Music Journal - November-December 2015

November/December 2015 BBC Ten Pieces: engaging new generations Sir David Willcocks remembered Brass bands explained

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Welcome

Above: Deborah Annetts Photo: Mark Thompson

Front Cover Members of the BBC Philharmonic Orchestra recording BBC Ten Pieces Secondary See feature on pages 10-13 Photo: BBC Inset images Left: Brighouse and Rastrick Brass Band Photo: Ian Clowes/ Goldy Solutions Right: Tredegar Town Band with dancers from Rambert Photo: Stephen Wright See feature on pages 18-21

With autumn well underway and the festive season just around the corner many of you will be preparing for Christmas concerts and celebrations.

As CEO of the ISM I have been very lucky to work with many Presidents who are particularly busy at this time of year as they prepare their choirs and orchestras to perform all over the country. Two recent Presidents whom I have worked with had fond memories and anecdotes of the late great Sir David Willcocks who passed away in September of this year. Not only was Sir David a long standing member of the ISM, President of the ISM 1978-79 and DMA in 1998 but he also during his time at King’s College Cambridge established the worldwide reputation of the Nine Lessons and Carols Service. An appreciation of his life and work written by Past President Roderick Swanston (2008-09) is to be found on pages 14-16 and some further memories are shared by the Past President Suzi Digby (2012-13) on page 24.

Of course Sir David was well aware of the importance of a rich music education. With Government policy around the future funding of music education hubs still unclear and the Department for Education’s EBacc 2 proposal still moving forward it is wonderful to see that the BBC is doing more than its bit for music education. Many ISM members will be aware of the BBC’s Ten Pieces for primary schools which climaxed at the Proms this year with the BBC National Orchestra of Wales playing excerpts from the Ten Pieces in July. The BBC have now rolled out the second phase of the Ten Pieces project which is focussed on secondary schools. The ISM is delighted to be involved in this project which Nicola Benedetti calls ‘one of a kind’ and Julian Lloyd Webber, Principal of Birmingham Conservative has described as ‘a hugely important thing that the BBC has done.’ Find out how you can be involved in this wonderful initiative at pages 10-13.

And lastly this time of year is also redolent of brass bands. Until I spoke to one of my colleagues I did not know that September and October are so important in the brass band world with two of the key competitions taking place: the British Open Championships which took place on 5 September at Symphony Hall in Birmingham and the National Brass Band Championships of Great Britain which took place at the Royal Albert Hall on 10 October. We thank Iwan Fox for his insight into brass banding itself and in particular, these two competitions, which can be found on pages 18-21. So if you were part of either of these competitions, please do let us know how your band did, and if you have photos send them to francesca.treadaway@ism.org and she will put them on the ISM Facebook page.

So as 2015 draws to its close I would like to wish you all good luck with all your festive preparations and have a peaceful and prosperous New Year.

Contents 2 4 6 7 9 10 14 18 23 25 27 29 31 32

News & campaigns Legal help Business advice ISM Registered Private Teacher Status Professional development BBC Ten Pieces: engaging new generations Sir David Willcocks Brass bands explained News from our members Classified advertising News from our corporate members The SMA Music Awards Local events listings Ask me a question

Volume 82 / Number 4 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design www.cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Wimbledon Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 27 November for January/ February issue Price: £6 per copy Subscription: £30 per year Circulation: 7,000 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

deborah@ism.org

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

News & campaigns Culture Committee quiz Creative Scotland Mary Scanlon MSP, a Conservative member of the Scottish Parliament, has challenged the head of Creative Scotland over the lack of funding for An Comunn Gàidhealach and the Traditional Music and Song Association of Scotland (TMSA).

Henry Vann, Head of External Affairs, ISM

On 15 September 2015, as part of a review of the work of Creative Scotland, the MSP referenced particular concerns that a project designed to help ‘young musicians to develop their career as well as bringing their music to diverse communities around Scotland’ has been rejected for funding.

Creative Scotland representative Janet Archer responded saying that Creative Scotland funded ‘about 30 per cent of the applications that [they] get’ and that ‘limited resources’ mean that they sometimes have to ‘say no to good strong applications that come in.’

EBacc update

Campaign to save BBC Music The public consultation on the review of the BBC Royal Charter closed on 8 October 2015.

The ISM submitted evidence gathering together comments from other music bodies in support of the continued and growing prominence of music within BBC schedules.

In particular, we submitted comments from the ISM membership and the Performers’ and Composers’ Round Table meetings about the importance of the BBC as an ‘incubator of talent’ and as the largest commissioner of new works.

Professional musicians talk about the BBC Charter Review: ‘It is a public good as a commissioner of new work, and the largest broadcaster of new work. It serves the music industry better and wider than other broadcasters and publicly funded bodies.’

‘The BBC puts UK music and musicians at the heart of its international work and generates new business opportunities for musicians overseas.’

With the Department for Education planning to make the narrow English Baccalaureate (EBacc) compulsory, ‘The orchestras and other ensembles are crucial components of the BBC’s work.’ we are leading a campaign to ensure that creative subjects – like music – are included in any new measures.

‘The importance of the BBC to the regions, where Good news has come with nine out of ten head often larger ensembles can’t reach, is substantial. teachers saying they would ignore any requirement The BBC are often the main provider of music in areas to make the EBacc compulsory. More good news came orchestras do not reach.’ when the head of Ofsted (the school inspectors in England), Sir Michael Wilshaw, ‘questioned whether the EBacc would properly prepare every student for their further education.’

At the time of going to press (October), the Bacc for the Future campaign has nearly 11,000 supporters, and the backing of more than 100 creative industry, professional and educational organisations.

Have you signed up? Visit BaccfortheFuture.com to join the campaign!

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Performers’ Round Table outcomes: The Performers Special Interest Group hosted a round table on Monday 7 September 2015 which was attended by performers from across the UK. Coming out of this meeting, we have finalised a new Performers Pack, including template contracts, which will be launched at a webinar on Wednesday 4 November.

Largest ever Composers’ Round Table: Our largest ever Composers’ Round Table took place on Wednesday 9 September 2015.

In response to suggestions from members, we will be developing a self-publishing guide for composers which will be launched in the coming months.

BBC Ten Pieces II film launched The second stage of the BBC Ten Pieces initiative has been launched with the premiere of its new film, broadcast in cinemas in October and available as a DVD for schools.

Ten Pieces – commissioned and produced by BBC Learning and delivered in conjunction with the BBC Performing Groups – has been created to introduce a generation of children to the world of classical music through ten inspirational pieces of music.

The ISM is a Stakeholder for BBC Music’s Ten Pieces initiative, as both the professional body for musicians and the subject association for music educators, and supports this life changing programme.

You can read more about the initiative (including what pieces have been included) on pages 10-13.

(Not so) new political faces With the Conservatives appointing experienced MPs into culture roles ( John Whittingdale MP had been Chair of the Culture, Media and Sport Select Committee) the Labour party have followed suit, with musician and teacher Kevin Brennan MP taking on a role to protect copyright as a shadow business minister and brass bands champion Michael Dugher MP (former Vice-Chair of the Parliamentary Brass Bands Group) taking on the shadow culture secretary role.

Michael Dugher has come to prominence previously when he raised concerns at the same time as the ISM over the unnecessarily restrictive orchestra tax relief, which was duly extended to cover a variety of instrument combinations (including brass bands).

A new cultural strategy proposed

Arts Council England launch Cultural Education Challenge

The Department for Culture, Media and Sport in England is proposing to write a new Government White Paper for the arts, 50 years after the first White Paper was published.

In England, the national arts council has launched its Cultural Education Challenge to promote creative, cultural and artistic learning in and out of schools.

The paper will ‘set out a vision and agenda for the future of the arts, culture and heritage sector’ and is due to be published at the end of this year, or in early 2016.

To take part in the discussion, visit https://dcms.dialogue-app.com/ If you have any suggestions for what should be included, you can let us know by emailing the Head of External Affairs, Henry Vann at henry.vann@ism.org.

Widely viewed as an attempt to tackle some of the damage being done to the arts in schools by policies such as the EBacc, the challenge also emphasises the importance of ongoing music service / music education hub funding.

Find out more at artscouncil.org.uk.

Funding announcements: In England, the Government’s Autumn Statement will set out the basic levels of spending in each department for 2016 onwards on Wednesday 25 November. The amount allocated to Arts Council England and other projects will be known soon afterwards.

In Northern Ireland, the situation is similarly challenging, with 32 arts organisations, including the Ulster Orchestras (which needed emergency funding at the beginning of 2015), with an in year, immediate cut of 7%.

Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Legal help ISM launches revised template private Series by Series teaching teaching contracts This version of the contract gives the teacher In September the ISM launched a set of revised template private teaching contracts for use by our members. In this article I set out the key issues you need to consider when using our private teaching contracts.

David Abrahams, Head of Legal, ISM

Why bother with a teaching contract?

Of course, it is perfectly possible to run a teaching practice without a written contract. There are two main reasons why we recommend that written contracts should be used: 1.

Professionalism

When you teach music you are providing a professional service. The use of a written contract reflects a professional approach to your teaching work.

2.

Clarity for teacher and pupils (and the pupil’s parent or carer)

A well-drafted contract will provide clarity for both teachers and pupils (and the pupil’s parent or carer). This means that when issues arise it is far less likely that there will be disputes or misunderstandings.

Does one size fit all?

In our view it no longer makes sense to provide just one version of the ISM Teaching Agreement for use in all situations. Instead we have produced three different versions of the contract:

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1.

For use where lessons are given on a ‘Series

by Series’ basis

2.

For use where lessons are given on a termly basis during school terms

3.

For use where lessons are given on a flexible or ‘pay as you go’ basis

complete flexibility to determine how many lessons should be included in a ‘Series’ and when those lessons should take place. Pupils are still required to give at least one month’s written notice if they wish to cease lessons.

Teaching on a termly basis Many private teachers work in school settings (even though they are self-employed and are paid directly by parents). In these settings it may well make sense for teachers to give lessons in termly blocks. The ISM template agreement requires pupils to give at least one month’s written notice (expiring at the end of term) if they wish to cease lessons.

Teaching on a flexible or ‘pay as you go’ basis Some teachers take the view that it is more straightforward for all sides simply to allow pupils to pay for lessons as and when they are taken (with no ‘notice period’ if the pupil decides to stop lessons).

This approach may be appropriate where you are teaching adult pupils whose work or family commitments make it impractical to commit to a fixed number of lessons in advance.

Which version will work for you?

It is up to individual members to decide which of the three versions we have drafted will work best for you and your pupils. The ISM will continue to support its members whichever version of the Agreement they choose to use. What is important is that both teacher and pupils (and the pupil’s parent or carer) are absolutely clear what the expectations are from the outset. The use of the ISM’s template agreements should ensure that everyone knows where they stand.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Missed or cancelled lessons All three versions of the ISM Teaching Agreement state that, if a pupil does not turn up for a lesson, then the teacher should still be paid. Many teachers will choose to waive their fee if something has happened entirely beyond the pupil’s control (such as sudden illness or a medical emergency) but we consider that this is something that should be left to the teacher’s discretion. The ‘flexible/pay as you go’ version of the contract allows pupils to cancel lessons without charge provided 48 hours’ written notice is given.

Cancellation clauses and the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013

Can you provide lessons during the 14 days cancellation period?

You can provide lessons during the 14 day cancellation period and charge for those lessons provided: The pupil (or the pupil’s parent or carer) makes a written request that the lessons be given during the initial 14 day cancellation period; You have explained in your contract that you will charge for lessons requested during the initial 14 day cancellation period.

The Consumer Rights Act 2015

The Consumer Rights Act 2015 applies to all consumer contracts entered into from 1 October 2015 onwards (including private teaching contracts). The new Act The Consumer Contracts (Information, Cancellation states that unfair terms are not enforceable against a and Additional Charges) Regulations 2013 came consumer. The list of potentially unfair contract terms into force in June 2014. Private teaching contracts are includes terms that require the consumer to ‘pay the likely to be regarded as ‘off-premises’ contracts for trader a disproportionately high sum in compensation the purposes of the Regulations. or for services which have not been supplied’ ‘Off-premises’ service contracts must include the right and terms that enable ‘the trader to terminate a for the consumer to cancel the contract without any contract… without reasonable notice except where penalty within 14 days of entering into the contract. there are serious grounds for doing so’. Although the The teacher must explain how to exercise the right to overarching requirement of fairness in consumer cancel and a cancellation form. If the teacher fails to contract terms is not new, the coming into force of provide the necessary information about the right to the new Act is a reminder that all private teachers cancel, the right to cancel is extended for an additional must ensure that the provisions of their contracts are 12 months. fair to their pupils. We consider that the terms set out in the revised ISM Private Teaching Agreements What does this mean in practical terms for meet the requirements of fairness as set out in the private teachers? new legislation.

You should make sure that your contract includes a 14 day cancellation period and explains very clearly to the pupil (or the pupil’s parent or carer) how the right to cancel can be exercised. If you do not do this there is a risk that your pupil will have an automatic right to cancel the contract without any penalty for a period of 12 months and 14 days after the contract begins.

The revised ISM Private Teaching Agreement clearly refers to the 14 day cancellation period.

Guidance notes on using the new ISM Private Teaching Agreement and copies of the different versions of the Agreement are available on the ISM website.

David Abrahams, Head of Legal, ISM

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

Give the musicians in your life the security and peace of mind that comes with being part of a professional body. Buy your musician colleague, student, family member or friend a year of ISM full membership for £167 or a year of graduate membership for just £70 (if they graduated from their first degree-level qualification in music in the last ten years). Or why not buy your pupils ISM student membership when they go off to university or conservatoire? Student membership is just £12 a year.

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

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

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

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Business advice Taxing times It’s never too early to start preparing for your annual tax return. Many of you will probably have already started the process for filing your return by the 31 January 2016 deadline. Here we offer three important tips.

Keep comprehensive records Good record-keeping makes preparing your tax return much easier. You will need to create a comprehensive list of all your business takings and all your taxallowable expenses. This is the case even if you plan to use accountants Performance Accountancy’s discounted service to ISM members. (They will file your tax return for you for a low flat-rate fee of only £150.) We recommend you use template forms, such as those you will find on our website, to keep track of both the invoices you send out and your businessrelated expenses. You should set aside time during the year to bring these records up-to-date on perhaps a monthly (or even weekly) basis in order to avoid a lot of hard work at the end of the year.

© iStockphoto/DNY59

If you are self-employed, HMRC require you to keep records for six years showing all your business takings (such as performance fees, royalties and teaching fees) and all your business expenses (such as travel, equipment repairs and payments to other musicians you engage).

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

List all your tax-allowable expenses Obviously it makes sense to list all your allowable expenses in order to minimise your tax bill. We have a list of the main allowable expenses which musicians may claim on our website at http://bit.ly/TxReturns (in the advice area). You may be surprised at what it includes. For instance, if you do any work at home, it can include a part of your household bills, such as council tax, heating, house insurance and telephone – and, remember that your ISM subscription is allowable in full.

Consider claiming capital allowances You may be able to claim tax allowances in respect of capital items which you acquire to use in your business, including musical instruments. You can find out more from our new online advice page ‘Capital allowances for musicians’ which you will find at http://bit.ly/TxReturns (in the advice area).

However, you should bear in mind the risk of incurring an additional tax liability in the future if you should subsequently sell the instrument at a higher price than the price you bought it for.

Caroline Aldred, Business Support Officer, ISM

What have music teachers and accompanists been charging?

Our 2015 survey of teaching and accompanying rates is now available for you to complete online. This year we are asking about fees paid in higher and further education establishments for the first time.

It is important that you participate in this survey. The greater the number of musicians who do so the more authoritative and reliable the survey results will be as an indicator of what musicians have been charging. So please help us to help you by completing the questionnaire. The questionnaire should take no more than ten minutes to complete.

You can access the questionnaire at surveymonkey.com/r/ISM_Fees2015.

If you have any difficulties completing the questionnaire, please contact us for help on 020 7221 3499.

The deadline for you to complete the questionnaire is 30 November. We will publish the survey results early in the New Year.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

ISM Registered Private Teacher status If you are a full ISM member who has been teaching privately for six months or more and you teach under 18s, you can apply for ISM Registered Private Teacher status (IRPT).

Simon Frais, Membership Officer, ISM

This status demonstrates to current and potential pupils and to their parents that you have been DBS checked and reference checked by your professional body, and that you have signed up to our Safeguarding & Child Protection Policy, Code of Practice and procedures. As an ISM Registered Private Teacher you will receive a certificate of your status and a highlighted listing on the ISM Music Directory.

How to apply?

An IRPT application form is available on our website (ism.org/news/article/registered_private_teacher_ DBS). You will need to provide the ISM with details of a referee who is either one of your students (over 18) or the parent or carer of a student (under 18).

You will also be required to undertake a DBS Enhanced Disclosure with Barred List check via the ISM. This check has to be paid for, unless you have already subscribed to the DBS Update Service (see below).

The process can take between 1–3 months, depending on how long it takes for the DBS check to be carried out and for your referee to supply a reference to the ISM.

The DBS Update Service The DBS Update Service is run by the government and keeps your DBS check continuously up-to-date. This means you can use it for any work you do with the workforce for which the check is eligible (ie adult and/ or child). You will not need to undertake a new full DBS check for as long as you are subscribed.

The subscription fee is £13 per year. You register for the Update Service online, but you must do so within a fixed time period, which runs from the point of your DBS application to no more than 19 days after your DBS certificate has been issued. You can find out more about the service and apply at gov.uk/ dbs-update-service.

How do you maintain your IRPT status?

To maintain your status as an ISM Registered Private Teacher, your DBS Enhanced Disclosure with Barred List Check must have been issued within the last three years. Without this crucial safeguarding measure, your IRPT status is not valid. If your DBS check via the ISM is approaching (or is more than) three years old it is time to ask us either to apply for a new one for you, or for us to make a check via the DBS Update Service, if you are already subscribed.

You can find out when your DBS check is due for renewal by looking at your current ISM Registered Private Teacher status certificate or by contacting our Membership Officer, Simon Frais, on 020 7313 9311 or simon.frais@ism.org. at simon.frais@ism.org Simon can also tell you more about ISM Registered Private Teacher status, how to go about obtaining a DBS check and about the Update Service.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Professional Development A beginners’ guide to using the ISM’s online services Thursday 3 December, 11am-3pm ISM, 4–5 Inverness Mews, London W2 3JQ Do you find using the internet a chore? Feel daunted by the ISM Music Directory and want to make the most of the members’ area of the ISM website but don’t know how? Come and meet Rebecca and Rob from our marketing team along with like-minded ISM members for an informal internet tutorial at our offices in Bayswater.

If you have found learning about the internet frustrating and confusing in the past this is the perfect session for you as you’ll be learning at your own pace in a friendly environment. We will also be providing lunch as part of the day and we’ll be treating you to seasonal refreshments.

During the session you will learn how to: • access and make use of the internet • create a profile on the ISM Music Directory which will help you promote yourself to the public • access internet based benefits for members including our advice pages and Grove Music Online

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

Our next webinar is:

Top tips for performers

Wednesday 4 November, 1-2pm In this webinar, David Abrahams (ISM Head of Legal) and Joel Garthwaite (ISM member, saxophonist and business consultant) will aim to answer questions about some of the big issues that face performers in their careers: • What’s the best way of getting bookings for gigs and live performances?

• How can I get bookings for recording sessions and how I can I avoid being exploited?

• What does a good performance contract look like and what do the terms mean?

• How do I join PPL and make sure I get the royalties I am owed?

• How can I make my website and social media secure work and build my career?

We will be launching the ISM Performer Pack at this • update your ISM membership record including your webinar, so it will also be an excellent opportunity to contact details discuss the materials in the pack.

• edit your ISM Handbook listing Register for this free webinar now at To book your place (£20 including lunch and refreshments), please call Ceri Wood, our Events Administrator, on 020 7221 3499.

http://bit.ly/PerformerTips

You can catch-up by watching recordings of our latest webinars on our website at ism.org/webinars.

Your letters Unqualified teachers … the discussion continues.

The last three issues of Music Journal have carried letters debating the subject of ‘unqualified teachers’.

The discussion will now continue online with the latest two letters from Dr Karen Mulcahy and Sylvia Burnside. Please feel free to join the conversation at ism.org/news/features.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

BBC Ten Pieces: engaging new generations From Wagner to Clean Bandit, BBC Music’s Ten Pieces is, according to BBC director general Tony Hall, the ‘biggest commitment the BBC has ever made to music education in our country’, and is bringing music education to our primary and now secondary schools in a fresh, innovative and exciting way. With the ISM now a stakeholder for its expansion into secondary schools, Francesca Treadaway spoke to the BBC Ten Pieces team to find out more.

What is BBC Ten Pieces?

BBC Ten Pieces is a project by BBC Music, led by BBC Learning and the BBC Performing Groups that, by their own admission, ‘aims to open up the world of classical music to children and inspire them to develop their own creative responses to the pieces through music, dance or digital art.’

The initiative comprises a series of films and resources that are available to primary and more recently, secondary schools in the country to use to supplement their national curriculum for music teaching. It is delivered on the ground through a network of more than 250 music hubs, music education services and arts organisations, who are called ‘Champions’, and by international soloists and ensembles called ‘Ambassadors’.

‘The main objective of BBC Ten Pieces is to encourage children to be creative having been inspired by classical music.’ Jennifer Redmond, Digital Producer, BBC Ten Pieces explains. ‘The creativity part is very important; the resources we provided, the films we have made are all aimed at inspiring children to be creative and to love music.’

Left: Alpesh Chauhan conducting the BBC Philharmonic Orchestra recording BBC Ten Pieces Secondary Photo: BBC

Caroline Roberts-Cherry, Executive Producer of BBC Ten Pieces expands, ‘The creative response to the music can be through making a music video, composing (with code or in other styles), performance poetry or digital art. Each film that we make centres around a specific track of music but all of the learning points and tips are applicable to every piece of music. Teachers and their pupils are then able to pick their piece of music and choose what they would like to do in their creative response.’

BBC Ten Pieces was born from an idea by the late journalist and BBC Learning Executive Producer Katy Jones, who realised that there was an opportunity for the BBC to offer a programme that was both unique and met a need in music education. Katy began the project by running a pilot film screening with 17 schools in London and Manchester. According to a blog she wrote (available at bbc.co.uk/blogs/aboutthebbc, 7 October 2014) just before the launch of the Primary stage of the initiative, it was found that ‘70% of the children had never been to a classical concert.’

The pilot film screening was a success with the schools that took part which resulted in the initiative’s full commission and the first cinematic film produced.

The first stage, BBC Ten Pieces Primary launched in 2014 with a week of free screenings of a cinematic film featuring ten pieces of music* introduced by celebrities and performed by the BBC National Orchestra and Chorus of Wales. During the year the BBC Orchestras performed regional schools concerts and many ‘take over days’ in schools which reached around 23,000 children in total.

Over half of primary schools in the country (more than 11,000) have so far got involved resulting in a ‘phenomenal creative response’. Caroline explains.

‘We are hoping to repeat and build on that success with the secondary school stage of the project.

‘BBC Ten Pieces Primary will still be ongoing – not at the same volume but we will be putting additional primary resources on the Ten Pieces website (bbc.co.uk/tenpieces) throughout the academic year.’

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Above left: Alison Balsom, soloist in the recording of Haydn’s Trumpet Concerto (3rd movement) Above centre and right: Members of the BBC Philharmonic Orchestra Photos: BBC

Jennifer adds, ‘The way that this has happened for the primary stage of the initiative is fantastic – children all over the country hear Hall of the Mountain King and Night on a Bare Mountain and immediately are able to identify it and know what it is called. It is astonishing.’

‘We would encourage schools to continue their involvement with BBC Ten Pieces Primary.’

The next step: BBC Ten Pieces Secondary The second stage, BBC Ten Pieces Secondary launched in October 2015 with free screenings of a new cinematic film featuring the BBC Philharmonic Orchestra performing a new selection of orchestral music**, representing a wide range of styles and eras relevant to the Key Stage 3/3rd Level music curriculum. The new list of ten pieces covers a wide range of composers and styles, and includes works by a leading female composer and contemporary male composer.

It was more difficult this time to choose the pieces.

Jennifer explained, ‘There was a steering group made up of various stakeholders and we canvassed opinion from the Ten Pieces Champions (more than 250 music and arts organisations who are working in partnership with Ten Pieces to deliver the project locally). The pieces also had to allow teachers to work within the curriculum.

‘It was a very long process but in the end we had to choose ten pieces and we believe that these will work brilliantly. I am particularly excited about Gabriel Prokofiev’s Concerto for Turntables – it will really engage with this particular age group, who may have fixed opinions about classical music.’

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Existing BBC Ten Pieces Ambassadors include Nicola Benedetti and Alison Balsom, jazz pianist Julian Joseph, baritone Roderick Williams, singer and BBC Radio 6 Music presenter Cerys Matthews, harpist Catrin Finch, as well as new Ambassadors Principal of Birmingham Conservatoire Julian Lloyd Webber, Co-Principal Trombonist of the London Symphony Orchestra and former BBC Young Musician Peter Moore, electronic band Clean Bandit, and musician, producer and composer Nitin Sawhney.

‘Our Ambassadors are musicians who have general classical training but also perform the right sort of music for the age range that we are catering for,’ Caroline explains.

‘The Ambassadors have been involved in various ways in the first year of the initiative – workshops in schools, publicity such as speaking to journalists, for example… Depending on their skills or time, they will do what they can to promote Ten Pieces.’

The existing network of 250 champions comprising music education hubs and services and arts organisations will also continue to support and deliver BBC Ten Pieces through this next stage.

Caroline adds, ‘The champions are key to the success of the project – without them it would not be possible to reach the number of children that we have so far.’

Available throughout the year will be huge range of resources on the BBC Ten Pieces website to help KS2 and KS3 teachers deliver the music curriculum for both key stages.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Above left: DJ Mr Switch performing in Prokofiev’s Concerto for Turntables and Orchestra Above centre: Nicola Benedetti, soloist in The Lark Ascending by Vaughan Williams Above right: Conductor Alpesh Chauhan Photos: BBC

They will also be relevant for GCSE stages as well – although schools will be using different exam boards, ‘there is a lot of information that will be relevant’, explains Jennifer.

The teaching resources to support the project are available on the BBC Ten Pieces website (bbc.co.uk/tenpieces).

How can my school get involved?

Schools are able get involved in the project at any point during the school year following this timeline:

Phase 1: Inspiration – watch the film on DVD and listen to the music.

Phase 2: Exploration and creativity – watch the masterclass films and Ten Pieces Extra clips and use the lesson plans to inspire both teachers and pupils to create responses to the music through composition, dance, digital art and performance poetry.

Phase 3: Presentation and performance – upload pupils’ clips and artwork to the BBC for possible inclusion in the Showcase (the uploader will open for secondary submissions in January 2016) and organise performances of pupils’ creations and/ or perform the arrangements of the music with players of any ability level.

* The ten pieces for BBC Ten Pieces Primary are: • • • • • • • • • •

John Adams: Short Ride in a Fast Machine Beethoven: Symphony No 5 (1st movement) Britten: ‘Storm’ Interlude from Peter Grimes Grieg: In the Hall of the Mountain King (from Peer Gynt) Handel: Zadok the Priest Holst: Mars (from The Planets) Mozart: Horn Concerto No 4 (3rd movement) Mussorgsky: A Night on the Bare Mountain Stravinsky: The Firebird suite (1911) (Finale) Anna Meredith: Connect It

** The ten pieces for BBC Ten Pieces Secondary are: • • • • • •

To find out more about BBC Ten Pieces, download resources, watch video clips, apply to be a champion and more, visit bbc.co.uk/tenpieces.

•

Francesca Treadaway, Communications Officer, ISM

• •

•

JS Bach, orch. Stokowski – Toccata and Fugue in D minor, BWV 565 Bernstein – Mambo from Symphonic Dances from West Side Story Bizet – Habanera and Toreador Song from Carmen Anna Clyne – Night Ferry Haydn – Trumpet Concerto (3rd movement): Soloist: Alison Balsom Gabriel Prokofiev – Concerto for Turntables and Orchestra (5th movement): Soloist: DJ Mr Switch Shostakovich – Symphony No 10 (2nd movement) Vaughan Williams – The Lark Ascending: Soloist: Nicola Benedetti Verdi – Dies Irae and Tuba Mirum from Requiem Wagner – Ride of the Valkyries from Die Walküre

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Sir David Willcocks Sir David Willcocks CBE MC, President of the ISM in 1978-79, died on 17 September at the age of 95. Roderick Swanston remembers the man and musician.

Many tributes and obituaries have been written about Sir David Willcocks who died aged 95 on Thursday 17 September. All focus on important events and appointments in his life and some of his personal achievements and characteristics.

The chronicle of his life is simple. Born in Newquay, Cornwall in 1919, he became a chorister at Westminster Abbey under Sir Ernest Bullock in 1929. While a chorister he took part in an event conducted by Elgar. It made a deep impression and David often reverently spoke of Elgar’s presence and bearing. From the Abbey David gained a music scholarship to Clifton College in 1934 and thence to King’s College Cambridge as organ scholar.

The Second World War interrupted his tenure of the King’s scholarship, as he joined the 5th Duke of Cornwall’s Light Infantry eventually working as an intelligence officer in Normandy where in 1944 he showed considerable personal bravery earning him the Military Cross.

Left: Sir David Willcocks at his 90th birthday celebration concert with The Really Big Chorus/Concerts from Scratch. Sir David conducted TRBC from 1979-2010.

Resuming his musical career after the war he returned to King’s, gained his degree, then succeeded Sir Walter Alcock as Organist and Master of the Choristers at Salisbury Cathedral, a challenging post as Sir Walter had a reputation as one of the finest organists of his generation and one of the most fastidious choir trainers. If any treble made a mistake during a service Alcock summoned the boys back to sing all the music again, this time perfectly. Willcocks may not have been so intimidating but he was no less musically demanding. From Salisbury Willcocks moved to Worcester not least to take part in the Three Choirs’ Festival and conduct the City of Birmingham Choir. While in Worcester he showed a new side of his musical persona, his generous support for new music. His aim was always both to preserve the traditions he inherited as well as renewing and refreshing them. David supported other kinds of new music, even to the extent of trying to promote

a Christmas motet I had composed. I was by no means the only person David helped like this; he always encouraged youthful aspirations.

In 1957 David moved back to King’s to take up the post that did most to establish his musical reputation, and which was his most cherished appointment. By now David had been married to Rachel for ten years, and was in his late thirties.

Though he became a university lecturer and university organist, these duties were light, which enabled him (sometimes to the chagrin of his colleagues) to conduct the University Musical Society and the Bach Choir. He succeeded to the latter post in 1960 taking over from Reginald Jacques, with whom he collaborated on the first volume of the world-famous Carols for Choirs volume 1 and 2.

During his time at King’s David established the astonishing, worldwide reputation of the Nine Lessons and Carols Service: a fixed feature for many people on Christmas Eve. His marvellous descants and deft re-harmonizations spread far and wide, so much so that in a Canadian horror movie, as the killer descends the stairs of a ‘haunted house’, knife in hand, carol-singers are heard outside singing the descant verse of O Come All Ye Faithful! (I think that counts as fame! I hope he got a royalty!)

Though David referred on a video to the carol service as the culmination of the choir’s year, he himself said elsewhere that the services that struck him most deeply were those sung on cold winter mid-week evenings when the congregation was small and huddled in the stalls. A small congregation made no effect on David’s musical standards; he devoted himself to the same attention to detail as any of the larger public occasions.

For David it was the polish and commitment of the music-making that counted more than the glamour. While at King’s, David also began the Continued overleaf È

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series of recordings for Argo. Many will have their favourites, but the Fauré Requiem (a cherished work of David’s), the Haydn Nelson Mass, Tallis’s 40-part motet, Byrd’s masses and the revelatory comparisons of English and Continental settings of the same liturgical texts stand out in my memory.

Top: Sir David Willcocks with Stephen Cleobury and the King’s College Cambridge Choir Photo: Gerald Place

Above: Sir David Willcocks earlier in his career Photo: AC Barrington Brown

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In 1974 David moved to be Director of the Royal College of Music, a translation that was heralded for at least a year beforehand. While there he transformed the Choral Class, encouraged many King’s choral scholars to further their training by coming as post-graduates to the RCM, and employing some of them to join the astonishing chamber choir. Arguably David’s most outstanding contribution to the RCM was his planning, management and fund-raising of its centenary in 1983. Three times he hired the Albert Hall and combined RCM with the Bach Choir to perform Mahler’s Symphony 8, Berlioz’s Messe des Morts and a concert which included Malcolm Arnold’s Trumpet Concerto and Michael Tippett (an old RCM man) conducting the Ritual Dances from The Midsummer Marriage. David maintained that a centenary should be both a thankful reminder of past glories and a harbinger of a hoped-for future.

For the former David planned and conducted a wonderful retrospective service in Westminster Abbey in which all the music had been composed by past and present RCM composers from Stanford and Parry through Howells to some more recent.

His RCM chamber choir performed, and the only non-RCM performer was the organist Simon Preston who had been a King’s organ scholar under David’s direction. Looking to mark the future David stepped outside what many might have considered his ‘comfort sphere’ and commissioned a number of new works. These included a new opera by Richard Blackford, a new orchestral work (which turned out to be his last) by Humphrey Searle, as well as large-scale works by Edwin Roxburgh, Anthony Milner, John Lambert and

others. It was a bold statement of the fact that a College cannot rest on its past laurels but must anticipate and shape the future. Few other directors outside Grove and Parry had such a vision and capabilities either to perform the works or enable such works to be performed. David knew that even if he did not like it ‘modernistic’ music (he was fond of Messiaen’s Et expecto resurrectionem mortuorum) should be a very important part of the musical training and curriculum in an institution like the RCM. Some teachers fought shy of ‘difficult’ works composed even as far back as the 1920s.

Not so David, who could cherish the past as much as recognize the future. Apart from the musical achievements of the centenary, David also had the Britten Theatre built, converted the basement of the main building into a magnificent new space for the library and commissioned a new ‘canteen’ for staff and students (no longer having separate dining rooms) from Sir Hugh Casson, then Rector of the Royal College of Art. A few years before the RCM’s centenary David was knighted. David’s reply was characteristically modest: ‘An honour conferred on me is an honour conferred on the College.’

Upon leaving a full-time post at the RCM he embarked on a busy international concert career, touring America and the world; continued with the Bach Choir, took ‘scratch’ groups to sing large choral works in many towns and cities. Few will forget his distinctive conducting style: arms circling with a characteristic underarm twist on some beats coupled with his almost jazzy hip-swing, his whole body engaged in the music he was directing. Only a series of strokes slowed David down in his late eighties, though he still managed to attend events and the funerals of friends and colleagues. Duty counted a lot for David.

Others will remember David in different ways, and there will be many different anecdotes that spring to mind. I have many more but I have tried to draw on those from my personal experience of singing under him in Cambridge, learning with him in a harmony and counterpoint class and working under his directorship at the RCM.

David’s remarkable musicianship and talent, as well as his friendly, courtesy and generosity endeared him to individuals as well as countless choral groups and undergraduates in Cambridge and the RCM. He did not suffer fools easily but he was always prepared to listen to opinions that differed from his own; sometimes he even changed his mind. He valued quality no matter where it was found, and demanded high standards from himself as much as others. He was a remarkable man who will be missed by many; many will remember him with great fondness and admiration.

Roderick Swanston, ISM President 2008-09

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Also by Nikki Iles

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Brass bands explained The art form of brass banding. Seems simple enough, or is it? Iwan Fox, editor of website 4barsrest.com, the go-to place for all things banding, delves into the complex world of the brass band for us.

If you think that it’s difficult enough for a sports journalist to explain the rules of test match cricket to a basketball enthusiast, imagine just how hard it is to shed some light on the unique art form that is brass band contesting – even to fellow musicians.

That’s because, much like test match cricket, competitive brass band music making at the highest level is beloved of the cognoscenti, but almost completely misunderstood by just about everyone else.

Left: Tredegar Town Band, 2013 British Open Champions, performing with dancers from Rambert in Dark Arteries at Sadler’s Wells.

Photo: Stephen Wright Above: Brighouse and Rastrick Brass Band at the 2015 National Brass Band Championships of Great Britain in the Royal Albert Hall Photo: Ian Clowes/ Goldy Solutions

For example: try explaining why 20 brass bands each play a single composition of around 20 minutes in duration, picked in a random draw order, to be judged in anonymity by three men sat in a tent for over eight hours. Cricket seems much simpler, doesn’t it?

Like cricket, brass banding is also a product of Empire; first established in mid 19th century working class communities in the UK to enhance working class moral rectitude, before it was subsequently exported to the pink-coloured colonies of the Victorian globe.

Today, brass bands are found all over the world – from Auckland to Aberdeen, Weston-super-Mare to Wisconsin, and are all linked by a desire to perform music in the widest variety of genres through the medium of 25 brass instruments and additional percussion.

At the heart of brass banding however, is an insatiable desire to compete against each other.

This can be anything from domestic contests run at local or regional level, to national and international championships. This can only be described as the brass band version of ‘test matches’.

The national and international contests are played out to audiences in their thousands at the great cathedrals of secular music making in the UK and beyond, such as Symphony Hall in Birmingham to the Stravinsky Auditorium in Montreux or Grieghallen in Bergen.

It was most recently seen at the Royal Albert Hall in London on 10 October at the National Brass Band Championship of Great Britain, where the 20 best bands in the UK battled it out for glory, performing

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

an 18 minute long ‘test piece’ entitled Spiriti, written by the highly respected Austrian composer Thomas Doss, and assessed in blind anonymity by three judges.

Below: Brighouse and Rastrick Brass Band at the 2015 National Brass Band Championships of Great Britain Photo: Ian Clowes/ Goldy Solutions

Bottom: World champions, Manger Musikklag from Norway at the Word Music Championship in Kerkrade, Holland Photo: 4barsrest.com

The reason that the judges are out of sight is they can consider and contrast the merits of performance without knowing which bands had played at which time. This ensures that the adjudicating is as fair as possible. The adjudicators are a trio of experienced brass musician arbiters in a multi-coloured tent some 40 yards away from the contest stage. A short toilet break and a few sandwiches was all that sustained their thought processes for over eight hours of deliberation. (No wonder the rest of the musical world still looks at brass band contesting with a mixture of deep seated respect and puzzled daftness!)

(including favourites Grimethorpe Colliery Band) to lift the famous silver trophy first presented in 1945.

However, this was not the ‘William Tell’ whimsy so misrepresented in the famous Brassed Off! film. This was high class brass ensemble playing of highly complex, sophisticated contemporary music – even if the ethos of the contest itself has yet to rid itself of its stereotypical historical imagery. For example, some 160 years since the first major national contest took place at Belle Vue in Manchester (and is still going strong today), many of the bands still performed at the National Brass Band Championship of Great Britain in their quasimilitary style uniforms.

Bands in competition

This competition saw the cream of British brass Why brass bands wish to compete against each band talent on show – with the Welsh giant of other in such a manner is now lost in the mists Cory from the Rhondda Valley repelling their rivals of time.

It’s generally agreed that it originates from a show of communal competitive pride – from enlightened mill owners who could boast that their workers were musically more literate thanks to their financial benevolence (and the advent of the newly fangled HP agreements) to long held village rivalries.

Today, those competitive juices are driven by a desire to excel over, rather than humiliate, rivals – although admittedly there is still a fair bit of ‘spice’ to be found in the air even at the most prestigious of events…

And whilst colliery and ‘works’ bands ability to attract players with the promise of a ‘cushy’ job no longer exist, the very best ensembles can still attract performers from all over the world to come and play for them. It is normal nowadays to hear Australian and New Zealand twangs next to broad Yorkshire accents, Swiss politeness and Norwegian cadences mingled with flat Lancashire inflections.

The bands at the apex of the elite contesting level (and there are five divisions, much like football, broken into eight regional areas in the UK) are now very professionally run amateur organisations – some boasting a turnover of over a quarter of a million pounds a year.

However, for the bands themselves, it is still the prestige, not the pounds, shillings and pence that they play for.

The top prize at the Albert Hall may only have been £2,000, but the title that comes with it is priceless: The kudos of being crowned National Champion Band of Great Britain brings in concerts appearances and CD recordings, tours aboard and sponsors’ cash.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Black Dyke – the current European champion and arguably the most famous brass band in the world, undertakes 50 or more concerts a year, numerous CD recordings, and will be heading to play at Carnegie Hall in New York next year.

And whilst the UK remains the beating heart of the worldwide brass band movement – with over 800 active brass bands (although only around 500 compete against each other on a regular basis), it is in Europe that it has become a rapidly growing amateur musical phenomenon. In the last 40 years brass bands have exploded in Norway, Holland, Belgium and Switzerland – more latterly in Germany, Austria and even France, which will host the 39th European Championship in Lille next May. And the Europeans are good at it too. A Swiss brass band was crowned European Champion in 2014, and the title has been won on three occasions each

by Norwegian and Belgian bands. That said, the most famous names of British banding remain as successful as ever – Black Dyke, Brighouse & Rastrick, Cory, Foden’s, Fairey and Grimethorpe riding the wave as the top bands, and with others, such as Tredegar Brass Band, become the vanguard of artistic as well as contesting excellence.

Banding away from competitions

Tredegar Band for instance, who can rely on competitions to get by – they have won the British Open title (the oldest and most prestigious banding title in the world) twice in the past five years – have also concentrated its efforts in broadening its artistic appeal in other high profile areas.

Above: 2015 national champions, Cory Band, and the National Brass Band Championship cup Photo: Ian Clowes/ Goldy Solutions

In the last year alone they appeared in the BAFTA award winning film Pride as well as in a contemporary festival at the Southbank in London and in a ground breaking collaboration with the Rambert Ballet in a week long production at Sadler’s Wells.

Others are following suit – with more and more top bands actively seeking artistic partnerships with different musical genres and performers – from Bhangra to Acid House, folk to electronic.

There may be a long way to go before brass band contests themselves encompass music from the Indian sub-continent or the grunge-rock garages of Seattle, but they are changing – and for the better.

You never know – in a few years’ time we may all become brass band contest experts, able to also explain test match cricket to a basketball enthusiast…

Iwan Fox, Editor, 4barsrest.com

With even test match cricket now set to play its first ever match with a pink ball, so the top brass bands are now experimenting to try and appeal to a much broader musical appeal – something that is perhaps long overdue.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

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

The next deadline for copy is 27 November for January/February issue

Right: Nancy Litten Bottom right: Ian Mitchell

The Drummer Boy of Waterloo

Ian Mitchell

A CD of works for solo clarinet performed by Ian Mitchell was A new children’s opera will be released in September on the Metier premiered this month in Aldeburgh. label (msv28553). Despite the The Drummer Boy of Waterloo was written by Megg Nicol and David Stoll word ‘solo’ one also hears voices, percussion and piano on this disc of for the bicentenary this year. music by American composers John The original story tells of a young Cage, Barney Childs, Tom Johnson, orphan who escapes from the textile Eric Mandat, Wm O. Smith, Christian mill where he works to become a Wolff, and American folk musician drummer boy at the Battle of Waterloo. Merle Travis, whose song Dark as a The story is acted out by the children of Dungeon performed by The Trinity the mill who take different parts to tell Laban Clarinet Class of 2013 is followed the story of their friend and hero.

by Wolff’s eponymous work. Similarly, Warlock’s song Sleep performed Jubilee Opera is highly regarded

by Lynton Atkinson and Aleksander as a company which gives young Szram leads directly into Childs’s singers the opportunity to work Sleep, and then going on for clarinet with top professionals. This Jubilee Choral and Vocal Warm-ups Opera production, produced by Jenni and cymbals. One of the works by for Pianists Wake-Walker, will be directed by Lucy Smith (aka Bill Smith, front man for Bradley; the conductor is Lee Reynolds Dave Brubeck since the early 1970s) Kent-based Nancy Litten has had requires Ian to play ‘double’ clarinet, some more books published this year and the designer Claire Lyth. The baritone Peter Brathwaite will join the ie. two clarinets at once, Smith taking

by Alfred UK. Choral and Vocal Warmhis inspiration from the ancient Greek Ups for Pianists (‘everything the pianist children as the mill owner, and the cast will be accompanied by a professional instrument, the aulos. needs to know’) helps pianists in ianmitchellclarinet.com their endeavours with choirs and solo chamber orchestra. singers. Two books have been added to the Keyed Up range of electronic The Arcubus Ensemble keyboard tutors: Green (book 4), Originally formed in 2015 to promote and Orange (book 5) which equate the choral music of Russell Hepplewhite, to grades 2 and 3 in the Trinity the Arcubus Ensemble is launching exam syllabus. a new concert series in 2016 entitled Sundays @ 3pm. Directed by Julian Collings, the series will present innovative but accessible programmes of choral music at churches in the City of London. The first performance will take place on Sunday 31 January at St Mary-at-Hill and in addition to Russell’s music will include works by William Byrd, Frank Martin and Arvo Pärt. Performances last an hour and are followed by a wine reception. arcubusensemble.com Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

with his wife, company manager Clare, Full details of all of the CDs in the and daughter, cast member Talitha.

Chopin series and audio samples are available from angelalear.com. This After directing Cinderella by Peter website also includes some of Angela’s Maxwell Davies last year, Will Kerley published articles on the interpretation was the obvious choice for The Little of Chopin and related information.

Sweep. A renowned Britten specialist, he had previously directed the opera Special reductions of 10% are offered in Aldeburgh Jubilee Hall where it was to ISM members. Please mention premiered in 1949. Children as young this when ordering CDs directly from as four were on stage with principal szafarnia.uk@btinternet.com or singers between the ages of eight and alear@btinternet.com twenty-one. Over five hundred people saw this year’s opera. Cromarty Youth Obituaries Opera which is free to participants With regret, we report the deaths of: and audience stage Dido and Aeneas next year.

Edward Greenfield OBE of London Above: Cromarty Youth Opera’s production of The Little Sweep.

Edward Caswell and Cromarty Youth Opera Cromarty Youth Opera, now in its third season, returned to Britten this August with The Little Sweep conducted by founder and Artistic Director Edward Caswell. A choral conductor with an international reputation, Edward has dedicated the last three summers to putting on operas in the small Highland town famous from the Shipping Forecast where he now lives

The Chopin Collection

Sir David Willcocks CBE MC of Cambridge

The latest CD in Angela Lear’s Michael Baxter of Bedford critically acclaimed series, The Chopin Collection, Volume 6, is now available: Phyllis Martin of Brighton Based on her extensive research into Penelope Lynex of London Chopin’s autograph mss, early editions, draft copies and annotated scores.

All of her performances feature rarely heard original variants, some of which are previously unrecorded.

In memoriam Sir David Willcocks CBE MC, 1919-2015 It is not an exaggeration to say that, were it not for Sir David Willcocks, I would not have the career in choral conducting and music education I currently enjoy.

We first met in the early 1980s in Hong Kong. I sang for Sir David in a public masterclass on the Byrd five-part Mass and we were performing one voice per part. This, of course, made me acutely aware of his peerless ‘ear’ and musicianship, not to mention exacting standards! In the same trip, he came to observe me conducting the children’s choir I had set up in the (then) new Hong Kong Academy for Performing Arts. I had already known Sir David’s work from childhood. My father played me his recordings frequently from the 1960s. He was an idol and I was more than a little nervous performing for him...

He then awarded me a Winston Churchill Travelling Fellowship in 1990, and tasked me with devoting my life to bringing high quality choral music to the next generation. This I did via The Voices Foundation and many children’s choirs over several subsequent decades. So many of my own conducting practices derive directly from Sir David.

During the last few months, I visited him frequently at home. There was much updating and reminiscing. I owe him a huge debt, as do many others. There are few musicians in history who have had comparable impact and influence in their field.

I feel so very proud. Sad he is gone, but joyous that he lives on in our work and the work of those we teach and conduct.

Suzi Digby OBE

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

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Southampton Peter Bede MASalford David Scott BMusManch

St Albans Geoffrey Coates BMusHonsGSMD Joanna Howard BAHonsOpen Helen Street BAHonsRead

Staffordshire Katrina Zoeftig BMusHonsBirm

West Yorkshire Rebecca Joanne Frodsham BAHonsHull Debbie N Trigg GMusHuddersfieldPoly

Wiltshire Lorna Davis BMusHonsManch Natalie Eacott GradDipMus LTCL Sarah Scutt Karen L Stokes

Student members

Birmingham Myenard Martillano Lucille Price Jinah Shim

Bristol

Ka Man Carmen Ho

Cambridge

Stephen Hession

Kent

Michael Hardy

London – North Clara Danchin Laura Davies Ruth Hannah Tyler George Winstone

London – South West Cn Lester

London – West Joshua Kashdan Michael McGeary

Manchester

Clarence Ip-Tang Kathryn Rigby

North Yorkshire Patrick Jones

Corporate members London Philharmonic Orchestra David Burke E: admin@lpo.org.uk T: 020 7840 4200 W: lpo.org.uk Music Publishers Association Claire McAuley E: info@mpaonline.org.uk T: 020 3741 3800 W: mpaonline.org.uk Pipers Corner School Angela Randles E: theschool@piperscorner. co.uk T: 01494 718255 W: piperscorner.co.uk Playnote Limited Eric Yung E: cs@playnote.com T: +852 2210 7007 W: playnote.com RJL Music Richard Lythall E: Sales@RJLMusic.com T: 01270 446113 W: rjlmusic.com

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 27 November for January/February issue.

Right: Geraldine Allen (r) and Sarah Rodgers, Impulse Music Consultants

Impulse Music Consultants Impulse was created by Geraldine Allen and Sarah Rodgers in 1995 when the internet was in its infancy.

Right from the start, pop musicians recognised what a wonderful opportunity the internet would be for promoting music. Classical musicians were less sure. Impulse had no doubts whatsoever and immediately created a website to provide a collective platform for musicians.

Twenty years later, promotion online is fulfilling all the promise that was evident from the outset. The standards of display, sound and functionality continue to rise and keeping up with all the developments is just as demanding for today’s professional as it was creating a web presence at the beginning.

Having a website is now the norm but that leaves the working musician with many challenges, the most crucial one being time. How do you work on making a successful career and keep everything online up to date?

Impulse provides solutions for those challenges and winning the Innovate UK Award ensures that they do it with the latest technology. Celebrating 20 years of supporting musicians, their new, enhanced website provides an exciting platform for musicians to promote themselves and sell their music. impulse-music.co.uk T. 01760 441 448

Birmingham Conservatoire Birmingham Conservatoire’s programme of instrument days is going from strength to strength

after the successful Strings Day held in September, which featured a masterclass from our Principal, Julian Lloyd Webber and Saxophone day in October. The next planned event is the Guitar Fest in November. Instrument days involve a range of masterclasses, performances and workshops as well as the opportunity to visit a variety of display and trade stands. Anyone can join in, the days cater for all ages and abilities and there are countless opportunities to pick up playing tips, learn new music and of course share your enthusiasm for your instrument with other like-minded enthusiasts!

To find out more details and register online, please visit the following page bcu.ac.uk/conservatoire/study-here/ open-instrument-days/open-days.

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

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

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ABRSM

NMC Recordings

ALFA Education Ltd Birmingham Conservatoire Colchester Institute

Avid Bath and North East Somerset Music Hub Leeds College of Music The ISM and MMA (the National Association of Music Teaching Professionals) are proud to have a joint membership scheme available to all ISM and MMA members.

To find out more about this combined membership, go to ism.org.

Luton Music Service

Dartington International Summer School

Rhinegold Publishing

Forwoods – ScoreStore

The Royal Central School Of Speech & Drama The Royal Philharmonic Society

MSST – The Andrew Lloyd Webber Programme

Victoria College Exams

Musicguard

Yamaha Music Europe

Meanwhile, the University of West London’s redevelopment programme has been completed. Weston Hall is

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

Trinity College London

LCM has developed an exciting new relationship with St Mary’s Church Ealing, a stone’s throw from its own doors and offering a beguiling combination of superb acoustic properties with a beautiful and atmospheric interior space. The church is now available for extensive use by LCM as a teaching, rehearsal and performance space. LCM has collaborated in an update of audio systems and is now taking a hand in the design and specification of a new performance lighting system.

Drums for Schools

Make Music Swindon

London College of Music

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Park Lane Group

now open for business in the heart of the campus as a dedicated multi-role performance and conference space incorporating theatre lighting, sound systems and retractable raked seating for 400. The prestigious collaborative partnership with the English Chamber has already featured masterclass events in Weston Hall. LCM Live, the School’s rolling arts performance programme, continues this year with major concert, workshop and masterclass events featuring such diverse but iconic artists as jazz drummer Harvey Mason, internationally celebrated jazz duo Tina May and Nikki Iles, celebrated cellist Joseph Spooner, the Tippett String Quartet and ECO violinist Jeremy Isaac.

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

Making Music Applications are now open for the Philip and Dorothy Green Award for Young Concert Artists 2016. Now in its 56th year, the scheme, which has helped start the careers of artists including Steven Isserlis and Craig Ogden, provides opportunities for up-and-coming classical musicians to perform with Making Music’s 3,000 member groups. In return, these amateur music groups are able to book top-flight soloists at reduced rates, with a subsidy provided by the generous legacy of the Philip and Dorothy Green Trust to Making Music.

The Award is open to both vocalists and instrumentalists, with six winning

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

places available on the scheme.

Applicants must be aged between 21 and 27 on or before 1 April 2016.

Only the first 50 instrumentalists and 25 vocal applicants will be invited for audition. makingmusic.org.uk

Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: Our awardwinning Scratch® Youth Messiah features 1,500 young singers on 29 November at the Royal Albert Hall (2pm). Come and be amazed by their achievement, and think about registering your own choir for 2016.

Family discounts available by phone from RAH Box Office: 020 7589 8212.

Having sung our way down the Danube in October, we’ll be carolling and Christmas shopping in Nuremberg with ISM President Jeremy Jackman (2-6 December). You can also join him for an Easter singing cruise along Portugal’s ‘river of gold’ – the spectacular River Douro – through the oldest wine-growing country in the world (23-30 March).

UK-based events in 2016 include Bob Chilcott conducting Carmina Burana and Brian Kay conducting Verdi’s Requiem at the Royal Albert Hall. Our choral summer school at Warwick University culminates in a performance of Mendelssohn’s Elijah at Birmingham Town Hall, 170 years since its premiere there. www.trbc.co.uk

Centre for Young Musicians ISM President Jeremy Jackman writes: Need to borrow scores or parts? The Community and Youth Music Library, once the property of London County Council, has had an exciting journey before arriving at its present home – Hornsey Library in north London (N8 9JA). It is bursting with sets of vocal music ranging from small-scale items to oratorio and opera; you can also acquire orchestral scores and parts.

All this is available to any borrower in Britain or abroad, and the loan fees are better than reasonable. For more information, you can speak personally to the librarians on Tuesdays and Fridays on 020 3602 5214. Alternatively, e-mail any time – cymlibrary@gmail. com. The entire catalogue may be viewed at cymlibrary.org.uk.

The SMA Music Awards Jay Deeble, Chairman ISM-SMA Steering Group, writes: The former Schools Music Association (SMA) has always been interested in how it can encourage and support teachers in their challenge of developing music making with children. We recognise that opportunities to make music together are important and have organised festivals and concerts. But to get there, musical ensembles and their teachers need support and encouragement to improve their performance. Teachers frequently need some advice on practice or rehearsal technique, choice of repertoire or interpretation.

Therefore SMA instituted the SMA Music Awards, which are open to school choirs, orchestras, bands and ensembles of all kinds and all ages – infant, primary, middle school and secondary. The panel for this ongoing scheme meets three times a year, so there is no entry deadline. We recognise that schools may need to combine to form an ensemble big enough to become practicable, and have recently (2011) widened the categories; indeed we are always open to suggestions of new categories from teachers.

To take part, a school must submit an audio recording. The quality of recording will not be marked but obviously it would help if the recording was such that the judges can hear the performance.

There should be three contrasting pieces, which must have been done for the award and not taken from a recording made earlier.

All the performers on the recording must still be pupils at the school. Examples may also be included of warm-up exercises, but this is not obligatory. The music for each of the three pieces performed should be submitted with the recording, entry fee and entry questionnaire (most questions simply requiring a tick in a box).

The recording will be heard by at least three judges.

A detailed written adjudication will be sent to the school with a certificate showing the appropriate category.

This award is valid for three years.

There are five categories of award: copper, bronze, silver, gold and diamond. Performances are marked on: •

accuracy – notes, time values,

•

intonation

•

tone-quality, colour, blend

•

diction – purity of vowels, use of consonants, clarity

•

ensemble – balance

•

phrasing – shape, melodic line, breathing

•

interpretation of music

•

choice of music – contrast, suitability

We have a panel of willing volunteers (band directors, choral conductors, performers and experienced classroom practitioners) who currently administer this under the able chairmanship of Dr Douglas Coombes MBE. However we are always looking for new people, who are able to offer a day to listen to or watch very enjoyable performances and contribute to their improvement.

If this interests you, please contact Douglas Coombes – dcoombes@clara.net So if you know of an ensemble or choir who would like a certificate and useful and appropriate feedback, encourage them to look at ism.org/sma-music-awards

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... ...putting singing back into the hearts of children The Robert Poulton Foundation exists to honour the memory of a leading operatic baritone who was tragically killed in 2012. It aims to share and ignite a love of singing and embrace its ability to change lives for the better.

We are now actively looking for schools wishing to participate in this exciting new scheme. Please contact us: www.robertpoultonfoundation.org.uk philippa@robertpoultonfoundation.org.uk • 01435 868638

PIANOFORTE

What’s your ISM? If you would like to share your story, feedback, knowledge or even a word that you feel sums up the ISM for you, then here are the various ways you can do this:

TUNERS’ ASSOCIATION

• • • •

Send us an email to membership@ism.org with the title ‘My ISM is’ Share at facebook.com/myismis Share your word Twitter #myismis

We look forward to hearing from you.

Do you: Need a piano tuner?

Need advice about purchasing a piano?

Want to join the Association?

Want to become a piano tuner?

My ISM is

The ISM matters to me because it can speak with a united voice for all of us who are members, wha tever diverse role we play in our common pursuit of excellent music-m is g.

My ISMakin

port for me and has The ISM is a huge sup the important issues a real influence on lance musicians. free affecting today’s

Visit www.pianotuner.org.uk or contact the Secretary on 0845 602 8796

The Association provides the music profession and general public with a first class professional service in which they trust.

Write us a letter and send it to Freepost RTHK-YYEJ-YCLB, Incorporated Society of Musicians, 4-5 Inverness Mews, London W2 3JQ

Paul Hoskins Conductor and Music

ISM Member since

1993

Director, Rambert

Nicola Corbishley Soprano ISM member since

2008

# my ism is facebook.com/m yismis

ism.org

# my ism is yismis facebook.com/m

ism.org

rship Join our growing membe ns. of professional musicia Make us your ISM.

Join our growing membe of professional musicia rship ns.

Make us your ISM.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org Sunday 8 November

Sunday 15 November

Saturday 28 November 2015

Lea Valley Advanced Pupils’ Autumn Concert

North London Pupils’ Concert

South West Scotland ISM/EPTA Pupils’ Concert

2.30pm, St John’s Centre, St John’s Walk, off Market Street, Old Harlow, Essex, CM17 0AJ Entries have now closed for this concert, but we hope that you will be able to join us as an audience member for this event!

Cost: £6 adults, £4 members / concessions, under 5s and performers are free.

Contact: Carolyn Richards, ismleavalley@ ntlworld.com, 07768 086123

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Deadline for entries 4 November. Audience most welcome. Light refreshments available.

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

Contact: Sara Medina, 25 Twyford Avenue, London, N2 9NU, 020 8883 2082

2.30pm, Adelaides, 209 Bath Street, Glasgow, G2 4HZ All standards are welcome. Please contact Emma no later than 14 November for the programme entry.

Admission: £5 per person, discount for large groups.

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

South West Scotland Piano Recitals and Social Event 2pm, Glasgow Royal Concert Hall At 2pm, Alexandre Tharaud plays the Goldberg Variations. At 6pm, Richard Goode performs Mozart’s Sonatas No 8 in A minor K310/300d and No 15 in F Major K333/494 and Brahms four piano pieces Op 119.

Cost: £20, £15 and £5 (advance payment required).

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

Saturday 21 November 2015 Sheffield Pupils’ Concert 2.30pm, Shirley House, 31 Psalter Lane Sheffield, S11 8YL A concert for pupils of all ages. All instruments, grades and repertoire are welcome including solos, duets and ensembles. Entries to Pearl

by Friday 13 November. Refreshments will be provided after the concert.

Cost: £2 adults; 50p children; free to performers and ISM members.

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

We are currently looking for members to act as local group representatives for Guildford.

The deadline for applications is 11 January 2016.

For more information or an application form please call 020 7221 3499 or email bess.walker@ism.org.

Further details and application forms are available from the administrator 1 Speed Highwalk, ,Barbican, , London,, EC2Y 8DX 020 7496 8980

31

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2015

Ask me a question

Eleanor Hodgkinson Pianist

Tell us a little about yourself.

My mother’s family is musical – my mum, her twin sister and my grandmother all studied piano at the Royal Academy of Music! So I grew up surrounded by music as well as with a healthy dose of science and scepticism from my father who was a physics lecturer. I’ve played the piano since I was tiny and my mum taught me first before I went to a fabulous local teacher, Judith Burton, who gave me a fantastic grounding in musical education. After school I went to the RNCM and discovered my love of chamber music.

This led to a year of postgraduate accompanist studies with Carole Presland after which I won a scholarship to learn with Malcolm Martineau at the RAM. After the Academy I played regularly with a piano trio and freelanced as an accompanist and orchestral pianist. I worked with a huge variety of musicians in both the contemporary, the classical and also period instrument fields. One of my biggest influences was working for the charity Music in Hospitals: bringing music to people who would otherwise not hear it, and seeing the positive effects taught me the value of music. Teaching has always been part of my career and in 2002 I began working at Junior RAM and Royal Holloway University. I have written a number of multi-arts educational projects that run in schools and also examine jazz and classical grades for the ABRSM. My family moved to Leicestershire in 2011 and it is here that I started BabyGigs concerts for children and their families. I also studied for an MA in Music Psychology at Sheffield University at this time.

Who or what has most influenced you in your career?

I think I take something from everyone I work with, there is always something new to be found whether as a teacher or performer. Watching artists in other genres makes me think about how to communicate as a classical musician. Great stage performers such as Freddie Mercury or Carlos Acosta fascinate me. The Renewal Arts Festival, Caux, Switzerland opened my mind to free improvisation and the power of group arts activities. Authors such as The Beat Poets and Graham Greene had a big impact on how I viewed an artist’s role as interpreter and I am inspired by Alice

Munroe’s clarity. I also took some formal writing courses which gave me confidence to do an academic Masters degree.

Who is your all-time favourite artist and why?

Jacqueline Du Pre. I was inspired to learn the cello, mostly because I hoped I might acquire long straight hair! Her sense of freedom and oneness with the instrument is compelling.

What was the last CD you purchased?

Mercedes Sosa – Gracias A La Vida. I love South American music and I heard a Radio 4 programme about this song whilst driving home one day. It is beautiful and became the unofficial Chilean anthem of freedom from oppression.

What would you say is your greatest achievement to date?

My lovely children who are currently six and four. And also obtaining my MA and completing a half-marathon!

What are your plans for the future?

Some solo piano concerts featuring less played composers – Czerny, Thalberg, Grainger and Byrd. Also, developing the BabyGigs project.

Finally, what is your ISM membership to you?

It provides fantastic legal support, excellent professional links and is a united voice for musicians.

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

£10

Off

Membe rs

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

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

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

32

hip

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Proud Corporate Members of ISM, EPTA, ESTA, ERTA, AOTOS, MEC, abcd, Music Mark & the Worshipful Company of Musicians. www.vcmexams.com info@vcmexams.com (020) 7405 6483 52 Bedford Row, London WC1R 4LR

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