YOUNG CLASSICAL ARTISTS TRUST Annual report 2022-23
Taking that first step For a young musician, taking these initial steps into the professional world can be daunting. Young artists are facing ever increasing challenges. Every year, hundreds of aspiring graduating musicians find themselves confronted with stark decisions about the realities of a professional life.
Despite the challenges, there were many achievements to celebrate. Because of you, we have continued to help young musicians navigate this difficult transition from full time education to selfsustaining careers. With your valued and generous support – we continue to impact the lives of young musicians, and be there for them when it matters most.
Alasdair Tait CEO & Artistic Director
Thank you.
our mission
HELPING YOUNG MUSICIANS LOOK CONFIDENTLY TO THE FUTURE.
Meet Our new artists Six young artists selected for support at our annual auditions... Following a rigorous international audition process, culminating in a final day of live auditions at Wigmore Hall — all six finalists delivered captivating performances, successfully securing their coveted place on YCAT’s roster. The new additions to the YCAT family of artists are: Ignas Maknickas (piano) Charlotte Spruit (violin) Will Duerden (double bass) Trio Chagall (piano trio) Hana Chang (violin) Atenea Quartet (string quartet)
Unlike traditional competitions, our International auditions measure against a level of excellence and potential, fostering an environment when each individual artist’s exceptional talent can shine. There are no rankings, and any number of winners from various instruments and vocal categories can be selected. The unanimous decision to select all six finalists is testament to the exceptional calibre of these chosen artists and the confidence that they will benefit immensely from our unwavering support.
“At a time when opportunities for our most creative and inspiring young talent are becoming ever more precious and limited, YCAT’s mission to deliver these vital career building opportunities has never felt more important”
Alasdair Tait CEO & Artistic Director
£233, 000
Your support in numbers We continue to be honoured and inspired by the generosity of all who support our work, be that members, donors, concert promoters or those who support us with a gift in their will. Here’s a snapshot of some of that impact in numbers...
21 Artists supported 16 YCAT Artists and 5 BBC Young Musician of the Year Finalists
500 concerts worldwide secured for and performed by YCAT artists
85, 000 freelance musicians reached with free online career development support
generated in performance fees going directly to YCAT Artists
15, 000 young musicians given access to free Mental Health Support
60% of performances given to audiences in every corner of the UK
YCAT Artists named Classic FM’s Rising Stars We are delighted that eight former and current Artists were included amongst the thirty outstanding young musicians in Classic FM's Rising Stars 2022 list. This coveted list featured 30 brilliant musicians all under the age of 30 from across the globe.
"It's been incredibly exciting to work with Classic FM on our second '30 under 30' Rising Stars. These musicians are quite extraordinary!” Julian Lloyd Webber
The eight chosen artists were: Charlotte Saluste-Bridoux - violin Armand Djikoloum - oboe Iyad Sughayer - piano Jonathan Leibovitz - clarinet Ben Goldscheider - horn Theo Plath - bassoon Jordan Bak - viola Gabriel Martins - cello
From a borrowed flute to Wigmore Hall: Spotlight with YCAT Alumni, Adam Walker... How did you get into music? Why did you pick up the Flute? I played the recorder at primary school, like many of us did – but was slightly obsessed by it! We had a little Casio keyboard at home – I became obsessed with this too, and a primary school teacher started giving me some lessons on the school piano. My parents used to go to a car boot sale most weeks, invariably bringing me back some sort of toy or book – one week when I was eight, a recorder appeared – but shaped sidewise like a flute. I begged for an actual flute, but money was tight, and the idea was parked. However, it turns out a school friend’s mum had played the flute at school and still had one at home, which she didn’t use. Luckily, I was able to borrow it. I taught myself for a bit, and then played to my primary school teacher, who put me in touch with a local music examiner, who gave me some lessons. It was suggested that I audition for Chetham’s School of Music, a legendary music school in Manchester, which is government-funded. I’d only been playing for a few months and had developed the most bizarre self-taught embouchure of all time! But they saw some sort of potential and let me in on a whim.
Do you have a favourite flute? These days I play an American instrument. The vast majority of professional flutes are made in Boston USA or Japan. Mine is a Powell – I’ve been playing this brand since I was 13 years old and it gives me the most natural ease of expression.
What is your favourite genre to perform? The answer to that really depends on the situation. I like to play a variety of chamber music, and there are some great pieces for the flute written in the baroque period. However, in the twentieth century and onwards, there are many present day composers writing wonderful music for the flute. There is a history of some nice classical stuff, but in the Romantic era most composers didn’t bother with the flute, which is a real pity. However, in the Romantic orchestral repertoire you can find some of the most exquisite flute writing. I’m fairly eclectic in my own listening tastes – classical music is banned from my kitchen, where I can be found listening to all sorts.
How did you find your style?
What is your own favourite performance, to date?
I think as a flute player, you need to be versatile in your performance style to get the most out of the instrument. In a sense, it’s still a fairly ‘new’ solo instrument – one has to search for interesting, fresh repertoires, and to create original works when possible. If you can embrace all genres and periods, and find ways of mixing old and new works, you can have a rich and satisfying career.
It’s impossible to narrow it down to just one! As a 13-year-old playing at the Proms for the first time with the National Youth Orchestra and Simon Rattle, who would later become my boss at the LSO. With the LSO, playing a concert in Hanoi, Vietnam, in front of hundreds and thousands of people lining the streets who had never seen a live orchestra before. Playing chamber music in a tiny church in a small festival in Northumberland one day with incredible chamber musicians… it really depends! Every week is so different, there really is no routine to what we do as musicians, and I think that’s the beauty of what we do.
At just 21 you were appointed as principal flute for the London Symphony Orchestra. On your journey to become the flautist you are today, what were three things that affected or helped define you? Really, as a musician, you’re affected by environment, timing, and luck. I’ve always been so incredibly lucky to have a support network of wonderful, nurturing people in my life. My family is not musical – they never pushed me too hard when I was younger and gave me the space to take risks and follow my path without pressure. My flute teacher in Manchester, Gitte Sorensen, was my mentor for eight years and was effectively my musical ‘mum’ – it’s rare to find a teacher as amazing as her. The times I was homesick or just an awkward, gangly teenager finding my feet amidst so much confusion, she kept my love for music alive and always kept me inspired and motivated. Moving to London at 17, I had a great time studying at the Royal Academy with Michael Cox, one of my absolute favourite flute players. I was lucky enough to win a place on YCAT when I was 19 – they were a huge part of my musical life and guided me onto a path of solo and chamber music performance. This was followed by my joining the London Symphony Orchestra, with whom I had 10 wonderful years of touring the world, playing with the best conductors and soloists of our time, alongside some of my closest friends. I have been super lucky in my career!
What was the most interesting venue you’ve played? Quite a few! A stock exchange… a commuter ferry… a nightclub… an escalator! If I had to pick a favourite venue, it would be London’s Wigmore Hall. I made my London Recital debut there when I was 16 and have performed there regularly since with some of my favourite colleagues. The sense of history and respect for music and listening is incredible, and the acoustics for the flute are the best.
#21cMusicianToolkit
15,000
MUSICIANS OFFERED FREE MENTAL HEALTH SUPPORT!
#21cMusicianToolkit
Working alongside experts in the industry, we provided a range of both direct and indirect resources covering different aspects of life as a freelance musician, including more bespoke 1-2-1 guidance and coaching.
“Thank you so much for the support you offer to us, young musicians! Trying to get your career going can sometimes feel like an uphill battle. YCAT’s work, help and support really make a difference”
1-2-1 fundraising mentorship for those who need it whenever they need it! In collaboration with Young Arts Fundraisers, a successful pilot week lead to the launch of a permanent 1-2-1 support scheme. Over the course of the year, several amazing fundraising colleagues volunteered their time to give young musicians help with funding applications. These musicians were able to benefit from bespoke support from a range of experts, sectors and UK-wide organisations including: Arts Council England, Goodenough College, National Arts Fundraising School, Aurora and more.
Mental Health support for Young Musicians The demanding nature of the music industry takes its toll both physically and mentally...especially for those just starting out. Thanks to your support, we were able to begin building a new initiative: a Mental Health Peer Support Group. This provides a safe haven for postgraduate & graduate students to connect with fellow musicians facing similar experiences and hurdles.
“It felt like I had some solidarity … it really humanised the process to speak to someone who had experienced both sides of the process.”
Thanks to all our workshop leaders, volunteers and partner organisations that have made this happen!
This is a summary of YCAT’s financial activities for the year ended 31 August 2023.
22-23 in Numbers
Income
Expenditure Fundraising 13%
Other 17%
Corporate 2%
Grants 48%
Legacies 13%
Donations 20%
£530, 528
Concerts & Auditions 25%
Artist Management 54%
Career Development 8%
£467, 375
THANK YOU Your support and generosity last year enabled us to help many young artists at the beginning of their careers. If you would like to help support more young musicians, please contact Kieran Jones, Development Manager at kieran@ycat.co.uk.
This is a summary of YCAT’s financial activities for the year ended 31 August 2023. Full audited accounts are available online at Charity Commission UK.