GRADUATION CEREMONY Friday 16 July 2021

Total Page:16

File Type:pdf, Size:1020Kb

GRADUATION CEREMONY Friday 16 July 2021 GRADUATION CEREMONY Friday 16 July 2021 Amaryllis Fleming Concert Hall, Royal College of Music | London ALUMNI Welcome to the Royal College of Music Alumni Network. Congratulations on graduating from the Royal College of Music! You are now a member of a community of more than 9,000 illustrious alumni all over the world. We are immensely proud of the achievements of all our graduates, and we hope you continue to keep in contact with us, whatever is next in store for you. If you have not already done so, please help us to stay in touch with you by updating your details today at: www.rcm.ac.uk/alumni/update As an RCM graduate you can: • Continue to access careers support from the Creative Careers Centre for five years following graduation • Sign up to receive the weekly jobs bulletin • Set up an RCM alumni email address for life • Access RCM Studios at a discounted rate for one year following graduation • Receive invitations to alumni events • Keep up to date with regular newsletters and our termly magazine, Upbeat • Make use of our excellent Library facilities • Get discounted use of RCM venues and spaces For more information on alumni privileges, please visit: www.rcm.ac.uk/alumni/benefits STAY IN TOUCH Don’t forget to let us know what you’ve been up to by joining our RCM alumni LinkedIn group and tagging us on: @RCMLondon facebook.com/royalcollegeofmusic www.linkedin.com/groups/1806681 @RCMLondon RCMLondon You can also share your recent news by email to: Prudence DiStasio Alumni & Supporter Engagement Officer [email protected] FROM THE DIRECTOR On behalf of the Council, staff and students of the Royal College of Music, I am delighted to welcome you to this 2021 Graduation Ceremony. I hope that this will be an occasion that you will remember with pleasure and pride. Whilst the format of this live event has changed because of the pandemic, I must pay special tribute to supporters, family and friends who may be joining us online; your contribution is also worthy of celebration. I have been astonished by the resourcefulness and resilience of the RCM community over the past eighteen months, and I hope that each of you has managed to sustain a spirit of optimism. It has never been more important for each RCM graduate to take particular responsibility to be a passionate advocate for music. Wherever your career takes you, I want you to be inspired by what you have learned and experienced here. Music can change the way we see the world and it can influence how we behave. Therefore, for musicians, although the responsibility is great, the possibilities are thrilling and the rewards infinite, even in challenging times. However the world may change post-Covid, membership of the RCM is surely a matter of pride and a badge of high-level endeavor and achievement. It is a pleasure to report that, for the sixth year in a row, the Royal College of Music has been named the top institution for Performing Arts in the United Kingdom in the 2021 QS World University Rankings. Over the past four years we have taken the opportunity to transform both our facilities and the life and work of the Royal College of Music for many decades to come; in doing so, we have virtually doubled the RCM footprint. At the same time, we have explicitly articulated a vision to embrace the ideals of an open and just society, supporting students from diverse social, economic and ethnic backgrounds, as an agent for positive and meaningful cultural change. Those graduating today join generations of gifted students who have forged their creative careers at the RCM. This list includes some of the most distinguished figures in British music, including a number of current members of staff. Naturally, membership of the College does not cease at graduation – and the RCM network will stand you in good stead throughout your career. Please keep in touch and remember to mention the RCM in your biographies. We will look back with pleasure on the ways in which you have contributed to the life of the College during your student days here, and we hope that you will want to do the same. Certainly your graduation year of 2021 is one that none of us will ever forget. Professor Colin Lawson CBE FRCM Director ROYAL COLLEGE OF MUSIC Patron Her Majesty The Queen President His Royal Highness The Prince of Wales KG, KT, GCB, OM, AK, QSO, PC Vice-Presidents The Most Revd and Rt Hon The Lord Archbishop of Canterbury The Most Revd and Rt Hon The Lord Archbishop of York The Rt Hon The Lord Mayor of London Sir Anthony Cleaver FRCM Lady Middleton FRCM Humphrey Norrington OBE FRCM Dame Janet Ritterman DBE HonDMus Sir Ian Stoutzker CBE FRCM Professor Lord Winston FRCM Council Lord Black of Brentwood (Chairman) Jane Barker CBE FRCM (Deputy Chairman) Catherine Clarke Peter Dart Baroness Fleet CBE Douglas Gardner Andrew Haigh Sir George Iacobescu CBE Ruth Keattch John Nickson Jamie Njoku-Goodwin Andrew Ratcliffe Geoffrey Richards HonRCM Rhoderick Voremberg Sir Guy Weston HonRCM James Williams Director Professor Colin Lawson CBE FRCM Deputy Director Kevin Porter HonRCM Elected Members Professor Vanessa Latarche FRCM (elected by professors) William Mival FRCM (elected by professors) Eleanor Taylor HonRCM (elected by administrative staff) Joel Wilson (President, RCM Students’ Union) Clerk to the Council Charlotte Martin HonRCM Nicholas Seager (Assistant Clerk) Senate Members Director Head of Composition Professor Colin Lawson (Chair) William Mival Deputy Director Head of Historical Performance Kevin Porter Professor Ashley Solomon Artistic Director Librarian Stephen Johns Peter Linnitt Director of Programmes Chair of Material Culture and Music, Curator Dr Diana Salazar Professor Gabriele Rossi Rognoni Head of Postgraduate Programmes Head of Junior Programmes Professor Natasha Loges Miranda Francis Head of Undergraduate Programmes Head of Centre for Performance Science Dr Christina Guillaumier Professor Aaron Williamon Chair of International Keyboard Studies and Student Services Manager Head of Keyboard and Associate Director Lynnette Easterbrook for Partnerships in China Professor Vanessa Latarche President of the Students’ Union Joel Wilson Head of Strings Mark Messenger Elected Members Gabrielle Lester Head of Woodwind Dr Ingrid Pearson Simon Channing Dr Paul Robinson Patricia Rozario OBE Head of Brass Gary Ryan Nigel Black Academic Registrar Head of Percussion Eleanor Taylor (Secretary) David Hockings Head of Vocal & Opera Nicholas Sears ORDER OF CEREMONY Pre-ceremony Music Wallis Power cello Polina Sosnina organ Processional Music Nigel Black director RCM Brass Ensemble Elgar Howarth Processional Fanfare no 1 The audience is requested to stand for the entry of the academic procession The Chairman, Lord Black of Brentwood, opens the proceedings The Director, Professor Colin Lawson, addresses the assembly The Director confers degrees and diplomas The Director announces special prizes: – Worshipful Company of Musicians Silver Medal – Queen Elizabeth The Queen Mother Rose Bowl – Tagore Gold Medals The Chairman addresses the assembly The President of the Students’ Union, Joel Wilson, offers a vote of thanks The Chairman offers his closing remarks and concludes the ceremony Recessional Music Elgar Howarth Processional Fanfare no 2 The audience is requested to stand for the exit of the academic procession. Graduates should remain in their places until the academic procession has left the Amaryllis Fleming Concert Hall. All academic gowns are to be returned to Room G15 no later than 5pm. It is illegal to record any performance, or part thereof, unless prior arrangements have been made with the Royal College of Music. PLATFORM PARTY Chairman Lord Black of Brentwood Director Professor Colin Lawson Head of Undergraduate Programmes Dr Christina Guillaumier Head of Postgraduate Programmes Professor Natasha Loges President of the Students’ Union Joel Wilson GRADUANDS Diploma of Higher Education Benjamin Gautier Voice Kwan Yin Lau Violin Hannah Gillingham (Scholar) Flute Jack Lewis Gionis (Scholar) Composition Bachelor of Music with Honours Heledd Fflur Gwynant (Scholar) Hilary Aeschliman Voice Percussion & Timpani Isabelle Ellen Ashton (Scholar) Flute Yuki Hammyo Piano Shannon Enola Anne Asplen (Scholar) Saxophone Susannah Caroline Monier Hardwick Voice Elvina Sung-Eun Auh (Scholar) Violin George Louis Harliono Evans (Scholar) Piano Megan Louise Baker (Scholar) Voice Parvis Noah Hejazi Nico Piano Diogo Bandola (Scholar) Clarinet Rachele Francesca Howes Piano Amy Birse Violin Vanesa Hristova Viola Calum Blair (Scholar) Trumpet Marianne Huang Yueyin (Scholar) Piano Andrei Ion Caval (Scholar) Clarinet Coco Ivy Inman (Scholar) Violin Aidan Hoi-Jin Chan Piano Yiorgos Ioannou (Scholar) Voice Sarah Yan Kay Chan (Scholar) Cello Sujin Jee Flute Jessie Jie Min Chua (Scholar) Piano Dillon Charles Chanin Jeffares (Scholar) Violin Clara Man Fai Chung Piano Dafydd Wyn Jones (Scholar) Voice Daniel Alexander Cleave Double Bass Nils-Joachim Jones Viola Can Cui (Scholar) Violin Silvestrs Juris Kalnins (Scholar) Cello Joseph Edward Dawson (Scholar) Composition Nan Kang (Scholar) Piano Madeleine Dawson Violin Thomas Percival Kelly (Scholar) Piano Damir Durmanovic (Scholar) Piano Sadie Kerslake Oboe Sophia Alice Rowswell Elger Saxophone Laurence Kilsby (Scholar) Voice Mila Ferramosca (Scholar) Violin Daniel Michael Laurie (Scholar) Double Bass Daniel Clive Floyd Percussion & Timpani Meline Le Calvez (Scholar) Clarinet Maria Ford Violin Rachel Hannah Leigh Cello Yu-Chieh Lin Piano Supanee Sonchaiwanich (Scholar) Cello Connor
Recommended publications
  • Woodwind Grades Syllabus
    Woodwind Syllabus Flute, Clarinet, Oboe, Bassoon, Saxophone & Recorder Graded exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Initial exams are now offered for flute and clarinet. New series of graded flute and clarinet books are available, containing selected repertoire for Initial to Grade 8. Technical work for oboe, bassoon and recorder has been revised, with changes to scales and arpeggios and new exercises for Grades 1–5. New technical work books are available. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with
    [Show full text]
  • Reports & News
    DRN 126 Summer 2020 Text_Double Reed 75.qxd 29/05/2020 14:29 Page 22 Reports & News BBC Young Musician 2020 The Virtual Oboe Competition Clive Fairbairn attended the category finals in March from Michael Britton Hearty congratulations are Howarth of London is pleased to announce that it is one of the due for the oboist Ewan Millar sponsors of the Virtual Oboe Competition just established by (see DRN125), who has won Claire Brazeua of the Los Angeles Chamber Orchestra. Many the Woodwind Final of this students will have been practising for the Barbirolli Oboe highly prestigious competition. Competition and the IDRS Oboe Competition so, as these have This puts him amongst the five had to be cancelled due to COVID-19, Claire thought it would category winners competing be a good idea to set up a virtual competition instead. She has in the semi-final and final. put together an excellent panel of international judges. The semi-final reduces the five instrumentalists to three; A website has been set up: www.virtualoboecompetition.com and each will then compete by more information is being added day by day. Please tell all the playing a concerto with the young oboists you know or teach; it should help motivate their BBC Philharmonic to discover practise during these difficult times! the overall winner of the competition. The BBC hopes to transmit these last stages in the autumn. This was a huge achievement for 18-year old Ewan who is in his first year reading music at St Hilda’s College, Oxford. Now Laurence Perkins’ mammoth studying with Melanie Ragge, he was a pupil of Nicky Fairbairn at Berkshire Maestros in Reading, Berkshire from the age of 8 until response to lockdown he left school last summer.
    [Show full text]
  • TITLE Investigating the Consistency of Woodwind
    Open Research Online The Open University’s repository of research publications and other research outputs Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes Journal Item How to cite: Mamou-Mani, Adrien; Sharp, David; Meurisse, Thibaut and Ring, William (2012). Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes. Journal of the Acoustical Society of America, 131(1) pp. 728–736. For guidance on citations see FAQs. c 2012 Journal of the Acoustical Society of America Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1121/1.3651088 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk TITLE= Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes1 = RUNNING TITLE Consistency of oboe manufacturing AUTHORS Adrien Mamou-Mani1, David Brian Sharp1, Thibaut Meurisse2, William Ring3 1 Acoustics Research Group, DDEM, MCT Faculty, The Open University, Walton Hall, Milton Keynes, MK7 6AA, UK 2 Université Pierre et Marie Curie, 4 Place Jussieu, 75005 Paris, France 3 Howarth of London, 19 Buckingham Road, Worthing, BN11 1TH, UK Email: [email protected] 1 Submitted for the special issue on Musical Acoustics 1 ABSTRACT For large-scale woodwind instrument makers, producing instruments with exactly the same playing characteristics is a constant aim. This paper explores manufacturing consistency by comparing five Howarth S10 student model oboes.
    [Show full text]
  • Marsias for Oboe and Crystal Glasses.” Doctor of Musical
    CRYSTAL CLEAR: A PERFORMANCE GUIDE AND ELECTRONIC ACCOMPANIMENT OF MARIO LAVISTA’S MARSIAS FOR OBOE AND CRYSTAL GLASSES Jonathan Ryan Thompson, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2019 APPROVED: James Ryon, Major Professor Elizabeth McNutt, Related Field Professor Kathleen Reynolds, Committee Member John Holt, Chair of the Division of Instrumental Studies for the College of Music Felix Olschofka, Interim Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Thompson, Jonathan Ryan. Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista’s “Marsias for Oboe and Crystal Glasses.” Doctor of Musical Arts (Performance), August 2019, 109 pp., 6 tables, 16 figures, 2 appendices, bibliography, 49 titles. Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work.
    [Show full text]
  • Downloads/Newsletters/July August 2004.Pdf#Search= 'William%20Gasbarro%20Clarinet (Accessed February 25, 2011)
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL DICTIONARY OF TWENTIETH-CENTURY AMERICAN CLARINETISTS By TRACEY LYNN PADDOCK A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the Treatise of Tracey L. Paddock defended on March 28, 2011. _________________________________ Frank Kowalsky Professor Directing Treatise _________________________________ Richard Clary University Representative _________________________________ Deborah Bish Committee Member _________________________________ Jeff Keesecker Committee Member The Graduate School has verified and approved the above-named committee members. ii To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly. iii ACKNOWLEDGEMENTS I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To Howard Klug, thank you for your invaluable guidance at the onset of this journey.
    [Show full text]
  • Kirsten Soriano Broberg
    KIRSTEN SORIANO BROBERG Education: Paris, France and the South of France 2013 Post-Doctoral Studies • Studied music composition with Tristan Murail, Kaija Saariaho and Philippe Hurel Northwestern University, Chicago, Illinois 2009 Doctorate in Music Composition • Graduated with honors • Studied music composition with Augusta Read Thomas, Jay Alan Yim and Jason Eckardt • Published dissertation, An Analysis and Contextualization for Resonant Strands—a Cycle of Five Extractable Works for piano, bowed piano and string quartet, advised by Hans Thomalla • Twice awarded the William T. Faricy Award for original composition University of Minnesota, Minneapolis, Minnesota 2003 Master of Arts in Music Composition • Achieved National Dean’s List • Studied music composition with Judith Lang Zaimont • Awarded first place in the University of Minnesota call for orchestral scores Concordia College, Moorhead, Minnesota 2001 Bachelor of Music in Music Theory and Composition; Minor in English Writing • Awarded piano performance and academic excellence scholarships Teaching Experience: University of North Texas 2013-present Assistant Professor of Music Composition • Private composition lessons to undergraduate and graduate students • Graduate composition seminar for graduate composition students • Sophomore Composition Seminar for sophomore composition majors • Orchestration for undergraduate and graduate music students • Contemporary Music for undergraduate and graduate music students • Contemporary Vocal Techniques and Repertoire since 1960 • Contemporary
    [Show full text]
  • Très Françaix Chamber Music by Jean Françaix Jeremy Polmear and Friends 2 Très Françaix Chamber Music by Jean Françaix
    CC2029 Très Françaix chamber music by Jean Françaix Jeremy Polmear and friends 2 Très Françaix chamber music by Jean Françaix Diana Ambache (piano) Anthony Robb (flute) Sandra Skipper (flute, alto flute) Jeremy Polmear (oboe, cor anglais) 9 Beversbrook Road, London Christopher Hooker (oboe, cor anglais) N19 4QG. +44 (0)20 7263 4027 [email protected] Neyire Ashworth (clarinet, bass clarinet) www.oboeclassics.com Alan Andrews (clarinet, bass clarinet, basset horn) Philip Gibbon (bassoon) Damian Brasington (bassoon, contra-bassoon) Susan Dent (horn) Alexia Cammish (horn) David Juritz (violin) Martin Outram (viola) Rebecca Knight (cello) Recorded at The Forge Music & Arts Venue, London, July 23 - 25 2013 Production: Matthew Dilley Editing: Matthew Dilley, Jennifer Howells Engineering, Mastering: Dave Rowell Music Publisher: Schott Music Cover illustration: Paris Café by Paul Kenton, www.paulkenton.com Cover and Booklet design by Steam Oboe image by Howarth of London Jeremy Polmear would like to thank Sam Morse for the CD title, and several people who wrestled with my writing style to render a French version: Diana Ambache, Wendy Belli, Carol Gouspy, Andrew Polmear and Margaret Polmear. 2 1 Variations sur un thème plaisant (1976) for piano and ten wind Tema - Nine variations - Come primo 14:50 2-6 Quatuor (1971) for cor anglais, violin, viola and cello Allegro vivace 3:03 Andante tranquillo 2:42 Vivo assai 3:07 Andantino 1:47 Allegro giocoso 3:22 7-11 Sixtuor (1992) for flute, oboe, clarinet, bass clarinet, bassoon & horn Risoluto 2:38
    [Show full text]
  • GRADUATION CEREMONY Thursday 15 July 2021
    GRADUATION CEREMONY Thursday 15 July 2021 Amaryllis Fleming Concert Hall, Royal College of Music | London ALUMNI Congratulations on graduating in person on this very special day and a renewed welcome to the Royal College of Music Alumni Network. You are a member of a community of more than 9,000 illustrious alumni all over the world. We are immensely proud of the achievements of all our graduates, and we hope you continue to keep in contact with us, whatever is next in store for you. If you have not already done so, please help us to stay in touch with you by updating your details today at: www.rcm.ac.uk/alumni/update As an RCM graduate you can: • Continue to access careers support from the Creative Careers Centre for five years following graduation • Sign up to receive the weekly jobs bulletin • Access RCM Studios at a discounted rate for one year following the graduation ceremony • Receive invitations to alumni events • Keep up to date with regular newsletters and our termly magazine, Upbeat • Make use of our excellent Library facilities • Get discounted use of RCM venues and spaces For more information on alumni privileges, please visit: www.rcm.ac.uk/alumni/benefits STAY IN TOUCH Don’t forget to let us know what you’ve been up to by joining our RCM alumni LinkedIn group and tagging us on: @RCMLondon facebook.com/royalcollegeofmusic www.linkedin.com/groups/1806681 @RCMLondon RCMLondon You can also share your recent news by email to: Prudence DiStasio Alumni & Supporter Engagement Officer [email protected] FROM THE DIRECTOR On behalf of the Council, staff and students of the Royal College of Music, I am delighted to welcome you to this 2020 Graduation Ceremony.
    [Show full text]
  • Download the Guide to Buying Adaptive Musical Instruments
    GUIDE TO BUYING ADAPTIVE MUSICAL INSTRUMENTS PUBLISHED BY DISTRIBUTED IN PARTNERSHIP WITH CONTENTS Click section to jump to page Introduction 3 Howtobuyamusicalinstrument 4 Batons 6 Brassinstruments 7 Brass accessories 10 Musictechnology 12 Electronic instruments 13 Software 20 Percussion 21 Stringinstruments 23 String accessories 25 Windinstruments 26 Wind accessories 31 Additionalsupport 33 AcknowledgementsAcknowledgements 35 GUIDE TO BUYING ADAPTIVE MUSICAL INSTRUMENTS 2 INTRODUCTION At Take it away, we believe that everyone should have the opportunity to make music. With the help of interest-free loans, we make it more affordable for people to learn and play music. Since the Take it away scheme launched in July 2007 we have helped more than 95,000 UK customers to purchase a musical instrument, yet barriers to music making persist. For disabled musicians who need adapted instruments, the problems can be particularly challenging. We have therefore developed this guide to highlight We’d also like to encourage experimentation and products and adapted instruments that are sold creativity! Lots of instruments have a perceived as being accessible, as well as prototypes that correct use, but there are many other ways that have been designed for disabled musicians. The they can be played; a violin can be played like a guide also contains a brief introduction of what to cello and some instruments can be played with look for when buying a musical instrument, but feet rather than hands. please consult the MIA’s guide on Buying a Musical Instrument for a more detailed overview of the We recognise that every person is different and main instrument categories.
    [Show full text]
  • Double Reed News the Magazine of the British Double Reed Society No.105 I WINTER 2013 T E N
    DRN 105WinterCover_DoubleReed75.qxd29/10/201309:53Page1 Double Reed News The Bassonicus Interview John Orford The The Bassonicus Interview John Orford The magazine of the British Double Reed Society www.bdrs.org.uk I WINTER 2013 © Eric Richmond/ericrichmond.net No.105 DRN 105 Winter Cover_Double Reed 75.qxd 29/10/2013 09:53 Page 2 DRN 105 Winter_Double Reed 75.qxd 29/10/2013 11:51 Page 1 Words from In this Issue... 1 Chairman’s Comments “ our Chairman Robert Codd 2 Editorial ” Clive Fairbairn Robert Codd 4 New Committee Members Needed Sarah McClure DRN No.104 has been a very good (double) read. It has taken some time, partly since I am now living out the bassoonist’s alter-ego as ‘Grandfather’, Reports & News but mainly because the magazine is of a very high quality and deserves 5 careful scrutiny (with the possible exception of Page 1 perhaps!). Clive Fairbairn, Tom Hardy Congratulations to the Editor and all contributors, especially for the excellent Helena Mackie, Helen Martin photographs. Even the Chairman, although having aged appreciably between Naomi Norton, Althea Talbot-Howard numbers 103 and 104, is looking more colourful! We eagerly await the appearance of DRN on BBCTV’s Have I Got News For 9 Obituary: Lindsay Cooper You; but perhaps it is now felt to be too broad in its appeal, leaving the field The Guardian clear for more specialised titles, such as Gargoyle Observer or Pumping- Station Weekly. 10 A Tale of Two Families Naturally much coverage was given to the Convention, which seems to have James Gorton been a great success.
    [Show full text]
  • Junior Guildhall Prospectus 2012 WELCOME to JUNIOR GUILDHALL
    Junior Guildhall Prospectus 2012 WELCOME TO JUNIOR GUILDHALL The Guildhall School of Music & Drama is one of Europe’s leading conservatoires, offering musicians, actors, stage managers and theatre technicians an inspiring environment in which to develop as artists and professionals. While the School’s main role is to provide the highest quality of education and professional training in higher education, the early training of talented children is regarded as fundamental with great importance and resources given to Junior Guildhall. Junior Guildhall is a specialist Saturday School offering advanced training to young people between the ages of 4 and 18. The students are able to combine their Guildhall training with their general education in local schools. They come together to experience and learn about music and drama under the guidance of staff drawn from London’s orchestras and freelance professionals. Most of the students go on to study their chosen discipline full-time at undergraduate level, eventually making careers in the profession, though others can, and do, move into totally different fields. Links between the full-time courses of the School and Junior Guildhall are strong and many professors teach on both programmes. Junior Guildhall students are often invited to participate in the School’s events and, on Saturdays, the entire facilities of the School are given over to Junior Guildhall. Visitors are always welcome – if you wish to arrange a visit please contact the Junior Guildhall office. Regardless of their ultimate direction, students find that the professional artistic environment of the Guildhall School provides them with valuable life skills and the means to develop their individual talents to the full.
    [Show full text]
  • Rental Scheme Application (Website)
    Admin Only Agreement No. Paperwork Sent: WOODWIND INSTRUMENT SPECIALISTS Howarth of London – Rental Scheme Application (website) ALL SECTIONS MUST BE COMPLETED PRIOR TO RENTAL OF THE INSTRUMENT Hirer (must be over 18): …………………………………………………………………………….……….……………………………………..……. Address: …………………………………………………………………………………………………………………………..................... ………………………………………………………………………… Postcode: …………………………….………..……….. Home Tel: ………………………………………….................... Mobile: …….……………………………………………..…..…… Email: …………………………………………………………………………………………. Date of Birth: ....…/…..…/………... Child’s School (if relevant): ……………………………………………………………………………………………..……………………………... Teacher/Music Service (if relevant): ……………………………………………………………………………………………………………..… Instrument Oboe: Junior - Student - Intermediat e - Advanced Bassoon: Mini - Tenoroon - Fagonello - Short-Reach - Standard - Graduate Clarinet: Beginner - Graduate- Nuvo/Junior (special request) Sax: Soprano - Alto - Tenor - Baritone - Alpha Flute: Curved-head Flute - Standard Flute Employer Contact Details: Bank Details: Name: …………………………………………………………….. Account Holder: …………….……................................. Address: …………………..………………………………………… Sort Code: …………………….……….……………................. ……………………………..…………………………………..……….… Account Number: …………………………........................ ………………………..…………………………………………………… Bank Name: …………………………………….………………….. Postcode: …….……..….…………………………………………… Bank Address: ………………..…..………….…………………… Tel: .......................................................................... …………………………………………………...........................
    [Show full text]