Music Journal - Winter 2023

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WINTER 2023

C E L E B R A T I N G

ISM CAMPAIGNING

ISM MEMBERS’ DAY

OH YES IT IS!

The fight to save ENO, Northern Ballet and other arts organisations from ACE cuts

An invitation to join us in April for our annual gathering

We look at the history of panto, and highlight seasonal performances around the UK

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WINTER 2023 WELCOME

Welcome Season’s Greetings from everyone at the ISM and welcome to our winter edition of Music Journal.

This edition of MJ has lots of features which are linked to seasonal festivities, but we also look ahead to Members’ Day on 16 April at Six Park Place in central London. Make sure this significant date is in your diary as it’s your chance to tell us about how you are finding the new website, what you think about the services and benefits you receive such as Discount+, and the key issues you are facing in your life as a musician.

In other ISM news, please make sure you complete our two current, very important surveys. The first is the fees survey and you can find it here ism.org/teachers-fees-survey-2023-2024.

A very different type of survey is the ISM members’ survey which has just launched and runs to the end of February 2024. This survey is critical to making sure that we are offering you the right benefits and services. There is also a prize draw linked to completing the survey so please don’t miss out. You can find the member survey here ism.org/members-survey-2023-2024.

Contents 04. News & Campaigns 06.

ISM Members’ Day 2024

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A new look for the ISM website

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Seasonal performances

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Oh yes it is! Exploring the pantomime tradition 19.

Sage Gateshead’s first festive season as Glasshouse ICM 24.

Composing for the film industry

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Working with singers on vocal rehabilitation 29. ISM Advice packs: A wealth of knowledge at your fingertips 31.

Legacy giving

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ISM Community

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Member spotlight

It is now one year since Arts Council England revealed its funding cuts which have done so much harm to music in England. To name just a few, Britten Sinfonia, ENO and the English Folk Dance and Song Society all had cuts to their funding – even though they all play huge roles reaching out to less well-served communities.

The ISM will continue to campaign against these cuts. We will also continue to raise concerns in relation to the Hub Investment process which is likely to lead to jobs being lost. No clear rationale has been made out for this restructure and how it will improve music education, or why the tendering process involves heaps of burdensome bureaucracy but little actual consultation.

No matter what challenges there may be, the ISM will make sure that you, the member, are front and centre of everything we do.

So do remember all the wonderful benefits we offer like the many discounts which are so useful at this time of year, as well as services such as ISM legal support and counselling. And the perfect present may just be to refer a friend to us, or purchase gift membership for a loved one. Not only will you be helping someone close to you, but you will strengthen the voice of music.

Never has this been more important.

Enjoy the festive season.

E. deborah@ism.org Photo: Emile Holba

Front Cover: Catherine WynRogers in ENO’s Iolanthe 2023 Photo: Craig Fuller See News & Campaigns on page 4.

Volume 90 / Number 3 Published by: Independent Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Independent Society of Musicians is a trading name of Incorporated Society of Musicians. A company limited by guarantee. Registered in England No.36882. Registered Office as address above.

Printed by: Optichrome, Woking GU21 5HX ISSN 0951 5135.

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Editor: Deborah Annetts

ISM membership: Over 11,000

Sub-editors: Vinota Karunasaagarar, Clare Stevens

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.

Proofreader: Christine Gwyther-Scott All ISM publications are copyright

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Campaigning against cuts to music and culture Recently the ISM has been taking a stand against cuts to music and cultural institutions by funding bodies, as well as by companies that put the livelihoods of musicians at risk through job losses.

We oppose the decision by Arts Council Wales to cut the funding of valuable cultural institutions including Mid Wales Opera, National Theatre Wales and folk music organisation Trac Cymru. President of the ISM Pauline Black wrote to the Scottish Government’s Cabinet Secretary for Constitution, External Affairs and Culture, Angus Robertson, to express concern over culture funding cuts and to ask him to reconsider. Although the cut in funding this year is deeply disappointing, we’re pleased that the Scottish Government eventually committed itself to restoring the cut amount next year and pledged to double its culture spend in the coming years. We will examine the detail when it is available.

Welcome return of music bursaries The Department for Education (DfE) has announced that from 2024, trainee music teachers at secondary level will be entitled to a bursary of £10,000. The music bursary was axed in 2020 and the ISM has been campaigning for its reintroduction.

The government has failed to recruit its target number of music teachers in recent years, with only 64% of the target met in 2022 and 71% in 2021. The National Foundation for Educational Research (NFER) estimates that, shockingly, just 31% of the music teacher recruitment target will be met in 2023.

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WINTER 2023 NEWS & CAMPAIGNS

Cuts at ENO and Northern Ballet We have previously reported that English National Opera (ENO) received a significant funding cut and was told to move out of London by Arts Council England (ACE) in 2022.

Now, as a knock-on effect of these funding cuts, ENO has announced cuts to its orchestra and chorus. Meanwhile, due to similar circumstances, Northern Ballet plans to move forward with some productions without a live orchestra.

It is a deeply worrying time both for much loved and precious institutions and for the musicians who work there.

The ISM will continue to campaign against these cuts and has made representations to ACE. You can take action with the ISM by visiting ism.org/campaign/arts-under-threat

We query rationale behind Music Hubs Investment Programme We wrote to the former Minister for Schools Nick Gibb highlighting concerns and raising questions about the ongoing Music Hubs Investment Programme.

The controversial reinvestment process will see the overall number of music hubs slashed to almost a third of the current number. The process has been managed by Arts Council England (ACE) and the Department for Education.

The letter focused on the lack of a rationale for such a fundamental restructure. The refreshed national plan makes no recommendation for such root and branch changes. No case has been made as to how the new hub structure will provide better access to music education for all young people. The letter also covers the timeline and workload placed on the existing music hub structure, the mandatory levels of engagement with schools when schools are under no obligation to engage with hubs, and the static level of funding in recent years.

Above: Ben McAteer, Ellie Laugharne,Ruairi Bowen and ENO Chorus in ENO’s Iolanthe 2023 Photo: Craig Fuller

Instruments on planes The ISM has called on British Airways to fully train all staff on the musical instrument policy after well-known cellist Sheku Kanneh-Mason was incorrectly turned away from If you a flight when travelling with face issues his cello. travelling with your instrument, please let us know by emailing membership@ ism.org

In his response, Mr Gibb did not disclose the rationale behind the restructure but agreed that schools have no statutory obligation to engage with their local Music Hub. He wrote that he believes this process is setting up hubs ‘to succeed’.

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ISM members’ day 2024 We are delighted to invite you to join us for the next ISM Annual General Meeting (AGM) on Tuesday 16 April 2024, 10am-4pm, at Six Park Place, London SW1A 1LR

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WINTER 2023 ISM AGM 2024

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oin fellow musicians and ISM staff for an exciting day of networking, and the chance to ask questions and have your say in matters that are important to you.

The official business of the ISM will be conducted, you’ll be able to take part in the open forum and focus groups, listen to some fantastic live music, and make connections over lunch and refreshments.

Changes to the Articles of Association The AGM in 2024 will see Council propose two changes to the Articles of Association which govern how the ISM operates.

The first of these changes will be to propose that the name is formally changed to the Independent Society of Musicians. Since the new brand was introduced in October 2022, we have been using a trading name rather than formally changing the name. The change which will be proposed is the final part of implementing the new name and the new brand.

Join fellow musicians and ISM staff for an exciting day of networking, and the chance to ask questions and have your say in matters that are important to you.

The second change is to introduce the ability to hold AGMs both in person and using video conferencing technology.

During the COVID-19 pandemic, the government introduced temporary regulations which allowed companies to hold meetings via video platforms such as Zoom, as in person meetings were not allowed. However, those regulations are no longer in place meaning that companies have to hold in person meetings unless their Articles of Association allow for remote or hybrid meetings. The ISM Articles currently only allow for in-person meetings, and therefore Council wishes to propose changes to allow for hybrid meetings to take place. All ISM members are entitled to attend the AGM, but it is recognised that not everyone can travel to attend.

By allowing the AGM and other meetings to take place both in person and via a video platform such as Zoom, it will allow more members to have a say in the running of the ISM. Both of these changes require something called a special resolution. This means that at least 75% of those voting have to vote in favour of the changes. We also need to ensure that at least 30 members attend or send proxy votes in order for the meeting to be quorate. Please make sure that you either attend the AGM or send a proxy vote when the AGM papers are sent to you in January to give your view on the proposals. These changes to the Articles will cement the ISM’s independence and allow for every member to attend AGMs in the future.

Book your free place We hope you will join us for this exciting day. It is a great opportunity to share your opinions, meet fellow members, get more involved with the ISM community, and enjoy some refreshments and live music.

Register free of charge at trybooking.com/uk/ events/landing/49688

All photos: Kris Brown

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A new look for the ISM Website Rob Spalton, the ISM’s Website & Insights Manager, explains the thinking behind our updated website and offers some guidance on finding your way around it

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he ISM’s website is the first port of call for a huge number of people in our sector. From visa advice to managing festival bookings, from legal support to the latest news and campaigns, our website is a digital hub through which thousands of enquiries flow week on week.

Users now expect to find information in seconds, so search engine optimisation (SEO) is ever on the digital frontline. Furthermore, we have seen a huge increase in mobile usage of the website, to around 50%.

In the last decade alone, we have faced Brexit and COVID-19, two era-defining challenges to our industry which have and will continue to affect the way we work forever.

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In short, our old website was built to meet the requirements of an industry which has since evolved, and in September we were proud to launch our new fully mobile-optimised site.

We warmly encourage you to look around the site and explore the vast wealth of advice, resources, benefits, news, campaigns and more.

WINTER 2023 A NEW LOOK FOR THE ISM WEBSITE

Navigation A brief outline of the site and its features: Our Homepage is the front cover of our site, designed to give you a snapshot of our current activity and to provide access to several areas intuitively, using the navigation headings along the top of the page. Around the page are listed further quick links to frequently viewed information, and to our latest news.

Every good website is a living thing; it’s reactive to feedback, and proactive to changes in the industry. As such our new site is constantly evolving and growing. If you have any suggestions as to how we might improve further, we would love to hear from you. Please get in touch via the website, or at rob.spalton@ism.org.

Our old website was built to meet the requirements of an industry which has since evolved, and in September we were proud to launch our new fully mobileoptimised site

About – as the title suggests, this is where all information regarding the ISM itself is based; current policies, staff and council, our history, and also our corporate partners, awards, and our ISM Trust and ISM Members Fund.

ISM Trust – our sister charity, dedicated to supporting the whole music sector, has its own website, which shares many of its events, webinars and resources, alongside its own rich portfolio of work.

ISM Members Fund – this sits within the main ISM site, and acts as a gateway to vital information on health and wellbeing, and financial support.

Join us – with a range of memberships available these pages inform non-members of the benefits of joining, and the application process. Within this area sits information on our new Refer a friend scheme, through which members can enjoy an increasing discount on their subscription with successful referrals.

Campaigns – the research and reports generated by our External Affairs team have been cited in Parliament multiple times, and have helped inform policy for all major political parties. In these pages you can learn more about the efforts of the ISM’s campaigning team to work for the good of musicians at local and national levels.

Advice & Resources – a vast wealth of information available predominantly to members to support their day-to-day activities as musicians.

Events – these include both member and ISM events, such as webinars and other professional development, or networking opportunities.

News & Articles – contains current ISM news, member and corporate member news, blogs, and a compendium of our Music Journals.

Login and My ISM Area – once logged in, members can access the ISM Handbook, Music Journal, Member Connect, Discounts, ISM Discount+, helplines, insurance documents, contracts, and amend their personal information.

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As Christmas approaches, Clare Stevens asks the heads of music at four schools around the UK to tell us how they plan to mark the festive season Wales Llinos Alun is Head of Music at Ysgol Brynhyfryd, a bi-lingual comprehensive school in the small town of Ruthin, Denbighshire, North Wales.

‘We have to balance rehearsals for our Christmas show with preparing for the Urdd National Eisteddfod in the spring,’ she explains. It is a competitive youth festival of literature and the performing arts, which takes place in a different venue each year at the end of May, with the first rounds in March.

Choral singing is one of Ysgol Brynhyfryd’s particular strengths, and out of school some students are members of the Only Boys Aloud choirs. ‘That experience of concerts and tours is invaluable and really boosts their confidence. We had Only Boys Aloud here a couple of weeks ago to do a workshop with all of Year 7 and some Year 8 and 9 boys. It was great fun!’

The end-of-term show will include choral and solo vocal items and performances by the school’s string ensemble; Alun hopes it will also be a showcase for two or three of the contemporary bands she has been encouraging the students to set up. She is concerned that during the pandemic young people got used to performing by themselves in their bedrooms, so there are plenty of solo vocalists, guitarists and drummers, but they are not forming bands.

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Above left: The Carrickfergus Grammar Annual Christmas Sing-A-Long for everyone at school

‘We were able to help set up one group, Ambrose, because our instrumental tutors knew them from primary school; they are now in Year 9 and have been doing well, representing the school at concerts and winning trophies at local festivals.’

Brynhyfryd’s Christmas concert opens with dimmed lighting, a candlelit procession and polyphonic singing from various points around the school hall, creating a church-like atmosphere.

Asked how much the programme is influenced by Welsh culture, Alun says that there are always a few Welshlanguage items, and Ambrose will play one song in Welsh and one in English. ‘We will also have one carol in French, to support the school’s modern foreign languages curriculum. But we also want the audience to join in, of course, so there will be some of the usual Christmas songs. We have a really strong Welsh culture in the school, but this is perhaps one concert where we have a more even split between Welsh and English.’

Cor Noson Lawen from Ysgol Brynhyfryd

WINTER 2023 SEASONAL PERFORMANCES

Scotland

her aim is to have as wide a repertoire as possible, including a gospel number, for example, as well as more traditional carols.

Sarah Stuart is Director of Music at The High School of Glasgow (HSG), an independent school for students aged 3–18. With its origins in the medieval ‘sang school’ or choir school of Glasgow Cathedral. It is Scotland’s oldest school, celebrating its 900th anniversary next year.

Winter performances at HSG tend to run on a two-year cycle. One year there will be a musical plus a fairly smallscale Christmas concert in school, usually featuring younger ensembles that would not otherwise have a platform, followed by a traditional Nine Lessons and Carols in the school assembly hall, led by the senior choirs and the school orchestra, which accompanies some of the hymns and always finishes with a surprise item. (‘Except it’s never a surprise, it’s always Sleigh Ride!’).

‘That was the format last year, with a performance of The Sound of Music,’ says Stuart. ‘It was really special, with a big cast, because we hadn’t had a musical for years because of COVID-19. This year the drama department is doing a pantomime, and the music department is just doing a big Christmas concert in the cathedral. It will be largely choral, with several groups of different ages, from the junior school up to our elite chamber choir, which is conducted by Frikki Walker. We’ve also got a string group that is going to play Corelli’s Christmas concerto and an arrangement of a piece that was originally written for our pipe band, and we might have one other instrumental group just to give the choirs a bit of breathing space.’

Given the diversity of Glasgow, is it difficult to balance the Christian ethos of the school with the demographic of its pupils? Stuart says it’s a good question, and that HSG does have a Christian ethos, but can accommodate those of different faiths or none. In the context of Christmas concerts,

Most popular with her students, she adds, is the annual carol singing excursion by the junior choir, sometimes with a brass ensemble, in aid of Ronald McDonald House. ‘We visit Gartnavel Hospital and one of the big shopping centres.

Often they are singing to people who are elderly or infirm, or not in a good place, but who come and sit quietly or join in, just enjoying seeing the children with their Santa hats on … that’s always very special.’

That experience of concerts and tours is invaluable and really boosts their confidence.

Llinos Alun, Head of Music at Ysgol Brynhyfryd, a bi-lingual comprehensive school

Northern Ireland Edward Craig is Head of Music at Carrickfergus Grammar School (CGS) in County Antrim. The school community of over 800 pupils supports a variety of choral and instrumental groups, and its choir has won several awards including Best Choir in the All-Ireland ‘Choirs for Christmas’ competition run by Lyric FM in Dublin.

Asked to talk about seasonal celebrations at CGS, Craig cannot help reflecting on the impact of the pandemic on musical activity, how it made everyone

High School of Glasgow Sound of Music

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singer’s school year. We gather in the ancient setting of Saint Nicholas’ Church, process to Once In Royal David’s City and enjoy the familiar words of the scripture lessons interspersed with carols new and old from the Senior Choir, Junior Girls’ Choir, Men’s Voice and our senior vocal ensemble Voces Aspirantes. The church will be filled with an enthusiastic congregation of family and friends. This is central to how music departments play their part in passing down the rich tradition of words and music for Christmas.’

England Matthew Haworth is Subject Leader for Music at Egglescliffe School in Stockton-on-Tees, County Durham. He also has responsibility for the subject in all eight schools of the Vision Academy Trust – five primaries and three secondaries.

realise how important music was and how teachers, pupils and students alike had to learn how to cope with the restrictions. In-person music-making was slow to return in Northern Ireland and when it did, the break in continuity meant that ‘skills, expectations and the ethos of music departments had drifted away … without being understood and owned by the next generation of young musicians. They had the expectation of being as polished as their predecessors but without the realisation of the work it takes to get there and so were often met with personal disappointment. So began a long road which we are still on.’

Having said that, however, he adds that ‘this new academic year is really starting to feel like it’s 2019 again – rehearsals started as soon as everyone was back to school, Prize Giving events were held with musical entertainment and the children can hear themselves improving together.

The buzz of what is affectionately known as “Planet Music” is obvious. We are beginning to look towards the Christmas season with a genuine excitement; the traditional Festival of Nine Lessons with Carols is the highlight of every 12

Although his own specialisms were violin, piano and later guitar, and Egglescliffe has long been famous for its award-winning brass band, Haworth says that as his career has developed, he has become increasingly aware of the value of singing. ‘You don’t need any funding, you don’t need access to loads of instruments. All it takes is me and a classroom full of children. It has really helped with the bounce-back after COVID-19. The kids are desperate to get involved and give things a go … I’ve never had so many interested in singing.’

Top left: Carol Service Rehearsal in Saint Nicholas’ Parish Church, Carrickfergus Below: High School of Glasgow

WINTER 2023 SEASONAL PERFORMANCES

I think it’s important that we reflect on the meaning of Christmas… but we also give people a good night out.

Matthew Haworth, subject leader for Music at Egglescliffe School The school has several choirs, with two contrasting flagship groups for older students – the traditional SATB senior choir, and Urban Voices, who sing contemporary repertoire. In 2020 their performance of a song written by their conductor Cherie Gears to support the NHS was broadcast on local TV in Christmas week. This time last year students from the Vision schools were preparing to join the professional singers and players of the Gabrieli Consort and schools from around the northeast in York Minster for one of their Roar! In Dulci Jubilo performances, exploring seasonal music by composers ranging from Praetorius to Howells, conducted by Paul McCreesh.

‘I just told them they were going to sing 16th-century polyphony about Christmas, no negotiation, we’re doing it,’ says Haworth. ‘And at the end all they wanted to know was, when can we do this again? I think what Paul is doing with Gabrieli Roar is absolutely fantastic.’

Egglescliffe’s own Christmas concerts traditionally open with a showpiece performance by the brass band, which also accompanies carols for choir and audience. ‘I think it’s important that we reflect on the meaning of Christmas,’ says Haworth, ‘but we also give people a good night out, so we

might have the senior choir singing something like Kenneth Leighton’s Lullay, lulla, but we’ll move on to Rudolph the Red-nosed Reindeer and The 12 Days of Christmas.

‘Before COVID-19 we would always invite a primary school choir to join us, and that’s coming back this year. They always get the biggest cheer of the night … you can’t fail, really, with primary school children singing about Christmas.’

Top right: High School of Glasgow Below: Carrickfergus Grammar Musicians entertain at a local residential home All photos: Courtesy of the featured schools

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Oh yes it is!

Exploring the pantomime tradition

Photo: Laura Shepherd

Clare Stevens uncovers the history of the pantomime genre and its continuing popularity

Clive Rowe as Widow Twankey and Fred Double as Aladdin in Hackney Empire’s Aladdin 2023 Photo: Perou. Campaign graphics by Feast Creative

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WINTER 2023 OH YES IT IS!

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he jokes came thick and fast in response to my social media question, ‘Do I know anyone who has composed for, played or sung in commercial pantomime?’ ‘Oh no, you don’t’, ‘Oh yes, she does.’ One friend couldn’t resist posting, ‘Of course, when you’ve finished and submitted your feature, it will be “behind you”!’

Pantomimes are one of the areas of entertainment leading postpandemic recovery, reporting a 15% increase in bookings compared to a similar period in 2019, prior to when lock downs to prevent the spread of COVID-19 began.

And the audience participation, whether it’s warning a naïve heroine or a short-sighted dame that their nemesis is lying in wait for them, or joining in with favourite songs.

The word ‘pantomime’ has classical roots, and the theatrical form originated in ancient Greece as a tragic or comic entertainment in which words were replaced by gestures, often lewd or erotic in nature. It was popular in Rome too, but eventually banned in After the second the early Christian era because of world war the future of its subject matter.

pantomime was seriously Similar elements emerged in threatened by the arrival medieval mummers’ plays, based on folk tales or the of television, but before long lives of saints; but the primary producers found a way to roots of modern pantomime lie in Italian Commedia capitalise on this by engaging dell’arte, a form of comic the stars of the small theatre involving masks, coarse humour, buffoonery, and stock screen to perform in characters such as the devious their shows servant Harlequin and his sweetheart

Hackney Empire, one of the few theatres to produce its own pantomimes, rather than hosting a show from one of the big agencies that dominate the business, is back with their 2023 panto offering of Aladdin. Clive Rowe returns to his well-loved role of a pantomime dame, now in his 16th year, but this time as Widow Twankey. Whether or not you’ve ever actually been to a professional pantomime or even an amateur version, one of the reasons for their steadfast popularity is that we’re all familiar with the conventions of the genre. The dame, usually played by men, and the handsome principal boy, usually played by a young woman. The Wicked Witch or Ogre, the Good Fairy, the talking cat and the pantomime horse or cow, usually played by two people forced to spend the duration of the show in horribly close proximity to one another as they share a costume.

Columbina. Flourishing from the late 16th to mid 18th centuries, this was the first fully professional theatre, and explored themes such as jealousy, thwarted love, ageing and tragedy, usually featuring a happy ending and forgiveness all round.

In the UK, the tradition as we know it with its reliance on fairy tale themes was largely established by the early 19th century. Improved technology meant that shows could be performed indoors, with elaborate costumes, scene changes and mechanisms such as trap doors and flying equipment.

Above: Joseph Grimaldi dressed as a hussar standing before another actor in a clown’s costume in a scene from the pantomime, Red Dwarf. Etching by W. Heath, ca. 1811.

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Drury Lane Theatre in London was famous for its spectacular shows, with huge casts, often involving children as dancers or actors. The innuendo became more subtle so that everyone could enjoy them. Joseph Grimaldi (1778–1837) was the most popular entertainer of the Regency era, appearing as Harlequin in various incarnations, developing the stereotypical Joey the Clown character and starring in pantomimes such as Robinson Crusoe and Mother Goose.

The popularity of music halls in the Victorian era also influenced pantomime: elements of circus-style skills such as juggling and plate-spinning often found their way into shows, and stars who made their names in variety theatre often took leading roles in pantomime. Marie Lloyd (1870–1922) for example, was known as ‘The Queen of Music Hall’, making her name with songs such as ‘The boy I love is up in the gallery’ and ‘My old man said follow the van’; she starred in Humpty Dumpty at the Theatre Royal, Drury Lane, in 1891, followed by appearances in Little Bo Peep and Robinson Crusoe. Dan Leno (1860–1904) was a

…if you see a pantomime when you’re a kid, you might, like me and like us all, be hooked for life and realise that more magic happens inside theatres than anywhere else in the world.

Sir Ian McKellen 16

child star famous for his clog dancing act, and then worked as a comedian in music hall prior to a successful career in pantomime, usually as the dame.

After the second world war the future of pantomime was seriously threatened by the arrival of television, but before long producers found a way to capitalise on this by engaging the stars of the small screen to perform in their shows – pop singers, soap stars, sports people, weather forecasters and more recently the stars of reality TV. The annual Christmas pantomime is still a guaranteed banker for many commercial theatres. This year you can see Aladdin at Hackney Empire, Strictly’s Craig Revel Horwood strutting his stuff as Cinderella’s Wicked Stepmother in Wimbledon, or Jennifer Saunders starring as Captain Hook in Peter Pan at the London Palladium. Christopher Biggins, the current doyen of British pantomime with 45 years of show credits to his name, will play The Man in the Mirror in Snow White at the Mayflower Theatre, Southampton, joined by Britain’s Got Talent winners Ashley Banjo and Diversity as Prince Ashley and the Palace Guards.

Top left: A pantomime cast of the 1920 with their accompanying band Top right: Julian Clary & Louis Gaunt in Jack and the Beanstalk at The London Palladium Photo: Paul Coltas

WINTER 2023 OH YES IT IS!

The cast of Snow White showing at Darlington Hippodrome this year Photo: Scott Akoz

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A season in pantomime has often been the route to the all-important Equity card for aspiring professional singers, says soprano and broadcaster Catherine Bott, who took that route as a first-year student at the Guildhall prior to her distinguished career primarily in the very different world of early music. She recalls frustration that singers were paid a lot less than instrumentalists, and the difficulty of trying to learn very simple dance steps as one of the townsfolk in Cinderella. ‘But the chance to stand in the wings watching the great Kenneth Connor at work, making his solo scenes as Buttons differently funny and touching every single time, was priceless.’

Eloise Irving, a former BBC Choirgirl of the Year who now has a varied portfolio of freelance performance that includes opera roles, playing the harp, acting and singing with ensembles ranging from the Monteverdi Choir and Tenebrae to Gareth Malone’s Voices, had a similar experience appearing as Princess Jasmine in Aladdin early in her career. ‘Bradley Walsh was Wishee Washee and he was amazing,’ she recalls. ‘I loved the collaborative nature of the performances and the sense of play – we were always making each other laugh.’

Irving has also sung the title role in Snow White. Asked about the strain on her voice of doing multiple shows every week, she says that wasn’t a problem. ‘You aren’t singing all the time, you learn to pace yourself to save your voice and of course in panto it’s miked so you don’t need to belt it out.’

The skill with which composers and multi-instrumentalists John Hymas and Pete Mustill write for and accompany

amateur singers of enormously varying ability and confidence, including teenagers and children, is one of the most impressive elements of the Presteigne Players’ pantomimes in my hometown in the Welsh borders. The shows are completely original, with location-specific plots and scripts by local writers and music predominantly by Hymas and Mustill. They recall how the late Mary Compton, who wrote the pantomimes for more than 20 years, would give them the texts of the songs with an indication of a popular tune to which they would fit; then they would write a new tune in the same metre.

‘We’re a good team,’ says Hymas. ‘Pete tends to write the “knees-up”, Chas-and-Dave-type numbers and I write the more romantic, music-theatrey ones. Then we record them and send them to the cast to learn.’

But every pantomime needs its familiar singalong, of course, and Presteigne has a banger – the anthem ‘Presteigne, home of the free’, representing the town’s anarchic spirit which underpins the plots, concludes every performance. Updated verses are sung by the cast and the audience joins in with the rousing chorus.

Sir Ian McKellen’s stage roles have recently embraced Widow Twankey in Aladdin and the eponymous Mother Goose; last year he told the Irish Times how much he relishes the experience, having loved pantomime since he was taken to Peter Pan as a small boy. ‘You’re never too young to go the theatre,’ he said. ‘And if you see a pantomime when you’re a kid, you might, like me and like us all, be hooked for life and realise that more magic happens inside theatres than anywhere else in the world.’

Below left: Craig Revel Horwood as Wicked Stepmother Photo: Stephen Lewis

Below: Rob Madge & Louis Gaunt in Jack and the Beanstalk at The London Palladium Photo: Paul Coltas

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WINTER 2023 SAGE GATESHEAD’S FIRST FESTIVE SEASON AS GLASSHOUSE ICM

Sage Gateshead’s first festive season as Glasshouse ICM

As Sage Gateshead prepares for its first festive season as Glasshouse ICM, Clare Stevens reports on what the season holds and how a change of name has given the iconic venue an opportunity to refresh its identity and strengthen its position as a creative hub for music in the Northeast of England and beyond Dinis Sousa and RNS Photo: Tynesight Photographic Continued overleaf > 19

ISM MUSIC JOURNAL

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ver the festive season audiences can experience a wide range of musical performances at The Glasshouse ICM, such as family Christmas concerts, The Nutcracker and I – a multimedia performance with dance and digital animation by pianist Alexandra Dariescu, narrator Lindsey Russell, and ballerina Imogen-Lily Ash – and the Irish-inspired singalong show Fairytale of New York. But one announcement made in September is the real reason to celebrate this festive season: Sage Gateshead, the main concert venue and cultural charity for the Northeast of England, has been rebranded, and is now known as The Glasshouse Over the International Centre for Music.

‘Why?’, you may well ask; and the answer is simple: the original name reflected its relationship with accounting and finance software company The Sage Group PLC, which is based in Newcastle upon Tyne, but it has transferred naming rights to the vast new arena that is currently being constructed next door to the concert hall complex.

festive season audiences can experience a wide range of musical performances at The Glasshouse ICM

Rather than bewailing the resulting loss of an established identity, the charity saw this as a chance to reposition itself in its community and beyond and renew its sense of purpose. The lengthy construction period for the arena has given them plenty of time for consultation with stakeholders across the region, and the announcement of the new name was used as an opportunity to celebrate the building and its music. It attracted a lot of media attention, including local TV coverage, and was accompanied by an invitation to visit The Glasshouse for an Open House Weekend of free activities, including performances, open rehearsals, workshops, family events and guided tours.

‘This is a new chapter for our organisation,’ says Abigail Pogson, Managing Director of The Glasshouse ICM. ‘It’s much more than a change of name, we’re refreshing our identity in the broadest sense and talking about everything that’s going on in the region – and about our hopes for the future as we prepare to celebrate our 20th birthday in December 2024.

‘We were determined to involve as many people as possible in the process,’ she explains. ‘We asked what the building meant to them, what music meant to them, what they got from the charity, what they wanted from the charity … and more broadly, what their aspirations were for their lives.’

Hundreds of people from across the North East shared their memories. ‘We were overwhelmed by the volume of responses we received and by the kind of things people said; by the warmth with which they spoke about their connection to music,’ says Pogson.

‘When we started our consultation in the summer of 2022 the pandemic was still very close and we had the sense that people had been thinking a lot about these things.

If you made a word cloud from their responses the two words that would come up in very large letters would be “well-being” and “identity” – that’s what people spoke most about. It was clear that they saw music as an essential, defining element in their lives.

‘That gave us a starting point for building this new identity, and our strapline – “music lives and grows here”. That idea came through really, really strongly.’

The Glasshouse sits high above the River Tyne, its spectacular curving roof embracing two concert halls, a Top right: A young accordionist performing at the Glasshouse open weekend Photo: Thomas Jackson Left: Sam Fender performing in the Sage Two hall Photo: Amelia Read

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WINTER 2023 SAGE GATESHEAD’S FIRST FESTIVE SEASON AS GLASSHOUSE ICM

spacious foyer with stunning views across to the city of Newcastle, a rehearsal hall with a glass wall that enables the public to see what is going on inside, and a suite of smaller rooms on a lower floor that house the charity’s learning and participation programme. This includes community choirs and instrumental ensembles, individual and group lessons during the week for people of all ages, and the area’s weekend academy for young musicians.

It is a place where legendary rock or pop musicians, folk groups and string quartets are equally valued; where performances by emerging musicians are showcased on the same stages as platinum-selling stars; where youth choirs and tambourine-shaking toddlers practise in the same spaces as the region’s professional orchestra, the Royal Northern Sinfonia (RNS), which is based at The Glasshouse.

The new logo represents the landmark building visually for the first time, while the name also reflects both its construction (which includes 630 panes of glass) and the site’s previous history as a bottle factory, while conveying a sense that it nurtures music, as a horticultural glasshouse nurtures seedlings and plants. Developing that idea, The Glasshouse has launched a new Music Pass, giving the family of every baby born in the Northeast and Cumbria this year a voucher to be spent on their concerts, gigs or classes.

Above: One of the Glasshouse’s many singing groups performing at its open weekend Below: The Glasshouse welcomes young music-makers in a kids’ session Photos: Thomas Jackson

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ISM MUSIC JOURNAL

Left: Maria Włoszczowska Photo: Tynesight Photographic

But the venue’s full name looks further afield, acknowledging its international reach … an important consideration for a region that has strong links with Scandinavia and Northern Europe, and serves Scotland as well as the north of England. The only slightly puzzling omission is a location, but that will be rectified in a further stage of the process, when the Glasshouse together with the new arena and the Baltic Centre for Contemporary Art will be part of a reimagined Gateshead Quays complex.

This summer’s hugely successful visit by the BBC Proms showcased all that the existing complex has to offer, in particular the quality of the RNS, which has just renewed a partnership with BBC Radio 3 that will see broadcasts of four of the current season’s concerts. Its principal conductor Dinis Sousa has extended his contract for a further three years; his contribution to the programming of artists and repertoire and his commitment to regional touring to venues such as Westmoreland Hall, Kendal, Middlesborough Town Hall and the Darlington Hippodrome has brought fresh energy to the orchestra. An enhanced role for virtuoso leader Maria Włoszczowska as artistic partner has been announced, effective from autumn 2024 with a focus on directing, solo and chamber work.

Asked to pick out some highlights from the coming months, Abigail Pogson flags up the Schumann series conducted

by Sousa, including a rare performance in the Northeast of his oratorio/opera cross Das Paradies und die Peri, and looks ahead to the Big Bruckner Weekend, 1-3 March 2024, an immersion in the music of the Austrian composer that marks the 200th anniversary of his birth. The Glasshouse

It’s much more than a change of name, we’re refreshing our identity in the broadest sense and talking about everything that’s going on in the region.

Abigail Pogson, Managing Director of The Glasshouse ICM will host performances by the Hallé, the Royal Liverpool Philharmonic and BBC Scottish Symphony orchestras as well as RNS, while Bruckner’s motets will be performed on the concourse by the chorus of the RNS, conducted by its chorus master Timothy Burke.

The chorus celebrates its 50th anniversary this season.

In 2021 it won a Royal Philharmonic Society Award for its extraordinary virtual choir project The World How Wide, a reinterpretation of Vaughan Williams’s Fantasia on a Theme

by Thomas Tallis, and followed that up with a community performance of Verdi’s Requiem – not just a ‘Come and Sing’, but a properly-rehearsed response to the pandemic experience that enabled singers of varying ability to participate in different ways. Future choral projects building on this ‘People’s Requiem’ will shortly be announced.

Pogson also highlights a series of ‘Seats Out’ performances in the main concert hall (still known for now as Sage One). Introducing removable seating for the stalls in this auditorium was a major capital project that took some years to plan and deliver, but has been transformative in enabling relaxed performances, with the audience sitting around on beanbags, or standing gigs such as a visit by Alison Goldfrapp in February.

The smaller auditorium, Sage Two, hosts a series of performances by emerging artists from different genres, conveniently already billed before the rebrand as ‘From the Glasshouse’. ‘Incredible music-making happens in those gigs,’ says Pogson, ‘and there’s a sense that the audience really, really wants to hear something new… to anticipate the next generation.’ theglasshouseicm.org The Glasshouse ICM external Photo: Thomas Jackson

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WINTER 2023

A few upcoming winter shows and festivals

B:Music Sing Carols with

Phil Cunningham’s

Birmingham City Organist

Christmas Songbook

Ulster Orchestra: The A live performance of the soundtrack, with the film shown on a big screen and some popular festive songs: waterfront.co.uk/ what-s-on/the-snowman-family

Join Thomas Trotter, City Organist of Birmingham for 40 years, and the Birmingham Conservatoire Chamber Choir for a lunchtime Carol Singalong: bmusic.co.uk/ events/lunchtime-organ-concertwith-thomas-trotter-sing-carolswith-the-city-organist-2

Accordionist and composer Phil Cunningham will be joined by some of Scotland’s leading folk musicians for an evening of jovial anecdotes and modern and traditional Christmas music: philcunningham.com

Let It Snow

Spirit of Christmas

Christmas Concert

British Youth Music Theatre’s annual festive fundraising concert: britishyouthmusictheatre.org/ shows/let-it-snow-2023

Kadiatu Kanneh-Mason hosts classic carols, audience singalongs, seasonal readings and music from local star mezzo-soprano Kathryn Rudge, the Royal Liverpool Philharmonic Orchestra, Choir and Youth Choir. liverpoolphil.com/ whats-on/all-shows/spirit-ofchristmas/8776

Combination of British folk and early music with Pagan and Christian songs for Midwinter: richarddurrant.com/events/ richard-durrants-candlelitchristmas-concerts-brecon/

Snowman Family Christmas

Richard Durrant Candlelit

The ISM annual teachers’fees survey is open!

The survey is a valuable benchmarking tool for music teachers when setting their own fees. All instrumental and vocal teachers are invited to complete the survey and findings will be published in Spring 2024. Please complete the survey by 5 January 2024. ism.org/teachers-fees-survey-2023-2024

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ISM MUSIC JOURNAL

Composing for the film industry ‘It’s really important to have an overview of what growth in production in the UK means. If you’re interested in sound or music, then ask yourself what are all the job openings that could be there for you’

With expansion of the UK’s film industry, more opportunities are opening for musicians.

How can you ensure that you benefit from this?

Vinota Karunasaagarar finds out more from Chris Mitchell, whose career in music has taken him from performing, to teaching, to composing in the film industry 24

WINTER 2023 COMPOSING FOR THE FILM INDUSTRY

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hen Shinfield Studios in Reading opens at the end of this year, it will include 18 sound stages comprising a staggering 1 million square feet of production space. As composer Chris Mitchell enthusiastically points out, ‘that’s 3,000 jobs, just for Shinfield’. Neighbouring Winnersh Film Studios is also expanding, and estimating another 1,000 jobs.

Remember the skills you’re learning are transferrable.

These aren’t the only film studios with plans to grow.

Warner Brothers aims to add 400,000 sq ft (37,000 sq metres) to its Leaverton, Hertfordshire studios by 2027, and Shepperton in Surrey is hoping to be the second largest film studio in the world once its proposed extensions are completed. This growth in the film industry will inevitably lead to an increase in jobs in all sectors, including music.

ScreenSkills also offers training programmes and funding opportunities. In addition, six BFI-funded skills clusters, including Screen Berkshire, have been launched around the UK to train and recruit the new talent needed.

As Mitchell is keen to highlight, ‘It’s really important to have an overview of what growth in production in the UK means.

If you’re interested in sound or music, then ask yourself what are all the job openings that could be there for you?

Remember different members of the team are needed for every production. For sound this includes location sound recording, sound mixing, Foley, ADR (speech), composing, editing, orchestrating, sound effects and so forth.’

Websites like ScreenSkills explain the different roles involved in film production so you can see what is available and then work out the skills you need to obtain that job.

Mitchell’s tri-partite career is an example of how varied working in music can be if you embrace change and don’t pigeonhole yourself as one type of musician. He says he began as a freelancer, ‘touring, working in recording studios.

I was classically trained but I adapted to play in popular styles and with rhythm sections. I was versatile; at that time I also worked for music publishers, arranged music typesetting, and orchestrated for broadcasts.’ Then came part two of his career: ‘I guess when we had two boys, the idea of having a regular pay cheque became quite attractive. I saw a job specialising in teaching music production as Assistant Director of Music at Leighton Park School in Reading; I thought I might be there just a few years, but it ended up being 14.’

The third part of Mitchell’s career began in 2019 when he left teaching and went back to being a freelance composer, working in audio and production. ‘By this time Leighton Park had a £4m purpose-built music and media department, so it was time to pass on the baton. It’s still thriving, this is what happens when you support music in schools – it attracts new talent into the school and there’s continued growth.’

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Mitchell was in the privileged position of being able to continue his other work in music while teaching: ‘I think that has great benefits because you’re able to bring what you learned outside your teaching practice to your students.’ Throughout his career, Mitchell’s willingness to learn new skills has been the key to progression: ‘I obtained a teaching qualification in order to teach; I also studied an online Pro Tools course with Berklee College in the States, and then three levels of training with Apple in Logic Pro X’.

Whether you are in higher education, starting out in your career, or teaching students who are thinking about a career, in music, be aware of the career options that working in sound production can bring. Learning about music technology, for example how to use a digital

Think about what’s going on around you that you can get involved in to gain experience and make connections. If you’re a music teacher, are there apprenticeships that your students can apply for?

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audio workstation (DAW), is key to expanding yours or your students’ skill set. Richard Llewellyn, UK Education Manager at Steinberg, is keen for schools to invest in music technology and for students to learn how to use it: ‘Top media composers use Steinberg software, such as Hans Zimmer, Alan Silvestri, Hildur Guðnadóttir and Ludwig Göransson. Steinberg’s Cubase software is not expensive and there are even free versions. All levels of composers (student to professional) start composing in Cubase in exactly the same way, using the same functionality and process for creating music. The higher versions of Cubase add more features that further aid composition. Once you learn the basics, the methodology of creating music in a DAW is the same.’

To enhance your learning, explore what organisations like ThinkSpace Education and RSL can offer – ThinkSpace provides online courses specialising in music and sound-design for film, games and television ranging from free courses to postgraduate degrees, while RSL offers courses in music production, podcasting and vlogging.

Mitchell has worked with another organisation Resource Production: ‘They have been around for 25 years and their mission is to encourage, support and recruit from a diverse range of backgrounds. Wherever you are in the country sign up to their mail shot so you can keep informed.’

WINTER 2023 COMPOSING FOR THE FILM INDUSTRY

Think about what’s going on around you that you can get involved in to gain experience and make connections. If you’re a music teacher, are there apprenticeships that your students can apply for? At your school, if another subject requires podcasts, vloggs or webinars, ask how your music students can contribute and gain experience in sound? If you’re a musician, experience of working in audio production can be gained in any industry that deals with sound in your area, for example theatres.

Remember the skills you’re learning are transferrable, as showcased by Mitchell’s most recent work: ‘I’ve worked with Rabble theatre, I’ve done a radio play, a stage play, and worked as both a sound designer and composer, and a film I produced the score for, Alex Lewis: Mountain, recently won best documentary at the London Independent Film Festival.’

Chris Mitchell: chrismitchmusic.com ScreenSkills: screenskills.com Screen Berkshire: screenberkshire.co.uk Steinberg: steinberg.net ThinkSpace Education: thinkspace.ac.uk RSL: rslawards.com Resource Productions: resource-productions.co.uk

All photos: Toby Mitchell

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ISM MUSIC JOURNAL

Working with singers on vocal rehabilitation Alison Sutton explains how the privilege of observing voice clinics at her local hospital has informed her work as a singing teacher and led to a specialism in nurturing damaged voices

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s a singing teacher, I always had an interest in vocal anatomy and physiology which intensified as my performing career slowed. I was most fortunate to be given permission to observe in the voice clinic at my local hospital, which was the beginning of a long learning journey that gradually led to ear, nose and throat (ENT) patient referrals and finally culminated in my becoming singing rehabilitation coach in the clinic.

Initially I began to understand specific vocal challenges that some of my pupils were experiencing, and was relieved to feel more informed in being able to help them. It was very much a process that evolved over the years, and my knowledge steadily increased through clinical observation and latterly through its application in my vocal rehabilitation practice.

Through my yoga experience, I discovered that breathing underpins all forms of voice work, including vocal longevity. It has become the keystone of my rehabilitation work, as most clients have developed problems due to under- or overpowering the voice, which can then easily become exacerbated by continuing to sing with a cold, upper respiratory tract infection or laryngitis.

Vocal rehabilitation is immensely rewarding and responsible work. I have attended many courses and study days to keep abreast of the huge advances in vocal science. I have also written two books explaining how I have put this understanding into practice, combining many years’ experience of singing, teaching singing, and vocal rehabilitation work. My aim is to demonstrate the connection between these different aspects and how they have enabled me to help clients rediscover their voices. By using case studies, I highlight the degree of detail required to achieve, where possible, a positive outcome for clients.

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The hope is that the books will provide a preventative approach, helping singing teachers to recognise what could be happening if a pupil is giving cause for concern, perhaps because of an uncomfortable vocal sensation or ongoing symptom. Having this awareness is crucial when trying to decide if it is appropriate to advise a pupil to seek a referral from a GP to an ENT specialist for further investigation.

Guidance from a professional psychotherapist on how to address the inevitable psychological distress that many clients experience has been essential. I have learned how to respect professional boundaries by having a clear understanding of where one can and can’t venture with vulnerable clients, and I am led by them regarding voice-related emotional issues.

Being entrusted with personal confidences is a huge privilege. If this responsibility can be handled with skill and sensitivity, it can hopefully result in giving back the precious tools of vocal longevity and artistic fulfilment. My aim in working with any aspect of the voice is to encourage and enable clients and students to regain the joy of singing.

Alison Mary Sutton’s first book, The Heart of the Breath, examines the critical role of the breath in the singing and performing voice. Her second book, Aspects of the Vocal Package, will be published in Spring 2024.

Both are available from Compton Publishing comptonpublishing.co.uk

PROFESSIONAL DEVELOPMENT

WINTER 2023 PROFESSIONAL DEVELOPMENT

ISM Advice packs:

A wealth of knowledge at your fingertips The ISM Trust has recently refreshed its series of free advice packs for musicians. The packs are designed to empower you with essential knowledge and guidance For music professionals, the pursuit of excellence is a never-ending journey. To stay at the top of your game and continue to evolve, it’s essential to have access to resources that provide you with support and advice. The ISM’s sister charity, the ISM Trust, offers a wealth of valuable free professional development.

Whatever your role, these opportunities aim to help you navigate the complex landscape of the music industry with confidence. Find out more below about some useful resources and events to help you thrive in your music career.

Teachers’ Pack Being a music teacher is not just about imparting knowledge – it’s also about growing your own skills and progressing your career.

Composers’ Contracts Pack The Composers’ Contracts Pack is a valuable resource for composers and songwriters. It offers guidance on legal considerations, commissioning agreements, and royalties, ensuring that your intellectual property is protected.

It also includes four template contracts, empowering you to focus on your creative work with confidence. ism.org/advice/composers-pack

Self-publishing Pack

Our updated Teachers’ Pack is a useful guide for instrumental and vocal teachers, including those who are employed, working freelance in schools or teaching privately. It covers issues all music teachers need to know about, including contracts, fees, safeguarding, employment status, tax, finding work and professional development, as well as looking after your health and wellbeing.

The Self-publishing Pack equips musicians with the knowledge and tools to successfully publish their music independently. From copyright and licensing to marketing and distribution, this pack is a comprehensive guide for composers and musicians looking to take control of their artistic output.

ism.org/advice/teachers-pack

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ISM MUSIC JOURNAL

Performers’ Pack The Performers’ Pack is a valuable resource for those who spend their lives in front of an audience. From understanding contracts and fees to managing physical and mental challenges, this pack will help you navigate the professional world of concerts, tours, and recordings.

With insights on preparing for auditions and building your brand, it provides the tools needed to thrive in the competitive world of performance. ism.org/advice/performers-pack

Digital Performers’ Pack Bringing together advice and guidance on online performance, the Digital Performers’ Pack looks at the two options open to you – livestreaming or recorded. The guide also explores making money from your performance, the issue of copyright and how to promote yourself so you can expand your audience. ism.org/advice/digital-performers-pack

Online workshops: Upskill yourself and learn from the experts The ISM Trust also offers a regular programme of free online events to help you expand your knowledge and skills. Discover two upcoming workshops below.

Building a successful freelance music business Thursday 7 December, 4-5pm Being a freelance musician comes with its own set of challenges and opportunities. This online workshop is designed to provide you with the strategies to establish and grow your music business successfully. The workshops will cover essential topics such as self-promotion, networking, financial management, and legal considerations. ism.org/event/building-a-successfulfreelance-music-business

Synthesis in Music Production Wednesday 17 January, 7-8pm Whether you’re new to music production or looking to deepen your understanding of synthesis, this workshop with Xylo Aria from Music Production for Women will explore the fundamental principles of synthesis, sound design, and electronic music production techniques. ism.org/event/synthesis-inmusic-production

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WINTER 2023 LEGACY GIVING

Legacy giving A

s musicians, we know that our work brings joy to society through our performances. We have a profound connection to our art form, and it’s only natural to think about how we can leave a lasting impact on the world, even after our final curtain call.

One powerful way to do so is through legacy giving – a gift that resonates through time and provides valuable support to the musicians of the future.

What is legacy giving?

Legacy giving involves including a charitable donation in your will, allowing you to leave a portion of your estate to the causes that matter to you personally. Gifts can take many forms, and can be large or small. Leaving a legacy is a powerful way to contribute to the music community and beyond.

The gift of music: how you can provide a lasting legacy for others by remembering a musical charity in your will How to leave a legacy To leave a legacy to one of the ISM’s sister charities (the ISM Trust or the ISM Members Fund) or any charity of your choosing, you can follow the advice on our website.

This includes a step-by-step guide to writing a will, ensuring your wishes are carried out accurately. You can access sample wording for your will and guidance on the different ways to leave a legacy.

Discounted will writing service If you have not yet written a will, it’s never too early to think about it. As a member of the ISM, you can access a discounted will-writing service through musician specialist law firm Morrish Solicitors, making it easier and more cost-effective to create a will.

Why leave a legacy?

The impact of leaving a legacy is significant. By designating a portion of your estate to a charity or charities, you ensure that the causes you care about continue to thrive for many years to come. Moreover, legacy giving is not only a generous gesture, but a tax-efficient one as well. UKregistered charities are exempt from inheritance tax. So, leaving a gift to charity in your will can help reduce, or even remove, the tax burden on your estate, allowing more of your assets to support the causes you hold dear.

The ISM Trust is the ISM’s sister charity, offering high quality professional development to everyone working in music. Through the Trust, the ISM gives back to the sector, and supports and empowers music professionals to succeed.

ISM members can access a range of health and wellbeing services through our second sister charity, the ISM Members Fund. This includes telephone and face-to-face counselling, as well as physiotherapy and financial support services.

Make the future of music We are incredibly grateful to everyone who has chosen to leave us a gift in their will. Every contribution, no matter how big or small, makes a profound difference to our work and enables us to expand our services and professional development. By leaving a legacy to the ISM Trust or the ISM Members Fund, you can ensure that your passion for music endures. ismtrust.org/support-us/leave-a-legacy ism.org/support-us/leave-a-legacy-ism-members-fund The ISM Trust and ISM Members Fund are tremendously grateful to everyone who has left us a gift in their wills, including: Mildred Bettley, Frances Ann Georgina Blake, Charlotte Ellis, Patricia Foster, Annemauraide Hamilton, Robert Geddes Macfarlane, Michael Pointon, Marion Elise Russell, Nora Smith (nee Hutchinson), Iris Mary Williams and Percy John Wright.

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ISM MUSIC JOURNAL

Community @ism_music

@ISMusicians

@ism_music

ism_music

Yale University Press offers 30% ISM members’ discount on John Potter’s Song: A History in 12 Parts

Laudemus! Composition Competition A new competition for UK composers aged under 30 on 31 January 2024 has been announced by Laudemus! an adult SATB choir and charity which meets annually to sing Choral Evensong in churches throughout Dorset.

The Trustees are seeking submissions of an anthem between 2½ and 4 minutes in length, with a text of a religious nature, scored for competent SATB choir with organ accompaniment. A single prize of £1,000 will be awarded, plus performance by Laudemus! during August 2024. Publication is offered by the Royal School of Church Music, subject to approval of the winning work. The closing date for receipt of scores is 31 January 2024.

Entries should be submitted in PDF form by email to laudemus@aol.com. Scores should be anonymous, with the applicant’s details being included in the accompanying email. Full Terms & Conditions can be found on the choir’s website: laudemus.org.uk.

The adjudicating panel will comprise Barry Rose (former director of music at Guildford, St Paul’s and St Albans cathedrals), Jeremy Jackman (composer, conductor and musical director of Laudemus!), Sam Hanson (Director of Music, St Peter, Hammersmith and organist for Laudemus!) and Tim Ruffer (Head of Publications, Royal School of Church Music).

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In his celebratory new book Song: A History in 12 Parts, singer John Potter tells the European story of a form that has captivated audiences and excited performers for centuries, from the music of the troubadours and the Christian liturgy through classical composers such as Bach and Schumann up to Britten, Berio, and the rise of popular music.

Choosing 12 key works, Potter offers a personal tour through this vital tradition, from John Dowland’s Flow My Tears to George Gershwin’s Summertime. Throughout, he reveals who wrote and sang these joyful masterpieces — and what they mean to singers and audiences today.

‘John Potter’s timely and ecumenical meditation on 12 songs explores the enigmatic nature of what constitutes a song, why songs continue to be important, and perhaps how or whether they can survive as a uniquely human undertaking.’ – Sting ISM members can get Song: A History in 12 Parts at 30% discount (£17.50) with free postage and packaging in the UK by using the code Y2363 when prompted at checkout here: yalebooks. co.uk/book/9780300263534/song

30% discount for ISM Members

WINTER 2023 ISM COMMUNITY

Here’s what our members have been doing across the UK For all community news, visit ism.org/professional-community

Middlesex University music news It’s been another excellent year for music at Middlesex University, full of student and staff successes: • BA Music graduate James Mollison’s band Ezra Collective received a 2023 Mercury Prize nomination for their critically acclaimed album, Where I Am Meant to Be • Influential film director, DJ, and musician Don Letts was awarded an honorary doctorate • Graduate Lucy Wroe has secured a place as Junior Producer at Wardour Studios

A new approach to sung Italian A new book by Italian coach Matteo Dalle Fratte lifts the lid on the inner workings of sung Italian in opera and classical music.

The Melofonetica Method: A complete guide to clear and expressive Italian diction for singers, with a foreword by Sir Mark Elder, sets out to uncover the intrinsic phonetic properties of Italian style and give singers a clear vision of the building blocks of excellent sung Italian. melofonetica.com

• The Punk Scholars Network – an international forum for scholarly debate, conferences, publications, talks and public exhibitions, cofounded by BA Music programme leader Dr Mike Dines – has expanded its scope to include South Korea and China • Songwriting specialist Jenna Doyle received a career development grant from the PRS Hitmaker Fund for songwriters and producers in popular music genres.

• Nikki Iles is the 2023 composer in residence at the prestigious NDR Big Band • Sam Leak’s ‘gripping’ synth playing at Glynde’s Love Supreme Festival garnered attention from the Financial Times. Several of his arrangements will feature in the 2024 Trinity College London Piano Exam Syllabus • Professor Benjamin Dwyer features on composer Barry Guy’s latest release All This This Here, a large-scale composition inspired by the work of Samuel Beckett.

Middlesex Music Events: mdx.ac.uk/courses/ performing-arts/music mdxunimusic

• Dr John Dack has collaborated on the production of a translation of Journal de mes sons, by French electroacoustic composer Pierre Henry (1927-2017), published by Maison ONA

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Extraordinary music Expert guides

Autumn 2023 www.classical-music.uk

Back to school: Orchestra of the Age of Enlightenment See page 37

Insight and inspiration for professionals

Meet Nicholas McCarthy, one-handed pianist and trailblazer

Music as medicine The radical initiatives bringing musicians into healthcare

Ofsted’s report

An interview with HMI Christopher Stevens

Community chest

Proms perspective

Stream engine

Building audiences, project momentum – and finances – through online crowdfunding

Former director Sir Nicholas Kenyon reflects on the festival’s on-going development

Stage+, Spotify or something else?

A guide to the best streaming platforms

Touring Canada

Festivals

Instrumental mavericks Looking beyond ‘good’ technique

Competitions guide Keyboard camaraderie

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DJing

Teacher training

Integrated pedagogy

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Member spotlight Neil Taylor, music teacher in private practice 1. How did you originally get into music?

A three-fold approach as I remember: through sitting and observing, aged six or seven, the organist at my mum’s church, which led to me auditioning to be a cathedral chorister, which in turn led me to start playing the cornet and coming under the tutelage of the late, and legendary James Shepherd – such an influence in my formative years.

2. What or who inspires you?

Chamber music in any form, brass bands, and our great tradition of singing, particularly our cathedral and collegiate choirs, in this country.

I guess all three are interwoven as the musicians involved all work, live, and breathe so closely as a musical unity. I have been fortunate enough to experience all three as listener and performer. As an organist, I find certain instruments utterly inspiring to play – I think the most inspiring so far would be the organ of Coventry Cathedral.

3. What piece of advice has helped you the most in your career?

Never think of yourself as the best musician in any room.

4. What has been the most rewarding project so far in your career and why?

Gosh. Maybe seeing the development of musicians from an

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early age, who then go on to make a career of it; the thrill of working with musicians in different disciplines is tremendously inspiring – I’ve just conducted a performance of Duke Ellington Sacred Concert, and it was such fun taking the choir on a journey to performance with some of the finest jazz players around.

I was also lucky to be invited to prepare one the of choruses for a pre-COVID-19 performance of Mahler 8 at the Bridgewater Hall with Chetham’s Symphony Orchestra. What an incredible experience to work with those talented students.

5. What advice would you give to someone wanting to succeed in the music industry?

That’s a difficult one at the moment I think, what with swingeing cuts, trying to rebuild audience numbers and so on. Be adaptable, patient, daring, but above all, kind to those around you.

6. If you could work in another industry, what would it be?

I’d like to be a chef. I enjoy cooking, but to have the opportunity to create and delight at a high culinary level would give me a lot of pleasure, I think.

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7. If you could change one thing about the music sector, what would it be and why?

A real and genuine commitment to the arts and creative industries in this country, especially grass-root support of music in our state schools from early years up. We are a poor cousin to our European neighbours in almost every way, I’m afraid. There are exceptions, of course, and they are to be championed. But goodness me, we must let so very many young people slip through the net. I was fortunate enough to have received free instrumental (cornet) lessons at school, as did many of my life-long friends.

8. What are your future plans?

A hopefully healthy portfolio of teaching, performing and conducting.

I’m lucky enough to work with a very wide cross-section of the musical community from young to old, and professional to amateur.

9. Finally, what does your ISM membership mean to you?

Knowledge and security that I will be supported should anything go awry – I hope it doesn’t!

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