Harold Craxton, Harold Darke, David Willcocks and Thurston Dart, she became a fine chamber music player and worked with many of the most distinguished musicians of her generation. She has taught widely since her schooldays, and her pupils are now all over the world.

The book is available from Amazon UK, priced £7.99.

Obituaries With regret, we report the deaths of: Marilyn Rogowski of Tunbridge Wells Geoffrey Knight of Ascot Mary Johnston of London Hedy Morgan of Lamarsh

Duncan Robertson of West Sussex Elizabeth Werry, pianist, harpsichordist, M Cathie Shore of London organist and ISM member since 1959 has written a memoir, My Spirit Sang Tim Lawrence of Lichfield All Day, largely intended for her host of musical grandchildren.

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 by 1 April for May/June issue.

Private and Trade 50p per word, minimum £5.

Advertisements from ISM members are half-price (ie, 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.

MUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com

BASSOONS several, £600, COR ANGLAIS: 07974 412269 B&H. Blackwood, Conservatoire, Low E, SPINNETT WITTMAYER Serviced. £1295 ONO. (German) 4 octaves, C-D, 07974 412269 light walnut. BGC needs tuning, hence £650 for CONCERT PIECES FOR a quick sale. Tel: 07974 VIOLIN – Chaconne and 412269 Bulgarian Etude – by James Hewitt. View TRUMPETS! (several) and buy on tutti.co.uk.

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ISM members discount and use of Steinway B possible. Full details: www.frenchconnections. co.uk property 157289 or tel 07860238733 moira_ hayward@yahoo.co.uk

VIOLA 16” /40.25cms.

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26

PERFORMANCE NERVES? Stage fright? Call Rosemary Wiseman Tel: 0208 958 8083 rosemarywiseman.com FRENCH HORNS, Several from £150. 01747828552 VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/ or rental. Tel: 0797441226 STUDENT CELLOS, mostly German, various sizes, from £100.

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All SILVER MURAMATSU FLUTE. Excellent Condition. £1,500 or offers. 0161 973 6853

ISM MUSIC JOURNAL MARCH/APRIL 2016

Our new members We offer a warm welcome to the following members who joined before 31 January Full members

Hereford & Worcester

Birmingham

Euodia Jordan MA

Alison Chamberlain BAHonsOU LRAM Mae Eastwood BMusHuddersfield Kim Free BAHonsWolverhampton Catherine Sazanova BMusHonsBCU Nicholas Wearne BAMusOxford MPhil

Hull & East Riding

Bournemouth

Joy Doherty BAMus Rachel Espeute BMusCityUniv Kemal Gurler BAMus Jon Hatton Charlotte Hayes BAOU Caron Hiscock BAMus PGCE Paul Hull-Tullah AWCMDMus Fiona Lau MASheff GradDipMusHuddersfieldPoly LTCL DipABRSM CTABRSM Harriette Platt BMusHonsBCU Derek Rodgers GTCL LTCL PGCE Oliver Smith BAHonsChichester Natalie Theophanous BMusHonsKingston

Denise Ham GTCL HonARAM LTCL ARCMPf

Brighton Steve Gisby PhDBrunel Greta Nunn ARCM John Ross BAEAnglia

Bristol Shean Bowers Simon Dulson BAHonsNott Lois Elford LTCL Louise Jeffery BAHons Beth Morgan BMusQueensland Julie Payne BMusHonsGradRNCM

Cambridge Charlotte Cunningham BMusHuddersfield Martyn Grisdale BMusWales PGDipRCM QTS Oliver King BMusHonsRCM MAAngliaRuskin Alastair Miles Csilla Waterfall

Devon & Cornwall Andrew Clayton BAHonsDerby Sarah Heather Gard ALCM GLCM LLCM PGCE Sarah Stobbs BAHonsKingston

Eastbourne & Hastings Annie Chesters GradDipLCM PGCE

Sarah Moffat BMusHonsHull

Lancaster John Atkinson BAHonsSalford Ron Carey

Lea Valley

Leicester

Patrick Coleridge-Taylor BA Gina Cooney BMusHonsRAM Marie De Bry MARAM Christopher Fitzgerald-Lombard BMusHonsBCU Rachel Hayter MMusCityUnivGSMD BABirm Jennifer Hughes BMusHonsRCM Iakovos Loukas BAHonsMiddx Rachel Maby GRNCM Madeleine Ridd DipRAM Bethan Williams BAMusHonsYork Ayako Yamazaki PGDipRAM BMus

London – South East Cathy Bell PGDip PGCer Tatiana Judycka MAAcadMusKrakow Alexander Binns MARAM Jean Carter GTCL HonRCM LTCL John Human BAHonsSussex MASussex Sophie Lusty BMusTrinityLaban David Roblou LRAM ARCMOP ARCO Kate Whitley

Darron Cleary-Mcharg Mick Curtis Minesh Patel BMusHuddersfield Mark Polishook BMus DMA MA MMusManhattanSch Susan Robinson BAHonsLeicester

London – South West

Liverpool

Milan Berginc MARAM MMus Kamila Bydlowska PGDipRCM Avril Freemantle BMusRNCM Ruairi Glasheen Olivia Hinman BAHonsSoton Olivia Jarvis MARAM Rimantas Vingras MA

Lynne Cordingley BAHonsOU Charlotte Louise Dickinson BAHonsLancaster

London – North Roman Benedict MMusCityUnivGSMD Hannah Beynon MMusCityUnivGSMD

Suzanne Brodie BAHonsDurham Charlotte Brosnan BAHonsNotts Meg Morley MMus

London – West

Manchester

Reading

Ryan Drucker BMusHonsRNCM Zoe Goode MMusCityUnivGSMD Aaron Wolfe BAHonsSalford

Ana Victoria Borzone PGDipRCM Jonathan Burnett ADWCMD BAHonsWales

Scotland – North East

Eleanor McMurray BMusHonsRCM

Hilary Elizabeth Fielding AGSM Scott Wilson BMusAberdeen

North of England

Scotland – South East

Martin Eastwell ARCM Vincent Fleming PGCEmusic

Sophie Askew MMusRSAMD Pailin Gordon BMus

North Wales

Scotland – South West

William Jones

Nan Qi MMusRSAMD Ross Wilson BMusRSAMD

Norfolk

North Yorkshire David Dunn-Birch BAHonsYork Laura Wingrove ATCL BAMusHonsYork MAYork

Northern Ireland Yasmin Walker BMusAberdeen

Nottingham Deborah Findley GRSM ARCM DipOrchStudiesNCOS Emily Harrison BADurham Heather Parkin BAHonsKingstonPoly

Oxford Ben Atkins BAHonsCantab Karen Beer ARCM PerfDipRCM PGCE James Mitchell ARCM Lauren Turner BMus Karen Wallace ALCMClarinet BMus

Portsmouth Elaine Daniels BAHonsSurrey CTABRSM Patricia D’Avray ARCO BAHonsBristol LRAM Rebecca North BAHonsBathSpa Emily Parker BAChichester Kate Parkin BScHonsCityUniv

Sheffield Kim Goodey GTCL LTCL Samuel Paine BMusBCU Ann South BAHonsNewcastle MLittNewcastle Gareth Widdowson BMusSheff

South Wales Sophie Goveia BMusHons Alison Ling GRSMHons Carly Stone BMusHonsBirm

Southampton Samantha Carrasco Colin New BAHonsLiverpool Karla Powell BMusHonsRWCMD Mehreen Shah BAHonsBathSpa Sian Unwin BASoton

St Albans David Bourne GRSM Kit Downes BMusLond David Neville BMusHonsRAM Clive Hugh Williams Owen Woodgate BAHons

Continued overleaf È

27

ISM MUSIC JOURNAL MARCH/APRIL 2016

Staffordshire

Student members

Anna Bradburn BMusHonsHuddersfield Matthew Mockford BMusHonsRWCMD DipABRSMFlute

Birmingham

Suffolk Matthew Andrews BMusKentGSMD Catherine May BMus DipRNCM Stephanie Wakeman BMusHonsTCM

Bernard Tan BMusHons LRSM LTCL

Brighton

London – South East

Portsmouth

Devon & Cornwall Christopher Emmett

London – South West

Hazel Childs Bristol Laura Baker

Hereford & Worcester Chantelle Elizabeth Cain

Diana Lee Alexandra Marshall BAHonsMusLeeds

Louisa Stirland

Margaret Janice Payne LRAM LTCL BAHons Alta Ridgway PGCE BMusHonsPretoria Michelle Sheridan Grant BMus

Northern Ireland

Matthew Crisp Emily Hoyle Adam Logan Amy Yule

West Yorkshire

Wiltshire

Niklas Oldemeier Claudia Sanson Mora Wei Sam Soo Rodrigo Viterbo

Lancaster

Joshua Brown Melina Karagianni Thomas Latham

London – North Amy Bladon James Harold Nicole Johnson Angela Jung Dicky Moore

Corporate members

Lara-Jane Currie

Music for Youth Judith Webster E: mfy@mfy.org.uk T:020 7759 1830 W: mfy.org.uk Waltham Forest Music Service Judith Glossop and Mary Mycroft E: music.service@ walthamforest.gov.uk T: 020 8496 1584 W: walthamforest.gov.uk/ music-service

Hannah Slavin

Scotland – South East Euan Corstorphine Enlli Parri

St Albans Maximilian Lawrie

Alexander Barnett Laia V Braun Gavin Fernandes Anastasia Laurie Damon Oliver Grace Yeo

Yvonne Bloor Benjamin Carr Sara Knight

Reading

Oxford

South Wales

London – West

Leicester

Jacqui Smith

Adam Gouldin Lauren Hinds Tomas Jackson David Kelly Andrew Potterton Frank Ziko

Kathryn Whitmarsh

Staffordshire Charlotte Counter

Warwickshire & Northamptonshire Jessica Shears

Manchester

West Yorkshire

Richard Haslam

Liam Brigg Mark Butterworth Ben Cockburn

2

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String Time Joggers Teacher’s book: £18.95 Pupils’ books: £4.75 each Double bass book: £4.50

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Stringendo (AUSTA) Fiddle / Viola / Cello Time and String Time are available via OUP’s website or from all good music shops

ISM MUSIC JOURNAL MARCH/APRIL 2016

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 1 April for May/June issue.

iconic public building which houses state-of-the-art rehearsal and performance spaces.

Impulse Music Consultants

Above: Charlotte Kwok, of the Royal Welsh College’s Junior Conservatoire, who played The Prince by Frank Bridge during the College performance in front of HRH The Prince of Wales and his guests.

Royal Welsh College of Music & Drama As Patron of the Royal Welsh College of Music & Drama, HRH The Prince of Wales hosted a gala event at Buckingham Palace on 8 February to celebrate the achievements of Wales’s national conservatoire.

The evening featured a programme of performances showcasing the talents of the College’s young artists.

Guests included some of Wales’s most successful artists including Bryn Terfel and Michael Sheen.

For more than sixty years, the Royal Welsh College has provided a springboard for the careers of exceptionally talented young artists – from musicians and actors to theatre designers and costume makers – providing a critical flow of talent and skills into the creative industries in Wales and beyond.

Following a major development in 2011, the most talented young artists from Wales now train alongside their peers from more than 30 countries in facilities to rival the best in the world.

The £22.5 million development of the College’s estate brought about a transformation and delivered an

Are you overwhelmed by the everincreasing number of options for promoting your events? How can you keep up with all that and still have the time you need to rehearse or compose? Here is an easy way to add an extra layer of promotion with very little additional effort. Following on from our special offer of music sales and distribution to ISM members in the last edition of Music Journal, Impulse is once again making available a special opportunity exclusively for ISM members. We are inviting you to advertise and promote your concerts and other events in the Events Diary of the Impulse website, www.impulsemusic.co.uk/events/ free of charge.

Take advantage of added promotion by emailing contact@impulse-music. co.uk with the following details: event date and time, event title, event content with a relevant link, your name and ISM membership number and we will advertise your event through our pages for free. Take a look at our Facebook page and if you do, it would be great if you could like us – www.facebook.com/impulseRmusic/

Thousands of musicians insure their equipment with us and we cover millions of pounds worth of instruments of all types. We’ve created our website to take all of the guesswork out of buying musical instrument insurance. We guide you through the buying process – from a basic quote, to adding in the options that you need and then on to completing your online application.

Alternatively if you wish to talk to an expert, then we have a team of insurance professionals with a passion for music only a phone call away.

As a commitment to our partnership and relationship with the ISM we have agreed a new exclusive 15% discount available to all ISM members off our music equipment insurance.

See the members area for details, visit www.orchestralguard.co.uk/ ISM15 or call 0345 450 6987 quoting reference 203689.

Wigmore Hall London’s Wigmore Hall – the leading international venue for chamber music and song and one of the UK’s flagship cultural organisations – streamed its first event on 28 January, hailing a new era of international access to some of its many recitals and events.

Such is the success of the programming by the Hall’s Chief Orchestralguard Insurance Executive and Artistic Director John Orchestralguard, a Platinum corporate Gilhooly, most recitals at the Hall play member of the ISM, is a leading to capacity or near-capacity audiences. brand in providing specialist musical Attendances at Wigmore Hall have instrument insurance for musicians, almost doubled from 120,000 a decade music teachers, composers, sound ago to over 200,000 in 2015/16. Its engineers and a host of other music award-winning record label, Wigmore professionals. Our products are flexible Hall Live, as well as regular BBC Radio and allow you to choose the right type 3 broadcasts already ensure wider of cover to suit your own personal access to the venue’s unrivalled insurance needs. programme of concerts and events.

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ISM MUSIC JOURNAL MARCH/APRIL 2016

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

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ALFA Education Ltd ABRSM

Orchestralguard

Birmingham Conservatoire Colchester Institute

Bath and North East Somerset Music Hub Leeds College of Music

Luton Music Service Make Music Swindon

Park Lane Group

Drums for Schools Rhinegold Publishing The Royal Central School Of Speech & Drama The Royal Philharmonic Society

NMC Recordings

The Hall will now enable more people than ever to experience some of the glories of Wigmore Hall’s work.

Future live-streamed concerts will be announced in due course, and will grow season-by-season so that they become an integral part of the Hall’s operations. wigmore-hall.org.uk

London College of Music On 9 December 2015 LCM was privileged to hold a 65th birthday concert honouring the compositional and pedagogical achievements of Professor John Howard, longstanding Director of LCM Examinations.

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Forwoods – ScoreStore Impulse Music Consultants J&A Beare London College of Music Music Mark National Preparatory School Orchestra Oxford University Press Paritor Ltd

Trinity College London MiSST – The Andrew Lloyd Webber Programme

Dartington International Summer School

Victoria College Exams Yamaha Music Europe

Born in Glasgow, John read music at Durham University and took a PhD there before embarking on a highly successful career as a lecturer, teacher, conductor and composer. His abiding interest in Chinese music was aptly reflected in a concert of works underpinned by a sense of refining compositional elements down to eloquent essentials. John’s humility and openness to new discovery were touchingly conveyed in a series of thoughtfully-worded spoken introductions. A varied cast of current and past colleagues and students responded to the music with relish, and to the man himself with respect and affection.

Playnote Ltd Trinity Laban Conservatoire of Music and Dance Wigmore Hall For further information about our different levels of corporate membership and a full list of over 160 corporate members, visit ism.org

Looking forward rather than back, LCM is excited to be preparing for Expo 2016, a ground-breaking evening of entertainment presented from multiple venues and recording studios within the University of West London, co-ordinated by Dr Andrew Bourbon.

Student performances spanning a dizzying array of genres and disciplines will be brought together using LCM’s state-of-the-art Dante audio network and Focusrite’s Rednet audio interfaces. The event takes place at 7pm on Wednesday 16 March 2016 at the St Mary’s Road (Ealing) campus of the University of West London.

Bookings may be made online at uwlsu.com/lcmlive .

ISM MUSIC JOURNAL MARCH/APRIL 2016

Markson Pianos Right: Pauline Hall

From 2016 onwards, Rhinegold LIVE recitals at Conway Hall London will use a Bosendorfer 280 full-size concert grand supplied by Markson Pianos.

The 280 was selected for its true allround nature, affording sensibility in chamber accompaniment, and power and clarity in solo recital; the series comprises solo piano, opera, lieder and chamber repertoire, so the 280 is a perfect fit.

Markson Pianos are delighted to be associated with this prestigious concert series and would love to meet and greet ISM members there.

The next recital will take place at Conway Hall on 17 March and features a selection of this years gifted singers and repetiteurs from the National Opera Studio offering a glimpse at the next generation of leading artists. Tickets are free, places are limited with a complimentary pre-concert beverage.

Right: Singers from the National Opera Studio will feature in the next Rhinegold LIVE recital at Conway Hall.

validation. Building on the School’s extensive research and development of pedagogy in the performing arts, the programme will prepare students for employment as a professional artist-teacher in a range of contexts including Higher Education and Sistema-inspired initiatives.

Getting it Right?: New Music and Dance is the third new music conference presented by the Guildhall School in partnership with the London Symphony Orchestra, taking place on 9 March at LSO St Luke’s. Curated

by Professor of Composition Julian Anderson, the conference brings together leading figures and emerging artists from the worlds of new music and dance to explore the dynamic relationship between the two disciplines.

English Folk Dance and Song Society The search has begun for talented young folk musicians to form the first cohort of the new National Youth Folk Ensemble.

The Ensemble will bring together excellent instrumentalists aged 14-18 to participate in residential courses; create new arrangements of folk music; and give public performances.

They will receive expert tuition and guidance from Sam Sweeney, Artistic Director 2016-17, and a team of professional folk artists. Members of the Ensemble will be dedicated to developing as folk musicians and excited about collaborating with others who share their passion!

You can book through the Rhinegold LIVE website: rhinegold.co.uk/live/ recitals/upcoming-recitals.asp?css=1

Guildhall School of Music and Drama The Guildhall School has announced a pioneering new postgraduate programme in Performance Teaching designed to support professional musicians who teach as part of their practice or portfolio career. This one or two year part-time course, leading to a postgraduate certificate, starts in September 2016 subject to

A series of Sampler Days will take place across England in May and June.

Sampler Days are the first stage of the audition process and will include group workshops and individual auditions. Places are free but limited and booking is essential at www.efdss. org/nationalyouthfolkensemble The National Youth Folk Ensemble is an English Folk Dance and Song Society programme, funded by Arts Council England.

Oxford University Press

Oxford University Press has announced with sadness the death of Pauline Hall, author of the highly acclaimed and internationally successful Piano Time (The Oxford Piano Method) series.

Pauline, a graduate of the Royal Academy of Music, frustrated by the limited range of material available for very young beginners and slow learners, began writing little tunes in her piano pupils’ notebooks. These formed the basis of Tunes for Ten Fingers, published in 1981, and the first book in the Piano Time series. Over the years the series grew to over 30 books with sales of well in excess of a million copies across the world.

Pauline was utterly charming, and never ceased to be surprised and thrilled by the huge popularity of Piano Time. Its success was due to her deep understanding of how to teach the piano and her thoughtful childcentred approach.

Making Music 2016 is off to an excellent start for Making Music, with the launch of the pioneering new Nottingham Performing Arts Library service – the first cross-regional music library service in the UK. The new service will offer increased repertoire, due to the merging of Leicester and Nottingham stocks; and an additional £10,000 is being invested into improving stock quality. Another major innovation will be a bespoke music library IT system enabling users to browse the catalogue and make reservations of sets (up to one year in advance) 24/7.

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Making Music is delighted to have been able to support this groundbreaking development which clearly shows the value both Leicester and Nottingham place on the needs of their amateur music groups.

Willcocks). This is followed (October)

by Gounod’s St Cecilia Mass a little closer to home in Guernsey.

Full details/dates at trbc.co.uk, where you can also join our mailing list.

If you want to read more about our Awards for Young Musicians work with music libraries or have concerns about your local music library, Awards for Young Musicians are inviting applications from young contact us through our new website instrumentalists playing any makingmusic.org.uk musical genre to join our 2016 Awards Programme. Award winners will Concerts from Scratch/ receive flexible funding towards The Really Big Chorus musical costs (e.g. tuition, instrument costs or course fees etc.) and individual support, which may include mentoring, masterclasses with professional musicians, the chance to observe professional orchestras and other ensembles in rehearsal, free tickets to concerts and performance opportunities.

AYM’s key criteria are musical talent and financial need. To be eligible to apply for up to £2,000 young instrumentalists should be aged between 5 and 17 on 31 August 2016 and be living and studying in the UK. Applications must be received by Friday 18 March 2016. Full details can be found at www.a-y-m.org.uk/howwe-help/awards. Enquiries to Hannah.

Turner@a-y-m.org.uk

Above: Ben Parry Photo: Susan Porter Thomas Photography Right: Janice Chapman

Marianne Barton writes: The Really Big Chorus is thrilled to announce that the fourth Scratch® Youth Messiah (Royal Albert Hall, 27 November) will be conducted by Ben Parry (Director, NYCGB). Messiah from Scratch follows in the evening, with Brian Kay. Our 2016 programme starts with Verdi’s Requiem at the RAH on 8 May (you’ll never hear a more powerful Dies Irae!). This is closely followed

by Carmina Burana (extolling the pleasures of spring, young love and a dissolute life-style), when Bob Chilcott conducts us for the first time (10 July).

Mendelssohn’s Elijah in Birmingham Town Hall is the culminating concert of our August choral summer school, and September sees us in New York with Fauré’s Requiem and the US premiere of In Praise of Singing ( Jonathan

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The Ernest George White Society The Ernest George White Society has recently launched Better Voice, an online course teaching the basics of White’s Technique.

For over a century, teachers of White’s Technique have been helping amateurs and professionals of all levels to speak or sing with greater ease, range and capability. By developing the natural resonance of the head the Technique takes all the strain off the throat and vocal folds.

White’s Technique is guaranteed to improve the voice, protect it against future damage and give any existing damage a chance to heal. It also helps those with chronic sinus problems.

Students of the Technique develop a confident voice that sounds

good, doesn’t tire and stays strong throughout life. Through Better Voice those benefits are now available to all online for the first time. egwhitesociety.org.uk bettervoice.co.uk

Association of Teachers of Singing Nicola-Jane Kemp writes: AOTOS was delighted to run 2016’s first ‘Pathways’ Access Day in Bath on 30 January. A full complement of singing teachers met to find out more about the bespoke training and mentorship programme that is at the heart of the Association’s mission to support singing teaching in the UK. On Sunday 13 March at Kingswood School in Bath, the South West Area hosts internationally renowned singing teacher, lecturer, researcher and educator, Janice Chapman who will run a day entitled Singing and Teaching Singing – A Holistic Approach to Classical Singing. The South East Area on Sunday 24 April hosts Dr Jenevora Williams at Guildford County School for a day divided into lectures and masterclass. The month of May sees Mary Hammond working with singers in Glasgow on Saturday 7 May and a further ‘Pathways’ Access Day in Edinburgh on Sunday 8 May. All events are open to non-members. aotos.org.uk

ISM meeting room We have a fantastic meeting room available for hire at our home at 4–5 Inverness Mews, London W2 3JQ. Members can hire the space at the special members’ rate of £100 for a half day or £190 for the full day. Included in your hire rate is free use of tea and coffee, internet facilities and flat screen TV. The room takes up to 16 people board room style, with 25 theatre style.

For further details and bookings, please contact Stephanie Collier at roombooking@ism.org or 020 7313 9321.

The UK’s Leading Harp Specialists for: Pedal and Lever Harps Sheet music and CDs Extensive range of strings Comprehensive range of harp accessories Harp rental packages available 58 Hopton Street, London SE1 9JH t. +44 (0)20 7928 8451 e. holywell@holywell.co.uk www.holywellmusic.co.uk

CHORISTERSHIPS AT WESTMINSTER ABBEY

PIANOFORTE TUNERS’ ASSOCIATION

Westminster Abbey Choir offers a unique experience for musical boys aged 8-13

Excellent all-round education at Westminster Abbey Choir School Generous scholarships Superb instrumental tuition James O’Donnell, Organist and Master of the Choristers, welcomes enquiries at any time www.westminster-abbey.org/choirschool music@westminster-abbey.org 020 7654 4918

Do you: Need a piano tuner?

Need advice about purchasing a piano?

Want to join the Association?

Want to become a piano tuner?

Visit www.pianotuner.org.uk or contact the Secretary on 0845 602 8796 The Association provides the music profession and general public with a first class professional service in which they trust.

ISM MUSIC JOURNAL MARCH/APRIL 2016

LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org Saturday 5 March Sheffield Spring Concert 2.30pm, Shirley House, 31 Psalter Lane, Sheffield, S11 8YL The ISM Sheffield local group is holding a concert this spring for pupils of all ages.

It is non-competitive, and a wonderful opportunity for pupils to become more at ease with performance. Refreshments will be provided after the concert. Entries have closed for this concert, but please do come along and be part of the audience!

Cost: £2 adults, 50p children. Performers and ISM members are free.

Contact: Pearl Woodward, pearlwoodward@ btinternet.com, 0114 266 0399

Sunday 13 March North London Pupils’ Concert 2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing. Pupils may be at grade 1 or any level above, but should have their performance item at a concert standard.

The deadline for submitting pupils is Thursday 3 March. Please do come along and be part of the audience for this concert!

Cost: £5 adults, £2 children. Performers and teachers presenting pupils are free.

Contact: Sara Medina, 020 8883 2082

Sunday 13 March Oxford Music and Dyslexia - A talk by Sally Daunt 3pm, The Dorfman Centre, St Peter’s College, New Inn Hall Street, Oxford, OX1 2DL Sally has been the Chair of the British Dyslexia Association’s Music committee since 2010, and has a wealth of experience of teaching in mainstream music departments and since 2002 has worked as a support tutor in higher education at the Liverpool Institute for Performing Arts and at the Royal

Northern College of music. She works mainly with students who are dyslexic or have other Specific Learning Difficulties as well as students on the autistic spectrum. Come and hear an expert cast some light on the problems and rewards of teaching music to dyslexic pupils. The talk will be followed by refreshments.

Early booking is advisable, please contact Carolyn by Monday 7 March.

Cost: £6 members and concessions, £8 non-members.

Contact: Carolyn King, carolyn2king@ btinternet.com, 01235 522 774

Sunday 24 April South West Scotland Alexander Technique – workshop/ discussion with Isobel Anderson 2.30pm, 12 Hamilton Park Avenue, Kelvinbridge, Glasgow G12 8DU Isobel is a piano teacher at the Royal Conservatoire of Scotland. She is an Alexander Technique specialist and works with instrumentalists and singers, musicians and non-musicians. Alexander Technique is a form of mind/body re-education resulting in greater health and wellbeing. This method has been found helpful for relieving back pain, systemic problems, breathing disorders and stress, also for improving co-ordination, stamina, and posture. Please join us for what is certain to be a very interesting afternoon.

Cost: £8 members and students, £10 guests Contact: Emma E Sinclair, emmaesinclair@ googlemail.com, 07799 100867

seating limitations we would request that performers bring no more than one audience member with them.

Contact: Stephanie Reeve, steph.reeve@ chrisward.org.uk, 07966 437781

Sunday 5 June South West Scotland Workshop/Discussion with Stephen J Wood 2.30pm, 12 Hamilton Park Avenue, Kelvinbridge, Glasgow, G12 8DU Stephen is a piano teacher (classical and jazz), composer, arranger, classical and jazz pianist and jazz organist. He has had ABRSM exam composition commissions and has his own publishing house. In Stephen’s latest 6 Volume set, Contemporary Scottish Collection for Piano, Grades 1-7 he makes use of 70 lesser known traditional Gaelic and Scottish melodies. These are arranged for piano infused with a twist of jazz and contemporary – classical styles.

Contact: Emma E Sinclair, emmaesinclair@ googlemail.com, 07799 100867

Cambridge Adult Pupils’ Concert 3pm, The Old Chapel, Rose Cottage, Coton, CB23 7PL This is an opportunity for adult learners (25+) to play in a very relaxed and informal concert with their peers. Small ensembles are also welcome. Admission is free of charge and drinks and nibbles will be provided afterwards. Please contact Stephanie by Friday 9 April. Applications will be accepted on a first come first served basis. Due to

Recommend a friend and get £10 off your membership Tell your musician friends and colleagues about the ISM and encourage them to become part of our thriving community of music professionals. We’ll give you £10 off your next year’s membership fee every time someone you recommend joins the ISM as a full member (includes graduate rate membership).

£10

Off

Membe

rship

Simply email membership@ism.org with the name and email address of the friend(s) you are recommending and ask them to use promo code ISM12HF when joining. If they join at the full rate we’ll give them £10 off their membership fee too.

If you’d prefer to receive a £10 voucher for iTunes, Amazon, or M&S, or donate your £10 reward to the ISM Members Fund, just let us know in your email and we’ll organise it.

Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.

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ISM MUSIC JOURNAL MARCH/APRIL 2016

Ask me a question Sioned Williams

Tell us a little about yourself.

I am Welsh, creative, need diversity in my life, am fastidious, and have an over-active imagination. I seem to have an insatiable appetite for keeping busy even though it is often very difficult as I was born with a rare disability called McArdle Disease. I relax (… sometimes!) by reading Welsh poetry and translations of Persian poetry, writing my own not-so-good poems, creating personalized gifts and cards, and eventplanning. I am married to an Iranian maths teacher who cooks brilliant Persian food, and that’s maybe why we’re so popular with neighbours and friends.

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

I take inspiration from so many people in my life daily, but I really believe that my mother (who died in her 50s) influenced me more than any other person, in her strength, humility, unending generosity, and humour; she gave me the tools to be able to cope with what has been, occasionally, a turbulent life. My upbringing of Chapel, Eisteddfod, Noson Lawen, Cymanfa Ganu, music, words and poetry is deep-rooted. The harpist Renata ScheffelStein for tough harp lessons and allowing me to perform beside her in the LSO as a young harpist. Pierre Boulez for inspiring music and conducting, with patience in many a ‘never to be forgotten’ sectional rehearsal. Violinist Itzhak Perlman, for making me fall in love with Bach in a big way, and reminding me that I always need to be a musician first, harpist second. And Trevor Ford (known to ISM members!) for the best practical advice, help, friendship and encouragement at all times.

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© Whitegoldimages

Principal Harpist BBCSO, solo harpist, researcher, commissioner, lecturer, teacher, music editor What would you say is your greatest achievement to date?

To have remained active as a professional musician with a rare disease which sometimes just makes me want to give up; to have created the first integrated harp course in the UK for Trinity Laban where I am now Emeritus Senior Fellow in Harp Studies; my detailed research, particularly on Welsh and English harpists and their music, resulting in multi-faceted presentations; painstaking editing of countless works for eminent composers through my BBCSO work, and constantly commissioning new works for solo harp, pushing composers and myself beyond boundaries, hopefully leaving a legacy of good original works for decades to come.

Who is your all-time favourite artist and why?

This is impossible to answer, though the Welsh tenor David Lloyd who worked with the brilliant Sidonie Goossens, harpist, had the voice of an angel; the brilliant BBCSO with whom I have been privileged to work for over 25 years has some of the best musicians (players and conductors) ever, and the harpist who blew me away with her astounding technical ability and expressive playing was the American Mildred Dilling who made performing on the harp seem the easiest and most glamorous act in the world (if only!).

Persian label accompanying the poem poems of Jacques Prevèrt read by Ahmad Shaml Shamlu.

N l iis thi h ti b i’ Nott only this CD haunting, butt A Amir’s work is captivating, his huge imagination for multi-media works in which he is often the composer, the author of words, an actor and director, is quite amazing.

What are your plans for the future?

To have the courage to be even more productive; to work with brilliant musicians and creators in many different scenarios.

I want to do more detailed research and writing, expand solo and chamber work, work with composers, solo singers and choirs, and spend more time teaching and giving masterclasses. I want to remain active as President of the UK Harp Association, and I would also like the energy, on behalf of the AGSD (UK) to help people become more aware of McArdle Disease, and try to expand the use of the European Blue Badge so that all musicians (indeed anyone with a disability) can work/ park in London without prejudice … with or without a harp!

Finally, what is your ISM membership to you?

All-embracing, a place I can trust when seeking advice both musical and legal, and a place to learn and keep abreast of musical developments of all kinds. I have always enjoyed the feeling of being part of an extended musical family within the ISM (I was introduced to the ISM at a young age What was the last CD/music download by my first piano teacher, Gwynedd Griffiths that you purchased? and performed at ISM concerts in Chester as One I should have purchased ages ago – the a child on the piano.) works of a brilliant young Iranian composer SionedWilliams.com Amir Sadeghi-Konjani on the Mahoor

Sound-isolating practice rooms

EDUCATION > HOME > RECORDING

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Each module offers an individual space for solo or ensemble practice, whilst providing an effective acoustic barrier to avoid disturbing other classrooms.

Head of Music at Lancaster and Morecambe College, Pete French, was delighted with the new sound-isolating practice rooms installed by Black Cat Music: “The facility used to be a lecture theatre. It was just one space we could use; now we’ve got three spaces. The modules are being used every day with all three year groups time tabled in, so they are getting maximum use.”

The rooms, from MusicPracticeRooms.com, use a prefabricated panel design that is affordable, easy to install and allows rooms to be custom configured to suit available space. “We are very happy having them here,” continued Pete French.

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To watch the video of this interview scan here or go to youtube.com/musicpracticerooms Pete French - Head of Music, Lancaster and Morecambe College

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“The Music Practice Rooms have changed the whole nature of the course, because they are so sound-proofed.

The students love them and yes, they work very effectively.”

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YOU’RE FREE TO TEACH WHAT YOU WANT ANY OLD TIME Did you know, with a Schools Printed Music Licence, you can: ■

New! From 1 April you can make copies from printed music owned by your local Music Education Hub or Service*

■

Make as many copies of your printed sheet music as you need

■

Make any instrumental rearrangements you want

All without seeking any other permission – leaving you free to concentrate on teaching and playing music.

To find out whether your school holds a Schools Printed Music Licence, and to see how to make the most of it, visit schools.cla.co.uk/printedmusic

CLA IS THE SOLE AGENT FOR PMLL WHO ARE OWNED BY THE MUSIC PUBLISHERS ASSOCIATION *subject to terms and conditions