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November/December 2013 Birmingham Opera – a different kind of opera company Gallions Primary School championing music for all Charanga digital music resources for children, teachers and schools

VictoriaCollege ofMusic& Drama,London


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Accordion Acting Bandmastership Bassoon BibleReading BrassInstruments BusinessEnglish Cello Choral Speech Clarinet Composition Concertina Conducting ContemporaryPiano Double Bass DramaProduction Ensemble ESOL Fife Flute Guitar GroupDiscussion Harpsichord Improvisation InterviewTechnique Keyboard Mandolin Melodica Mime MusicalTheatre Oboe Ocarina OralCommunication Organ Percussion PresentationSkills PublicSpeaking ReadingAloud Recorder Saxophone SelfaccompaniedSinging Shakespeare Singing Speaking of Verse Speech TheatreStudies Theory of Music Theory of Speech TraditionalPiano Ukulele Viola Violin WrittenEnglish and Xaphoon!! Proud to be Corporate Members of The Worship Company of Musicians; The Schools Music Association; The Association of British Choral Directors, the European Recorder Teachers Association; the European String Teachers Association; the European Piano Teachers Association; the Society of Teachers of Speech & Drama; the Association for Music Education - MusicMark; the Music Education Council; the British Voice Association; the Society of Recorder Players; the Association of Teachers of Singing; the International Centre for Voice.

Tel: 020 7405 6483


Welcome Right: Deborah Annetts Photo: Mark Thompson

Christmas is an extremely busy time of year for musicians. Don’t forget that we are here to help and support you if anything goes wrong. The ISM’s legal team is available to advise you on any legal problems that you may have in relation to your work as a musician, including queries about copyright, royalties and contracts, problems with employment and discrimination in the workplace, or unpaid fees. As an ISM member, you also have access to our 24-hour legal and tax helpline for immediate telephone advice about legal matters relating to your work, or other legal issues. Please don’t hesitate to call on these services if you need them. We are here to help. In this issue of Music Journal, we learn about the inspirational work at Gallions Primary School. Based on one of East London’s most deprived housing estates, Gallions’s enhanced music programme provides lifechanging experiences for the children and has an overwhelmingly positive impact on the community as a whole. You can read more on pages 7-10. In May this year, Birmingham Opera Company’s landmark production of Stockhausen’s Mittwoch aus Licht won the ISM-sponsored RPS Music Award for Opera and Music Theatre. On pages 11-13 we discover the story behind the production and get a sneak preview of what is coming next from this very different kind of opera company. If you’re wondering what to get for Christmas presents this year, why not look at the new range of ISM gifts, available at where members receive a 20% discount. Further details can be found on page 4. And if you have friends and colleagues who are not yet ISM members, you can give them the gift of a recommendation to join the ISM as well! If they sign up to join before Christmas Day 2013 we’ll give you both Christmas presents – they’ll receive a discount of 20% on their first year’s subscription, and you’ll receive a £10 discount on your next year’s renewal. All you need to do is give them one of these discount codes to use when joining: Christmas13F for full members, or Christmas13G for graduate members, and email to tell us who you’ve recommended. See for more details.

Front Cover Birmingham Opera Company’s production of Mittwoch aus Licht, which won the ISM sponsored RPS Music Award for Opera and Music Theatre in 2013 Photo: Helen Maybanks

With very best wishes to everyone over the festive season.

Contents 2 4 5 6

News & campaigns ISM shop Legal help Business advice

7 11 15

Why music? Mittwoch and more Blending traditional and new

18 24 25

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

31 31 32

Volume 80 / Number 4 Published by: The Incorporated Society of Musicians 10 Stratford Place London W1C 1AA T: 020 7629 4413 F: 020 7408 1538 E: W: Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design Advertising: Cabbell Publishing Ltd, Wimbledon Studios 1 Deer Park Road London SW19 3TL T. 020 3603 7943 E. Editorial copy date: 28 November for January/ February issue Advertising copy date: 28 November for January/ February 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.



News & campaigns Composers discuss the future We have asked PRS for Music to appoint a contemporary composer account manager dedicated to supporting and developing PRS for Music’s relationship with composers. This was one of many topics discussed at our second Composer Round Table on Friday 27 September 2013. The results of the ISM’s 2013 composer survey suggested that the outlook was challenging for new music and composers also discussed the need for a reinvigorated British Music Collection (BMC) – currently hosted at the University of Huddersfield – to help promote British Music. The new composing page, was welcomed as a one-stop shop for composers , providing links to comissioning opportunities, legal advice and information in one place. If you have any thoughts or suggestions as to what the ISM can do to further support composers, we want to hear from you: email or call 020 7079 1207.

Two new reports criticise the EBacc and ABacc Education report and Parliamentary committee refute the EBacc Laura McInerney, an education expert, has published her research on which subjects help you get into Russell Group universities. The results are startling: She found that ‘there is no evidence (beyond stated prejudice) to support the claim that [the EBacc subjects] actually do facilitate entry to Russell Group universities.’

It is unacceptable that the Russell Group and the government are promoting these subjects as being preferred when it might not be true.’ A week later, the influential Culture, Media and Sport Select Committee MPs recommended that ‘arts are added to the five subject areas currently on which the EBacc assessment is based’ in their report Supporting the creative economy.

Final National Curriculum lacks changes The new National Curriculum for Music in England has been published. Teaching in the new curriculum is due to begin in September 2014. The Government has made no further changes to their final draft, but the changes made after the first consultation have been kept, including the inclusion of creativity and technology. Deborah Annetts, Chief Executive of the ISM, has responded saying: ‘This curriculum will not hamper excellent teaching; we are grateful that musicians have not been micro-managed in the way that – for example – historians have been. But sadly, at the same time, this curriculum gives little scope for challenging less good teaching, and risks doing nothing to improve our world class music education. ‘“There can be no real curriculum development without teacher development”[Stenhouse, 1975, p208]; these must go hand in hand. Teaching as a profession needs to be promoted and protected and a genuine commitment to professional development is needed if we are to see this slim curriculum have any value.’

You can read our useful comparison guide between each consultation stage at She added: ‘ Teachers want to advise our students as best as possible. We cannot do it with misinformation. nationalcurriculum.



Live Music Act – one year on ISM celebrates Live Music Tuesday 1 October 2013 saw one year since the Live Music Act 2012 became law. The Act means that you no longer need a special licence to stage a live music performance, so long as it takes place between 8am and 11pm, at a licensed premises or workplace and the number of people in the audience is below 200. For unamplified music the Live Music Act was even more groundbreaking: there is no limit on audience numbers for a performance of unamplified live music which doesn’t take place on licensed premises. You can see a video guide to the Live Music Act on our website or Facebook page.

Leading music organisations back Protect Music Education Since the last issue of Music Journal more music organisations are joining the Protect Music Education campaign to protect music services. In October the total number topped 31 as Luton Music Education Hub The MIX signed up to the campaign. Other recent supporters include Conservatoires UK, the Institute of Contemporary Music Performance, The Tutor Pages, NMC Recordings and Trinity College London.

Anne Rushton, Executive Director of corporate member NMC Recordings said: ‘NMC believes passionately that new music is a dynamic and engaging art, with the potential to inspire and challenge. We think it is vital that the opportunity to experience and participate in music making is enshrined in our education system. Without this, children will miss out on potentially life enhancing experiences and the long-term cultural health of the nation will be all the poorer as a result.’

Parliament to hear from LSO and Institute of Education In November the All-Party Parliamentary Group for Music Education will hear from the London Symphony Orchestra (LSO) Discovery programme about their work engaging communities in central London. In December, members will have the opportunity to hear from the Institute of Education and Musicians Benevolent Fund about their research into lifelong learning titled the Dynamics of Ageing. The Incorporated Society of Musicians (ISM) serves as secretariat to the All-Party Parliamentary Group for Music Education which is chaired by Mike Weatherley MP and Diana Johnson MP, with Baroness Finlay of Llandaff as Secretary/Treasurer.

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 or call Natalia on 020 7079 1218.



20% member discount

ISM shop 1,2




We have launched a brand new online gift shop with three exciting collections. As an ISM member, you are entitled to a fantastic 20% discount on all gifts listed, simply go to, select the gifts you’d like to buy and enter the code ISMMEMSHOP at checkout.

4) ISM leather folder – Beautiful quality, this leather black A4 Balmoral conference folder is embossed with the ISM logo on the front. Perfect for inserting sheet music and meeting notepads alike. £25.00; member price: £20.00

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.

5) ISM silver stick pin badge – Gorgeous, silver plated ISM pin badge – a perfect gift for you or a fellow musician! The pin badge comes complete with its own leatherette presentation box. £10.00; member price £8.00

Our hugely collectible Thomas Tallis range gives you a wonderful link to ISM history through extracts from an adaptation of Spem in Alium which was performed by ISM members at our conference in 1898. This particular adaptation has only two known printed copies in existence, one of which belongs to the ISM. Lastly, our Bacc for the Future range, designed exclusively for the campaign by artist Bill Stott gives you the perfect reminder – and Christmas treat – of the campaign that successfully put pressure on Government to drop its original EBacc plans. The cartoon was designed last year as a Christmas card for all campaign supporters and went down so well, that we’ve created this collection of gifts for you to cherish.

Bacc for the Future range 6



1) Bacc for the Future tea towel – Exclusive Bacc for the Future cartoon on this organic cotton tea towel. Perfect to collect as a piece of history, or equally use and revel in the memory of the Government’s change of heart whilst drying your Bacc for the Future mug! £7.50; member price £6.00 2) Bacc for the Future mug – Exclusive Bacc for the Future cartoon on a bone china mug. Revel in the memory of the Government’s change of heart whilst drinking a cup of tea. Perfect for those dark winter Christmas nights! £7.50; member price £6.00

ISM range 3) ISM Cross pen – Satin lacquers and bright chrome, engraved with the ISM logo and supplied in a lovely gift box with a life time guarantee. This sleek and efficient pen is perfect for music professionals. £22.00; member price: £17.60


6) ISM pencils and case – Six ISM pencils with rubber in a lovely ISM branded tin. Perfect gifts for your music students and fellow musicians. £11.00; member price £8.80 7) ISM mug – Perfect for all occasions, this ISM branded china mug celebrates your membership of the Society for music professionals. £7.50; member price £6.00

Thomas Tallis range 8) Historical Thomas Tallis tea towel – Perfect to collect or use, this organic cotton tea towel is decorated with a piece of ISM history – part of Thomas Tallis’s Spem in alium performed by ISM members at our conference in 1898. £7.50; member price £6.00 9) Historical Thomas Tallis mug – Highly collectable elegant bone china mug in classical design, decorated with a piece of ISM history – part of Thomas Tallis’s Spem in alium performed by ISM members at our conference in 1898. £8.50; member price: £6.80 All prices are inclusive of VAT but are exclusive of postage and packaging. You can buy any of these products by going to Alternatively, you can call, free of charge on 0800 1814233 to make your order. If you would like us to create more branded gifts, please send through any suggestions on the ‘Contact us’ page on the website. Happy shopping!


Legal help Holiday Pay Now that summer is over, holidays may seem to be a long distant memory, but did you get paid when you took time off this year? All ‘employees’ and ‘workers’ have an entitlement to at least 5.6 weeks paid holiday every year. This seems very straightforward but, unfortunately, on the 15th anniversary of the introduction of the right to paid holiday, it still surprises us how many employers are still not ensuring that their ‘workers’ are getting paid properly for their holidays. The law is quite clear. There is an entitlement to at least 5.6 weeks paid holiday per year. When you take your holiday the pay you receive should be based upon your average pay over the previous 12 weeks (weeks when you did not work are not counted). Many employers, rather than calculate holiday in this way, choose to calculate holiday pay as a percentage of the ‘workers’ hourly rate and pay this as a supplement, particularly when hours of work are variable. This is often referred to as ‘rolled up’ holiday pay. However, the European Court of Justice

has decided that such a practice does not comply with the law, which was designed to ensure people had a reasonable amount of time away from work. At the same time, it was also decided that employers who had paid ‘rolled up’ holiday pay, in a clear and transparent way, should not be penalised. The problem is that, we believe, many employers, particularly when looking at the entitlement of ‘workers’ on variable hours or who work term time only, get the amount that they pay for ‘rolled up’ holiday wrong. It is very common for holiday pay to be pro-rated depending on how many weeks are worked in the year. We believe that this is not the correct approach and that everyone should be entitled to the full 5.6 weeks. If you are not receiving paid holiday for the work that you do, or you feel that this is not being paid correctly, then please contact the ISM’s legal team on 020 7629 4413 or We will be happy to help you. Peter Lappin, Legal Advisor, ISM

Inspiring Success – a day for instrumental and vocal teachers This unique day, specifically targeted to the needs of the private music teacher, will be held on 27 January 2014, 11am–4pm, at The Forge, 3–7 Delancey Street, Camden, London. During the day, delegates will have the opportunity to take part in an innovative workshop on musicianship and improvisation led by Trinity Guildhall’s former Music Syllabus Manager, Ben Norbury; hear ABRSM Chief Examiner John Holmes give an insider’s guide to getting the best exam results out of pupils; learn how to motivate students with an inspirational teaching workshop and gain valuable networking opportunities with fellow music teachers from across the country. The cost for the day is £45 members, £60 non-members. Lunch and refreshments are included. We anticipate high demand for the day so early booking is essential. To book your place, contact Rebecca Mair on or call 020 7079 1201.

2014 Webinars Following our highly successful first webinar earlier this year led by our Head of Legal, David Abrahams, we are delighted to announce a full webinar programme in 2014. The monthly series which will run from February – September will cover topics ranging from Child Protection and Safeguarding to Health Tips for Musicians and Knowing your Legal Rights. Full details of the webinars will be released in Music Journal and our e-newsletters over the coming months.



Business advice New tax help for ISM members We have partnered with HMRC to develop a new online tax information service for members tailormade to the needs of professional musicians. This site offers, among a host of other useful information, helpful sections on:

• the deadlines for filing tax returns and paying your tax and National Insurances • what you have to do if you take on an employee • advice on corporation tax and VAT for members who might be liable for these taxes • a webinar on effective record-keeping

• employment status, with an online indicator tool to This new service will be available from midhelp you decide whether you are employed or self- November in the business and tax section of our employed for tax and National insurance purposes website at • a webinar about choosing the right legal structure We believe you will find this an important supplement for your business to the online advice we already offer on tax matters, • detailed instructions for self-employed sole traders including our detailed list of tax-allowable expenses on how to register with HMRC for tax and National for musicians and our template forms for easy recordkeeping as well as our tax tips. Insurance purposes • what capital allowances you might be able to set against your tax • a webinar explaining the new simplified expenses schemes for claiming the business cost of running your car or a proportion of your household bills as a business expense

For a full list of our online advice pages go to Caroline Aldred, Business Support Officer, ISM

A call to all music teachers and accompanists – take part in our fees survey The questionaire is now available online. Even if you do only a small amount of teaching work please complete the questionnaire. Your input is essential because the more musicians who complete the survey the more authoritative the survey results will be as an indicator of what musicians have been charging. Please help us to help you. Our questionnaire should take no more than ten minutes to complete. You can access the questionnaire at The password is ISMfees. If you have difficulties completing the questionnaire online, please contact us on 020 7629 4413. The deadline for you to complete the questionnaire is 30 November and we will publish the survey results early in the New Year.



Why music? Gallions Primary School is on one of East London’s most deprived housing estates. It champions music for all in an enhanced programme that has developed over the last 14 years. In this article, we learn why music is so important to the school and the community it serves.

Above: Year 4 pupils perform their own India-inspired composition at Stratford Circus Photo: Victor Tse

At the heart of the matter is the age old question: what value do the arts have? How can we quantify what a creative subject does for society, the individual, the child and in a methodological manner attach a number to how much we are willing to pay for it? In an age of austerity measures and swinging cuts, it is sad but predictable to see arts activities lined up first for the chop, perceived by some as an unnecessary luxury. However, at Gallions we don’t believe that music education is an add-on, a nicety, or the icing on curriculum cake. We believe that music education is essential, a vital and life-changing tool to facilitate not just budding musicians, but scientists, lawyers, and designers of the future. Music, particularly at the formative years we teach (3–11 years of age), improves discipline and thinking. It creates empathetic team players. It enhances mathematical learning through rhythmic understanding. It raises aspirations, confidence, pride. It is, in short, worth every penny.

The circumstances we work in are challenging. The pupils are drawn largely from the housing estate in which the school is based. The estate is recognised as being in one of the five per cent most deprived areas in the UK. With a high level of crime, antisocial behaviour, unemployment and a general lack of engagement on the estate, the children we work with arrive on a daily basis having been exposed to difficult circumstances. Many of our children speak English as an additional language, or come from an unstable living situation that makes learning a struggle. Gallions is a place where children feel safe, as a part of a larger group working toward a whole; where the playing field is largely equal. In terms of academic achievement, we’re proud to boast the title of Most Improved School in London (2009–2012), and we are positive that at the core of this achievement is our commitment to music education. We feel that music is a universal language which has the power to bring children from all backgrounds together. Continued overleaf 





We’ve spent a great deal of time developing our music programme. In addition to classroombased musical activities and projects, every child in the school receives musicianship lessons taught through the highly respected, childcentred Kodály approach to music education. Furthermore, each pupil aged six and above learns a string instrument in small groups through the Colourstrings method, which draws on Kodály’s principles. Our children have the opportunity to join a number of choirs, orchestras, and small ensembles, attend supervised practice sessions, and listen to and work with professional musicians on a regular basis. Pupils take part in performances throughout London and the UK, as well as in our own lunchtime concert series. Yet, we still have so much more that we want to do. We continually ask ourselves the questions that all schools have to ask when running a music programme: will this meet the needs of our children? With a limited budget, how can we effectively reach all children musically and foster in them an ongoing relationship with music that will remain even after they have left us? When people see and hear our children play, the word that springs forward is ‘powerful’. It’s a powerful experience to witness children from such diverse and, in many cases, difficult backgrounds coming together to perform with a musicality and maturity to rival that found within the most prestigious youth orchestras. It is this power that spurs us on with our programme, under the belief that our children should have all the facilities to defy stereotypes and convention of what they can and cannot be.

Left: Year 4 pupils perform their own India-inspired composition at Stratford Circus Photo: Victor Tse

It’s important to us that music isn’t held up on a pedestal, and rather is regarded as an essential, necessary and normalised tool. Our teachers don’t shout, the children respond to clapped rhythms and songs as part of their daily school routine. It is regularly used as a stimulus in all the humanities subjects and, having watched our music programme grow and our academic results improve across English and Maths concurrently, we have no doubt that music enhances learning across the board.

None of our children come to us with any musical training, but many leave to pursue it in some form. That’s not to say there are not the inevitable culture clashes, that some children may aspire to an X Factor-type career over one as a champion cellist, but the musical education and experiences they receive here will lay the foundation for any future interest or career in music, and we’re sure to make that clear to them. The children experiment with their instruments and voices to create music in many styles and genres, taking inspiration from around the world. They play in professional spaces at any opportunity we can give them, and they understand where music can take them; what doors it can open for them. It’s important to highlight that the state funding we receive does not cover the cost of our music programme. Instead, we work hard to keep money coming in to enable us to meet our ambition. Many funding organisations are unable to support activities which take place in curriculum time, or activities which appear to overlap with an area of education considered a ‘statutory duty’ for the school to provide. We deliver the National Curriculum for Music, through class-based music and musicianship, but our string programme, orchestras, choirs, visiting artists, practice sessions and concert series are all additional opportunities for the children. Of course, we would be forced to reconsider our dedication to the music programme if we weren’t certain that it was having a long-term effect. Putting to one side the academic results, the opportunities our children have accessed and successes they have achieved through music are inspiring. Last year our senior orchestra performed on the main stage of Birmingham’s Symphony Hall as part of the Music for Youth National Festival, having impressed judges at the Regional Festival. We’ve had children accepted into the National Children’s Orchestra and pupils playing and working with the Royal Philharmonic and London Symphony Orchestras. Our senior choir was invited to take part in the prestigious London A Cappella Festival earlier this year at King’s Place, Continued overleaf 



and the junior choir mastered a contemporary composition with Latin lyrics for performance onstage with the New London Orchestra. Described by our pupils and their families as ‘life-changing’, these experiences are not just notable and memorable, but create for the children who access them a feeling of pride, a sense of achievement and an increase in confidence that they will carry with them long into the future. Due to our expansion in pupil numbers, from September 2014 we will no longer have the space required to deliver our music programme as it currently stands. Rather than looking to cut down the programme, plans are in progress to create a dedicated music building for the school – a rarity in primary schools – which will allow us to expand and further develop our musical activities. We’re still fundraising for the project, but when it is completed we hope to be able to offer an even more varied extra-curricular musical menu to our pupils, as well as exploring how we could share the space with other local schools and organisations. We want to open our doors to the community in a bid to help aid social cohesion and provide high quality musical activities for people of all ages and circumstances. Having recently hosted various successful community events, including inspirational performances from Spitalfields Music for pre-school aged children, concert trips for Gallions pupils and their families, and a fortnightly arts festival in which parents

Above: Year 4 pupils perform their own India-inspired composition at Stratford Circus Photo: Victor Tse


and community members participated in creative workshops and performances, we are convinced of the positive impact and transformative effect of music and can’t wait to further develop our work in this area. We don’t simply think of our community as those within walking distance of the school. Our community comprises anyone who shares our aim to enhance the lives of children and considers music an integral and essential ingredient in this. If you are one such person or organisation we would be grateful for your support, whether it comes in the form of a visit, a recommendation of someone who might want to work with us, a sponsored event organised for us, or a donation, no matter how large or small. We’re just £50,000 away from creating our new music building, a small price to pay to secure a high-quality, inspiring musical education for generations of pupils to come. Every teacher wants to give their students the world, and through music, we really think we can. Paul Jackson, Headteacher Coco Khan, Communications Manager Rosamond De Vile, Music Manager Gallions Primary School For more information and to keep up to date with Gallions, visit or email music@gallions. to see how you can help.


Mittwoch and more The ISM sponsored the RPS Music Award for Opera and Music Theatre in 2013, which was awarded to Birmingham Opera Company for their landmark production of Stockhausen’s Mittwoch aus Licht. Here Jean Nicholson tells the story of this production, and looks to the future for a very different kind of opera company.

Above: Birmingham Opera Company’s production of Mittwoch aus Licht Photo: Helen Maybanks

of the Stockhausen Foundation before you can embark on rehearsing the choirs, the players and, of course the helicopters. We had a version of ‘the two adjoining halls’ in Argyle Works where we had staged both Verdi’s Otello and Jonathan Dove’s Life is a Dream. It’s a cathedral-like industrial structure, previously a metal-plating works and was empty, pending planning and regeneration decisions in the area. The wonderfully enlightened owner and developers gave their permission for its use but would Kathinka Pasveer and Suzanne Stephens from the Stockhausen Foundation think it suitable? They came, they saw, they approved. So began the To stage Mittwoch aus Licht / Wednesday from Light you need two adjoining large halls and the blessing adventure that was Mittwoch aus Licht. It had always been known as the unstageable one – the last of Stockhausen’s seven operas in the Licht Cycle, to receive its world premiere. Mittwoch aus Licht, with its flying instrumentalists, big choirs and, of course, the famous Helicopter String Quartet, was understandably a big and difficult project to pull off although many august institutions had tried and failed. With the uplifting spirit of the 2012 Olympics and Ruth Mackenzie’s inspiring drive the possibility of presenting the world premiere began to take shape. We’d be in training for this kind of project for a long time.

Continued overleaf 



‘ I’d like to thank the Royal Philharmonic Society and the Incorporated Society of Musicians for recognising with this award that the future doesn’t have to be the same as the past, that things can change, that we can find new ways of doing things.’ Birmingham Opera Company’s Artistic Director, Graham Vick’s acceptance speech at the RPS Music Awards, 2013

It’s a piece of five sections lasting some six hours demanding fantastic musicianship on the part of players and singers as well as Kathinka at the mixing desk interweaving, with extraordinary precision, the brilliant electronic tracks made by Stockhausen. Graham Vick assembled a highly experienced team who were wholeheartedly committed to pulling it off and reward the faith of the London 2012 Festival who found the money to make it happen. The technical challenges were immense and our Executive Producer, Richard Willacy, tirelessly put together an intricate and highly complex rehearsal schedule for the singers with the technical challenges of an octophonic sound system, the kit to broadcast both visuals and sound from the individual players of the Elysian Quartet as well as finding the right helicopter company to come on board.

vibrant and living proof that opera can reach new a new audience. So what’s next? Well, the Russians are coming… Modest Petrovich Musorgsky (aka Mussorgsky, Мусоргский) – self-taught, alcoholic and reclusive, Musorgsky single-handedly stamped a definitive style on Russian music. We’re in the midst of a 15-month project exploring Musorgsky and his work not only through live performance but digitally too.

This spring we began work on Musorgksy’s crushingly beautiful Songs and Dances of Death. Mezzo, Anne-Marie Owens and baritone, Byron Jackson worked with Graham Vick to create live performances that popped up all over Birmingham in contrasting settings: the hallway of a flat in a Sheltered Housing Scheme, the Pavilions At the heart of it all though was the most Shopping Centre, SIFA Fireside centre for the extraordinary music from a genius of the 20th homeless, Kerria Court Residential Home, St century. As the audience assembled for the world Philips’ Cathedral and a surprise performance for a premiere they were greeted by camels, curry, the group taking the backstage tour of Symphony Hall. helicopters flying past and sunshine. There was Ron Howell, our choreographer, had been working palpable air of expectation – terrifying. Six hours with young dancers from Wolverhampton later, audience and performers, emerged from University and Joseph Chamberlain College the darkness into the evening air intoxicated and creating dance responses to the music. At the heart bewitched by the extraordinary experience. It’s of this project, however, was a team of trainee filma work full of humour, insight, compassion and makers, including Graham Vick, Richard Willacy vision – and a truly great masterpiece. and 18 young people who were under the tutelage of John Martin White and Tony Mills – thanks to Here in Birmingham, the internationally renowned the generous support of BBC Birmingham and opera director, Graham Vick, has established a the BBC Academy. Camera work, lighting, very different kind of opera company. Opera can editing, using hardware and software were all be the most powerful and communicative of art covered and many hours of filming were done forms and here we’re committed to sharing this by night and by day to create a suite of more than belief with the broadest possible range of people. 20 short films. We’re keen to share our know-how By involving ourselves in local communities and and offer opportunities to people on the cusp of making local people the focus of what we do, moving from study to work: here they learned not only do we offer the opportunity to engage alongside the core creative team. Several are with opera at first hand but also, in return, have already finding work in Birmingham’s the chance for our productions to be enriched burgeoning creative industry using their new by a wealth of human experience. The choice of found skills to earn a living. They’ll be back to work, preparation and presentation are governed work with us too as we document and record our entirely by this commitment. We knew our people work for a broader audience. would approach Stockhausen in an open and fresh way. More than 120 of them were involved Next up is the big one, Khovanshchina or in Mittwoch – some had worked with us before Khovanskygate in our new English version from and some were new to the company. They are a Max Hoehn. A towering opera with a big story, a



big chorus and a big orchestra – in our case the City of Birmingham Symphony Orchestra. We’ve been hunting for a place to perform and have been viewing spaces that haven’t seen the light of day for some time. We’re close now to a deal on the favoured space, the cast is in place and the opening night is set – 22 April 2014. Khovanskygate – an opera about the viciousness of the pursuit of power and claims to the true soul of a nation. The standard bearers of tradition, the religious fundamentalists, old power versus new power, ideology versus corruption, violence and love – it’s a fight to the death, surely? This is an opera of enormous musical power and beauty, big in scope and sound. We’re thrilled to be working with the CBSO again and Stuart Stratford who makes a welcome return to the company to conduct. The word is out in Birmingham that we’re going to need a lot of singers – particularly men. We’re recruiting a group of professional Chorus Mentors to play a big role in helping Chorus Master, Jonathan Laird coach the chorus to amazing standards using a range of teaching materials and techniques. As well as working with the chorus they will take several of the smaller roles in Khovanskygate and receive individual coaching and career guidance along the way. Richard Willacy is using his extensive informal networks at street level to open

conversations with groups and individuals a long, long way from opera and classical music but whom we believe can make a big contribution. The story is the hook for them; universal and timeless. We’ll be running taster workshops out on the social edges of the city delivered to the doorstep in familiar surroundings. This early foundation work is underway and in November we’ll be gathering our singers together for a big session with Jonathan and Graham. After Christmas the Chorus will be meeting regularly in preparation for the arrival in March of Graham, the soloists, Sheelagh Barnard and her technical wizards.

Above: Birmingham Opera Company’s production of Mittwoch aus Licht Photo: Helen Maybanks

What makes Birmingham Opera Company’s work so special is the intimate connection between our core professional work and our learning and participation work – they occupy the same stage. Here in Birmingham we’re building an audience for opera by taking it out of the mainstream and bringing it closer to people. As Graham Vick says ‘If opera has a place in the world then it must be of the world.’ Khovanskygate opens on 22 April 2014 and booking opens later this autumn. Jean Nicholson, General Manager, Birmingham Opera Company Twitter: @birminghamopera






Music World

Blending traditional and new Charanga provides contemporary digital resources for music teachers and schools, and exciting online learning for children and young people. Colin Arenstein talks here about getting the right blend between traditional and new. When we teach students, our main aims include instilling in them a love of music, encouraging them to practise regularly, and to deeply enjoy what they are doing. If they enjoy it, they’ll want to do more and if it’s a deep enjoyment they may want to do it for life. Charanga provides computer-based music resources to help students and teachers with these and many other aims. These resources are used via everyday technology: in homes or teaching practices, the laptop or desktop computer; in schools, this can be the whiteboard. They are used to support teachers and their students, providing variety, new enjoyable ways of learning and experiencing music and practising, blending with, not replacing, the ‘traditional’ teaching formats.

Brave new World Charanga Music World, Teacher Edition, one of the Charanga programmes, is for instrumental teachers and their beginner students, teaching oneto-one, or in small or large groups. Children enjoy using computers and Music World combines this with their love of music. As well as interactive pieces, it has musical quizzes and games, videos, cartoons, basic improvisation and composition, badges to be printed after achievements, and, for some extra fun, students can design their own avatar to go through the World. Each one, like every child, is unique! Teachers can provide the World for beginner students to use at home during their first few

Continued overleaf 



months of learning and can then switch new or other beginners on to the programme as the first learners become more proficient and move on to higher levels. The level in the World is from beginner up to about preliminary/initial grade and has seven stages, each stage having six pieces. The interactive pieces (which can be printed out by the teacher if desired) and how they are presented is one of the factors that makes Music World special and different from any other programme: •

the music is shown on screen with the bar being played online highlighted so students can focus and match notes with sounds

the music can be played with the backing track at a practice or performance tempo so that even at a slow tempo students can enjoy taking part in great-sounding music

animations show where the notes are on the instrument, reinforcing and reminding students what they have learnt in lessons; the animations can be switched on or off as preferred

sections/phrases can be looped to make repetition easier

pieces can have just note names, note names with notation, or notation only, providing flexibility of approach

students can play without the provided lead instrument part as they become more confident

backing tracks are varied in style, genre, instrumentation and tempo to make each piece different and interesting

The teacher provides login details for the children to use the World at home. The annual subscription for the teacher is £20 which includes their access and student management plus two student licences. Each additional student licence is £10 a year. Just as a teacher reclaims the cost of a tutor book, so a teacher can claim back the cost of the licence if he or she wants to.

Complementary The World complements just about any teaching method. It has proven to promote more practice between lessons and can be used as an additional resource to complement tutor methods, or as a beginner scheme of work. It provides a wealth of


extra repertoire that can easily be used in school and student concerts. Jane Sebba, overall editor for the different instruments, explains the rationale behind the World: ‘Instrumental teachers asked us to create a course that will engage their students in the sometimes challenging early stages of learning an instrument. Charanga Music World is designed to encourage children to play their instrument between weekly lessons, and to open their eyes and ears to the breadth and depth of music, and how much fun musicians can have along the way. ‘In each stage, children have the opportunity to play pieces, improvise, compose, imitate tunes and rhythms, learn about theory and the elements of music (pulse, rhythm, pitch etc), play games, answer quizzes, watch YouTube clips, give a performance etc. The course has been ‘gamified’: children begin by personalising their avatar and then set off on their journey round the World.’

Jane studied music at the Guildhall and Oxford, played in the National Youth Orchestra, taught in primary schools as a class and instrumental teacher, founded and ran The Music Funshop, worked as a theatre musician for the National Theatre and Royal Shakespeare Company, has been a commissioning editor at A&C Black publisher and has many of her own music books for children published. By the end of November 2013, Music World will be available for clarinet in B flat, recorder, flute, classical guitar, violin, viola, cello, alto saxophone, trumpet/cornet, baritone horn/euphonium,

Below: Charanga Music World website


trombone (treble clef and bass clef versions), tenor horn and French horn. Specialist instrumental teachers are brought in to work with Jane, where she is not the specialist herself, to write and arrange pieces, quizzes and games to fit in with the overall vision. The Teacher Edition is a development of one aspect of Charanga’s Professional programme, which contains Music World for 24 different instruments plus hundreds of other resources for teachers who teach a wide spectrum of activities.

New tools to assist learning The aim of using technology is to improve learning in an enjoyable way. It’s a new tool in the teacher’s tool kit. Many people balk at using technology because they are not familiar with it, because they’ve been teaching for many years and been very successful without it and are reluctant to try new things. However, my belief is that as new advances in technology become available, we owe it to ourselves and our students to keep abreast of them and make use of them where appropriate for the benefit of our students. Organisations like the ABRSM are bringing out new apps for ear training, for playing accompaniment slower without changing pitch (the Speedshifter) and are looking to do more. I have used an excellent programme called The Amazing Slow Downer, a more advanced version of the Speedshifter which has been around for many years (there are many types of these programmes) in my teaching and it can really help to provide variety and musicality in the lessons. For some reason, CDs with books have generally not been popular with students. How many times do we see the tutor book that comes with the CD having the CD completely untouched? With computers, it’s different. Children love using them and with online programmes, it’s easy for them to enjoy Charanga Music World at home, and we know from teachers, parents and children that they love using Music World. Using digital resources, (as computer resources are known, not to be confused with digital, as in finger, exercises) is another way of helping our students with 21st century means to take advantage of the way we can create more musical experiences. It’s getting the right blend in lessons and practice that will motivate and encourage young players, especially beginners.

Stimulating Charanga’s range of programmes and their resources provide a stimulating, musical environment to enable real music making to take place right from the start. With programmes for teachers to use in their own studios or as a peripatetic in schools, for beginner students, for school teachers in primary or secondary schools, for whole class instrumental teaching, there are a variety of programmes to suit different needs. One of the founders of the company in 1997, Mark Burke, was a Royal College of Music student and became a successful performer and teacher. Seeing the benefits of using new media to support teachers and their students, he started with educational CD Roms and a few years ago moved onto online resources as broadband became widely available. Charanga has grown so much that their resources are now used by teachers in over half of the music hubs/services in England, as well as music organisations and schools around the world. The resources support and complement traditional teaching methods – they blend. I have seen, for example, whole class instrumental lessons where the teacher moves between playing and have the class playing with correct posture, to a Charanga resource to explain rhythm, to copying the teacher playing phrases, to Charanga pieces on-screen with backing track, with optional graphics to show where to play the notes and many other musically based features that support and encourage the students. The children have been fully engaged and thoroughly enjoying making music. The lessons are varied, interesting, enjoyable, and an oft-overused word but absolutely true, exciting. One of the programmes, Charanga Musical School, was nominated by Music Teacher magazine as the Best Digital Resource for 2013. It’s used in over 3000 primary schools in England and has proved a huge success for children and teachers. Colin Arenstein, Head of Marketing and Communications, Charanga Music (for Music World) T: 01273 823900



NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email The next deadline for copy is 28 November for January/February issue.

Raymond Banning remembered Lorraine Banning writes: As we approach the first anniversary of Raymond’s death, I would like to remember the huge contribution that Raymond made to the world of Classical music during his career which was tragically cut short with a diagnosis of Pick’s Disease (a rare and rapidly progressing form of dementia).

Menuhin’s Vision

Rolland pedagogy

The Yehudi Menuhin School was created and brought to life by the vision and determination of an extraordinary musician and world citizen. Within a few years the School had become known throughout the world and was beginning to set a new standard for the education and training of young musicians.

Claudio Forcada is organising a new edition of the training on Rolland pedagogy in North London in January 2014. Rolland’s pedagogy is one of the most relevant contributions to string pedagogy in the 20th Century and the workshop is a good opportunity for any string teacher and performer to improve his or her teaching practice and own performance. On 2–5 January, the String Pedagogy Seminar will include lectures, discussion and talks for string teachers and researchers by Lynne Denig and Nancy Kredel from the USA as well as Claudio and other experts in the field.

To mark its first 50 years, Nicolas Chisholm MBE (Headmaster of the School for 22 years from 1988 until We miss Raymond terribly but his retirement in 2010) has written know that the years of hard work Menuhin’s Vision – Fifty Years of and dedication he gave to the music the Yehudi Menuhin School. The world has touched the lives of 256-page book with more than 100 many students, teachers, audiences colour and monochrome illustrations and beneficiaries of his charitable will be published by Phillimore in donations. Raymond continues to be December 2013 (RRP £30). Copies my inspiration in my own musical journey. We hope that his colleagues, ordered before the book launch on students, and all who benefited from 6 December will be £20. A limited edition, bound in half-leather with his wonderful talent, kindness and generosity will continue to remember silk head and tail band, and signed him with the respect and affection he by the author is available for £300 per copy. so deserved.

Below: Raymond Banning

To read more about Raymond’s life in music, please see Lorraine’s full article in the features section of our website at features.

For further information and to order a copy of the book, please download the order form from support-us/fundraising.

For further information and application forms (deadline: 1 December 2013), please email

The Rev Professor June Boyce-Tillman MBE June Boyce-Tillman has been active during 2012–13 giving talks and performances about Hildegard of Bingen all over the UK, following her election as a Doctor of the Church in Dublin.

She has been developing her work on music education and spirituality and Pianist Ivana Gavric released her has presented this at the International third album on Champs Hill Records Music Society for Music Education in October, featuring works by Grieg. World conference in Thessaloniki, She launched the disc in the USA with as well as in Lithuania, South Africa debut performances at the Phillips and New York. She has developed Collection in Washington DC and thinking on interfaith dialogue at the Gilmore Festival Rising Stars through publishing articles and Series. In the UK, she will launch the chapters and arranging and directing disc with a recital at The Wigmore Hall events in the UK and overseas. She on Thursday 28 November at 1pm. has lectured and given workshops on young people’s creativity in the Women’s University, Tokyo.

Ivana Gavric

June’s new work In a Golden Coach celebrating the Queen’s coronation

Continued overleaf 


Work with acclaimed musicians from the outset Build your profile with regional and national performance opportunities Study at an Apple Authorised Training Centre and All-Steinway School


was performed by 250 performers and the Southern Sinfonia in Winchester Cathedral. Her new one woman performance A Crack in the Cosmos has been performed in Yorkshire, Basingstoke, Winchester, Lourdes and Louvain University. She is also working on a new piece for Winchester Cathedral on the theme of the Futures of Capitalism entitled The Great Turning and a new performance on abuse entitled Seeing in the Dark.

Above: Eleftheria Kotzia Right: Cromarty Youth Opera’s performance of Noye’s Fludde

is 25 miles north east of Inverness and, like Orford where the work was premiered, is a seaside town with a population of about 700. Children came from Cromarty and nearby villages rehearsing and performing in the last three weeks of the summer holiday. Noye was sung by Andy McTaggart from Scottish Opera with all other roles sung by children. The orchestra, as Britten intended, included adults and children of all abilities. The production which was June is convenor of the Centre for conducted and directed by Edward Arts as Wellbeing at the University Caswell involved over seventy of Winchester. participants, many of whom were experiencing opera and Britten for Gypsy Ballad the first time, and played to a total Eleftheria Kotzia has recorded a new audience of 570. The project received CD of guitar works entitled Gypsy generous funding from The Middleton Ballad. The disc consists of a wideTrust and Creative Scotland and plans ranging repertoire of little known are in place for Cinderella by Peter works containing folkloric and ethnic Maxwell Davies next August. elements which express the voice of the contemporary classical guitar including Suite Castellana, by the Spaniard Moreno Torroba, as well as songs and dances from the ‘old world’ (Armenia, Macedonia, the Balkans, Persia). Joaquin Rodrigo was influenced by Romani music and the gypsy song Sostar Mange, was beautifully crafted by the Czech composer Sylvia Bodorová in her Gypsy Ballad. From the ‘new world’ the famous tangos Cumparsita and El Choclo from Argentina and Uruguay are the only arrangements, alongside original salon music from Brazil, the infectious rhythms of the Afroinfluenced music of the Caribbean and the purity of Venezuelan song.

In August Edward Caswell founded Cromarty Youth Opera presenting three performances of Noye’s Fludde in Cromarty West Church. Cromarty


Leonard Rhodes

Professor John Irving

Len Rhodes’ work in the USA as original musical director and arranger for One Night with Janis Joplin (Portland Center Stage, 2011; Cleveland Play House, 2012; Arena Stage, Washington DC, 2012 and 2013; Pasadena Playhouse, 2013; ZACH Theatre, Austin, TX; Milwaukee Repertory Theatre, 2013) has earned him a Broadway credit with A Night with Janis Joplin which opened on 10 October at the Lyceum Theater in New York City.

Professor John Irving, Reader in Historical Performance at Trinity Laban Conservatoire of Music and Dance, has recently released a CD of works by Mozart’s contemporary, Johann Baptist Vanhal (1739–1813).

In 2012 Len also worked as musical director, arranger, and pianist/ keyboardist in the Las Vegas MGM Grand’s Hollywood Theatre production of Mike Tyson – The Undisputed Truth. Len was music

Britten opera in the Highlands

The disc, which commemorates the 200th anniversary of Vanhal’s death, was recorded last year. Going back to original manuscript and printed sources, the CD contains Vanhal’s complete works for clarinet and piano, played on period instruments. Vanhal was one of the earliest composers to write sonatas specifically for the clarinet, and on this disc, clarinettist Jane Booth uses clarinets in B flat and C copied by the Dutch maker, Pieter van der Poel from original Viennese models, while John’s fortepiano is a copy of a Viennese instrument of a type owned by Mozart, made by Paul McNulty in 1987. The disc also contains solo keyboard works by Vanhal, including a delightful set of English Dances, the idiomatic nature of which suggests that transmission of printed music between England and Vienna at the end of the eighteenth century was flourishing, and reinforcing Vienna’s reputation as a cultural and stylistic melting-pot. The CD is available from sfzmusic (SFZM0413). cd-janeboothjohn.html


arranger for Stage West’s 2012 production of Summer in the City, Calgary, Canada. He continues his ‘day gig’ as Director of Music and Organist at Lord of the Mountains Lutheran Church, in Dillon, Colorado. He is Artistic Director, and was recently appointed as Artist in Residence, with Summit Music Arts, also based in Dillon, Colorado.

Kirsten Johnson

Below: Kirsten Johnson Photo: Jonathan Lane

Oxford centre member Kirsten Johnson has just released a threeCD box set of the complete piano music of Arthur Foote. Arthur Foote (1853-1937) was one of the ‘Boston Six’ group of American composers. Kirsten researched and tracked down all the music for this groundbreaking recording of Foote’s piano repertoire. Released on American label Delos (, the recording is raising interest worldwide, being hailed in Germany on as ‘Absolutely outstanding, surprising discovery!’ Kirsten has previously recorded the complete piano music of Amy Beach for Guild, as well as music by Albanian composers.

Reminiscences of a music examiner Rosemary Gutteridge has written a book entitled Reminiscences of a music examiner documenting her life in music, from her early life and training through to working as an ABRSM examiner, both in the UK and abroad. The book is available to purchase, priced £12 including postage and packing. Interested members should contact Rosemary directly on 01753 642931.

English Music Festival After a highly successful seventh annual festival, based in and around Dorchester Abbey in Oxfordshire, and during which several ISM members including Duncan Honeybourne, Paul Carr, Ben Palmer and David Owen Norris were amongst the many taking part in this magnificent celebration of Britain’s rich musical heritage. There are vacancies within the EMF, which is devoted to resurrecting forgotten gems as well as commissioning new works in the English tradition.

Its most exciting project is the development of a major educational enterprise – to include web-based The Hastings International Piano resources, video presentations and Concerto Competition, chaired by filmed masterclasses. An Education Molly Townson, will celebrate its Officer is required to develop this 10th anniversary in March 2014. area. The EMF is also looking for sponsorship/support/subscriptions To mark the anniversary, first prize in its latest series of CD recordings will be £10,000 plus a concert with the Royal Philharmonic Orchestra and – ensuring that no English works other engagements, second prize will worthy of hearing are ever again be £2,500 and third prize £1,250 also left unavailable to listeners. Further with engagements, an audience prize details and information can be obtained from the Founder-Director of £500, and a new prize of £750 for Em Marshall-Luck (em.marshall@ the best British pianist in either the or Tim Daniell semi final, or final. ( An international jury which will be chaired by the competition’s Obituaries artistic director, Frank Wibaut, will include Dine Yoffe, Paul Roberts, With regret, we report the deaths of: Brian Wright, Peter Katin and Richard Angas of London Jonathan Marten. Peter Aston of Long Stratton The week of the competition, Joan Best of Stourbridge which opens the three week Zuilmah Hopkins of Middlesbrough Hastings Musical Festival at the White Rock Theatre, concludes with Sybil Michelow of London the final on Saturday 8 March at Denise Patton of London 6pm when three finalists will play Robert Trory of London their chosen concertos with the Royal Philharmonic Concert Orchestra.

The Hastings International Piano Concerto Competition

The 2014 competition is sponsored by Yamaha Music Europe GmbH(UK), and supported by the Kowitz Family Foundation.



Our new members We offer a warm welcome to the following members who joined before 30 September. Full members

Birmingham Helen Cooper GRSM DipRCM Richard Hughes DipABRSM Judith Johnson BMus(UCE) Linnea Markgren BMus(BCU) Margaret Pickford ARCM Martin Sleaford BACoventry

Bournemouth Hannah Wheldon-Holmes BAHons

Brighton Sonia Dembinska BA Susie Duffy Karen Purves BA QTS

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Cambridge Alison Baillie BA PGCE LTCL Catherine Johnson Jeanette Langford BMus Mandy Slater BAHons(CNAA) BScHonsEAnglia ALCM(Pf/ Flute) LLCM(Flute) LTCL(MusEd) Jamie Smith BAOxon MAOxon DipNMAU LRSM(PfP) Elizabeth De Vile GRSM ARCM ARCO CertEd

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Croydon Eligio Quinteiro

Eastbourne & Hastings Mark Beesley


London - South East Daniel Moulton BMusCCCU

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Joanne Chen MMus Anuli Igbesoko BMus Genevieve Joy BANott Alexandra Mackenzie Samuel Parratt PGDip Kate Ryder MMus Samuel Smith BMus Richard Thurstans BMus

London - South West Sally Bunce BMusHonsKingston Susan Carpenter-Jacobs Charlie Green BAHons Wen Gregson BA MA Alasdair Hill MPerf(RCM) Claire James BMusRNCM Paul Johnson BMus(BCU) Sam Kinrade MPerf Sandra Kos DipMus Konstantinos Kotoulas BMus CertGoldsmiths Hannah Morgan MMusRCM George Ross BMusHonsRCM Pere Sarrio TitulodeProfesorSuperior Jason Seegoolam BTechBrunel

London - West Henrietta Esiri BACam Mireia Gonzalez Titulo Superior De Musica QTS

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Northern Ireland Gillian Carlisle BMusBelfast ALCM(SgP) Andrea Harbinson BMus DipMusTherapy Val Magee DipLCM

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Scotland - North East Caroline Jones ATCL(Instr/VocalT) LTCL(Instr/ VocalT)

Scotland - South East Lauren Clay BAHonsLiverpool MMus(BCU)

Scotland - South West Liam G Lees ATCL(PfP) FGMS BMus Margaret Peat ALCM Gemma Thomson BA

Sheffield Huw Lewis BAAngliaPolyUniv Chris Noble BMus Jackie Pugh BMusEdin


South Wales

Jon-Luke Kirton BMusHonsBCU MMus Mark Paine ARCM BAHonsRead CertEd Charlotte Tomlinson BAHonsYork CertAdvStudiesGSM

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Portsmouth David Caswell ARCM Sophie Middleditch PGCert(TCL) BMusHonsLancaster Julie Twite BMus

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Southampton Karen Housby Maya Kaminska FdA

St Albans Lesley Chapman Robert Crowley MScHerts BMusLond


ARAM DipRAM LRAM(OP) ARCO(CHM) Arwen Newband DipMus


Hereford & Worcester

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Student members

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London - North

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Tim Palmer AdvPGDip(UCE) BMus

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Gary Clarke


Fabricio De Mattos

Warwickshire & Northamptonshire

Kathrina Perry BA

West Yorkshire Matthew McGuffie BMusHuddersfield Jasper Minton-Taylor BAHonsOxon

Andrea Ruddock

Bristol Cecilia Quaintrell Lavinia Redman

Croydon David Thomas

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London - South East Lia Breingan Jamie Fathers Sabina Heywood

London - South West

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Corporate members Music Education Solutions Elizabeth Stafford T: 07570 455887 E: liz@ musiceducationsolutions. W: musiceducationsolutions.

European Piano Teachers Association (UK) Ltd

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• Legal expenses cover for employment disputes & for bodily injury or death • Public liability and IR investigation insurance • Over 30 regional centres organising regular events • 24-hour legal helpline • Piano Professional magazine • Annual piano & composers competitions • Practical Piano Teaching Course for new & experienced teachers • Scholarships & bursaries • National & international events in 42 EPTA countries Enquiries to The Administrator, 6 Ripley Close, Hazel Grove, Stockport, Cheshire SK7 6EX


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Classified advertising 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

into printable A4 pages for performance or recording? For fast, accurate work contact Michael at shallowwatermusic@; www. Discounts available for ISM members.

How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7629 4413 with credit card details) to the ISM, 10 Stratford Place, London W1C 1AA or email by 28 November for the January/February 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.

from students to major publishers. Web: www. ReginaCoeliMusic. email: enquiries@

contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@

NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and FRENCH HORNS, Several affordable recording from £150. 01747 828552 services throughout Southern England and VARIOUS BRASS, PERFORMANCE Wales. 10% discount for WOODWIND & STRINGED ISM members. www. NERVES? I can help. Call instruments for sale and/ or Rosemary Wiseman Tel. or rental. Tel: 07974 020 8958 8083 www. phone 01954 231117 412269 BASSOONS several good TRANSPOSITION, MUSIC TYPESETTING/ student instruments ORCHESTRATION. Do you ENGRAVING AND £600-£800, need handwritten scores/ PART EXTRACTION 07974 412269 Music Printing at very parts professionally NEED AN ACCOUNTANT? typeset? Or DAW MIDI files reasonable prices! Our work is of the highest 15% discount for orchestrated and turned quality; clients range ISM members. Tel:


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BECHSTEIN GRAND PIANO. MODEL B, SERIAL NO. 90904. Fully refurbished by Piano Restorations Limited of SPINET WITTMAYER DIGITAL ORGAN – Viscount Twyford, Buckingham, (German) 4 octaves C-D, Cantorum 6, portable, where it can be viewed. light walnut. BGC needs tab stops, x-stand, cover. Valued at £23,000; will tuning, hence £775. Tel: As new. £650 ono. Tel: accept OIRO £18,000. 07974 412269 07811 374243 Please call the above at SUCCESSFUL SIGHT 01296 733766, or 01858 MY SOLFA PIANO BOOK SINGING. A Systematic 432779 for details. by Celia Waterhouse. Approach By Gordon Beginner piano JIM BROWN, Pearce £10 plus £2 p&p. lessons using solfa and Correspondence – Tutorial Available from: 6 St John’s Singing Teacher, 14 Mount, Easingwold, York musicianship through singing. Parts 1 & 2: Brownhill Meadows, YO61 3HG £8 each from www. Irvinestown, Northern MUSIC COPYING SERVICE. britishkodalyacademy. Ireland, BT94 1DW. Tel: Quality printed music org/resources.htm 07854 407601. Tailored produced at reasonable Introductory offer: Buy singing tuition for all prices. For further details both parts post free voices and occasions.


NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 250 words) and good photographs. Please email The next deadline for copy is 28 November for January/February issue.

Africa, Bosch has established an international reputation as a leading Timothy English (Head of Junior champion of the double bass. Conservatoire) writes: It is always Currently principal double bass with a special occasion when students the Academy of St Martin in the move on from Birmingham’s Junior Fields, Leon is much sought after as Conservatoire to their chosen path a chamber musician, recitalist and in higher education, but this year concerto soloist, and his infectious our group of final year students enthusiasm has done much to raise includes two who began their musical the profile of the double bass on the education in our Young Strings concert platform. Project some thirteen years ago and Leon said: ‘Trinity Laban Conservatoire have remained with us ever since. of Music and Dance embodies a Both were originally students of progressive outlook and the kind of Lucy Akehurst, whose tireless work creative spirit which has proved to coordinating the project has produced be such an enduring, stimulating a stream of fine young musicians. and motivating force throughout my Moreover one of those students, own life. I have every confidence that Roberto Ruisi, is a past leader of the it will provide me with a dynamic National Children’s Orchestra, and the platform from which to pursue my current leader of the National Youth commitment to educating young Orchestra, making this year very musicians. My own experience, special indeed. from the townships of South Africa As Robbie makes his way into the to performing around the world, next stage of his musical training, involves a 25 year journey full of he will be following in the footsteps painful lessons, and I feel driven to of his two elder brothers, Max and share these hard earned insights and Alessandro, themselves both products experiences with the next generation of the Junior Conservatoire, and now of musicians.’ in the profession working together in October also saw two major festivals the recently formed Ruisi Quartet. and performances – the Side-by-Side It is an immense privilege to work performance of the Rachmaninov with such talented young musicians Symphonic Dances, where Trinity and, in a time when government Laban’s Symphony Orchestra spending is the subject of such performed alongside members of scrutiny, hugely reassuring that the several London orchestras who are vital funding provided by the Music also Trinity Laban staff members; and Dance Scheme National Awards followed by the Prokofiev Festival. has been protected. The Prokofiev family has had a longstanding connection with Trinity Trinity Laban Conservatoire Laban’s concert venue, Blackheath of Music & Dance Halls, and the week-long festival of individual recitals and concerts, Virtuoso double bassist Leon Bosch has joined Trinity Laban Conservatoire installations and a special club night.

Birmingham Conservatoire

Right: Double bassist Leon Bosch has joined Trinity Laban Conservatoire of Music and Dance

of Music and Dance. From South

London College of Music As part of the University of West London (UWL; formerly Thames Valley University), we have seen many changes within both the College and the University as a whole. UWL’s most recent achievements include being named as the Number One Modern University in London and being acclaimed for its 94% employment rate for graduates. In line with the demands of national recruitment, UWL is delighted to have secured new halls of residence in Ealing. Over the coming two years UWL is undertaking an enormous

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


Charanga Highbury Grove School


Birmingham Conservatoire Colchester Institute London College of Music Mix Music Education Music in Offices Musicguard Oxford University Press Yamaha Music Europe GmbH (UK)

NMC Recordings The Royal Philharmonic Society The Opera Awards

Right: RWCMD graduate, Chris Avison (centre) meets HRH the Prince of Wales

For further information about our different levels of corporate membership and a full list of over 100 corporate members, visit

estates development and expansion project. This includes a state-of-theart performance space at the heart of the Ealing campus.

Royal Welsh College of Music & Drama

Bute Brass subsequently held an Educational residency at Aldeburgh culminating in a Snape Maltings Recital in January 2009. Chris has performed for His Royal Highness the Prince of Wales on three occasions during his studies in Cardiff. He subsequently undertook postgraduate studies at Royal Academy of Music. The Tredegar Town Band has just won the 2013 British Open brass band competition, held at Symphony Hall in Birmingham in September. Described by the adjudicators as displaying a ‘truly stunning performance’ and ‘unbelievable playing’, the band boasts current RWCMD students Hannah Drage (tenor horn), Jack Lapthorn (baritone horn) and Rhydian Griffiths (percussion) as solo horn, solo baritone and percussion respectively. RWCMD alumni Lee Drew (tenor horn) and Stephen Sykes (trombone) are also in the band.

LCM Live is the events programme for LCM, now embarking upon its third year and featuring over 150 performances, masterclasses and productions in each quarterly issue. As part of LCM Live we have launched the Join In series, inviting parts of our community from across the University and around Ealing to participate in the many ensemble activities on offer. UWL has been nominated for Times Higher Education’s University in the Community award. Over the past couple of years LCM’s new courses have included BA undergraduate degrees in Performance and Recording, Live Sound Productions and Acting for Stage. All three have recruited extremely well and we are seeing excellent results from the students. These degrees have made a vital contribution to the community, with students working on projects and productions both inside and outside LCM.

Royal Welsh College of Music & Drama graduate Chris Avison has been appointed Principal Trumpet, Bournemouth Symphony Orchestra.

Guildhall School of Music & Drama The Guildhall School’s new building, Milton Court, was officially opened on 26 September by the Lord Mayor of the City of London at a celebratory event which included a concert from the Guildhall Symphony Orchestra conducted by Edward Gardner, with performances from Guildhall alumni Alison Balsom and Sally Matthews.

At RWCMD, Chris studied with Philippe Schartz and worked with the orchestras of WNO and BBC National Orchestra of Wales. His role in college ensembles was extended by the formation of the Bute Brass We are delighted to introduce quintet, which competed in the a number of scholarships and Situated opposite the School’s Silk fellowships this year from donors and 2008 inter-collegiate brass quintet our supportive industry partners, such competition, competing against other Street building, Milton Court offers state-of-the-art facilities ensuring as Steinway, Focusrite and Roland UK. UK Conservatoires to win first place.

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that students can enter their chosen profession at the highest level. Facilities include a 608-seat Concert Hall, two theatres (223-seat and studio), three rehearsal rooms, a TV studio suite, office space, tutorial rooms and spacious public foyers which include a new work by Turner Prize-winning artist Martin Creed, Work No. 1637: FEELINGS, commissioned by the School and developed in collaboration with Barbican Art Gallery.

Royal Northern College of Music In September the RNCM launched Your RNCM, a £3 million campaign to transform its 40-year-old Concert Hall into a state of the art venue fit for the 21st century. Commencing in January 2014, plans include a new air-conditioning and heating system, new flooring and seating, advanced technical facilities

offering. In September, the College was awarded £2.8 million from the Higher Education Funding Council for England’s Catalyst Fund to aid the work, which will also include the reconfiguration of old, and creation of new, spaces to accommodate the diverse teaching, study, rehearsal and performance activities that are now demanded. To learn more about how you can get involved and support the campaign, visit

British Voice Association

Above:The Guildhall Symphony Orchestra conducted by Edward Gardner in the new Milton Court Concert Hall

Following David Walker Architects’ original concept for the overall development, Milton Court was designed by specialist arts architects RHWL Arts Team, working with consultants including Arup and Theatre Projects. Milton Court fulfils a number of major needs for the School and provides additional training space – the 1977 Silk Street building was originally built for 300 students and the School now has almost 900 students. It is the latest addition to a growing cultural hub in London’s Barbican area, stretching from the School’s two buildings and the Barbican on Silk Street up to the Barbican’s two new cinemas, and northwards to LSO St Luke’s on Old Street, offering a richly varied range of venues and performance spaces.


The British Voice Association, the unique, multi-disciplinary organisation devoted to the voice, has in September and October held several one-day conferences on a wide variety of topics: Brain and Voice in York on 14 September. A Pop and Rock study day in London on 29 September, and an Ageing Voice study day in Brighton on 26 October. There have also been Roadshows at the Bristol Old Vic Theatre School, and at the Royal Conservatoire of Scotland. Coming up soon is the Voice Clinics Forum on 8 November in Birmingham, and study day entitled Irritant issues: reflux, allergy, and the voice in London on 12 January. and lighting, in addition to a balcony and raised floor area to considerably increase capacity. The backstage production areas of both the Concert Hall and RNCM Theatre will also be reconfigured to support increased student numbers and provide a professional learning environment at industry standard.

Friends of the Musicians’ Chapel

The annual Friends’ service took place on 30 April and was very well supported. The music this year was excellent and provided by the Royal Academy of Music Once finished, the new Hall will under the direction of Patrick Russell, furnish Manchester with a stunning and much needed 750 capacity venue Head of Choral Conducting. The that will bring more music to the city speaker this year was the Rt Revd Nicholas Holtam, Bishop of Salisbury from around the world and enable the College to showcase students and who gave an interesting and thoughtprovoking address. There will be a professional performers in a more intimate space. requiem service on 7 November at 6pm at St Sepulchre in memory of The Concert Hall redevelopment is the musicians listed in the book of just one part of a major £6 million remembrance. The annual service project established by the RNCM for 2014 will take place at 6pm on to further enhance the student 29 April. experience and broaden its artistic


Worshipful Company of Musicians

The next Young Artists Showcase concert will be on 26 November at St Martin-in-the-Fields (7.30pm). The performers are Samson Tsoy (piano), Joseph Shiner (clarinet), and Frederick Brown (piano acc.). The Company Carol Service will be held at St Michael’s, Cornhill, on Wednesday 11 December (6pm).

Association of Teachers of Singing John Morehen writes: The Company has recently established a Popular Music Committee to explore ways of extending its support of young musicians to those studying popular music. This is the only area of music which the Company’s activities do not currently cover. The Midsummer Banquet was held this year at Mansion House. The Rt Hon The Lord Mayor, Ald Roger Gifford was the Guest Speaker. Music was provided by students from Chetham’s School of Music, by the Choir of St Paul’s Cathedral, and by Fanfare Trumpeters of the Royal Marines School of Music. Phillip McCann (Iles Medal) and Chris Jeans (Mortimer Medal) were presented with their awards by the Master at the British Brass Band Championships at Symphony Hall, Birmingham, on 7 September. The winners of the 2013 Dankworth awards for jazz were Daniel Thorne (Big Band) and Tom Green (Small Ensemble). The winning composition in the 2013 Lord Mayor’s Composition Prize is A Luddless Marriage, for organ, by Robert Busiakiewicz. It received its first performance by Jonathan Scott in Mansion House on 13 September, when the Lord Mayor presented Mr Busiakiewicz with a cheque for £2,000. Recipients of recent Company discretionary awards include the National Youth Orchestra, the National Children’s Orchestra, the Amber Trust, and St Michael’s, Cornhill.

at the melodic devices composers have used, including arpeggiation, decoration, sequencing and motivic development and found the connections in all music that uses harmony as its foundation. All this was be done ‘by ear’, using both voices and instruments, and breaking down the barrier between the two. The Composer Programme Induction day and the first Feeder Scheme workshop days were also a great success; the students are working really well together already.

The AOTOS Autumn Conference will take place on Sunday 3 November 2013 and is entitled From Pop to Opera – and a Centenary. Mary Hammond (Sondheim Professor of Musical Theatre Voice at the Royal Academy of Music) will present a realistic approach to ways in which singing teachers can help singers with all genres of contemporary music. Soprano Sarah Leonard, and guests Stephen Varcoe and Nigel Foster will be presenting songs from the last three volumes of A Century of English Song published by Music Sales under the Thames Imprint. This lecture-recital will celebrate the Centenary of the AESS, who are sponsoring this publication, and with whom we share reciprocal membership.

We now look forward to the next Core and Composer Programme residential, Feeder Workshop day and SW Brass and SW String day be held on 17 November 2013.

AOTOS is delighted to announce that the afternoon session will be a masterclass for advanced singers by world-leading operatic tenor Dennis O’Neill CBE (Director of the Wales International Academy of Voice).

Making Music

South West Music School It has been a busy couple of months for South West Music School! Scott Stroman was joined by members of the Orchestra of the Age of Enlightenment for the start of learning year 2013/14. The Core Programme workshop focussed on harmonic and aural awareness using chord sequences from ground bass in Baroque music; theme and variation from the classical period and jazz chord progressions from the 20th century. The students looked

Left: The Lord Mayor of London receives a cheque for £5,000 for the City Music Foundation from the Master (Professor John Morehen) at Guildhall

Above: SWMS Induction Day

Making Music has set itself a challenging target: by 2017 the organisation aims to represent 4,000 voluntary music groups, a 33% increase on the current number of 3,000. To this end, it has launched a membership recruitment campaign, stressing the fact that it can cross the boring stuff off its members ‘todo’ lists and enable amateur music groups to get on with making music. One of the objectives of this recruitment drive is to strengthen Making Music’s lobbying and advocacy activities. It requires the weight of many voices joined together to influence the powers that be, and Making Music can partly attribute its past lobbying successes to having a substantial number of groups within its membership.

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These lobbying successes include saving Wakefield Music Library – one of the UK’s biggest collections of printed music – from closure, and negotiating with HMRC to save Making Music members money on Gift Aid. The latter example is significant, as the more money groups save on things like Gift Aid, the more they’ll have to spend on things like hiring professional musicians, commissioning new music and employing private tutors. The UK’s voluntary music sector is a vital part of our music industry, so please spread the word about Making Music, informing any amateur choirs, orchestras, promoting groups or other ensembles about the benefits of joining. You can also send out a tweet or Facebook post with the hashtag #getonwithmakingmusic. To find out more about how to join, visit joinus.

Pianoforte Tuners’ Association The Pianoforte Tuners’ Association (PTA) is celebrating its Centenary this year. It was formed in October 1913, during the heyday of piano manufacturing, to provide an Association for tuners and those in the piano trade, to protect the interests of tuners and to offer instruction to apprentices. The PTA aims to promote the importance of high professional standards of proficiency and help raise those standards, to educate the public on the need for regular, skilled tuning and servicing while bringing together piano tuners and technicians for mutual protection and benefit. There are currently around 230 PTA Members in the UK and Members use the letters MPTA after their names which helps the public to identify


competent tuners in their area. Entry to the Association is achieved by passing three examinations to very high standards. Students must work for at least two years after their college training, completing a minimum of five years in total, before being eligible to apply for PTA membership. The highlight of the PTA Centenary year was the Convention, held in Bournemouth in May 2013. Further events planned for the year include a Fazioli training day at Jaques Samuel Pianos in London and a Kawai technical class followed by the Scottish Autumn Dinner in Stirling. For further information, membership enquiries or a list of PTA members in your area, visit the website www. or contact the secretary Annette Summers on 0845 602 8796.

Awards for Young Musicians Awards for Young Musicians (AYM) is delighted to announce that it’s been successful in its recent application to Youth Music for national network funding to host a third phase of the Musical Progressions Roundtables, which will run from October 2013 until December 2014. The Musical Progressions Roundtable (MPR) is a network of organisations and individuals involved in music education from across the UK, with over 200 participants to date. We are looking at how, together, we can most effectively support all children and young people’s musical progression, enabling them to fulfill their potential, whatever kind of music they make and whatever background they’re from. The MPR is an open forum for generating ideas and exploring complex issues. However it’s ultimately focused on action: creating practical outputs (including influencing strategy, producing online tools and developing training models) that will

create genuine change for all young people’s music making. The MPR was initiated in 2009 by Awards for Young Musicians, the Musicians Benevolent Fund and Youth Music. Since 2012 it’s been hosted by Awards for Young Musicians, with Ben Sandbrook, and funded by Youth Music. Events will once more be taking place across England: if you’d like to find out more visit www.a-y-m. or contact Hester Cockcroft, AYM Director

Hampstead Music Club On 24 September we began our season with a well-attended evening dedicated to the memory of four members who have sadly passed away. Concerts open to the public will be the autumn concert on 5 November at Glenilla Church at 8pm and also our new Wednesday evening concerts, hosted by the Club for professional musicians. On 27 November, a piano and violin duo, Hiroko Yamamoto and Samuel Kaplan Kopelman will play Brahms and Schumann at Burgh House at 8.15pm. Our lighthearted Christmastide Celebration will take place at Burgh house on 10 December for members and their guests. Private concerts for members in November include Songs for the Stage, another instrumental evening, a singers evening, a chamber music, and a piano evening. Next year we look forward to a masterclass for singers given by Teresa Cahill on 28 January at Burgh House, and a masterclass for pianists given by Norma Fisher also at Burgh House on 11 March. For enquiries please contact Pamela Kolirin (Secretary) on 020 8959 3267, email


LOCAL EVENTS - REPORTS North of England Lindisfarne Gospels Durham, 22 September Hazel Graham writes: Twenty-seven ISM members, guests and friends met at Palace Green Library in Durham City for a journey back 1,300 years, experiencing the life and times of the Lindisfarne Gospels. The Lindisfarne Gospels exhibition provided a fascinating insight into the circumstances leading to the writing of the Gospels and the events surrounding them, up to their current upkeep.

In addition to the Lindisfarne Gospels of c700 there were many artefacts in the exhibition, including items from St Cuthbert’s coffin, gospel books written around the same time and other items which placed the Gospels in their true historical context. After experiencing the tour, the group were treated to a most interesting talk by Durham University’s Professor Richard Gameson who had instigated, arranged for and designed the exhibition content – the first portrayal of the Lindisfarne Gospels in this way. The north east region can celebrate the success of this event, which ISM members were delighted to enjoy.

LOCAL EVENTS - LISTINGS Full listings can be found on our website,

Saturday 2 November

LIVERPOOL Pupils’ Concert 2pm, The Friends’ Meeting House, 22 School Lane, Liverpool, Merseyside L1 3BT A concert for all classical disciplines, instruments and singers. Contact Polly Douglas Manley, 07776 307867,

Sunday 3 November


Admission: £18.50 for three courses Contact Susan Grange, 07974 000291,

Following the meeting we will be able to tour the new arts Centre at Bury Farm, home of the ACE Foundation and ACE Cultural Tours.

Saturday 9 November

Contact Stephanie Reeve, steph.

SOUTH WEST SCOTLAND Pupils’ Concert 2.30pm, Adelaides, 209 Bath Street, Glasgow G2 4HZ Admission: £5 to cover venue costs Contact Emma E Sinclair, 07799 100 867, emmaesinclair@

READING Pupils’ Concert 2.30pm-4.30pm, The Hall, St Joseph’s College, Upper Redlands Road, Reading RG1 5JT Admission: £5 Adults, under-18s free

1pm, The Old Tollgate Restaurant, Bramber, W. Sussex Our 17th visit to The Old Tollgate Restaurant for this ever-popular social event. Contact Shirley Linford, V01903 783692

Sunday 23 February

BRIGHTON Pupils’ Concert

Singers and instrumentalists of all ages and stages welcome.

Friday 29 November

Annual meeting including a visit from Laura and Natalia from the ISM staff team.Contact Robert Marsh, 07803 295269,

Pupils’ Concert


2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Contact Sara Medina, 020 8883 2082

Wine and Food Tasting Event

Friday 8 November

Sunday 17 November



Annual Dinner with Guest Speaker ISM President Richard Hallam

Annual Meeting and tour of Bury Farm

A tapas and wine tasting experience in a private function room. Laura and Natalia from the ISM staff team will be present to answer any questions regarding your membership.

7.15pm, Welbeck Restaurant, West Bridgford Masonic Club, Welbeck Road, West Bridgford, Nottingham NG2 7QW

New Year Luncheon

2.30pm, Croft Hall, Burgess Hill School RH15 0EG


2pm, The Old Granary, Bury Farm, Bury Lane, Stapleford, Cambridge CB22 5BP Laura and Natalia from the ISM’s staff team will be our guests.


Contact Teresa Ardagh-Walter, 01635 41128

2.30pm, 6 Woodlands Grove, Baildon, Shipley, West Yorkshire, BD17 5BD

Sunday 10 November

Sunday 5 January 2014

7.30pm–9.30pm, ‘Carruthers and Kent’, 3A Elmfield Road, Gosforth, Newcastle NE3 4AY

Contact Hazel Graham, 0191 272 8644,

Contact: Geraldine Rowland, 01273 493889

Sunday 23 March

LEA VALLEY Charity Memorial Concert 2.30pm, Old Harlow Essex CM17 0AJ In memory of ISM member Shirley Woods. Contact Carolyn Richards, 07768 086123,



Ask me a question Emma E Sinclair Piano teacher and freelance musician

Tell us a little about yourself. I love music and teaching. I have been self-employed for over 20 years – teaching in student’s homes – but last November I started a part time piano/keyboard teaching post in schools with Glasgow City Council. This is challenging and extremely rewarding. To keep fit I enjoy swimming, annually taking on the 5K Marie Curie Swimathon and I love being outdoors walking whenever time allows. I enjoy live music, being part of it and listening to it. The last ^ Williams playing concert I went to was Llyr Beethoven in the City Halls and the next one is Fleetwood Mac at the Hydro. I love spending time with family and friends and especially combining that with good food and wine! Who was the person who most influenced you, and how? All the different relationships with the people I have either met professionally or on a personal level have had an influence in my life. My granny was probably the most influential. She was hard working, loving, and kind, selfless and extremely generous, and very supportive of my career path.

Above: Emma E Sinclair, ISM Representative for South West Scotland

What are your plans for the future? On the 22 June I organised a Charity Pupil Concert where 40 of my students performed and 10 others helped with decorating the hall, catering, front of house and raffle. The total raised for Marie Curie that night was £3,802.91. I am very proud of how everyone came together

and the good that can be done through the power of music. There will be another Charity Concert in the pipeline but I am still recovering from that one! My aim will be to involve more school children rather than just private pupils. What would you say is your greatest achievement to date? Adapting my teaching skills to work with the blind, partially sighted and disabled. With the charity VISIBILITY, I started keyboard classes 6 years ago. Currently I have several classes, each with five participants working as a group. We have lots of fun with the music making and within that developing skills and confidence that can be transferred into everyday life. What was the last CD/music download you purchased? I have an extremely eclectic music collection. The last two CDs I bought were Paul Lewis Sonata and Ellie Goulding Halcyon. Who is your all-time favourite artist and why? Sergie Rachmaninov – I love everything about his music and even with small hands I can play some of those fantastic chords! What do you value most from your ISM membership? I enjoy meeting and working with other professionals, most of whom I would not have met without the ISM. I value being part of a team organising events in my area.

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November/December 2013 Birmingham Opera – a different kind of opera company Gallions Primary School championing music for all Charanga digital music resources for children, teachers and schools

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Music Journal November-December 2013  

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Music Journal November-December 2013  

Magazine of the Incorporated Society of Musicians