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September/October 2013 Young Classical Artists Trust auditions Guitarist Craig Ogden talks about music as a way of life Child protection and safeguarding


Welcome Looking after your needs After a summer worthy of the name and a fantastic range of music festivals and courses to be a part of, the new season and academic year are with us once again. You may be taking on new work, or returning to your regular activities but no matter what your circumstances, as an ISM member you are part of a community of leading musicians in the UK, and have the very best support for all areas of your professional life. Above: Deborah Annetts Photo: Mark Thompson

Our legal team advises members daily on all aspects of working as a musician. We are the only music membership organisation that offers this specialist one-to-one advice, as well as providing you with a 24-hour helpline staffed by legal advisers. And autumn tends to be a time of year when our unpaid fees recovery service is called upon. Recently, two members wrote to us after the conclusion of legal cases, saying: ‘I cannot express my unmeasured thanks for your outstanding professional support,’ and ‘I am very proud to have the ISM look after my needs in all kinds of ways, and my annual fee is worth every penny.’ The level of support you can draw upon has been enhanced with the introduction of heavily discounted accountancy services. Our tax helpline, tax return completion service and tax investigation insurance cover continue to be much in demand. We received this note from a member who completed a tax investigation only a few weeks ago: ‘It is so good to know that the ISM is there when one hits these things.’ And of course your membership covers many insurances which you need in the modern world, from discounted rates on professional indemnity insurance to £10 million of public liability insurance delivered free as part of your membership. There will be a small increase in your subscription as from September but there is no doubt that ISM membership still represents great value for money. In the last issue of Music Journal I referred to our June seminar on child protection. A number of issues were raised on the day, and we have also received a number of questions from members in recent weeks about the changing landscape of child protection, DBS checks and the new update service. In response to your questions, our recently-returned Head of Legal, David Abrahams, has written a helpful article on pages 15-17. Also in this Journal is an article about YCAT’s rigorous selection process and an interview with guitarist Craig Ogden, so please enjoy.

Front Cover Trio Isimsiz who were selected this year for representation by YCAT Photo: Kaupo Kikkas

Contents 2 6

News & campaigns Business advice

9 12 15

A way of life YCAT auditions Child protection and safeguarding

18 24 25

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

30 31 32

Volume 80 / Number 3 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: 1 October for November/ December issue Advertising copy date: 8 October for November/ December issue Price: £6 per copy Subscription: £30 per year Circulation: 6,350 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 ISM challenges Ofsted over promotion of the EBacc Ofsted are promoting the English Baccalaureate (EBacc) list of subjects. In their latest report on the most able pupils, Ofsted claimed that the A-level equivalent of the EBacc (the ABacc) was ‘required by many of our most prestigious universities.’ The A-level equivalent requires students to study at least two A-levels from options of maths, English, geography, history, sciences or languages. This is despite there being no evidence to support the claim that all pupils should study these subjects. As part of the Bacc for the Future campaign, we have written to Sir Michael Wilshaw, Her Majesty’s Chief Inspector, to ask him to retract their inaccurate statement. Whilst we succeeded in forcing a u-turn from the Secretary of State for Education over the plans to introduce the EBacc as an accountability measure in schools, the EBacc and ABacc league tables are still being published by the Department for Education. Don’t forget you can still help by signing up to the campaign on the website, encouraging others to do the same and writing to your MP.

HMRC proposes changing National Insurance rules Following lobbying by the music sector, HM Revenue & Customs (HMRC) launched a consultation proposing to change National Insurance (NI) rules so that selfemployed performers could continue to pay the lower Class 2 and 4 NI rate. For most self-employed musicians affected by the changes this is good news and we have responded, in partnership with other music organisations and in consultation with the ISM Performers Special Interest Group, supporting HMRC’s proposals and asking for any changes to be brought in as swiftly as possible.


Protect Music Education campaign New polling supports music education hub funding Launched in June by the ISM, the Protect Music Education campaign (www.protectmusiceducation. org) now has the support over 1,000 musicians and 15 music organisations. More good news came in July when an ISM/YouGov poll showed that the British public backed the national funding for music education hubs. Of those offering an opinion in this latest survey on music education by YouGov, 87% backed the music education hub funding at 2015 levels, saying the 2p it will cost each person in England per week was ‘reasonable.’

‘87% backed the music education hub funding’ The campaign is supported by, among others, the Music Education Council, Musicians Benevolent Fund, Music Industries Association, Music Publishers Association, the MMA, Schools Music Association, Portsmouth Music Hub, Plymouth Music Education Hub, ArtForms (the Leeds music education hub) and Making Music.

ISM takes a lead in driving forward GCSE reform As part of his u-turn on the English Baccalaureate, the secretary of State for Education, Michael Gove pledged to reform GCSEs. The ISM has been leading work on revisions to the current GCSE music and the Government aims for a new GCSE to be ready for implementation by September 2016. We will be asking members for their views on GCSE music later this month on our website.


National Curriculum final consultation closes Major changes made following ISM responses Creativity and the appropriate use of technology have been included in the final draft of the National Curriculum for England which was published for consultation on Monday 8 July 2013. The new draft also includes clearer references to enabling children to think and act as musicians, improvise and compose, reflecting the responses given by the ISM and others from right across the music world. However, the Department for Education is still proposing to remove intellectual property from Key Stage 3 and include a requirement for pupils to ‘learn the musical canon’ (of set works, not the style of composition made famous by Johann Pachabel). You can find out more at

Protecting your intellectual property The Government recently proposed rolling back the rules on photocopying and copyright use in schools. This is despite there already being reasonable allowances in place for emergency situations. If copyright is removed completely from these environments, an incentive for many musicians to write music for education would be lost. We have responded through the Educational Recording Agency (ERA) and the Music Publishers Association (MPA) in support of our members who write or produce music for education.

Transporting instruments Following our report in the last edition of Music Journal that double basses were allowed on the tube we received a number of queries about bus transport as well. We have successfully confirmed with Transport for London that the same size limit of 2 metres applies on buses and so in London, double basses can be taken on a bus.

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.



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Listening to the voice of the membership A message from your President, Richard Hallam MBE If you have read some of my blogs, kept in touch via the electronic news updates or read through to the end of the report on the AGM in the last issue of Music Journal, please forgive me for repeating a message that I hope you will already have taken on board. It is an important message and bears repeating one more time! Above: ISM President, Richard Hallam MBE

‘Your voice matters. All views are respected and valued. Your voice is being listened to and, where appropriate, acted upon.’

We have a great Society of which I am proud and honoured to be President this year. The Incorporated Society of Musicians is the UK’s professional body for musicians and subject association for music. We successfully champion the importance of music and protect the rights of those working within music through a range of services, campaigns, support and practical advice. Fellow professional musicians join the ISM for many reasons: the excellent membership services, including legal advice and support, CPD, documents, templates and pro forma; the professional collegiality bringing with it the opportunity to influence policy and practice, the opportunity to feed into the Special Interest Groups, to join Local Groups and through attending the annual conference, to have our batteries recharged and our enthusiasm and passion for music re-affirmed. In 2012 we adopted a new set of articles to ensure we are able to achieve the above in a 21st century context. These articles were drawn up by our lawyers after extensive consultation with the membership and passed by an overwhelming majority at the Annual General Meeting in 2012. Over the past 15 months we have been applying those articles in practice and Council has revised the bye-laws as necessary, particularly in the light of child protection issues. We will continue to monitor the practical application of these articles and bye-laws to ensure they are fit for purpose and achieve what they were


designed to achieve. By separating out next year’s AGM from conference it will be possible for those members who are interested in these matters to engage even more fully with them. Make a note of the date: 24 April 2014. We want to hear your voice and we are listening to what you say. Since January of this year, members of our excellent staff team have been out visiting newly constituted local groups to listen to the voice of our members. Comments that have come back to me have shown that these visits have all been extremely successful and valued both by the staff team and by members. Please contact the team if you haven’t had a visit yet and would like one. I have also offered to visit local groups in my capacity as your President so that I can hear from you at first hand. Thank you to the colleagues who have already invited me to join you. Thank you too to those colleagues who have emailed or phoned me. All views are welcome and are listened to. Plans are progressing well for our annual conference, which will be in Birmingham from 15-17 April 2014. Do make a note of the dates now. I have mentioned before that I wish to preserve the best of the past but also to ensure that the conference is relevant to our many new members! Thank you for the 42 suggestions that I received relating to possible content. It hasn’t been possible to accommodate them all in conference next year, but I have been able to adopt a number of them. Some of them have already fed into our CPD programme and others will be considered when my successor, Professor Barry Ife, plans the 2015 conference! With well over six thousand members there will always be a range of views. Your voice matters. All views are respected and valued. Your voice is being listened to and, where appropriate, acted upon. Please continue to communicate with us and help us to ensure that the ISM remains the leading professional society for musicians throughout the UK.



Business advice Don’t be afraid of being employed You should not be worried about taking on work on an employed basis as part of your work portfolio even if most of your work is freelance. It is possible to do employed and self-employed work at the same time. Many musicians do so without encountering any problems. Mixing employed and self-employed work Having a portfolio of both employed and selfemployed work should not create administrative or tax difficulties. You continue to pay tax and National Insurance on your freelance work in the usual way and the amount you owe should be unaffected. Your employer will deduct tax and National Insurance from your employed earnings under PAYE. If you take on some employed work in addition to existing freelance work, you need to ensure that HMRC give your new employer the correct PAYE tax coding for you. To do this you need to complete the HMRC Starter Checklist, which your employer will give you, and return it to your employer to send on to HMRC.

Taking on employed work should not prevent you from doing freelance work at the same time. Although it is standard for an employment contract to contain a provision restricting the employee’s ability to do other work without the consent of the employer, in practice it is most unusual for the employer to refuse this consent. Indeed, the employer is likely to be reassured that other people are engaging their employee to do professional work when they themselves have no work to offer. ‘I happily combine freelance private tuition with employed university teaching. A proportion of my tax is deducted at source by the university but this just means a lower self-assessment tax bill for me every January. I have had no problems at all with this mixed status.’ - ISM member Advantages of being employed Employed status brings with it a number of benefits which freelance musicians generally do not have: • entitlement to sick pay • entitlement to statutory holiday pay

Your ISM subscription As an ISM member you receive unparalleled professional services, including legal support, public liability insurance, tax advice, and much more. We are working hard to maintain and improve the services we provide, and to help us do this some of our subscription rates are changing from 1 September.

2013-14 subscription rates*:

Several subscription rates will remain unchanged, and we have kept the increases in full, retired and associate membership as low as possible – in line with inflation. If you have a question about your subscription, would like to set up a direct debit, or would like to recommend new members, please contact our Membership Officer, Tom Butcher:, 020 7629 4413.



Graduate (year 3)


Graduate (year 2)


Graduate (year 1)









from £95

*These rates apply to all renewals until 31 August 2014



• entitlement to maternity and paternity leave and maternity pay • entitlement to redundancy pay • entitlement to a minimum notice period • statutory protection of employees generally, eg against unfair dismissal • less personal financial risk (of the business making a loss) and • more generally, an implicit longer term commitment to a business relationship between you and the organisation engaging you ‘I have done a mixture of employed and selfemployed work over many years and have found there are all sorts of benefits to being employed. These include access to the employer’s resources and facilities (such as instruments and libraries), peer support and the motivation of working as part of a team, not to mention a pension on retirement. I have never had a problem with tax issues.’ - ISM member

For example, you might be offered teaching work of ten hours per week in 30 weeks of the year by two different schools, both ten miles from your home. One offers to employ you at a basic rate of £30 per hour. The other offers you freelance work paying £34 per hour. It would be a mistake to think that the second school is offering you the better deal. This is because your entitlement as an employee to 5.6 weeks of statutory holiday pay a year, which would be worth £1,680 in this example, probably more than offsets the benefits to you, if you were selfemployed, of paying lower National Insurance (Class 4 rather than Class 1) and being able to set off your travel expenses against your tax. This is even before allowing for any pension contributions an employer might make for you and the potential for employees to become entitled to sick pay and maternity pay, which you do not enjoy as a freelancer. For further advice, please contact our in-house business support or legal team.

Disadvantages of being employed

New online advice

The main disadvantages of being employed as against working freelance are that:

We have added three interesting new sections to our online advice.

• you can claim fewer tax-allowable expenses against employed earnings - but you will probably have fewer additional expenses resulting from the employed work and can still claim the usual expenses against all the freelance work you do

One offers our tips on what to do when you engage other musicians to play with you or join your teaching business. We suggest how to avoid the potential pitfalls (such as being out of pocket yourself if the gig is cancelled or inadvertently becoming an employer with all the associated legal obligations) and what other issues you need to consider.

• you are liable for Class 1 National Insurance on your employed earnings - but, unless you do a lot of work for the same employer, this is unlikely to be a large additional sum and • the organisation engaging you may have more control over how you work and whether you may use deputies. Which is the better deal? – an example Often an offer of employed work which pays a lower basic rate than similar freelance work might in fact be the more profitable deal for you.

Another summarises the law on unfair dismissal. This tells you what conditions must be met to make a successful claim for unfair dismissal should you be dismissed. The third deals with hearing issues for musicians, summarising your rights and responsibilities if you are exposed to loud noise in your workplace. For a full list of our online advice pages go to Caroline Aldred, Business Support Officer, ISM





Don’t miss ’s Craig Ogden masterclass on 15 Nov

A way of life Australian-born guitarist Craig Ogden is one of the most prominent figures in UK classical music. He spoke to our Membership Officer, Tom Butcher, about music as a way of life. Craig Ogden is an international performer and recording artist. He has performed concertos with all of the main UK orchestras, and he has recorded for several leading classical record labels including chart-topping releases for Classic FM. He is Principal Lecturer in guitar at the Royal Northern College of Music, and he has presented on BBC Radio 3 and ABC Classic FM (Australia). A long-standing ISM member, Craig will be leading a masterclass for the ISM on classical performance in November. We talked about what he is working on now, his background, and his plans for the future.

‘The main thing, though, is arranging Christmas Carols for an album that’s coming out towards the end of the year. It’s slightly surreal working on these when the weather is so beautifully warm – and my family also find it weird that I roam around the house humming Christmas tunes. ‘Balancing recording and performing can be a bit chaotic in terms of preparation. Recording repertoire doesn’t always make it into concert programmes so if I’m busy with both, it can mean having a great deal of material to prepare.

‘I recorded my first Nimbus Records CD in two lots of two days about six months apart but since then, most of my discs have been recorded in three What’s on consecutive days. My recording of the three solo We started talking about some of Craig’s highlights Rodrigo guitar concertos was recorded the day after I was married!’ from the past season: a day of concerts in Derry for their City of Culture celebrations, Classic The huge variety of Craig’s career, and his intense FM Live at the Millennium Centre in Cardiff, commitment to making music, became a theme concerts in London and Guildford with John as we moved on to discuss the ‘international’ Williams, playing live on Radio 3 from the nature of his work. ‘I’ve played in most European Vermeer exhibition at the National Gallery. countries, North America, South Africa, Russia, After hearing about all of these exciting events I was keen to hear what Craig is working on right now. ‘I’m reviving Britten’s Nocturnal Op 70 for solo guitar, a couple of string quartet and guitar pieces (including an amazingly energetic piece called Rush by the Australian composer Matthew Hindson), and learning some new music for guitar and accordion for the Burton Bradstock and the Cerne Abbas Festivals. Left: Craig Ogden Photo: Pal Hansen

‘I’m also preparing guitar duo material to play with Gary Ryan at his summer school in Normandy.

Georgia, Australia, Hong Kong, the Bahamas, Barbados and the Middle East. ‘I’ve also performed on many P&O Classical Cruises which have included the Mediterranean, Baltic, Eastern Med, Canaries and the Caribbean and another three week cruise from Sydney to Hong Kong which took in Papua New Guinea and the Philippines. ‘I’ve always felt that travel, experiencing different cultures and meeting a diverse range of people is one of the real benefits and pleasures of a performing career.‘ Continued overleaf 



Above: Craig Ogden Photos: Pal Hansen

Looking back We continued to look at how music has shaped Craig’s life – in a geographical sense – and his decision to move to England. ‘An Australian guitarist called Tim Kain recommended Gordon Crosskey at the RNCM to me. ‘Tim had studied with Gordon some years before. I grew up and was educated in Perth, Western Australia which is the most isolated city in the world so it was absolutely necessary to leave at some point to study further. Luckily, my Mum was British so I was able to come to the UK and live, study and work here without visa problems. ‘I started teaching at the RNCM as soon as I had finished my second year of postgraduate study there. The head of strings at that time was Rodney Slatford and he invited me to come and teach ensemble studies to the guitarists. Over time I began to share the workload of one-on-one teaching with Gordon [Crosskey], and towards the end of Gordon’s career we shared the students equally. ‘Gordon retired two years ago and since then I’ve looked after the department myself which I have hugely enjoyed. I’ve had an unbroken relationship with the RNCM for 23 years now. I think it provides a fantastic experience for the students and I’m delighted and grateful to be on the staff there.’


Craig has also studied percussion, and this has been a key influence in his musical development. ‘I started playing percussion in my high school wind band when I was thirteen. This proved to be of huge significance in the development of my career as a guitarist. ‘It gave me an opportunity to acquire ensemble skills – playing with others, following a conductor, listening, mutually comprehending rhythm and pulse – which guitarists often find hard to come by. ‘Opportunities came my way because I was lucky enough to have had this experience. Playing percussion was enormous fun, too, and the perfect second instrument for a guitarist. The guitar is relatively quiet and solitary while percussion is often loud and social!‘

What’s next In November Craig will be leading a masterclass for the ISM, giving his perspective on classical performance. As Craig regularly collaborates with other musicians, I asked if other performers have influenced his perspective on performance, and how this might come across in the session. ‘I frequently refer to [John] Williams and [Julian] Bream as they provide wonderful examples of various aspects of guitar playing. ‘In terms of career development and pure joy in making music I always cite my colleague and one


of the closest friends I’ve ever had, the mandolin player Alison Stephens who very sadly died in 2010 at the age of 40. Her sheer persistence and belief in the mandolin as a concert instrument along with a great love of music and of her colleagues gave her all the tools she needed to develop her career in a way that every young soloist should try to emulate. ‘I’ve learned a great deal about stagecraft from my wife, the opera singer Claire Bradshaw, and this always informs any teaching or discussion about presentation. ‘I may not always refer to them by name but many of the other musicians I’ve worked with – Mark Padmore, Yan Pascal Tortelier, David Daniels, Nicholas Daniel, Judy Hall, David Juritz and many, many others – all provide ideas and inspiration and I try to pass this on to students as best I can.’ As you might expect, Craig’s future plans cover a broad range of activities over an enormous geographical spread. ‘I’m delighted to have a third CD coming out on Classic FM’s own label at the end of this year. ‘I have a three week residency at the University of Western Australia in Perth which I’m very much looking forward to as my four years at UWA were some of the most enjoyable of my life. I also get to catch up with my family!

‘I’m really looking forward to next year at the RNCM – I’ve got a strong body of students and good numbers so we’ll be able to do some very interesting things. ‘Otherwise, there are some nice concerto dates in the diary, several collaborations, a trip to Washington with the Birmingham Contemporary Music Group, a new concerto from Andy Scott, a debut appearance with the RTE Orchestra in Dublin and some lovely dates at music clubs and festivals around the UK. ‘I’m particularly looking forward to performing with John Williams again at the Globe Theatre in London next March and to my next Bridgewater Hall Guitar Weekend in Manchester in January 2015.’ Throughout the interview it was clear that Craig’s life has been shaped by music. We ended on an inspirational note – three words from Craig to anyone else who is making music a way of life. ‘I’ll just say, “Never give up.”’ Craig Ogden, will lead our classical masterclass on Friday 15 November, 1-4pm in the intimate setting of The Forge in Camden, London. Tickets cost just £10 if you are a student or graduate member and £20 for a full member. To book your place, call us on 020 7629 4413 or visit



YCAT auditions Following an article in Music Journal May 2010, which focused on the 30 year background and development of YCAT, Alasdair Tait, YCAT’s Chief Executive, takes a more in depth look at the crucial aspect of their tough and thorough selection process. Above (l - r): Benjamin Baker, violin, Ji Liu, piano and Michael Petrov, cello Photos: Kaupo Kikkas

YCAT (Young Classical Artists Trust) was founded in 1984 with the aim of helping exceptionally talented young musicians and ensembles bridge the increasingly difficult gap between leaving full time conservatoire training, building a solid and sustainable concert schedule and the substantial demands of an international performing career working alongside respected commercial artist management companies. As you can imagine, in the last years, this journey has only become more treacherous for many aspiring performers, yet still remains a dream that can feel almost vocational for those who have the drive and ambition to communicate their musical voice on the concert platform. Building on a pre-existing model of the more established YCA in New York, from the outset YCAT’s selection process was set up as a rigorous challenge that allowed applicants to show they were ready to cope with the extremely tough demands of a busy touring diary, able to hold a lot of repertoire at any one time, while still maintaining professionally high standards throughout. Unlike nearly all other immensely valuable young artist awards, prizes and programmes, YCAT is about the work that goes on behind the scenes with our musicians, not just the presentation of the artists in a few high profile


concerts (which we of course continue to do!). Acting as their world-wide artist manager, we carefully build a grounded, structured concert diary, liaising with hundreds of promoters both nationally and internationally who, over the years, have come to trust that the ‘YCAT’ brand consistently delivers to them the highest standards of performance, while also introducing the unquestionable artists of the future. I mention this as a way of expressing that, once an artist is selected by YCAT, we have to know that they are ‘ready to go’! For me, there are two key elements to the YCAT audition process: the audition format, including the repertoire requirements and the structure of the various rounds, and then the choice of jury members at all parts of the process. Let me start with a brief description of the different stages and requirements. Because of the high number of applicants each year, (the last five years have seen this number double from an average of 60 to around 120), we invite a detailed written application which gives clear biographical information, awards and prizes, prior high level performing experience, alongside complete repertoire lists and two references from respected teachers and performers. Recently


‘ the ‘YCAT’ brand consistently delivers to them the highest standards of performance, while also introducing the unquestionable artists of the future.’ we also introduced a short question about why the applicant feels YCAT is right for them and what they expect to gain from the experience if successful. (This innocent little question has proved quite revealing on occasion!). Ideally we aim to hear everyone who applies and fulfils these initial criteria to a satisfactory level. There are three live rounds of YCAT auditions. The first, held over one week, is divided into distinct categories of keyboard, strings, vocal, wind/brass/percussion and ensembles. This allows the jury to be specific to the discipline, along with one general juror and myself providing continuity and overview across the whole week. Until two years ago, repertoire requirements had remained relatively unchanged from the start. Candidates were expected to present on average around 8 full works, divided into categories that included, where relevant, Baroque, Classical, Romantic, sonatas/concerti, contemporary, lieder, operatic, oratorio etc. Though auditions only last fifteen minutes, the jury can select anything from the given programme in order to gauge the breadth and experience of the young artist, both musically and technically. This is designed to really test whether the auditionee has the necessary capability to hold enough core repertoire at a professional standard at any one time. Below: Trio Isimsiz Photo: Kaupo Kikkas

People sometimes question the validity of this intense repertoire demand, but interestingly, it

is often where we occasionally seem to pick the artist’s ‘Achilles heel’, by asking what they least expected, that we can discover far more about their inner performing resources. An artist, who up to a certain point has perhaps been so well prepared they seem almost too schooled, suddenly can show some vulnerability yet also manage to communicate an innate understanding and creative spontaneity to the moment. Ultimately, none of us want to trip up the musicians, but we really need to find out in a short space of time those musicians who seem most robust under pressure and who still manage to convey something of their individuality. It was in relation to this aspect of individuality that, a few years ago, I decided to drop the more rigorous categorisation of required repertoire for most of the disciplines, instead leaving the choice of repertoire completely open. The only remaining demand is the large amount of repertoire offered. This immediately allows the musicians to think carefully about where they feel their strengths lie, yet also being conscious of trying to show they have a well-rounded and diverse musical personality. Most importantly it gives a glimpse as to the degree of critical self-awareness and judgement already present as these are crucial factors in any successful performing career. In principle, we have no fixed number of candidates that progress to the semi-final round, however in practice, there is an upper limit of around 25, which equates to two full days. Interestingly, in the last two years, it has proved much easier at the deliberation stage to agree completely about a smaller number of around 14/15, allowing them to get a longer, more probing audition at the next stage. Whereas, in the first round, auditions are divided up into their different disciplines, in the semifinals, we mix everyone up. This is a very conscious decision, allowing the jury to focus purely on which musical voice speaks most directly to them, unencumbered by technical considerations specific to the instrument or voice. Again, the repertoire is chosen at will by the jury from the submitted programme. My only instruction to the panel of judges on this day is to think carefully about which musicians they feel are ready to sustain full recitals, Continued overleaf 



performances, operatic roles, at the highest professional level. This brings me to the important choice of jury members. I believe it is vital that the applicants can trust that they are auditioning for some of our most experienced and knowledgeable performers, those who have direct experience of the intense demands of the profession and who can also remember what it felt like at this rather daunting transition from protective training environment to un-anchored isolated independence. It is also important for me that the jury members have a clear understanding of what YCAT is ultimately offering, that it is an invaluable resource and support for selected artists, not just a few concerts. Over the last years, jury members have included Levin Chilingirian, Marcia Crayford, Simon Rowland-Jones, Laura Samuel, Dame Anne Evans, Alison Balsom, Phillipa Davies, Carole Presland, Iain Burnside, John McMurray, David Sirus amongst many others. From the semi-final auditions, we will have chosen up to eight finalists who then progress to a gala public final at Wigmore Hall a month later. This event has become a wonderful celebration and showcase of exceptional young talent on the brink of exciting careers and I impress on all the finalists that, whatever the result, it will be an invaluable opportunity to be heard by many promoters, agents, festival directors, all of whom have come to observe the YCAT finals with great interest over the years. In thinking through with the excited finalists about their repertoire choice for this Wigmore showcase, it also gives me an opportunity to get to know the musicians personally, talking with them about their ideas, their dreams and aspirations, also getting a sense of how potentially they might work together with YCAT in building a crucial and trusting artist/agent relationship (something I valued greatly as a former YCAT artist when cellist of the Belcea Quartet). Of course this is an elusive feeling to gauge, but again, when thinking what a huge investment YCAT makes in each individual musician selected, it is vital to attempt to have some idea of how this may progress, before heading into the final decision making event.


The one crucial difference about the final from previous rounds, apart from the obvious public element and prestige of performing at Wigmore Hall, is that the jury is made up of key music ‘industry’ figures including some of the most important international commercial artist managers, recording producers, broadcasters, festival directors, all of whom have vast experience in the spotting and development of major new musical talent. This industry perspective is invaluable when considering which performers appear to really have the ‘potential’ to grow and blossom in a truly exciting and individual way given the expert nurture and guidance that YCAT would be offering. Often, these decisions may not necessarily relate to the most polished and assured performance on the day, yet could well be sparked by that glimmer of a truly unique and personal voice that speaks from a more vulnerable place and gives us the belief that this musician is potentially one of the great artists of tomorrow. Two months ago, we selected five new artists for representation and now the real works begins for them and us. Apart from practical considerations such as new publicity photos, website material for them and some exciting concert and operatic opportunities that already seem to be emerging for them, the most rewarding and stimulating aspect for me is the thrill of forming five new, challenging, trusting and incredibly enjoyable relationships with some truly inspiring and creative young artists. Alasdair Tait, Chief Executive, YCAT


al Artists Tru Young Classic et 23 Garrick Stre London WC2E 9BN 020 7379 8477 k uk o. .c at yc info@


Photo: Brian Slater

Child protection and safeguarding On 24 June, we held a seminar on child protection and safeguarding which was attended by a large number of representatives from across the music sector. Our Head of Legal, David Abrahams, seeks to clarify a number of issues raised that day in relation to the enhanced checks provided by the Disclosure and Barring Service (DBS). The two biggest issues to emerge in the course of our discussions on 24 June were:

When should those working in schools be asked for a DBS Enhanced Disclosure?

1) Uncertainty about when it was appropriate to ask for a DBS Enhanced Disclosure (the highest level of DBS check which can be required for work which involves teaching, training, instructing, and/or supervising children) in relation to those working in schools.

A number of participants at the seminar reported that it was common for schools to insist that all those coming onto school premises to work with children should be subject to a DBS Enhanced Disclosure (and barred list check). Schools taking this line often suggest that this is a legal or Ofsted requirement.

2) Uncertainty about the DBS’s new ‘Update Service’ (launched on 17 June 2013).

Having researched the legal framework and checked the position with the DBS we can confirm Continued overleaf 



this might be relevant if you volunteer in a school or if you go into schools to engage in activity which is not the ‘teaching, training and instructing of children’ (provided, in both cases, that the activity is frequent or intensive). Please contact the ISM legal team if you would like further advice on this point.

Are DBS Registered Umbrella Bodies entitled to object to providing DBS Enhanced Disclosures for people who are not in regulated activity?

Photos: Brian Slater

that it is not correct to suggest that all those working with school children on school premises must be subject to a DBS Enhanced Disclosure. The correct position is that you only need a DBS Enhanced Disclosure if you are engaging in regulated activity. In general an activity will not be ‘regulated’ unless it occurs frequently (at least once a week) or intensively (on at least four or more days in a 30 day period).

Yes. If an individual is not engaged in regulated activity then it may be unlawful to ask them to apply for a DBS Enhanced Disclosure. We know that some Registered Umbrella Bodies are very strict about this requirement. This is understandable given that it is a breach of the DBS’s Code of Practice to issue DBS Enhanced Disclosures to people who are not eligible to apply for them.

The new DBS Update Service

On 17 June 2013 the DBS introduced its new ‘Update Service’. For those now applying for a DBS check the new system has the great advantage that it will allow the applicant to So, even if a group of performers goes into a school ‘re-use’ their DBS check when they apply for a two or three times in one month in order to conduct new position (provided they join the Update a musical workshop involving children, there will Service when they applied for their check and be no need for the performers involved to undergo pay the annual subscription of £13). Prospective employers can then check the applicant’s DBS a DBS Enhanced Disclosure, because this will not certificate online for no additional cost. This fall within the definition of regulated activity. move to ‘re-useability’ was widely welcomed The Ofsted website gives some very clear and by the music sector. Many ISM members have helpful guidance on this point: been irritated by the necessity to obtain multiple Visitors who will only have contact with children on an DBS checks in relation to the various different ad hoc or irregular basis for short periods of time are not settings where they work. Although the £13 per eligible for DBS checks and schools and colleges will not year charge is an additional cost, it should still represent a saving when compared with the cost be entitled to request them. of applying for multiple DBS checks. All this is set out in detail in the relevant DBS However, two difficulties have emerged that guidance on the definition of regulated activity. weren’t made entirely clear at the time the Members should note that the definition of scheme was launched: ‘regulated activity’ was amended in September Firstly, the update scheme is only available to 2012. Those engaged in activities that are no those who have applied for an enhanced DBS longer included in the definition of ‘regulated check on or after 17 June 2013. activity’ (but were included in the definition prior to September 2012) are still eligible for a DBS We know of cases where people applied for a Enhanced Disclosure, but not for a barred list DBS check before 17 June, received their DBS check. Our view is that there will be relatively few certificate after 17 June, but have still been told musicians who fall within this category. However, that they are not eligible for the Update Service



because they applied for the check before the scheme was introduced. It follows that all those who had DBS checks in place (or had applied for checks) before 17 June 2013 will not be able to benefit from the new ‘Update Service’ unless they apply for a new DBS check after 17 June 2013. Secondly, there is a strict time-limit for subscribing to the ‘Update Service’. Our understanding is that applicants have 14 days from the date their DBS certificate is issued within which to ‘opt-in’ to the new ‘Update Service’ by paying the required £13 annual subscription. Given that it inevitably takes a few days to be informed that the DBS check has been issued, this is a very tight deadline. We are concerned that some musicians are in danger of missing out on the benefits of the ‘Update Service’ because they may not be aware of this deadline. The best advice is to make sure you apply to join the ‘Update Service’ at the same time as applying for your DBS check. If you do this you do not need to worry about having to ‘opt-in’ within 14 days of your DBS certificate being issued.

ISM staff – we’re here to help General enquiries relating to safeguarding and child protection are dealt with by Rebecca Gleave ( For more complex enquiries about the law on safeguarding and child protection ISM members can contact the legal team (legal@ism. org) or telephone us on 020 7629 4413.

Next ISM event covering safeguarding and child protection Our next seminar on safeguarding and child protection issues is being organised for Monday 4 November at The Forge, Camden, London. I will be providing an update on the latest developments on this important topic, and a representative from the DBS has also provisionally agreed to speak. Further details will be provided nearer the time, but please email if you would like to attend. David Abrahams, Head of Legal, ISM

One final change in relation to the new DBS checks (those applied for after 17 June) is that the certificate will only be sent to the applicant and not to the umbrella body. Only in very limited circumstances will the DBS disclose the relevant certificate to the DBS Registered Umbrella Body. This change was initiated by the Government, rather than DBS, the thinking being that it is the applicant’s responsibility to disclose the certificate to any employer or agency who is engaging them.

Does a DBS check cover criminal records outside the UK? Another issue that arose in the course of the seminar was whether DBS checks include non-UK criminal records. Generally speaking a DBS check does not cover non-UK criminal records. The DBS advises those recruiting non-UK nationals or UK nationals who have spent a considerable period of time abroad to obtain an overseas criminal record or ‘Certificate of Good Character’ from the authorities in the relevant country. Detailed guidance in relation to this process is available on the DBS website ( Any such checks should be supplemented by verifying the applicant’s identity and taking up appropriate references.



NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email The next deadline for copy is 1 October for November/December issue.

Segovia - The Ramirez Years John McCabe John Mills has been working on a new project this year, Segovia - The Ramirez Years, culminating in a new double CD release in the summer.

Right: Mark Fielding Below: John Mills

It is a celebration of the working relationship between the legendary Andres Segovia and the famous Madrid dynasty of guitar makers Ramirez – it is exactly 100 years since Segovia was presented with his first Ramirez guitar. As John studied with Segovia back in the 1960s, he was invited to record the double CD using a specially selected guitar by Ramirez identical to that used by Segovia in the last 20 years or so of his career. John went to Madrid to try out the instrument and it proved to be magnificent. Amalia Ramirez who now runs the business said she would be delighted to have the guitar used for the recordings and also in the subsequent recitals planned for this autumn and into 2014. The project will be launched with a recital on 21 September in the grand hall at Glynde Place in East Sussex, with a second performance in the Performance Hub, University of Wolverhampton on 5 October.

Joybox, a new piece by John McCabe was performed at the BBC Proms on 25 July by the BBC Philharmonic Orchestra, conducted by Juanjo Mena. Joybox is a lighthearted entertainment piece based on an incident some years earlier in Japan which had amazed and amused John – the extraordinary jangle of sounds emanating from a ‘place of entertainment’ full of slot machines and one-armed bandits. In late 2012, just as John was about to start work on the BBC commission, he was diagnosed with a brain tumour. Joybox was written entirely during the following period whilst undergoing intensive chemo and radiotherapy. In April this year, John collapsed with a severe seizure, but by May was recovered enough to be able to complete what remained of the orchestration, and to meet the required deadline.

The accompaniments are an integral part of the book as they also cover various styles with a hint of humour suggesting well-known pieces and composers. Mark is an experienced teacher and is on the staff at the Guildhall School of Music and Drama and the Perse Upper School in Cambridge. He studied at the Guildhall with Allan Schiller and composition with Robert Saxton. The book is on sale on his website ( and his first book Allstyles Piano Pieces is also on sale at Chimes and musicroom. His next book in the series for saxophone will be completed soon!

It is amazing that John managed to write at this time. However, the work was in his head, and despite his illness, he was determined to get it down on paper. In 2014, John can look forward to a double celebration, when he not only celebrates his 75th birthday, but also reaches his half-century as an exclusive Novellos composer.

Swing His Praises

Andrew Daldorph will be performing once again in Exeter Cathedral on Saturday 12 October at 7.30pm Allstyles Essential Exercises directing both his Devon-based choirs, Exeter Chamber Choir and Allstyles Essential Exercises by Mark East Devon Choral Society. Following Fielding is the second book in the the success of his oratorio, Songs of series, and includes 12 exercises for Hope and Creation which received piano with an accompaniment for a standing ovation in the same each exercise and an accompanying venue in 2009 and won PRS for CD. It covers the fundamental Music’s national competition ‘The techniques needed to tackle the Unforgettable Choir’, the choirs will demands of all styles from Baroque to be joining forces with SW-based AJ’s Jazz suitable for grade 1-5 standard. Big Band to perform A Mass for Life Continued overleaf 



jazz mass and to introduce a collection of five Jazz Psalms in a concert billed ’Swing His Praises’. Drawing together the South West’s leading jazz talents, this concert will transport the choral and sacred traditions into the 21st century. Tickets (£7 to £24 with concessions) are available from ECC tickets, 07812 164413, and at Exeter Phoenix Box Office, 01392 667080,

New music for a rejuvenated organ The newly restored organ at Powderham Castle, Devon, was inaugurated on 17 May 2013 in a recital by a triumvirate of Exeter Cathedral organists: Andrew Millington, David Davies and Paul Morgan. The concert included a new piece, Powderham Variations, by Exeter composer Peter Nickol.

Horsham Music Circle A line-up of fabulous artists will appear in Horsham for the 72nd Season of Music Circle concerts, which is run by their Honorary Organising Secretary, Jill Elsworthy. The young keyboard maestro Benjamin Grosvenor starts the series in September. He is the youngest and first British pianist to sign to the Decca label in almost 60 years. Other artists appearing during the season will be Jayson Gillham, one of the Leeds Piano Competition finalists last year; percussionist Toby Kearney brings a vibrant programme; the early music group Galliarda presents ‘Music from the Land of Don Quixote’; six players from the ensemble London Concertante will perform masterpieces of the chamber music repertoire and the Allegri Quartet offer a sumptuous programme as part of their 60th year tour. To complement the classical series two additional shows will be staged. Pure Brubeck is brought by Harry the Piano with his group of friends in a stunning recreation of the legendary Quartet and the Tivoli Café Band will present a nostalgic evening of song and dance from the 1850s to 1950s.


or as a download: see www. Peter teaches a one-day course on Editing and Proofreading Music on 5 November 2013 at Senate House, London; for further details or to book, go to the training section of

E-MusicMaestro The first E-MusicMaestro Summer Music Course for students from Singapore was held this year at Duvale Priory in Devon, led by E-MusicMaestro directors, Sandy Holland and Peter Noke. Fourteen music students of mixed ages, accompanied by their teacher and several parents, travelled to England to take part in this course and to explore London, Devon and Somerset. The music course consisted of three activity-packed days with course leaders and guest tutors, drummer, Andy Gleadhill and Richard Michael, professor of jazz at St Andrew’s University.

The approach to learning was active and creative, with all sorts of musical instruments available in addition to the pianos. Creative music was very much emphasised, with a whole The organ dates from 1769 and was range of composing and improvising ‘discovered’ by ISM Past President activities provided, encompassing Professor George Pratt. It was barely a wider spectrum of artistic activity playable – a ‘white-knuckle ride’ as he that also included movement and described it – but he set up an appeal painting. The course culminated in a for its restoration by the specialist wonderful concert that involved every firm of Goetz and Gwynn who have student in a performance of words, put it into splendid working order mime and music. while scrupulously retaining all its For enquiries about bespoke original character. E-MusicMaestro courses for Peter Nickol’s Incline (1 in 9) for music students and professional bassoon and piano received its first development opportunities for piano performance in June, by Prue Tasman teachers please contact Sandy at with the composer. His wind quintet Ultramarine is included on the new CD Five at Play by Texasbased ensemble Madera Wind Quintet (available physically

Left: The newly restored organ at Powderham Castle


Anthony took part in many Britten operas: The Church Parables; Albert Herring, Turn of the Screw, Midsummer Night’s Dream, and Death in Venice at Covent Garden and in the Tony Palmer film. In 1976 he was singing the role of Hot Biscuit Slim in Britten’s first opera, Paul Bunyan, on tour with the EMT, on the night when Britten died.

The Suite is Britten’s Suite for Cello No 3 and the Story is a presentation of each of the elements from which Britten drew inspiration: Bach’s suites for unaccompanied cello, Russian folksongs and sacred music (to be sung by Russian chamber choir Voskresenije) and Britten’s friendship with Rostropovich and Rostropovich’s playing.

Above: Leo Turner and Frances Griffin Photo: Clare Park

Rostropovich’s role as Britten’s friend and male muse will be represented on film with a combination of Thames Concerts Benjamin Costello, Thames Concerts’ documentary and performance to be screened from 12pm, before the Artistic Director writes: Thames three concerts begin. Griffin/Turner guitar duo Concerts Ltd (founded in 1960) The Midland based guitar duo, Frances presents an annual series of concerts, For further information, contact the Festival’s artistic director, Griffin and Leo Turner start their sixth workshops and masterclasses in Gillian Spragg at South-West London from September season of informal guitar concerts in, to February. the beautiful setting of Birmingham or phone 020 8567 7623. Museum and Art Gallery’s Round This year’s series is typically eclectic Room. The concerts are on the first and features a wealth of talent, Friday of every month at 1.10 pm. The including artist-in-residence cellist focus is usually Spanish and South Jamie Walton, Matthew Featherstone Fauré’s Vocalises American music and feature the (principal flute with BBCNOW), Zsolt- Roy Howat and Emily Kilpatrick, Griffin/Turner duo or Leo as a soloist. Tihamér Visontay (concert master currently preparing a new critical Entry is free and there is no need to of the Philharmonia), distinguished edition of Gabriel Fauré’s collected book. So spend a relaxing lunchtime organist David Liddle, jazz legend songs for Peters Edition (a project listening to Tangos, Choros, Sambas Liane Carroll, versatile pianists Katya based at the Royal Academy of and Spanish Guitar classics in the Apekisheva and Philip Shannon, and Music, with support from the AHRC), heart of Birmingham. the Tiffin Boys’ Choir. have launched into print the Tickets are now on sale from ever publication of Fauré’s collected, Vocalises. A Passion for Britten 08444 771 000. It’s little known that Fauré wrote Anthony Dawson – who sang with the English Opera Group and the English Music Theatre in the 1970s and early 80s as Anthony Attwell – has given illustrated talks recently, as part of the Britten Centenary celebrations: A Passion for Britten. He draws on reminiscences of his years spent at Aldeburgh, where he and his wife had a small flat in Benjamin Britten’s sister’s house while he studied with Pears at the Britten-Pears School. He includes anecdotes told him by Peter Pears of life with Britten.

Ealing Autumn Festival The Ealing Autumn Festival on 11-27 October, now in its fourth year, marks Britten’s centenary with a multi-faceted celebration that embraces music, film, art, literature and heritage. On 12 October the highlight of the Festival’s first weekend is The Story of a Suite, comprised of three short concerts starting at 2pm. Matthew Barley (cello) takes centre stage in the second of the three concerts.

vocalises at all; in fact he produced 45 of them, embodying some marvellous music, hitherto buried in the French National Archives. Forty four of them were written for examinations at the Paris Conservatoire during Fauré’s time as Director; the remaining one is his better-known Vocalise-Etude of 1907. Skilfully devised vocal exercises, intended to test and develop vocal placement, breath control, purity of tone, accuracy of intonation and acuteness of rhythm, these are full of lovely musical surprises, often on a par with his best songs, and represent Continued overleaf 



arrangements to accommodate as many amateur musicians as possible. Stephanie Reeve joined in 2001 and has since taken over as musical director. Over the years the band has commissioned many works from leading composers including Alan Bullard, Paul Harris, Cecilia MacDowall and James Rae as well as young composers Stuart Hancock How do I love thee?... and John Whitener. Events in the Following a memorable premiere anniversary year have included a in May, as part of Stafford Music successful trip to Ceret, France, giving Festival, when mezzo Yvonne Howard two concerts, and a performance in and accompanist Roy Wightman Alexandra Park for the park’s 150th captivated their spell-bound anniversary celebrations. The band’s audience, Yvonne has now recorded main celebratory concert will take Kerry Milan’s How do I love thee? place on Saturday 16 November ... with Scotland-based pianist Scott in Highgate and will feature the Mitchell for the Ardross House label. members’ favourite commissions of Rehearsals at the Royal Conservatoire the last 20 years. of Scotland were followed by a recording session in the splendid acoustic of the RNCM concert hall in Manchester, and the 42 minute work is now available, both as a CD and via downloads. the largest collection of previously unpublished music by Fauré to be issued since his lifetime. The edition starts with a prefatory envoi by the distinguished baritone François Le Roux, of the Académie Francis Poulenc.

The song cycle comprises settings of sixteen of Elizabeth Barrett Browning’s delightful Sonnets from the Portuguese, the final setting being of sonnet 43 with its famous opening ‘How do I love thee? Let me count the ways.’ The music and scores are available from and full details, including the text and commentary, can be found at

Palace Band 20th Anniversary The Palace Band was set up as a regular ensemble by Caroline Franklyn in 1993 as a workshop following a City Lit Summer School. The band takes its name from Alexandra Palace close to where the rehearsals take place. Meeting fortnightly during term time, the band has a relaxed open-access atmosphere, playing flexible


Above: The Palace Band in France

Jonathan Harvey memorial A memorial service for Jonathan Dean Harvey, MA, MusD, PhD (Glasgow), FRCM, Composer, and Honorary Fellow of St John’s College, Cambridge 2002-2012, who died on 4 December 2012, aged 73, will be held in St John’s College Chapel on Saturday 19 October 2013, at 12 noon.

Obituaries With regret, we report the deaths of: Stuart Gray of Malton Rita M Noakes of Worthing Margaret Dewey of Bath Emma Dennis of Goole Barbara Robotham of St-Annes-on-Sea Gillian Yendell of London Joan M Tudor Jones of Harpenden


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

Bournemouth Philippa Hardy

Iwan Davies Aimara Magana MMusRNCM BMusHons(CityUniv/GSMD)


London - South East

Mari Carmen Garzas Garcia-Pliego MMusRoyalConsTheHague Titulo Superior De Musica Philip Ridgers BA Celia Waghorn AdvCertABRSM BSc

Margaret Archibald GGSM LRAM(ClarinetP) ARCM(PfT) Lillian Henley Helen Mabley ARCM Christopher Saward BA FRCO MA MusB Felicity Smith MPerf Frederick Taylor MusBManch

Cambridge Karen Collard LRAM(SgT) Jessica Ely BAHonsAngliaPolyUniv Victoria Farrer BADurham Amanda Williams BMusSurrey

Croydon Elizabeth Warren ARCM(PfT)

Devon & Cornwall Pamela Selby ARCM CertEd

Eastbourne & Hastings Alexandra Kidgell

Guildford Catherine Lett BMusKent CertAdvStudies(GSMD) Diana North BAHonsChichester

Hereford & Worcester Linda Hulbert BEdHons(CNAA) Elizabeth Macdonald MMusRSAMD

Lea Valley

Ken Wharton-Emms BSc

Warwickshire & Northamptonshire

North of England


Ian Bufton BMus MMus

North Wales

Mary Daniels BAHonsUEA LRSM(PfP) DipABRSM((PfT) Helen Deeks ARCM Joanne Grigoleit

Scotland - North East Richard Bailey BMusAberdeen

Simon Egerton MMus Simon Tong BMusHonsRAM MARAM LRAM

Gareth Llyr Simon BMusHonsRWCMD Rob Westwood BAHonsDartington

London - North


Jared Williams BA Jessica Collins BAChichester

Jane Ingram

Catherine Butler BMus

Portsmouth Michael Carrington BMus CTABRSM

Reading Nathan Cunningham Martin Borman

South Wales

Northern Ireland

Laura Dickson


London - West

Adam Dyer MMus Catherine Edkins LTCL


Brigitte Harris StaatlichePrufungFurKirchenmusiker

Larinda J Loch DipRSAMD(PfT)

Caroline Challis BAYork Masumi Yamamoto BMus MMus PGDip LRAM

Alison L Carey BMusHonsSurrey CTABRSM Faye Cullent BMusLondon

Noel Lovell


Nigel Foster Carolyn Hall BMusHonsUlster Ulyana Novikova MMus

North Yorkshire


Northern Ireland

Scotland - South East

Scotland - South West

Rebecca Aldred BASalford Vasileios Bessas BMusManch/GradRNCM MMusManch Simon Carroll Anna Hughes-Williams Maple Yu BMusRSAMD

Abigail Uttley

Ellie Markham

Student members

London - South West


West Yorkshire

Georgia Maria Evangelatou

Sheffield James Barnett BMusRNCM

Tatiana Gordeeva

Bournemouth Rosie Bowker

Bristol David Secchi

Eastbourne & Hastings Matthew Beattie

Kent Marc Sibley

Leicester Stephanie Nixon

South Wales John Hawkins Bridget Mansfield

St Albans Joe Davies Janell Yeo

Staffordshire Simon Willoughby Lauren Wood Wiltshire James Cullen

Associate members


London - North

Lea Valley

David Scott BMusManch

Valerie Albrecht Niamh Beddy Teresa-Joy Manese Eloise Riddell

Veronica Penny

St Albans Mary Edmondson DipABRSM(PfP) BAHonsChichester Kate Hunter BMusHull MMusHull Geraldine McMahon ARCM(SgP) Certificate of Advanced Study Deborah Schlenther

Suffolk Naomi Barker BMus Claire Gower BAHonsBath

London - South East Edmund Hazledine Dasol Lee

London - South West Sean Campbell-Hynes Daisy Fancourt Peter Mankarious Christel Tansoe

London - West

Corporate members Fawcett and Trumpington Federation Stephanie Redman E: sredman@fawcett.cambs. Highbury Grove School Pierce Brown, Assistant Headteacher T: 020 7288 8900 E: admin@highburygrove. W: www.highburygrove.

Javier Garcia Aranda

Manchester Ben Ferguson

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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 8 October for the November/December 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.

VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/ or rental. Tel: 07974 412269

NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and affordable recording services throughout Southern England and Wales. 10% discount for ISM members. www. or phone 01954 231117

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NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 250 words) and good photographs. Please email The next deadline for copy is 1 October for November/December issue


for prospective students, parents and teachers.

included Artistic and Competition Manager of Cardiff Singer of the ABRSM are delighted to announce the ‘I am also thrilled by the strong World, Anna Williams, Thomas Kurrer, launch of Speedshifter™ Mobile, their showing of the conservatoire sector former President & CEO of Steinway & latest app for Android™ devices, the as a whole, with three conservatoires, Sons Worldwide, who worked closely iPhone, iPad and iPod touch. with the College, particularly in 2009, including Trinity Laban, appearing in when it became the UK’s first AllSpeedshifter Mobile brings all the the top five.’ ˆ Williams, Steinway Conservatoire, Llyr functionality of their popular practice Trinity Laban and Gnesins Russian international pianist, who is returning tool to your smartphone or tablet, Academy of Music celebrated a new to the College in 2014 to perform his allowing you to slow down or speed Memorandum of Co-operation with award-winning cycle of Beethoven up the tempo of any track you wish a series of masterclasses in June by Piano Sonatas, and John Fisher, to hear without altering the pitch, Professor Sergey Senkov, Dean of the master vocal coach, former Artistic wherever you are. Piano Department at Gnesins. Director of Welsh National Opera, and They have also added two new Deniz Gelenbe, Trinity Laban’s visiting lecturer at the College. features – you are now able to loop Head of Piano, who instigated the sections of a track to assist with your dialogue with Gnesins during a visit practice and, for help with tuning, to Moscow in December 2012, said simply shake your mobile device the memorandum would have long for an A. ranging benefits for students of both Two versions of Speedshifter Mobile organisations. are now available from the App Store Professor Senkov presented an and Google Play – Speedshifter Mobile all-Rachmaninoff programme at (full version, £2.99) and Speedshifter his recital, in celebration of the Mobile Lite (which allows you to slow composer’s 140th birthday, and down a track for 15 seconds, free). gave a masterclass to Trinity Laban

piano students.

Trinity Laban Conservatoire of Music & Dance Recent government figures show that 98.9% of the undergraduates from Trinity Laban were in employment or in further study six months after graduating. The HESA Destinations of Leavers from Higher Education 2011/12 survey puts Trinity Laban’s employability rating at 2nd out of 151 UK higher education institutions. Trinity Laban Principal, Professor Anthony Bowne, said:

Right: New Fellow of the RWCMD, Anna Williams

‘The creative world has always been a competitive one, but consistently strong employability figures like ours provide a real sense of confidence

Royal Welsh College of Music & Drama Congratulations to pianist Tianhong Yang, who graduated this June, on winning the Ian Stoutzker Prize for Outstanding Performance in Music. Tianhong was presented with the £10,000 prize in front of Ian Stoutzker himself, and a distinguished panel of judges chaired by John Fisher and including Rebecca Evans.

Guildhall School of Music & Drama

The Guildhall School of Music & Drama has announced its autumn 2013 season which sees the opening of the School’s new building Milton Court. It includes new performance venues, rehearsal rooms and teaching accommodation, as well as technical facilities of the highest specification which will help provide the School’s Also in June, the College celebrated students with the very best training the achievements of its talented graduates and honoured a prestigious for careers in the performing arts. The School’s programme of public list of Fellows at its graduation events includes theatre, music, opera, ceremony at St David’s Hall. Fellows Continued overleaf 


Project3:Layout 1 29/11/2012 09:42 Page 1

One hundred years




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masterclasses, festivals and many free concerts and events which will take place in both the new Milton Court and existing Silk Street building.

Right: Professor John Miller, RNCM’s new Head of Wind, Brass and Percussion

Highlights include the first ever Alumni Recital Series, including Thomas Adès and Anne Sofie von Otter; the first public event at the Guildhall School’s new Milton Court with a performance of Beethoven’s Ninth Symphony by the Guildhall Symphony Orchestra with alumni soloists and the world premiere of a new work by Head of Composition Julian Philips; performances of two Chekhov plays The Seagull and The Three Sisters opening the Milton Court theatres and the British premiere of June Havoc‘s Marathon ’33; four concerts as part of the Southbank Centre’s The Rest Is Noise festival; a festival commemorating the 50th anniversary of the death of Francis Poulenc; three performances of Iain Burnside’s new play Journeying Boys as part of the ‘Illuminating Britten’ weekend at the Barbican; a performance as part of the EFG London Jazz Festival to celebrate professor Geoff Gascoyne’s 50th birthday and a special visit from British Jazz Awards winner Alec Dankworth to direct the Guildhall Jazz Band; opera double bill of Debussy’s L’enfant prodigue and Donizetti’s Francesca di Foix.

Royal Northern College of Music The RNCM is delighted to announce that trumpeter Professor John Miller is the new Head of the School of Wind, Brass and Percussion, replacing Dr Paul Goodey who was recently appointed to the new position of Dean of Performance at the College.

Wallace Collection, with which he has recorded and performed an extensive output of baroque brass repertory. John’s new appointment is one of several to have taken place at the RNCM over recent months. In May, cellist Chris Hoyle was announced as the College’s new Head of the School of Strings, while violinist Catherine Yates will take up the role of Deputy Head of the School of Strings from 1 December. Saxophonist Rob Buckland now supports John as Deputy Head of the School of Wind, Brass and Percussion, and in August the RNCM was pleased to welcome Michelle Castalletti as its new Artistic Director.

Trinity College London

John joined the staff of the RNCM in 1999 as Director of Brass Studies, becoming Deputy Head of Wind Brass and Percussion in 2007. Prior to this, he had worked extensively in London as a member of the Philharmonia Orchestra from 1977 to 1994, and a freelance musician working regularly with prestigious ensembles such as the London Sinfonietta and the Philip Jones Brass Ensemble. John is also a founder member of the

Chris Walters, Head of Teacher Development (Music) writes: Many ISM members will be aware that the National Plan for Music called for the development of a new qualification that would recognise music educators for their work and provide them with new opportunities to develop their skills. Following on from this recommendation, Arts Council England was asked by the government to lead an open consultation with the music education sector to determine what this new qualification should look like. Trinity College London was subsequently appointed to develop its own version of the qualification, which will be known as the TCL Level 4 Certificate for Music Educators (Trinity CME). The Trinity CME, which has now been accredited by Ofqual, will be offered by providers who are validated by Trinity to enrol, work with and assess Continued overleaf 



learners. Providers could include music hubs, schools, colleges, universities or other organisations that work with music educators. Anyone interested in working towards the Trinity CME will need to register with a provider, details of which will be published by Trinity as soon as they are available. Once enrolled, learners will embark on a flexible programme of training and support that will be geared to meet their specific needs and fit around their professional commitments. Assessment will be through a portfolio of evidence that will include lesson observations and other supporting documentation. Trinity will begin validating providers from 1 September 2013. More information is available at www. or by emailing

Right: South West Music School’s Brass Day

The day will include all essential elements of being a brass or string player from warm ups and breathing and bowing techniques through to various ensemble work. All participants will be allocated working groups on playing ability. For more information or to book your place on this course please download and complete the booking form available from the SWMS website. Or email to be sent a booking form.

European String Teachers’ Association

The British Branch of the European String Teachers’ Association (ESTA) are pleased to announce the recipients of their annual awards. The award ‘in celebration of a lifetime contribution to string teaching’ goes to Kato South West Music School Havas, and the award ‘in recognition of exceptional services to ESTA (UK)’ goes to Judith Bird. Kato is well known both in this country and abroad as one of the leading violin teachers of her generation. Her best-selling books have influenced players and teachers over many decades, and no one has engendered more loyalty and admiration from her many pupils. Judy Bird has been an active member of numerous ESTA committees for many years and has played a very active role on both national and local committees, helping to run the Following on from the success of last London centre and, more recently, years’ South West Brass Day, South West Music School are running a set of the Beds and Herts centre. Her specialist instrument specific regional many workshops, given at local and national events and summer schools, brass and string days this term. have been inspirational. The SW Brass Day and SW String Day are unmissable opportunities for all young brass and string players, Royal College of Organists beginner to advanced, in the South West region to participate in an Simon Williams writes: The Royal educational day. Brass participants College of Organists (RCO) has will be working with some of this announced a programme of events country’s top brass professionals, such to celebrate its 150th anniversary as Paul Archibald, Roger Argente and in 2014. Paul Denegri and string participants The year-long programme of special will be working with players from the events and activities includes an Bournemouth Symphony Orchestra. anniversary Choral Evensong at Southwark Cathedral on 8 March –


virtually 150 years to the day after the College of Organists was founded. Throughout the year the celebrations will revolve around the exciting 150 for 150 Recital Challenge, in which organists of all ages and all levels of attainment across the country (and internationally) are being invited to take part in a celebratory recital series of at least 150 concerts. More than 30 recitals are already confirmed, beginning with a performance by Sarah Baldock at St David’s Hall, Cardiff on 21 January 2014 and closing with a special anniversary recital featuring the restored Harrison & Harrison organ at Royal Festival Hall on 10 December. Drawing the year-long challenge to a spectacular close, Martin Baker, Master of Music at Westminster Cathedral, will play repertoire by composers connected to the College, as well as a new work by Simon Holt which is a co-commission by the RCO and Southbank Centre.

Schools Music Association The 75th Schools Music Association Professional Development Weekend will take place from 25–27 October 2013 at the Bull Hotel, Peterborough. ISM members are eligible to book at the same discounted rates as SMA members. In addition to keynote speaker, Paul Whittaker of Music and the Deaf, more session leaders are now confirmed. Sarah Watts will be presenting a beginners ensemble session called Three Note Symphony; Jane Brownnutt will get us all playing together using handbells, belleplates, hand chimes and desk bells; Alison Hedger will present Clicking Sticks, an inexpensive way of involving a whole class in a fun learning experience; Claire Westonshaw will look at ways of presenting songs for pre-school and reception children; Jiang-li (Chinese music in the classroom), Madeleine Casson ( Inspiring all children to be musicians in and beyond the classroom;


Right: Sally Cathcart, the Voices Foundation’s new Director of Development

Jiang-Li and colleagues: Introducing Chinese music and instruments with practical opportunities for playing; Katie Nielson: Inside Music – early years and first steps (Alfred Music); Andrew Bailey: Introducing Limelight Musicals – new repertoire (Limelight Musicals); and Mark Percival: Introducing ‘PlayPad pro’ full of ideas for class teaching on the iPad (Musical Trixstar).

Making Music Making Music is the UK’s leading organisation for voluntary music. Its 3,000 members, amateur music groups, cover the full gamut of music making, from orchestras to all sorts of choirs, to samba or brass or concert bands, and more.

The Voices Foundation The Voices Foundation has undergone a restructuring of its senior management team; on 1 August, Michael Stocks, the charity’s longserving Director of Curriculum and Training who was responsible for creating its unique methodology nearly 20 years ago, stepped down from his current duties. However, his involvement continues in his new role as Music Education Consultant; he will focus on the ongoing development of Inside Music, the charity’s comprehensive music education programme for children from birth to age 13.

Stepping into Michael’s shoes, and playing a vital role in determining The Voices Foundation’s future strategic direction, is Sally Cathcart, who was Its last survey found that every year appointed Director of Development their members employ around 30,000 on 1 August. Sally was promoted to professional musicians between the Senior Advisory Teacher team them, spending approximately £18m, last year; she brings to her new role and commissioning around 300 new a deep intellectual understanding works. So they are a significant source of the charity’s philosophy and of income for professional musicians, methodology, and will be supported whether performers, accompanists, by a newly created Development musical directors or composers. And Committee, comprising senior that’s not including any teachers that teaching staff from around the the 180,000 individual members country. of Making Music groups could be For the 2013-14 academic year, Sally employing privately. will also lead the charity’s London Making Music’s new corporate 5-Day course - a perennially popular membership scheme has just been CPD opportunity for those working expanded to include a freelance with primary age children, giving corporate category, specifically delegates a thorough insight into designed for individual freelance how an aural/vocal approach can be music professionals wishing to raise used to deliver an effective, singingtheir profile with Making Music’s based music curriculum. Several membership, at a cost of only 5-Day courses are scheduled to run in £50 a year. For this tax-deductible various regions; details of locations, investment you get a website credit, dates, fees, entry restrictions if a credit in our magazine Highnotes applicable and registration deadlines which goes out to members (three are featured in the ISM website’s copies per group) three times a year, events calendar ( invitations to our events, member and further confirmed courses will be rates on training and conferences, and added in September. Email a 10% discount on advertising and to enquire our direct mail service. about availability. For further details and to join, see or email corporate@makingmusic. or call Lizzy on 020 7422 8280.

Association of Teachers of Singing Janice Thompson writes: The AOTOS Summer Conference, Finding the Right Words, took place at Bristol University on 19-21 July. More than 85 delegates enjoyed presentations by a diverse range of speakers on topics relating to technical and textual interpretation in singing. Guest speakers included AnneMarie Speed, who demonstrated and discussed the Estill Method; Kim Chandler, offering advice on teaching contemporary vocal style and Neil Howlett who shared his knowledge of the ‘Bel Canto’ period. Ideas on bridging the gap between the physical, the spoken and the sung word came first from speech therapist Mel Mehta and later from professional mime artist, Les Bubb. Explorations on repertoire extended from a presentation by Honorary president Michael Pilkington to an illustration of Ivor Gurney songs by Corrynne Osborne and to Spanish, German, jazz and musical theatre offerings by talented students in Nicola Harrison’s workshop. Paul Deegan delighted members with a continuation of his musicianship for non-reading choirs and a highlight of the conference was an after-supper presentation from Coral Gould MBE. Next year’s conference will be held at Warwick University and will feature special guest Meribeth Dayme of Core Singing.





Dalcroze training, 27 January and Performance Preparation Concert, 3 March

Music Hubs, 13 June and Adult Pupils’ Concert, 7 July

Stephen Tanner writes: Sue Hamilton ran a session on Dalcroze and how she applies Dalcroze ideas to her own teaching. The session lasted approximately two hours and produced some positive feedback from the attendees who all found the content and the informal format in Sue’s house to their liking.

Stephanie Reeve writes: Our first event this year was a presentation by Matthew Gunn from Cambridgeshire Music about the Cambridgeshire Music Partnership, or Hub, to learn more about how the Hub operates and what it is doing to help young musicians in Cambridgeshire.

A platform concert for students took place at the United Reform Church in Guildford. It is an excellent venue for this type of event and we will run another one in November for those with a performance coming up.

North of England Annual Dinner, 6 July Hazel Graham writes: In perfect summer weather members and guests were treated to a pre-dinner tour of the battlements of the 14th century Langley Castle.

In July the annual adult pupils’ concert took place at the Old Chapel in Coton featuring singers and instrumentalists, some who have taken part in many concerts and others who were performing in public for the first time. We were also treated to a cello trio and were able to enjoy strawberries and cream in the sunshine afterwards.

Lea Valley Summer Concert, 23 July

Carolyn Richards writes: Sadly, with the passing of our Chairman Shirley Woods in March, our number of entries for this concert were down. However, we had a slightly After appetisers and drinks in the drawing room, different format this time with 17 performers in the members from the west, north and east of our group first half and 10 in the second with refreshments during enjoyed good company and excellent locally sourced food the interval. We had quite a few first time performers in the private dining area of the Crystal Pavilion. so, Lorraine Ely, who kindly replaced Shirley at this David Whittaker (Chairman) summed up a successful year concert, made sure all of the audience knew to switch of events and read a good wishes card from ISM President, off their phones, and not to take photographs whilst the Richard Hallam. performers were playing. Although the majority of players were pianists we had a big cross section of pieces from relaxing rocking chairs to lively Chattanooga Choo Choos, the second of which was played three times; the audience were given slips of paper with the words on so they could participate in singing! We heard some lovely recorder playing, a few other piano duets, as well as a worrying Ne tirez pas sur le pianiste (Do not shoot the pianist!) and finally a lovely version of Schumann’s Traumerei to complete the programme. All in all a very entertaining afternoon. Thanks to all who helped with the arrangements to make it so successful.

Right: North of England local group visit to Langley Castle



LOCAL EVENTS - LISTINGS Full listings can be found on our website, Thursday 19 September

GUILDFORD Social Event 7.30pm, George Abbott, 7-11 High St, Guildford GU2 4AB An opportunity for new and old members to meet and exchange ideas with members of the ISM staff team. Admission: free of charge. Contact Stephen Tanner, 07720 303 573,

Sunday 22 September

NORTH OF ENGLAND Visit to the Lindisfarne Gospels Durham Exhibition 2pm, Durham University Library, Palace Green, Durham, DH1 3RN An opportunity to see some of Britain’s most significant medieval manuscripts alongside Anglo-Saxon treasures. Admission: £15.

Contact Hazel Graham, 0191 272 8644,

Contact Pearl Woodward, 0114 266 0399,

Contact Margaret Chave, 01363 773776




Saturday 5 October

Sing, Clap and Play!


The Way Forward: what next for young talented musicians?

2.30pm, Epping Friends Meeting House, Hemnall Street, Epping, Essex, CM16 4LL Annual meeting briefly at 2.30pm, followed by an introduction to the Orff Approach by Shelley Pomeroy. Admission: £3 members/ concessions, £5 non-members, to include refreshments. Contact Carolyn Richards, 07768 086123,

Annual Meeting and Lunch

11.30, Dunsford Village Hall, near Exeter, EX6 7DA After lunch an illustrated talk will be given by Paul Vincent about his grandfather, Thomas Dunhill. This will be followed by a recital of some of Dunhill’s music including the Clarinet Suite, to be performed by Philip Bonser and Margaret Chave, and some of Dunhill’s songs performed by Margot SHEFFIELD Hughes and Carolyn Harries. Social Meeting The ACM starts at 11.30am 2.30-4.30pm, 6 Alms Hill followed by lunch at 1pm, and Glade, Sheffield, S11 9SS the day is expected to finish An opportunity to learn how around 4.15pm–4.30pm to get the most out of your Admission: £16 members, £18 membership. Refreshments and non-members a light buffet will be provided.

2pm-6pm, The Old Granary Studio, Priory Farm, Maypole Green, Toft Monks, Beccles NR34 0EZ Seminar for young musicians, their parents, teachers and mentors. Presented by Nick Smart (Head of Jazz, RAM), Colin Virr (Head of Aldeburgh Young Musicians). The event will also include the ISM Norfolk Annual Meeting and buffet supper. Admission: £25 members, £30 non-members, £20 students. Includes buffet. Contact Henry Macey, 01692 501023, 07990 767407,

Sunday 20 October

LEA VALLEY Autumn Concert 2.30pm, St John’s Centre, Market Street, Old Harlow, Essex CM17 0AJ For advanced pupils, Grade 6–diploma. Free to enter but audience admission: £3 members/ concessions, £5 non members Contact Carolyn Richards, 07768 086123,

Sunday 27 October

WILTSHIRE Members’ Lunch 1pm, The Bear Hotel, Market Place, Devizes, Wiltshire SN10 1HS A lunch for members new and old. Contact Liz Adams, 01793 346635



Ask me a question Robert Lloyd CBE Opera singer (Bass) Robert Lloyd was the ISM’s President in 2005-6

Photo: Les Campbell

Tell us a little about yourself.

Most of the music is glorious because in the sort of career I have had one is fortunate Well, I’ve been around a long time now. I started as a junior Principal at Sadlers Wells enough only to perform masterpieces. Opera in 1969, and moved on to become What was the last CD you bought or a company member at the Royal Opera in track you downloaded? 1972. I’ve pretty much been there ever I have bought many CDs as a professional since. I have spent a lot of my career also requirement, but for pleasure I rarely buy at the Metropolitan Opera and in most of the comparable theatres in major cities all anything other than Bach or Beethoven. I am currently collecting the complete round the world. I’ve been lucky enough Bach Cantatas. to perform and record with a huge range of wonderful artists and the greatest of conductors. After reading History at Oxford What would be your favourite venue to perform at? I started my adult life as an Instructor Lieutenant in the Royal Navy, so the shape As a Brit it is always the greatest thrill to of my musical career has been a constant perform at the Royal Opera House. It is source of astonishment to me. a most beautiful space. As a singer my favourite acoustic is the Metropolitan What is your favourite operatic role? Opera; the huge space encourages you to open up the full potential of the voice. The role that gives me the most musical pleasure is Gurnemanz in Wagner’s opera As a simple human being there is Parsifal. Parsifal The role that gave me the most nothing quite like the Henry Wood Proms dramatic and singing excitement is experience: a great concert there can be King Philip in Verdi’s opera Don Carlo. truly thrilling – something you never quite The role that has given me most reward recover from. from the public has been Mussorgsky’s Boris Godunov. If you were stranded on an island, what musical instrument would you take Tell us about your most rewarding with you and why? musical experience? I would take the oboe. Not that I can play The most rewarding part of my work is it, but I could learn. But for me it is the true always at the Sitzprobe during rehearsals voice of longing. for a new production. That is when the singers are first put together with the What do you value most from your ISM orchestra. It’s the only chance we have membership? to sit in the middle of the orchestra and The world of International Opera can be a experience the full glory of the music. very lonely experience. The ISM allows you to feel that you are not completely on your own.

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