Music Journal July-August 2014

July/August 2014 Julian Lloyd Webber in conversation Our Conference 2014 diary A new pipe organ in West London

137 years of internationally respected music exams

New music syllabuses and publications available soon New syllabuses for piano, woodwind, jazz woodwind, electronic keyboard, brass and singing will be available in 2014. A range of exciting new supporting publications will also be available.

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Our music exams offer the choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers. ◗ Our approach to assessment — through our exams we:

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◗ Our heritage and recognition — we’ve been assessing in music since 1877 and our exams are internationally recognised and accredited by education authorities around the world

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Queen’s Gate te School offers girls a warm, supportive en environment, where individuality duality is nurtured,academic nurtured academic standards are high and a broad based curriculum ensures a well rounded education.

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Welcome

Right: Deborah Annetts Photo: Mark Thompson

This month’s Music Journal is packed with news about the ISM’s Conference in Birmingham. We hear firsthand from Julian Lloyd Webber in a wide ranging and interesting interview with Clare Stevens and also an overview of the entire conference. It was lovely to be able to welcome delegates from overseas to take part in sessions focusing on the impact of Sistema and the debate proved to be lively, not just involving delegates from the UK but also as far afield as the United States and from all over Europe including Turkey, the Netherlands, Serbia and Croatia. As part of the Sistema sessions we heard a new ISM-commissioned composition by Kirsty Devaney, A Bright Sound, being played by children from In Harmony Telford & Stokeon-Trent and In Harmony Liverpool.

In a new development, the ISM held its first Members’ Day at the Royal Overseas League in late April. The day was a huge success and will be held again next year since it gave members an opportunity to feed directly into the future plans of the ISM. So many thanks to all those members who attended and made the day such a success.

Lastly, threats continue to music education. I hope ISM members are not irritated that I mention threats to music education so often. However, over the last few years, this has been a constant concern as cuts have been made repeatedly to different funding streams which make up the rich tapestry of music education. The latest government consultation threatens that ecology by proposing that local authorities stop funding music services entirely.

Local authorities have long played a critical role in supporting music services and indeed are a notable partner in making music education accessible to children. It is essential we persuade the Department for Education that this is a wrong-headed proposal which can only undermine their own visionary National Plan for Music Education.

Let’s hope that the DfE turns back before it undermines its own Plan. To find out what you can do to help, please go to www.protectmusiceducation.org.

Front Cover Julian Lloyd Webber with his ISM Distinguished Musician Award, presented to him in recognition of his many musical achievements and for his dedicated work in the field of music education.

Contents 2

News & campaigns

4

ISM Conference 2014 diary

7

Business and legal advice

9

Members’ Day

10

Annual General Meeting

13

Your comments

15

Julian Lloyd Webber in conversation

19

A new pipe organ in West London

21

News from our members

27

News from our corporate members

31

Local events – listings

31

Classified advertising

32

Ask me a question

Volume 81 / Number 2 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: www.ism.org Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright

deborah@ism.org

Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design www.cogdesign.com Advertising: Cabbell Publishing Ltd, Wimbledon Studios 1 Deer Park Road London SW19 3TL T. 020 3603 7943 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 August for September/ October issue Price: £6 per copy Subscription: £30 per year Circulation: 6,700 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.

Photo: Mark Woods-Nunn

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ISM MUSIC JOURNAL JULY/AUGUST 2014

News & campaigns Protect Music Education

Independent Code Review

Next steps in the campaign announced

Walter Merricks CBE, a regulation expert, has carried The Department for Education launched a consultation out a review of how collecting societies work. The British Copyright Council (BCC) supported this review which included the expectation that local authorities and they have now published his findings. stop funding music services. Since the launch of this consultation we have been inundated with support One of the key recommendations made by Walter for the Protect Music Education campaign. Over 100 Merricks was for collecting societies to adopt standards organisations have pledged their support. of transparency and accountability of the kind that public bodies comply with, both for users and for The consultation closed on Thursday 19 June and creators – composers and performers. hundreds, if not thousands, of responses were sent in by music professionals.

Deborah Annetts, Chief Executive of the ISM, has thanked all those who are taking part in the campaign saying: ‘We have made our voice heard, and as the Government considers its response to the consultation we urge them to listen to the thousands of musicians and organisations who are urging them to drop their proposal.’

To find out what you can do next to protect music education, simply visit www.protectmusiceducation.org or the campaign section of the ISM website.

Right: Some of the ISM staff team and Council members with their consultation ‘selfies’.

Top (l-r): Francesca Treadaway, Communications Officer, Henry Vann, Public Affairs & Policy Officer and Rebecca Gleave, Marketing Officer.

Bottom (l-r): Nicolas Chisholm, Council member, Deborah Annetts, ISM CEO and Professor Barry Ife, ISM President.

The two most important collecting societies for musicians to join are PPL and PRS. PPL licenses and collects money on behalf of performers and record producers. PRS licenses and collects money on behalf of composers and publishers.

Formal consultation on GCSE music to be published The Government is reforming GCSE, AS and A-level music. We started this process at the end of 2012 in response to the threat posed to music by the English Baccalaureate (EBacc) and we are now working with the Government to review GCSE music.

Your Educators Special Interest Group has responded to the latest draft of the Subject Criteria (the guidelines which every music qualification has to abide by) calling for a greater understanding of musical process to be included.

We are now expecting Ofqual, the Government regulator for exams, to launch a final consultation on what the new GCSE for music should look like – perhaps by the time you receive this edition of Music Journal.

To find our more, visit www.ism.org/education

RPS Music Awards We are delighted to announce that Welsh National Opera has been awarded the ISM-sponsored Royal Philharmonic Society (RPS) Opera and Music Theatre Award for their productions of Lulu, Lohengrin and Paul Bunyan in 2013.

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Berg’s Lulu opened WNO’s spring season in 2013 and marked David Pountney’s first new production in his role as Chief Executive & Artistic Director of WNO. The production was also nominated for the 2014 Opera Awards in the category of ‘New Production’.

Antony McDonald’s new production of Lohengrin, which was staged by WNO in summer 2013, marked the bicentenary of Wagner’s birth.

Paul Bunyan was a production by WNO Youth Opera, featuring more than 100 singers, orchestral players, technical students, costume makers, dressers and wigs & make up students all aged between 16 and 25.

The production marked the centenary of Britten’s birth last year in 2013 and was shortlisted in the Opera category of the South Bank Sky Arts Awards.

David Pountney, WNO’s Chief Executive & Artistic Director said of receiving the RPS award: ‘WNO is incredibly proud to receive this RPS award, the most prestigious of all the music awards for which we are very grateful to the sponsors, the ISM. It is especially gratifying for us because it acknowledges the breadth and reach of our work. This award is a true badge of quality, and we hope it will inspire all those who support WNO and culture generally to redouble their efforts to ensure that we remain a civilised, cultivated community with access to the great traditions of European culture.’

Department for Education shares ISM resources As the subject association for music, we play a role in helping music educators prepare for the new National Curriculum in England. All these resources, put together in collaboration with the Educators Special Interest Group, have now been highlighted by the Department for Education and Arts Council England.

Mike Weatherley MP calls on search engines to help tackle piracy Mike Weatherley MP, the Prime Minister’s Intellectual Property Adviser and former Chair of the All-Party Parliamentary Group for Music Education, has called on search engines to help tackle online piracy and copyright infringement.

Mentioning Google by name, Mike Weatherley said that while it is ‘important to stress that search engines are not the cause of online piracy… research demonstrates that search engines play an important role in inadvertently guiding consumers towards illegal content and are well placed to be part of the solution.’

Leaving a gift to your Society will help us continue to protect the music profession These are difficult times. The care and support, legal advice, and professional development we provide to our members has never been more important or indeed more appreciated. Our campaigning work to safeguard your profession has never been more vital. We need to make sure that the Society will be able to carry out its important work on behalf of members and the music profession for many years to come.

We need your help to continue to promote and protect the art of music and to support musicians. So please think about leaving a gift to your Society.

You can find out more at ism.org/giving or call Natalia on 020 7313 9318.

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ISM MUSIC JOURNAL JULY/AUGUST 2014

ISM Conference diary 2014 ‘This was one of the most potent ISM conferences I have attended. The removal of section meetings and the AGM enabled the conference to embrace important issues affecting the profession and the Art of Music with greater depth and impact.’

John Perrin ISM member ‘This was my first conference. It was very friendly and superbly run.

It was a buzzing, musical, informative and happy conference.’

‘Music in the 21st Century’ was the theme of this year’s annual ISM conference, which saw key figures from all corners from the music industry come together. It was held at Birmingham Conservatoire, an ISM corporate member and perfect central location for those who travelled far and wide to attend.

Rachel Beale ISM member

The programme, which spanned over two days, included an exclusive interview given by Sistema England chair and cellist Julian Lloyd Webber, several memorable performances and two panel discussions by key members of the music education sector.

of London. The session focused on the significant, evidenced, wider benefits of music education, including the effect that life-long learning has on the older generation. ‘For older people, music provides a new social network’, Professor Hallam said, before delivering facts on the cognitive health and wellbeing benefits that music education brings. In question time, Professor Hallam was asked ‘is it true that older people take longer to learn new things?’, to which she replied ‘Hearing/eyesight may deteriorate as we get older – but no, older people are able to engage with learning as readily as the young.’

Day one

Later in her keynote speech, Professor Hallam stated that music is important to the UK brand and the UK To open proceedings on Wednesday 16 April were economy, which should be remembered by politicians Moysey’s Noisy Sextet, a jazz ensemble from Leeds at all times. Quoting Jo Dipple from UK Music, ‘Music College of Music, an ISM corporate member and this may be fun but it is also a formidable asset to the UK’. year’s conference sponsor. Their programme consisted It is key to remember that the creative industries are of Moysey’s self-penned compositions; an exciting worth £36.3 billion a year to the UK and the music and rousing set that reminded us of the importance of industry is worth over £3.5 billion. music education.

After a quick break for refreshments, ‘Question time

Above right: Richard Hallam MBE, ISM President 2013-14 and chair of the conference Photos: Mark Woods-Nunn

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The stepping up of the ISM’s Protect Music Education campaign was announced in full by Deborah Annetts.

Details of the DfE’s consultation were met with horror, and the tone was set for the next session: Music in 21st Century Society by Professor Sue Hallam.

Sue Hallam is Professor of Education and Music Psychology at the Institute of Education, University

on music in the 21st century’ began. The discussion panel, hosted by Professor Sue Hallam, included Mark Burke Director of Charanga; Dr Martin Fautley, Professor of Education at Birmingham City University; Jo Johnson, Senior Digital Marketing Manager at London Symphony Orchestra and Dominic McGonigal, Chairman of C8 Associates.

ISM MUSIC JOURNAL JULY/AUGUST 2014

The session focused on difficulties that music education is currently facing. ‘Engaging non-specialist primary school teachers is a real challenge’ said Mark Burke from Charanga – a comment that was met with many knowing nods from the audience. He then went on to focus on the importance of ‘blended learning’, while Dr Martin Fautley from Birmingham City University commented that he had visited schools ‘where music is so marginalised you’d blink and miss it’. He later warned that the general consensus he felt when visiting schools was that if ‘[a subject] is not assessed it doesn’t matter.’

‘How would you like to earn £250k from YouTube?’ said Dominic McGonigal, Chairman of C8 Associates, to begin his comments on difficulties for music in the 21st century. ‘If you advertise on YouTube, you will earn this figure. However, if you have 10k people listen to your music on YouTube, you will earn £2.50. The value of music has halved in monetary value since 1999 – despite the increase in consumption. That is the commercial dilemma facing music.’

After a long lunch and a browse of the exhibition stands on display, it was time for the ISMcommissioned premiere of Kirsty Devaney’s composition A Bright Sound, performed by the children of Telford & Stoke and Liverpool In Harmony projects and supported by Sistema England. The Sistema England-supported In Harmony projects use music to bring positive change to the lives of children across England, delivering benefits to the wider community.

Of the performance, Kirsty Devaney said, ‘The concert by the In Harmony students was extremely varied and exciting: from Vivaldi, to using live electronics.

The variety reflected the teachers’ and the ISM’s ethos – to take risks and keep pushing boundaries.

The concert did not settle for just being comfortable; it was surprising, daring, and pushed the students and staff in a number of ways. My piece in particular used a number of different notational methods, included some unusual playing techniques and meant the conductor had to be very involved in the performance due to the flexibility of some of the sections.

There were no low expectations for what could be accomplished and I think the programme really surprised the audience. There was a lot of very positive feedback regarding the overall concert and I thought it reflected the conference’s aims and was one of the highlights of the event.’

Above: Children from In Harmony Telford & Stoke-on-Trent and In Harmony Liverpool give an exciting performance of Kirsty Devaney’s A Bright Sound Photos: Mark Woods-Nunn

After lunch, delegates heard cellist and Sistema England Chairman Julian Lloyd Webber in conversation with journalist Clare Stevens, former editor of Rhinegold Publishing’s Music Teacher Magazine. Given Julian Lloyd Webber’s advocacy of music education, it was no surprise that the dynamic conversation focused on much of Julian’s work with Sistema England and his opinions of today’s challenges for the future of musical opportunities for children. (An abridged version of the conversation can be found on pages 15–18) It was during this time that the ISM’s Distinguished Musician Award, the highest honour that the ISM can bestow on a musician, was presented to Julian for his many musical achievements and for his dedicated work in the field of music education.

Next on the agenda was a presentation and panel discussion about Sistema England, hosted by former ISM President Richard Hallam. The panel included Dr Continued overleaf

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Above left:(top) Marshall Marcus engages with the audience during the discussion on Sistema England Photo: Mark Woods-Nunn (bottom) Julian Jacobson works with students from Birmingham Conservatoire in a masterclass on contemporary piano repertoire Photo: Rebecca Gleave Above centre: Pete Churchill gives an uplifting and inspirational workshop on gospel-style singing Photo: Rebecca Gleave Above right:(top) Professor Sue Hallam leads ‘Question time on music in the 21st century’ Photo: Mark Woods-Nunn (bottom) Questions from the audience Photo: Mark Woods-Nunn

Andrea Creech, Reader in Education at the Institute of Education; Peter Garden, Executive Director of Learning at Royal Liverpool Philharmonic; Mandie Haywood, Headteacher at Old Park Primary School in Telford; Rebecca Thompson, violinist at Manchester Camerata and the Northern Chamber Orchestra, and Marshall Marcus, Chair of Sistema Europe, Trustee of Sistema England and Sistema Global Advisory board member.

The day concluded with a drinks reception and annual ISM dinner at Birmingham’s Jurys Inn Hotel, where delegates were treated to a speech by CEO Deborah Annetts thanking former ISM President Richard Hallam for his undeniable hard work during his presidency.

Day two Innovative composer Jim Aitchinson began the day’s proceedings with his session, Changing Contexts for Composition. Jim is recognised for initiating ‘musical encounters’ with some of the world’s leading visual artists, including Gerhard Richter, Anthony Gormley, Anish Kapoor and Doris Salcedo. This session drew on a Tate Modern commission of Jim’s work in response to their larger scale Mark Rothko exhibition.

After quick refreshments, delegates returned to the Adrian Boult Hall for a piano masterclass with one of Britain’s most creative and distinctive pianists Julian Jacobson, which was presented in association with Birmingham Conservatoire.

After lunch, delegates were divided into two groups for interactive musical sessions with Lincoln Abbotts, ABRSM’s Director of Strategic Development, and Andy Bensley, Professional Audio Product Specialist for Source Distribution/PreSonus. Lincoln Abbotts’ session

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introduced musical ideas that can be applied in all teaching environments where a creative approach is needed. This engaged with the underlying theme of the conference proceedings – struggles that currently face teachers when educating others the power of music.

Andy Bensley’s session drew on the digital aspects of 21st century music, teaching delegates how to record a piece of live music: from the set-up to the finished product. The session proved helpful for the audience, especially those who are not familiar with modern-day technology.

To end the conference, Pete Churchill, a composer, singer and educator, led ‘Gospel-style singing’, a session that emphasised the importance of aural perception. Pete brought skills from his life outside his teaching to the rehearsal: his own choir The London Vocal Project, and his experience as a Musical Director in the West End. During every break at this year’s ISM conference, delegates were able to visit exhibition stands provided

by Leeds College of Music, Lindsay Music, Melody, Musicguard, PreSonus Audio Electronics, Sounds Write and Trinity College London, network with other attendees and the ISM staff team.

Although the conference had one theme that ran through two days, each session was unique in its own right, and thoroughly engaged and educated delegates, allowing them to expand their knowledge, perception and insights in to the challenges that music in the 21st century faces in present-day times.

Francesca Treadaway, Communications Officer, ISM

ISM MUSIC JOURNAL JULY/AUGUST 2014

Business and legal advice Setting up in business and your tax This article offers advice on some tax and legal aspects of setting up and running your business as a musician. It is aimed at self-employed musicians: if you do both employed and self-employed work it applies to the latter part of your work portfolio.

Above: Caroline Aldred, ISM’s Business Support Officer

On our website there are template forms you can use to keep track of the invoices you send out and record your expenses.

What income?

You must report all your income on your self assessment return. This should include your earnings from all sources, including your gross earnings from employed work, and your investment income such as Starting out – HMRC registration Most people starting out as music professionals choose bank interest and dividends. Keep the P60 form your employer gives you annually as you will need the to operate as sole traders. This means they are not required to register with Companies House. Sole trader figures from this to complete your tax return. status also means that, although you are liable for Maximising allowable expenses Class 2 and Class 4 National Insurance contributions, It is in your interest to claim all your tax-allowable you are not liable for Class 1 National Insurance, which expenses in order to minimise your tax bill. There is a applies to employed work only. list of the main tax-allowable expenses for musicians When you start business as a sole trader you are required in law to register with HMRC. You must do this before 5 October in the tax year after the one in which you began trading. You can register online using the hmrc.gov.uk website.

You will then have to file annual tax returns and pay any income tax and National Insurance which is due.

The deadline for both filing your annual tax return and paying your income tax (and Class 4 National Insurance) is 31 January after the end of the tax year to which the return relates. There are penalties for missing this deadline.

Record-keeping If you are self-employed, you are legally obliged to institute an effective record-keeping system. You must keep a record of all your business takings (such as performance fees, royalties and teaching fees) and all your business expenses (such as travel, equipment repairs and payments to other musicians you engage).

You will need this information to fill in your tax return at the end of your financial year. You must keep these records for six years.

Good record-keeping also makes sound business sense. It helps you to keep track of fees due to you (so you know when to invoice and when to chase late payers). It also helps you to monitor and control your business expenses.

on our website.

Simplified expenses system The simplified expenses system for claiming for business use of your vehicle and of your home is designed to make it easier to claim expenses by allowing you to claim a standard flat rate of expenses for each mile of business travel and each hour you work at home. However, you need to consider whether or not simplified expenses would actually save you tax in your particular circumstances. HMRC has an online ready reckoner to help you estimate whether the simplified expenses system would benefit you at https://www.gov.uk/simplified-expenses-checker.

Capital allowances You may be able to claim capital allowances on equipment that you buy. You can claim an annual investment allowance equal to the full purchase cost of an instrument in the year you buy it. However, if you sell the instrument later, HMRC will claw back at least part of this allowance – and all of it if you sell the instrument for more than the price at which you bought it – in the form of a balancing charge added to your taxable profits in the year of the sale. As it is possible that this extra tax you will have to pay on the sale of the instrument will be more than the tax you have saved by claiming for it at the time of purchase, you should seek a specialist accountant’s advice before purchasing an instrument which is likely to hold its value.

Continued overleaf

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Other business structures If you do a lot of work with a fixed group of other musicians the group might want to register as a formal partnership.

If your business takes on employees and starts to incur significant expenses, you may even want to form a company to limit your personal liability for your business’ bills and debts and to increase your potential for raising finance externally.

There is more information about the advantages and disadvantages of the different business structures in the ‘Advice & documents’ area of our website.

Engaging other musicians The fees you pay or pass on to other musicians you engage are business expenses which can be offset against your tax.

When engaging other musicians you should take care to avoid inadvertently taking them on as employees, thereby incurring employer’s responsibilities and obligations in respect of employment protection legislation, PAYE, National Insurance, holiday pay and employer liability. Our in-house legal team can advise you on your individual situation if you have any concerns here.

There have been a number of important changes in the regulations relating to VAT on cultural events and overseas engagements in recent years. If you are in any doubt about your own position you should seek professional advice.

HMRC enquiries/compliance checks To be the subject of an HMRC enquiry or compliance check can be stressful and financially detrimental. You may be able to reduce the likelihood of HMRC looking into your tax affairs by: • filing your tax return on time • paying tax due on time and • explaining any unusual items on your tax return.

If HMRC launches an enquiry or compliance check into your tax affairs, you must notify us as soon as possible so that we can help you make a successful claim under our insurance policy for members which covers your accountant’s fees in such circumstances. However, any accountancy costs which you run up before your claim is accepted by our insurers will not be met by them.

Caroline Aldred, Business Support Officer, ISM

VAT You must register with HMRC for VAT if your taxable turnover in VAT-liable goods and services exceeds the compulsory registration threshold, currently £81,000 a year. This applies whatever your business structure (sole trader, partnership or company). As with income tax, you can register for VAT online. You will then have to charge your clients the appropriate VAT rate (currently 20%) on all VAT-liable goods and services you provide them but will be able to claim back from HMRC the VAT you yourself have paid on expenses related to your own provision of VAT-liable goods and services. You will also be required to file VAT returns with HMRC, usually once every three months, and pay over the VAT which you have collected. Remember private music tuition you deliver in person is exempt from VAT (although if you engage other musicians to teach your pupils the fees for this tuition are liable for VAT).

Keep VAT receipts for your own expenses. HMRC will inspect your records from time to time and disallow claims for reimbursement of VAT on business outlays for which you do not have a receipt.

It may be worth your while to register for VAT voluntarily if your turnover is below the compulsory registration threshold so that you can reclaim the VAT you have had to pay on your business expenses.

However, adding VAT to your fees may deter potential clients who are not in a position to reclaim the VAT you charge them.

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Legal help and advice I have been a member of the ISM for decades. It has been central to my life and work as work as a musician. Yet, I didn’t anticipate that I would have such an urgent need for help, as has occurred over the past 12-14 months.

The music sessions I was responsible for stopped without notice. I phoned our legal team for some clarification and advice. Right from the start I was listened to, given sympathetic and clear instructions and reassurance. The legal team took on my burden and, in a very detailed and calm way, put my position and our course of action to my hugely dismissive adversary. Refusing to be put off by uncooperative behaviour, they then guided me to the next stage by ensuring I was covered by the ISM insurers and finding me the most amazing, empathetic and knowledgeable solicitors.

My case took over a year and ended in a tribunal. My learning curve was steep and traumatic but the ISM website and Journal legal articles were very helpful and comforting. And the ISM legal team and my solicitors were always there to help me stay strong.

I can happily tell you that the Judge found in my favour! I cannot thank the ISM enough for the legal and emotional support I received.

An ISM member Name and address supplied Members can contact the legal team by telephoning 020 7221 3499 or by emailing legal@ism.org.

In addition, ISM members also have access to the 24-hour legal helpline, covering all areas of law (including both personal and professional matters) as well as tax advice. The helpline number is 01206 368994.

ISM MUSIC JOURNAL JULY/AUGUST 2014

Members’ Day In June 2013 Council decided to create a new event called Members’ Day which took place on 24 April 2014 at the Royal Overseas League in Central London. This event took place on the same day as the AGM and the Open Forum which you can read about on pages 10–12.

About 60 members – some new members and others who had never attended an ISM event before – attended Members’ Day. Members were invited to participate in different sessions covering campaigns, services and local groups and these groups were facilitated by Henry Vann who leads on campaigning, Natalia Fenyoe who looks after local groups and David Smith who led the session on services. What was interesting was that many members wanted to talk about lobbying – perhaps more than we had anticipated.

Key points were compiled in connection with these discussions to be fed into future ISM planning along with the extensive feedback members have given us from the membership survey. Many thanks to all those who took the time to complete the survey. The key points which emerged from each session were as follows: Campaigns • Concerns around the collecting societies in particular PPL and its website.

Services • The most valued services were standard contracts, insurance, legal advice, networking, Music Directory, lobbying, help with HMRC and fees survey.

• Possible services suggested were changing the Music Directory so it is not bound by area, asking Grove to list the recently introduced MISM etc.

Local Groups • Networking as well as social networking was valued.

• Collaboration between local groups and other organisations should be encouraged.

• Could the ISM do more to help with finding venues for local events.

• Speed up the time frame for money transfer from the ISM to local group accounts.

• Provide workshops on social media and possibly have Facebook pages for local groups.

All the sessions were really lively and helped Council • Concerns around authors’ rights in book publishing. and members of the staff team understand more about the concerns and issues confronting members.

• Concern around lack of work and adequate pay This learning will be fed into our planning process and for performers. we will run a similar event next year at which I hope as • There was a lot of discussion around classroom many members as possible will come along and share teaching and a lack of adequate primary school their thoughts. teacher training.

• General concern over the level of funding for music education.

• Concern around support for private teachers.

ISM membership survey 2014 Thank you to everyone who took part in our 2014 membership survey. The responses you have given will be considered in depth along with the feedback received at Members’ Day in April. The winner of the prize draw was Susan York from Bedfordshire, who has won her next year’s ISM membership for free.

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Annual General Meeting Royal Overseas League, London, 2.15pm, Thursday 24 April 2014 In the Chair: Richard Hallam MBE, President 2013-14

The ISM’s core services in support of professional musicians – legal advice and insurances – remain hugely valued by members. The ISM has been developing a professional development programme for members The signatures of the full members present were and non members and 2012-13 saw the ISM’s largest recorded in the AGM file. The President welcomed all number of professional development events to date members to the AGM and introduced the President which included 9 seminars and masterclasses. The ISM Elect, Professor Barry Ife CBE, Past President, Suzi Digby also held its first webinar and was delighted to offer OBE, and the Treasurer, Trevor Ford. The Chief Executive, a new service to members namely access to The New Deborah Annetts was in attendance, as were Nick Grove Dictionary of Music and Musicians as part of the Gould and Jeff Roberts (Collyer Bristow), Rebecca Mair, ISM’s own subscription of the dictionary.

David Abrahams, David Smith, Henry Vann, Francesca In April 2013, the ISM held its annual conference Treadaway and Natalia Fenyoe. entitled Inspiring a New Generation at Queens’ College, Apologies for absence had been received from Derek Cambridge. Our President for 2012-13, Suzi Digby OBE, Hasted, Philippa Topham, Pearl Woodward, Sonia hosted the two-day event which focused on nurturing Gergis, David Nevens, Anita Ludlow, Anna Le Hair, performers and composers, and building audiences of Margaret Crutchfield, Coral Gould, Moray Saunderson, the future. A full write up of the conference appeared David Crocker, Anne Dunn, Christine Hollis, Sarah in the July/August 2013 issue of Music Journal. At the Rodgers, Jeremy Jackman, Graham Philips, Betty Roe, close of the AGM, Richard Hallam MBE took over as Beth Fagg, Geraldine Allen, Peter Grove, Ann Hodges, President for 2013-14.

George Pratt and Catherine Poole.

The financial year 2012-13 saw the ISM lead a highly Members stood while the Chief Executive read out successful campaign in support of creative subjects, the names of colleagues who had died during the in particular music in our schools, entitled Bacc for past year. the Future. After much lobbying by members and supporters the Government announced in February Minutes of the last meeting 2013 that it would not be pursuing the introduction An issue was raised regarding some of the terminology of the English Baccalaureate Certificate. Members of in connection with the proxy votes used in the minutes the Educators Special Interest Group were involved but the President clarified that the minutes could not in the Bacc for the Future campaign and they also be changed unless it was a significant factual error. The contributed to the review of Music GCSE and considered minutes of the last Annual General Meeting, held at the government’s proposals as to how the National Queens’ College, Cambridge on Friday 5 April 2013 and Curriculum should be reformed. Their thoughts were printed in the July/August 2013 issue of Music Journal, amplified by the 532 responses to the ISM’s National were approved (proposed Ivor Flint, seconded Nicolas Curriculum survey from members which were relayed Chisholm) with 1 abstention and 5 votes against. to the Department for Education and ultimately led The minutes were signed by the President. to music retaining its place at Key Stages 1-3 of the National Curriculum. The Composers Special Interest ISM Annual Report, 2012-13 Group held a very successful round table which has led The Chief Executive introduced the Annual Report of to further discussions with PRS, the Music Publishers the ISM for the year ended 31 August 2013 which Association and Sound and Music. The Performers was included in the March/April 2014 issue of Music Special Interest Group was involved in issues around Journal. She noted that despite the challenges that National Insurance for self-employed musicians and professional musicians and the music community have work continued around the implementation of the faced, the membership of the ISM has continued to Live Music Act, issues relating to intellectual property increase during 2012-13 and by August 2013 stood at and proper remuneration for all aspects of performers’ work. over 6,300.

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The ISM also had the benefit of the new Articles of Association for the first entire financial year although the transitional rules will continue to operate until 2015. Over the course of the financial year, the Special Interest Groups were set up and under the transitional rules pursuant to the new Articles, two Elected Council members, namely Brenda Blewett (North) and George Pratt (West) and three Appointed Council members, namely Param Vir, John Stephens OBE and Ivor Flint stood down at the AGM in 2013. Council extended their thanks to those who had retired from Council.

ISM members Geoffrey Poole and Beverley Downes were elected unopposed as Council members for the Midlands and East areas. George Pratt, Ivor Flint and Peter Dunkley applied to become Appointed Council members and after careful consideration, Council appointed these three ISM members to Council.

Council also appointed Professor Barry Ife, the Principal of Guildhall School of Music and Drama to become President Elect for 2013-14.

The Chief Executive thanked Council, the staff team and the many members of the ISM who give their time voluntarily to the ISM. Without their substantial efforts, the ISM would not be as successful as it is today.

She also thanked Richard Hallam MBE, for his work as President for the past year.

Accounts for the year ended 31 August 2013: Auditors’ Report

Annual Report of the ISM Members Fund 2012-13 This item was for information since the Trustees of the ISM Members Fund are responsible for approving and adopting the Members Fund Annual Report and Accounts which were printed in the March/April 2014 issue of Music Journal. The Chief Executive noted the following points: the Fund had expended £79,534 on grants, a 4.8% decrease from £83,544 which it spent in the previous year. During 2012-13, the value of the Fund’s investments grew to £3.2million (£2.9 million in 2011-12). The Trustees thanked all those who help further the work of the Fund particularly the members of the Grant Making Committee, Gregor Logan the Hon Investment Advisor, all members of the Society and others whose donations have made it possible to support members in need and to Caroline Aldred the Head of Operations of the Fund, for her hard work and commitment.

Appointment of auditors The meeting unanimously agreed to reappoint Berg Kaprow Lewis as auditors for the ISM and the ISM Members Fund and to authorise Council to fix their remuneration (proposed Ivor Flint, seconded Walter Blair) with no abstentions.

Retirement of Council members

It was noted that Margaret Lion, Peter Nickol and Reg Fletcher (Elected Council members) and Danielle The Treasurer introduced the Accounts for 2012-13 Perrett and Nicolas Chisholm (Appointed Council outlining key points and issues. During the year, the ISM members) were retiring. Following the advert in continued to enjoy growth and financial stability with Music Journal in January/February two members an 8.6% increase in subscription fees from the previous came forward in respect of the South and West Areas; financial year 2011-12. The ISM achieved a surplus namely Nicolas Chisholm and Jay Deeble who were of £53,233 which has been added to the Society’s elected unopposed. Two candidates came forward for reserves. The reserves of the ISM stand at £3,543,451 the London Area, namely Rachelle Goldberg and Liz which is up from £3,301,376 in the financial year Partridge. An election was held under the auspices of 2011-12. The Treasurer emphasised that the primary the Electoral Reform Society and the votes were 147 objective is to generate other income streams. The for Liz Partridge, and 72 for Rachelle Goldberg so Liz accounts were received and approved unanimously Partridge was elected. Danielle Perrett and Ed Scolding and adopted for the year ended 31 August 2013 will serve as Appointed Council members. Jeremy (proposed Jay Deeble, seconded Kenneth Hytch).

Jackman, a singer and composer has been appointed

by Council as President Elect and will become President Thanks were extended to the Treasurer, the Auditors in 2015. and the ISM for the preparation of these accounts.

Continued overleaf

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Next Annual General Meeting

Members of the ISM Council for 2014-15

The next Annual General Meeting will provisionally take place on 23 April 2015 in London.

Barry Ife CBE (President)

Open Forum

Richard Hallam MBE (Past President)

The Annual General meeting was followed by an Open Forum. Various members raised issues relating to the recent disciplinary proceedings, the dormancy of some Local Groups, the cost of ongoing litigation brought by a small number of members against the Society, and the legal formalities of a nomination to stand for Council.

These matters were discussed fully and frankly with a number of points being made which led to further clarification and explanation.

Trevor Ford (Treasurer)

The point was made by the President, the Chief Executive and the Head of Legal that procedures had been followed meticulously in respect of all of these issues. As evidenced by the discussions earlier in the day, as part of the newly instigated Members’ Day, several matters had already progressed. The transitional arrangements in relation to the Articles will be completed by 2015.

Whilst a small number of members still voiced some concerns, one long-standing member, who had not voted in favour of the revised Articles, stated that she now felt that conciliation was very important and that everyone should work together to make the governance changes work. Many members articulated their complete confidence in Council and the Chief Executive and the decisions that have been taken in support of the Society’s objects.

The President thanked the Chief Executive, Suzi Digby as Past President who would now be leaving Council, and also those who had served on Council who were retiring: Margaret Lion, Peter Nickol and Reg Fletcher.

The President then introduced the President Elect, Professor Barry Ife before presenting Professor Ife with the Presidential Medal.

The Incoming President said that he was looking forward to the year ahead. Professor Ife noted that the ISM had a tremendous past record and wanted to support the ISM in its important work to protect, develop, sustain and celebrate the art form and the music profession at this time of great change.

The meeting closed at 16.20.

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Jeremy Jackman (President Elect)

Elected Council members Walter Blair BEM Nicolas Chisholm MBE Jay Deeble Beverley Downes Elizabeth Partridge Graham Phillips Geoffrey Poole Jeremy Huw Williams

Appointed Council members Tim Daniell Peter Dunkley Ivor Flint Danielle Perrett George Pratt Virginia Rushton Ed Scolding

An introduction to tax Tuesday 22 July, 1–2pm Our next webinar will look at the ever-popular subject of tax for musicians. Led by ISM Treasurer and highly experienced accountant Trevor Ford, the first part of the webinar will deal with the basics, covering allowances and tax rates, and looking at the differences between employment and self-employment. The second half will focus specifically on self-employment, and particularly on the expenses categories which HMRC will usually accept as reasonable deductions from a musician’s freelance earnings.

There will be opportunities to submit questions of a general nature during the webinar. Participants will also be able to send in more specific queries about their personal tax affairs by email to membership@ism.org after the webinar has ended.To book your place on this webinar go to http://bit.ly/ISMtaxwebinar

ISM MUSIC JOURNAL JULY/AUGUST 2014

Your comments Members’ Day and AGM Now that we have tried splitting the AGM from the conference, making it very difficult and expensive for people in outlying areas to attend both, I hope that the ISM will consider bringing them back together.

With the loss of the section meetings, previously held also at the conference, it would be the only business meeting, hardly taking up a huge amount of time.

I attended this year’s AGM in London, and was saddened to note that two of our traditions still left were not able to be experienced by those who only attended the conference. The first was the reading of members who had died during the year, always a very moving part of the AGM. The second, the handing over of the presidential medal but those who attended the AGM heard no speech from either the retiring president on his year in office, or the incoming one on his plans for the new year.

While I was pleased to renew acquaintance with many members at the AGM, I regret not seeing those who only attended conference. If the two events continue to be held separately, I will probably always have to choose between the two. I wonder if other members feel the same?

Conference, through Music Journal and in blogs on our website for feedback about the Conference and AGM, Council decided to create Members’ Day as a separate day to the Conference to give members a greater opportunity to contribute to the future of the ISM. See pages 9–12 for further information about Members Day, the AGM and Open Forum. - Ed I would like the ISM to continue with Members’ Days.

Iain Sutherland ISM member, member of ISM Performers Special Interest Group It was great to have the Members’ Day, to catch up with fellow musicians and for there to be no charge – please keep this as at least once annually in London. I personally thought it was sound to separate the AGM from conference, as not everyone has the time or funds to be able to attend the conference and whilst no one place is going to be convenient for everyone, London is the biggest centre.

Madeleine Mitchell ISM member, member of ISM Performers Special Interest Group

Hilary Bracefield ISM member

Like others, I am usually too busy to get to conference, so appreciated the chance to participate in the AGM. I thought the recent Members’ Day with the AGM was a great idea and hope you will repeat that formula.

Following a consultation process in which the ISM’s President Richard Hallam asked members at the 2013

Beryl Foster ISM member

A seminar for instrumental and vocal teachers Saturday 6 September, 10am-5pm The MAC, Belfast, Northern Ireland Following several highly successful Virtuoso Teacher seminars with Paul Harris in London, Bristol and Oxford, we are delighted that Paul will present The Virtuoso Teacher once again, this time in Northern Ireland. The three-hour morning session will explore a range of innovative music teaching techniques that will embrace imagination, diligence and practicality.

In the afternoon, Sharon Mark-Teggart, Director of Evoco, Northern Ireland’s music education organisation, will present a practical session which will provide instrumental and vocal teachers with an insight into how to present pre-instrumental learning opportunities.

The cost for the day is £45 members, £60 non-members (student rates available). Lunch and refreshments are included. To book your place, contact Ceri Wood on ceri.wood@ism.org or call 020 7221 3499. Alternatively, you can download the booking form from our website, ism.org/training.

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Julian Lloyd Webber in conversation Writer and journalist Clare Stevens talks to cellist Julian Lloyd Webber about his life in music CS: I thought we would start by asking you to talk about your own musical background and the influences you had when you were growing up.

JLW: My main memory was that we were in this block of flats in London and it was just incredibly noisy. When I was born my father had virtually stopped composing but he would still practise the organ a lot. My mother taught young children the piano. It got noisier as I got older. We had the pianist John Lill who became our lodger, as did Tim Rice who would play his massive record collection all day long. And, of course, my brother Andrew was writing musicals.

CS: Your parents both taught music. Did they teach you and Andrew?

JLW: Well, they tried. At that time I was involved in all kinds of different music - lots of different types of musicians seemed to drop in and out of the place. I went to a normal mainstream school rather than a specialist music school.

At my school the music teacher was also the gym teacher!

CS: Did you come to the cello late?

Left: Julian Lloyd Webber in conversation with Clare Stevens Photo: Mark Woods-Nunn

JLW: I went to a lovely lady called Alison Dalrymple and she specialised in young cellists. She also taught Jacqueline du Pre. At about eight or nine I went to the Junior Royal College. And when I was thirteen I changed to a fantastic teacher, Douglas Cameron. You had to be careful what time the lessons were. If you came after about 11 in the morning there would be a certain amount of inebriation.

It just shows how things have changed.

He would literally sit there with a glass of whisky and a cigarette and he would seize my cello and demonstrate with his cigarette ash dropping all over it. It shows how old I am! But he was one of those teachers who tried to get the best out of each individual student rather than saying you have to play it this way.

CS: Then you went on to study with Pierre Fournier after you graduated. Did you go to Switzerland for that?

JLW: I did. A wonderful man, an extraordinary man really. He had polio when he was young so he had a complete hip replacement or something.

After he played he used to click this thing back into place. He couldn’t carry his own instrument onto the stage – somebody always had to do it for him.

JLW: No, not at all. My mother tried to teach me CS: He obviously inspired you with his playing. piano but it didn’t work. When I was four, I Did he introduce you to particular composers? was taken to one of the Ernest Read children’s concerts at the Royal Festival Hall and I JLW: Well there were works that I particularly spotted the cello in the orchestra. I thought wanted to study with him. I wasn’t with it looked like an interesting instrument. I’ve him for that long but he was incredibly always thought it’s a very natural looking concentrated. He would want you to bring instrument. You can see how the sounds are to a one-hour lesson a new concerto every produced and how the notes are made. If time. You really had to work. So I studied lots I look at an oboe or a clarinet it completely of different things with him. The one I most puzzles me. I think that different instruments remember was the Lalo Concerto because I suit different people so children should be able really loved how he played that and so I was to choose really. determined to take that to him.

CS: So who did they find to teach you?

Continued overleaf

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CS: And you were also very much inspired

by Rostropovich.

JLW: Very much. He was a totally different kind of player. I just felt that Rostropovich was the most remarkable cellist I’ve ever seen and I still would hold to that. He was a funny and wonderful man. I would sometimes watch Rostropovich do technical things and I couldn’t quite understand how he’d done them. There was something almost supernatural about him and I was very intrigued.

CS: You have actually championed quite a lot of new music haven’t you? Concertos have been written for you …

JLW: Well partly that was his example. It is something that I would have liked to have done more of but you have to approach composers you like and that are free to do it and that you believe can really write something that’s going to work for cello.

I’ve had works by Philip Glass, Rodrigo and Malcolm Arnold. It’s something that I think soloists should do. Classical music if it’s going to survive has to be living and can’t just be a museum piece. I think that’s really important.

CS: It’s quite interesting, because although you have been responsible for commissioning a lot of new music, you’ve also been quite outspoken about your views on some contemporary music and how in the 60s and 70s it did tend to alienate the general public.

better now and they have been for some time.

I don’t think critics or the audience, even the contemporary music audience, will prejudge a piece just because it doesn’t sound like Stockhausen. Of course there should be room for composers like that but it shouldn’t be the only way in which you are permitted to write. And if it’s a dead cert that 99.5% of the audience aren’t going to like it at all you can’t go on like that.

CS: You of course have a great love and an affinity with British music, particularly Elgar. Can you tell us a little bit about that?

JLW: When I was really getting into the cello when I was 11 or 12, I would tape everything off the radio that I could. I’ve still got all these old reel to reel tapes. I was fascinated not just by the instrument but by the music written for it and how there were some really good pieces out there that didn’t seem to get played. I found that a lot of them were by British composers.

At that point, for example, the Delius Concerto had never been recorded. The Walton Concerto was hardly ever played. The Britten Cello Symphony hadn’t yet been composed.

There are other neglected cello concertos which I have played and recorded. I wouldn’t say it’s a kind of British thing in particular, it just happens that there were lots of British ones that were not well known.

CS: How is British music received by audiences around the world?

JLW: I never criticised any composers. What I JLW: Well it’s very interesting. It seems that Elgar is criticised was a time and a period in which it received best in English speaking countries. seemed you were only allowed to write in one You try playing Elgar’s Cello Concerto in style and if you didn’t do that you were history Germany or France and the orchestra won’t or rubbished. But I think things are much

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know it. The only section that knows it is the cello section. Any orchestra you play it with in this country knows every note of it.

CS: So there you are, you have your international career and you’re very content and then suddenly you get involved in music education.

JLW: In 2002, there were a lot of musicians who felt that it had got to the worst level ever.

There were schools where there was no music at all. There was no money going into the system at all so we [Evelyn Glennie, James Galway and Michael Kamen] went to see Charles Clarke who was Education Secretary.

We were making quite a lot of noise. David Milliband was his number two then. The first thing Clarke said to us was ‘we know there’s a problem’. At least they recognised that from the beginning. He sent Milliband away to write a report which became their Music Manifesto. I wouldn’t sign up to it because there was no money! There was the kind of notion that if you love what you’re doing you shouldn’t get paid for it. The problem didn’t really cure itself until later on when I got to see Gordon Brown. Brown was the one who created £332 million extra ring-fenced for music education. It wasn’t under Blair, it was under Brown. But we were sitting in number 10 Downing Street and he was saying we must put money into music and I’m going to do this.

I said it shouldn’t be a party political thing. It should be something that is beyond politics.

He didn’t like that!

CS: Then we had that life changing day when the Simon Bolivar Orchestra played at the Proms and then there was suddenly the will to do something that bottled that effect. You were

the person who stepped up to the plate and founded the charity In Harmony which has now become In Harmony Sistema England.

Above: Julian engaging both questioner and audience Photos: Mark Woods-Nunn

JLW: It was a big stroke of fortune. First of all, I was at the concert in the first place. Then they were at the Edinburgh Festival. It was an event that even newspapers took notice of! It struck an immediate chord with me because I’ve always believed that music should be for everyone.

And then you saw the incredible standard that these children were achieving, many of whom had come from the poorest possible backgrounds. I thought this is something that I really want to get involved with.

We must remember that the Venezuelan Sistema has been going now for over 35 years.

And we’re not going to get those kinds of results overnight. I absolutely believe that it is right for this country and should be spread. There are lots of poor areas in this country and poverty isn’t just about money, it’s about spiritual poverty and there are areas that are extremely depressed in England.

It seems to me that it is the future of music education, because children are working together, because they’re from all different backgrounds, and it has a big effect on their families and their school work. I don’t know how many reports have to be undertaken before people will realise that our children have a right to access music education. It improves their entire lives, it improves their school work, it improves their future.

But it is impossible to plan properly because although we have had confirmation that we will receive grants and funding, we don’t know how much that funding will be.We really need to get over this hurdle.

Continued overleaf

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‘I am hugely honoured to accept this award. I have never wavered in my belief that music is for everyone and I will continue trying to bring it to as many people as possible.’

Julian Lloyd Webber on receiving the Distinguished Musician Award

CS: And now there is this latest consultation about whether local authorities should continue to contribute to music hubs or not.

JLW:

CS:

JLW:

CS:

JLW: CS:

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JLW: That’s exactly right which is why it infuriates me when I hear people say you come to classical music later in life. Children love it. I went to Sistema Scotland when it first It is incredibly depressing and somehow not started. I remember a group of children being at all surprising. Nothing seems to be joined brought to a rehearsal of the Edinburgh Youth up. You get good news on one side and bad Orchestra when I was playing with them and news on the other. We have failed to establish seeing the looks on their faces – being allowed a musical community. We need to be more into a rehearsal and to see what’s really going vocal. We have conclusively proved that music on. It was just terrific. is of benefit to children. We shouldn’t be in this uncertainty, what’s going to happen in 2015, I was lucky. I was born into a musical family. what’s going to happen when there is a change I was taken to concerts and because I was of government? Music should be a birthright taken then I started to take myself to concerts for children and I don’t quite see how much because I’d got into the habit. But I needed role more we can do to get there! models like everybody else and I had the best role model of all time in Rostropovich. I found How optimistic do you feel about classical him because I had been introduced to the cello music at the moment, particularly in the press? and introduced to music. My worry with the Are young people going to be hearing classical situation as it is now is that we’re missing a music if they’re not part of the project like lot of talent. There is one boy I’m thinking yours? of in the Lambeth project who is obviously exceptionally talented and if he hadn’t been I wonder if there is fundamentally a problem exposed to music we would never have with the term classical music. Because what known. does it really mean? I mentioned Philip Glass earlier, then you go back to Monteverdi and This is an abridged version of the interview given you’ve got 500/600 years of music. It’s all at our conference on 16 April at Birmingham completely different and it all gets lumped Conservatoire. into this title which I’m not sure does it any good. But on the other hand nobody has yet After the interview Richard Hallam MBE, the ISM’s come up with a better description. Maybe President for 2013-14, presented Julian with the ISM’s the description is something to do with Distinguished Musician Award in recognition of his some cerebral activity. Even that sounds many musical achievements and for his dedicated like rubbish. You take a small, three-minute work in the field of music education. miniature, you’re not going to go on too much The ISM was particularly inspired by Julian’s about cerebral activity, it’s just a beautiful little piece. Perhaps there is something in that. passionate advocacy for the education of young people from challenging areas and his campaigning There is an intellectual rigour about it which work which has made a significant difference to there probably isn’t in the majority of pop/ British musical life. rock music.

Established in 1976, the ISM’s Distinguished Musician People appreciate that when they encounter it Award recognises outstanding contributions to unexpectedly at an event like a wedding or in musical life in the UK. This is the third time the award an advertisement but they don’t recognise that has recognised the work of a musician who has made is what they’re listening to. great impact in the field of music education, John It does come down to that. They’re not told its Stephens and Dame Fanny Waterman having been previously honoured. Other past recipients have classical music and they think, yes, I like that. included luminaries such as Dame Janet Baker, Pierre Young children have no preconceptions.

Boulez, Jacqueline du Pre, Sir William Walton, Sir They’ll listen to anything and enjoy it and will Simon Rattle, Sir Colin Davis, Sir Peter Maxwell Davies respond to a rhythm or a melody. and Sir Antonio Pappano.

Above: Julian with his Distinguished Musician Award Photo: Mark Woods-Nunn

ISM MUSIC JOURNAL JULY/AUGUST 2014

A new pipe organ in West London Bedford Park in Chiswick has a brand new organ. Dr Catherine James tells us about its creation and invites all organists to come and discover this magnificent instrument.

‘A brand new church organ in a brand new case – now that’s a rare event’. These were the introductory words of the Vicar of St Michael and All Angels Church, Bedford Park, Chiswick, Father Kevin Morris, when introducing the inaugural concert of this new organ in January 2014. It followed seven anxious years of fund raising, planning, consultation with many interested parties, tendering, and building before this dream came to fruition.

The vision was to build an instrument fit for the rich interior of St Michael’s, a famous Arts and Crafts building designed in the late 1870s by the architect, Norman Shaw.

As St Michael’s Director of Music put it – ‘if money was to be spent the organ needed to be special, different to the old organ and to any other church in the area. The church’s ‘bells and smells’ Anglo Catholicism demanded bold and sensuous colours, commanding reeds, rich flutes, ethereal strings, brilliant mixtures. The organ had to be great at accompanying worship but also have a specialist subject as a concert instrument in an area of London renowned for its musical interests’.

Above: Metal pipes of the Grande Orgue from above

The craftsmanship needed to be of the highest standards to be a legacy for future generations, and this immediately raised an immense fundraising challenge. The project was only possible because of an exceptionally generous grant from one donor and the unstinting support of the congregation and wider Chiswick community for many fundraising initiatives, including the ‘Pipe up’ campaign for sponsorship of pipes, and a ‘Hymnathon’ at which all 542 hymns in the New English Hymnal were sung, without a break, in just over 30 hours.

Choosing an organ builder was the next challenge – as the organ consultant, John Rowntree, commented: ‘Tonal colour and dynamic range were important liturgically, and in terms of repertory the wish to encompass the early and later French schools. Fine materials and a responsive mechanical action were essential. The thinking evolved around the style of early Cavaille-Coll organs, with their basis of earlier pipework, but historically informed, not an historic copy’. After lengthy consultation, the Swiss firm of St Martin, located near Neuchatel emerged as the preferred choice after visits to other organs they had built, significantly those of Girton College, Cambridge and The Collegiale, Neuchatel.

Continued overleaf

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The tiny St Martin team, just two organ builders with over forty years’ experience and their three apprentices, built the organ in their workshops, then shipped it to England in huge crates. They then took two months to assemble it on site and a further two months to tune and voice all of the 1667 pipes. The congregation watched it grow week on week and it was with an enormous sense of achievement that the builders, and a packed church, came together in September 2013 for a service of blessing, conducted by the Bishop of London, and the organ sounded forth for the first time liturgically during John Taverner’s God is with us.

The technical details of the organ are described in detail in St Michael’s New Pipe Organ: a short history* but in summary its layout provides for a responsive, suspended, key action with dual mechanical and electrical stop action. The individual departments, Grand Orgue, Recit, Resonance, and Pedale have all of the colours needed for baroque music with a delightfully crisp sound. The organ is ideal for French baroque music with its Plein Jeu (mixtures) and Grand Jeu (reeds). When the departments are coupled together it takes on a much more romantic character; with rich harmonic flutes and 14 stops under expression, accompanying a choir in Howells or Parry can be a rewarding experience.

a really strong character with a particular style or epoch but actually make it play all kinds of other things too – it is situated in a church so it needs to play hymns, play the multitude of repertoire, and lead a congregation. It is a beautiful, beautiful organ.’

This was the first of what will be many organ recitals on this magnificent instrument, aiming to share St Michael’s good fortune with music lovers from all backgrounds, commencing with a series of free lunchtime recitals on the first Friday of each month.

What started out as a ‘pipe dream’; to build an entirely new pipe organ in a parish church in the 21st century, has finally come to fruition more spectacularly than was even envisaged – not just a beautiful organ but a ‘real musical instrument’ for generations to come.

Any organists interested in exploring the organ or participating in the recital series should contact St Michael’s Director of Music, Jonathan Dods, at jondods@yahoo.com or via the Parish Office 020 8994 1380.

Further information is also available on the St Michael and All Angels website www.smaaa.org

The organ case is decorated with pipe shades, angels and a Dr Catherine James, St Michael and All Angels Church cymbelstern star designed by the potter Alan Caiger-Smith, and painted by church restorers, Howell and Bellion. The gates on either side were designed by sculptor and icon writer Aidan Hart ls Church St Michael and All Ange and hand forged by master blacksmith, Frazer Picot. iswick The organ’s role in the musical life of Bedford Park and beyond is now beginning: its inaugural recital was given in January 2014 by the celebrated organist, Jeremy Filsell, Artist in Residence at the National Cathedral, Washington DC.

When asked why St Michael’s new organ was so special, he replied that it was ‘a real musical instrument … a “Steinway piano” of organs.’ He commented that ‘a lot of organs tend to be eclectic so they do a multitude of tasks. This organ is uncompromising. It is an instrument that’s built with a specific style period and repertoire in mind – the earlier end of things, the Baroque and the grand style of French music around the 18th century and it plays that music quite superbly. The art of the organ builder, fully achieved here, is to give that organ

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Bedford Park,Ch London, W4 1TT www.smaaa.org

ilable from an: A Short History is ava *St Michael’s New Pipe Org . £1) ion the Parish Office (donat

Above left: The organ parts unloaded in the church nave Above centre: Alain Aeschlimann of ‘Manufacture d’orgues St Martin’ at work Above right: The new St Martin organ All photos in this article by David Beresford and Jim Cox

ISM MUSIC JOURNAL JULY/AUGUST 2014

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 August for September/October issue.

Understanding Music with Pamela Rose

Above: Pamela Rose

all the ideas of violin techniques and performance, and are thrilled by the work with the children.

Suzuki’s ‘every child can’ approach is unfamiliar to the Russians. These teachers have been brought up with corporal punishment as norm in the violin studio, and are used to ruthless selection in the music school system.

Parent participation in Russian music schools is also unheard of. This is an exciting project to be happening at a difficult time for Russia. Once again the power of music can demonstrate the perfect communication possible between people.

www.learngrade5theory.com is the only online music theory programme of its kind. It comes in a series of 18 fully integrated lessons where Pamela helenbrunnerviolin@gmail.com Rose presents every lesson at the piano so that students effectively Change The Record connect the theory of music with what they hear, see and play.

Learngrade5theory.com is an easily understandable, step by step guide designed to not only enable students to succeed with the ABRSM’s Grade 5 theory exam, but to develop an overall understanding of music. Piano notes are seen and heard and the manuscript notes are highlighted as they are played. It is a practical, aural and visual learning experience which enables students to understand the music they themselves play and hear.

Lucy Wallace is running a programme called Change The Record in partnership with the Featured Artists Coalition and with the support of the Association of Independent Musicians. They collect unused music www.learngrade5theory.com and studio equipment and ship them to the world’s most marginalised Suzuki in Russia communities to empower local people to make their own opportunity In February 2014 Helen Brunner and change. The first project is in was invited by the European Suzuki Makokoba, a remote, high-density Association to start the first Suzuki violin training in Moscow. The 10 eager township in Zimbabwe that suffers from desperate levels of poverty and teachers are already professional players. After passing an audition, they high rates of HIV/AIDS. The promise are now embarking on this long-term, of the equipment has led to a group five year training. They absolutely love of volunteer community workers

in Zimbabwe forming an official organisation there and obtaining a space donated by the city council that they can use indefinitely, for free.

You can get involved by donating music instruments or studio equipment (collection can be arranged) and by circulating information about this project. Please contact Lucy on lucy@agenciahub.org or 07701 007359. www.changetherecord.org.uk Donation page: www.gofundme.com/7d2sa0

Rosemary Broadbent Composer Rosemary Broadbent will have several works performed during the Lincoln Labyrinth Festival, to be held in Lincoln Cathedral in August.

The Lincoln Amateur Operatic and Dramatic Society will perform her ballad opera The Quest of the Holy Grail on the labyrinth stage on Wednesday 13 and Monday 18 August. The final event on Wednesday 27 August is a candlelit, meditative evening including songs, poetry and dance. Local singers will perform three of Rosemary’s short devotional songs, and also the first public performance of a song cycle commissioned for the event, Beyond the Touch of Time. The words are by William Wray, who is also the librettist of The Quest of the Holy Grail. Beyond the Touch of Time received a workshop performance in London in June during a Labyrinth Study Day with performers Adam Music (tenor) and Noel Skinner (piano). http://lincolnlabyrinth.wordpress. com/

Continued overleaf

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ISM MUSIC JOURNAL JULY/AUGUST 2014

published in 2012 and has since gone through three editions.

Copies of the book, priced £7.50 plus postage can be ordered from www.raymondhead.com.

Above: Gerald Finley

Right: Prize winners at the Hastings International Piano Competition (l-r) Marcin Koziak, Taek Gi Lee and Yekwon Sunwoo Photo: John Cole

Gerald Finley to climb Kilimanjaro Internationally acclaimed, Grammy and Gramophone award-winning baritone Gerald Finley will be climbing Mount Kilimanjaro in August to raise money for Help Musicians UK. He takes on the feat with his two sons, aiming to raise the sum of £10k. All proceeds will make a crucial difference to the lives and careers of thousands of professional musicians.

Gerald is soon to take on the role of the The Forester in a new production of Janácek’s The Cunning Little Vixen at the Vienna State Opera House, which premieres on 18 June and will appear at the BBC Proms on Sunday 27 July before he leaves to begin his adventure.

You can show your support for Gerald and his sons by making a donation on his Just Giving Page: justgiving.com/ geraldfinley

Holst’s Planets To celebrate a hundred years since Gustav Holst started work on The Planets, Sky Dance Press have published Raymond Head’s ground breaking analysis of the work.

For the first time, Holst’s understanding of astrology has been taken seriously and investigated. So it can be seen in a new light and not just as depictions of the planets but a sequence of movements which have a very clear and defined purpose.

Raymond is an acknowledged world expert on the life and works of Holst.

His book about Holst and India was

22

Sheppard’s French Mass (circa 1563) edited by Bruno Turner and published

by Vanderbeek & Imrie especially for the Provence performance.

The Singing Days courses are held in the picturesque town of Le Lavandou on the shores of the Mediterranean Sextet and are suitable for keen amateur Sextet: the story from Mozart’s Cosi singers or students, who particularly fan tutte is a new addition to the enjoy the challenge of unaccompanied Operathymes Collection, told in verse choral singing, with an emphasis on with an introduction by Richard Morris Early Music. No auditions are held and and illustrated by Hatty Morris. numbers are generally limited to a maximum of 35 singers. Full details Sextet is a delightful introduction and can be found on the website: www. refreshment for all opera audiences.

Both text and illustrations provide new singingdays.com or by emailing adrianandniki@gmail.com or insights into Mozart’s brilliant and telephoning 01228 561099. passionate comedy about the turmoil of young love.

Copies are available at the Royal Opera House shop and online through Amazon. All enquiries to Richard Morris at richard@richardmorris.org. uk, 01732 862439.

Hastings International Piano Concerto Competition

Lythe Chamber Music Course Professor John Irving will be leading a summer course (20-24 July) based in the historic coastal village of Lythe, on the edge of the North York Moors.

Lythe Chamber Music Course 2014 offers a unique opportunity to explore a wide range of solo and ensemble repertoire for early keyboards and clarinets from the eighteenth and early nineteenth centuries with period performance specialists including John Irving and Jane Booth. There will be specialist sessions on keyboard building, tuning and maintenance by local maker Johannes Secker, whose instruments will feature in the course.

‘Hands on’ performance on period instruments will feature high on the agenda, with plenty of opportunities to try out period playing styles during the week. Further information from admin@denote.org.uk

Singing Days in Provence James Griffett, the founder of Singing Days, and Ian Caddy will direct the 15th Singing Days in Provence on 18-25 October. This year’s repertoire includes motets by Schutz and John

The Hastings International Piano Concerto Competition celebrated its 10th anniversary in March with the Royal Philharmonic Concert Orchestra accompanying this year’s outstanding three finalists. Winner of the £10,000 first prize, the audience prize of £500, and engagements to include a concerto with the Royal Philharmonic Orchestra, was the exceptional 17-year-old Taek Gi Lee from South Korea playing Rachmaninov No 3 in D minor, Op 30. Second prize of £2,500 went to Yekwon Sunwoo (25 years) also from South Korea, and third prize of £1,250 to Marcin Koziak (24 years) from Poland. The international jury this year included Chairman Frank Wibaut, Dina Yoffe, Siegfried Mauser, Peter Katin, Helen Krizos, Paul Roberts and Jonathan Marten, with Dame Fanny Waterman presenting the prizes.

ISM MUSIC JOURNAL JULY/AUGUST 2014

The Competition which was revived in 2005 by the Hastings Musical Festival, chaired by Molly Townson, has been growing steadily in stature with the support of the Kowitz Family Foundation and has exciting plans for the future under the Artistic Directorship of Frank Wibaut and with the new sponsorship of Yamaha.

Plans for 2015 (27 February–7 March) include more prizes, more engagements, and a new compulsory second stage of Mozart or Beethoven concertos. www.hastingsconcertocompetition. co.uk

Robert Webb Pianist, guitarist, jazz educator, performer and composer; Robert Webb has never ceased musicmaking. His career since the first release of progressive rock album, Garden Shed by England in 1977

has spanned all musical styles from baroque (Quintus) via dance bands (Oliver Twist) and melodic jazz rock (recording with Jenny Darren).

Robert alternates his time between composing, performing, teaching and building his home in Greece.

Obituaries

Robert’s last performance in the UK will be at ‘The Bedford’ on Thursday 31 July at 7.30pm as part of the Resonance Rock Festival in Balham (south-west London). He will be playing a selection of music from England’s Garden Shed Music.

This special concert will feature Mellotron, Moog and other vintage keyboards. There will be opportunities to buy rare CDs, t-shirts and Robert will be releasing his first solo CD. Tickets available from www.wegottickets. com/festivals/f/7293.

Festival website: www.facebook.com/ resonancerocksuk

Adolph C Hauke of Luton

LOST MANUSCRIPTS

BY W.J.FOXELL (1857-1933)

I am trying to trace the following, which may be in an archive or collection:

1. Pianoforte Trio in G Minor in 3 parts, performed at St. Augustine’s College in 1886 and at Oxford University Musical Union in 1910.

2. Sonata in D Minor for violin and piano in 3 parts performed in 1907 at University College Musical Society.

3. Other pieces including Air and Variations for oboe and piano c.1910.

4. Letters from Elgar to W.J.Foxell.

RECENTLY RELEASED MUSIC. We have recorded for the first time much of his (largely unpublished) music for piano and for strings which is now available online.

Any information please contact P.Foxell at pwfoxell@hotmail.com or write to 107 High St., West Malling, Kent U.K. ME19 6NA

With regret, we report the deaths of: Enid M Clarke of Mill Hill Isobel M Edwards of Isle of Wight John Fuest of Cheshire Jean M Horsfall of Trowbridge Judith Mellor of Sheffield Revd Gordon T C Tams of Berwickshire Shirley Varlow of Sutton Coldfield

Turner Violins specialists in fine stringed instruments

violins violas cellos basses bows restoration valuations expertise Also at 16 Hanover Square 1-5 Lily Grove, Beeston, Mayfair, London, NOTTINGHAM NG9 1QL BY APPOINTMENT Tel: 0115 943 0333 Tel: 07831 265272 info@turnerviolins.co.uk www.turnerviolins.co.uk

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Our new members

We offer a warm welcome to the following members who joined before 31 May Full members

Lancaster

Birmingham

Jennie Williams BMusRCM

Haleema Smith BACoventry

Brighton Russell Gilbert Rachel Grimes BALeeds Angela Nagendra BAChichester

Bristol Helen Mills BMusBirm Jo Smitheman-Trigg PGCE

Cambridge Graham Walker PGDip(RAM) Sarah Wheeler GRSM LRAM Peter Wright

Croydon Andrew Cope BMusManch David Larkin BMusGoldsmiths MMusTrinityLaban(CityUni) Janey Maxwell MA(Open) Angela Morse-Glover

Devon & Cornwall Jake Barlow Alex Wilson BAYork

Guildford Helen Hollowood GRSM ARCM DipNCOS Sarah Pickering BAHonsSoton LRAM ARCM

Hereford & Worcester David Hatcher LTCL

Kent Emily Curran BAHonsSurrey MAKingston PGCE Johnathan Fell BASouthampton Lee Franklin BACanterburyChristChurch Sara Parry GRNCM Grace Ranjanie Pathberiya BAHonsLeeds

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Liverpool Kirsty Ligertwood BMusHonsRSAMD Christopher McElroy MMusLiverpool

London - North Timothy Cape BMusTrinityLaban Lucas Jordan DipZurich MARAM

London - South East Holly Aisbitt BMus(TCM/Westminster) Jessie Grimes BMusEd Emma McGovern BMusHonsRCM Kim Reilly BMusTCM John Sarson BAExeter Andrea Tweedale MMusRNCM BMusSheff Charlotte Wittering BMusSheff PGCE

London - South West Soo Bishop LRAM LGSM Ann Burgess GRSMHons Rosemary Burgess BALancaster DipABRSM Dominic Cesarz BMusHonsKingston Oscar Colomina I Bosch MusHons(CityUniv/GSMD) David Frankel BAHonsLeeds CertTGoldsmiths LGSMD AdvCertGSMD Christopher Guy ARCM FTCL Natalia Khaw BA(Ufa State Institute of Arts) Jonathan Kilhams BMusLondon Hiroko Ueno BMusBirm Joanna Weeks

London - West Matthew Gibbs BMusWales PGCE Dorian Griner MMus(CityUniv/GSMD)

Mayumi Stone Iida PGDip(RAM)

Manchester Olwyn Atkinson Sam Brook BMusRNCM Bruce Jefferies BMusRNCM Ellen Roecke BMusFolkwang

North of England Ian Bradshaw David Hignett ColchesterInstitute Poppy Holden BPhilYork ARCM

North Wales Elaine Guntrip-Thomas LWCMD AdvCertWCMD CertEdBristol

North Yorkshire Rachel Derbyshire BAHonsDurham MAYork Alan Moore BAHons(Open) PGCE

Northern Ireland Hilary Crawford BMusBelfast ATCL Victoria Kyles

Nottingham Derek Williams

Oxford Keith Brightman Gareth Cirket Barbara Kennedy BASouthampton Catherine Knight LTCL BAWarwick Susanna Newton BMusLond PGCE

Portsmouth Richard Boland BMusPortsmouth CertT(ABRSM)

Reading Jean Ashford LRSM Sarah Simpson-Goodall BMus(Hons)Lond Marija Skobe MMusZagreb MMusEdZagreb

Dorine Sorber BMusBruxelles MMusBruxelles

Scotland - South East Michael Haywood MusHonsNewcastle

Stephanie Holland BAOxford Christopher F D Moore BADunelm FRCO FTCL LRAM ADCM

Warwickshire & Scotland - South West Northamptonshire Viara Ivanova BAStrathclyde

Sheffield Eliot Darwin BMusHuddersfield Daniel Fields BMusHonsHuddersfield Brett Jackson BAHonsBradford Gina Walters BMusSheff

South Wales Jude Souter

Southampton Karla Powell BMusHonsRWCMD Carol Pusey BAHonNott

St Albans Sarah Dias BMusRNCM Alison Downie GRNCM DipRNCM LTCL CertEd Catherine Dunlop Ross Elder Alison Fisk Fiona Insley BASouthampton Denise Lewin Jonathan Lewin Elizabeth Molloy DipGSM Anne Partridge BAHons(Open) Fiona Richards BASouthampton Andrew Rogers BMusHuddersfield Daniel Stachowiak BAOxford Mary Walton Sarah Willis LTCL ABSM

Staffordshire

Scotland - North East

Carrie Underwood BAHonsBradford

Margaret Broad BAGlasgow MScEdin

Suffolk Christopher Borrett BA(Mus)Oxford

Gordon Croft MPhilBirm BA(CNAA) LGSM ABSM Tracey Daulman FTCL AdvCertWCMD LWCMD Susan Peel BEd West Yorkshire Steven Bailey FTCL BEdLeeds TDipLTCL

Wiltshire Marilyn Archer DipNSWConservatorium Dawn Ball LRSM CTABRSM Joy Smith Sally Stocks LGSM LRAM

Student members

Bournemouth Emily Penn

Brighton Joshua Bannister

Croydon Tom Huet

Kent Khemi Shabazz

Lancaster Matthew Billington

Lea Valley Sasha Millwood BAHonsCantab Emily Onsloe Jamie Pimenta Robert Treves

London - North Gregory Barker Carina Cosgrave BMusHonsRCM Iain Goodall Marike Kruup

London - South East Jack Pennifold Dinu-Mihai Stefan BMusRCM

ISM MUSIC JOURNAL JULY/AUGUST 2014

Our new members Continued

London - South West

South Wales

Friends

Corporate members

Benjamin Baker Marta Gonzalez Bordonaba Hannah McCarthy Laura-Mary Oxburgh

David Dodd Marie-Anne Hall Judith Hutchings

Brighton

Drake Music Scotland Thursa Sanderson T: 0131 659 4766 E: info@drakemusicscotland. org W: rakemusicscotland.org English Folk Dance and Song Society Katy Spicer E: info@efdss.org T: 020 7485 2206 W:efdss.org

St Albans

Andrea Creech PhDLond MASheff BMus(WesternOntario)

Danielle James

Lancaster

Florian Mitrea Nino Russell

Staffordshire

Alison Adam

Mike Hawkings

London - South West

Manchester Joey Dexter

Warwickshire & Northamptonshire

Oxford

Katherine Liggins

Edmund Whitehead

Wiltshire

Portsmouth

Christopher Burrows

London - West

Penelope Papandrea

Make Music Swindon Peter Clark W: swindonmusicservice.org Stars & Catz Music Teacher Network Oliver Braithwaite E: info@starsandcatz.co.uk T: 0800 211 8533 W: starsandcatz.co.uk

As a member of ISM, you can add our logo to your stationery or website. ber You can download our fellow, mem the from ctly dire s logo and student org. members’ area of our website, ism.

Rebecca Griffin

Do you have a musical instrument that you could lend to the Benslow Instrument Loan Scheme?

Contact us and help to inspire the next generation of young musicians.

SHOP Summer season sale – up to 50% off at our ISM Shop

To celebrate the summer season we’re offering members an exclusive sale with over 50% off some product ranges!

This fantastic offer is only available between 1 July and 31 August 2014, so get in quick! Our ISM branded range of gifts are perfect for members wishing to celebrate their membership, or alternatively purchase as gifts for your music students and friends alike.

A selection of some of our great deals are:

Historical Thomas Tallis Mug: ISM pencils and case: £11.00 – £7.50 – Member SALE price £5.00 Member SALE price £7.00 ISM Cross pen: £22.00 – Member SALE price £12.00 ISM silver pin badge: £10.00 – Member SALE price £6.00

Tel: 01462 420748 Registered Charity No. 313755 www.benslow-musical-instrument-hire.org.uk

ISM leather folder: £25.00 – Member SALE price £15.00

All prices are inclusive of VAT but are exclusive of postage and packing.

To purchase items from our wonderful gift range, and to see some even better discounts, go to our online shop at ism.org/shop and enter the code ISMMEMSHOP at checkout. Alternatively, you can call free of charge on 0800 1814233 to make your order. Happy Summer shopping!

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For all your

music education & performance equipment FREEPHONE

0800 072 7799 to join the education discount programme and save money on your purchases!

www.blackcatmusic.co.uk

Music Stands, Lights & Accessories Music Folders Music Chairs & Accessories Instrument & Sheet Music Storage Conductor’s Equipment Staging & Risers Theatre Products Acoustic Products

ISM MUSIC JOURNAL JULY/AUGUST 2014

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

announce the validation of a new degree in music from September 2014.

Commended by University of Essex for its ‘innovative design’, the BA (Hons) In 2014, Central’s MA Music Theatre Music Education exploits the benefits course has undertaken a unique collaboration with arts research events of studying music in conjunction with a broad-based approach to organisation Platform-7, Camden Council and conceptual artists Akleriah music education. With a focus on practical musical skills, musicology in order to raise awareness of and and composition in the early stages encourage textile recycling amongst of the programme, students are local residents. The Tights Ball Project empowers students with a knowledge introduced to educational theory and its application in the contexts of of environmental and sustainability instrumental/vocal and classroom issues, and then encourages them to engage in conversations about textile teaching. In the final stage, students gain experience by undertaking a waste, recycling and the power of consumerism through a series of public placement, and through the delivery of 1-1 lessons and a music workshop. A performances. negotiated project with individual and Platform-7 evolved from a five personalised support allows students year research project exploring the to further develop musical skills relationship between the artist, the such as performing or composing, audience and space (environment). or to pursue a research-based The intention was to ascertain investigation of educational practice. whether a better understanding could The programme leader and driving be derived of how we in the West force behind the new degree is ISM perceive the world surrounding us member Malcolm Miles. ‘We are very by using abstract art performance excited by this development and the interventions as a means of inquiry. unique opportunity it offers to aspiring musicians and teachers. Colchester The Tights Ball Project is forming part Institute is now in a position to offer a of an embedded course unit into new and creatively driven approach to extended performance, wherein both music and music education.’

Central’s MA Music Theatre students undertake new work in non-traditional National Preparatory School spaces and engage with various forms of contemporary performance Orchestras practices. The Project will culminate The National Preparatory School in June with two live performances Orchestras (NPSO), now in their of the original pieces Veolia Songs directed by Simon Greiff, with music by fourth year, are about to hold summer David Merriman and words by Victoria music courses from 13–19 July at Wellington College, Berkshire. Two Saxton. orchestras (Training and Symphony) of talented young instrumentalists Colchester Institute aged 7 to 15 are coming together from all over the UK to enjoy either Tristan Clifton, Head of Music writes: their first taste of serious orchestral Colchester Institute is delighted to

Royal Central School of Speech and Drama

playing, or, for the more experienced and advanced players, the excitement of the full symphonic sound. There are no auditions for the Training Orchestra which aims to include all applicants, even at the last minute. The Symphony Orchestra is selected from all applicants at a standard of Grade 5 or above. The courses culminate in a final concert on 19 July and feature both orchestras. www.npso.co.uk

Royal Northern College of Music The RNCM is delighted to announce the launch of a new jazz pathway in the Bachelor of Music (BMus) course, commencing in September 2015.

The new initiative will combine the benefits of building a solid instrumental technique and broad understanding of music through classical studies with a rigorous grounding in jazz and a deep exploration of improvised music. Along with intensive Principal Study lessons and performance opportunities, there will be classes in improvisation, harmony, history, repertoire, aural skills, transcription, composing and arranging, as well as rhythm and masterclasses by visiting international players.

The RNCM Big Band is already one of the strongest jazz ensembles in the North of England, staging regular sell-out concerts, ranging from a re-enactment of Benny Goodman’s Carnegie Hall concert with guest Pete Long, through to the music of Chick Corea featuring saxophone supremo, Tim Garland. Other guests have included Bob Mintzer, Guy Barker, Continued overleaf

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ISM MUSIC JOURNAL JULY/AUGUST 2014

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

PLATINUM CORPORATE MEMBERS

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Colchester Institute London College of Music Mix Music Education National Preparatory School Orchestra Oxford University Press Paritor For further information about our different levels of corporate membership and a full list of over 100 corporate members, visit ism.org

Musicguard

Martin Taylor, Steve Waterman, John Taylor, Gwilym Simcock, Laurence Cottle and the late John Dankworth.

Auditions for September 2015 entry will be held at the RNCM in December.

To learn more visit www.rncm.ac.uk/ jazz or email jazz@rncm.ac.uk.

Royal Welsh College of Music and Drama The College’s Brass Band have been invited to Canada next month to appear as guest artists in the 35th Royal Nova Scotia International Tattoo, under the baton of Dr Robert Childs.

‘Since we introduced the Brass Band pathway into the BMus (Hons) degree course 10 years ago, the Royal Welsh College Brass Band has grown in strength and ability,’ said Dr Childs.

‘We’ve performed at a number of prestigious events and recently gave a stunning concert in London’s Regent Hall. However, when the invitation to play in Canada’s longest established and most famous Tattoo

arrived in my email box in March I was flabbergasted!’

Association’s study day on 6 July in London is called ‘Recovering Voices’, and has presentations from Performing at the Tattoo the Band will doctors, speech-language therapists, join a selection of leading international performance coaches, and singing military bands, in performances teachers, on the transition for for over 60,000 people and an voices from injured to well. Future international television audience. conferences include a day on classical Euphonium soloist David Childs will singing on 12 October. feature as a soloist and perform together with the RWCMD Brass Band www.britishvoiceassociation.org.uk as guest soloist. He is also a tutor at the Summer School.

Schools Music Association In keeping with the musical requirements of the brass bands’ inclusion, the event organisers have commissioned 15 new brass band arrangements from Principal Arranger Major Denis Burton, Director of Music of the United Kingdom’s Band of the Royal Welsh, for this year’s show.

British Voice Association What happens when you lose your voice? Not just for a day with a bad cold, but for longer with something more serious. The British Voice

The SMA Professional Development Weekend 2014 will take place at The Bull Hotel, Peterborough from 24–26 October 2014. Confirmed speakers include Paul Harris, Jay Deeble, Paul Whittaker, Beryl Foster, Christopher Norton, James Risdon and more. For more information, see ism.org/events and contact Carole Lindsay-Douglas at secretary@schoolsmusic.org.uk.

The Dalcroze Society At its recent Board meeting, the current Chair of the Dalcroze Society

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ISM MUSIC JOURNAL JULY/AUGUST 2014

stood down after 16 years of loyal and enthusiastic service. Nicola Gaines Armitage has been a well known and respected figure, leading the Society through a number of successful Courses and summer schools and instituting a major strategic review.

The new Chair is Jay Deeble, well known for her work across music education.

The Dalcroze International Summer School 2014 will take place at Canterbury Christ Church University from 27 July-2 August, with guest tutor and renowned Dalcroze Diplomé Toru Sakai from Japan.

artists at the start of their performing careers. The next will be held at the Wigmore Hall on 7 July at 7.30pm, while in June it sponsored five organ recitals at St Michael’s Cornhill to celebrate the 150th Anniversary of the founding of the Royal College of Organists in 1864.

Association of British Choral Directors This year’s abcd Annual Convention takes place from 22-24 August at the Royal Welsh College of Music and Drama in Cardiff and includes practical sessions by British and international presenters, including vocal and conducting technique, repertoire for all types and ages of choir, advice and ideas for all those working with young voices; plus a large trade fair and gala concert with top national and international choirs.

It is an opportunity to experience the unique Dalcroze approach to music education and performance through movement and will feature daily classes in movement, rhythmics, aural training and improvisation. As always, classes at all levels of training will be offered for those who have already attended other Dalcroze courses. Those Repertoire sessions have been expanded to cover an even wider new to the approach are also well range of music and several composers catered for. will be resident to talk about their www.dalcroze.org.uk work, including Paul Mealor and The Worshipful Company of Karl Jenkins. Masterclasses will offer hands-on advice for intermediate and Musicians advanced level conductors and there Michael Lewin writes: The Company’s will also be conducting sessions for those less-experienced or wanting a 2014 Honorary Fellow Debate at quick refresher. There are sessions on LSO St Luke’s on 30 June focused on male voice repertoire, working with music education, the theme chosen young singers, and new ideas from

by Richard Morrison, chief music critic here and abroad on getting the best of The Times, with the title: A happy life is a creative life – why every child from your singers, whatever their age. needs music. In its outreach work www.abcd.org.uk The Company is seeking to carry this message to schools and institutions in a number of London boroughs, utilising Royal College of Organists the talents of its Yeomen.

Andrew McCrea writes: Her Majesty The Prince’s Prize this year was won

by Joseph Shiner (clarinet). Other Company prizes included the Collard Fellowship (Joanna Lee), Beethoven Medal (Maksim Stsura), Harriet Cohen Bach Prize (Niklas Duckworth), Dankworth Jazz Composition Prize (Misha Mullov-Abbado and Andrew Woodhead) and the Ivor Mairants Guitar Award (Laura Snowden).

The Company continues to promote with the Concordia Foundation an important series of concerts for young

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The Queen and His Royal Highness The Duke of Edinburgh marked the 150th anniversary of the Royal College of Organists at a special recital at St George’s Chapel, Windsor Castle in April.

The recital programme was played by the celebrated concert organist Thomas Trotter MA, DMus, FRCO, and afterwards The Queen and The Duke of Edinburgh met College members, supporters and representatives of the governing body and staff.

The Queen was then presented with the College’s highest honour, The RCO Medal, in a special issue to mark her patronage and the occasion of her gracious presence at the recital.

Speaking at the event, RCO President Catherine Ennis said: ‘Our Royal Charter, which was first granted in 1893, is vitally important to us. It defines the essence of our mission, which is, quite simply, to improve standards in organ and choral music in the United Kingdom and elsewhere.

‘Organ music and choral music play a fundamental role in daily church services throughout the land, and in combination this music provides the ‘soundtrack’ to the most significant events in our lives, both at a national and a personal level.’

Neuratron Group Ltd Featuring handwritten music recognition, Neuratron (developer of PhotoScore and AudioScore) has created NotateMe, a ground-breaking music composition and notation app for iOS and Android smartphones and tablets.

Quickly and accurately enter music notation with your finger or stylus on the train, by a lake, or sitting comfortably on your sofa!

It’s simple and intuitive interface means there’s little to distract you from your creativity – similar to writing with pen and paper, but with instant playback, editing and a score suitable for publishing at the end.

Share PDF, MusicXML and MIDI files of your scores with friends or other musicians. Print them or open them in other apps and desktop notation packages.

Add chord-symbols, dynamics, tempo changes and lyrics to your score. Drag and drop musical symbols such as ornaments and cross-noteheads.

You can try NotateMe Now, a free single-staff version of NotateMe, available from the App Store and Google Play – search for ‘NotateMe’.

ISM MUSIC JOURNAL JULY/AUGUST 2014

LOCAL EVENTS – LISTINGS Full listings can be found on our website, ism.org SOUTH WEST LONDON Sunday Brunch at Carluccio’s

ISM Representatives We are currently looking for members to act as ISM Representatives for the Norfolk and Sheffield local groups.

This opportunity is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area.

For more information or an application form please call 020 7313 9323 or email membership@ism.org. The deadline for applications is 26 August 2014.

11.30am, 31-35 Kew Road, Richmond TW9 2NQ Not peckish? Just come for a coffee and a chat.

Prices: £4 - £12.

Contact Bogna Bargiel, bargielb@yahoo.co.uk

Sunday 13 July Saturday 5 July

Sunday 6 July

NORTH OF ENGLAND Annual Summer Dinner

SOUTH WEST LONDON Pupils’ Concert for Secondary School Students

7pm, The Parlour at Blagdon, Blagdon Smithy, Old Great North Road, Seaton Burn, Newcastle NE13 6DQ. Cost: £19.50 to include predinner drink, buffet dinner and the Parlour’s award winning Italian ice cream. Additional drinks and coffee can be purchased from the bar.

Contact David Whittaker, whittakerdh@blueyonder.co.uk

BRIGHTON Annual Meeting and Recital

2.30pm, United Reform Church, Springfield Road, Horsham, RH12 2RG 4pm, 17A The Barons, Annual meeting followed at Twickenham TW1 2AP approx 3.30pm by a short recital We warmly invite you to attend

by D‘Arcy Trinkwon, international our concert at St Margaret’s. organ soloist and ISM member.

Some refreshments will be Tea and cakes will be provided. provided. Please feel free to bring Tickets: £8 per person, items for the tea table such as £4 for under-16s. biscuits, cake or fruit. Donations towards costs are welcomed.

Contact Nicola Grunberg, 01273 506124, lewsey@btinternet.com Contact angelafogg@supanet. com

BRISTOL Summer Lunch 1pm, The Coach House, Vicarage Lane, Olveston, South Gloucestershire, BS35 4BT Hosted by Ray and Jeanne Loadman in Olveston. The legendary spread is provided by our Chairman, Margaret Thomas.

Cost: £17.50 per head Contact Margaret Stanton, mandmstanton@talktalk.net

Saturday 9 August SOUTH WALES Wine Reception 1.30pm, Carmarthenshire National Eisteddfod Complimentary wine reception for all Welsh members of the ISM. Cost: There is a charge for entry to the Eisteddfod itself.

Contact Dr Jeremy Huw Williams, 029 2084 3753, 07771 822545, jhw@jeremyhuwwilliams.com

Lea Valley held a musical celebration concert in March and Devon and Cornwall held a choral workshop and concert at Exeter University. To see these event reports, please go to the Local Groups section in the members’ area of the website.

Classified advertising WANTED: Extant recordings, pamphlets, notes, regarding schools radio series ‘Music Workshop’ 1964 - 1975.

Richard Scaife, 149 Manor Drive North, York, YO26 5SD. SW FRANCE: Beautiful gites for rent in the most idyllic surroundings.

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 ALL YOUR MUSIC PUBLISHING NEEDS CAN BE MET. Professional typesetting by experienced musician – digital realisations of your

music, arrangements etc. – all to the highest standards and at a very reasonable cost. Phone 01234 822703 or e-mail muserv@globalnet.co.uk NEED AN ACCOUNTANT? 15% discount for ISM members. Tel: (01373) 302468. www. fromeaccountant.co.uk NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and affordable recording services throughout Southern England and Wales. 10% discount for ISM members. www. chantrysound.co.uk or phone 01954 231117

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 August for the September/October 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.

SUCCESSFUL SIGHT SINGING A Systematic Approach by Gordon Pearce £10 plus £2 p&p.

Available from 6 St John’s Mount, Easingwold, York YO61 3HG

£8 each from www. britishkodalyacademy. org/resources.htm Introductory offer: Buy both parts post free for £15 from info@ waterhouse-music.co.uk

020 8958 8083 www. rosemarywiseman.com

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

A NEW DICTIONARY OF COMPOSERS is a chronological and alphabetical listing of over sixteen hundred composers including nationalities. A good way to establish composer anniversaries. Only $5.95 (approximately four pounds) as a eBook download - go to: www. lenrhodesmusic.com

MY SOLFA PIANO BOOK

by Celia Waterhouse.

Beginner piano lessons using solfa and musicianship through singing. Parts 1 & 2:

PERFORMANCE NERVES? Stage fright? Call Rosemary Wiseman Tel.

JIM BROWN, LLCM (TD), ALCM. Correspondence.

Tutorial Singing Teacher FRENCH HORNS: Several offers tailored tuition from £150. 01747 828552 to progressive pupils.

14 Brownhill Meadows, VARIOUS BRASS, WOODWIND & STRINGED Irvinestown, County instruments for sale and/ Fermanagh, Northern Ireland, BT94 1DW. or rental. Tel: 07974 Telephone: 07854 412269.

407601. ISM Member.

STUDENT CELLOS, mostly COR ANGLAIS: B&H, German, various sizes, Blackwood, Conservatoire, from £120. Tel. 07974 Low E, Serviced. £1,550 412269 ONO. 07974 412269 BASSOONS: Several good student instruments from WORLD WAR ONE MUSIC: Newly published £600, 07974 412269 arrangements for SPINNETT WITTMAYER various combinations (German) 4 octaves, C-D, of instrument/voice to light walnut. BGC needs commemorate the First tuning, hence £695 for World War centenary a quick sale. Tel 07974 are now available from 412269 www.345music.com

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ISM MUSIC JOURNAL JULY/AUGUST 2014

Ask me a question James Cornick Music therapist, teacher, manager and composer

Why did you move into music therapy?

For years I had known about music therapy and it always felt like the right fit for me.

As the years went on, I became increasingly drawn to the idea of using music in creative ways to engage, communicate with and help others. I found the course itself to be an incredibly enriching experience, and the work I have done since has been even more so.

Who was the person who most influenced you, and how?

Well firstly my Dad. He has an incredibly clear, rounded and positive outlook on life.

Musically, I think Miles Davis. Not necessarily because of the music he produced or the way he played the trumpet (I’m a trumpeter too!), but predominantly because of the way he never stood still as an artist. The way he developed genres and pushed the boundaries of composition has always been a source of influence for me – and something I always try to consider and incorporate into my own compositions and writing.

Tell us a little about yourself.

I currently live in London – previously in Bristol. I studied music at Southampton University and music therapy at Bristol. At the moment, my time is spent working as a music therapist in North London and as a manager of a small teaching service based in Bristol called HarpsCool. I also compose and perform music under the name of Ersatz.

What are your plans for the future?

The plan is to continue to develop my practice as a music therapist and to compose, release and perform more.

Eventually I hope that we (Ersatz) can score the music for an independent film.

What would you say is your greatest achievement to date?

Working as a music therapist is pretty high on the list. I’m also incredibly pleased that I have managed to consistently write and record new music every year, even though I’ve barely earnt any money from it!

What was the last CD/music download you purchased?

The last music I bought was an EP by a duo called A Winged Victory For The Sullen.

They are on a wonderful label called Erased Tapes. Highly recommended!

Who is your all-time favourite artist and why?

That’s a tricky one. When I was younger it was Radiohead. They were a huge influence on me in decades gone by. In recent years I have been greatly influenced by a duo called Stars Of The Lid. They make beautiful music, loosely described as ambient/ classical. Also Steve Reich, Miles, Nils Frahm, Burial, Bach and Boards of Canada.

Very hard to narrow that one down!

What do you find most valuable from your ISM membership?

The advice, the support network and the positive approach to being a professional musician in 2014 that the ISM brings. www.jimcornick.co.uk

ISM meeting room We now have a fantastic meeting room available for hire at our new 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 Rebecca Mair at roombooking@ism.org or 020 7313 9321.

32

137 years of internationally respected music exams

New music syllabuses and publications available soon New syllabuses for piano, woodwind, jazz woodwind, electronic keyboard, brass and singing will be available in 2014. A range of exciting new supporting publications will also be available.

Why Trinity?

Our music exams offer the choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers. ◗ Our approach to assessment — through our exams we:

• examine real musical skills specific to each instrument or voice • include options for candidates to improvise and perform original compositions to express their individuality • offer precise and specific feedback through a diagnostic mark scheme ◗ Choice and quality of repertoire — we work with a wide range of specialist composers, teachers and musicians to develop varied and diverse repertoire

◗ Our heritage and recognition — we’ve been assessing in music since 1877 and our exams are internationally recognised and accredited by education authorities around the world

◗ Our teacher support — we hold events all over the world and offer free teaching resources, articles, forums and more through our online learning platform

Queen’s Gate te School offers girls a warm, supportive en environment, where individuality duality is nurtured,academic nurtured academic standards are high and a broad based curriculum ensures a well rounded education.

A range of scholarships and means-tested bursaries are available to assist girls to join us and parents are welcome to visit us throughout the year.

See our website for details of Open Events for entry to the Senior and Junior Schools. For a prospectus, or to make a private visit to the School, please contact the Registrar, Miss Janette Micklewright, on 020 7594 4982 or email, registrar@queensgate.org.uk.

◗ Our examiners — our exams are assessed by a panel of friendly examiners who are rigorously trained and standardised.

Queen’s Gate Junior School 125-126 Queen’s Gate London SW7 5LJ

To find out more visit

www.trinitycollege.co.uk/music

MUSIC-AD-SSP-22 (A5 NEW)

/TrinityCollegeLondon

@TrinityC_L

Queen’s Gate Senior School 131-133 Queen’s Gate London SW7 5LE

www.queensgate.org.uk

July/August 2014 Julian Lloyd Webber in conversation Our Conference 2014 diary A new pipe organ in West London