Issue 7

THE HEALING POWER OF MUSIC

Featuring Maya Youssef larkmusic.com Welcome

ur latest edition of LARKmusic is packed with exclusive interviews featuring music makers and music lovers who What’s Inside Omake a difference to other people’s lives. The theme of this issue is The Healing Power of Music and our cover story introduces Syrian-born Maya Youssef, who reveals the evocative sound of her qãnũn, a 70-string zither, which she plays to bring back beautiful memories to displaced people. Healing is also very much part of the Drum Works project which our Managing Director David Foster personally supports – check out the picture of David playing in a 120-drum concert on page 16. We also talk to double bassist Chi-chi Nwanoku OBE who has done so much great work in creating the Chineke! Orchestra – the junior section includes Sheku Kanneh-Mason , the cellist who played at the wedding of the Duke and Duchess of Sussex. There’s a salute to Richard Harrison, who offers promising young musicians access to instruments, and we check in with Youth Music, a charity which invests in music-making projects. While I am standing in for Gemma Deavall, who is on maternity leave, I am also delighted to confirm that the merger of Aston Scott and Lark has been formally completed. We are now Lark Music, part of Aston Lark Limited. We have been busy behind the scenes to make sure you continue to receive the high standards of service you have come to expect and for many months we have all been getting to know one another – in fact, a group of Aston Lark ladies recently enjoyed a guided history tour of London – and a stop off for tea! See page 23. The healing power of music Patricia’s privilege Best wishes

Cover story: Maya Youssef finds her music can cross the physical I always feel privileged and blessed to be able to borders and transport audiences on an emotional journey do what I really love, says Patricia Kopatchinskaja Louise Deacon Manager, Musical Instruments Division 4-6 8-9 [email protected]

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Helping hand Meet businessman and philanthropist Richard Harrison, who helps young musicians access stringed instruments

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Music in Art Making music work Beating a path Musical Notes Our guest writer Julian Lark Music celebrates a Youth Music project to excite young people Formed with inspiration from a Brazilian band, Private Client Director Julie Webb shares her news; meeting Perkins introduces us to the who are often experiencing challenging circumstances Drum Works aims to engage youngsters to clients and musicians while attending concerts, recitals and delights of early keyboard develop musical, technical and leadership skills festivals from Glyndebourne to Gower instruments 12-15 16-19 20-23

2 3 larkmusic.com LARKmusic Music puts your heart at peace Maya Youssef fled Syria and, six years on, she is studying for a PhD in the Healing Power of Music. Here she tells Lesley Bellew how her 78-string qānūn is a reminder of home

ound goes straight into your heart Maya has played at the Proms and struggle, no need to push and pull. alongside Damon Albarn, but says and body – and that is why Maya “To me, this is the essence of us, that a concert at a refugee centre Youssef has never doubted its humans, where we can tap into peace. in Denmark was one of her most healing power. The more we do, the more the healing. rewarding. S That’s the truth and power of it. “If I am playing to an audience of She said: “At first the audience all had “Healing has many meanings, whatever refugees from the Middle East, the stern, sad faces. All were tired from the person needs. Emotional music qānūn is the sound of home,” says their burdens, their journey and had brings back pain and heartbreak but Maya, who demonstrates the power experienced trauma. As the concert at the same time brings back beautiful and range of music on her 78-stringed went on, I noticed a little boy who kept memories. I take people on a journey.” instrument, the traditional Middle looking at this father. Eastern plucked zither. Maya’s own musical journey had “The father’s face was deeply sad, but as an unlikely beginning, and her “People say to me ‘We grew up with this I continued to play he began swaying, determination to defy the convention of sound and through it we can smell our his face was relaxing and as the music the qānūn being “a man’s instrument” favourite lemon tree, the jasmine, and continued he started dancing and is typical of her determination to “push see images of our home and loved ones’. singing. It was so beautiful. SWEET MUSIC: Maya plays the qãnũn at The Lemon Tree Trust Garden at RHS Chelsea It can be emotional but also joyful.” boundaries”. “In the UK it is the same - the music She said: “I always wanted to be Syrian-born Maya, who left her always brings people back. I intend it to a musician. It boils down to two homeland in 2007, was born in be this way and I ask for healing. Damascus into a progressive family of things: the first is sticking with it, People say to me writers and artists. She said: “In Syria “For others, who have not been exposed the instrument, the music, the life music is an integral part of people’s lives to war, the music still brings you back of a musician; the second is being we grew up with this and also an ancient tradition that goes to your heart – and in your heart space true to myself, even if that means I back thousands of years.” you are at peace with yourself, at peace am constantly challenged by doing sound and through with other people. There is no need to something new, wonderful, scary and → it we can smell our favourite lemon • The qānūn is a trapezoidal-shaped, plucked, pitch (the bass strings are brass wound and in wooden zither. The word translates as ‘the law’ as courses of two). They are plucked with plectrums tree, the jasmine, it is the only instrument in the takht (traditional made out of turtle shell or plastic, inserted in a ring Arabic ensemble) that can play all the notes of on each index finger. and see images of Arabic scales on open strings. • With a range of three and a half octaves, it • It is regarded as one of the central instruments requires difficult microtonal adjustments: the our home and loved in the traditional Arabic ensemble, setting the pitch strings once had to be stopped with the fingernail. and, across the Arab world, is almost exclusively This was overcome by the introduction of levers ones. played by men. beneath each string: raising them causes the • The bridge is supported on pillars that rest upon vibrating length of the string to shorten, so that the It can be emotional tables of skin. It has 78 strings, the majority of performer has to make lever adjustments with one but also joyful nylon or gut, organised in courses of three to each hand while continuing to play with the other.

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completely out of my comfort zone.” → She grew up hearing music from all over the world, in her father’s collection - Arabic classical, jazz, fusion, Tibetan monks and Western classical – and began studying at the age of seven at the Sulhi al-Wadi Institute of Music in Damascus. When she was nine her family bought her a violin, which she “reluctantly” agreed to learn – until a taxi ride changed her life. She said: “We were heading towards the Institute with my mother, and the taxi driver was playing a recording of an enchanting instrument that blew my mind. He told me it was the qānūn. I told him I was determined to learn it. His reply shocked me, but it kindled a flame. “It was a man’s instrument, he said, played only by men. He advised me to forget about it. I challenged him and said I will learn to play the qānūn! He laughed at me. “Later that day, as I was sitting in my solfeggio class, the head of the institute walked in and announced the qānūn class was open for enrolment. I enrolled, with the full support of my parents, who replaced my violin with a qānūn.” QĀNŪN QUEST: Maya Youssef began lessons at the age of nine At the age of 12 she won the Best Musician award in the Syrian National Music Competition for Youth and now taking a PhD at the University across the whole world. I like to think continued at the High Institute of of London’s School of Oriental and that my music brings people back to Music and Dramatic Arts in Damascus, African Studies (SOAS), looking at how humanity and to the centre of their studying for a BA in Music, specialising music can be used as a healing tool, hearts, where no harm can be done and in qānūn, while studying for a BA in working with Syrian refugee children at where all can exist together in peace.” English Literature at the University of camps in Europe. Perfectly tuned insurance Damascus. “The war started in my homeland in In 2007 Maya moved to Dubai to focus 2011. From that point on making music Maya Youssef Trio on a solo career, performing at venues was no longer a choice for me, it was a concert dates Because helping even the including Al Qasba Sarjah, The Sultan crucial means to express and come to Bin Ali Al Owais Foundation, and Burj terms with intense feelings of loss and • Thursday, September 13, Al Arab, and being interviewed by sadness from seeing my people suffer 7pm: The Stables, Milton youngest musician strikes a leading Arabic TV channels. and my land destroyed. Keynes • Sunday, September 23, 7pm: Two years later she was invited onto “On a hot afternoon in London in 2012 Ropetackle, Portslade-by-sea chord with us the full-time faculty to teach qānūn I was watching the news. At the time I • Thursday, September 27, and theory of Arabic music (maqam) felt overwhelmed, as if I was going to 7pm: Howard Assembly Room, at Oman’s Sultan Qaboos University in explode, so I held my qānūn and ‘Syrian Opera North, Leeds Our Music policy has been carefully designed to allow you to enjoy playing your Muscat. Maya said: “Performing and Dreams’ came out of me. That was the • Friday, September 28, 7pm: instrument with complete peace of mind, whatever your age. Lark Music is focused first piece of music I wrote.” teaching in Oman was a wonderful Royal Welsh College of Music & on protecting your possessions and supporting the musical arts. experience. However, I wanted to be Maya describes the album as a personal Drama, Cardiff in a place where I could engage with journey through six years of war • Tuesday, October 9, 7pm: St musicians and audiences from all over in Syria. “It is a translation of my George’s, Bristol the world.” memories of home and I put my feelings • Friday, October 12, 2018, She applied for the Arts Council’s into music. I see the act of playing music 7pm: The National Centre of Exceptional Talent scheme, where as the opposite of death; it is a life and Early Music, York 300 artists from around the world are hope-affirming act, an antidote to what For more dates and details visit mayayoussef.com endorsed migrate to the UK, and is is happening, not only in Syria, but www.larkmusic.com

Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010. 7 6 Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority. larkmusic.com LARKmusic Power of Love ension, humour, terror, and the Maiden, blending Schubert’s gentleness … Patricia original work with music by other Kopatchinskaja’s concert at composers. TSnape Maltings, Aldeburgh, in June Her latest season of concerts began was the definitive expression of what with the world premiere, at the Lucerne critics mean by an “electrifying” Festival, of her Dies Irae project, performance. inspired by the Latin Requiem -supported evening with the and Gregorian chant, and she has gave the plenty of plans for future creativity and audience a privileged insight into the collaborations. charisma of an artist described by Daily She said: “I am looking forward to a Telegraph classical music critic Ivan partnership with Camerata . Our Hewett as the “inexplicable wild child of first project will be a staged concert the violin”. entitled Time and Eternity. It’s a sort of And yet, 15 minutes after the applause spiritual meditation in a 700-year-old had died, almost as much with church, with candles, organ and video emotional exhaustion as appreciation, projection. Three priests from different the artist calmly insisted, while she religions will speak between pieces. talked over dinner with David Foster “With and his Münich and Julie Webb, that the fortune was Staatsorchester we take the challenge hers, in being able to communicate so of Schönberg’s Violin Concerto, and directly and dramatically through her we also perform this with his Berlin music. Philharmonic. “I always feel privileged and blessed "In preparation I learned and performed to be able to do what I really love,” the voice part of Schönberg’s Pierrot said Patricia. “And real love is so lunaire because it's there that he overwhelmingly powerful, it captures developed his new language. you fully, in an almost animal way. “This autumn we will tour and record “It is the only way to use it as energy if with and one disappears in this love, in the music. . These are musicians “Everyone knows what it is like to fall in who I have adored and admired for CLASS ACT: Patricia with the Mahler Chamber Orchestra at Snape Maltings in June Pictures: Beki Smith love - I compare the transformation on two decades. We will tackle Vivaldi but stage to this almost insane state of spirit. I convinced them to mix it with new → can relate us to spiritual powers and registers, which I love. I would not To be on stage means to make yourself works by Italian composers especially worlds but this is a delicate relationship exchange this violin for a more famous vulnerable, ultra-sensitive, listen with written for the occasion. and too much talking probably could Music is magic, or expensive instrument. spoil whatever there is. every cell and dialogue with everyone. “For 2019 we have the world premiere of “As a bow I mostly use my Tourte Bow. “The orchestra and I don’t create the ’s double concerto for “There is the film from Mongolia about and when we are Tourte was originally a watchmaker ‘WILD CHILD’: Electrifying a camel rejecting a newborn baby. Then and the inventor of the modern violin magic, the music itself is magic, and violinist Patricia Kopatchinskaja violin and cello with , two when we are open to it, and let it come, it new violin concertos by Marton Illes they fetch a musician who plays for days open to it, and let it bow during the French revolution. on his violin until the camel mother This bow is a thoroughbred horse, does is with us.” exhaustion, everything gone, including and Francisco Coll and a new ensemble dissolves in tears and accepts the baby. come, it is with us everything before you think, very fast As for her ability to find relaxation adrenaline. Then you can only try to piece by .” This is a traditional method there.” and reactive.” after such an intense performance, that recharge your batteries with a good meal If that’s not going to keep her busy, featured Stravinsky’s Suite from The and good friends.” Patricia also has ambitions to work “Otherwise I am married to a physician Among Patricia’s interests outside Soldier’s Tale, Bartók’s Divertimento for Born in , Patricia moved with further with , on “a and I am told that music, while “A Hungarian musician told me that in music is a love of cooking, another Strings and Ligeti’s Violin Concerto, she her family, as a schoolgirl, to Austria, poetic film, giving some context on important, will probably not heal Western Europe the weakest teachers area in which she exercises a particular added: “From a subjective point of view where she studied at the where Pierrot came from and where jaundice, pneumonia or cancer.” look after the beginners, whereas in creativity. an interpretation is ‘satisfying’ or ‘good’ Academy of Music and, now 41, has a he went,” and has already made, with Patricia certainly believes in Hungary it’s the best ones. Children She suggests: “Make a normal Italian if you can give a piece everything that repertoire ranging from baroque to the friends, a film of the first movement of encouraging a love of music among deserve the best in everything they are risotto, with rice, onions, olive oil, you have – your energy, your fantasy, newest commissions. ’ Dadaistic nonsense children, but is aware of the funding interested in.” bouillon and, at the end, instead of your love. In a prolific recording career, her status poem Ursonate, which she would issues facing music teaching in the UK, Her own music is created with an adding Parmesan, add Taleggio cheese “I often say that you have to become as one of the world’s most innovative like to complete with the other three and the difficulty many children have in 1834 violin by Giovanni Francesco and pieces of slightly boiled pears. the piece. That’s what we are trained classical artists was underlined by a movements. gaining access to instruments. Pressenda, who worked in Torino, and Nobody knows about this!” for and strive for. And if it’s a big piece 2017 Grammy Award for her typically Considering the broad theme of the She said: “We musicians should be in whose Italian and French influences Like her innovative approach to music, like the Ligeti concerto, then after the groundbreaking recording, with The Healing Power of Music in this issue of contact with children as often as possible she appreciates. “His violins often have that sounds like a taste well worth performance there is just nothing left, Saint Paul Chamber Orchestra, of Death LARKmusic, Patricia reflected: “Music → and help schools however we can. a unique, viola-like sound in the lower acquiring. 8 9 larkmusic.com LARKmusic

ONWARDS AND UPWARDS: Chi-chi Nwanoku OBE still fighting for funds s0 Chineke! can offer You can’t be more diverse music what you can’t see Chineke! founder Chi-chi Nwanoku explains how the orchestra’s diversity has created a sense of belonging for its young musicians

here is a thought that you can not influenced. There is a notion you can not be what you can not see,” says At the end of be what you can not see – the day the Chi-chi Nwanoku, founder of professionals and the juniors walked in to TChineke! – Europe’s first orchestra the first day our first rehearsals and became part of an composed of a majority of Black and orchestra that ranged from black to white, → “I do not think that is a coincidence. It composer of ‘relative ethnicity’ that stands The healing of power of music Minority Ethnic (BME) musicians. nobody wanted to with everything in between, there was an had never happened before, therefore alongside Beethoven and the like. Too it says to us all that Chineke! orchestra many composers have been written out of Chi-chi can endorse the Lark Music theme Chineke! also champions music by immediate sense of belonging. is giving people visual proof, belief and history for the wrong reasons, and we are from personal experience. She said: “I’ve composers Chi-chi says have been go home “Up until that moment, no two of these encouragement in what they can be. doing all we can to rectify this. It educates always thought music is medicine. There “written out of history” and she is happy players of colour were used to playing us, and the audiences who listen to it. It are few places where you can express your to see diversity not just within the together. Something happened in that “We have several projects each year also enriches the repertoire in every way feelings and music is one of those places orchestra but also in its audiences. pathway. The juniors are the pipeline – the room, and from that moment on, an and are looking forward to having the imaginable. So much is changing. So you into which you can pour your emotions. I After the orchestra’s debut at Wigmore Chineke! Juniors always have a project invisible bond had formed and wrapped resources to have residential courses can be, what you can see.” was devastated when each of my parents that takes place around the same time as itself around every one of us. We had for our junior players, conductors and passed away but was able to find an outlet Hall, which included music by Florence The future Price, the first African-American the professional Chineke! orchestra. each become part of not just ‘a.n.other’ composers. Part of my philosophy is that for my grief when playing my double bass. orchestra but part of a shared philosophy the orchestra must not be London-centric, woman to break through as a symphonic Despite generous donations, including “I have an incredible double bass that I “From Day One our professional players and commitment to a mission of positive because the diversity issue is global. composer, Chi-chi said: “Wigmore Hall backing from Andrew Lloyd Webber, Chi- bought from Francis Baines. He used to mentor every section of the junior action to develop our classical musical director John Gilhooly was thrilled. He “You could take any small town in the chi feels Chineke! could have even more call it ‘my old lady’ and would tie it to the orchestra; the strings, wind, brass, harps industry into one that truly belonged to wrote to me to say that he had never seen country. The musician may be the only to offer, if only suitable financing could be car roof with thick gut strings. The ‘old and percussion. The young people are now the 21st century, where inclusion and such diversity at a Wigmore concert.” black child in their class and in their found. lady’ was even parked Left Luggage at familiar with having tutors and mentors representation is paramount.” Victoria Station when he was living on a The orchestra’s repertoire of BME who look like them, whereas none of us youth orchestra. I am not saying they She said: “There are wonderful people who automatically do not feel welcome but, in leaky barge in Chelsea. composers, alongside standard orchestral seniors ever had anything like that. “At end of first day nobody wanted to recognise the impact of our work but until some way or other, they often do not truly pieces, was enthusiastically received on go home and it was the same with the we are funded properly we can not fulfil “He was a one-off, my mentor, and we had “Within a short space of time, the feel at home or that they fully belong, and its debut at last year’s BBC Proms, while juniors, they all enjoyed being in that our potential. such fun. The day Francis died I took the one of its young cellists, Sheku Kanneh- Chineke! Juniors had the sense and vision room. We’ve already created a generation have felt at some point that their colour “We apply for grants from the Arts instrument and his favourite bow and just Mason, has earned worldwide renown as of themselves as part of the classical music of young people walking into this may be getting in the way. They need to Council, and charities such as the Foyle sat in my music room and played some BBC Young Musician of the Year 2016, industry, because for the first time they industry knowing it was for them. feel part of an organisation where they are Foundation, Andrew Lloyd Webber Bach, a beautiful bass line, and it felt like and as a soloist at the wedding of the had teachers and mentors who they could not the odd one out. In Chineke! nobody “Sheku won the BBC Young Musician of Foundation and Cockayne, and have a fitting way to pay my utmost respects Duke and Duchess of Sussex. relate to ethnically as well as musically. feels they are the odd one out. the Year competition six months after generous individual donors. In order to to him, as I shed some tears and said Chi-chi said: “When creating the “Because we live in such a visual world, our first Chineke! concert, and in the “As well as music from the ‘great canon’ fulfil many of the burning issues we have goodbye.” Chineke! orchestra, and junior orchestra where everyone has access to a screen, following competition in 2018 four more we ensure that in every concert we to tackle we realistically need £500,000 For Chineke! concert dates and details as a sister organisation, it was to create a people are very affected by this and of our juniors reached the category finals. → play music that has been written by a annually to fulfil the demands on us.” visit chineke.org 10 11 Lark Music is proud to support Youth Music, a charity that invests in music-making projects for children and young people experiencing challenging circumstances →

12 MUSouth Music is a charity that ICAL YOUTH invests in music-making projects for children and young people Yexperiencing challenging circumstances – and we thought our readers would enjoy these wonderful pictures! Lark Music managing director David Foster attended a Youth Create Day at St Luke’s, Islington, part of a programme run by the London Symphony Orchestra (LSO) and funded by Youth Music. Young disabled people from East London made new music and enjoyed performances by the orchestra in the first of a series of taster workshops. The children also gained valuable opportunities to make friends and develop social skills, as well as exploring their creative and musical potential. David said he was ‘thrilled’ to see the young visitors try their hand at group music- making. He added: “Although the young visitors had not met each other before they were soon full of smiles and enjoying music- making with range of instruments and technology. “We at Lark Music know music education can really add to a child’s development so it was a privilege to be able to support this innovative work and see how the children responded to the LSO’s musicians.” Philip Chandler, of the LSO, said the event was “a fantastic demonstration of inclusive music-making”. He said: “As part of the LSO’s Musical Inclusion programme, our Youth Create Days provide inspiring opportunities for children and young people with learning disabilities to engage in music, many for the very first time. “The LSO has a longstanding commitment to ensuring music is accessible to all young people, and we are extremely grateful to have Youth Music’s generous support towards this vital area of our work.” HAVING A BASH

Can you spot Lark Music’s David Foster playing at a Drum Works’ event in Barking Town Square? That’s him, third row from front with the grey baseball cap! David said: “I’ve played a few times, and the event in Barking, alongside another 120 drummers, was amazing and dynamic. The drumming was so loud but the audience’s reaction was spine-tingling.” David became involved in 2014 when he met the Drum Works team at a creative entrepreneurs’ evening. He said: “It was a bit like Dragons’ Den for creative projects, where Drum Works was looking for funding. “I loved the concept but they were getting to the stage where they needed to be financially independent of the Barbican and self- sustaining as a project. “They wanted trustees so, being in business, and being a drummer, I was a natural fit.” → larkmusic.com LARKmusic

My dream is to create a mini ideal society where everyone at Drum Works is engaged and developing personally while supporting those around them Jo Wills, co-founder he smallest child will always go their frustrations as they play. Experienced leaders guide the regular for the biggest drum – and you music-making sessions that develop Artistic Director Jo Wills (pictured could say that’s an appropriate confidence, creativity, social skills, conducting in main image on pages 16- metaphor for the growing concentration, individuality and ambition of an extraordinary, and noisy, 17), a composer and bass player, whose group work. Guest artists who have T CV includes commissions for the BBC musical project. contributed include music producer and collaborations with rock musician Dave Smith, a drummer for former Led Drum Works, founded 11 years ago by Brian Eno and choreographer Tom Zeppelin singer Robert Plant. musicians Jo Wills and Ross McDouall, Dale, said: “My dream for Drum Works creates drumming experiences for up is to create a mini ideal society where The project is supported by six schools to 500 youngsters every week, as well as everyone is engaged and developing in East London, and two senior spectacular mass performances. personally while supporting everyone drumming ensembles, and its various groups come together at least once a The message behind the mission around them. year for huge, exuberant, collective statement, to use drumming “to inspire “We have all demographics, all age performances. creativity, build social cohesion and ranges, all working with and learning I’VE GOT RHYTHM: Every age group puts their heart and soul into the music empower young people to direct their from each other. Students have told A report by market researchers Kantar own futures,” is that the music can me that creating music together helps TNS quoted a 13-year-old player who encourage self-development among them understand each other. They said: “Drum Works helps people break → they wanted to try. “Funnily, the smallest access to formal training. in school without Drum Works; but he youngsters who might lack confidence kid will always go to the biggest drum,” stopped his frequent fighting and his concentrate on a team approach and out their souls. Some are really quiet “We did put energy into targeting or social skills – literally bashing out and timid and then they realise that said Jo. “I tell them ‘if your waist is lower they are open with each other.” kids who needed that outreach and concentration and grades improved to they can really shine,” while the parent than the drum you can’t play it around opportunity, who were having a tough the point that now, in Year 11, he is one of a 17-year-old said: “It’s like watching your waist’ but kids automatically want time. Recently we’ve been doing work of the project’s ‘Lead Learners’. a different child – she loses herself in the to go for the big drum.” with an autism specialist school and we music and she’s so much more confident The standard school project costs Students who want to progress can join in the group.” ran a project with deaf children. £18,000 to reach 100 children over a the senior ensembles and even go on “We’ve seen people develop on all levels, year, so finding the money to avoid Jo said: “When Ross and I started we to work placements and professional could not have dreamed the impact. development. from some kids just being able to stay in having to drop programmes is a constant We were finishing a leadership masters’ a room longer or learning how to solve challenge. Jo is particularly pleased that some programme at The Guildhall when we problems in life.” who engaged in the project’s early days, Jo said: “Kids care so much they have were asked to deliver outreach around when it was based at The Barbican, are One of the cornerstones of Drum Works tried to help – they’ve offered to write, performances by a band from Brazil. still involved, and that children who is that the youngsters are encouraged to and busk – but 15-year-olds can’t raise “The music, broadly samba, wasn’t joined at 11 are now at The Guildhall, or create their own rhythms, rather than £18,000. We’ve got amazing tutor and familiar to kids here, though. Growing university, and returning to help the next simply being told what to play. leader teams and they are great role up in a favela is markedly different. generation. Jo said: “Musically, we keep getting models but they do need paying as they “We found that the kids wanted to play He said: “Seeing people flourish is better. People grow and know how to are working musicians. special. Some go into performing and evolve and create. They spark off each and write their own music, to beats they “They need to know all the material, liked and using the influences of what some into music college. The project other and come in with more interesting and all four drum parts, and play they listened to – dance music, hip-hop made them understand that music was ways of composing and arranging. and grime – music that spoke to them. an option. Everyone is quicker to share ideas and just like that. We need fast-learning, That’s how we started, using Brazilian be inspired. There is a transformative knowledgeable leaders who can change “We would talk to a school about kids equipment.” impact.” drums at any stage and be that adaptable who would benefit most, depending on immediately. It’s quite a skill.” BEAT IT: Working together proves a sound education They soon noted that the youngsters issues with school engagement, musical The mother of one child, Eddie, told Jo would gravitate towards instruments → talent, personal challenges and lack of she did not think the boy would still be Visit drumworks.co.uk 18 19 larkmusic.com LARKmusic MUSICAL NOTES News from Julie Webb Private Client Director

ell, what a summer it has Bronte Zemlic, Guildhall School oboist been with sunshine all Madeleine Randall, Royal College the way from the Gower of Music violinist Iona Allen, Royal WFestival to Glynebourne. It’s been so Academy of Music violinist Courtenay busy that I’ve filled four pages in this Cleary and classical guitarist Andrey issue of LARKmusic! Lebedev – another star of the Gower Festival! At Glyndebourne it was a thrill to watch the dress rehearsal for Giuliano Cesare With a unique joie de vivre the talented by Handel, David McVicar’s much-loved young musicians entertained the production which made a triumphant audience with lively scores from Ivor return to the summer festival. Novello to Benjamin Britten, as well as Bizet’s Carmen and Ross Edwards’ Over on the Gower Peninsula the White Cockatoo Spirit Dance. excitement was electrifying as Menuhin Competition prizewinner Nathan I thoroughly enjoyed the musical link Mierdl, 19, flew in from Geneva to play between the dance themes but was at St Cattwg’s Church, in Port Eynon. also thrilled to be in Leighton House, somewhere which has been on my visit Nathan’s competition prize of 10,000 list for so long. Swiss Francs and 20 concert dates was outshone by the surprise two-year loan Visit taitmemorialtrust.org and of a Golden Period Stradivarius. rbkc.gov.uk/subsites/museums/ leightonhousemuseum.aspx Gower Festival artistic director Gordon Back, who also runs the Menuhin More young talent shone through at the Competition, revealed Nathan would London Symphony Orchestra’s ECHO be playing the violin for the first time Rising Stars concert at St Luke’s music at Gower. The audience was completely centre. Luxembourg-born percussionist enthralled by the recital. Christoph Sietzen, who is on the cusp of a major international career, played a The festival goes from strength to new work by Stewart Copeland, of The strength as Gordon continues to attract Police. It was great to be there! some of the greatest names in classical FROM OVER THE POND: Julie Webb talks to Tom Morris of the music – from Karl Jenkins to harpist Royal College of Music Boston and Cleveland Orchestras. Catrin Finch. The Welsh community The Royal College of Music continues to Below, clockwise from top left, Dancing in the Salon with Andrey Lebe- loves the two-week festival and makes be an important friend of Lark Music. dev, Iona Allan, soprano Samantha Crawford and Ross Alley visitors feel very welcome – in fact, we The Patron’s evening with the Ognisko have made many new friends and can’t Harlem Quartet playing Beethoven wait to return in 2019. and amazing jazz from Dizzy Gillespie Visit gowerfestival.com and Billy Strayhorn put a spring in my step while I was also honoured to More young talent watch HRH The Prince of Wales present While all eyes were on the Gold Coast of Sir Andras Schiff with a Doctorate of Australia for the 2018 Commonwealth Music, and a Fellowship to Professor Games, another group of young Robert Winston. antipodeans in London were proving It was also a delight to watch the Royal world-class. College of Music Symphony Orchestra At the elaborate Leighton House led by world-renowned conductor Museum, off High Street Kensington, an Bernard Haitink. Pianist Martin James evening of music supported by The Tait Bartlett, who has just graduated with Memorial Trust saw young Australian top honours, opened the concert with and New Zealander musicians perform Mozart’s Piano Concerto no 24 in an exciting programme linked to the C minor. It is considered one of the theme of dance. composer’s greatest works and Martin did it justice. Presented by New Zealand musical director Ross Alley, ‘Dancing from Watching RCM student Jamal Aliev’s the Salon’ brought together piano career grow is so rewarding and at his accompanist Chad Vindin, soprano Wigmore Hall recital he demonstrated Samantha Crawford and mezzo-soprano GOLDEN SMILE: Nathan Mierdl with his Golden Period Stradivarius why he is set to become one of the → 20 21 larkmusic.com LARKmusic MUSICAL NOTES News from Julie Webb Private Client Director

RHS Chelsea alive with sounds of music

greatest cellists of his generation. Jamal’s of our work and the Lark Music- Work, play, listen hard while revealing 2,000 years of history. → music feeds my soul. supported concert with violinist Patricia Architect Christopher Wren’s Kopatchinskaja, at Snape Maltings, was The ladies from Aston Lark found A Lark Music evening recital at the exquisite St Stephen Walbrook a mind-blowing experience (as featured plenty in common during an RCM featured Roberto Ruisi on violin Church, near the new Bloomberg on pages 8-9). afternoon tour and tea in London’s and soprano Julieth Lozano alongside Square Mile, enjoying time to learn building, intrigued us most. Here we our Lark Scholar, cellist Wallis Power After the concert I met Tom Morris, more about our great city and more learned that Wren never used stained (see page 24) playing Debussy. It was a artistic director of Boston and Cleveland about our shared interests! glass as he preferred light to pour magical evening looking out over the orchestras, who talked about staying in into his buildings. We also loved the Blue Badge guide Simon Whitehouse Royal Albert Hall. Kent for many happy summers and his later addition – an altar designed by he evocative sound of Ralph Fishers Opera with singer Sarah gave our group a fascinating tour of friendship with Pierre Boulez. sculptor Henry Moore. Vaughan Williams’ The Lark Lenney and clarinettist Poppy Bedoe Former Lark Scholar Renate Sokolovska the financial district pointing out Ascending caught our attention bringing further attention John keeps in touch and the Talent Unlimited Tom has had the most incredible career iconic buildings such as the Royal The church survived the World War Tat RHS Chelsea 2018. Warland’s Pearlfisher Garden which concert at St James’s, in Piccadilly, but his link to Aldeburgh is really Exchange and the Bank of England, II Blitz but was surrounded by bomb highlighted how plastic is killing our featured the premiere of her partner important to him. set against ever-higher new towers, sites for years and it was here that the Williams, a descendant of the oceans. George Stephenson’s composition Samaritans was founded. Wedgwood family, was honoured by ‘Ookpik’. Pashley Manor Gardens violinist Sally Potterton, above, who At the other end of the scale, there was Anniversary celebrations played the piece in the beautiful gold plenty oompah from a Yorkshire Brass A wonderful sunny afternoon medal-winning Wedgwood Garden, band on the popular Welcome to Lark Music continues to support the at Pashley Manor Gardens with designed by Jo Thompson. Yorkshire Garden while British rapper inventive London Sinfonietta, which Aston Lark clients and friends from Professor Green officially opened the celebrated its 50th anniversary with Handelsbanken went down a treat. Music – although playing second RHS Feel Good Garden. a concert at the Southbank and we There was plenty of time to network fiddle to the gardens – wove its way Students from the Norfolk Taal-Rasa- enjoyed the company of virtuoso violinst and catch up with news as well throughout the London showground. Bhaua Dance Academy also brought Gyorgy Pauk, who played with the as enjoying a tour with the head In the Main Avenue romantic sounds the Grand Pavilion alive wearing London Sinfonietta 50 years ago. We are gardener – and a slap-up tea. wafted from the Spirit of Cornwall colourful traditional Indian dress to also privileged to support the Endellion If you want to get in touch contact me garden, with six musicians, including show off their culture and music. String Quartet, who are heading towards at [email protected] a harpist, and dancers from Constella their 40th anniversary. Opera Ballet performing a specially And as featured in our cover story, Maya Youssef also filled the air with written piece by composer Leo Geyer. Aldeburgh Festival TIME OUT: Aston Lark and Handelsbanken clients enjoy an music from her 78-string zither in the Being involved with the Aldeburgh afternoon Pashley Manor Gardens and, above, Simon Whitehouse More opera came from The Pearl Lemon Tree Trust Garden. Festival is another important feature shares the secrets of the City of London with Aston Lark ladies

22 23 larkmusic.com LARKmusic

Professional orchestral work

● St Endellion Summer Music Festival (2015-) LOVING ● West Wycombe Chamber Music Festival (2016-) ● London Young Sinfonia (2017-2018) the personal touch ● Klosters Music Festival (Win- ter, 2017) ntil Wallis Power joined the Orchestral training Royal College of Music she Finding interests away from the long hours of practice, ● Cambridge University had never realised playing and with a desire to travel more, Wallis enjoys taking Chamber Orchestra, principal Ucello in an orchestra would be such an photos on her mobile phone, which she shares on (2016) enjoyable experience. her Instagram account, featuring everyday scenes ● RCM Symphony Orchestra like cafes and her favourite places to go. She said: “I (2017-18) When conductor Bernard Haitink came don’t use Instagram for music-related events or self- Chamber music to the RCM in February, Wallis was promotion, it’s just a bit of positivity every day and ● West Road Concert Hall chosen to be in the orchestra. people find it very calming.” (Cambridge, 2015- Aether Wallis, who joined the RCM after Instagram: wallis–p–­ ) studying at Cambridge, said: “It was ● Fitzwilliam Museum Gallery so inspiring to play alongside so many 3 (Cambridge, 2015- Aether other musicians, with an average age of and maths.“It was stressful at exam time Piano Quintet) 20, led by such a renowned conductor. I wouldn’t be – finals was the most stressful period ● Midsummer Music Festival He had turned down the Berlin of my life, balancing cello practice with (2017) Philharmonic Orchestra to be at the able to come to revision but I think it has made me ● London Month of the Dead RCM and, as the rehearsals went on, I appreciate everything so much more. I Festival (Dissenters Chapel, could feel myself improving.” college without am playing catch-up at the RCM but I 2017- Thanatos String Quar- also use what I learnt at Cambridge in tet) A “huge fan” of chamber music, she Lark’s support and this environment. added: “Playing in an orchestra can ● Stamford International Music be taxing and takes long hours but I am grateful they “I wouldn’t be able to come to college Festival (Spring 2018) the project with Bernard was so awe- without Lark Music’s support and I am Solo inspiring. It was the most professional are so active grateful they are so active. They attend ● Trinity Chapel, Cambridge – orchestra I had ever taken part in. It recitals and events which is such a Vivaldi Concerto for 2 Cellos in G minor (2016) was a turning point. Now I am assured friends. At school I was not into sport or lovely, personal touch. You don’t always ● Solo recitals in Pembroke, orchestral playing is something I → dancing so I never felt that okay talking get that. Bringing music to audiences is Sidney Sussex and Gonville would like to do and it offers great about music as it was not such a ‘cool’ the nicest experiences and Lark events opportunities.” thing. host the most interesting people. and Caius college chapels, Cambridge (2014-17) The niece of viola virtuoso Lawrence “Not only has Lark made it possible “I also have an unusual name. I just ● Lark Insurance recital, Parry Power, Wallis grew up in Plymouth for me to study at the RCM, but it has wanted to fit in and be normal but you Rooms, Royal College of Music with her mother, a clarinet teacher, and, provided me with personally tailored realise these can be your strengths. My (2017-) having begun violin playing at about the support and encouragement throughout mum has always been most supportive Awards age of six, achieved Grade 2 with merit and motivating. She suggested applying my musical journey here.” despite never feeling fully comfortable ● Full scholarship to the Guild- to Cambridge and I went to mini Those opportunities at the RCM have with the instrument. She also learned hall School of Music (Junior lectures and sessions in Oxbridge-style inspired Wallis’s ambitions to join piano – “piano does stay with you, so Department) which made me more confident. I am an outreach programmes 'to share the joy that is always useful” – but did not ● Instrumental Award from only child, which socially can make you of music' with youngsters who might begin the cello until moving to High Cambridge University (2014- doubt yourself with no role model of not otherwise have exposure to it. She Wycombe, in Buckinghamshire, at the 17) your own age.” also teaches chamber and orchestral age of seven. ● Lark insurance scholarship, music. She said: "Working to put across Choosing Cambridge over a specialist supported by an Arthur Bliss She said: “My grandma suggested the ideas to different ages, eight-13, makes music college was a challenging scholarship (RCM 2017-19) cello and I went to the local music you learn about yourself, too. Some kids decision, but one which she is happy to Education and qualifications centre for three or four years. I really want to do music but, with no support SIEZING OPPORTUNITIES: Wallis Power is enjoying life at the RCM have taken. She said: “Not many people ● LRSM Cello Performance took to the cello. or the right environment, they are at a get a chance to go to Cambridge and Diploma (obtained in 2014) disadvantage so I would like to help. “I never knew music could be a I love writing and the analytical side ● BA (Hons) Music, University career and there is no obvious route. Settling happily in High Wycombe, to which she gained a scholarship. of music. It’s important to be a well- Julie Webb said: "It has been delightful of Cambridge (2014-17) Mentally it is hard. However, my uncle she took her mother’s advice to follow rounded academic and being around to see Wallis blossom before our eyes, ● MPerf in Cello Performance, Lawrence is a huge inspiration, being so the example of her uncle, and aunt, in “My granddad would drive me there non-musicians brings a varied group of accomplishing more and more each RCM (2017-19) successful.” studying at the junior Guildhall School, every Saturday, and I made good → friends, from disciplines like medicine time we see her perform." 24 25 larkmusic.com LARKmusic Helping hand rewards talent

Turn to your right, turn to your left and talk to somebody – that’s the etiquette at the Wigmore Hall, in London, and there must be many a story to come from those conversations

hen Richard Harrison got create a charity, providing good-quality the support and ensuring the charity chatting with violinist instruments for young musicians to acquires the instruments at good prices. Louise Williams, before a borrow. We have an excellent relationship which Wlunchtime concert, he was astonished I really appreciate.” to learn how difficult it was for a He started by buying three violins, The violins range in value – three are musician like her to obtain a suitable and now has a collection of 44 fine old valued at £20,000; 10 at £40,000 and six instrument. Italian, French, Dutch and English violins and one viola, plus five bows. at £60,000 -and are lent according to String players at a conservatoire may be each student’s ability. They are kept in able to borrow a fine instrument during The Harrison-Frank Family London by J&A Beare and, once loaned ONE CHAT LEADS TO CHARITY: Ina Wieczorek, Louise Williams, Richard Harrison and Simon Morris the years of their studies but, after Foundation was set up in 2014 and all out, have to be returned once a year to leaving, often find their own is simply the instruments have been acquired ensure the instrument is in good order, inadequate for the concerts, auditions in collaboration with violin experts re-assessed for insurance purposes and Having established the charity, Richard and competitions. J&A Beare, who has helped to set up, has a passport for overseas travel. I loved music but I was never going is hoping to put it in safe, new hands, maintain and run the scheme. Of course, an instrument of sufficient Among the foundation’s many to be a brilliant musician finding an administrator to work with quality for a professional career is often Richard said: “We would like to have 60 successes was the victory for two of its the trustees and oversee matters like tax unaffordable for young players. Music- violins and 20 bows. I am very grateful beneficiaries in last year’s Trondheim returns. lover Richard saw an opportunity to to Simon Morris at J&A Beare for International Chamber Music with eight children. When I went to again to another qualifying applicant. → their house I could smell the poverty. Could you be that person? If so please Competition, where violinists Colin Applicants need to be UK citizens or at I knew from a very young age that I visit harrisonfrankfoundation.com or Scobie and George Smith were members least planning to stay in England for the of the triumphant Maxwell Quartet. never wanted to be in­ such a position. email [email protected] I wanted to have a secure living and next five years, recently graduated or Colin has been loaned an instrument worked really hard from the beginning. in the last year of college, and aged no by Paolo Castello, from Genoa c.1770, I loved music but was never going to more than 30. Special event and George another by Bernardus be a brilliant musician so I studied Calcanius, Genoa c.1740, and a bow by After the initial contact, they are asked business.” Richard Harrison has Albert Nurnberger from 1930. to send a CV and an mp4 recording or In 1962 he moved to Paris, leaving his video link showcasing their playing, and only occasionally met the American-born Richard learned to play wife and two children with his mother may then be invited to an interview. musicians who borrow his the violin at a young age in the USA. for two months while he found a job. foundation’s instruments so Successful musicians are obliged to He said: “It was the thing that middle- He said: “I was very ambitious and my Lark Music is arranging a arrange insurance with Lark Music class people did, send their children to career led me to London, where I feel is musical evening where the music lessons. We lived in a mill town now home.” before collecting the instrument from young violinists will play -producing town where my father was J&A Beare. a thank-you concert for a pharmacist and well-connected. I am Richard, now a naturalised UK citizen, Richard. The charity expects beneficiaries to almost ashamed to say that we lived well has earned the charity dual status, in during World War II. the UK and US. Loans are arranged provide updates on career developments If you are interested in annually, with the option of extending and invitations, if possible, to any attending please contact “I was sent to grammar school and up to five years, until the musician is performance they may give in London. Julie Webb at julie.webb@ my life was a far cry from that of my established and earning enough to Candidates may be asked to play once astonlark.com OPPORTUNITY KNOCKS: Instrument loans for young musicians grandparents. They were East European think of buying their own violin. The or twice a year in a charitable event immigrants who arrived in the US → instrument can then be released to lend organised by the trust. 26 27 larkmusic.com LARKmusic Quills, Hammers and Tangents Conductor and keyboard player Julian Perkins introduces us to the varied delights of early keyboard instruments

deally keyboard players would harpsichord, spinet or virginals give a Fire of London in 1666. need over 100 instruments brilliance to the sound; the hammers properly to reflect historical that strike the strings of the fortepiano Tunes from the theatre were readily Ireality. This is especially true for those or square piano (actually rectangular) available in keyboard arrangements of us who tackle the rich menagerie of enable greater changes of volume; the for domestic consumption, and a lady’s pre-piano keyboard instruments. metal blades (called tangents) that press education was considered complete only when she could partake in the social up against the strings of the clavichord Broadly speaking, Bach’s French delights of chamber music-making can endow the musical line with a Suites don’t have to be played on the in the respectable demeanour of an beguiling intimacy. harpsichord, and Haydn’s keyboard accompanist. sonatas work equally well on the The harpsichord is a great vehicle for Although there is a voluminous and Mozart with his sister Maria Anna (or ‘‘Nannerl’’) and father Leopold at a fortepiano, underneath a portrait harpsichord, fortepiano or clavichord. the gregarious musician. As seen below, of his deceased mother Anna Maria. Johann Nepomuk della Croce (c1780) Such composers thrived within a it usually featured in ensembles as an significant solo keyboard repertoire culture of pragmatic plurality; people accompanying instrument. dating from Elizabethan times, it was This game-changer of 1721 surely paved played keyboard music on whatever only with the epic cadenza in Bach’s → If the harpsichord was the hare – dazzling Keyboard instruments were especially the way for the development of the solo instrument was to hand. fifth Brandenburg Concerto that the popular in the home, and Samuel Pepys harpsichord transmogrified, like piano concerto in the latter part of the the public before fizzling out at the end of the Artistically, this brings different gives a touching account of multiple ‘Tubby the Tuba’, from being a group’s eighteenth century. qualities to the music. The birds’ households loading ‘a pair of Virginalls’ harmonic and rhythmic backbone to a eighteenth century – the clavichord was the That said, the keyboard continued to be quills that pluck the strings of the on to boats when escaping the Great solo instrument on a par with the violin. → used as a domestic jukebox throughout tortoise that continued to plod along in private the eighteenth century and beyond, with an abundance of music for the blossoming amateur market. Unique in the early keyboard family Even though I haven’t mentioned for its capacity to create vibrato, it was organs, I hope these musings have It is perhaps surprising to us that the used throughout the Renaissance and alerted you to the abundance of riches to harpsichord co-existed and competed Baroque periods primarily as a study which early keyboard players had access. with the fortepiano throughout the instrument. latter part of the eighteenth century, but Just as one might resist wearing only it was only when iron frames replaced Its zenith came in in the one set of clothes, we keyboard players wooden ones in the early nineteenth late eighteenth century where it was can avoid instrumental monogamy by century that fortepianos morphed into the ideal medium for expressing the embracing the sheer diversity of our sonorous pianos, overpowering the empfindsamer Stil (‘expressive style’) tradition. harpsichord. as epitomized in many of the keyboard In doing so, we refresh and deepen our works of J. S. Bach’s son, Carl Philipp Despite the contradictory love for a wealth of music – not only for Emanuel. nomenclature, pianos (as opposed ourselves, but also for our audiences. to fortes) now had the structure to If the harpsichord was the hare – maintain a high string tension, giving dazzling the public before fizzling out them the horsepower to be heard in at the end of the eighteenth century About Julian large spaces. The concert hall was then – the clavichord was the tortoise that Julian Perkins is Artistic becoming part of the social fabric, and continued to plod along in private. Director of Cambridge it was the piano that could hold its own Handel Opera and Founder Mozart allegedly composed La in solo concertos with orchestras. Director of Sounds Clemenza di Tito on a travel clavichord Baroque. He has also started Private music-making had its own whilst en route between Vienna and a series of short videos that heroine – by comparison something Prague, and composers as diverse as feature original keyboard of a Cinderella. But the unassuming Carl Nielsen, Malcolm Arnold and Peter instruments. IN KEY; Above left, Frederick, Prince of Wales, and his sisters in front of Kew Palace. Philip Mercier (1733) clavichord ravishes one with its dulcet Maxwell Davies owned one of these Visit julianperkins.com Above right, A Woman playing a Clavichord. Gerrit Dou (c1665) tones. diminutive seductresses.

28 29 larkmusic.com Risk management by Senior Account Handler Fay Watts issing a note is one thing. Losing an instrument is Perfectly tuned insurance a calamity of far greater Mcost and consequence. Of course, you will treasure and protect your Because wrapping your valuable property when it is in your possession, but Lark Music has found that musicians often fail to consider instrument in cotton the implications of loaning their instrument to other players. wool simply isn’t practical We know of multi-million-pound instruments lent to people who have no alarm or safe, or live in a rented room Our Music policy has been carefully designed to allow you to enjoy in a multiple occupancy house. If it playing your instrument with complete peace of mind. Lark Music was a piece of jewellery worth the same is focused on protecting your possessions and supporting the amount there is no way most insurers would cover it - but we always look for a musical arts. solution. In some cases our security requirement is a safe or gun cabinet, or an internally lockable room, as we know alarms aren’t practical in flats or apartments, where many players may live. Funnily enough, having a dog has also helped in some cases, which is perhaps about as fun as the subject gets! When loaning an instrument, it is important to consider whether, if SAFETY FIRST: Consider the implications when loaning an instrument you had no insurance, you would feel satisfied that the borrower has adequate measures to protect the item. For Do consider all occupants of the advance to check its musical instrument instruments valued over £1 million building. Does the musician live alone, policy. They should also check with we would expect to see a number of with family or with housemates? And customs controls in the countries they precautions in place. if your instrument is likely to be left plan to visit that their instruments and unattended, with limited security, for We advise making the following checks bows contain no items restricted by more than four days, consider asking before loaning your instrument: CITES (the Convention on International for it to be returned to you, or stored Trade in Endangered Species). They will Physical protections somewhere more secure. need to travel with an itinerary that There should be locks on all external Travel patterns details their purpose, to prove they have doors, and on accessible windows, no intention of selling the item. especially on the ground floor and, Does the musician borrowing your if the instrument is to be kept in an instrument travel often for work? If Check that they plan to stay in reputable apartment, consider whether or not the so, how do they travel, and does the hotels and, if the instrument is left entrance to the building is controlled by instrument always go with them? If unattended in a hotel room, to take all a porter, or electronic ‘buzzer’, key, card they leave it at their place of work, they reasonable measures to hide it, leave or code-pad. should ensure it is kept safe and secure. the TV on and put the ‘do not disturb Do also check that the borrower has no Ask if there is an alarm at the premises sign’ on the room door. Also ask them to plans to lend the instrument to anyone consider booking any taxi journeys, to – and whether or not it is activated else without first consulting you. every time the building is empty – and limit the need to wait on the street. if there is a safe, gun cabinet or lockable If the instrument is to be taken on a www.larkmusic.com cupboard in which the instrument can plane, ask if the borrower has bought an For details please contact Fay Watts at be stored. extra seat and/or contacted the airline in [email protected] Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010. Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY 30 Aston Lark Limited is authorised and regulated by the Financial Conduct Authority. www.larkmusic.com

Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010. Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority.