The Magazine for the Royal College of MusicI Autumn 2010

RCM and its community, part 2: The hair-raising exploits of RCM staff

What’s inside... Welcome to upbeat… Welcome to the second of two special bumper issues of Upbeat, celebrating the extraordinary RCM community. Contents

Following a summer issue devoted to RCM students, we now turn our 4 In the news attention to RCM staff. When they’re not here in Prince Consort Road, RCM Latest news from the RCM professors and administrative staff can be found running festivals, working with charities, collaborating with composers, producing CDs and DVDs, and 9 Hello and goodbye! performing in the widest possible variety of locations. They also perform under We welcome our new arrivals this the widest possible variety of names, so if you want to know the meaning of academic year and bid farewell to curious phrases such as My Gosh Marvellous, The G Project and Colombus three key members of staff Giant, then read on! 10 Staff stories Huge thanks to the many staff who submitted their stories, including those Upbeat meets with a variety of we sadly couldn’t quite fit in: we would love to have had the space to tell you RCM staff to explore ways they are contributing to music today about a dramatic year at Kathron Sturrock’s Fibonacci Festival, and Catherine Jack’s appearance on Centre Court at Wimbledon, but that would have blown 18 The big give the budget! With thanks to… As usual, the rest of Upbeat is packed with news from around the RCM. 19 The College expresses its gratitude From 400th birthday celebrations to an encounter with the dreaded Jeremy to recent supporters Paxman – it’s all inside this issue. Staff notes We’re always keen to hear from students past and present, so if you have 20 anything you’d like us to feature in the next issue of Upbeat, send your news 23 Student notes and pictures to [email protected] by Monday 10 January 2011. Alumni notes NB: Please note that we cannot guarantee to include everything we receive and that we 24 reserve the right to edit submissions. 26 Births, marriages and obituaries

Graduation Ceremony 2010

Front cover - RCM Harpsichord professor Jane Chapman (see page 10). Photograph by Letitzia Petrucci. Inside front cover – Images of John Wilson conducting the RCM Symphony Orchestra at the Amarylis Fleming Concert Hall in May. Photographs by Chris Christodoulou.

Inside back cover - A selection of images from The Bartered Bride, performed this summer by the Graduation Ceremony 2010 RCM’s International Opera School. Photographs by Chris Christodoulou.

3 In the news... Lang Lang visit The RCM recently joined forces with leading life and pensions company AEGON to offer three young pianists from the Junior Department a once in a lifetime opportunity – to take part in a masterclass with Chinese-born star pianist Lang Lang. The Lang Lang AEGON Masterclass, which took place in a packed Amaryllis Fleming Concert Hall, gave Lara Melda, Asagi Nakata and Martin Bartlett the unique opportunity to work with and learn from Lang Lang on a piece of their choice. Lang Lang was impressed by the students: “I am really honoured to be invited to this beautiful college, and to listen and work with such great talent. They are three very talented pianists and it was a pleasure to work with them.” Peter Hewitt, Director of the RCM Junior Department, said: “We were thrilled when we were contacted by AEGON to say Lang Lang was playing a concert at the Royal Albert Hall, and would be interested in giving a masterclass to some of our junior department students. The masterclass saw fantastic playing from the trio – all already impressive but becoming more so after such penetrating and inspiring input from Lang Lang himself. It was a joy to welcome him to the RCM.”

They survived Paxman! Honouring Pam In a fantastic achievement for such a Our boys weren’t quite able to pull off small institution, a team from the Royal a giant-killing act against a strong team Thompson College of Music became the first ever from the University of York – which team from a UK conservatoire to qualify has a student body 20 times the size of At their annual conference in Moscow for the televised stages of the iconic BBC2 the RCM’s – but they did put up a fine in July, the International Association quiz programme University Challenge, performance. Many congratulations of Music Libraries (IAML) conveyed a presented by Jeremy Paxman. indeed to Alvaro, Stephen, Sam, and very special and rare honour on RCM Michael for doing the RCM proud! Chief Librarian Pam Thompson, when they made her an Honorary Member of the association.

Pam reports that she was “utterly flabbergasted!” at becoming just the fifteenth person to be recognised in this way since the IAML was founded in 1951. The special honour recognises Pam’s decades of work on behalf of both the IAML and the RCM Library. Congratulations to her from all at the RCM.

4 Prince Michael The RCM goes of Kent primetime! In August, BBC viewers had the chance The RCM was delighted to welcome to hear one of the RCM’s star performers, HRH Prince Michael of Kent for a visit when BBC1 flagship drama series Holby on Wednesday 28 April, arranged in City featured a major storyline about partnership with the William Smith a young opera singer. The production Foundation, a major supporter of the team wanted to create a special RCM. Prince Michael first visited the recording of Schubert’s Ave Maria, to be Director’s office, where he met the played at a key moment in the episode, Director and other senior RCM staff, so they contacted the RCM’s Professional and enjoyed a short concert from Engagements Service, who were happy students who had received funding to make all the arrangements. Soprano from the William Smith Foundation. Paula Sides, a student at the RCM He was then led on a short tour of the International Opera School, stepped College, visiting the Amaryllis Fleming up to the microphone to make this Concert Hall (where Martin André brand new recording in the acclaimed was rehearsing the RCM Symphony RCM Studios, engineered by Stephen Paula Sides in the RCM’s production of Orchestra), the Britten Theatre and Die Zauberflöte Harrington. the Library, where he viewed various original manuscripts in the College’s collection, including Mozart’s Piano the room, this charming man had us Concerto K491. A trip to captivated. He demonstrated every instrument in its full glory, including Finchcocks a rendition of Mozart’s Marcia alla In May, RCM professors David Ward Turca, complete with Turkish drums and Geoffrey Govier took a group and cymbals built into the piano. of students to Finchcocks Musical Between each of his demonstrations, a Museum in Kent. BMus student few students from our party were given Susanna MacRae writes: the opportunity to perform. Each did so with confidence and evidently the “The morning was spent with David, members of the public were impressed. who guided us through the history The afternoon drew to a close on a of keyboards, right from the earliest very high note when four of our party Graduation spinets and harpsichords, to the Pleyel, (8 hands at one piano!) played Les Ceremony 2010 Erard and Broadwood models. To noces d’argent by Chaminade. Everyone everyone’s delight, we were permitted sat smiling and clung to the moment, Some 130 undergraduate and to try out any keyboard instrument in as music once again brought people postgraduate students and their the collection, and the remainder of the together. families attended the RCM Graduation morning was ours to play, experiment and revel in history. What I experienced has opened doors to Ceremony in July. RCM Chairman Lord a whole new world of music that I didn’t Winston and RCM Director Professor The afternoon began with a talk by the know existed. I feel enriched and above Colin Lawson both made addresses and museum’s founder and director, Richard all extremely lucky!” gave out the prizes in the Britten Theatre. Burnett. From the moment he entered RCM students provided the processional music, which was directed by RCM Head of Brass Nigel Black.

Finchcocks Musical Museum in Kent

5 In the news... Johannes Goritzki A Summer Running to In November, international cello- of Progress Restore a Score! playing legend Johannes Goritzki visits the RCM for the first visit of On Sunday 5 September, Kate a two-year residency here. Head of Eberwein and Heather Letley, who Strings Mark Messenger comments: both work in the RCM’s Development “Having such a legendary pedagogue Team, put on their running shoes for choose to associate himself with the a special 5 kilometre charity race in RCM is not only fantastic news for Hyde Park as part of the Adidas the College and for the students here, Women’s Challenge, a fun run that but underlines the supremacy that gives women the chance to raise this faculty enjoys amongst its rivals money for charity. Kate and Heather in London and the UK. Don’t miss helped to raise funds for the very his three day visit involving a recital, worthy cause of Restore a Score. This masterclass and lessons. Many thanks scheme helps to conserve for future also to cello professor Melissa Phelps RCM staff and students returning to generations some of the valuable items for making this partnership possible.” Blomfield Road after the summer break in the RCM’s Library, including noticed a number of improvements. important original manuscript scores More information on his visit can be and early printed editions. found at www.rcm.ac.uk/events Following on from the refurbishment of the Britten Theatre Bar in April, the If you are interested in contributing Senior Common Room was refurbished to the campaign, please contact the in August, and is providing a new Development Department on lunchtime catering service. New signage 020 7591 4785 was erected, to replace the no fewer than seven(!) different signage systems that were previously in place, and to comply with new legislation. Also installed over the summer were new telephones and photocopiers, offering a number of new functions while saving the RCM thousands of pounds each year – a sum that can be reinvested in the academic and performance programmes. The RCM’s commitment to providing the best possible environment for students, visitors and staff will continue in coming months and years – keep an eye on Johannes Goritzki Upbeat for details! MSc in Performance Science

The RCM is Aaron Williamon, Head of the RCM’s delighted to Centre for Performance Science, announce commented: “The new MSc programme, the launch which will give students insight into the of a brand nature of music as an art and a science, new Masters fits well with the founding vision of the programme: RCM. We’ve designed the programme so an MSc in that students will enrich and build upon Performance their musical experience by gaining a Science. This unique programme is scientific understanding of how music aimed at researchers, performers and is created, learned, performed, and educators who want to develop a deep perceived.” understanding of musical performance, and explores issues such as musicians’ For more information on the programme health and wellbeing, musical see www.rcm.ac.uk/MSc development, and effective learning and teaching.

6 Despite the soaring heat and intensive Castleton Festival rehearsal schedule, the RCM contingent still managed a trip to the White House, For the second year in a row, Lorin and spent many happy hours cooling Maazel invited a group of RCM students down in the pool! Violist Sophie Stanley to perform at the annual Castleton commented that “The festival was a Festival in Viriginia, USA. As well as unique opportunity to work on music performing in the Festival Orchestra, with a conductor of such high calibre, they also had the chance to work on and the memories will definitely last a operas by Puccini, Britten and Da Falla lifetime.” Lorin Maazel and Erzsebet Racz with musicians from all over the world. Flautist and composer Ben Macdougall was also able to have composition lessons with Maazel, who is also a renowned composer himself. The RCM students were chosen for principal positions in the festival and opera orchestras. For the final concert, a programme included Beethoven’s Symphonies numbers 3 and 8. Maazel personally selected RCM violinist Erzsebet Racz to lead the orchestra. Erszebet told Upbeat: “I was probably almost the happiest violinist on earth that the Maestro chose me… Beethoven 8 with Pictured with Lorin Maazel: Sophie Stanley , Erzsebet Racz, Anne Chauveau, Mark Bennett, Christian Barraclough, Maazel was an amazing experience!” Sophie Crawford, Jennifer Brittlebank, Damián Rubido González, Nicky Crowe, Chris Goodman

included Terence Weil, who made a Happy 400th number of celebrated recordings on the Award winners instrument as a member of the Melos Birthday to Ensemble. Unsurprisingly, it is now announced in great demand with RCM students, the Brothers who regularly play it in high profile Some of the RCM’s most prestigious competitions and recitals. awards were announced in the Amati Cello summer, given to departing students It is an awesome responsibility for who have made a particularly big One of the RCM string collection’s most the RCM to take on a cello of such treasured instruments is the Amati cello, impact on life at the RCM. The importance and beauty. We hope the Worshipful Company of Musicians built by Antonio and Hieronymus Amati cello will continue to be enjoyed and (known as the ‘Brothers Amati’) in 1610. Silver Medal will be awarded to Jiafeng played by RCM students for many more Chen, the Queen Elizabeth Rosebowl It is kindly loaned to the College by the years to come. trustees of the Balmain Charitable Trust will go to to Sarah-Jane Brandon, while (formally the Mrs B M Bendixson 1967 Tagore Gold Medals will be given to Charitable Settlement). Paula Sides and Antoine Françoise. They will all be presented with their Barbara Bendixson, who died in 2002, awards at next year’s President’s Visit.

was a keen amateur cellist who acquired Pearce Jess Photograph: the Amati cello in the 1980s. When she became too frail to play, it was suggested by one of her trustees and RCM luthier David Hume that the cello could be loaned to the College. Mrs Bendixson readily agreed to the idea, and the first formal loan agreement was signed in early 1996. The Amati cello has a very special sound quality, partly due to the maturity of the maple and pine wood which it is made from. The cello has had an illustrious history, and previous owners have The Amati cello with cellist Jun Sasaki RCM Chairman Lord Winston and Antoine Françoise

7 In the news... Summer Music and the BBC Proms William Yeates This year, the RCM once again played The RCM has given our family a Hurlstone a big part in the BBC Proms, the wonderful opportunity to appreciate world’s biggest classical music festival. classical music, and the events The RCM is More than 10,000 people attended surpassed all our expectations. Thank pleased to a range of pre-concert events in you very much!” announce the the Amaryllis Fleming Concert launch of a new Hall, including talks, concerts and online resource discussions. on the life and music of In addition, over 300 young people William Yeates took part in a series of inspirational Hurlstone activities run by RCM Sparks, which (1876–1906). gave a practical and creative insight A student at into music featured at the BBC Proms. the RCM in Participants were offered specially the late 1890s, discounted BBC Proms tickets, Hurlstone went so many went directly from their on to become workshop at the RCM to a concert a professor in at the Royal Albert Hall. One parent 1905. He was commented: “I just wanted to write beginning to thank everyone concerned for the to forge a opportunity given to my son and reputation as an important musical his friends to experience music in a The RCM once again played a big part in the BBC voice in the new generation, but died completely new and inspiring way. Proms, the world’s biggest classical music festival at a tragically young age. This web resource brings together A view from performances of Britten’s new works in a biography, a newly-completed the 1940s. For example, Lionel Bradley catalogue of works, audio recordings reported on the world premiere of Peter (made by RCM performers as part the stalls… in 1945: “ Grimes I am convinced that it is of the RCM’s Hurlstone Centenary a work of genius – not without blemish, In July, Paul Banks – Head of the RCM’s day in 2006) and a number of key but with passages of extraordinary beauty Centre for Performance History – documents and concert programmes and effectiveness… I was completely won visited a conference at Liverpool Hope from the RCM Centre for Performance over and convinced that I was probably University to announce the recent History and RCM Library. Particular listening to a masterpiece.” discovery of a large and important curiosities include samples of collection of handwritten reports on Hurlstone’s fascinating childhood concerts covering the period 1936 to stories, included in his self-produced 1953. His keynote lecture, ‘Britten’s magazine “The Boy’s Half-Holiday: progress 1937-45: a view from the stalls’, A magazine of fun, instruction and discussed the history of these unusual romance!” documents, which were discovered in the RCM’s Portraits and Performance The Hurlstone web resource is History Collection. Created as mid- available as part of the website for the 20th century ‘blogs’ by Lionel Bradley, RCM Centre for Performance History. they give (among other things) an www.cph.rcm.ac.uk account of the impact made by the first

When we entered the Green League for RCM Director Professor Colin Lawson RCM is the the first time in 2009, a “Fail” and a last comments: “We’re not doing this for the place finish in the table demonstrated Green League. These are all things that UK’s Greenest how much we had to achieve. So we’re we think of as being very important,” he Conservatoire! delighted that in 2010 we shot up to adds. “The Green League is a catalyst, but 22nd place, and received a “First Class we feel we’ve got a role to be responsible. We’re extremely proud to announce Degree”. The RCM’s sustainable food We are grateful to our Estates team for that The Royal College of Music policy, socially responsible investment taking this forward so effectively. We look has achieved a meteoric rise in the policy and determined effort to forward to climbing even higher up the Green League, which evaluates the make students and staff aware of Green League next year.” environmental performance of the UK’s their combined responsibility have Higher Education Institutions. contributed to this rapid improvement.

8 Hello and goodbye… Welcoming our Woodwind Professors We are thrilled that Christine Pendrill new arrivals! (cor anglais) and Joost Bosdijk (bassoon) have joined the Woodwind Faculty’s Students impressive roster of professors. This academic year the RCM warmly welcomed a total of 358 new students from 48 different countries, with no A fond farewell… fewer than 138 of these new arrivals In the summer we said goodbye to three Amanda Glauert benefiting from an RCM scholarship. outstanding RCM staff members Directors Charles Bradley has been appointed David Wright, Reader in the Social as the new President of the Students’ We are delighted to announce the History of Music, has taken early Association. Charlie and his team will appointment of Amanda Glauert as retirement. He will continue his represent and support the student body, Director of Programmes and Research. association with the RCM as an Honorary and provide a full programme of social Amanda brings with her an outstanding Research Fellow until the summer of events and activities. record in research, teaching and 2012 in order to complete current academic management. Her experience research projects. David joined the RCM of curriculum development (including in September 1997, and for five years was at Kingston University and the Royal Head of Postgraduate Programmes. He Academy of Music) includes setting up has published extensively on a series of research programmes for performers nineteenth and late twentieth century and composers at masters and doctoral topics. David is presently working on level, and helping establish creative links between aspects of theory and practice. a history of the ABRSM, which is to be She has examined for universities published by Boydell. and conservatoires including Oxford, Director of Artistic Policy Richard Steele Cambridge and the RNCM and has left the RCM in September. Richard was written numerous papers and given first appointed to the RCM Council in seminars, workshops and pre-concert 1999, and was appointed to the staff of talks in major venues both in the UK and the RCM in 2002. His contribution to overseas. the College was outstanding, not least Stephen Johns also joins us as Artistic the implementation of the National Charles Bradley Director from EMI Classics where he was Pay Framework. Richard’s training as an Vice-President of Artists and Repertoire organist at the Royal Academy of Music Junior Fellows at EMI Classics. In his twelve years with has allowed him to contribute with The RCM welcomes a host of new Junior EMI Stephen has worked with artists intelligence, wisdom and sensitivity to Fellows for the 2010/11 academic year including Sir Simon Rattle, Bernard the development of many important including Jianing Kong (Mills Williams Haitink, Leif Ove Andsnes, Evgeny Kissin, aspects of our work and we are most Junior Fellowship), Jakub Cywinski the Belcea Quartet and the Berlin and grateful for what he has achieved. (Constant & Kit Lambert Junior Vienna Philharmonic Orchestras. In Fellowship), Leverhulme Chamber Music 2000 he was Guest Artistic Director Mike Mitchenall came to the College Fellowship holders The Cavaleri Quartet for Spitalfields Winter Festival. During fresh from the Guards, bringing with him (Anna Harpham, Ciaran McCabe, Ann his career he has earned numerous his trombone, his military discipline, a Beilby, Rowena Calvert) and Françoise- accolades including three Grammy no-nonsense, can-do attitude: and the Green Piano Duo (Antoine Françoise, Awards, four Gramophone Awards and knack of finding a solution to everything. Robin Green). In Piano Accompaniment a Diapason d’Or. Stephen read music Initially he worked in the orchestral we welcome David Smith (Junior at Cambridge where he was an organ department, ensuring that rehearsals Fellowship), Michael Ierace (Gilbert & scholar, and spent a short time teaching and performances ran like clockwork. Eileen Edgar Junior Fellowship), Alisdair at Trinity Boys School early in his career. Dame Janet Ritterman, then Director, Kitchen (Anthony Saltmarsh Junior was quick to spot Mike’s ability to solve Fellowship) and Aya Kawabata (Adami problems, and put him in charge of the Award for Piano Accompanists Junior estate and facilities. He quickly grasped Fellowship). the challenge, and within a few months the building was repaired, spruced up We also welcome back the following and no longer leaking. In his role as Junior Fellows for their second year: Estates Manager, Mike effectively project- Katy Hamilton (Junior Fellowship managed the redevelopment of the RCM in Performance Documentation), Concert Hall, a responsibility he carried (Junior Fellowship in Nicholas Wright out superbly, leaving a great legacy. We Performance History) and Craig White Stephen Jones with RCM Director Professor wish him every possibly happiness in his (Phoebe Benham Junior fellowship). Colin Lawson retirement.

9 Staff stories

Do composers know how to write for for harpsichord and electronics, which Jane Chapman harpsichord? again is another great way of extending More and more they do. I think the instrument. composers are perhaps familiar with my work, so they are have an existing A lot of music that I play is quite “out soundworld to access. Composers take there”, and I think there’s an interesting who they write for very seriously, and it’s parallel with when we all started playing important to have a relationship with Baroque music on period instruments, them. and people were saying “oh my goodness isn’t that weird”. Well now I’m playing Do you have a sense of mission about this cutting edge modern music, and the harpsichord – extending the people say the same thing! Sometimes repertoire, making the instrument I think “oh god, I always seem to be more well known? ruffling people’s feathers in one way or Certainly bringing it to different another!” audiences. I really like the idea of an old You’re researching a publication called instrument playing contemporary music, “Oriental Miscellany”? and what excites me is trying to subvert Well this is absolutely fascinating. It people’s views of something, and to was published in Calcutta in 1789, and create something wildly different from it’s the first instance of Indian music what they are expecting to hear – and transcribed from live performance for to see. Western instruments – harpsichord and So the visual aspect is very important? guitar. I studied sitar at Dartington many Well in the RCM Museum we have years ago, and I’ve always been interested a beautifully painted Trasuntino in Indian music. And the subject of the harpsichord with a reclining nude on the perception of India and Indian music lid, and others decorated with images of in the west has always been fascinating wildlife and flowers. In many ways the to me; how western society is always harpsichord was a cultural icon: showing reinventing it. This idea of fusing Western what was fashionable in art, and also and Indian music has been around for a revealing something about the society of while! the time. I love the idea of taking a fresh Harpsichordist Jane Chapman talks I’m just at the research stage now, about her “box of magic tricks”… look at that and saying: “Ok, what can a looking at different ways to present contemporary artist do?” So I developed and record it. I have to be careful when What have you been up to recently? the idea of projecting images onto the performing it – it has to be done in a I’ve just come back from Stavanger lid, and seeing how that can work with way that has integrity. It could look in Norway, where I was working on a the music. My own instrument has a patronising if we don’t do it right. I also really wonderful project. Eight young pale lid, a bit like a blank canvas, so we need to find some other music that Norwegian composers wrote for various can project all sorts of images onto it. will throw light onto this volume, and combinations of harpsichord, guitar and When I’ve worked with dancers it’s been the vogue at the time for music from electronics. We have a similar sort of quite dramatic because you can actually other cultures. I think there was a sense project going on here at the RCM: some project the image of the dancer onto of openness, and people wanting to composers, harpsichordists and other the lid, and have them physically present discover things about other cultures, Baroque musicians are doing a concert somewhere else. even if on their own terms. There was at Handel House at the end of October, a genuine desire to engage with this featuring new works for old instruments. I think of the harpsichord as a box of repertoire, and somehow make it That’s a really nice ongoing collaboration magic tricks! The potential is huge. “palatable”’ for Western ears. that’s continuing next year What other projects have you been I’m hoping to do some recording here I work with young composers a lot, and involved in? at the RCM, and to do a performance in I find it very stimulating. I like the sense The electric guitarist Mark Wingfield the Museum. The Kirkman harpsichord of things developing and transforming and I have worked together on a CD in the Museum is perfect – from just the rather than having a fixed score, where of improvisatory music, based on his right era. you have to start from scratch: you can tunes and his material, with Iain Bellamy try to imagine what it was supposed to on sax. That’s been very interesting: Is it important to set up projects be like, and use all your expertise and the electric guitar has such potential yourself? knowledge of playing period music, but for creating sort of orchestral textures, Absolutely, and that’s what I tell my of course the composer’s not there to which is wonderful for the harpsichord students. If you want to have a busy and talk to you. It’s wonderful when you have as it’s a way of extending the scope of the varied career then don’t be the kind of a composer who really knows what they instrument. Also, last year I released an musician who waits by the phone– be want, and knows how to articulate it. album on NMC called “Wired”, of pieces the one making the call!

10 Staff stories

DC: It always produces stuff that I don’t Where did the band name come from? Columbus Giant expect, which is what I like about getting DC: About seven years ago my friend other people involved in the process. James and I used to busk together in New Zealand. One day we were counting What about promotion? our money over our usual curry, and I SB: Kate is very well connected and decided that if I was ever in a band I’d knows about gigs all across London. call myself Columbus Giant, and James decided he would be called The Flying KF: I think it’s been a collective effort, Wilson. Neither of us did anything about and it’s actually been surprisingly easy. In it for over six years, until Kate, Sarah, London there are a few big promotional Seb and I were tossing round lots of companies that are always looking for bad names for our band and decided to bands, and if you do one gig and manage revive my original idea. Hopefully James to prove yourself, they’ll book you again will be coming over to the UK at some and again. point, so he can join us as The Flying DC: I think we’ve benefited from our Wilson! contacts really. Kate and Sarah both What about plans for the future? played with lots of bands in Manchester, DC: Gig-wise, we’ve got a couple of dates Representing the RCM’s Registry, Box and I performed in London for about coming up at the National Theatre. Angie Office, Human Resources and Studios, four years before meeting these guys so is a tour guide there and put us forward singer/songwriter and guitarist Darren we all had existing networks. to perform in their main foyer. They Clark, cellist Kate Findlay, bassist Sarah KF: Facebook is also a fantastic tool. I was visited our website and liked what they Buckley and drummer Seb Durkin joined heard so they booked us. forces with singer Angie Fullman to form resistant to begin with, but it’s definitely one of the best ways to promote gigs. Columbus Giant in 2009. KF: I think to some extent the best Have there been any particular audiences are the ones that haven’t come So, how did Columbus Giant come highlights so far? to see you specifically. We’re going to about? DC: We’ve just played at The Water Rats be performing before and during the DC: I’d been writing stuff for years which had a lovely crowd. We didn’t interval of the main show, and in those but had never got around to properly expect it to go very well because we situations I think people are a bit more recording anything, and it occurred to didn’t have chance to do a soundcheck open to relaxing and enjoying the music, me that if I got other people on board and hadn’t had a rehearsal with the full whereas at billed gigs the audience can then I might feel some obligation to band for a couple of weeks, but it was be much more demanding. By the time follow things through. I discovered Kate great. Upbeat is out we should also be in the and her cello in the Box Office and asked process of recording out first album… her if she’d like to do some recording, and she very wisely asked to have a listen DC: It will be called Salvington Hill, and to my stuff first! I discovered Sarah when I’m busy writing some new songs for it I sat on her interview panel, and Seb had at the moment. Another thing in the played drums for me on something else pipeline is a musical I’ve been working on before - we had a lot of fun together so called Raven Boy which has been picked I asked him to get on board. We played up by a theatre company. It’s about a boy who has been raised by ravens on a few gigs together, and then my friend the roof of the Tower of London, and Angie, who is a singer, joined us. Columbus Giant will be writing the How would you describe your music? music and lyrics for the production. KF: It’s pop-folk. It’s very upbeat, but The first workshop sessions are due to because there is so much sound coming take place in mid-November so watch this space… from the strings, and minimal drums, SB: I think those sort of issues almost and two vocalists, it sounds quite folky. make you less stressed about it as a good performance is a bonus, but it turned Who writes the songs? out to be a cracker of a gig. I really liked DC: I write the songs, the music for the Giggling gig we did as there was such the chord structure and the guitar an eclectic line up. We were followed arrangements, and then hand it over to everyone else to make it sound good. by a band called Rock Opera from Hell. They were all wearing tight trousers with SB: I like to think Darren goes through naked torsos and it was all a bit bonkers, the traumatic emotional experiences but it turned out to be an amazing gig and we make them sound like they are and the crowd was really up for everyone no big deal! who played.

11 Staff stories

Was Spectrum your idea? So this pioneering piano collection, Thalia Myers Yes, it was. For ages I had been frustrated Spectrum One, was published in 1996. by the lack of serious contemporary What’s happened since then? music that was playable by good There are now four Spectrums for amateurs and students. There was little solo piano, single volumes for clarinet, I could recommend to my own students cello and violin, and there’s a piano here at the RCM or at London University duet volume in the pipeline. It’s been where I also taught for some time. I also massively and very startlingly successful. believe that it’s vital for contemporary I don’t think anyone expected it to be. composers that their music is accessible Indeed, the first publisher I approached to amateur and student performers – with the original idea turned it down! not just professionals. They liked the concept but were frightened of the financial risk.

Pianist Thalia Myers teaches in the RCM Junior Department, but this is only one aspect of a richly varied musical life. Her close involvement with new music, as performer, teacher, commissioner, editor, examiner and competition jury member has taken her all over the world in the last twenty years. In particular, her creation of the flagship ‘Spectrum’ series, published Have you been involved in by ABRSM, has brought serious music commissioning new work for by internationally renowned composers ensembles? within the grasp of less experienced Did the composers you commission In 2000, in collaboration with the RCM players. understand that brief? Junior Department, Bath Spa University Most did. The people who picked up College and COMA [Contemporary Has contemporary music always been and ran with the Spectrum idea instantly Music-making for Amateurs], I an interest? saw what it was about, and for the most commissioned the Chamber Music From the age of about twelve I began part were very easy to work with even if Exchange, works with a similar purpose to realize that being dead wasn’t an they didn’t always grasp what might be for piano trio, string quartet and wind essential characteristic of a composer. technically approachable for players who quintet. The series is available from I remember somebody pointing out are not professional. Sound and Music. that there was going to be a broadcast of Humphrey Searle’s Symphony no 2. I How did you deal with the pieces that Your name is synonymous with new remember being absolutely transfixed by weren’t quite appropriate? music, and Spectrum in particular. it. I’m not sure that I liked it particularly, I spent quite a lot of time with some Has this made a difference to your but I was fascinated by the alien nature composers, modifying and simplifying! professional life? of the sounds and I knew then that that I had initially asked them to try to limit Well, yes! I’ve given Spectrum-related there were things I had to explore. But I the quantity of difficulties. For example, recitals, projects and workshops love playing older music too! if writing something rhythmically in concert halls, conservatoires complex, it’s best not to ask the player and universities all over the place. Who influenced your interest in to jump around the keyboard, or to Composition teachers use Spectrum new music? play big chords at the same time; it’s a lot. I have led a project here at the A very lively teacher at school suggested advisable to keep the texture sparse if the RCM, ‘Shorts’, where student composers that I should broaden my listening, rhythm’s hard. I gave composers quite write piano pieces which are performed which led to the Searle experience – and detailed suggestions, some of which were by Junior Department students. I give I didn’t look back. I think it’s essential a bit restrictive, like those above, and the students a brief similar to the one that young instrumentalists listen to others the kind of things you might not I used for Spectrum. I have done a as much music as possible. I encourage necessarily think of when composing similar project several times at the Royal my students to do this too, though it’s technically undemanding music. For Academy. Next week I shall be at Trinity sometimes difficult to retain aural energy instance, people writing relatively easy Laban where pieces will be written and curiosity after you’ve been practising music for the piano tend to keep to the specifically with adult learners in mind, long hours. Such energy as one has left is middle of the keyboard. So I suggested and will be performed at the City Lit. not always in the ears! using the fascinating extremities too! That pleases me a lot!

12 nobody would want to perform in the Susan Milan lunchtime or Baroque concerts, as they would be so very busy studying for their classes, chamber music coaching and evening performances. However I was quickly proved wrong and those concerts became longer and longer! Every year has been rewarding, and this year the concerts were absolutely fabulous. With four concerts a day we programmed 152 works! Perhaps this was too many, but there was certainly a lot of excitement and the response since the festival has been very positive.

Where do your performers come from? Andrew Ball (left) with Frederic Bager This year we had a wonderful international line-up. Students attended The other key participants are the four Susan Milan - centre from all the major conservatories in resident pianists. This year, Siu Chui Li, UK, from Chetham’s and the Purcell Leanne Singh-Levett, Annabel Thwaite Flute professor Susan Milan is Director School, as well as from USA, Australia, and Antony Ingham were kept very of the Charterhouse International Music Spain, Czech Republic, Japan, Romania, busy running from class to class and Festival. Belgium, Kosovo, Poland, France, Oman, performing in many concerts throughout Armenia and Estonia. the week. Their professionalism, good What moved you to set up the festival? humour and high standard of playing Like many wind players, I have spent a And how about the teachers? at all times gave the performers a great lot of time searching for and learning Teachers are drawn from the four deal of confidence and put their whole unusual and interesting repertoire. London conservatoires. Professors experience of performing onto another Andrew Ball, David Theodore, Ieuan Sometimes works that have been lost level. Jones, Martin Gatt, Patricia Rozario or neglected turn out to be surprisingly and myself represented the RCM and it Is the location important? beautiful. Bringing together students on was a great pleasure to work along side Absolutely. With a well established music the brink of professional life and inviting Mark Van de Wiel (clarinet), Michael department, there are ample practice them to explore unusual repertoire, Thompson (horn) and Richard Deakin rooms, a number of Steinways, a lovely particularly unusual combinations of (violin) from the RAM; Matthew Jones concert hall and smaller recital room. instruments in chamber groups, excites (viola) from Trinity College; and Louise The facilities and beautiful grounds of me very much. During the festival Hopkins (cello) from the Guildhall Charterhouse help to make the social major works of Brahms, Beethoven, School of Music. side of the course very pleasant. Oh yes, Mozart, Schubert and other great and there’s even a gym and a pool! composers are performed but some of these lesser-known composers can What next for the festival? take one by surprise. And this is what Well I don’t get much time for rest - soon the Charterhouse International Music I will begin to work towards next year’s Festival is all about; repertoire and festival! performance experience. www.cimf.org.uk

How do you go about planning the festival? The run up to the festival is possibly the most frantic and challenging period in my academic year. I find myself working through the night quite a few times in order to make sense of all the information received from applicants; information which enables me to create two evening concert programmes every day for eight days, before the festival even starts. They don’t all work out! But they do form a good foundation. The other two daily concerts are informal. I must admit that the first year of the festival I was convinced that David Theodore coaching Henrietta Ford Opening Concert

13 Staff stories

of the jazz greats in their early days you dancing, and with the music, costumes, Howard Felton can hear a wild and carefree edge to the fans and other extras we always bring to performance and I try to bring this out in our club nights we could probably bring our rehearsals. the same atmosphere to any location.

Your events can be quite large scale You discovered My Gosh Marvellous Vintage productions, including a 15 piece after responding to an ad on Gumtree band, singers, dancers and even – an approach that has also presented Summer magicians – how do you bring all these some other interesting opportunities elements together and what challenges to you in the past. Would you does it present? recommend other musicians give it a Ball We do bring together a lot of different try? talents at our events. We also often add I originally answered a Gumtree.com special guest singers and performers to advert simply looking for a trombonist the mix, and previous club nights have for a swing band, but it wasn’t long featured west end legends such as Oliver before I was heavily involved and

step in to Tompsett and Josie Walker. We have an busy writing arrangements for the a 1940’s tropical paradise this inspiring Director in Suzie Butler, who first showcase gig at Proud Camden. summer as my gosh marvellous sunday 1st august recreate a balmy proud camden. doors 7.30 carries the overall vision and brings all Gumtree’s community pages are a great evening at the 1940’s tickets £10 advance door £12 coconut grove with live swing www.viewtickets.co.uk music, starlet singers, dancing the different elements together, as well as way of expanding your horizons as a and decadent glamour. if vintage is www.mygoshmarvellous.com your thing – this night is not to be missed join my gosh marvellous on facebook. dress code: taking on all the organisational aspects of musician, though it’s hit and miss as 1940’s vintage my gosh summer fashion design & advertising by putting on a show. It takes patience and a rule, and don’t expect anything like marvellous baby carlito 0798 445 8606 understanding in rehearsals to manage straightforward paid work. Over the last Howard Felton is an assistant within everyone’s needs, but we have a good few years I’ve had so many adventures, the RCM’s Woodhouse Professional core team – Director, Choreographer the highlights being playing with a rock- Development Centre, and is currently also and two MDs, and the end result is so latin band, writing arrangements for an Musical Co-Director for events company rewarding that there’s never a problem indie band’s album (which was released My Gosh Marvellous. that can’t be sorted with a little hard last year and had plays on Radio 1, 6 work. Music and Kerrang), and now My Gosh Tell us a little about My Gosh Marvellous, and all through Gumtree! Marvellous and your involvement with the company… Finally, what has your involvement My Gosh Marvellous is an exciting, with My Gosh Marvellous given you young, vintage events company which personally? puts on its own club nights in London A long term ambition of mine has and across the UK, and is also available always been to run or lead a big band for hire. Our events are styled on the jazz in the tradition of Tommy Dorsey or and swing clubs of the ‘30s and ‘40s but Glenn Miller. This is that dream and always add a generous amount of the so much more, as I’ve always enjoyed era’s Hollywood glamour too. I work as working across art platforms with Musical Co-Director, arranging music, dancers, performance artists and directing band rehearsals and playing vocalists. Working with so many talented trombone too. people and being a part of something so ambitious and fun is what living in As Musical Co-Director, to what London is all about! extent do you attempt to reproduce the original sound of the era – do you The Dorchester Hotel must have been strive to be historically accurate or to a fantastic and very fitting venue – achieve a mix of old and new? how easy is it to create the same kind All our music is from the era, though our of atmosphere at your club nights? show numbers are often more inspired We played for Mencap’s Hollywood by Hollywood films than by jazz history. Ball at the Dorchester last September, Though we’re not perfectionists when it and it was a great experience. With comes to accuracy, we make sure to keep the club nights we choose our venues everything properly ‘vintage’, from the carefully – for instance we played the look and sound of the performers, to the opening nights of a new venue, Proud DJ sets playing original LPs on antique Cabaret, in the City last year, which was equipment. We draw a young crowd who another ideal venue in terms of décor want to dance, and therefore our biggest and atmosphere, and we’ll be playing effort goes into making sure everything the Brighton Ballrooms in September. we do is a lot of fun and that we have fun However, our audience always get heavily doing it. When you listen to recordings involved by dressing up and swing

14 Solfa Carlile, Jonathan Cole and Shiva What else are you up to? Genevieve Wilkins Feshareki. Our first full concert was I perform with Ensemble Bash and it’s at The Forge in April, including eight an exciting time for us, as next year is world premieres. It was a huge success, our 20th anniversary, so we’re talking it was sold out, it was fantastic. And we with Kings Place about a residency. I’m had a party afterwards, which was also in Andrew Poppy’s ensemble, which I wonderful! really enjoy. I’ve also joined a jazz group with bassist Nathan Rikki Thomson – I’ve How closely did you work with the been brought in to play marimba and composers? vibes, and I’m loving doing that. I’ve just We worked solidly for three weeks and finished on the West End ShowTap Dogs we had all the composers to a minimum with Adam Garcia – there were two of two rehearsals. It was quite intense drummers on stage, and we were playing for us! I remember that halfway through a lot of rock and roll and Latin music. the project I felt exhausted and thought “whose crazy idea was this!?” Did you always plan such a varied career? Did you specify a particular Not at all! I went to New York to study instrumentation? with the principal percussionist of No. I guaranteed that marimba and the New York Phil and the principal vibes would be there – I’m completely timpanist at The Met, and my plan in love with the combination of bowed was to be an orchestral musician. But RCM Outreach Mentor Genevieve vibes and cello – but basically left the Wilkins performs alongside RCM alumna gradually I discovered more different rest to the composers. I think that out instruments, I discovered world Gabriella Swallow in a brand new duo of the eight composers, four came over called G Project… percussion, I studied flamenco for a to my studio and had a listen to all my while, and it all grew from there. How did the collaboration come instruments. They were quite good in about? asking what everyone else was using, Would you advise percussion students I’d always wanted to work with Gaby. and saying “how can I use it differently”? to take a similar route? When I was in Australia I used to play So for one piece I was using a cajón, and I always encourage students to have an with a cello quartet and I loved it, and then in another piece the composer open mind and try absolutely everything, when I moved here I felt like part of asked me to use it with footbells tied to because even if you don’t like it, it my soul had been ripped out. I always my ankles. improves you as a musician. When I was wanted to be a cellist! training as a classical musician, everyone Will you continue to commission, or pooh-poohed pop music. But playing on Gaby and I have been friends for about repeat these works? pop sessions with really amazing session two years, and it was in November last A bit of both! For our second concert, at musicians has been inspirational, and has year that I finally said to her: “do you Bath Spa University, we repeated most really improved my classical playing too. I fancy forming a duo?”, and she said “I’ve of the works from The Forge with two think it makes it so much more alive. been hoping you’d ask me that!” So it new arrangements by Andrew Poppy. started from there. Every time we do a concert we’d like to Every now and again I think maybe I add new repertoire – we’ve got three should have carried on in the orchestral We click so well as friends, and are additional composers working with us world, and I have just the hugest respect musical tastes are similarly broad – plus right now – while repeating the existing for orchestral percussionists who have we both have a similar drive, and a pieces as often as possible. They deserve really specialised, but really I’m very similar attitude to performing. to be heard more. happy doing this mixed bag. It can be scary, but I wouldn’t have it any other How do you choose what to perform at What other future plans do you have? way! your first concert? The idea of G Project is to be able to That was quite tricky! We did a lot of tour just as a duo, but also to involve research, and we very quickly realised collaborations with other sorts of artists. that there’s hardly anything written for So we’re talking to a dancer, we’re hoping cello and percussion. I saw Steve Schick to find an audiovisual artist to work and Maya Beiser perform Mariel by with, and we’ve been sounded out about Osvaldo Golijov together in about 2001 providing the music for a theatre project – which is when I realised how much I in 2012. like the combination – but apart from that piece, there isn’t really much. The thing I think is that if you’re doing a collaboration, you want to make sure it’s So we basically set about commissioning not reliant on the collaborator, and you a whole programme. We’re really lucky can also do it as a standalone piece for that we have a family of composers duo. Then if it’s repertoire that you love, around us who all said they’d like to you can take it on tour, even if it’s such a write something for us, including RCM section of the original piece. Genevieve Wilkins and Gabriella Swallow in a brand composers like Mark-Anthony Turnage, new duo called G Project

15 Staff stories

People come up to you afterwards and How does the MBF can help individual Simon Lepper say “that was lovely”, which may be, to musicians? varying degrees, true! But there’s not that Well the MBF is well known for helping wonderful immediate feedback that you musicians who are ill, or at the end of get with education. their working lives, but in fact it looks after musicians at every stage of their You can forget as a musician, but when career. There are funding schemes you hear someone like Mark sing, for under 18s – if you want to buy an whether you understand it or not, it’s an instrument, or if you need money for overwhelming experience. I remember music lessons, you can apply. Then when I first heard a professional there are the postgraduate awards such musician. I was at primary school and as the Sybil Tutton Award for singers someone brought in a harp, and I just and the Henry Richardson Award for thought it was fantastic! The busier you accompanists and repetiteurs, which is get as a musician, it becomes just a job the panel that I’m on. and you forget just how amazing it is for people who don’t play, and who don’t I’m also on the committee that assess often get to hear that kind of music. It’s professional development awards. These good to be reminded of that. are the schemes for people five years, ten years and twenty years out of education. Another important thing about So if you’re a rank and file violinist and education work is it gets kids in through you want to do something else, for the door. Just learning how to negotiate When he’s not touring the world working example if you want to have lessons you the space of a classical concert hall is with singers like Angelika Kirschlager and can apply, or it could be that you want to so important. For me it’s like when you Elizabeth Watts, RCM piano professor go on an Alexander Technique course. first use public transport in a foreign Simon Lepper keeps himself busy with country – at first you’re nervous about Why is it so important for musicians to education projects and his work for the where to go, how to get a ticket, and so develop professional skills? Musicians Benevolent Fund (MBF)… on. But once you’ve done it the first time, When you’re in your early twenties, you What have you been working on it’s fine! I hope those kids will feel able to can be very confident and determined recently? come to more concerts in the future. that you’re going to be the next big star. I’ve just finished a major education By the time you’ve followed it through Finally, it’s about making music a valid project with Mark Padmore. We did and realised that’s not going to happen, experience. If you’re a singer or a pianist some workshops with kids in Camden, you’re actually quite old. So what do you you’re out there on your own, and you aged between 7 and 17, working with do? You might want a family, but you have to make what you’re doing relevant. the Wigmore education team. Over don’t necessarily have the means. That’s when the love of playing your instrument several months, they wrote songs based Turning to the MBF – how did you get on Twelfth Night. They took some ideas alone might be wonderful, but it needs involved with them? to help you earn money. from the play and had some workshops I got involved initially because they where they developed images, words wanted to have a wider variety of and eventually poems, which they set How else does the MBF help? musicians on the committee, and what The network you have at somewhere like to music. Mark and I went into the they called a “recent user” of the funds – the RCM is a real cushion that supports schools to work on the songs with them, I had won the Henry Richardson Award you, even if you’re not always aware of it. which we performed all together at the for accompanists when I was a student, If you’re a pianist, you’re spending hours Wigmore Hall. It was incredible to see and it helped me enormously. a day practising on your own, but you at these kids take really difficult texts, and least have people that you say hello to, come up with these amazing songs. and faculty classes, and so on. But when On so many levels it was great: the kids you’re out in the world you don’t have get to learn how to compose, they get that – you’re on your own, and when to hear Mark performing, and they get you’re a few years out of College, it can to perform at the Wigmore Hall, which be really difficult. just as a space is quite exciting, even if I think with the MBF it’s not just about you know nothing about it. How brilliant the money: the receptions and meetings that the kids get to perform there. that we hold are just as important, so People like Mark Padmore and yourself people can feel like they’re really part don’t “need” to do education work. of something, and are being taken care Why do you devote so much time to it? of by an organisational structure. Most people in a work environment have that, I do it because I love it, for so many but us freelancers don’t. The MBF is there reasons! Working with children you get to fill the gap. an immediate reaction. In a way, the www.helpmusicians.org.uk more you hone your art, the less direct engagement you get with the audience.

16 Is the role difficult to learn? Do you try to encourage the same Janis Kelly It’s a huge challenge! It looks and approach in your students? sounds simple, but there’s never two Totally. I tell students it’s important to bars the same, so you can never take have the right attitude – to be open and anything for granted, and you have to prepared to take what comes to you and count constantly. Of course I’ve had my get the most out of it. Whatever you’re practice with pieces like , and Satyagraha singing, you have to think: “I’m meant I’m grateful for it – I hope that in my old to be doing what I’m doing now”. That age it’s going to save me from getting Alzheimer’s! includes being open to contemporary music.

With fellow RCM professor Norbert Meyn, you’ve recently made a DVD

Nixon in China about the speaking voice. Why is that so important? RCM vocal professor Janis Kelly talks to If you don’t have a relationship with your Upbeat about a range of projects… own speaking voice, then I think there’s something missing in your singing. And Are you excited about making your it’s so important in its own right: think of debut at The Met in Nixon in China? Orpheus in the Underworld or The Magic Yes! It’s a revival – possibly the last revival Flute – pieces with dialogue, where the – of the original Peter Sellars production, speaking has to be as good as the singing. which I saw in Edinburgh many years ago. I remember clearly watching this piece, Prima Donna Norbert and I both have a relationship thinking it was the most fantastic and with Katherine Lambert, who was my demanding piece I’d ever seen, never in You’ve created the lead role in speech teacher when I studied here. I my wildest dreams thinking that I’d ever the opera Prima Donna by Rufus learned so much from her, she was a get to do it myself! Wainwright… really inspirational person, and we were I’m just back from Portland, Oregon, just desperate to capture all her words of Back in January 2008, I had to go to where I did a concert performance, which wisdom. So we put a camera on her, and audition in front of John Adams, who I loved. Rufus performed with orchestra, is conducting. It’s really funny, because including singing some Berlioz songs, I she didn’t stop for two and a half hours! John hadn’t listened to the piece in years, did Act II of the opera followed by some We hardly had to ask her a question. It and he was constantly smiling to himself pop songs, and we did The Last Rose of was so beautiful, it was hard for us to and saying “gosh, did I do that!?” Summer as a duet. There was a ‘standard’ edit it! audience, and then this really young There is a live broadcast on 12 February, We had thought this would just be part going into cinemas all over the world. audience – probably people who’ve never seen a symphony orchestra before of a DVD, but it’s a whole DVD now. It’s It’s a 1pm matinee for me, so that will be for singers who need to discover what’s 6pm in the UK. The Lexi, my local cinema – who were completely bewitched by it. going on with their speaking voice, how in Kensal Rise, is showing it, and already We’re going to repeat this concert I think I’ve got about 30 people going! that can relate to singing, and how they version next year at the Royal Opera can get the best out of it. It’s not finished They’ll have a party! House, which is great. Then we’re doing yet, but it is in a format where we can a full production with New York City What’s interesting for me is that while I’ll take clips from it. We can put those clips Opera in 2012. be playing this epic character in this epic in the RCM Library, and students here piece, the camera’s going to be right up Do you see yourself as a contemporary can access them. close. music specialist? Never! I’ve actually done lots of Mozart Do you have plans for more DVDs? Will that affect your performance and Puccini and Strauss. I think the I would like to interview some of the at all? contemporary stuff is only 10%, but I teachers here. Not to find a uniform Well I will be aware of it, but I don’t think suppose that things like Prima Donna technique for singing teaching, as there I’ll do anything special. I’ll be trying to and the David Sawer piece Skin Deep are different ways of doing things, but have a naturalistic face in any case, as it generate a lot of attention. makes you sing better. I won’t really be just so we can bounce off each other and changing my performance because – and I think it’s vital to perform a wide variety pass on information. It’s always been a bit my students will back me up on this – I of repertoire. Once I was criticised for of a secret! don’t think about a physical projection of “too much flexibility” – well I’d rather the voice. I always think about taking my have that than be stuck! I think it’s very I would ultimately like to think about sound and my energy towards myself, in important to be flexible. Unless you’re running a course on singing teaching, order for my body as a whole to project. Gheorghiu or Pavarotti, you don’t get to for singers who come out of college and I always want the audience to be drawn chose what you do. You have to be able want to start teaching, but haven’t really in to what I’m doing, rather than me have to sing anything from Sondheim through got enough information, or are scared to to push it out. to Wagner, if you want to have a career. do it. I’d like be able to guide them.

17 The big give

Double RCM Scholarship Fund Your Money! Music tuition is expensive as is the gone on to outstanding careers, but cost of living in London. Therefore the were only able to maintain their This December, anyone wanting to help financial pressures on RCM students studies through generous grants from out tomorrow’s great musicians has the chance to make their money go are acute, and rising tuition fees deter donors. The RCM Scholarship Fund twice as far. many talented students from applying. gives all gifted students – irrespective They are then lost to the music of background – the opportunity to The Big Give Challenge is a special profession and the cultural life of this complete their studies without financial fundraising initiative, whereby all funds country suffers. RCM students have the worries. This is essential if donated are matched by the Big Give ability and ambition to be the leading the RCM is to attract the very best Challenge Fund in conjunction with the performers of the next generation talent in the future and to maintain RCM Council. That means that if you and to contribute fully to their local its international reputation for donate £5, the organisation that you communities but the financial support excellence in spite of the current donate to actually receives £10. available to them is very limited. economic climate and cuts in Generations of RCM students have government grants. For the first time this year, there is a dedicated matched fund for cultural organisations – the Big Arts Give. The RCM will be taking part, with the aim of raising £80,000 for the RCM Scholarship Fund (see box right). Meet the supporters... So if you have ever thought of making a donation to the RCM – however little Fresh from yet another staggeringly or large – December 2010 is the time to successful performance with his do it! The Challenge opens onMonday 6 orchestra at the BBC Proms, RCM December 2010 and is staggered over 5 alumnus John Wilson explains why the days. But be quick – once the money in Big Give Challenge is so important. the matched funding pot has been used up, it will be gone! If you have trouble “Without the financial support that making a donation on the first day, please the College offered me, I would have do try again the following day. We aim to found it almost impossible to make raise £40,000 during the challenge period, my way into the profession. It’s at this which will be doubled to £80,000 with stage that investment in talent is most the matched funding. cost-effective. By supporting the College’s most talented young students, you are RCM Director of Development Samir Savant told Upbeat that “The Big Give is playing your part in ensuring the future a terrific way for alumni and supporters of classical music. I urge you to take part of the RCM to maximise the value of their in the RCM’s Big Give Challenge – I shall giving as we will receive up to twice the make a gift myself, and all donations, amount of any donations made during whatever size, are welcome and vital the Challenge, raising vital funds needed to the future success of the RCM’s for our ongoing scholarship programme. scholarship programme” Many who have studied at the RCM have benefited from generous scholarship John Wilson, Conductor, RCM alumnus support, and I hope in turn they will want to help future generations of students.” If you are interested, please email [email protected] or call 020 7591 4320. We can send you a special reminder on the day.

NB: Please note that in order to qualify for the matched funding, all donations for this challenge must be made online via The Big Give website.

18 RCM Opera Circle RCM Chamber Music Circle The RCM International Opera School enjoys worldwide The RCM Chamber Music Circle is a new initiative renown for excellence and has an outstanding record of for music lovers who particularly enjoy the intimate launching its graduates onto national and international experience of chamber music. The RCM has a strong stages. Former students include Sir Thomas Allen, Gerald reputation for the performance of chamber music and a Finley, Janis Kelly and the late Joan Sutherland. well-established training programme. Join the RCM Opera Circle to Join the RCM Chamber Music Circle to • support the RCM International Opera School • support the training and development of talented and its award-winning students young musicians at the RCM • enjoy a rewarding relationship and learn how • gain an insight into the journey from emerging talent each individual singer is nurtured to accomplished performer

Opera Circle Founder Patrons: Anonymous Chamber Music Circle Founder Patrons: Philip & Christine Carne • Matthew & Fiona Collins Philip & Christine Carne • Matthew & Fiona Collins Vernon & Hazel Ellis • Gisela Gledhill • Linda & Tony Hill Dr Georgette Bennett & Dr Leonard Polonsky Clare & James Kirkman • Richard & Sue Price Emma Rose & Quentin Williams Sir Peter and Lady Middleton • Richard & Victoria Sharp We are inviting music-lovers to join as Patrons of these two new Circles for a minimum donation of £5,000. For a minimum donation of £10,000 we would be delighted to create an award in the name of your choosing. For further information, please contact Sophie Hussey, Major Gifts Manager on 020 7591 4353 or [email protected] With thanks to... We would like to express our gratitude The estate of Mr Ian Lombe Generations of gifted students from around for recent donations from the following: Lucie Allsopp Memorial Fund the world have been guided and inspired The estate of Mr David Luck to develop their musical potential within Mrs Jane Barker Mr Rodolphe Olard and Dr Susan Sinclair the Royal College of Music’s stimulating Richard Carne Charitable Trust creative environment. In order to sustain Ms Jane Packer The Derek Butler Trust the provision of the highest levels of Mr and Mrs Vernon Ellis The Stanley Picker Trust training and performance opportunities EMI Music Sound Foundation Pinsent Masons to our students - whatever their financial Mrs Gylla Godwin The Polonsky Foundation means - we rely heavily on the support of The Harbour Foundation Mr and Mrs Richard Price individuals, companies and charitable trusts. Mrs Linda Hill The estate of Mrs P Steele There are many ways you can get involved Steinway & Sons and support our work. Every gift to the Mrs Christina Hoseason RCM helps to transform the lives of talented Janatha Stubbs Foundation The Georgina Joshi Foundation young musicians, and all supporters are John Lewis Partnership The William Smith International invited to see at first hand what a difference The Kathleen Trust Performance Scholarships their support makes. Please join us. For Kirby Laing Foundation Mr and Mrs Michael West more information, visit www.rcm.ac.uk/ Dr Mark Levesley Mr Michael Whittaker Support+Us or call 020 7591 4320. Welcome to new Friends We are delighted to welcome the following people who have joined the RCM Friends recently: Ms Vivian Armstrong Mr John Hadler Ms Teni Shabi Ms Megan Beynon Mr Charles Hopkins Mr Philip Sober Mrs Jane Bradlow Mr Ivan Katzen Mrs Natalie Speir Mrs Christine Bruell Professor Helmut Lachenmann FRCM Mr Mark Waddington Mrs Katsuko Buckeridge Ms Sheelagh Leith Mrs Kathleen Wale Mr Paul Dean Mrs Ellen Moloney Mr Michael Wilding Mr Jonathan Denbigh Dr Victoria Moore-Gillon Dr David Wilson Mrs Louise Grattan Dr Ornella Moscucci Ms Elizabeth Grimsey Ms Sandra Reynard

19 Staff notes

Woodwind professor Janet Hilton’s Terence Charlston has recorded The Naxos recordings of the Reger Clarinet Selosse Manuscript for Deux-Elles Sonatas with Jakob Fichert, a former Recordings. This fascinating manuscript student and Junior Fellow at the RCM, of 17th century Jesuit keyboard music was are now available on CD. The project discovered in a second-hand book and came about after Jakob invited Janet print shop in Camden in 2004 by Peter to take part in Max Reger day at the Leech. Visit http://homepage.ntlworld. College. Janet says: “as soon as we started com/terence.charlston/ rehearsing the sonatas I realised the great subtlety of the music and that although Academic professor Matthew the harmonic progression is sometimes Shlomowitz has had his work performed difficult to understand, the rewards of in The Netherlands (by the Ives detailed study are great”. Ensemble), San Francisco (by sfSound), in Belgium and at the Huddersfield Music Festival (by the Letter Piece Company) and in London (by Mark Knoop). www.shlom.com

Carlos Bonell rarescale (formed in 1993 to promote the alto flute and its repertoire, featuring former RCM flautistCarla Rees) will be This summer violin professorMadeleine performing the premiere of composition has recorded a CD of Wendy Mitchell professor Michael Oliva’s Requiem Hiscocks’ violin and chamber music. In in late November at St Albans Abbey the autumn, she will hold recitals with with chamber choir Mosaic. Bookings fellow RCM professors Andrew Ball are now open for the 2011 rarescale (Chester Celebrity Concerts) and Nigel on Skye course, with places available Clayton (Sound Festival in Aberdeen, on the alto and bass flute masterclass including pieces written for her by courses (instruments can be borrowed Scottish composers). In November she if necessary), the electroacoustic will perform the Elgar Violin Concerto composition course and the composers’ in London on the centenary of the first retreat. performance of the work. www.rarescaleonskye.co.uk Janet Hilton and Jakob Fichert Academic professor Timothy Salter has had a number of recent commissions. Director of Opera Michael Rosewell has These includeVitis Flexuosa on received outstanding reviews for his ETO Regent Records (for a CD of cello and productions of The Marriage of Figaro organ music performed by the Svyati (a co-production with the RCM) and A Duo), Fantasy on SFZ Music (part Midsummer Night’s Dream: “The star of of the ‘Contemporary British Organ the evening is Michael Rosewell, whose Music’ series performed by Michael conducting of the excellent orchestra Bonaventure) and quartet Aerial on Usk attacks Britten’s score with tremendous Archive (performed by the Nephele panache, emphasising its daemonic Ensemble). All three CDs will be released qualities and making its colours glow” during 2011. Harpsichord professor (Rupert Christiansen, The Telegraph). Jane Chapman has also given the first “Conductor Michael Rosewell brings out performance of Images after Klee for solo the sheer charm of the score with more harpsichord in a recital at Handel House, spontaneous-seeming ensemble work Brook Street. than I have ever seen on a large stage.” (Michael Church, The Independent). Madeleine Mitchell Theatre TechnicianKieran Taylor has completed his Level 3 Diploma in Guitar professor Carlos Bonell has Electrotechnical Services. played at the Bolivar Hall in the first Alice Harper (JD Administrator) has concert of the Transformations Music been working as a Trustee responsible for Professor Paul Robinson and his six Series. Performing alongside special the Artistic Direction of Churchill Music! piece ensemble HarmonieBand have guest RCM alumni Esteban Antonio, – a rural music charity in Somerset toured Wales with Paul’s revised score to Carlos played the astounding ha-shem, a who host a professional concert series Alfred Hitchcock’s 1927 silent classic The three-necked guitar of his own invention, to make it possible (logistically and Lodger starring Ivor Novello, supported which can be plucked and bowed. Carlos financially) for local people to hear good by the Arts Council of Wales. An has also visited Oslo, Tokyo and Mexico quality music. additional performance was held at the while touring. www.churchillmusic.org.uk Barbican. www.harmonieband.com

20 Piano professor Ian Jones visited several Florilegium, RCM Ensemble in universities in USA earlier this year, Association (directed by Ashley performing Chopin recitals and giving Solomon, Head of Historical masterclasses and lectures. His tour took Performance) continued their Pergolesi in Hartford University, Connecticut and anniversary events with concerts in Northwestern University, Chicago, as Germany, France and Italy, giving master HarmonieBand well as several colleges and universities in classes and performing at a summer Virginia and Missouri. In the summer he school in Prachatice (Czech Republic). Martin Gatt (professor of bassoon and also gave concerts and masterclasses in In August they presented two Bolivian chamber music) has recorded a CD with Japan and at the World Piano Conference Baroque concerts with four Bolivian the group AMATA Music. in Serbia. soloists – one in a French abbey. This followed the group’s debut concert at Area Leader for Composition for Screen Composition professor Michael J the Edinburgh International Festival, Vasco Hexel has taken on the role of McEvoy has written the music for the recorded by the BBC for broadcast on Music Consultant at the London Film 20-part Nickelodeon TV children’s series Radio 3’s Early Music Show. Summer in Transylvania, which began School. He will give seminars to students with broadcasts in October. His CD Terra on the LFS MA in Filmmaking, and Assistant Librarian Angela Escott spoke Cognita was released in July. facilitate and supervise collaborations at the Staging the East conference (Bury www.michaeljmcevoy.com between LFS students and RCM screen St Edmunds) on the oriental musical composers. comedy of 18th century dramatist Hannah Cowley whose A Day in Turkey Violin professor Viktoria Grigoreva was performed. Her presentation (Junior Department) has been involved included recorded performances of in establishing the Tsukanov Scholarship. music from the play by RCM students, This supports exceptionally talented transcribed for orchestra from the 18th young musicians with mixed Russian century edition in the RCM library. and former Soviet Union heritage where demonstrable financial need is present. At the International Association of Music They have given five scholarships this Libraries annual conference in Moscow, year in the RCM Junior Department, and Assistant Librarian Rob Corp presented two in Eton College. She has also held a paper on the digitisation of recordings masterclasses at the Euro Arts Festival, in our Leopold Stokowski archive, Vienna. drawing attention to the importance of this significant former RCM student, who extended audiences for classical music, championed new composers and involved himself in new recording techniques long before our concepts of ‘outreach’ and ‘widening participation’.

Harpsichord Professor Robert Woolley Summer in Transylvania has released Sweelinck: Keyboard Works, Volume 2 on CD on the Chandos label. www.chandos.net Margaret Phillips (organ professor) has recorded the complete organ works The world premiere of an operatic of Bach using historic instruments in setting of Chekhov’s play Uncle Vanya Cambridge, Germany, the Netherlands entitled Sonya’s Story took place this and a newer organ in Paris built in the summer at the Tête a Tête Opera Festival style of Bach’s organs. at Riverside Studios, London. This was www.margaretphillips.org.uk Leon McCawley the debut collaboration between Neal Thornton as composer and Musical Research Associate Rosie Perkins Piano professor Leon McCawley’s Director and RCM vocal professor Sally visited China in August to present Burgess as Director. papers on career and curriculum recording of Chopin solo piano works is www.sonyasstoryopera.webs.com development for conservatoire students released this month on Somm Records. Sally Burgess has also been travelling to at the International Society for Music He is currently recording the complete Russia. In collaboration with London Education’s World Conference. Rosie solo piano works of Samuel Barber (in his Gates Education, she held private and has also recently won the Elen Wynne centenary anniversary year) for Somm public masterclasses in Moscow with a Vanstone Scholarship from the British and will be holding a recital in London number of vocal students. Federation of Women Graduates for her at the International Piano Series on 1 doctoral work on the learning cultures of December performing works by Janáček, conservatoires. Brahms, Chopin and Barber.

21 Staff notes continued

RCM Curator of Musical Instruments performance guide covering articulation, Jenny Nex has had a piece published in ornamentation and cadenzas. the August issue of The Strad magazine, www.rachelbrownflute.com focusing on the extraordinary escapades of the Hill family of violin makers. Jenny Head of CPH Paul Banks has given a brought to light new evidence on the fate paper on Viennese music publishing – of Lockey Hill, who was hung in 1796 for ‘Paying for modernism: The Early Business horse thieving, and his two sons. History of Universal-Edition, 1901-1914’ – at the 18th Annual Conference of the Vocal professor Michael Roderick Earle Society for the History of Authorship, has sung the role of Lear in the world Keshet Eilon International Violin Mastercourse Reading and Publishing in Helsinki. In premiere of Alexander Goehr’s new September he contributed to a Radio opera Promised End (using text from Three programme entitledSir Henry’s Shakespeare’s King Lear) with English Ani Schnarch, professor of violin, Hoard that explored Sir Henry Wood’s Touring Opera. was a member of the jury for the 29th extraordinary collection of concert International Violin Competition ‘Premio programmes, now held by the British Violin professor Hilary Sturt (Junior Rodolfo Lipizer’ in Gorizia, Italy. She is Library. Department) recently spent three the Artistic Director of New Virtuosi months as Director of Strings at Barker International Violin Mastercourses, College, Sydney. which took place at Queenswood School, Herts and at Fischburg Castle, Val Composition for screen professor Gardena, Italy, in August in collaboration Howard Davidson is currently writing with fellow professors Viktoria and recording a six-part series for BBC2/ Grigoreva, Itzhak Rashkovsky, Jan BBC4 The History of the English and BBC2 Repko and former Junior Fellows Luis The Battle of Britain. He has a number Pares and Susie Summers. A founder of projects lined up and these include member of the Keshet Eilon International writing for American Civil War for The Violin Mastercourse, she also took part in History Channel, the documentary The the celebrations of its 20th Anniversary, story of Islam for Channel 4 as well as a culminating in a gala concert at the Tel six-part series on China for BBC2. Aviv Opera House. Vocal professor Patricia Rozario has had a busy summer, including performances RCM Junior Fellows Nick Wright and Katy Hamilton at the City of London Festival, West Cork International Chamber Music Festival and the Vale of Glamorgan festival. She has RCM Junior Fellows Nick Wright also performed Faultline, a contemporary and Katy Hamilton held a recital at ballet by Shobana Jeyasingh, in Sweden Finchcocks Musical Museum in Kent, and India. tracing the history and development of brass and keyboard instruments over the Violin professor Adrian Butterfield has past 400 years. been made sole Director of the Tilford Bach Society. He also leads the period Known for instrument ensemble The Revolutionary his London Drawing Room, who have performed Marathon Chopin’s own chamber arrangements madness, Mark of his piano concertos on a Pleyel piano Messenger, owned by Chopin at Hatchlands, Surrey. Head of Strings, The ensemble was recently described is taking on the in Early Music Today as having ‘the best In November, Rachel Brown (Baroque challenge of name in the business’! flute professor) is launching the two marathons publication of some virtuosic flute within four Reference librarian Dr Peter Horton has sonatas by the 18th-century flautist weeks of each given papers on the music of Samuel Quantz that were composed for Frederick other in Spring Sebastian Wesley at the Royal Musical the Great, King of Prussia. Following 2011. Before Association Annual Conference in performances at flute conventions in running his Mark Messenger London and at the North American New York, Manchester and The Hague, sixth London British Music Association’s conference she has published two volumes of Marathon for the Anthony Nolan Trust in Des Moines, Iowa. He has also given sonatas in an Urtext edition, with flute (for whom he has raised over £15,000) in a lecture on Wesley at the Southern and figured bass parts together (so vital April, he will be disappearing in March for Cathedrals Festival at Chichester (under for ornamentation), facsimile copies of a brief weekend in Rome, where he will be the auspices of the Church Music the original manuscripts, figured bass running the marathon there to support Society). realisations by Terence Charlston (RCM ESTA, the European String Teachers’ professor of harpsichord) and an online Association.

22 Student notes

Solfa Carlile was one of three young Keyboard composers selected to work with Harrison Birtwistle and Stephen triumphs… Langridge at Dartington Hall for a Marek Bracha has won Second Prize collaborative project entitled Theatre at the Chopin International Piano of Illusion. Her work Ad Locum was Competition, held in Marianske Lazne performed by the London Chamber in the Czech Republic… Oliver Poole Orchestra, and Solfa was also awarded shared First Prize at the Serenata Stars one of the two prizes donated by the orchestra’s sponsors… Daniel Saleeb Competition at the first Serenata Muse Piano Quintet Festival in Dorset… Caterina Grewe has been selected to take part in the has won First Prize at the Norah 2010 International Composers Pyramid Sande Award 2010, at the Eastbourne and will create new works for the Festival… Asagi Nakata (Junior Composition ICP Ensemble… Pedro Faria Gomes Department) has won Fourth Prize at has been accepted onto the Royal the International Piano Competition for congratulations… Opera House’s VOX2 programme… Young Pianists, Ettlingen, Germany… Steven Daverson received the Royal Poom Prommachart has performed Nimrod Katzir’s Juba’a for two clarinets Philharmonic Society Composition the Prokofiev Piano Concerto no 2 received its first performance by Duo Award. He joins the Philharmonia at St John’s Smith Square. He will be Stump-Linshalm at the Jüdisches Orchestra’s Young Composers Academy, performing in Thailand, Serbia and next Museum in Hohenems in Austria, Tola’at and will have a work performed as part year in Manila (Rachmaninoff Piano was performed by Ensemble Praesenz of the orchestra’s Music of Today series. Concerto no 3). at the Felicja Blumental Concert Hall www.pprommachart.com in Tel-Aviv and his cycle Azza for Christopher Guild has been selected chamber ensemble, electronics and for the prestigious Countess of Munster mime was performed as part of the Recital Scheme… Alexey Chernov was Jardins Musicaux Festival in Neuchâtel, awarded First Prize at the 26th Concorso Switzerland…The Luxembourg Society Internazionale Valsesia Musica 2010 for Contemporary Music has recently in Varallo, Italy, with a performance released a new CD featuring Arne of the Brahms Piano Concerto no 1. Gieshoff’s ensemble work Nachtreise, He also gained First Prize in the Italian performed by the Luxembourg International Piano Competition ‘AMA Sinfonietta. Arne and fellow RCM Calabria’… Junior Department student composer Mark Boden were selected Nina Del Ser has won First Prize, to take part in this year’s St Magnus with congratulations of the jury with festival composers course… This summer Marcos Fernandez unanimity in young pianist category 2 Marcos Fernandez was resident of the Concours International de Piano composer for the Italian artist program Son Altesse Royale La Princesse Lalla Le Ville Matte. His commission Mare – Meryem, in Morocco. Nina also was entro – Terra for violin, viola and piano, String successes… awarded a prize for the best performer inspired by the culture and environment Violinist Joo Yeon Sir has won Second of a Russian composer (offered by of Sardinia, was premiered by Paul Prize at the Tunbridge Wells International the Russian Embassy), open to all Waters, Valentino Corvino and Giovanni Young Concert Artist Competition. She categories… Kumi Matsuo was Highly Prosdocimi. He gained the Jury Prize at has performed the Malcolm Arnold Commended at the RCM Chappell BCN Visual Sound for the soundtrack of Violin Concerto with the Virtuosi of Medal final in July…Yulia Vorontsova the clip La Musica nunca Muere (Music won First Prize at the Concours Musical Stratford and the Bruch Violin Concerto Never Ends)… de France CMF held in Paris and the with Epsom Symphony Orchestra… Kenneth Loveland Gift by competitive Yuki Ito (Cello) won First Prize at the audition held at the Royal Academy 17th International Johannes Brahms of Music. Alongside violinist Ksenia Competition in Pörtschach… In the Berezina, she also gained Third Prize Dominican Republic, violinist Aisha Syed and the Hans and Mary Romney Prize at has performed Vivaldi’s Four Seasons at the Tunbridge Wells International Young the presidential palace (attended by the Concert Artist Competition… The Muse President and the First Lady) and at the Piano Quintet (RCM students Ksenia regional theatre in San Juan. She also Berezina violin, Ilona Bondar viola, performed Saint-Saëns’ Violin Concerto Jordan Gregoris cello, Yulia Vorontsova no 3 at the National Theatre conducted piano and Trinity College of Music by Maestro Jose Antonio Molina. In 2009 Scholar Ilya Movchan on violin) took Aisha became the first person under 30 Second Prize at the 18è Concurs Josep to be awarded the Ministry of Culture’s Mirabent I Magrans. Yulia Vorontsova ‘Cultural Personality of the year’.

23 Student notes

awarded a Dewar Scholarship… Mezzo- Vocal victories… soprano Martha Jones won Second Prize in the Chelsea Schubert Festival’s Lieder Mezzo-soprano Emilie Alford has been Competition. awarded 1er Prix Femme, Opéra and 1er Prix Mélodie Française in the Festival Lyrique de Marmande 22eme Concours Other activities… International de Chant… Soprano Monica Bancos has been awarded a Earlier this year, RCM organ student two year Independent Opera Fellowship Martin Ford visited Knole House in Kent …Christopher Jacklin (tenor) won to perform on England’s oldest playable third prize in the Patricia Routledge organ. Martin and the RCM Viol Consort RCM Viol Consort with MA organ student Martin National English Song Competition recorded music by Tomkins, Gibbons and Ford at Knole House, Kent 2010 held by the Association of English others as part of his Masters dissertation Singers and Speakers… Soprano Rhian on ‘The Organ in the Domestic Context, Society Annual Convention (PASIC) in Evans, baritone David Hansford, 1580-1642’, looking at both the solo Indianapolis… Jadran Duncumb took soprano Louise Alder and soprano organ repertory and the organ’s role in part in the Monteverdi Vespers Prom Hannah Sandison were awarded MBF consort music …Percussionist Ruairi on theorbo as a member of the English Postgraduate Performance Awards for Glasheen has been awarded a full Baroque Soloists, under the direction of 2010-2011. Additionally, Louise has been scholarship to attend the Percussive Arts Sir John Eliot Gardiner. Alumni notes

The Chappell Medal and First Prize in Porgy and Bess at the Opera National And the award went to Alexei Petrov, the Hopkinson de Lyon in July and made his Edinburgh Gold Medal and Second Prize to Meng International Festival debut in the same goes to… Yang Pan, the Hopkinson Silver Medal production. He sang Guglielmo for and Third Prize toMichael Ierace , and Westminster Opera’s Emerging Artists’ Swedish guitarist Johannes Möller the Esther Fisher prize for the highest has won the Guitar Foundation of Scheme at the Chateau de Panloy in La placed undergraduate to Evgeny America’s International Concert Artist Rochelle. Peter has now commenced Andreev… pianist Mikhail Shilyaev his studies at the Flanders Opera Studio Competition… Anna Gorbachyova, won Third Prize at the Vianna Da Motta soprano, has won First Prize and the in Ghent, supported by major awards International Music Competition in Audience Prize at the first International from the Peter Moores Foundation Lisbon… Konstantin Lapshin has Singing Competition for Baroque Opera and Stichting Robus, and a two-year triumphed in the Mendelssohn Cup, held Pietro Antonio Cesti in Innsbruck, Independent Opera Fellowship. in Taurisano, Italy…The Piatti Quartet, Austria… Laurie Ashworth was selected which was founded at the RCM by as a finalist in the inaugural BBC Radio alumni Michael Trainor, David Wigram 2 Kiri Prize, a new competition to find and Jessie Ann Richardson, founded the UK’s brightest young operatic at the RCM, have won the inaugural St talent… Baritone Peter Brathwaite has Martin-in-the-Fields Chamber Music commenced his studies at the Flanders Competition and the Martin Musical Opera Studio in Ghent, supported by Scholarship. major awards from the Peter Moores www.piattiquartet.com Foundation and Stichting Robus, and a two-year Independent Opera Fellowship …Helen-Jane Howells, soprano, won Opera stars Out First Prize in the Patricia Routledge National English Song Competition and About… 2010 held by the Association of English Singers and Speakers… Charlotte Bray Tenor Alfie Boe and soprano Natasha gained a special prize from the Royal Marsh topped the bill at the Royal Philharmonic Society. Supported by Albert Hall’s ‘Opera Gala’ in June. Alfie the Susan Bradshaw Composers Fund, has also recently performed with ENO the prize includes a commission for a in The Pearl Fishers… Mezzo-soprano chamber piece for the 2011 Cheltenham Alison Valentine has made her Festival… As usual, the standard at the Wagnerian debut as Fricka in Die Walkure RCM Chappell Medal final in July was at Longborough Opera… Baritone/bass Johannes Möller incredibly high. Peter Brathwaite sang the role of Nelson

24 Alumni notes Conductors Releases and Piano on show… recordings… performances… Violinist Ruth Palmer’s CD Hidden Pianist Alan Chu has collaborated Acoustics has been released with Nimbus with the Hong Kong Philharmonic Alliance, including solo works by Bach Orchestra in their Season Finale concert, and Bártok. She is supporting the release performing Carl Orff’sCarmina Burana with a solo tour to unusual venues. …Yoko Nakamura gave a piano solo www.hiddenacoustics.com recital at Kamakura Performing Arts Centre in Japan… Eulalie Charland (violin) and Maiko Mori (piano) have been broadcast on Radio France performing William Walton’s Sonata for Violin and Piano… pianist Antoine Françoise has performed Pierrot Lunaire at Wigmore Hall with members of the LPO, conducted by Vladimir Jurowski… Pianist Konstantin Lapshin is performing with his Eidos trio at the Wigmore Hall in the new year… Warren Elizabeth Bates Mailey-Smith will make his debut in May 2011 with the Royal Philharmonic Orchestra in a performance of Bournemouth Symphony Orchestra has Beethoven’s Piano Concerto no at The appointed Rui Pinheiro as Conductor in Ruth Palmer: Hidden Acoustics Hawth, Crawley Association. He is also Musical Director of the ensemble Serse… Choral and Artistic Director Elizabeth Bates has José Menor has released his first solo promoted her seventh and final Bach piano CD under the Columna Música Festival in the City of Bath. The Chantry label. This CD is the first of a two part Singers performed the St Matthew series featuring the first recording of Passion and the Mass in B Minor under the complete solo piano works by Joan her direction, alongside RCM Ensemble Guinjoan. He has also been invited to in Residence Florilegium and the Steinitz record a broadcast recital and interview Bach Players respectively… for the RTHK Radio programme Music of Anne Marie Granau has conducted the Friends. www.josemenor.net St Petersburg Chamber Philharmonic in the world premiere of a harp concerto The Brook Street Band (including by Karsten Fundal, Cubulus by Nicklas violinist Rachel Harris and cellist Tatty Schmidt, and Poul Ruders’ masterpiece Theo) have launched their latest CD Yoko Nakamura Four Compositions. She also conducted JS Bach Trio Sonatas (AVIE Records the Athelas Sinfonietta Copenhagen AV2199). They will be performing at the in several performances The Millenium Wigmore Hall in December. Project – a Musical Journey: Jacob Groth’s www.brookstreetband.co.uk Other News… music to the Millennium Trilogy, based Heaven-Haven - The Songs of Peter Composer Piers Tattersall has been on the best-selling books by Stieg Pope, recorded by Susan Legg (mezzo commissioned by London Children’s Larsson. Anne Marie has now been soprano) and pianist Ann Martin-Davis Ballet to write the music for their appointed Assistant Conductor at Royal (JD professor) is released by Nimbus in production of Rumpelstiltskin… Danish Opera November 2010. They will be celebrating Konstantin Lapshin will be featured the release in 2011 by going on tour in US ‘Fanfare’ magazine this winter… to perform their latest programme Cellist William Burrows is now a Landscape – including a number of member of the Symphony Orchestra of tracks from the CD – in some extreme Sinaloa in Mexico… Christopher Nickol locations around the world, including is celebrating his 50th birthday this on a Norwegian fjord, in the heart of autumn with fund-raising organ recitals the Amazon, and on a live volcano in in Glasgow, London and York – proceeds New Zealand. Their tour also takes in go towards the Nicholas Danby Trust more conventional venues across North (Chris was a pupil of Nicholas Danby at America, South America, South East Asia the RCM during the late 1980s). Anne Marie Granau and the UK. [email protected]

25 Births, marriages & obituaries

World Cup opening ceremony on June Tim Marshall passed away in Obituaries 11, but died from meningitis on 25 May. September. An organist, Tim studied Nick Sears, RCM Head of Vocal Studies, with John Birch and gained the GRSM in We were saddened this summer comments: “Siphiwo was an exceptionally 1974. He subsequently took Holy Orders to learn of the death of Conductor talented artist who was right on the and, at the time of his death, was Vicar Charles Mackerras, one of the most cusp of a major breakthrough in his of Bovingdon, Hertfordshire. He was also significant musical figures of the last professional singing career. One morning, closely involved in the New School of fifty years. He won renown for his I wrote to Siphiwo to congratulate him on Organ Studies, a charitable organisation operatic and orchestral performances, behalf of the RCM and to wish him well dedicated to providing organ tuition in for his commitment to Czech music for his forthcoming appearance at the Bedfordshire and Hertfordshire. in particular, and most recently for his World Cup. To find out the next day that tremendous classical recordings with he was dead was absolutely shocking. This the Scottish Chamber Orchestra. He tragic news has stunned the many staff Marriages also displayed a great commitment to and students who had the pleasure of Lucy Isaac married David Goldsmith at education, serving as President of Trinity knowing and supporting him. We send our St John’s College, Oxford in August. College of Music, and visiting the RCM sincere condolences both to his family and as guest conductor for some memorable to a nation deprived of one of its brightest performances. young operatic hopes.” Births Composer David Fanshawe passed away in July. David joined the College Former composition student Julia as a Foundation Scholar in 1965, Kny and her partner Steve Owen are studying with the legendary John delighted to announce the birth of their Lambert. A colourful and engaging son Aurelio Samuel, on 5 February 2010. individual, he loved adventurous travel, Owen Michael Fosbrook-Rance was and this exposure to diverse cultures born on 4 June 2010 to John Fosbrook was a lifelong driving force for his (RCM Press and Marketing Manager) musical creativity. On his travels he and his wife Madeleine Bradbury Rance, gathered many hundreds of recordings weighing in at 9lb 9oz. of indigenous music, which inspired his compositions. In particular, his explorations of North and East Africa led to his most famous work, African Sanctus, which earned him an Ivor Novello Award. Last year David described his ‘life’s missions’: “to celebrate the Violinist Erik Houston universal language of music; to record for posterity endangered World Music, threatened with extinction; to seek Violinist Erik Houston has died, aged inspiration for my own compositions – 37. As well as being an exceptionally fine thus uniting musical worlds apart.” player, he was an outstanding teacher, both at the RCM Junior Department Anthony Rolfe Johnson died in July (since 2001) and the Purcell School, and at the age of 69. Anthony came to will be greatly missed by his students singing relatively late, having worked and colleagues. Erik joined the Junior as a farmer until the age of 29. Having Department as a student in 1982 aged Aurelio Samuel entered the profession, he proved himself 10, where he was a contemporary to be an astonishingly versatile artist, of Daniel Hope, who remained a winning international acclaim for his close friend. He returned to RCM as interpretations of major roles from Bach a postgraduate to study with Itzhak to Britten. He was passionate about Rashkovsky. Erik leaves a young son Max, education, teaching regularly at the his fiancée Merissa and his mother, to Britten-Pears School, and becoming its whom we extend deepest sympathy. His director in 1990. name will be kept alive at RCM through a named award for violinists attached to South African tenor and composer the JD Angela Bull competition. Siphiwo Ntshebe died suddenly in May at the age of just 34. A graduate of Anne Shorter (nee West-Watson) the RCM International Opera School, passed away in June 2010. She was a Siphiwo had been selected by Nelson violin student in the late 1960s at the Mandela to perform Hope – a piece of RCM, and spent much of her working life Owen Michael Fosbrook-Rance his own composition – at the football in Winchester.

26

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