2 CONTENTS

3 PRINCIPAL’S PERSPECTIVE 4 ORIGINS AND EARLY DEVELOPMENT 6 ACADEMIC STANDARDS: NOW AND THEN 9 EARLY LEADERSHIP 10 PRINCIPALS 14 BUILDINGS 18 THE CBSO 23 SUPPORTING STUDENTS 26 OUR UNIQUE CONTEXT 28 PROFILES PRINCIPAL’S PERSPECTIVE

The history of Conservatoire is a fascinating one. 3 Beginning life as a locally-focused provincial serving largely part-time students, the Conservatoire has become one of the

UK’s leading institutions for professional music training and education. BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS

Of course, we continue to have strong ties to the Midlands, with it’s rich My own involvement in the Conservatoire dates from 1978 since when there cultural infrastructure. However, the Conservatoire is also now decidedly have been immense changes. More are on their way, some external - student international in outlook. As lively members of the European Association fees, government funding - and some specific to us as we look forward to of Conservatoires, we enjoy a wealth of partnerships with our European moving to a splendid, grade 2 listed building, close to our present site in 2014, counterparts, enabling students and staff to benefit from our Erasmus and the opening of our brand new concert hall on Centenary Way in 2016. exchange programme and special projects. Our student population from outside the EU has grown to nearly 100, and with it, our links to institutions in It is a privilege to work in such a distinguished institution, especially when it Malaysia, Singapore and China. reaches a special anniversary. Ad multos annos! Birmingham Conservatoire has always been part of a larger organisation - these days, Birmingham City University - and has thereby developed a broader, more outward-facing approach to training its students. In other words, we aim to prepare them for life and a career in the real world!

Professor David Saint ORIGINS AND EARLY DEVELOPMENT

4 The origins of Birmingham Conservatoire date back to a time of tremendous round the teacher, with music pinned on one another’s backs. Numbers eventually civic and artistic energy in Birmingham. The Triennial Festivals had been declined, but the Class continued to attract nearly 200 students each evening. established in 1784 and the Town Hall had opened in 1834. The same year, the Royal Birmingham Society of Artists (RBSA) founded the Birmingham The BMI had provided space for the RBSA’s work until its School’s new building Government School of Design. The country’s first municipal art school, it moved was completed. Upon its vacation of several rooms on the second floor, the into its own iconic building on Margaret Street in 1884 where it flourishes today BMI decided to open a number of new classes in music. Eventually, it was

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS as the School of Art within Birmingham Institute of Art and Design. decided to group all of the musical instruction and theory classes together as a discreet entity within the Institute. Active since 1800, Birmingham’s Philosophical Institution gave way to the Birmingham and Midland Institute (BMI) in the late 1850s. Its first musical class, Elementary Instruction in Singing, was established in the Industrial BIRMINGHAM SCHOOL OF MUSIC WAS OFFICIALLY CONSTITUTED IN 1886 – THE FIRST MUSIC SCHOOL TO BE ESTABLISHED IN Department in 1859 and taken by Alfred J Sutton, conductor of the Amateur OUTSIDE . Harmonic Association (what had been the Ladies’ Choir of the Philosophical Institute). In 1863, an enormously popular Penny Class in Elementary Singing was opened; by 1874, the average number attending was 543! William Charles Stockley accepted an invitation to become Honorary Principal and on the Staff were, amongst others, Mr Astley Langston (pianoforte); AR Gaul, AR Gaul joined the teaching staff in 1877 to take a class in the Theory of Music, John Pearce and Rowland Winn (singing), and TM Abbott (violin and violoncello). A marking the first step toward more rounded instruction; classes in Harmony Scholarships Fund was established and a number of individuals and businesses and Counterpoint were also started. Gaul’s class was a success; in 1879 began to donate to enable students to attend the newly constituted School. one of his students received the first prize in Harmony in the Society of Arts examination and another, the second prize at Trinity College. The Musical Times reported the official opening of the School in its October 1886 issue: “No fewer than 1,500 students have entered the School of Music The first instrumental classes opened in 1882: advanced violin and a Penny Class connected with the Birmingham Midland [sic] Institute. There are classes in all for elementary violin teaching. The number of attendees at the latter rose from branches of the art, including orchestral instruments, the fee for elementary 409 on the first night, to 525 on the third night, with students standing in a ring study of the violin, being as low as one penny per lesson”. UNFOUNDED CONCERNS 5

In October 1886 the Musical Times wrote: “Local music teachers view with concern the gradual development of the teaching functions of the musical section of the Midland Institute,... with which no private teacher can pretend to compete. Besides mixed classes under competent professors for the study of solo and choral singing (including the tonic sol-fa system), theory of music, harmony and counterpoint, and the several instruments of the modern orchestra, a special group of ladies’ classes... are held on the first three days of the week for instruction in pianoforte and violin playing, theory of music, and singing, both elementary and advanced, for soloists and choristers. ... The nomination of Mr Stockley as honorary principal of the school is a guarantee for the soundness of the scheme and the quality of the instruction, but it need scarcely be pointed out how seriously the success of the undertaking must affect the position and earnings of unattached members of the musical profession here”. ACADEMIC STANDARDS: NOW AND THEN

OWING PARTLY TO ITS INCLUSION IN A UNIVERSITY, BIRMINGHAM CONSERVATOIRE IS TODAY PRAISED FOR THE BALANCE OF PRACTICAL AND ACADEMIC WORK IN ITS COURSES. HOWEVER, IN ITS EARLY DAYS - CATERING TO AN EXCLUSIVELY LOCAL POPULATION - THE SCHOOL OF MUSIC WAS FAR MORE MODEST IN ITS ACADEMIC ASPIRATIONS AND EXPECTATIONS.

6 When Frederic Corder examined the School of Music in 1897, his Report drew future years to introduce the sector’s first BA (Hons) in Music in 1983, and to protests from several of the School staff in the subject of Rudiments of Music, accept the country’s first conservatoire-based research students in 1992.) on the grounds that the paper was far too difficult. Mr Corder pointed out that students elsewhere were not considered worthy to go up for examination in The School’s 1961 return to the Robbins Committee on Higher Education any subject until they could obtain at least 70 marks in a far more searching showed a great deal of consideration of its contribution to higher education and paper. At the time, the School still felt the paper was too difficult, considering the musical life of the region. In the same report, the School also advocated

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS its ‘character’ as a local institution for local people. the foundation of a network of music colleges, foreshadowing the foundation of the Federation of British Conservatoires (now Conservatoires UK). Things began to change. Individual 20-minute lessons had been introduced in 1894, and by November 1901, students could receive a 30 or 40 minute lesson Sponsored by the of Music, the School was accepted into the on payment of a proportionately increased fee. Harmony classes were also Association of European Colleges of Music (AEC) in 1965. It was a founding advised (and financially incentivised) for all instrumental students. Languages member of CUKAS, the Conservatoires UK Admissions System, in 2005. entered the curriculum – starting with Italian – in 1901. Today the Conservatoire embraces early, world and contemporary music, Though still decidedly regional, the School began to gain in status towards the as well as the classical cannon and jazz, and has become a strong local turn of the 19th Century. From 1889, the Joseph Maas Memorial Fund included and regional resource. However, while still rooted in its community, the the School with the and in the Conservatoire enjoys a strong international profile and recruits around a rotation of its annual £10 prize. Representing the School, the BMI was registered quarter of its students from outside the UK. Its graduates are among the most as a member of the International Music Society in 1907. In the same year, the successful in the country and its student satisfaction is second to none in the School began actively to advertise for students from surrounding cities. conservatoire sector (2011 National Student Survey).

In 1912 the School requested the insertion of a clause in the next ‘Omnibus THE FRIENDLY AND WELCOMING NATURE DEVELOPED 125 YEARS Bill’ of the Corporation of Birmingham, giving power to the BMI to grant AGO REMAINS A DEFINING CHARACTERISTIC, ONE FOR WHICH THE Diplomas of Associate or Licentiate in the subject of Music. (It would go on in CONSERVATOIRE HAS BECOME RENOWNED THROUGHOUT THE WORLD. THE JUNIOR CONSERVATOIRE 7

In 1905, the School began to address the education of younger musicians: a junior class for under-16s in Rudiments of Music was planned and afternoon Chamber Music classes were established in 1920 for Junior as well as Senior musicians. By 1958/9, approximately 90 of the School’s 630 students were under the age of 16, but the establishment of a self- contained Junior School was some way off. Following several false starts in the 1970s the Conservatoire’s Junior School was finally established in 1976/77 under the auspices of the Local Education Authority and the Chief Education Officer. Unfortunately, the School foundered but, having laid its foundations, was successfully re-launched in 1993.

Today, led by Timothy English, the Junior Conservatoire is a vibrant centre for extra-curricular music education, catering for over 250 students aged eight to 18, including a separate Young Strings Programme for students as young as three. Current students include Roberto Ruisi, recently appointed leader of the National Youth Orchestra, and BBC Radio 2 Choirgirl of the Year Ella Rainbird-Earley (following in the footsteps of 2008 winner Alice Halstead, also a Junior Conservatoire student). The recipient of more Department for Education Music and Dance Scheme grants than any other conservatoire junior department in the country, the Junior Conservatoire remains a key provider of high-quality music tuition to talented students drawn from all over the region and from a diverse range of backgrounds. 8 EARLY LEADERSHIP

By 1900, the number of music classes had increased to the point where ELGAR APPOINTED HONORARY VISITOR 9 a dedicated Principal was required to organise the classes – and the 860 Dr accepted the position of Honorary Visitor to the School in May students attending them – into a well-adjusted School. 1902, an office he held until his death in 1934. He came into still closer contact with the School when he accepted the newly founded Richard Peyton Chair of “For many years it has been evident to the Council that the School could Music at Birmingham University and became ex officio a member of the School never be ranked among the great national Schools of Music until it had an of Music Committee.

efficient Principal to direct its aims and co-ordinate its methods. The difficulty BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS was to find the right man. The Council hope that they have at length found In his inaugural address as the Richard Peyton Professor of Music, which took in Mr one who will realise their long-cherished hopes. He place in the large Lecture Theatre of the BMI on 16 March 1905, Elgar said: comes with the highest recommendations from Sir Alexander Mackenzie “…Nothing can be better than the teaching of the Music School of the Midland (Royal Academy), Sir , Sir (Royal College), Dr Villiers Institute, under the direction of Mr Granville Bantock and the splendid staff of Stanford and other eminent authorities. ... It is satisfactory to feel that while Professors, and the University and the Music School of the Midland Institute in Arts and Science Birmingham is occupying a larger space than hitherto in will work in perfect harmony and goodwill”. public regard by the foundation of the University, a great step forward has at the same time been taken in musical education. This should find its home in the Institute, which has done so much to prepare for it, and to make it possible” BIRMINGHAM UNIVERSITY AND THE CONSERVATOIRE STILL WORK IN BMI Annual Report, 1900 HARMONY TODAY, WITH THE UNIVERSITY’S PRACTICAL MUSIC TUITION DELIVERED THROUGH THE CONSERVATOIRE. BOTH INSTITUTIONS Following Bantock’s appointment, the School advertised in the Musical Times HAVE ALSO DEVELOPED WORLD-CLASS RESEARCH INTO MUSIC AND TECHNOLOGY, MAKING BIRMINGHAM AN IMPORTANT INTERNATIONAL and the Musical News and experienced a remarkable influx of students, CENTRE FOR CONTEMPORARY COMPOSITION AND PERFORMANCE. possibly attracted by the new Principal’s national reputation, not only as an orchestral conductor but as a composer of many outstanding works. This influx continued for several years and brought the average number of students to just over 1000. PRINCIPALS

FROM INITIATING MASSIVE CHANGES TO SIMPLY KEEPING THE SHIP AFLOAT, EACH OF THE SCHOOL’S PRINCIPALS HAS LEFT HIS MARK ON THE INSTITUTION.

10 Following on from Sir Granville Bantock, in addition to teaching Harmony, the CBSO, in the year he retired, Gordon Clinton founded, with CBSO music Counterpoint and Advanced Theory, Allen Blackall established a number of director Louis Fremaux, the CBSO Chorus and took on its conductorship. prizes in 1935 and increased the number of students until 1939, when the war made further progress temporarily impossible. Christopher Edmunds, himself John Bishop was in post for two years before ill health unfortunately forced him an alumnus and prominent composer, continued Blackall’s work, building up to step down as Principal, but he remained as Principal Lecturer and Head of the School after the war in order to cope with the influx of demobilized soldiers Admissions for the School. Louis Carus then presided over another period of

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS wishing to enter music teaching. As well as restarting the orchestra and great change, including the introduction, in 1983, of the new BA (Hons) degree – forming a military band, he was instrumental in establishing the School’s early the first of its kind offered by a college of music in England. Carus also oversaw broadcasting experience. Edmunds and the BMI had different ambitions for the building of the Hall and its royal opening in the School’s the School and, owing to the difficulties arising from this, Edmunds’ resigned Centenary Year (1986). He was the first Chair of the Birmingham School of in 1956. A Management Committee steered the School until the appointment Music Association, founded under him in the run-up to the School’s centenary. of Sir Steuart Wilson, who established both a light orchestra and a new Edmunds, the first President of the Association, sawFanfare II established (the graduate-equivalent course. Talk began of a Junior School, but this remained newsletter taking its name from the original bulletin he had launched in 1946). on the back burner for many years. Having initiated changes to the Union while principal, Wilson and wife were subsequently made the first Honorary Notable especially for the creation of the Polytechnic Chorus, Roy Wales’ short Members of the Union of Students in 1960. tenure led into another period of great change steered by Kevin Thompson, under whom the School became Birmingham Conservatoire in 1989 – then the When Gordon Clinton was appointed, the School had hundreds of part-time only complete Faculty within a Polytechnic to be devoted to music. Sir Michael students, but only 38 full-time students and occupied just seven rooms at the Tippett celebrated the Conservatoire’s inauguration and Sir was BMI. Clinton’s aim was to increase the number of full-time students to 250 named its first President, with Peter Donohoe Vice-President. Shortly afterwards, and, during his tenure, he oversaw a period of great transition: the School Birmingham Polytechnic became the University of Central England (now was transferred from the BMI to the Local Education Authority, moved to Dale Birmingham City University). The CBSO String Training Scheme was started in End and back to Paradise Circus, and became a founding part of the new 1991 and the Conservatoire accepted the first students to its research degrees in Birmingham Polytechnic. Building on work the School chorus had done with 1992, making it the first active research programme in a UK conservatoire. 1 2 3 4 1 1886 – 1900 William C Stockley (Hon Principal) 11

2 1900 – 1934 Sir Granville Bantock

3 1934 – 1945 Allen Blackall

4 1945 – 1956 Christopher Edmunds

1956 – 1957 (Management Committee)

5 1957 – 1960 Sir Steuart Wilson

5 6 7 8 6 1960 – 1973 Gordon Clinton

7 1973 – 1975 John Bishop

8 1975 – 1987 Louis Carus

9 1987 – 1989 Roy Wales

10 1989 – 1993 Kevin Thompson

11 1993 – 2010 George Caird

9 10 11 12 12 2010 – David Saint 12 Building on Thompson’s work, George Caird helped to propel the Conservatoire technology and the lead partner in two three-year international collaborations onto the international stage. Overseas recruitment grew dramatically, with exploring the intersection of music and technology: Integra I and II. 23 per cent of the student population coming from 36 countries by 2011. The overall number of full-time students also rose to an all-time high – over 650 Currently at the helm, David Saint is leading the Conservatoire through undergraduate, postgraduate and research students and over 200 Junior one of the greatest periods of change in the history of music education, as Conservatoire students. the impacts of the Brown Review of Higher Education Funding and Student

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS Finance and the Henley Review of Music Education in England begin to be The BMus (Hons) Jazz, introduced in 1999, helped to establish the Conservatoire felt. In preparation for the Conservatoire’s on-going success, he has been as a leader in jazz education and training, and research flourished: during the instrumental in working with senior leaders in the University and the city to 2008 Research Assessment Exercise, 40 per cent of the Conservatoire’s work secure a new home and concert hall for the Conservatoire, taking it through yet was judged to be ‘internationally excellent’ or ‘world leading’. another exciting phase of development.

Events played a major part in profile-raising under George Caird. The Conservatoire hosted the semi-finals of the BBC Young Musician of the Year in 1993, the European Association of Conservatoires (AEC) Conference in 1995, the International Double Reed Society (IDRS) Conference in 2009 and countless other events. It also produced its own high-profile projects: opera commission Dee (2005); the University-wide New Generation Arts Festival (2006-10), including pioneering music and media project And Now, The News with and the BBC (2008); and composer celebrations ‘Boulez in Birmingham’ (2008) and Frontiers+Andriessen (2010).

The technological firsts during George Caird’s time were many. Having appointed the first Head of Music Technology in 2000, the Conservatoire is now an internationally-recognised centre for performance and composition with 13

FOLK STUDIES

In February 1920 four students requested a class in classical and folk dancing, but the School was unable to establish one. Building on a strong world music profile established in the 1980s and 90s, the Conservatoire today has one of the most exciting folk music programmes in the country. The Conservatoire Folk Ensemble, led by alumnus Joe Broughton, accepts students on any instrument – occasionally including students pursuing other disciplines. The Ensemble enjoys enthusiastic membership, has issued CD and DVD recordings and each year tours the UK with a 45-strong line-up. BUILDINGS

APART FROM A FEW YEARS IN TEMPORARY ACCOMMODATION, THE CONSERVATOIRE HAS BEEN LOCATED ADJACENT TO BIRMINGHAM’S MAGNIFICENT TOWN HALL THROUGHOUT ITS ENTIRE HISTORY. IN 2014, IT WILL MOVE TO A NEW HOME – JUST AROUND THE CORNER.

14 From its inception until the mid-twentieth century, the School of Music was premises were found to be unsuitable for the BMI to share, so the School housed in the BMI in Paradise Street, where it grew and developed, taking finally gained exclusive tenure of its own building. over and releasing rooms as it expanded and contracted, and little by little, negotiating a more and more autonomous existence. Over the years, the BMI BSM Principal, Gordon Clinton remembered the excitement of the move: “The invested in the School by building new theatres and renovating organs, but building, which had a magnificent entrance hall and staircase, proved to be eventually the School needed its own space. most attractive. There was a lot of atmosphere but the main thing was that the

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS BSM became one entity and had its own place.” In 1963 the School gained administrative independence from the BMI and began to consider a move to new premises. A desire to co-locate with the The building had 30 studios, a 200-seat concert hall, a library, offices, a small CBSO was also articulated. refectory and storage and workshop spaces. Organ lessons were given at Carrs Lane Church and St Paul’s Church in the Jewellery Quarter, while large Sir Peter Venables, Principal of Birmingham College of Advanced Technology, concerts were given in Central Hall, Town Hall, St Paul’s and the Cathedral. suggested that the Council consider moving the School to Gosta Green to become part of what seemed likely to become a federation of Colleges at Though not without problems, and lasting several years longer than planned, University level. The idea gathered momentum when the city began in earnest the move to Dale End helped to consolidate the positive changes that to implement its plans for an inner ring road, but it never came to fruition. Clinton had begun to effect. The School was accepted into membership of When the demolition date for the BMI was moved forward from 1968 to the end the European Association of Conservatoires in 1965 and a student exchange of 1965, the BMI and its occupants, including the School, were forced to seek between Cologne and Birmingham took place the following year. temporary accommodation. Due to the considerable cost of a new building, the project was approached in The building of a new college was beyond the finances of the BMI, so a two stages: teaching and administrative accommodation including a Recital Hall, deal was struck in 1964 whereby the School would be administered by the was to be followed by a main concert hall some years later. The estimated cost Birmingham Local Education Authority, a new building would be provided on of the building was £416,935! Noting the rise in importance of electronic music, the School’s current site in Paradise Street and that temporary accommodation an additional £1,000 was approved for video tape and recording equipment. Work would be provided in the old YMCA in Dale End. On inspection, the Dale End commenced on the building in 1969 and it was hoped to be completed by 1972. 15 16 Meanwhile, the School became a founding member of the new Birmingham The Conservatoire’s prowess in music and technology was firmly established Polytechnic in 1970, retaining its own identity as a specialist music school (as it under George Caird, starting with Yamaha sponsoring the installation of the remains today). UK’s first 100MLC Keyboard Laboratory in 1995. Since then, six professional- quality recording and editing studios have been built, each linked to every live About half of the equipment had been moved to Paradise Circus when a strike venue in the Conservatoire. In 2004, the Recital Hall underwent a significant in 1972 made it obvious that the new building would not be ready, so everything transformation thanks to a substantial grant from HEFCE and investment from

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS was moved back! The move was eventually completed during the Christmas the University. Green rooms were built; a new stage at floor level with a wooden vacation ready for the start of the new term in January 1973. Queen Elizabeth sprung floor was installed; new acoustic panels, bleacher seating, lighting The Queen Mother opened the building on 27 February. However, the School and chairs were added; and a major investment in electronic multimedia remained without a main concert hall for another 13 years. equipment was made: the installation of a pioneering multi-speaker system allowing performers complete control over amplified sound in the Hall – a UK Paradise Circus had been seen as a cultural and business centre in the first in a conservatoire. 1970s, combining the School of Music, the Central Library, the Town Hall, the Museum and Art Gallery, an office block (Chamberlain House), a hotel (The After nearly 40 years in its current building, the Conservatoire is once again Copthorne), a restaurant (La Galleria), a public house (the Grape Vine) and looking forward to a new home due to the city’s ambitious plans to redevelop shops. Unfortunately, the completion of the enterprise was virtually mothballed Central Library and Centenary Way. As in the 1960s, the Conservatoire’s for ten years until HRH The Duchess of Gloucester unveiled a plaque in new facilities will be developed in two parts. A beautiful Victorian building February 1986 to commemorate the £6 million first phase of the civic and located nearby will be completely refitted to suit the Conservatoire’s teaching, commercial scheme. She later attended the official opening concert in the new rehearsal and administrative needs, including a flexible mid-sized Recital Adrian Boult Hall (ABH), which had a broadcast-standard recording studio set Hall of about 200 seats. A separate large concert hall, replacing the 525-seat up by EMI, acoustics designed by Hugh Creighton and décor by Frederick Mark. Adrian Boult Hall will be built close to its current site in Centenary Way, linking Significantly, the new addition to the School also provided administrative and Town Hall and Symphony Hall, both of which have prominent places in the rehearsal space for the CBSO, until the opening of the CBSO Centre in 1998. Conservatoire’s history and development. TOWN HALL CONCERTS 17

On 18 June 1901 the Town Hall had to be engaged for the first time because the BMI’s Large Theatre stage was not sufficient to accommodate ‘the large musical forces which Mr Bantock had marshalled’. The Town Hall was crowded to excess by ‘a pleased and astonished audience’. It was the first public appearance of the Students’ Choir and Orchestra, both of which were under the personal tuition of the Principal. The soloists included Rosina Buckman and Harold Ketelbey, both of whom would go on to be musical luminaries. At the School of Music Committee, Bantock reported that ‘every seat in the Hall was occupied’.

Since that time, the Conservatoire has regularly given performances in Birmingham’s magnificent Town Hall, where it still pleases and astonishes audiences, as suggested by music critic Christopher Morley’s review in the Birmingham Post of the Conservatoire’s end of year performance – in Town Hall – of Mahler’s Sixth Symphony: “This was no embryo symphony orchestra waiting to be hatched into the great wide world: this was a fully-fledged ensemble trained in every department to the highest standards, and delivering a totally professional account of one of the world’s greatest symphonies.” (July, 2010) THE CBSO

18 Today, Birmingham Conservatoire and the City of Birmingham Symphony Orchestra (CBSO) enjoy a long-standing and fruitful partnership, which affects many aspects of the Conservatoire’s work, including the everyday business of teaching; around 10% of the Conservatoire’s tutorial staff are current CBSO members. Similarly, several Conservatoire graduates have been or are members of the CBSO. In fact, the history of the two organisations has been intertwined since the foundation of the Orchestra.

Alongside Neville Chamberlain – then Lord Mayor of Birmingham – Granville Bantock (Sir Granville Bantock from 1930) was a strong advocate during the First World War for the foundation of a permanent orchestra in Birmingham. Bantock set up a working party late in 1916 and also lent his support, but the venture was unrealistic until after the war finished. Finally in 1919, the working party was able to report and the City of Birmingham Orchestra (CBO) was created in 1920. The country’s first municipally funded symphony orchestra, the CBO was given an initial civic grant of £1250. Forty of its 75 players came from an orchestra previously established by School of Music alumnus and tutor T. Appleby Matthews, who became the CBO’s first conductor.

The CBO and the School began to explore concert collaborations from as early as 1924, while Dr Adrian Boult (CBSO Director and Conductor) took on directorship of the School’s evening Chamber Music in 1927. Several joint performances involving the School’s choir were given in the 1960s (in the Orchestra’s new name, the City of Birmingham Symphony Orchestra) under the baton of the Orchestra’s Associate Conductor (and School staff member), Harold Gray. THE CBSO

In 1986, the opening of the Adrian Boult Hall extension to the Conservatoire centenary celebration programme, CBSO:2020; and many Conservatoire 19 saw the fulfilment of a long-held wish: that the School and the CBSO could students also perform with the excellent CBSO Youth Orchestra. be co-located. From then until the opening of the CBSO Centre in 1998, the School provided administrative and rehearsal space for the CBSO, helping the THE CONSERVATOIRE’S 125TH ANNIVERSARY YEAR SEES THE relationship to flourish. DEEPENING OF THE CBSO RELATIONSHIP WITH THE ESTABLISHMENT OF A PARTNERSHIP FOR ORCHESTRAL DEVELOPMENT, BUILT AROUND A SHARED VALUE OF DEVELOPING INDIVIDUAL TALENT AND POTENTIAL BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS IN 1991, THE CONSERVATOIRE AND THE CBSO TOOK A BOLD STEP AND WITHIN THE CONTEXT OF COLLECTIVE EXCELLENCE. ESTABLISHED THE COUNTRY’S FIRST ORCHESTRAL TRAINING SCHEME.

The Partnership strengthens a vital link between the professional music sector The CBSO String Training Scheme aimed to develop a link between college and higher education and training, and aims to establish Birmingham as the training and professional orchestral employment. Designed to introduce destination of choice for orchestral musicians. students to the environment of a full-time professional symphony orchestra, the Scheme’s first auditionees were Michael Seal (violin – now Associate A key area of our collaboration will centre on continuing professional Conductor of the CBSO), Vaughan Jones (violin), Ashley Stevens (violin), Erica development for orchestral musicians, particularly with respect to leadership. Newton (cello) and Rachel Gronow (double bass). Following the success of the The Conservatoire is ranked third in its sector for research and our parent String Scheme, Woodwind (1993) and Brass (1994) Schemes were started. Harp institution, Birmingham City University, is a UK top-10 provider of Knowledge and Percussion were added relatively recently. Transfer Partnerships (KTPs). Capitalising on this, we are investigating the feasibility of a KTP with the CBSO to support research into orchestral leadership. Today the CBSO Orchestral Training Scheme at the Conservatoire enhances employability by providing in-Orchestra professional development experiences With the support of the CBSO, we have already introduced a Master’s award in and personal mentoring to selected students. Supporting workshop activities Orchestral Performance (Strings), available from 2012. We are excited by the extend the benefit of the CBSO’s involvement to all of our orchestral students. CBSO’s pioneering spirit and delighted to be working with them to define and Outside the Scheme, the Conservatoire Symphony Orchestra has given resource the professional orchestra of tomorrow from our shared base pre-concert performances at Symphony Hall in support of the CBSO’s own in Birmingham. 20 BRITTEN’S WAR REQUIEM

In March 1962, the School’s orchestra took part in the acoustic tests of the new The Chorus and Children’s Chorus … projected with clarity and commitment, Coventry Cathedral, playing the first notes of music in what has since become and the soloists … made their contributions with unfussy aplomb. This was a an iconic building, strongly associated with Britten’s War Requiem, premiered memorable War Requiem.” there by the CBSO in May of the same year. Social media played a part in helping students – and audiences – to In 2011, the Conservatoire’s own performance of the War Requiem earned engage more deeply with the Requiem: a student-led Twitter project invited five stars in the Birmingham Post: “Britten’s pacifist, compassionateWar Conservatoire students to share their thoughts on rehearsing and performing Requiem moves the listener at any hearing, but how much more so it did when Britten’s monumental work. Momentum grew throughout the week, as Birmingham Conservatoire presented it as its end-of-year major concert. … orchestral players, singers, soloists and even the conductor added their 21 this masterpiece demands a constant balancing between distancing rigour thoughts. The hashtag #consrequiem enabled all of the postings to be grouped and dignified emotional engagement, and [this] account was strong on both. together, creating an artefact of the creative process, to which audiences were Michael Seal … allowed both the main Conservatoire Symphony Orchestra and also invited to contribute on the night. the alert chamber orchestra to layer their textures and colours to telling effect. 22

FIRST PERFORMANCES

Copies of the first edition (published 1779) of the full scores of Gluck’sIphigenie Today, the Conservatoire regularly records and performs premieres of new en Tauride and Iphigenie en Aulide were donated to the School in 1903. In June works: our 2011 Frontiers + Festival of contemporary music alone included 1906 – 132 years after it was written and for the first time in England – the School over 40 world premieres and our Chamber Choir’s 2011 CD release ‘Invocation’ gave two performances of Iphigenie en Aulide/Aulis on a specially constructed (Regent Records) presents five first recordings, including three by leading stage in the BMI Large Lecture Theatre. The orchestra – conducted by the British composer James MacMillan. Philip Reed’s five-star review inChoir and Principal – was led by the distinguished Dutch violinist Max Mossel and Miss Zoë Organ says it all: “Under the expert guidance of , the Birmingham M Wadely, both members of staff. Another tutor, , later to become Conservatoire Chamber Choir’s ownership of this music is indisputable Music Critic of many of the major newspapers and author of an important book and together they give authoritative performances. … Anyone interested in on Gluck, wrote the detailed programme notes; the programme cost 3d. contemporary choral music should invest in this disc – warmly recommended.” SUPPORTING STUDENTS

BIRMINGHAM CONSERVATOIRE IS RENOWNED AS THE UK’S ‘FRIENDLIEST’ MUSIC COLLEGE. IN PRACTICAL TERMS, THAT FRIENDLINESS STEMS FROM A FOCUS ON THE INDIVIDUAL AND AN EXCELLENT LEVEL OF STUDENT SUPPORT. THROUGHOUT ITS HISTORY, THIS SUPPORT HAS BEEN PROVIDED NOT ONLY BY STAFF, BUT ALSO BY PROFESSIONAL CONTACTS, ALUMNI AND FRIENDS, AND THROUGH VARIOUS TRUSTS, SCHOLARSHIPS, PRIZES AND OTHER INITIATIVES.

The year after the School of Music was founded, a scholarship fund was set In line with the School’s change of name, the Association became Birmingham 23 up to provide financial assistance to those who needed it. Various prizes were Conservatoire Association (BCA) in 1989, and attained registered charity status donated over the years; awarded on merit, these served to encourage those in 1998. with the talent to pursue music professionally. A particularly creative example of a fund designed to give talented students a head start in the profession was Over the years, the Association has provided much more than financial support the Student Publication fund, set up in the 1920s to help composition students to students. The first ‘Freshers Welcome’ was organised in September 1983

publish their works. A joint scholarship was even set up with the University of and today these events still form an important part of the Conservatoire’s BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS Birmingham in 1920, to support students studying music at both institutions. informal induction of new students. Other events have concentrated on the However, the School lacked a formal alumni or friends association for many development of students, such as ‘How to survive in the Music Business’ (1989) years and getting one off the ground took several attempts. and ‘Medical Problems Associated with the Performing Musician’ (1990).

In February 1976 the Principal, Louis Carus, tabled a paper on a Supporters’ BCA organised and hosted the Conservatoire’s first Alumni Reunion in March (Friends’) Club. However, it wasn’t until July of 1981 that the Birmingham 1992. It was 15 years before the next reunion – in 2007 for students from the School of Music Association (BSMA) was finally launched. Open to former 1970s – when BCA formed a successful partnership with the University’s students, staff and regular supporters, the Association was established to Alumni Association. Since then the two organisations have collaborated on promote the work and welfare of the School; Peter Ward (still on the Board reunions for students from the years up to 1970 (2009) and the 1980s (2011), today) was its first Honorary Secretary. with a 1990s reunion planned for 2013.

Over 30 years prior to the launch of BSMA, the School had published a house Encapsulating the on-going importance of scholarships and support within magazine entitled Fanfare. BSMA re-launched Fanfare in 1983 as a news- music colleges, Louis Carus wrote in 1983: “In many ways I believe the creation sheet: Fanfare II, designed to provide a record of members’ activities, to note and existence of our Association (BSMA) is the most important aspect of our developments within the School, and to help present and former staff and transition to a new academic era.” students to keep in touch with one another as the School moved toward its centenary celebrations in 1986. 24 The Conservatoire is fortunate to have benefitted from the generosity of many patrons and supporters over the years and today several named entrance awards and prizes – among them awards made through BCA – support many talented students at the Conservatoire. Corporate supporters, such as Virgin Trains, Dillons the Bookstore and others, have also played a significant part in helping the Conservatoire to realise its ambitions with respect to providing a

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS first-class student experience.

IT IS GRATIFYING TO KNOW THAT OUR WORK, MADE POSSIBLE BY OUR SUPPORTERS, IS VALUED BY STUDENTS, WHO GAVE BIRMINGHAM CONSERVATOIRE THE SECTOR’S JOINT-HIGHEST SATISFACTION RATING IN THE 2011 NATIONAL STUDENT SURVEY.

Due to the recent changes in Higher Education funding, conservatoire education remains under considerable financial pressure and reliant in part on the generosity of individuals who believe in the value of music created and performed at the highest level. As we enter our next 125 years, we hope that our fund-raising efforts will yield even more support for the aspiring professional musicians studying with us. 25 OUR UNIQUE CONTEXT

26 There are nine conservatoires in the UK, each with a distinctive ethos and OUR STUDENTS BENEFIT GREATLY FROM BEING PART OF A CREATIVE atmosphere. We were established as, and remain, the conservatoire of the INSTITUTION, WHETHER THROUGH SELF-GENERATED COLLABORATIVE PROJECTS WITH STUDENTS FROM OTHER AREAS WITHIN THE Midlands. Though we are no longer the only conservatoire to be partnered with UNIVERSITY, OR THROUGH SCHEMES DESIGNED TO ALLOW STUDENTS a larger institution, our position remains unique in that our University enjoys TO WORK TOGETHER AS DEVELOPING PROFESSIONALS. the most diverse high-level cultural and creative portfolio of any in the UK.

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS In addition to the Conservatoire, the substantial cultural and creative training For instance, our jazz students regularly work with music industries students provision of Birmingham City University includes: from the School of Media, while the recent project ‘Make an Aria’ saw our • Birmingham School of Acting – a specialist theatre school and founding composers working with the University’s English students (as well as those member of the Conference of Drama Schools, with courses accredited by the from the ) to write new arias for a workshop with National Council for Drama Training organised by Music Theatre Wales, with Welsh National Opera • Birmingham Institute of Art and Design – the most significant centre for and Birmingham Contemporary Music Group (BCMG). art and design outside London, including Birmingham School of Art (the oldest element of the University, founded in 1844), Europe’s largest School of Given our origins, it’s hardly surprising that a wider context has always been Jewellery and Birmingham School of Architecture important to us. Following a visit to the then Manchester School of Music (now • Birmingham School of Media – one of the UK’s most highly rated media the Royal Northern College of Music), in 1922 the School Committee took schools and part of the University’s Skillset Media Academy an important step forward in establishing the School as a training centre for • The School of English – the only University to have collaborated with the aspiring professional musicians, stating that it wished to ‘make provision for National Academy of Writing and now home to the Institute of Writing two classes: • The School of Digital Media Technology – also part of the University’s Skillset (a) Whole time students, who for the most part intend to take up Music Media Academy and a collaborating partner in the delivery of our successful professionally. BSc (Hons) Music Technology degree (b) Part time students, generally amateurs, who desire to cultivate Music for its own sake.’ Nevertheless, the Committee was keen that the School forgot neither its 27 original purpose, nor its place in the BMI, stating: “The Committee consider the intercourse between the Music students and the General students highly advantageous to both: to the former by preventing the narrowness of outlook liable to arise from confining the attention to one subject, and to the latter, as indeed to the Institute generally, by fostering the collegiate feeling among the

students, which is a most valuable acquisition to all”. BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS

Though the Conservatoire is today part of a different parent institution, the Committee’s last sentence remains true: now, as in 1922, Conservatoire students benefit from studying in a larger institution alongside students of other disciplines and vice versa.

WE ARE ESPECIALLY FORTUNATE TO BE PART OF A UNIVERSITY THAT The ‘creative campus’ is part of an ambitious £180million investment IS INVESTING IN CREATIVITY AT A TIME WHEN MANY UNIVERSITIES ARE programme that will ensure that Birmingham City University continues to be CUTTING CULTURAL PROGRAMMES. one of the UK’s leading providers of graduate talent to support the creative and cultural sectors that form a vital part of the regional and national economy. In Birmingham City University is creating a new ‘creative campus’ at the heart addition to the relocation of the Conservatoire, other major University schemes of Birmingham, the newly-designated ‘Creative City’. The first phase of include the opening of a brand new £2million teaching wing to its Faculty development will involve a new building for Birmingham Institute of Art and of Health in Edgbaston, and major refurbishment of its City North Campus, Design, including facilities to be shared with Birmingham School of Media. following the completion of its £7million Doug Ellis Sports Centre. When complete, this £61million flagship development will see the University housing more media studios than anywhere between London and Salford. Today, our University context challenges and supports us to continue to move forward as a leading UK conservatoire. PROFILES

ROSINA BUCKMAN, Soprano HERBERT HORACE LUMBY, Violinist/Violist, Composition Birmingham School of Music, 1903 Birmingham School of Music, 1930s 28 New Zealander Rosina Buckman made her operatic debut in 1905 in Wellington, but Principal Tutors: Arthur Hytch, T Henry Smith, Christopher Edmunds returned to Britain in 1912, where she performed at House Covent Herbert Lumby studied violin and composition at the School. In 1935 he auditioned as Garden and was selected by Sir Thomas Beecham to be a principal dramatic soprano a viola player for and the CBO; he was accepted immediately. He was in his own opera company, formed of the finest singers of the day. She finished her appointed 3rd Viola in 1937 and became principal viola of the CBO in 1941, but left in career as a teacher at the Royal Academy of Music. She died in 1948 and her name 1944 to concentrate on composition and teaching, joining the School’s staff in 1945; was inscribed in The Musicians’ Book of Remembrance in 2010. he retired in 1972. A number of his orchestral works were broadcast from the Midland Region in the 1940s and 1950s. He died in 1987 and his name was inscribed in The PAUL BEARD, Violin and Viola Musicians’ Book of Remembrance in 2010.

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS Birmingham School of Music, 1916 Principal Tutor: Arthur Hytch HonFBC, Bass Baritone Paul Beard studied violin at the School, taking up viola on Sir Granville Bantock’s Birmingham School of Music, 1960s advice. He joined the newly formed CBO in 1920, leading the violas, and became Principal Tutor: David Franklin leader (1922–1932), aged 19. He also acted as leader of the National Orchestra of Richard Van Allan was a part-time student at the School. He made his professional Wales. In 1932 Sir Thomas Beecham invited him to lead his new orchestra: the London debut in 1964 at Glyndebourne. He sang Jowler in the world première of Nicholas Philharmonic Orchestra. He went on to succeed as leader of the BBC Maw’s The Rising of the Moon and the same year was the first winner of the John Symphony Orchestra and was awarded the OBE in 1952 ‘for public services to music’. Christie Award as the most outstanding young singer of the season. He made his Covent Garden debut in 1971 and appeared and recorded alongside opera legends GWEN BERRYMAN, Soprano and Cello and eminent conductors. In 1986 he became Director of the . Birmingham School of Music, 1920s He was made a CBE in 2002. He died in 2008 and his name was inscribed in The Musicians’ Book of Remembrance in 2009. Gwen Berryman studied at Birmingham School of Music in the 1920s, performing in several operas and playing cello in the Orchestra. She appeared regularly at The Grand Theatre in Wolverhampton, but was best known for her role as ‘Doris Archer’ BRIAN FERNEYHOUGH HonFBC, Composer in the BBC Radio series The Archers from 1951 to 1980. After her death in 1983, the Birmingham School of Music, 1963 BBC, Pebble Mill, sponsored a blue plaque commemorating her, which is located at Principal Tutors: Constance Warren, Dr Hawthorne Baker 123 Goldthorn Hill, Wolverhampton (her home town). A composer of considerable influence, Brian Ferneyhough’s solo works have been premiered by artists such as Heinz Holliger, Roberto Fabbriciani and John McCabe. He has taught at Darmstadt, the Staatliche Hochschule für Musik in Freiburg, the Royal Conservatory in the Hague and IRCAM, Paris. In 1987 he became professor of composition at the University of California in San Diego. Since 1999 he has been William H Bonsall Professor of Music at Stanford University. He was made Chevalier de l’Ordre des Arts et des Lettres in 1984, awarded the Royal Philharmonic Society Prize in 1995, and elected to the Akademie der Künste, Berlin in 1996. JEAN RIGBY HonFBC, Piano, Viola, Soprano RICHARD LAING, Conducting Birmingham School of Music, 1977 MA Music, 2002 Principal Tutors: Janet Edmunds and Janice Williams Primary Tutor: Andrew Mogrelia 29 Jean Rigby attended the School as a first-study pianist, with viola as a second study, Richard Laing’s career has included opera performances with his own company before turning to singing. Following further study, she joined the National Opera Studio Operamus, performances of The Dream of Gerontius, Pines of Rome with the and in her first year won an ENO Young Artist Competition. Glyndebourne invited her to Birmingham Philharmonic, B Minor Mass, more Bach in Eisenach, Mozart in cover ‘Cherubino’ on tour and in 1977 she made her debut with . Salzburg, working with soloists from Europe and America at the International Double She has recorded and performed extensively in the UK and abroad, including recording Reed Society (IDRS) Conference, and the Beethoven ‘Emperor’ concerto with Brigitte the world première of a song cycle by Michael Berkeley with the Nash Ensemble. Engerer. “The best part of my course was the extraordinary amount of podium time we were given – I was conducting nearly every day for a year. I don’t think any other conducting course in Britain offers such an opportunity.” PAUL FARRINGTON, Voice and Piano BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS GBSM (Teaching), GBSM (Performing), ABSM (Teaching), ABSM (Performing), 1977-1982 MARK HANSLIP, Saxophone Primary Tutors: Freda Hart and Coris Cartwright BMus (Hons) Jazz, 2002 Paul Farrington has built a career as an internationally-renowned singing teacher, travelling all over the world to teach and give masterclasses. “My first-time visits to work Principal Tutors: Mike Williams, Julian Siegel, Liam Noble at The Met in New York, New Zealand Opera school, Tokyo New National Theatre, and my As a student Mark Hanslip was awarded a silver medal by the Worshipful Company appointment at the Royal Opera House Covent Garden are treasured moments. We were of Musicians and the soloist prize in the BBC Big Band Competition. He recorded two blessed in having such an amazing team of staff and tutors at the School. We were given CDs with the Hans Koller Ensemble and, shortly after moving to London, co-founded such levels of support and allowed to develop our own particular skills, both musical and the Loop Collective. He has played on over 30 CDs with groups including Nostalgia personal, and I will always be grateful to those wonderful people, too many to mention.” 77, Outhouse, The Twelves, Jonathan Bratoeff Quartet and Keith Tippett. He has performed in the UK and abroad, and has been broadcast several times. “Being IAN FRANKLAND, French Horn encouraged to think idealistically about the music in terms of it being an art form and not just a profession has stayed with me.” BMus (Hons), 1998 Principal Tutors: Pete Dyson, Angus West, Bill Haskins ROSA CAMPOS FERNANDEZ, Clarinet After graduating, Ian Frankland joined Yamaha’s retail division, moving to its head Diploma of Professional Studies, 2003 office where he has been ever since. He is Marketing and Promotions Manager for the Band and Orchestral Division, looks after artist relations, and works on educational Principal Tutors: Anthony Pay, Joan Enric Lluna and Michael Harris activities and projects. He has a number of European responsibilities and is also the Rosa Campos Fernandez has been Co-Principal Clarinettist of the Hallé Orchestra, Web Operations Manager for all of Yamaha UK. “The best thing about studying at the Manchester since 2004, and also performs with ensembles including the London Conservatoire was the people and the place itself. I had the chance to see and hear Symphony Orchestra, the City of Birmingham Symphony Orchestra, Academy of St some of the greatest orchestras, conductors and soloists in the world at Symphony Martin in the Fields, Chamber Orchestra of Europe, Orquesta de Cadaqués. While a Hall, which is without doubt the best concert hall in the country.” student she was a finalist in the Tunbridge Wells International Young Concert Artists Competition and won the NYOS STAFFA Award. She maintains a busy life as a soloist and chamber musician, performing in Sweden, Italy, Spain and England. CREDITS

30 IMAGES

Cover: Colour images on front and back covers by Chris Webb, Nick Robinson, Christian Payne, Tim Berry, William Ellis, Martin Perkins and Graeme Braidwood.

BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS Page 2: Michael Seal conducts Birmingham Conservatoire Symphony Orchestra at Symphony Hall, Birmingham in a programme supporting CBSO:2020 – concerts leading up to the CBSO’s centenary celebrations. Photo: Nick Robinson.

Page 5: The old Birmingham and Midland Institute on Paradise Street.

Our first major anniversary publication was written by Dr David G Brock HonFBC Page 7: and published in 1986: ‘The Birmingham School of Music - Its First Century’. Junior Conservatoire student. Photo by Chris Webb.

This 125th Anniversary Review is based largely on new research carried out Page 8: by Birmingham Conservatoire’s Honorary Archivist, John D Smith HonFBC, to Performing Britten’s War Requiem in Town Hall, Birmingham. Photo: Chris Webb. whom we offer our sincere thanks. Page 12: We are also grateful to all of our current and past students, staff, partners, The Conservatoire Folk Ensemble performing in Worcester. Photo: Simon Goff. funders, University colleagues and others who have helped to make Birmingham Conservatoire the internationally respected and famously friendly Page 13: institution it is today. Jazz student. Photo by William Ellis. CREDITS

Page 15: 31 The Conservatoire’s current building in Paradise Place, pictured in the 1970s.

Page 17: The building of the current 520-seat Adrian Boult Hall at Paradise Place in 1985.

Page 18: BIRMINGHAM CONSERVATOIRE AFTER 125 YEARS Working with Pierre Boulez in a public masterclass during ‘Boulez in Birmingham’, a celebration of the composer and his works (2008). Photo: Christian Payne

Page 20: Performing Britten’s War Requiem in Town Hall, Birmingham. Photo: Chris Webb.

Page 22: In the ‘Make an Aria’ project, Conservatoire composers worked with English Page 27: students to create new works, which were presented by artists from Welsh Members of the Chamber Choir relax during the recording sessions for their third National Opera in a workshop with Nigel Osborne. Organised by Music CD, of Delius and Ireland part songs (forthcoming 2012). Photo: Graeme Braidwood. Theatre Wales and hosted by Birmingham Contemporary Music Group. Photo: Graeme Braidwood. Page 30: The 2010 world premiere of David Blake’s Scoring A Century, blending musical Page 25: theatre, opera and cabaret, and directed by Keith Warner. Rehearsing for an end-of-year performance of Walton’s Belshazzar’s Feast in the Adrian Boult Hall. Photo: Karntachat Raungratanaamporn. Page 31: Music technology students at work in one of the Conservatoire’s six state-of-the- art recording and editing studios. Photo: Chris Webb. Birmingham Conservatoire Birmingham City University Paradise Place Birmingham B3 3HG

Tel: +44 (0)121 331 5901 Email: [email protected] www.bcu.ac.uk/conservatoire