Oxford ISSUE 5 | 2015

THE MAGAZINE FOR THE ALUMNI OF THE FACULTY OF MUSIC AT THE UNIVERSITY OF OXFORD

Inside this issue: Transatlantic Voices Tudor Partbooks Project New Radcliffe Chamber Music Residency Interview with alumnus Roderick Williams CONTENTS Oxford Researching Beethoven...... 3 Claire Holden talks about her research into string playing at the time of Beethoven Transatlantic Voices ...... 4–5 Professor Laura Tunbridge explores the history of THE MAGAZINE FOR THE ALUMNI OF THE FACULTY OF MUSIC AT THE UNIVERSITY OF OXFORD lieder performance in London and New York between the World Wars FROM THE CHAIRMAN OF THE BOARD New Radcliffe Chamber Music Residency...... 6–7 Introducing the Villiers Quartet Music Matters Tudor Partbooks...... 8–9 Digitising, analysing and reconstructing the music Beyond the endless meetings, budget discussions and day-to-day firefighting, manuscripts of sixteenth-century England one of the great pleasures of being Faculty Board Chair is having the opportunity The Bate Band Recording Project...... 10 to meet alumni of our Faculty on a regular basis. Last November I hosted a The Bate Collection marks the 200th anniversary of reception in the splendours of the Rector’s Lodgings at Exeter College ahead of the Battle of Waterloo by reconstructing music played a memorable violin recital given by alumna Jennifer Pike. In attendance was a at the time using period instruments wide cross-section of our graduates, recent and not so recent, alongside some of Fragments on the Borders...... 11 the many generous donors who support the work of the Faculty of Music. In my Dr Matthew Cheung Salisbury discusses his research welcome speech I touched on some of the obstacles faced by today’s students, into performing medieval music which increasingly act as a disincentive to university-level study. Even as I write, Alumnus Profile: Interview with the Chancellor of the Exchequer has announced the scrapping of maintenance Roderick Williams ...... 12–13 grants that support undergraduates from low-income backgrounds. Increasing Access to Music for the Visually Impaired ...... 14 I was touched by the responses of our guests on that occasion. Their concern Jonathan Darnborough talks about making more was genuine. They, like me, who benefited from an entirely free education from music available to blind and visually impaired people the age of 5 to 25, are now overseeing a generation who can only fund their Oxford/Sennheiser Electronic Music Prize...... 15 education by taking on ever-higher levels of personal debt. ‘What can we do?’ The Faculty hosts a national competition for many of our alumni asked me, to which there was no immediate easy answer. excellence in electronic music Individual benefaction is, of course, one way to help current students, whether Alumni Profiles...... 16–17 by making grants to undertake fieldwork, by endowing scholarships to support The Oxford Musician catches up with six Faculty the costs of postgraduate study, or by encouraging performance activities. Any alumni donation, small or large, makes a significant difference to the work of the Faculty. Current Student Profiles...... 18 We meet 3rd-year undergraduate Anna Lapwood But beyond questions of finance, it is vital that we all continue to make the case and DPhil student Eugene Birman for the value of a top-quality university education, accessible to all. Many of our OUMS...... 19 graduates go on to work in the musical professions. But many don’t. They become The Society reports on the past year’s successes and teachers, accountants, lawyers, charity workers, even MPs. They all also become plans for this coming Michaelmas Term good citizens, trained in the skills of critical thinking, evidence-based argument News from Members of the Faculty...... 20–21 and effective communication. Don’t let anyone tell you that a Music degree is Student News and Alumni News ...... 22 worth less than a degree in the sciences. I fervently believe that we prepare our Reflections on the Faculty...... 23 students well for the world, that deep knowledge and experience of music in Professor Laurence Dreyfus reflects on his years at the all its variety makes us better, more fulfilled, more compassionate people. But if, Faculty in the future, only wealthy school-leavers have access to higher education, then Supporting the Faculty and Staying we put at risk many of the great achievements of the post-war social democratic in Touch ...... 24 consensus. Alumni events, benefits and how to be involved Education matters. Music matters. Let’s all sing out this message loud and clear. Edited by Professor Jonathan Cross and Ms Arabella Pratt Magazine designed by Baseline Arts Ltd Photography by Marco Borggreve, Eli Burakian, John Cairns, Benjamin Ealovega, Tim Fitzpatrick, Derek Foxton, Charles Gervais, Kaupo Kikkas, Scottish Borders Council and Guy Wigmore. The editors would like to thank all the students, staff and alumni who have contributed to the magazine, as well as the University of Oxford Alumni Office and Development Office. Professor Jonathan Cross Cover image: Staircase in the Faculty of Music Library Chair, Music Faculty Board, 2012–15

2 . OXFORD MUSICIAN . 2015 FACULTY Researching

In 2010, I was awarded a five-year AHRC Fellowship in the Creative and Performing Arts to research string playing at the time of Beethoven. The repertoire of the 19th century presents particular challenges for historically informed performers.

Received ‘period’ style is not attuned to early 19th century aesthetic values. Most ‘period’ performances of Beethoven in fact demonstrate few stylistic characteristics of the period. The aim of the Fellowship was to undertake new practice-led research, Beethovento build on existing scholarship, and to devise and deliver ways of bridging the gap between scholarship and performance.

The first four years of the Fellowship (at Cardiff University) concentrated primarily on research into Viennese violin playing of the early 19th century, combined with attempts to incorporate elements of historical style into professional performances of the music of Beethoven and his L Beethoven by Joseph Karl Stieler contemporaries. While this approach was certainly successful in achieving a in Beethoven within the context of instrument orchestra specialising in greater awareness of the constituents early 19th-century attitudes to poetry, the performance of early 19th-century of 19th-century string playing, for many where, for example, an understanding repertoire. professional players there remained of poetic metre can be ‘sounded’ in a lack of an aesthetic intimacy, which purely instrumental works. I am currently putting together material creates a barrier to the instinctive for a Fellowship website (including assimilation of technical skills. I have also disseminated my ideas to detailed case studies of Beethoven professional performers, conservatoire symphonies) and preparing another When the opportunity came to join students and academics. I have given conference paper on salon string playing the Oxford Faculty of Music for the coaching workshops to professional in Vienna. Once the Fellowship ends final year of the Fellowship, I leapt at ensembles (including the Orchestra of in October, I am looking forward to the chance, because it coincided with the Age of Enlightenment, with which I spending some time in the Bodleian a change of direction in my research: play regularly) and have led workshops looking at string playing in Oxford a move towards a more (scholarly) at the Royal Academy of Music, the 1800–60 as an Albi Rosenthal Visiting contextualised approach that could Royal Conservatory in The Hague and Fellow of the Bodleian Libraries. n be used to better equip performers to the University of Arts, Berlin. Most make confident historically informed recently I have received an invitation Claire Holden decisions. I present some of these ideas from the Argentinian Ministry of Culture AHRC Fellow in the Creative and in a forthcoming article on articulation to develop and coach a new period Performing Arts

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Transatlantic

L Moritz von Schwind’s 1868 drawing of a Schubertiade

There seemed to be more musicians, but also because there was and Schubert in 1927 and 1928 performances of Schubert’s song a reluctance to hear the language of as opportunities to promote new, cycle Winterreise last year than the enemy. The ‘classics’ were replaced technically superior, electrical ever before: there were multiple by songs by Britain and America’s allies recordings. Many lieder were released, renditions at the Oxford Lieder – including France and Russia – and, of sung by stars of the day such as Festival, including Humanitas course, by native composers. There was German mezzo soprano Elena Gerhardt Professor Ian Bostridge’s recital in also a concerted effort to encourage and Austrian tenor Richard Tauber. The the intimate space of the Holywell, the performance of songs in translation, first complete recordings of song cycles while Jonas Kaufmann sold out the a practice we tend to frown on today as were made and subscription series, Royal Opera House. How did British being somehow inauthentic, but then dedicated to particular composers, audiences come to prize such an thought to enhance accessibility and were established, all of which helped esoteric, and in some ways inherently understanding. confirm the status of the repertoire. VoicesGerman, work of art? We might think of this process as a Once wartime visa restrictions were democratisation of classical music, and In my current research I’m exploring the lifted in the early 1920s and German that was true up to a point, but these history of lieder performance in London musicians began to tour again, lieder, were limited-edition recordings sold at and New York between the World Wars. sung in the original language, began to a premium, so more for the connoisseur It turns out that many of our ideas reappear. Yet the specialist Liederabend than the layperson. about how the songs of Schubert, was still relatively rare and performances Schumann, Brahms, Wolf and Strauss weren’t confined to conventional Radio broadcasts could reach a larger should be performed stem less from concert halls. They were also sung in and more diverse audience: in the the 19th century than from political and vaudeville, converted into Tin Pan Alley United States and in Britain, though, technological developments in the mid- numbers, and featured at musicales Lieder were heard most often in English 20th century. hosted by luxury hotels such as the and cycles such as Winterreise would be Waldorf-Astoria. In other words, they broken up across evenings because of Lieder all but disappeared from recital could be high-, middle- and lowbrow. the belief that listeners would not want programmes in London and New to endure such a gloomy collection of York during the First World War, partly Gramophone companies took the songs in one sitting. Early sound films because of the ban on using German centenary celebrations of Beethoven were taken as opportunities for more

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people to see as well as hear famous explored the recital programmes of singers: for example, John McCormack’s venues such as the Wigmore Hall and appearance as a world-famous but Brooklyn Academy of Music, and the homesick Irish tenor in Song o’ my Heart shipping lists and menu cards held by (1930) was recommended less for its plot the Maritime Museum in Liverpool; I’ve than as a masterclass in performance. visited the American Women’s Club on Old Brompton Road to read accounts Lieder also cropped up at the of the soirées they used to hold on Pall concerts that passengers gave on the Mall, and the Leo Blaeck Institute to penultimate night of voyages across scour the diaries of Jewish refugees in the Atlantic. These were wildly varied New York. I’ve also benefited greatly affairs at which anyone, professional from the generosity of enthusiasts for or amateur, might perform. In October singers of the period, who have shared 1938 German soprano Elisabeth memorabilia and old recordings. The Schmann described the concert en turning point for the reputation of route to New York as ‘just like being in lieder, I’m discovering, came in the

Paris’. She sang, accompanied by the L Song o’ my Heart brochure advertising the 1930 political aftermath of the Second ‘wonderful pianist’ Myra Hess; there movie musical romance starring John McCormack World War and with the advent of the was a tenor and lyrical soprano from and Maureen O’Sullivan long-playing record, both of which the Chicago Opera; ‘and afterwards encouraged a new seriousness in song cabaret artists, a banjo player who’s just of entertainments heard on board also interpretation. In some ways it seems done a big tour of Africa, then a pair point out the social mobility of lieder a shame that we’ve lost a little of the who did some apache dances’. There is during the interwar period. playfulness of earlier generations. n a political dimension to these cultural collisions, of course, but the wide range I’ve constantly been surprised by the Professor Laura Tunbridge wide variety of venues in which lieder Associate Professor; Fellow and Tutor, K The first class music room on board the RMS Niagara, 1913 (image cropped) performance took place between the St Catherine’s College © National Maritime Museum, Greenwich, London wars. In the course of my research I’ve @LTunbridge

In October 1938 German soprano Elisabeth Schmann described the concert en route to New York as ‘just like being in Paris’. She sang, accompanied by the ‘wonderful pianist’ Myra Hess.

OXFORD MUSICIAN . 2015 . 5 how we operate as a string quartet. We We as a string operate quartet. we how emotional intensity the of quartetlove to also drawn performance, are but we aspectsthe intellectual and technical of the art including the history form, play. of the works and composers we opportunityThe work alongside the to researchers most renowned world’s of Music and academics at the Faculty also excited were We irresistible. proved about working students and with of this them. All to inspire finding ways of breadth us a much greater gives meaning and experience our work as to musicians. for playing a preference have Do you a particular type of repertoire? the the quartet us, represents For We’re of string playing. form purest that unlocks the repertoire by excited ‘super-instrument’. of this potential Our primary been wish has always We’ve good music. find and play to quartets incredible many played the into their way found which haven’t canon. One example is the Quartet by by who is often overshadowed Delius, his contemporaries Elgar and Ravel, also are We also love. composers we new and working repertoire by inspired Every with composers. we two years Competition, Works VQ New run our create which encourages composers to a have We string quartet.new pieces for rich and beautiful tradition, but it needs keepto evolving.

James later moved to America to after moved James later Tamaki’s and he joined music college, got Tamaki quartet. James and After the UK,married, to they returned they re-connectedwhere with Nick. they also met Carmen,Along the way the UK from to who had moved Considering our individual California. re-locating the backgrounds around it seemed a veryglobe, roundabout But end up with this formation! to way is history... as they say, the rest, on your Who has most inspired you so far? journey musical other many find inspiration from We quartets James and chamber musicians. encouraged earlyand Nick on were Chrisby Rowland of the Fitzwilliam Quartet students at when they were worked very closely We’ve the RNCM. with Jerry who was a violist Horner, listen, ArtsWe Quartet.with the Fine quartets and learnwatch, so much from unique their own developed who have Othersound and technique. quartets us include the Brentano, who inspire the original Amadeus, Cleveland, Quartets – all of Takács and Borodin, defined quartetthem have as playing art immersive a completely and form that. by fascinated we’re apply to for the you What drew three-year residency at Oxford? multi- a us residency offered Oxford The which is music, to approach faceted

2015 Quartet .

OXFORD MUSICIAN MUSICIAN OXFORD .

RADCLIFFE CHAMBER MUSIC RESIDENCY 2015–18 RESIDENCY MUSIC CHAMBER RADCLIFFE Introducing the 6

What made you decide to play decide to What made you together as a quartet? long How been performing you have with each other? VQ is that, unique thing about the The only been playing though we’ve even our relationships years, four for together Nick and James go back a long way. in quartetsplayed when they together students at the Royal Northernwere On a separate of Music. College a quartet formed Tamaki continent, York. while she was studying in New Congratulations once again! How did How again! once Congratulations win the competition? it feel to It win the was an honour to like a competition and it still feels the Holywell into Stepping dream. sense of us a great Music Room gave on the excited were occasion, and we our vision with the panel share to day performing enjoyed We and audience. and coaching the student chamber Birman’s Eugene Playing String group. Quartet, the compulsory also piece, us on the day. out for stood The Faculty of Music is delighted of Music is delighted Faculty The Quartet, Villiers the introduce to winners of the most recent Chamber Music ResidencyRadcliffe supported generously Competition, up We caught Trust. the Radcliffe by with the Quartet find out more to they are see how about them, and to Oxford. to about coming feeling

liers Vil

FACULTY FACULTY Quartet op. 13 Quartet op. Quartet Major in G Sonata arranged FAE 41 Quartet 3 op. String Quartet No. 14 String Quartet No. K.387 in G major, Spectral Evidence Wednesday 3 February, 1pm 3 February, Wednesday Qualia Mozart Cloidts Jay 7.30pm 5 February, Friday a Friendship of A Portrait Mendelssohn Bennett Sterndale William Brahms for viola Quintet with a student violist Schumann £5 – £15 Tickets: Office:Box www.musicatoxford.com 01865 244 806, or on the door in collaboration Residency organised with Music at Oxford Divertimenti 2 and Quartet No. 4 Quartet No. String Quartet E Minor String Quartet E Minor String Quartet in E Minor VILLIERS QUARTET VILLIERS LAUNCH CONCERT LAUNCH HOLYWELL MUSIC ROOM CONCERTS 2015–16 CONCERTS ROOM MUSIC HOLYWELL Robert Still A limited number of reduced-price tickets tickets A limited number of reduced-price which will on offer, for Music alumni are post- to an exclusive include access concert with the Quartet. drinks event email [email protected] Please for details. 1pm 27 November, Friday of Greatness In the Shadow Britten Wednesday 25 November, 7.30pm 25 November, Wednesday Cordiale L’Entente Delius Fauré Elgar a 6.30pm pre-concertWith talk by Daniel Grimley on Delius Professor

n www.villiersquartet.com finding ways to inspire them. ways to inspire finding Music proved irresistible. irresistible. proved Music working with students and The start of the residency will be in What are 2015. Michaelmas Term looking forward the most? you to joining the Oxford look forward to We family and becoming a valuable the students performance for resource Our first concert at the and staff. Holywell Music Room will feature Delius and Elgar. quartets Fauré, by work with on a project to excited We’re research to Daniel Grimley Professor the Delius Quartet, which will help us We’re of this work.in our interpretation study of also doing a comparative two 20th-century English composers, Benjamin Britten and Robert and Still, in looking differed their careers at how Combining influence. light of the BBC’s scholarship with performance is a vital is the part and Oxford do, of what we perfect nurture place to this. academics at the Faculty of academics at the Faculty also excited about were We renowned researchers and researchers renowned alongside the world's most The opportunity to work The

later Oundle, in Northamptonshire. Oundle, later the for conspicuous are They colourful inscriptions and charming the notation. surround that illustrations wasink that Sadler used Unfortunately, the acidic and has badly corroded too the partbookspaper leaving extremely ourWith and partially fragile illegible. however, images, new high-resolution can undertakewe restoration a digital these return to tools using Photoshop and state a readable manuscripts to and be accessed their music to allowing image [below]The performed again. of our initial restoration some shows work. ensemble Early music vocal performed inStile Antico music found these partbooks at in the parish church July. in Fotheringhay Baldwin partbooks aThe require John Baldwin recovery. kind of different Chapel, St George’s a singer at was the Chapel Royal. and later Windsor, the to him privileged access gave This Tudor of the polyphonic inheritance the time ofcourt, back to stretching and British Libraries, which we are we which and British Libraries, be made freely to ready cataloguing scholars and performers to available via the Faculty-based worldwide www.diamm.ac.uk. website: DIAMM Tudor of corpus the entire Bringing the first time for together Partbooks opens up some form) (albeit in digital opportunities. new research exciting be looking connections for We’ll partbooks in their different between they were how format, repertory, styles (notational practices), and copied in which they were and the contexts In and used. particularwritten we’ll find clues about thebe hoping to preserve which these sources extent to pre-Reformation or made practices, and non- suit later to adaptations use. liturgical in need of key manuscripts are Two The or reconstruction. restoration first is a set of partbooksbycopied and clergymanthe schoolmaster and Fotheringhay, John Sadler at 12,000 2015 .

OXFORD MUSICIAN MUSICIAN OXFORD Digital restoration work on the Sadler partbooks. Below left: image of MS. Mus. e. 1, fol.58r provided by the Bodleian Library. Below right: the results of digital of digital right: the results Below the Bodleian Library. by provided 1, fol.58r on the Sadler partbooks. work e. left: Below image of MS. Mus. restoration Digital . Tudor Partbooksteam the Tudor by restoration K sixteenth-century England Digitising, analysing and reconstructing the music manuscripts the music reconstructing analysing and of Digitising, 8 images, primarily from the Bodleian primarily from images, The project is already well under well project is already The its first task of digitising with way Tudor all the extant manuscripts of polyphonic music in partbook format each part a(where into is copied c have book). So far we separate With the impact of the Reformation, With and musicianship amateur increasing of English musicthe development of music the cultivation printing, under Elizabeth I.changed rapidly music manuscripts of her reign The repertories changing bear witness to preserving of much and practices, pre-Reformation music England’s October fashions. alongside the newer the start2014 saw of the three-year, PartbooksAHRC-funded Tudor Williamson Dr Magnus project, led by and Dr Julia University) (Newcastle Oxford). of (University Craig-McFeely research on new digital Capitalising a fresh our project takes technologies, of this the manuscript record look at period of music history. fascinating Tudor Partbooks Tudor

FACULTY FACULTY 9

. 2015 . OXFORD MUSICIAN MUSICIAN OXFORD Contrapunctus with path- powerfulCoupling interpretations – directed Contrapunctus breaking scholarship, music by – presents Rees Owen by Professor the best known as unfamiliar composers. as well Consort the Faculty, at in Residence Vocal As project, Partbooks Tudor in the and collaborator engaged in a series is currently Contrapunctus the Baldwin on music from centred and recordings of concerts, workshops, extraordinaryThe richnessthese partbooks in of the repertoire Partbooks. alongside little-known familiar works present to Contrapunctus gems allows In the Midst, of Life in this series, first disc The works. and newly reconstructed the promote has done much to label in February, on the Signum released a wider and non-specialist audience: project Partbooks to Tudor of the work Album of The Sunday Times Choice, Editor’s it has been made Gramophone been shortlisted and has Week BBC Radio 3 CD Review Disc of the Week, the early music award. the Gramophone for Dr Katherine Butler Dr Katherine researcher Postdoctoral political of music within the the roles explores intrigues of the court of Queen Elizabeth I (1558– Boydell 1603) in her new book published by the unravelling by She begins and Brewer. musical Elizabeth's surrounding connotations musicianship personal suggesting how image, dangerous, also potentially but be a useful, could goes on a ruling queen. She for political tool performances scrutinise the most intimate Chamber, within the Privy to and explore palaces, performed the masques and plays analyse in the royal musical pageantry civic entries and royal the grandest of tournaments, musicians leaders and even noblemen, civic On such occasions progresses. and their complaints present of music to love of Elizabeth's advantage took served music how means for as a valuable Dr Butler reveals petitions in song. construction and the both the tactful policies and patronage, influencing of within the Elizabethan court. and relationships of political identities Musicin Elizabethan Court Politics n

Gerard van Honthorst’s painting (showing how the Partbooks would have been used in the decades after they were copied) been used in the decades after they were have would the Partbooks how (showing painting Honthorst’s van The Concert, Gerard Dr Katherine Butler Dr Katherine for Associate Research Postdoctoral Partbooks Project the Tudor @TudorPartbooks www.facebook.com/tudorpartbooks www.tudorpartbooks.ac.uk Elizabeth’s grandfather, Henry VII Henry grandfather, Elizabeth’s A series workshops, of reconstruction sessions, training restoration digital concerts and exhibitionsstudy days, the project planned throughout are and see people can get involved where can find You of our research. the results our or follow on our website out more or Facebook. Twitter via progress L the as to (r: as well 1485–1509), repertories other of numerous Unfortunately this set isinstitutions. book,missing the tenor all the rendering some piecesWhile music incomplete. about elsewhere, concordances have Baldwin. unique to are 60 compositions of experimenting with a process are We create to reconstruction collaborative plausible and musically satisfying of these missing parts.versions Our first together brought in March workshop and performers students scholars, consort vocal (including the Faculty’s pool to Contrapunctus) in residence, our varied expertise New and ideas. partstenor based on these collaborative effortscolour will be published with facsimiles of the surviving partbooks, a greater develop also hope to and we stylistic understanding of the repertory in the process. FACULTY

BATE BAND RECORDING PROJECT From the Peninsula to Waterloo By the Bate Wind Harmony Ensemble

2015 sees the 200th anniversary of With historical instruments and The instruments are played by a group the Battle of Waterloo, which marked instrumentation representative of an of volunteers, including 1st-year the end of the Napoleonic Wars. early19th-century wind harmony band, student George Haggett, retired conductor and arranger David Edwards Bate Curator Jeremy Montagu and While the struggles of the muddy of the Friends of the Bate has prepared members of the Friends of the Bate, summer of 1815 are well remembered a programme of music, some familiar with sterling support from a number of and documented, less familiar is the and some less so, representative of ex-military musicians trying their heroic celebratory Grand Concourse of the the music of the allies. The album is best on unfamiliar instruments. allies that took place in Paris immediately narrated by broadcaster and military afterwards. It was, in its own way, a music specialist Richard Powell. The overall effect is rustic to a degree watershed event in the development but entirely suitable for the sounds of of musical instruments of the European The musical programme includes the period and cannot fail to raise a tradition. On this occasion musicians tunes and aires from the British, Dutch, smile. The CD can be obtained from the and inventors from across the continent Portuguese, German and Spanish Bate Collection. n were able to contrast and compare armies. We also include a piece of music their varied and various instruments. known to have been played at the Mr Andrew Lamb It marked an important milestone for Duchess of Richmond’s ball on the eve Bate Collection Manager woodwind and brass development and of the Battle of Waterloo. [email protected] led to the next great design leap. 01865 276139 Amongst the instrumental line-up are The Bate Collection is very fortunate keyed bugles, flutes, natural horns, BECOME A FRIEND OF THE to hold instruments that were used bassoons, trombones, clarinets, oboes BATE COLLECTION during the campaigns of the time and two serpents, including one by and we are marking the anniversary Key of London which was owned and Just visit the website below and by the production of a CD of music played by Drummer Richard Bentinck of download an application form of the period, played on appropriate the 24th Regiment of Foot and claimed www.bate.ox.ac.uk/friends-of-the- instruments. to have been played at the battle. bate

K Wind harmony Instruments of the early 19th century RESOUNDING: CREATING AN APP

We are collaborating with the University Computing Services to build an app that provides playable virtual versions of instruments in the University’s musical instrument collections (currently the Bate Collection and the Ashmolean Museum). For each instrument, users will see an interface that mimics the instrument and be able to tap, swipe, shake and blow into their devices as appropriate to play it. In order to do this we will be sampling the instruments and creating SoundFonts from these samples. In addition to using the samples in the app, we plan to offer these samples freely online for musicians to use in compositions. n

10 .. OXFORDOXFORD MUSICIAN MUSICIAN . 2015. 2012 RESEARCH

on the Borders

I am lucky to work on the texts and day imagination, through new artistic used compositional techniques often music of the medieval Latin liturgy collaborations and performances. applied to a plainchant cantus firmus, as transmitted in the manuscripts Michael explored the melodies through andFragments early printed books which It was clear from the start that there was the medium of semi-improvised fiddle survived the vagaries of the great excitement in the local community music, Bill combined music and text Reformation. Usually this research about the discovery of this 800-year-old in a three-movement sequence, and tries to tease out the histories of parchment bifolium. Poets, sculptors, Goldie composed an emotive and liturgical rites and their connections musicians, dancers, schoolchildren and dramatic concept mix, which I then to the history of ecclesiastical others embraced both the medieval and orchestrated for live performance. institutions. Recently, though, I have present-day heritage of the fragment, Musical forces combined local choirs been able to use my work to create with each artist taking inspiration led by Borders conductor John Stone, new contexts for the reception from its words, or its decoration, or the students at the Royal Conservatoire and performance of medieval elaborate Palm Sunday procession for Scotland, and Oxford choral scholars and music, thanks to the discovery of which the fragment gives the music. instrumentalists. a fragment of a medieval liturgical We were particularly keen to explore book in a local history archive in the the procession in light of (and physically In the Middle Ages, plainchant was Scottish Borders. within) some of the buildings in which music for the grandest of cathedrals, such a rite could have been used, since monastic foundations and royal chapels, From 2012 to 2014, I had the great Jedburgh, Kelso and Melrose Abbeys and for the humblest of local churches. pleasure of co-directing an arts project were at the hearts of the Borders towns Far from the ‘meditative’ and ‘calming’ inspired by these physical remnants in which we were working. What might associations it has in the present day, of medieval music, Fragments: music, the processional route have been in plainsong was also completely ordinary movement, and memory in a Borders Melrose, we wondered, as we put the and commonplace for those who sang landscape, in partnership with Tim fragment’s instructions to the test. it – singers were ordinary people rather Fitzpatrick (Red Field Arts, Fife) and than monks. It was exciting for me to Historic Scotland, and funded by a The focal moments of the events in see how much our Borders friends, our generous grant from the Year of Creative the abbeys and in Glasgow were new musicians, and our project team took Scotland. In a series of events in the commissions by Séan Doherty, winner ownership: this was their fragment, medieval, semi-ruinous abbeys of the of the Fragments young composers’ their music. n Scottish Borders, at the Borders Book competition, established composers Festival, at a symposium in Hawick, and Michael Nyman and Grayston Ives, and Dr Matthew Cheung Salisbury in Glasgow Cathedral, we explored the electronic music artist Goldie. Each was Lecturer at University College text and music of the fragment, and challenged to engage with some aspect @mcswrites and @The_Fragments how it might speak to the present- of the music from the fragment. Séan www.fragmentsproject.co.uk

K The Hawick Missal Fragment K Goldie after the premiere performance of ‘The K Michael Nyman with Dr Cheung Salisbury Christian Celeste’ at Glasgow Cathedral discussing his own inspiration from the music of the original fragment

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Profile

Interview with AlumnusRoderick Williams

Roderick Williams (Magdalen College, 1984) is a baritone and composer. He has worked with all the major UK opera houses and is particularly associated with the roles of Mozart. He has also sung world premieres of operas by leading living composers such as Michael van der Aa, Sally Beamish and Robert Saxton. He performs house and started a family. The length of time affected the way concert repertoire with the world’s leading orchestras, I approached learning. As an undergraduate, I may not fully such as the Philharmonia, Deutsches Symphonie- have appreciated the resources at my disposal. I’m also glad Orchester Berlin, Russian National Orchestra, Orchestre that I was able to take time for my voice to develop naturally. Philharmonique de Radio France and Bach Collegium Japan. Roderick is also a composer whose works have You have created roles in contemporary opera, as well as been premiered at the Wigmore and Barbican Halls, and specialising in Mozart. How does your approach differ in live on national radio. He will be the Artistic Director of tackling contemporary operatic roles compared with the Leeds Lieder Festival in April 2016. canonical repertoire? I am not fundamentally aware of any difference in technical We asked DPhil composer Solfa Carlile (Linacre College, approach. I come to contemporary music with the same 2012) to interview Roderick, and ask him more about his sense of line, lyricism and attention to text and character as career and musical journey to date. I would Mozart. This enables me to perform contemporary music without compromising my technique. There are always How did you find your time as a Choral Scholar at Magdalen adjustments. Michel van der Aa, for example, prefers his roles to College? What was the highlight of studying at Oxford? be sung with as little vibrato as possible and with the performers I had a wonderful three years in the choir. My duties as a miked up, but the singing needs to be supported nonetheless. Choral Scholar gave me a sense of routine and discipline. From a personal standpoint, the highlight of my time at Oxford was K Roderick Williams at The Three Choirs Festival forming the four-piece a capella group The Balfour Chorus. From an academic standpoint, I enjoyed the huge collection at the Faculty of Music Library. I recall listening to Schoenberg’s Gurrelieder with a full score the size of a coffee table!

What did you take from your Music degree at Oxford and how did it prepare you for your future career? I looked to Oxford for as broad a musical education as possible. I ended up learning a little about many things rather than specialising in any particular field of music. I have no doubt that this basic education has served me well in my present career as singer and composer.

Despite a strong musical background, you were a latecomer to studying singing. How did this affect your outlook while studying, and do you feel that it enhanced your appreciation for the discipline? I ended up studying twice – as an Oxford undergraduate and as a student at the Guildhall School of Music and Drama. In the ten years between, I had become a teacher, married, bought a

12 . OXFORD MUSICIAN . 2015 ALUMNI

You have been described as a performer who likes a As a composer of vocal and choral music, how do you feel challenge. In what way do you feel that audiences should that your experience of performing informs your own be challenged by music? compositions? I don’t feel there need be any obligation on anyone’s part, I like to think that my compositional background grants me either performer or audience, in the world of art. I enjoy when an insight into why a composer chooses specific notes to people tell me they have never been to an opera or concert convey specific text. This helps me to interpret their wishes before and end up having their preconceptions challenged. as best I can. I like to think that my experience as a performer This happened often with Castor et Pollux. Many people who helps me to understand the challenges of communicating knew the opera hated the production. Others who didn’t or another composer’s music to an audience. Essentially, I want had rarely seen opera before loved it. I don’t however protest an audience to enjoy my music, even if they don’t understand that audiences need be challenged out of their comfort every note of it on first listening, but I would like to reach out zones if they are not ready. I worry that will breed resentment to them on some level. To do that, my music needs to reach and closed minds, which is not useful. out to the performer first. Someone once commented that he could tell my music was written by a performer. It is not You have developed a reputation as a singer of Britten’s a mission statement for every piece I write, but I would like operatic roles. What do you think is attractive for singers performers to be able to express themselves in my music about Britten’s vocal music? without being distracted by the music itself. I think Britten’s operas in particular have an instinctive dramatic sense that is a gift to performers. They are like tautly This past year has been an eventful one for you, constructed plays, only they happen to be set to music. I also particularly given your highly praised performances at admire his word setting in English which, as a native speaker, the BBC Proms in 2014. What would you say has been a is irresistible. It has probably inspired me as a composer more recent career highlight? than any other model. I don’t often see projects in terms of career trajectory. My performing and composing career is made up of a How do you feel that children and young people could be whole string of personal highlights. I love rehearsing with further encouraged to explore and pursue singing? my colleagues and sharing the stage with them. I find it I have the impression that UK primary schools don’t enjoy incredibly moving to hear other people perform my music. I daily hymn singing in school assemblies so much anymore. love visiting parts of the world with my singing that I would My experience is that hymn tunes have been replaced with never have dreamed of without the invitation to perform ‘catchier’ songs. I have only noted that what I took to be there. I’m pretty happy, all told. n the backbone of community singing has eroded naturally with change in society. I am fascinated by mass choruses at sporting fixtures. Also, to see people united by unison singing Solfa Carlile is originally at the Last Night of the Proms was a joyous experience. from Cork, Ireland. She was I cannot offer a specific answer but I acknowledge the awarded a Master’s in Advanced importance of this question and salute those who work in Composition (MMus) from the singing education. RCM and is now studying for a DPhil at Oxford with support from the Stapley and Seary Trusts and the Arts Council of Ireland. Her I looked to Oxford for as music has been performed broad a musical education as by the London Chamber Orchestra, the National Chamber Choir of Ireland and the Composers possible. I ended up learning Ensemble. In 2010 she was awarded the Jerome Hynes a little about many things Commission at the Irish National Concert Hall and received rather than specialising in any the Sean O’ Riada Composition Award in 2013. She has been Composer-in-Residence for the Orchestra of St Paul’s, particular field of music. Covent Garden, since 2011. I have no doubt that this basic education has served me well in WOULD YOU LIKE TO BE FEATURED? my present career Would you like to be featured in the alumni profile section of a future edition of the Oxford Musician? If as singer and so, we would love to hear from you. Please contact composer. [email protected]

OXFORD MUSICIAN . 2015 . 13 RESEARCH Increasing accessfor the Visually to Music Impaired

For the past two years Faculty blind person but it differs crucially member Jonathan Darnborough, from staff notation in that every Director of Studies in Music at item of information in the score the Department for Continuing is presented in a linear sequence. Education, has taken part in an Where a sighted person can see the EU-funded international project rise and fall of a melody at a glance, called ‘Music for Visually Impaired the Braillist must decipher the music People’ or Music4VIP. ‘The aim of bit by bit whilst trying to build up this project is to make much more an overview – a very mentally taxing music available, and all music task. Here (right), for example, is more easily accessible, to blind a single note in staff notation and and visually impaired people,’ Braille. more easily – hence more quickly and says Jonathan, who is the UK cheaply – than ever before. representative on the project. To help compensate for this, the software can filter out elements of the I am now in the process of authoring The Music4VIP project is made score, such as fingerings or dynamics, the Department for Continuing up of partners in Italy, France, in order to let the user concentrate Education’s first online music course Poland and the UK. Central to the on others, such as notes. As the user – an introductory course in musical project’s achievement has been the moves the cursor across the Braille the analysis. Building on my work with the development of software that can screen-reading software says what Music4VIP project the aim is to make create, read and edit music Braille. each cell, or combination of cells, this course fully accessible to blind To this end a new programming means. If it is a note, then that note is and visually impaired people. language was created, Braille Music also sounded via MIDI and at any time Markup Language (BMML), which the user can listen to the whole piece, Further information about the enables the software to recognise a single bar or a single part. Music4VIP project may be found at all the different elements (notes, the project website: articulations, phrasing etc) in a The software can import scores from www.music4vip.org.uk n Braille score. most notation packages via the MusicXML format and automatically Jonathan Darnborough Music Braille is the only medium create a Braille version. This means Department for Continuing Education by which every aspect of a musical that new works and new editions can Director of Studies in Music score can be made accessible to a be made available in Braille much [email protected]

14 . OXFORD MUSICIAN . 2015 EVENT Oxford/Sennheiser ELECTRONIC MUSIC PRIZE

Last year the Faculty of Music would be chosen on the night. Both work for this renowned company launched a national competition trained and untrained electroacoustic and from their outstanding audio for excellence in electronic music: and electronica composers entered, equipment. We hope to continue to the Oxford/Sennheiser Electronic and from 100 entries we managed to develop the relationship long into Music Prize, or OSEMP. Established whittle down the field to 10 finalists, all the future. OSEMP attracted a huge in conjunction with the pro-audio of whom performed at the Jacqueline field of entries, 10 outstanding manufacturer Sennheiser, it was Du Pré Music Building in Oxford on 8 finalists and 3 extremely talented an attempt to spotlight the very November 2014. There were additional winners. In many ways, though, it was best experimental electronic music master class performances from the audience in the packed Jacqueline composers in the UK, as well as renowned electroacoustic composers du Pré Music Building who were the to give profile to the increasing Trevor Wishart and Natasha Barrett, real winners. They were fortunate to importance of electronic music both of whom also helped to make up be present at a memorable evening in the Faculty’s teaching and the adjudication panel alongside our of terrific music. We’re already looking research. Additionally supported by own Professor Martyn Harry. forward to next year!’ electronic music record label Warp Records, the aim of the national The final was a magical evening. All Plans are progressing well for the next competition was to find innovative involved remarked on the musicality event to be held in 2016. Follow our new works in electronic music by and ingenuity of the pieces. The progress on Twitter: @osempupdates. n composers aged 35 or under. winner was Samuel Barnes for his composition The Nature In Devices, Daniel Hulme There was an overwhelming with Sam Kendall’s One Fast Move Electronic Music Studio Manager response to our call. We asked for or I’m Gone and Daniel Cioccoloni’s submissions to be both innovative Deep Time in second and third and communicative, and that could places respectively. Sennheiser be performed in an event in early provided prizes for all three, including November in front of a headphones and microphones worth panel of judges. around £5,000. Samuel responded First, second and to his win by tweeting: ‘Delighted, third prizes shocked and honoured to have been awarded first place at OSEMP. A wonderful evening of inspiring new music! Thank you.’

Professor Eric Clarke was present on the night. He commented: ‘It was a fantastic opportunity for us to team up with a company with the international reputation of Sennheiser L Left to right: Samuel Barnes (winner), Sam to support our activities in sound Kendall (second place) and Daniel Cioccoloni (third recording and studio composition. place) We’ve already benefited hugely both J Sam Kendall performing One fast Move or from the expertise of the people who I’m Gone

15

ALUMNI Profiles

TOM HAMMOND-DAVIES apply for a half lectureship, which supported my research Hertford College, 2005–8 for some 30 years. More books on opera followed – I rarely Since graduating as Organ chose the topics for myself, enjoying rather the challenge Scholar from Hertford of responding to commissions, and I have only once had College, I have combined a to tout a proposal around publishers. My eleventh book Alumnilay clerkship at Magdalen (Gluck again) is due to appear this autumn. In retrospect, that College Chapel with a Choral qualification in typing would have been useful! Conducting MMus at the Birmingham Conservatoire, graduating with Distinction BERTA JONCUS and winning the Sir Michael St Hugh’s College, 1999–2004 Beech Conducting Prize and the Three Choirs Festival Since my DPhil graduation from Conducting Award. On completion of my Master’s, I took up Oxford in 2004, what has united a lay clerkship at New College Chapel, keeping my positions my academic and professional as Director of Music at the City Church of St Michael at the activities has been my North Gate and Resident Pianist at the Randolph Hotel. More conviction of the transformative recently I was appointed Musical Director of the Wooburn power of music. Singers, a large amateur choir based in Buckinghamshire founded by Richard Hickox, and I continue to work with I held a British Academy my professional chamber ensemble, the Blenheim Singers, Postdoctoral Fellowship 2004–7, founded at Blenheim Palace in 2006. Within the last year, I jointly hosted by St Catherine’s have been appointed Co-Artistic Director of the Manning College and the Faculty of Music. During the Fellowship Camerata, a new orchestra spearheaded by Peter Manning, I developed a second research focus, creating the online concertmaster of the Royal Opera House, and I founded the resource Ballad Operas Online, while publishing other Oxford Bach Soloists, a dynamic ensemble of students and outputs and starting to work in music journalism. I learned local professionals dedicated to performing the complete much from members of St Catherine’s and the Faculty, who vocal works of J S Bach in Oxford. generously shared their research and teaching expertise www.tomhammonddavies.com with me, and in particular from my mentor Professor Peter Franklin.

PATRICIA HOWARD With this experience, I embarked on a two-year contract as (née LOWE) a Lecturer at St Anne’s and St Hilda’s. In this post I expanded Lady Margaret Hall, 1956–9 my teaching portfolio, and, crucially, learned about pastoral My career has been entirely care. Thanks partly to my teaching experience, Goldsmiths, accidental – a series of lucky University of London, appointed me in 2009 to a permanent chances. When I went down Lectureship. The first year, while exhilarating, was challenging. in 1959, the only suggestion It was students’ enthusiasm above all which buoyed my the University Appointments spirits, and I was grateful to receive their votes for an award in Board could come up with teaching excellence. was that I learn shorthand and typing. I ignored their advice. After being promoted to Senior Lecturer, since September My tutor, the much-loved Egon 2012 I’ve had the privilege of being Head of Goldsmith’s Wellesz, set me a more attractive project in much the same Music Department. In this role, I help develop the way that he set my weekly essays (‘You will write something department’s collective vision: to advance research through very nice about…’). My first book on Gluck was written and creative practice, and to dissolve boundaries between published shortly before my daughter’s second birthday. disciplines and between classical and popular repertoires. A book on Britten (and another daughter) followed, and, just as my younger child started school, the University of Surrey arrived on my doorstep, so I was at last able to study for a PhD (on Lully). Even as I was completing this degree, by another happy coincidence the Open University was founded, and a chance meeting led to my being invited to

16 .. OXFORDOXFORD MUSICIAN MUSICIAN . 2015. 2013

ALUMNI

FABIENNE MORRIS the Proms to the Sydney Opera House, including many world University College, 2004–7 and UK premieres. I have returned to Oxford many times for Since graduating I’ve become performances, including both Weber concertos with the fully immersed in the world of Oxford Symphony Orchestra, recitals at the Holywell Music arts management, specialising in Room and concerts with the Philharmonia in the Sheldonian. promoting London’s professional Forthcoming highlights include several performances of the orchestras. Finzi and Nielsen concertos with the Philharmonia in 2016. I am also a busy teacher – I recently gave masterclasses in Brazil I am not from a musical family. and Poland, and am a professor at the Royal Academy of Music, My closest friends are not which has awarded me an Honorary Associateship. I also hold musicians. This makes me a an Honorary Doctorate from Northampton University. good marketer – I’m constantly reminded that classical music is alien to many people and needs presenting in engaging, relevant and transparent ways SAM WOOD if we are to gain new followers. Christ Church, 2011–14 After graduating from Christ I began my career with a six-month Marketing, Press and Church last year, I joined PR internship at the Philharmonia Orchestra, followed by TeachFirst’s Leadership a Marketing Assistant role at the Royal Philharmonic. Since Development Programme. 2009 I’ve been at the London Symphony Orchestra, holding TeachFirst is an educational the posts of Marketing Co-ordinator and New Audiences charity committed to Manager. In my current role as Communications Manager attracting graduates into I focus on advocacy, audience development (in particular the teaching profession, around families) and fundraising. placing them in schools in low-income communities I feel immensely privileged to represent the LSO. We’re not across England and just a phenomenal symphony orchestra, world-class cultural Wales. The programme has played its part in improving export and major brand; we also have a ground-breaking educational standards in London’s state schools, which education programme, our own record label and venue, and have historically suffered from a shortage of high-quality provide soundtracks for countless Hollywood blockbusters. and consistent teachers. I work at Prendergast Vale School We pioneer methods by which music can be disseminated in Lewisham. Music has become increasingly marginalised and appreciated, guided by our mission to engage the in the national curriculum, and accordingly is often under- broadest mix of people with the highest-quality and most resourced. I am the sole teacher of music at Prendergast evocative music-making. Vale, which has made the training process particularly challenging. The organisational qualities required to manage a department, along with the high standards of behaviour MARK VAN DE WIEL management required to cope in an inner-city London Merton College, 1976–9 school, have resulted in a steep learning curve. However, Since graduating in 1979 I recently oversaw the school’s first-ever full-scale musical and following a postgraduate production, the reintroduction of the peripatetic provision, year at the Royal College and completed my PGCE as ‘Outstanding’. In September, the of Music, I have followed a school reached full capacity (Years 7–11) and I look forward varied and exciting career to continuing to manage the music department as a Newly as a clarinettist with a Qualified Teacher. n busy performing schedule throughout the world. I am currently principal clarinettist SEND US YOUR NEWS with the Philharmonia Orchestra (since 2000), the It’s always good to hear from you. Stay in touch, and let us London Sinfonietta (since 2002) and the London Chamber know what you’ve been up to since graduating from the Orchestra, and am founder principal clarinet of the chamber Faculty: [email protected] ensemble Endymion. Solo appearances have ranged from

. OXFORDOXFORD MUSICIAN MUSICIAN . . 20132015 .. 17 CURRENT

Profiles Student

Anna Lapwood Eugene Birman 3rd Year, Magdalen College DPhil, Christ Church

Having grown up in Oxford, I felt rather smug when I first I had just completed degrees at Columbia University (BA, turned up, thinking that I already knew the city. I quickly Economics) and Juilliard (MM, Composition) as I set off to learnt, however, that studying at the University is extremely Estonia as a Fulbright scholar in the summer of 2010, assuming different from just living here; the colleges and faculties I would never again return to academia. But by the most offer a unique world to the ‘gown’ that is rarely glimpsed as fortuitous circumstances, and thanks to the unprecedented a member of the ‘town’. I studied at Oxford High School in generosity of the American Friends of Christ Church and Summertown, and was very clear from quite an early age Jonathan Stone, my research advisor Professor Martyn Harry that I wanted to pursue music, commuting to London every and my tutor Professor Jonathan Cross, I received an offer to weekend for the Junior Royal Academy of Music. Despite study at Oxford commencing in 2012. The past three years as initially thinking of going down the conservatoire route as a a DPhil student at the Faculty of Music have seen remarkable harpist, two years later I am extremely glad that I decided to developments in my career and a newfound commitment choose Oxford instead. As the Organ Scholar at Magdalen, I to mentoring younger generations of composers through have the opportunity to perform in Chapel nearly every day, my teaching at the Faculty. I have been fortunate to receive playing for 8 services a week and rehearsing the choristers many premieres and commissions over the past three years, on weekday mornings. It is admittedly rather tiring, and highlights extending from symphonic works for the London combining it with weekly essays while trying to achieve some Philharmonic and Minnesota Orchestras to choral works semblance of a student life can be tricky, but it has given me for the Eric Ericsons Kammarkör, Latvian Radio Choir and an entirely unique university experience. There are few places Helsinki Chamber Choir. A string quartet I wrote here in Oxford where you have the opportunity to study both the academic has since gone on to be performed in Carnegie Hall, and I and practical elements of music so thoroughly. On leaving have had three commercial CD releases. My ‘financial opera’ Oxford, I hope to continue studying the organ at a London was covered widely by international news organisations, conservatoire, alongside an organ scholarship at one of the including CNN, BBC World TV, and Le Figaro. The future holds larger churches. I’m unsure as to what direction I’ll eventually many unknowns, but my experience at Oxford has been so follow, but I know that, whether I return to the orchestral unquestionably positive I realise that my association with the world on the harp or continue with choral music, the basic University will extend far beyond my degree. n training that I received here will be indispensable. n

18 . OXFORD MUSICIAN . 2015 CURRENT

OXFORD UNIVERSITY MUSIC SOCIETY

Oxford University flagship choir Oxford University Chorus has had an impressive Music Society has had year under Eric Foster, including performances of Orff’s a typically busy and Carmina Burana and Stravinsky’s Symphony of Psalms. The exhilarating year, with highlight was undoubtedly Tippett’s formidable oratorio A our ensembles continuing Child of Our Time, only the second time the work has been to excel and bringing performed by Oxford students. Oxford University String together students from Ensemble and Oxford University Sinfonietta have excelled across the University under conductors Seung-Eon Yoo and Isabel Stoppani to make a remarkable de Berrié respectively, with repertoire spanning from Bach’s impact on the musical life Brandenburg Concertos to world premieres. Oxford University L Eric Foster of the city. Brass Band has continued to flourish under the batons of Leo Gebbie and Ben Horton. And OUMS’s newest ensemble, the Oxford University Orchestra showcases Oxford’s finest talent. Oxford University Jazz Orchestra, starred in a double-billing The year’s concert highlights included Brahms’ Symphony with Schola Cantorum for a sell-out performance of Duke No. 4 conducted by Hugh Brunt, Rachmaninoff’sRhapsody Ellington’s Sacred Concerts in a packed Sheldonian. on a Theme of Paganini under Natalia Luis-Bassa, and Rimsky- Korsakov’s Scheherazade with Ben Palmer. Oxford University We firmly believe that OUMS should be Philharmonia continues to go from strength to strength, the voice for all student music in Oxford with ambitious programmes including Ginestera’s Estancia so are hoping to develop significantly suite and Chan Pui Fan’s Ching Ming Symphony under Jacob use of the weekly newsletter, and Swindells, plus Tchaikovsky’s tragic Symphony No. 6 and mobilise social media. We are also Rachmaninoff’s Symphonic Dances under new conductor seeking to promote the society John Warner. John also successfully conducted Oxford through a number of new initiatives, University Wind Orchestra to a Platinum Award at the NCBF commencing with an exciting new Midlands Regional Festival, the second prize won by the partnership between OUMS and The ensemble in as many years at the competition. OUMS’s Oxford Union, which will feature a number of internationally renowned K The Oxford University Jazz Orchestra musicians coming to perform and speak. In Trinity Term 2015 we were delighted to open the partnership with concert violinist Nicola Benedetti and composer Eric Whitacre. Future speakers will include guitar duo Rodrigo y Gabriela. n L Nicola Benedetti

Eric Foster 3rd Year, St John’s College President, Oxford University Music Society, 2015–16

For more information about OUMS, the OUMS ensembles, and to sign up to the OUMS weekly newsletter, please visit www.oums.org

. OXFORDOXFORD MUSICIAN MUSICIAN . . 20132015 .. 19 with early 20th-century modernism. will include of this research results The of catalogue a digital a monograph, in conjunction works prepared Delius’ with the British Library and the Danish and a Music Publication, for Centre Delius and to series relating of events his music. Book News BEETHOVEN RICHARD WAGNER’S DrA brand new Roger translation by on famous essay Wagner’s of Allen (1870) has been published Beethoven not Drawing and Brewer. Boydell by just on the German text in the Collected Writings but also on transcriptions from working Wagner’s facsimiles of this is the first drafts and fair copy, a appear in over new translation to brand new gives edition This century. the German and the newly original English texttranslated on facing pages. It comes along with a substantial not introduction placing the essay only within the wider historical and later Wagner’s intellectual context of thought but also in the political context of the establishment of the German in the 1870s. Empire Oxford is ‘internationally excellent’. excellent’. ‘internationally is Oxford the impact 100% of the of Furthermore, in Music undertaken research at Oxford ‘very or ‘outstanding’ be is deemed to and in terms of its reach considerable’ significance. SUCCESS FUNDING RESEARCH Research Major Leverhulme Fellowship Leach Elizabeth Eva Professor a Major Research has been awarded Trust the Leverhulme by Fellowship It years. supports three for a project entitled Douce 308 and the contexts . The song c.1300 of vernacular large Bodleian manuscript book, Oxford, Library Douce 308, contains material been studied as a before that has never whole in the context of a single-author literarystudy: and works in verse French on courtlyprose and eschatological as 516 lyric texts as well subjects, in contextualised A fully various genres. consideration of them, and of the of musico-literaryculture quotation will embedded, within which they are chart changes in the musico- significant literary practice of courts of north- c1300. In addition, the eastern France the digitisation for funding will allow of the manuscript, whose complete available will become freely contents the first time. online for Fellowship AHRC has Daniel Grimley Professor an AHRC Leadership been awarded support to a project entitled Fellowship Delius, Modernism and the Sound of Delius is (1862–1934) . Frederick Place among the most compelling figures in early 20th-century and was music, for a generation a catalysing influence writers and musicians of composers, This War. World either side of the First writing in on recent project draws and the philosophy cultural geography ‘conventional’ as more as well of place, a develop to literature, musicological music of Delius’ critical reassessment and its entwinement with place as relationship an aspect of his broader 2015 .

OXFORD MUSICIAN MUSICIAN OXFORD . NEWS FROM THE FACULTY THE NEWS FROM RESEARCH EXCELLENCE EXCELLENCE RESEARCH FRAMEWORK 2014 UK HigherThe funding Education of the bodies published the results (REF Framework Excellence Research is the This 2014) at the end of last year. which the qualitymechanism by of the UK. across is evaluated research that the Oxford REF demonstrates The of Music is performing at the Faculty In the highest of levels. REF parlance, is world leading, majority of its research is the wider impact of this research very and the research considerable, REF The is unparalleled. environment that 55% of the research showed in Music undertaken is at Oxford ‘world-leading in terms of originality, and 89% and rigour’ significance in Music undertakenof research at The Faculty is also pleased to announce is also pleased to Faculty The , who has Llewellyn that Dr Jeremy in Professor Visiting been Leverhulme replacing 2014–15, will be the Faculty three for Leach Elizabeth Eva Professor while she works on a project years entitled Douce of 308 and the contexts , supported song c.1300 vernacular by the from a MajorFellowship Research Trust. Leverhulme NEW ARRIVALS to of Music is delighted Faculty The of announce the appointment as Associate Dr Leitmeir Christian Tutorial in Music and Professor of Magdalen starting College Fellow in Michaelmas 2015. Christian is the in Seniorcurrently Lecturer School of Music University. at Bangor A specialist in medieval music 16th-centurytheory, music sacred Christian and musical palaeography, has wide-ranging in other interests which feed periods history, of music and interdisciplinaryinto research He has international collaborations. particularlydeveloped ties strong and the Czech Poland Germany, to Republic. Faculty News Faculty

20 News, recordings, books and broadcasts books recordings, News,

FACULTY NEWS FACULTY NEWS 21

. 2015 . OXFORD MUSICIAN MUSICIAN OXFORD LISTEN TO THE LISTEN TO 20TH CENTURY In Professor 2014 September Singapore to travelled Cross Jonathan a give to Sinfonietta with the London tables as series of lectures and round part of the Listen to the 20th Century Internationalseries at the Singapore of Arts. week An intensive Festival concertsof talks, and workshops in association with organised were as a spin-off London Southbank Centre 2013 festival their award-winning from Rest is Noise. Jonathan engaged The as such topics local audiences with ‘The age of fear’, ‘Musical modernism’, modernism minimalism and to ‘From rules’. ‘No more and beyond’ BALZAN PROGRAMME 2015 hosted In early 2015 the Faculty Dr Melanie University of Plesch, Melbourne, as an International in the context of the Visitor Research a Global Balzan ‘Towards Programme Professor by (directed History of Music’ an ). She convened Strohm Reinhard international workshop–conference and Rhetorics Encounters titled Topical Artof Identity American in Latin Music, scholars from together which brought Colombia, Mexico, Brazil, Argentina, Britain and the US. A recital Venezuela, of Latin American Art featuring Music, Teatro the leading musicians from was partColon, of the programme. was delivered keynoteThe address (Princeton KofiAgawu Professor by University) and the closing roundtable Eric Clarke included Professor (Oxford). Events News Events It brings together Practice. Criticism, practitionersscholars and explore to theoretical, institutional, the cultural, epistemological, methodological, practicalethical and aspects and of the rapidly evolving implications It of artistic in music. area research with the among other issues, engages, artisticconditions under which practice activity;becomes a research practice- in conservatoire settings; led research methodological issues of assessment; music practitionerspossibilities open to the entering academic environments; in composition; of technology role and value of performancethe role knowledge in music-analytical enquiry; performance live as a research method; and artistic and collaboration improvisation. AND MEDIEVAL MANUSCRIPTS SONG Song:Manuscripts and Medieval co- Context, Performance, Inscriptions, Elizabeth Eva Professor by edited Cambridge and published by Leach chapters, contains ten University Press, on a single each of which focuses manuscript containing medieval of Since the manuscript sources songs. fit the descriptionmedieval song rarely detail the chapters easily, ‘songbook’ of the place of songs (with and without musical notation) alongside the diverse The books. of these ten contents German contain Latin, French, sources across and English materials from during and the MiddleEurope Ages, what show to attempts each chapter the books and the songs within them their medieval audiences. meant to ARTISTIC PRACTICE AS RESEARCH AS RESEARCH ARTISTIC PRACTICE IN MUSIC Dr Mine, Doğantan-Dack Departmental in the Faculty Lecturer a newof Music 2014–15, has edited entitled Artistic Ashgate for volume in Music: Theory, as Research Practice BLACK BRITISH JAZZ BRITISH BLACK has published Press Ashgate a collection the title under essays of Ownership Jazz: Routes, Black British and , co-editedPerformance Dr Mark by Early Career Leverhulme Doffman, Black of Music. Faculty in the Fellow been makingBritish musicians have when the genre 1920 jazz since around ground- This first arrived in Britain. their hidden breaking book reveals history major contribution and the to of jazz in the UK.development More show though, the chapters than this, the importance of black British jazz in terms of musical hybridity and the of race. cultural significance n has also been has been chosen as the new BBC of Franz Schubert. was the core its of Franz At first-ever performance complete UK’s alongside a host songs, of Schubert’s Lieder won Oxford of other works. Royal Philharmonic the prestigious in the categorySociety Music of Award the Project. for ‘Chamber Music & Song’ Pritchard Dr Deborah Composer (Worcester 2004) was College, the English Symphony commissioned by write a violin concerto to Orchestra as Water’ ‘Wall of to a musical response artistpaintings by Hambling Maggi Gallery,housed in the National London. of the concerto place took premiere The on 18 October 2014. Nick Morrish Rarity (Jesus College, a Royal Philharmonic 2013) has won and has Society Prize Composition the 2015 written a chamber work for Nick Oxford After Festival. Cheltenham Laban Trinity studied composition at both he won where Conservatoire, the MMusFawcett and the Elias prize His Composition. music has for Prize and commissioned by been played London Orchestra, the Philharmonia Octandre Chamber Orchestra, and Laban Sinfonia Trinity Ensemble, among others. members of the BBCSO, Oxford from graduating After Charlotte-Anne (Exeter Shipley 1999) spent two years College, studying opera in Rome under soprano Renata and has subsequently Scotto participated in competitions across second she won Most recently, Europe. in and first prize del Garda at Riva prize , and has taken part Versilia fenice in a La with Montserrat of masterclasses week in Barcelona. Caballe College, Mark Simpson (St Catherine’s 2008) in Association. Composer Philharmonic’s first opera Pleasure Mark’s announced as part of the 2015/16 season at the Royal Opera House. Dr 1955) Michael Smith (Christ Church, published a look back at his has recently A Cathedral Purposes: in At Cross career which has sold Memoirs, Organist’s details are Full 350 copies so far. over website. on the Amazon available Alumni News Alumni Appleby Anna music by Piano 2011) was College, (St Hilda’s on and broadcast commissioned by BBC Radio 3 as part of the International celebrations. Day Women’s Dr Simon Since graduating 2007) Desbruslais (Christ Church, has obtained a contract publish his to his doctoral thesis as a monograph; trumpet concerto album has been label; and he on the Signum released a permanent to has been appointed in Music at the University Lectureship of Hull. of MetierThe Ensemble is a grouping including alumna cello and piano, flute, (Lady Margaret Elspeth Humphrey years five over They formed 2000). Hall, and the ago after meeting at Oxford they where of Music, Royal Academy various and individually won prizes nextThey are performing scholarships. at a in Croydon 3 November Tuesday on information more For lunchtime event. visit: www.metierensemble.co.uk. In October Kynoch 2014 Sholto The (Worcester 1998) curated College, Schubert part Project, of the Oxford 2014. It was the largest- Lieder Festival and music celebration of the life ever Week servicesWeek Mary at St Moorfields in the City of London. Church Catholic Quam Bonum is a shortHis piece Ecce Psalm 133. of verses first setting of the choral been singing ‘I have said: Marco long as I can remember, as music for win to an amazing feeling and it’s I’ve a choral piece that for a prize very excited I’m composed myself. piece performed my about having in London.’ Merton year, (3rd Shepherd Peter the of has been made Fellow College) is the Peter of Organists. Royal College Scholar at MertonJunior Organ College. 2009 until joining Merton he was From Malvern Scholar at Great the Organ at recitals organ and has given Priory, cathedrals such as Southwark, Hereford and Bristol. and 2015 . ) Pritchard Deborah OXFORD MUSICIAN MUSICIAN OXFORD . (3rd year, The Queen’s Queen’s The year, Galvani (3rd Marco is winner of the 2015 inaugural College) Music Sacred for Schellhorn Prize wins a £500 prize Marco Composition. during the Holy and a world premiere Student News Student WOMEN CONDUCTORS CONDUCTORS WOMEN hosted 2015 the Faculty Term Trinity In a conducting workshop weekend led conductors, women for especially . Delegates Farnham Alice alumna by had the opportunity conduct to with two experienced highly keyboard Whitehead William players, HARRYFEST spectacular concerts the formed Two celebration of the of Music’s Faculty 50th birthday of composer Professor Martyn Harry. HarryFest featured of chamber and a programme instrumental music at the Jacqueline Concert Hall (with guest soprano du Pré and a concert Lixenberg), of Lore ensemble works including the UK by of Eingestellt (played premiere Quartetmembers of the Cavaleri and alumna bassist Dr At from and a selection of movements , performed Pleasure His by His Majesty’s Majestys Sagbutts and Cornetts. THE COMPLETE ORGAN WORKS OF WORKS ORGAN THE COMPLETE J S BACH During academic year, the 2014–15 embarked Daniel Hyde Professor upon the monumental task of playing works of J S Bach. organ the complete It since the complete is some years in Oxford, has been played oeuvre a single performer. especially by arranged to were seriesThe of recitals the new at Dobsoncelebrate organ Merton college’s in the College 750th year. and alumni of the Burgess Libby Jenny led by Southbank Sinfonia, First Nickson Principal (Assistant Royal Opera House with the Violin a great was day The Orchestra). the found success and our students more For workshop extremely helpful. about the programme information visit www.morleycollege.ac.uk/ womenconductors. 22

ALUMNI NEWS FACULTY

on the Faculty Professor Laurence Dreyfus

The Faculty of Music has always about course reforms, participating in Reflgranted a great deal of freedom ectionsappointment panels, or organising (as and autonomy to postholders to did several of us) the Oxford–Princeton pursue their interests, and, after Analysis Symposia held on both sides of ten years here, it’s a pleasure to the Atlantic. Equally, Faculty and Library recall the stimulating opportunities administrative staff have been among I’ve been off ered. As a lecturer to the most intelligent and supportive I’ve undergraduates and as a graduate encountered anywhere in academia. seminar leader, I stayed close to my They have certainly helped everyone research interests focusing on J S Bach maintain sanity in the face of mountains and Richard Wagner, but was also of marking and increasing administrative able to deliver a more exploratory set loads for academics. of lectures on Jews and anti-Semitism in German Musical Culture, as well as In the fi rst half of my tenure, the Faculty invent a graduate course treating the provided a welcoming home for my Analysis of English Consort Music. chamber ensemble Phantasm, a consort of viols, and though I have mixed Part of my brief in the Faculty was to feelings about the rebranding of what develop performance studies within the we do nowadays as ‘practice-based already rich off erings devoted to choral research’, I dare not complain when I’ve The Faculty practice. I’m especially pleased that I had the chance to play frequently in could devise a course in chamber music, the inspirational space of the Holywell of Music is which, over the years, has exceeded Music Room, let alone emerge from my expectations in producing stirring, Faculty offi ce to confront a stunning engaged and intelligent performances portrait of the greatest composer of a treasure. and associated written work. It was also English viol music, William Lawes, or to terrifi c fun to host a class for fi rst years, repair to Faculty Board meetings relishing Long may it which tried to subvert some of the the gaze of yet another musical hero, lazier musical traditions students had Matthew Locke. The Faculty of Music is a inherited from their previous training. treasure. Long may it prosper! n prosper! With Masters’ students, I’ve encountered a raft of interesting musicians, including more than a few pianists, a Phantasm Tops the Charts harpsichordist, a trombonist, several singers, and even two viol players. The latest disc to be released by the The University setting for such studies viol consort Phantasm, directed by seemed just at the right distance from Professor Laurence Dreyfus, has the travails of music conservatoires, and fl own right to the top of the charts. allowed us all to think deeply about Lawes: The Royal Consort, released what we are doing as performers. on the Linn label, has already won plaudits from Gramophone and Interactions with Faculty colleagues have the Guardian. It has so far reached also proved invariably enriching, whether number 2 in the UK Classical Music we were engaged in examining scripts, Charts, and was ‘Disc of the Week’ on portfolios or performances, arguing BBC Radio 3. n

OXFORD MUSICIAN . 2015 . 23 skills and, er, English!) that has Open debate, stimulating since allowed me to develop a Supporting new understanding of the world colleagues and the freedom and of myself. In my current as well as the duty to think profession there hardly goes a day in which I don’t think of something and write opened my When I left the Faculty of Music in 2008 I did it with very I learnt from my time devoted to eyes to a new intellectual mixed feelings. On the one hand, I was tremendously looking music history in the Faculty or the world. This was the forward to starting a new career – given that I now work Bodleian. Similarly, as a son, an in wealth management platforms, many of you may be uncle, a friend and a partner, I’m key to my academic wonderingthe why! Faculty On the other, I was leaving behind what’s forever in debt for what I learnt development and a source been, undoubtedly, my most defining period yet. at Oxford. Indeed, the Faculty contributes to society at large by of happiness… It had all started in 2003 when I arrived in Oxford from educating people, whatever they provincial Spain with a BA in History and a PGCE. My level of may end up doing. English was appalling, so much so that, applying today’s much stricter language requirements, my application wouldn’t even While at Oxford I enjoyed the sponsorship of many, including have been considered. In the MSt in Musicology I immediately the Faculty of Music – some paid for my fees, some for my had to read and discuss very conference and research trips. I feel it now to be my duty to I’m forever in debt for complex texts under the support the institution and the development of the students. supervision of people you couldn’t Helping out is also a way of what I learnt at Oxford. really fool – Suzie Clark, Professor being part of it, entertaining Indeed, the Faculty Peter Franklin, Emanuele Senici the thought that, behind the and Professor Reinhard Strohm. spreadsheet that awaits me contributes to society at when I stop writing this article, large by educating people, No less inquisitive were some there is another part of me whatever they may end of my peers. Open debate, who’s still there in St Aldate’s. n stimulating colleagues and the up doing. freedom as well as the duty to Enrique Sacau think and write opened my eyes MSt, The Queen’s College, 2003 to a new intellectual world. This was the key to my academic DPhil, St Catherine’s College, development and a source of happiness, both in my first 2004 year and during the DPhil. In the end, I was equipped with a Currently Managing Director marvellous toolkit (critical thinking, writing and presentation Europe at FNZ Ltd

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