Royal of Music Prospectus 2014 Welcome

Principal Professor Jonathan Freeman-Attwood

Principal’s PA: Kate McKiernan Hon ARAM Telephone 020 7873 7377 Email [email protected]

‘For 190 years the has been the nursery, hothouse and generator for the British music profession’ The Times, November 2011

‘The Academy exudes a cosmopolitan confidence in tune with the global business... Teaching is outstanding. So is the value it adds. And in a performance art where work can be precarious, it rolls out musicians who are highly employable’ , May 2009

Professor Jonathan Freeman-Attwood I am regularly asked what is special about There are no great secrets to how we BMus, MPhil, Hon RAM, FKC the Royal Academy of Music. Whilst one can achieve this. We constantly seek to employ Studied at University of Toronto and Christ reel off a number of internationally the very best teachers. We plan our Church, Oxford. Recording producer for recognised qualities which have made it one unrivalled Diary of Events to provide thrilling numerous independent record labels of the world’s leading conservatoires, I often opportunities. Our programmes of study including Channel Classics, BIS, Chandos, focus on the particular success with which ‘enfold’ the principal study in ways which Naxos, AVIE, Hyperion, Simax etc., many of our young musicians communicate their art provide an evolving menu of professional which have won major awards and prizes. through a blend of passionate advocacy and development skills — reflected in our strong entrepreneurial purpose. From period careers’ profile and the special pride we take As a trumpet player, he has performed performance to many contemporary idioms in witnessing students’ success in the very widely with solo recitals and discs of sonatas — via an outstanding programme of solo, best professional circumstances. and concerti. His series of solo discs for chamber, operatic and orchestral activity — Linn Records encompasses ‘The Trumpets Academy graduates have become a ‘known The atmosphere of any institution is always that Time forgot’ with John Wallace, ‘La quantity’ for how they shape and influence hard to pinpoint, though it’s generally Trompette Retrouvée’, ‘Trumpet Masque’, the creative industries in which they work. accepted that the Academy is a wonderfully ‘The Romantic Trumpet’ and, most open, stimulating, supportive and friendly recently,‘A Bach Notebook for Trumpet’. Yet however distinguished its past, students place — encouraging and pursuing the Broadcaster for BBC, New Grove contributor, choose the Academy as a place to study for realisation of goals which instil confidence critic and writer on performance for all the kaleidoscopic possibilities on offer for and allow its students both to ‘toughen up’ numerous publications. the ‘here and now’ — the blend of practical, for the challenges ahead and ‘soften up’ to artistic, social and intellectual qualities which absorb the vast range of artistic influences He is a member of the Board of Garsington allow our graduates to make a durable which nurture an ever-more receptive and , Trustee of the Associated Board of impression on a 21st-century world. Tracking interesting musician. The Academy does the Royal Schools of Music, Young each student ‘journey’ is extraordinarily not offer one dogmatic ‘school of teaching’. Classical Artists Trust, Countess of exciting at the Academy and encourages Finding the right teacher for you, and building Munster Musical Trust, Mendelssohn those privileged to work here to question, at appropriate opportunities around the focal Scholarship Foundation, etc., and Trustee every turn, the quality and effectiveness of point of great mentoring, is what makes the of the University of . our work. We seek to realise the potential of ethos of the Academy particularly appealing. each and every musician here, in what is a As Dean of Undergraduate Studies 1991– 95, uniquely purposeful and inspiring community Do come and visit us at any time, whether at he directed the first cycle of the Academy’s of musicians. We respect our significant an Open Day, or dropping in on events to see BMus programme. Vice-Principal and Director traditions, but we encourage students to a world-class roster of committed musician- of Studies 1996–2008, and Principal since ‘critique’ the status quo and to challenge teachers devoted to the Academy and its July 2008. Appointed a Professor of themselves, fellow students and staff, as students. Talk to students and ask them in 2001 and a Fellow they discover an identity and skills to carry what it’s really like here! You will always of King’s College, London in 2009. them into — and through — professional life. receive a warm welcome. Becoming a Broadening Professional Musical Horizons

Deputy Principal Deputy Principal Mark Racz (Programmes and Research) Timothy Jones Deputy Principal’s PA: Eileen-Rose McFadden Hon ARAM Please contact: Telephone 020 7873 7351 Catherine Jury, Academic Secretary Email [email protected] Telephone 020 7873 7361 Email [email protected]

Mark Racz BA, MFA, Hon FBC Timothy Jones MA, DPhil, LTCL American-born pianist, teacher and music Timothy Jones studied at Christ Church, educator Mark Racz studied at Rutgers Oxford. A specialist in Viennese classical University and the Manhattan School of music, and the relationships between Music, and with at the analysis, interpretation and performance, Fontainebleau School of Music. He has lived he has previously held appointments at the in the UK since 1980 and has performed Universities of Oxford and Exeter and at widely as a soloist, accompanist and the Royal Northern College of Music. As chamber musician, with a particular interest a keyboard player has performed widely in in early-20th-century music. He has seventeenth- and eighteenth-century music given numerous masterclasses at the and has premiered many contemporary conservatoires in Weimar, Bucharest, works. He is particularly interested in the Krakow, and Shanghai. He was role of improvisation within composed Vice-Principal of Birmingham Conservatoire musical structures. He is currently editing before moving to the Academy in 2008. Mozart’s String Quartets for Peters Edition.

Performance is at the heart of all our work The Royal Academy of Music/Kohn Studying at the Academy is a advanced level is demanding and we take at the Academy, and we present over 400 Foundation Bach Cantata Series, a firm transformative experience. It will raise great care over the ways we support our public events every year. If you decide to fixture in London’s concert life, provides your game technically, artistically and students’ education and training. This is study with us we’ll endeavour to give you a unique opportunities for students to work professionally. At all levels — undergraduate, not just a question of the expertise and real sense of what professional musical life with the world’s leading professionals on masters or post-masters — the Academy’s experience of the Academy’s teaching will be like for you after you have graduated. this challenging and rewarding repertoire. programmes of study are designed to staff, or the incomparable resources of enable students to develop the knowledge, our library, collections and museum, but For example, we believe it is essential for We’re extremely proud of our graduates’ skills and experience that are essential for also the emphasis on individual lessons orchestral students to work with professional successes: to name just a few recent a successful career in music in the 21st and small-group teaching at the core of our conductors of the highest artistic stature. achievements, Adam Walker (2009 graduate) century. They reflect the current programmes and the support we give to Semyon Bychkov, Yan Pascal Tortelier, and Denis Bouriakov (2004) have become professional reality of being a high-level focused professional development. and Sir , amongst Principal Flutes of the London Symphony musician, and have the structured flexibility others, are all regular Academy visitors. Orchestra and New York Metropolitan to serve the evolving needs of individual All our programmes of study benefit from Opera respectively, and Dominic Seldis students’ ambitions and aspirations. the Academy’s vibrant research culture, Our students perform at major London (1992) Principal Double Bass with the Royal which has particular strengths in research venues including the , Concertgebouw Orchestra. From our many To achieve this, the content and delivery of through practice — whether in the fields of Wigmore Hall, Royal Albert Hall and Kings successful violin graduates, our programmes are in a constant state of artistic collaboration, the creation of new ‘The UK’s oldest conservatoire is Place, as well as at the Aldeburgh and (2006) is in great demand as both soloist ‘One of the most exhilarating opera controlled evolution. In particular, we take texts, or the investigation of performance often — rightly — spoken of with Spitalfields festivals. As I write this, we are and concertmaster. Pianist Benjamin premieres I have attended... great care to fine tune the content and traditions. In the last three years projects reverence, training nearly 700 looking forward to our latest large-scale Grosvenor (2012) received two Kommilitonen! makes no delivery of principal study, practical undertaken at the Academy include the students from over 50 countries collaboration with London Sinfonietta: a Gramophone Awards, the Classic Brits compromises but challenges young activities, professional development and premiere production of Sir Peter Maxwell in more than 20 disciplines’ performance of Stockhausen’s Gruppen at Critics’ Award and a nomination for a BBC performers to new vocal and academic components so that the entirety Davies’s new opera Kommilitonen! Muso magazine, December 2011 the Royal Festival Hall in October 2013. Music Magazine Award in his graduation dramatic achievement’ of the programme is greater than the sum (co-commissioned with the year. The many prestigious conducting Opera magazine, April 2011 of its parts. In 2013 the UK’s Quality New York), the development of the new ‘A masterly account of Peter Maxwell We collaborate regularly with the Juilliard appointments of Edward Gardner OBE (2000) Assurance Agency praised the way the Redgate-Howarth oboe mechanism, and Davies’s The Lighthouse... All gave School, and in July 2012 we gave joint include Music Director of English National ‘The performance was a model Academy embeds professional a new edition of Fauré’s songs (published performances that would have performances of works by Respighi, Ravel Opera since 2007. Academy singers are of vitality, concentration and development within the curriculum and by Peters Edition). Each year the Academy graced any production in the world and at Avery Fisher Hall in ubiquitous on the stages of opera houses period authenticity’ the care we take in constantly improving hosts around 100 research events, ranging The Spectator, May 2013 New York and the Royal Albert Hall in and concert venues world-wide — just a Sunday Times, March 2009 an already world-class student experience. from conferences and exhibitions to world- London as part of the BBC Proms, few of them are listed on page 11. Guitarist (Bach Cantatas Series) premiere performances, public lectures Above: Stephen Sondheim in conducted by John Adams. Miloš Karadaglic’s (2006) Deutsche We believe that all Academy students and student-centred research seminars. conversation at the Academy Grammophon CDs have topped the charts Above: Open Academy in the museum should be able to communicate the power Royal Academy Opera singers took all the worldwide, and OBE (2005) of music not just in their performing or This is an environment in which artistic and solo roles and were the chorus in Ravel’s continues to inspire countless people with composing, but also in written and spoken intellectual curiosity are given every L’enfant et les sortilèges with the BBC the joy of singing. form. We recognise that studying at an opportunity and encouragement to flourish. Symphony Orchestra and Stéphane Denève at the Barbican Hall in April 2013, Your own professional career begins here. 02 | 03 recorded for broadcast on BBC Radio 3. Please read on to find out more. Performance Your Principal Study Director of Artistic Planning: Nicola Mutton BA, Hon ARAM

‘This building has been absolutely at the centre of everything that I have done, everything that I have learnt’ Sir , during his return to the Academy in March 2011

Principal Guest Conductor, Symphony Orchestra Yan Pascal Tortelier Hon RAM Principal Guest Conductor, Concert Orchestra Trevor Pinnock CBE, Hon RAM Klemperer Chair of Conducting Semyon Bychkov Visiting Professor of Music Pierre-Laurent Aimard Hon RAM Menuhin Professor of Music Maxim Vengerov Hon RAM

Performance training at the Academy Performance is the essential driving force 2010–2013 Highlights prepares students for an increasingly behind every aspect of Academy life, and > Premiere production of Kommilitonen! by demanding and diverse professional life and the Academy’s termly events brochure Sir and David Pountney. encompasses chamber, symphonic and reads like a ‘Who’s Who’ of music. In the operatic repertoire, historical performance, last two years alone, Academy students > Sir Simon Rattle worked with Concert media music of all kinds as well as musical have worked in concert, workshop and Orchestra on Bruckner’s Ninth Symphony. theatre and jazz. masterclass with high-profile international artists including: > Joint orchestral performances with Juilliard See pages 44-–5 for more details. School conducted by John Adams in New > Conductors and instrumentalists Pierre- York and at the BBC Proms in London. ‘Don’t miss the Royal Academy of Music’s Laurent Aimard, Martyn Brabbins, Semyon outstanding Sunday lunchtime concert Bychkov, , Stéphane > Monthly Bach Cantatas, including concerts series surveying all of Bach’s cantatas’ Denève, the late Sir , Sir Mark with guest directors John Butt, Sir John Eliot The Times, February 2013 Elder, Sir , Edward Gardiner, Peter Schreier and . Gardner, , Susanna Mälkki, ‘A fine cast of Academy students proved Franck Ollu, Trevor Pinnock, , > Frank Zappa celebration and recording, Boulez that this opera can fizz... excellent Sir Simon Rattle, Leif Segerstam, Masaaki with Susanna Mälkki at Southbank Centre, performances... no weak links’ Suzuki, , Yan Pascal George Benjamin’s 50th birthday concert The Times, May 2012 (Mansfield Park) Tortelier, Mitsuko Uchida, Jac van Steen and with London Sinfonietta, UK premieres Maxim Vengerov of major works by Grisey and Nono, and ‘When a performance of Die Zauberflöte recording of Reich for percussion. succeeds so brilliantly you immediately > Singers Sir , Barbara Bonney, want to go again, something has Wolfgang Holzmair, Dame Kiri Te Kanawa, > Musical Theatre company on BBC Radio 2’s worked... Oh how we loved them’ Angelika Kirchschlager, Dame Friday Night is Music Night. The Observer, March 2012 and Ann Murray > Recordings for Linn of Stein’s arrangement ‘Any opera at the Academy is well worth > Composers John Adams, George Benjamin, of Mahler’s Fourth Symphony, and Anthony seeing’ the late Sir Richard Rodney Bennett, Sir Payne’s new arrangement of Bruckner’s The Spectator, November 2011 , Pierre Boulez, Sir Peter Second, both conducted by Trevor Pinnock. Maxwell Davies and Stephen Sondheim ‘You can listen to the next generation of > Discussions with Dame Janet Baker, Alfred classical musicians at the Royal Academy > Jazz artists , Dave Douglas, Brendel, Dame Anne Evans, Sir John Eliot of Music. The very best musicians train Peter Erskine, Stan Tracey, Kenny Wheeler Gardiner, Vladimir Jurowski and many more. here... It’s the most accessible and and Norma Winstone friendly musical venue anywhere’ > Appearances at London’s most prestigious The Sunday Times, January 2012 > Directors John Copley, John Cox, David venues, in addition to our vibrant series of Pountney and John Ramster events at the Academy’s home in 04 | 05 . Head of Strings Jo Cole FHEA, ARAM Studied at the Academy with Florence Strings Hooton and David Strange, then with Ralph Kirshbaum, followed by a substantial playing career spanning 25 years. A Violin & Viola distinguished, seasoned orchestral cellist and experienced chamber musician, her versatility includes period performance Cello and innovation in outreach. Deputy Head of Strings at the RNCM, 2006–10. She resigned her membership of the Academy Double Bass of St Martin’s, and as Co-Principal of the www.ram.ac.uk/strings City of London Sinfonia, to devote herself to training string students at the Academy.

The Academy’s enviable reputation for Viola Some recent students training string players is firmly based on Yuko Inoue BA, PPRNCM, Hon ARAM Nathaniel Anderson-Frank first violin, Philharmonia the stimulating educational and cultural Garfield Jackson FRAM * Sadie Fields (violin) MBF Emerging Excellence Award experiences of our students, the distinction Martin Outram MA, FRAM * Thomas Gould soloist and leader of Britten Sinfonia of our faculty and visiting professors, and — Paul Silverthorne FRAM Giovanni Guzzo leader, Manchester Camerata not least — the successful careers of many James Sleigh ARCM, Hon ARAM Rachel Helleur cello, Berlin Philharmonic of our alumni throughout the profession. Matthew Souter AGSM, Hon ARAM Hermione Jones (cello) Animateur at Wigmore Hall Jon Thorne * Elizabeth Lamberton first violin, RLPO String students at the Academy benefit Visiting Professors of Viola Katie Littlemore sub-principal second violin, BBC NOW from a winning combination of strong Hon ARAM Wenhong Luo Personal Prize, Tertis Comp. artistic traditions with forward-thinking Garth Knox David Stark principal double bass, BBC NOW realism about today’s musical life, forming Hartmut Rohde Hon RAM Rachel Meerloo double bass, Hallé Orchestra an imaginative springboard from which to Su Zhen ARAM Georgina Poad double bass, Royal Concertgebouw launch their careers. The crucial disciplines Charlotte Scott first violin, Badke Quartet v — solo, orchestral and chamber music — Cello Luka Suli´c touring internationally with are given intensive attention throughout, Hon RAM Louisa Tuck principal cello, Northern Sinfonia nurturing talent to produce versatile, creative Jo Cole FHEA, ARAM Kaoru Yamada first violin, Royal Philharmonic Orchestra and practical musicians of excellence. Lionel Handy FRAM Fournier Trio Parkhouse Award From the start we foster engagement with Badke Quartet first, Melbourne International Competition the reality of an unpredictable and rapidly Josephine Knight FRAM (Alfredo Piatti Chair of Cello) Bernadel Quartet Greenwich International String changing profession, enabling a smooth Mats Lidström Hon ARAM Quartet competition winners transition into professional life rather than Felix Schmidt Hon ARAM Jubilee Quartet St Martin-in-the-Fields Music Prize a jolt into the unknown at graduation. David Smith FRAM, FRSAMD * Professor David Strange FRAM (Professor Emeritus) 2012–2013 Highlights Wenhong Luo Students have access to all professors here Visiting Professors of Cello > Underlining the Bass: a year-long exploration ‘ I came here simply because the Academy is for chamber music coaching, but * indicates Colin Carr Hon RAM of virtuosic, ensemble and orchestral playing one of the world’s very top music schools. special responsibility in this important area. Steven Doane > Academy Cello Ensemble performed at From my first visit I was struck by the Sung-Won Yang St James’s Piccadilly, and recorded Philip atmosphere here, even by the paintings on Menuhin Professor of Music Cashian’s ‘Dark Flight’ for release on NMC the wall, and from then it was always in my Maxim Vengerov Hon RAM Double Bass > Maxim Vengerov, Sainsbury Royal Academy mind that I’d like to study here. I also love the Duncan McTier BSc, ARCM, FRNCM, Hon RAM Soloists and student concerto soloists international nature of London. Violin Graham Mitchell ARAM > Masterclasses with James Ehnes, Sylvia Remus Azoitei MMus, ARAM Rodney Stewart FRAM Rosenberg, Helen Callus and Truls Mørk We get the most impressive teachers at Diana Cummings FRAM Visiting Professors of Double Bass alongside distinguished Visiting Professors the Academy. I even had a masterclass Richard Deakin MMus, FRCO, FRAM Matthew McDonald > Garth Knox presented ensembles featuring on Paganini’s Campanella with Maxim Joshua Fisher Dominic Seldis FRAM every viola student in his dramatic works Vengerov last term — he played the piece on Mayumi Fujikawa Hon ARAM > Czech chamber music series, with coaching my viola, beautifully of course! Clio Gould AGSM, Hon RAM String Instrument Collection by Wihan Quartet and Emperor Quartets OBE, Hon RAM, FGSM, FRCM The Academy has ‘one of the premier and > Undergraduate quartets participated Being a member of a Leverhulme Fellowship Maurice Hasson Hon RAM most accessible collections in the world’ in Britten Sinfonia’s Quartet Lab at the quartet has brought a lot of new experiences Philippe Honoré (The Strad). Many of the 250+ instruments Southbank, and at Manchester International and opportunities to me — including external So-Ock Kim are available to students. The staff of the String Quartet Weekend performances at prestigious venues and the Hu Kun Hon RAM on-site workshop advise students on > Visiting chamber music coaches included opportunity to record in a small ensemble Sophie Langdon ARAM maintenance of their own instruments, John Myerscough (Doric Quartet) and David under the direction of Trevor Pinnock. Jack Liebeck ARAM and a bow specialist visits regularly. Finckel (recently of the Emerson Quartet) Mateja Marinkovi´c Hon ARAM > Four student quartets benefited from the I’d love to keep on living in London after I’ve Nicholas Miller ARAM Graduates perform in all the major European Davey-Poznanski String Quartet Scheme, graduated. I hope to specialise mainly in solo Hon RAM, FRNCM orchestras, including the Berlin Philharmonic and three quartets were Leverhulme and small ensemble repertoire, but the level György Pauk Hon RAM, Hon GSM (Ede Zathureczky Professor) and Royal Concertgebouw Orchestras, and Chamber Music Fellows of orchestral playing and the calibre of the Igor Petrushevski Dip Moscow Conservatoire, Hon RAM there is strong representation in all the UK major conductors who work at the Academy Maureen Smith Hon ARAM orchestras. Recent graduates are on trial for Senior Administrator: has made me realise that I want to keep Tomotada Soh Hon ARAM prominent chairs in UK orchestras. Esmé Acton-Stewart BA, Hon ARAM playing in orchestras too!’ Visiting Professors of Violin Telephone 020 7873 7395 Daniel Hope DipRAM, FRAM Email [email protected] 06 | 07 Tasmin Little OBE, FGSM, Hon ARCM Open Day: Wednesday 25th Sept. 2013 Henry Neill Head of Vocal Studies ‘ After having studied academic music at Mark Wildman FRAM, FRSA university, I found that arriving for my first Chorister in Gloucester Cathedral before Vocal term at the Academy was a very different studying at the Academy with Henry experience. I was immediately thrust into Cummings and Rex Stephens, and later an intense programme which ranges from with Rupert Bruce Lockhart. A national regular vocal coaching to language and drama. and international competition prize- Studies winner, his career began as a member I knew that the Academy boasts teaching of the BBC Singers and he subsequently www.ram.ac.uk/vocal staff of the very highest calibre, but I didn’t performed as bass soloist in the UK, expect the environment here to be so Europe and USA. Students’ recent incredibly welcoming. This is partly due successes include prizes in many to the sheer number of hours of individual major competitions. Many current and coaching you receive — but it’s also down to former students sing as principals in the attitudes of the teachers and coaches, major opera companies internationally. who are completely dedicated to enabling students to achieve their aims. The fine traditions of the Vocal Faculty are Recent Masterclasses have included Philip Doghan BA, Hon ARAM (Oratorio) Outside of regular classes there are always perpetuated by a new generation of eminent John Mark Ainsley, Sir Thomas Allen, Florian Emanuela Ferrari-Osborne Laurea cum laude, MA, opportunities to participate in high-quality teachers, with comprehensive training which Boesch, Barbara Bonney, , Hon ARAM (Italian) music making, whether in a competition, prepares students for their careers in opera Sarah Connolly, Wolfgang Holzmair, Simon Karen Halliday (Movement) recital or in one of the regular masterclasses. and concert repertoire. Apart from intensive Keenlyside, Angelika Kirchschlager, Dame Julie Kennard BA, ARCM, Hon ARAM (English Song) Together these ensure that I’m having vocal and technical study and associated Felicity Lott, OBE, Ann Murray, Iain Ledingham MA, FRAM , FRCO an extremely busy and productive time disciplines, students enjoy regular repertoire Dennis O’Neill, Brindley Sherratt, Dame Kiri (German Repertoire, Italian Recitative, Choirs) here, and they’re all contributing to my coaching and specialist training in historical Te Kanawa and Sir John Tomlinson. Johanna Mayr MagPhil (German) development as a young professional.’ performance (including the critically-acclaimed Anna Motzo (Italian) Bach Cantata Series, in collaboration with Visiting Professors Victoria Newlyn (Movement) the Kohn Foundation) and new music. John Mark Ainsley Hon RAM Isabella Radcliffe MA, BA (Italian) The curriculum is enriched with very regular Sir Thomas Allen CBE, Hon RAM CBE, Hon RAM, LGSM (Lieder, English Song) masterclasses and workshops given by Barbara Bonney Hon RAM John Ramster BA, Hon ARAM (Acting) outstanding international performers. Susan Bullock BMus, FRAM, LRAM Richard Stokes MA, Hon RAM (Professor of Lieder) ( Visiting Professor of Singing) Nicole Tibbels BA (French) The Postgraduate Vocal Studies Chevalier José Cura Mark Wildman FRAM, FRSA (Song Performance) Course incorporates a preparatory opera Angelika Kirchschlager Hon RAM curriculum pathway, designed for students Dame Felicity Lott DBE, Hon RAM Operatic Coaches are listed on page 11 who demonstrate operatic potential at Dennis O’Neill CBE, DMus, Hon RAM under Royal Academy Opera. their audition but who would benefit from Brindley Sherratt FRAM a period of consolidation in both vocal Dame Kiri Te Kanawa Hon RAM Recent Student Successes technique and stagecraft. These students Many Academy graduates have performed may progress into Royal Academy Opera Singing Professors principal roles with the major opera houses subject to further audition. In addition to core Alexander Ashworth MA, DipRAM, ARAM throughout the world. singing lessons, vocal coaching, language Michael Chance CBE, MA tuition, acting and movement classes, Nicholas Clapton MA They have also become Wigmore Young weekly individual and ensemble opera Jennifer Dakin ARAM Artists; BBC Radio 3 New Generation Artists; coaching and stage work classes prepare Ryland Davies FRNCM, FWCM, Hon RAM Jette Parker Young Artists at the Royal Opera students for fully staged and costumed Philip Doghan BA, Hon ARAM House; ENO Harewood Artists and young opera scenes, with a professional director. Glenville Hargreaves BMus, Hon ARAM, artists at Glyndebourne Festival Opera, Berlin GRSM, ARMCM, FRSA Staatsoper and Stuttgart Opera; Kathleen Those aiming for a career in solo concert Anne Howells ARMCM, Hon FRMCM, Hon RAM Ferrier Award winners including first prize and or chamber choir work can take Julie Kennard BA, ARCM, Hon ARAM 2013, second 2011 and 2012, Song Prize a specialist recital/concert curriculum Kathleen Livingstone DipMusEd, DRSAMD, Hon RCM 2009, 2011 and 2013, Ferrier Bursary 2010; pathway. In addition to weekly singing CBE, Hon RAM, CStJ, Hon DMus, FRSE winners of the Maggie Teyte Prize, Miriam lessons and coachings, there is a Ann Murray DBE Licette Award and Gold Medalists at the comprehensive programme of language Elizabeth Ritchie LRAM, FRAM Royal Over-Seas League Competition. and song classes as well as specialist Sarah Walker CBE , LRAM, FRCM , FGSM Academy graduates were first in the classes in oratorio, historically-aware Lillian Watson AGSM, Hon RAM 2009 Wigmore Hall/Kohn Foundation performance and contemporary music. Mark Wildman FRAM, FRSA International Song Competition (second in 2011), and winner and third in the 2013 The Academy welcomes applications from Vocal Repertoire Coaches National Mozart Competition (second and prospective undergraduate singers who Mary Hill MA, LRAM, Hon ARAM, ARCM third in 2011, first and third in 2009). clearly demonstrate professional potential Audrey Hyland BA, Hon ARAM and stamina allied to vocal, musical and Iain Ledingham MA, FRAM, FRCO Alumna Meeta Raval was ’s intellectual maturity. Jonathan Papp ARAM, DipRAM, GRSM representative in Cardiff Singer of the Ingrid Surgenor MBE, FRAM, FWCMD, GRSM World 2011. Students have opportunities to sing in the Chamber Choir for oratorio performances, Song Classes and Languages and in the chorus for Royal Academy Opera. Ludmilla Andrew BA, Hon ARAM (Russian) The members of Academy Song Circle, Maria Cleva Hon ARAM (Italian) Senior Administrative ­Co-ordinator: who are selected by audition, perform at Florence Daguerre de Hureaux FRAM (French) Chris Loake Hon ARAM the Academy and Wigmore Hall. Mandy Demetriou Hon ARAM (Movement) Telephone 020 7873 7384 Email [email protected] 08 | 09 Open Day: Thursday 26th Sept. 2013 Tereza Gevorgyan Director of Opera ‘After graduating from Yerevan State Prof. Jane Glover CBE, MA, DPhil, Hon FRCM Conservatoire in Armenia, I jumped at the Music Director, Chicago’s Music of the Royal opportunity to continue my development Baroque since 2002; Music Director, at the Academy. I arrived as an MA student Glyndebourne Touring Opera 1981–85; in 2010, and was delighted to discover how Artistic Director, London Mozart Players much support we get from all of the teaching 1984–91. Conducting engagements Academy and coaching staff. Two years later, I was one include Royal Opera House, Covent Garden, of the lucky singers to be accepted into Royal English National Opera, Glyndebourne, Academy Opera. Berlin Staatsoper, Royal Danish Opera, New York City Opera, Opera Australia and Opera The Academy gives all of us the chance Teatro La Fenice, with her Metropolitan to show ourselves in a truly professional Opera debut in 2013. Her book Mozart’s www.ram.ac.uk/opera environment. Royal Academy Opera is hard Women was nominated for major prizes. work but hugely enjoyable, and it gives us a University of London professor from 2010. great preparation in every aspect of building a good career. Royal Academy Opera is a specialist and ‘The Royal Academy of Music has come Opera Role Coaches and Music Staff At the Academy I have sung in masterclasses intensive Postgraduate Advanced Diploma up trumps yet again... I felt, as I often do Alexander Crowe MA for truly international stars. I have had the for those with the potential and aspirations at the Academy, that if this were filmed it Audrey Hyland BA, Hon ARAM opportunity to sing so many varied roles, and to succeed as principals at the highest would make a desirable DVD’ Iain Ledingham MA, FRAM, FRCO last term I had the enormous excitement of international standard. The concept of the The Spectator, Nov. 2012 (La vera costanza) Jonathan Papp ARAM, DipRAM, GRSM performing in Eugene Onegin for the first time — human body being the singer’s instrument Michael Pollock MA, MMus, Hon ARAM, ARCM that won’t be my last time as Tatiana, I hope!’ is fundamental; physical fitness, agility, ‘...excellent cast of students from the Peter Robinson MA, FRCO stage technique, communication and Royal Academy of Music’ Susanna Stranders BA, LGSM, Adv.Dip. vocal skills, together with a broad repertoire, The Times, April 2013 (L’enfant et les Lionel Friend LRAM, ARCM are all prerequisites for today’s opera singers. sortilèges) Classes in body-work and movement, stage Recent and Forthcoming Highlights technique, European languages, singing Opera auditions take place in London only. > 2013: Eugene Onegin conducted by Jane lessons and vocal coaching form an integral All aspiring operatic candidates should apply Glover; L’enfant et les sortilèges at Barbican part of the weekly training schedule. to audition for Royal Academy Opera. If the Hall with BBCSO conducted by Stéphane audition panel feels you are not yet ready Denève, broadcast on BBC Radio 3; double The three annual productions are directed for entry to this specialist postgraduate bill of The Lighthouse and Dido and Aeneas; by highly experienced professional programme, you may be offered a place autumn production to be confirmed conductors with Academy orchestras. on the Preparatory Opera Course with a > 2012: Die Zauberflöte with Jane Glover; In recent years, students have enjoyed view to reauditioning for Royal Academy Prologue to Ariadne auf Naxos (semi- the inspiring leadership of Jane Glover, Opera in the following year. (Non-operatic staged); Jonathan Dove’s Mansfield Park Trevor Pinnock and the late Sir Colin Davis. candidates should apply for Vocal Studies.) (first London production); Haydn’s La vera Distinguished opera directors have recently costanza with Trevor Pinnock included Mike Ashman, Stephen Barlow, We also offer opportunities for pianists to > 2011: Die Dreigroschenoper; Béatrice et John La Bouchardière, John Copley, John specialise as repetiteurs/coaches, working Bénédict with the late Sir Colin Davis; the Cox, David Pountney and John Ramster. on a wide variety of repertoire, in many acclaimed premiere of Kommilitonen! by Repertoire is drawn from a wide range languages, with distinguished conductors Sir Peter Maxwell Davies, directed by David of traditions, repertoire and styles, with and directors. In addition to playing for Pountney and conducted by Jane Glover a strong commitment to contemporary rehearsals, repetiteurs have continuing > /Jean Shanks Award music and historically-aware performances. piano lessons, individual sessions with for postgraduate singers opera coaches, and many opportunities > Patric Schmid Opera Rara Bel Canto Prize Students also have the opportunity to study to work with language coaches and roles in depth through individual music and singing professors. Assuming the duties Recent graduates include language coaching. Excerpts from of chorus and assistant conductor Emma Bell (1998) Royal Opera, La Scala, ENO are presented in a series of scenes. is also possible. This is normally a two- Mary Bevan (2011) ENO Performance technique is developed through year Postgraduate Diploma, although Allan Clayton (2007) Glyndebourne, Aix Festival work with experienced singers such as in exceptional circumstances it may be (2004) ENO, Royal Opera, Metropolitan Sir Thomas Allen, Susan Bullock, Angelika completed in one year. Opera, Glyndebourne Kirchschlager, Ann Murray and Dennis (2005) Metropolitan Opera, Lyric Opera O’Neill. Close communication between Visiting Professors, Singing Professors, Chicago, Royal Opera, ENO, La Scala, Glyndebourne staff from all areas of vocal and operatic Vocal Repertoire Coaches and Song Marcus Farnsworth (2011) ENO training is of the highest importance, to Classes and Language Professors are listed Andrew Foster-Williams (1998) balance the course’s demands with each under Vocal Studies on the previous page. ENO, Glyndebourne, Barcelona, San Francisco student’s individual development. Kishani Jayasinghe (2006) Royal Opera Head of Vocal Studies Ruth Jenkins (2012) Scottish Opera The Academy is receptive to the changing Mark Wildman FRAM, FRSA Ed Lyon (2004) Opera North, WNO profession and so has forged close Leigh Melrose (1998) La Monnaie, New York City Opera connections with Glyndebourne Festival Principal Operatic Coaches Tim Mirfin (1999) WNO, Hamburg Opera, the Royal Opera House, Covent Mary Hill MA, LRAM, Hon ARAM, ARCM Aoife Miskelly (2012) Cologne, Aix en Provence Garden, English National Opera, Welsh Ingrid Surgenor MBE, FRAM, FWCMD, GRSM Viktor Rud (2006) La Scala, Hamburg National Opera, Opera North, Garsington William Towers (1999) Royal Opera Opera and British Youth Opera. After two Sir Visiting Professor years with Royal Academy Opera, students Anthony Legge MA, Hon RAM Administrator: Felicity Jackson should be well-equipped to make the most Telephone 020 7873 7383 of their opportunities in what is a fiercely Head of Preparatory and Vocal Email [email protected] 10 | 11 competitive environment. Faculty Opera Open Day: Thursday 26th Sept. 2013 Gareth Hancock MA, ARAM, ARCM Head of Piano Joanna MacGregor OBE, MA, FRAM One of the world’s most innovative Piano, musicians, a celebrated pianist of a wide and diverse repertoire, performing in major concert halls; she studied at the Academy. Has performed as a soloist in over 60 Piano Accompaniment countries, and has released over 30 recordings, ranging from Bach, Scarlatti, Ravel and Debussy to jazz and new music. Founder of her own label SoundCircus, & Repetiteur now with Warner, she curates major festivals regularly (Bath, Deloitte Ignite at the Royal Opera House, Luxembourg), www.ram.ac.uk/piano Florian Mitrea and broadcasts on both TV and radio. ‘The Academy has been my home in every The range of performance opportunities sense for the past four years. I came within and outside the Academy is here rather intimidated by the history and impressive. I have been given the chance The Piano Faculty has a worldwide students work with Royal Academy Opera Recent student successes include prestige of the institution, and have ended to perform as soloist in prestigious venues reputation for training aspiring pianists in all aspects of répétiteur work. See page 11 > Benjamin Grosvenor: Winner of the up emotionally attached to it because of around London, to go on a tour to South as soloists, chamber musicians and or www.ram.ac.uk/piano. Diapason d’Or, two Gramophone Awards everything that I have experienced as a Korea and perform Beethoven’s Choral accompanists. Our professors include and the Critics’ Award at the Classic Brits student here. Fantasy in Seoul’s 3,000-seat hall, and to celebrated performers and pedagogues, If you are an accompanist or repetiteur, Awards, for his Decca debut play a Mozart concerto with the Academy recording artists and festival directors. you must bring your own soloist(s) to your > Evelyne Berezovsky: winner of the 2012 I was extremely lucky to find in my professor, String Orchestra in the beautiful and historic We train pianists to think creatively, and audition — please contact the Registry Lagny-sur-Marne Competition in Paris Diana Ketler, a constant source of knowledge Duke’s Hall. encourage students to find their artistic at least three weeks in advance if you > Belle Chen: founder and artistic director as well as an inspirational mentor. This identity as performers, developing their experience difficulties in arranging this. of multimedia ‘Heard Behaviour’ exceptionally productive collaboration has I’ve also been inspired by the Academy’s technique as a means to becoming a > Chiyan Wong: Naxos contract to record led to many successful performances and uniquely dynamic chamber music rounded, imaginative musician. Professional Professors of Piano Liszt transcriptions participations in competitions. I was proud environment, which gave me among other development — preparing pianists for Joanna MacGregor OBE, MA, FRAM (Head of Piano) > Karim Said: three solo recitals in Southbank to be able to bring back first prize for the experiences the opportunity to form a a life in music -— is seen as essential: Sulamita Aronovsky MA (Moscow), FRSA, Hon ARAM Centre’s ‘The Rest is Noise’ Festival, 2013 Academy in two important intercollegiate piano and cello duo with my friend and the new postgraduate syllabus provides Nicola Eimer DipRAM, MMus (Juilliard School), ARAM > Chiao-Ying Chang, Fournier Trio: winner competitions and also in the Vienna colleague Alex Rolton. We have enjoyed guidance in recording, conducting from the Professor Christopher Elton FRAM of the 2013 Parkhouse Ensemble Award, International Piano Competition at the end exploring some fantastic repertoire and keyboard, improvisation, chamber playing, (Professor Emeritus of Keyboard) Wigmore Hall and Southbank debuts of my second year of studies. have performed widely, including at Colston multimedia, repetiteur skills, collaboration William Fong PPRNCM, Hon ARAM > Viviana Lasaracina: winner of the 2013 Hall in Bristol and at the Brahms Duo with composers, early keyboards and every Ian Fountain Hon ARAM Young Concert Artists, New York Competition, which we won in 2011.‘ aspect of curating. Rustem Hayroudinoff ARAM > Christina McMaster: performances at Diana Ketler ARAM Southbank Centre and The Forge All undergraduates and postgraduates Professor Hamish Milne FRAM > Anna Dmytrenko: New York recital debut, are coached in chamber repertoire and Pascal Nemirovski Hon ARAM prizewinner in the New York International vocal accompaniment, and encouraged Tessa Nicholson Hon ARAM, LRAM Piano Competition to perform widely; contemporary music is Daniel-Ben Pienaar BMus, MMus, DipRAM, ARAM > Kei Takumi: finalist and prizewinner at 2012 studied, along with core classical repertoire. (Curzon Lecturer in Performance Studies) Hamamatsu International Piano Competition Apart from being assigned to a piano Carole Presland MusB, GRNCM, PPRNCM > Jayson Gillham and Andrejs Osokins: professor, students take part in weekly Tatiana Sarkissova Grad (Moscow State Cons.), Hon ARAM finalists and prize winners at the 2012 repertoire classes and masterclasses, Colin Stone Leeds International Piano Competition and can explore our superb collection of Michael Young BA, MMus, ARCM > Matthew Fletcher: Accompanists’ Prize historical pianos. All students take part in winner at Maureen Lehane Vocal Awards an annual Piano Festival in June, and have Visiting Professors > Thomas Primrose: Accompanists’ Prize opportunities to play in Academy concerts, Hon RAM winner at the Young Ferrier Competition as well as prestigious venues and festivals. Hon RAM > Finnegan Downie Dear: joint winner of Yevgeny Sudbin FRAM Gerald Moore Award 2013; making it Recent masterclasses and lectures have success for the Academy in seven out been given by Alfred Brendel, Imogen Broadwood Visiting Chair of Piano of the last eight competitions Cooper, Stephen Hough, Jean-Efflam Pascal Devoyon Bavouzet, Pascal Devoyon, Carl Vine, Academy graduates include Leon Fleisher, Paul Badura-Skoda, Richard Visiting Professor of Interpretation of > (‘If it is true that an artist’s Goode, Steven Osborne, Yevgeny Sudbin, Piano and Song finest years come with age, then the mind Kathryn Stott and many others. CBE, Hon RAM boggles at the possibilities’ — The Guardian) > (‘Wass has a magic touch’ — Piano Accompaniment and Repetiteurs Piano Accompaniment and Gramophone) Piano Accompaniment may be taken Piano Ensemble Coaching > Lly^r Williams (‘One can only marvel at this as a full-time postgraduate course. The Michael Dussek FRAM (Head of Piano Accompaniment) extraordinary artist’ — The Guardian) curriculum is designed to train pianists James Baillieu ARAM > Yevgeny Sudbin (‘A blistering recital... in every aspect of the discipline, through Ian Brown superb’— The Daily Telegraph) exposure to a broad range of song and Hon RAM instrumental accompaniment, duo work Nicola Eimer DipRAM, MMus, ARAM and chamber music. Core teaching is Iain Ledingham MA, FRAM, FRCO supported by masterclasses given by visiting Malcolm Martineau MA, Hon RAM Department Administrator: professors, and students can receive tuition Andrew West ARAM Jessica Pitt BMus in Lieder, French and English song. Selected Telephone 020 7873 7405 Email [email protected] 12 | 13 Open Day: Tuesday 24th Sept. 2013 Head of Composition Philip Cashian BMus, DMus, Hon ARAM ‘A rewarding and highly individual Composition & composer’ ( The Observer), his music has been performed and broadcast worldwide — recently including Ojai Festival (California), Musikmonat (Basle), St Paul Chamber Contemporary Music Orchestra, Esprit Orchestra (Toronto), Aldeburgh, Spitalfields and Huddersfield Contemporary Music Festivals and BBC www.ram.ac.uk/composition Proms amongst many others. Recordings are available on the NMC, Usk, Riverrun Carter Callison and BGS labels. He has also devised and ‘Since beginning my studies at the Royal The composition faculty has been led numerous projects with children and Academy of Music, I have been involved extremely influential in fostering my own amateur musicians. in many different aspects of Academy musical voice. My decision to attend the life. Not only have I developed many new Academy has not only helped make me a techniques that have helped me express better composer, but has given me many Composition at the Academy has an Postgraduate composers are expected to Recent Highlights my musical intentions, but I have also had opportunities that have helped me at the international reputation centred on become involved in concerts and different > Workshops or performances of music the opportunity to collaborate with many early stages of my career. In addition to intensive project-based undergraduate kinds of collaborative work, and to make composed over the year, in total more than professional ensembles. These have working as the Manson Composition (four-year BMus) and postgraduate the most of the Academy’s thriving 80 works included commissions for the BBC Singers, Fellow, I have begun to pursue a PhD (two-year MMus, one-year MA and environment. > Workshops and concert of student work the Spitalfields Summer and Winter with a focus on string scordatura.’ three-year PhD) programmes. with Exaudi Festivals, as well as collaborations with Professors of Composition > Collaborative project with London numerous student ensembles. Work is rehearsed and recorded in regular BA, Hon ARAM Sinfonietta, resulting in performances of workshops with instrumental and vocal Professor FRCM, Hon RAM student works at the Southbank Centre students. Many opportunities arise for student (Senior Professor of Composition) > Performances of student works at compositions to be played by ensembles Gary Carpenter LRAM, Hon RAM, ARCM Spitalfields Music, Soundwaves and and orchestras, and commissions are Dr Philip Cashian BMus, DMus Hon ARAM Aldeburgh Festivals offered to write for a large number of (Head of Composition) > Concerts, discussions and composition events with professional performers Dr Tansy Davies classes with visiting composers George both within and outside the Academy. Paul Patterson FRAM, FRNCM, FRSA Benjamin, Sir Harrison Birtwistle, Dan (Manson Chair of Composition) Dediu, Beat Furrer, Betsy Jolas, Thea A seminar series underpins all studies and David Sawer BA, DPhil, Hon ARAM Musgrave and Judith Weir features guest composers such as Hans MA, MMus > Undergraduate recording sessions with Abrahamsen, Gerald Barry, Brian Eno, a studio orchestra, Symphonic Wind Beat Furrer, Simon Holt, Martijn Padding Visiting Professors Ensemble and Manson Ensemble and Johannes Maria Staud. Sir Harrison Birtwistle CH, FRAM > Performances of student works at Kings Place, Sounds New Festival, the Blouin Undergraduate BMus Professor Sir Peter Maxwell Davies Hon ARAM Institute and by theYouth Orchestra of the The four-year BMus in Composition is James Newton Howard Hon ARAM Middle East in Dubai designed to reflect the opportunities and Professor Bent Sørensen > Regular workshops with Sir Peter challenges faced by today’s music creator. Maxwell Davies (pictured above) Supporting Studies > Workshops and concert of student work The undergraduate curriculum includes Dr Timothy Bowers BMus, DPhil, FRAM, ARCM with CHROMA individual tutorials, orchestral workshops, ( Lecturer) (Practical notation, Techniques & Analysis) > Orchestral project and concerts with the weekly composition and analysis seminars, Kirsten Cowie BMus, Hon ARAM (Recording Engineer) Southbank Sinfonia orchestration classes, Media Music Peiman Khosravi MMus, PhD (Creative Technology) > Projects with Bristol School of Animation Ensemble, electronic techniques, Writing Paul Morley (Music and Contemporary Culture) > Collaborative project with choreographers for Theatre and education workshops. Dr Patrick Nunn BA, ACC (WCMD), PhD, LRAM, ARAM at Roehampton University (Techniques of composition) > Student performances by the Esbjerg Postgraduate MMus or MA Ensemble in Denmark and Norwegian Composition postgraduates can choose Illustrious Past Students Academy of Music Sinfonietta either a one-year MA or a two-year MMus Craig Armstrong, Sir Richard Rodney Bennett, > Electroacoustic works performed as part programme. Both of these intensive Sir Harrison Birtwistle, Ruth Byrchmore, of ‘Nonclassical’ club night programmes have a demanding schedule Cornelius Cardew, , of project-work.The aim is for students , , Paul ‘At the Academy I was soon mixing to consolidate their technical skills and to Patterson, Sir , Augusta Read with teachers and pupils constantly gather experience of composing in as Thomas, and many recent graduates engaged with the problems serious wide a range of professional contexts as including Luke Bedford, Nimrod Borenstein, music faces in a frivolous age’ possible, whilst stimulating the development James Brett, Joe Duddell, Adam Gorb, Paul Morley, The Observer of their particular compositional personalities. Elena Langer, Alwynne Pritchard, James Radford, Martin Suckling and Luis Tinoco. Critical reflection is conceived as vital to this balance of internal and external stimuli, so all postgraduate composers engage in academic project-work: either a Research Project or Concert Project (the organisation Senior Administrator: and presentation of a concert built around Philip Knight MMus the composer’s own music). Telephone 020 7873 7379 Email [email protected] 14 | 15 Open Day: Thursday 26th Sept. 2013 Scott Chapman Head of Jazz Programmes ‘ Studying at the Academy has been a steep Nick Smart BABM, PGDip, LGSM, Hon ARAM learning curve for me. Being exposed to so Internationally renowned jazz educator, Jazz many different styles and approaches to trumpeter and musical director, Nick is playing and writing music was exactly what in regular demand to musicians of all www.ram.ac.uk/jazz I’d come here for, and in my first year alone generations on the London and European I noticed a significant change in my playing. jazz scenes. He also records and tours with his own projects Nick Smart’s It’s a real privilege being taught by and Trogon, Black Eyed Dog and Trio. As a working on a personal level with some of sideman he has performed with inter- the best musicians on the UK jazz scene, national stars including George Russell, as well as having regular masterclasses Bob Brookmeyer and John Hollenbeck, from other renowned international artists. as well as being a member of the Kenny A particular highlight for me so far was Wheeler Big Band and the regular soloist having Dave Douglas with us for a whole with the James Taylor Quartet. week — he had so much to say, on both the creative and the business sides of being a successful musician. It’s so The Academy has for many years now ‘The stream of talented players emerging Bass (electric and acoustic) valuable playing with and receiving advice produced the most outstanding array of from the Royal Academy of Music’s jazz Jeremy Brown | Tom Herbert from people who speak from experience exciting, versatile, creative and employable course seems unending’ Daily Telegraph Jasper Hoi by | Michael Janisch at a high level. musicians to emerge on to the jazz scene. International Jazz Artist in Residence Drum Kit The performance opportunities are also So what is so unique about studying at Dave Holland Martin France | Ian Thomas | Jeff Williams fantastic and have enabled me to play at the Academy that equips our graduates to venues such as the 606, Pizza Express jazz achieve such consistently high levels? We Visiting Professor of Jazz Technology club and the Forge, where I was fortunate offer an ideal supportive environment in John Hollenbeck Peiman Khosravi MMus, PhD to perform with Julian Siegel. Playing with which to learn and experiment with this the other students is always a source of extremely broad art form. There is a strong Composition & Arranging Jazz LRAM teaching qualification enjoyment too, and it’s great to be in an emphasis on performance and composition, Pete Churchill Nick Smart environment where we learn from each with opportunities to play with your own other as well as from our professors.’ groups — at the Academy and also at the Aural & Transcription Ensembles many venues with which we have strong Tom Cawley ARAM Projects reflect the diversity of the jazz links, including the 606, the Vortex, the scene. Tutors are selected from our Forge, ’s and Kings Place. World Rhythms outstanding faculty alongside visiting artists Barak Schmool including Chris Batchelor, Richard Fairhurst, The course benefits from small numbers, Jim Hart, Mark Lockheart, Oren Marshall, enabling you to receive a personalised History Seb Rochford, Mark Sanders, Jean Toussaint, education and close support throughout PhD | Martin Speake LTCL, FTCL Will Vinson and Mike Walker. your studies. The students of each year- Keith Nichols GGSM, Hon ARAM group grow and develop as an ensemble, 2012–2013 Highlights playing together extensively in projects and Jazz Supporting Studies > Big Band projects with Gordon Campbell, classes as well as collaborating with other Hon ARAM Dave Douglas, Keith Nichols Early Jazz project, players. This interaction between peers Dankworth Composition Prize, Kenny naturally develops to a level where lifelong Repertoire/Improvisation Wheeler Big Band, Joe Locke and more musical associations are formed. Pete Churchill | Martin Speake > Masterclasses and composition clinics with Nick Smart | Tom Cawley Dave Douglas, Django Bates and Beloved The finest jazz musicians have always been Bird trio, Rudy Royston, Aruán Ortiz, John complete musicians with a unified voice Saxophone Gunther, and Stian Cartensen, through their improvising, composing and Martin Speake | FRAM Charles McPherson, Will Vinson, Jonathan arranging: from Duke Ellington to Herbie Iain Ballamy | Julian Siegel Kreisberg, Eddie Gomez, Derek Watkins, Hancock, Wayne Shorter to Kenny Wheeler. Andy Panayi | James Allsop Mike Gibbs, Enrico Pieranunzi, Kit Downes We strive to continue this tradition with a and Ben van Gelder, Ronan Guilfoyle, John full and varied course covering many aspects Trumpet O’Gallagher, Bobby Shew and more and forms of jazz and applications within Nick Smart | Mike Lovatt > Kenny Wheeler Jazz Prize continues, with other genres. We aim that, by graduation, 2012 winner Reuben Fowler’s album featuring you will have found your own creative voice Trombone Tom Harrell released on Edition Records and will be equipped with a versatile set of Gordon Campbell | > Professional Development seminars with skills to enable you to pursue the future you Jon Newey (Jazzwise), Helen Mayhew want as a working musician. Voice (JazzFM) and Dave Stapleton (Edition Records) Nia Lynn | Pete Churchill > Academy student gigs at Kings Place, You can find Academy graduates wherever Norma Winstone Ronnie Scott’s, the Forge, Pizza Express, innovations are being made. John Escreet the 606, the Spice of Life and the Vortex and Orlando le Fleming are working in New Piano > Museum exhibition of Kenny Wheeler’s York, and in London Kit Downes, Gwilym Tom Cawley | Nikki Iles | archive of original music and memorabilia, Simcock and Jasper Hoiby, among many acquired by the Academy in 2012. others, have enjoyed countless successes. Guitar The department runs a four-year BMus John Parricelli | Mike Walker | Phil Robson Senior Administrator: undergraduate programme, and MA and Philip Knight MMus MMus programmes of 1–2 years. Vibes Telephone 020 7873 7379 Jim Hart | Anthony Kerr Email [email protected] 16 | 17 Open Day: Monday 30th Sept. 2013 Katarina Dordevic Head of Historical Performance ‘ The Academy’s Historical Performance Margaret Faultless Department is a multi-cultural and MA, FTCL, ARCM, Hon FBCU H istorical international department, and is the perfect Internationally renowned specialist size to make sure that we all get optimal in historical performance practice, learning and performance opportunities. violinist, director and co-leader of the Orchestra of the Age of Enlightenment, P erformance We are all incredibly active concert Margaret has been Head of Historical performers. I’ve performed regularly as Performance since 2012. She directs www.ram.ac.uk/historical a solo, chamber and orchestral musician, orchestras all over Europe on modern including playing next to Rachel Podger, and period instruments, is the Artistic exploring Haydn symphonies with Director of Music for Awhile, Director Margaret Faultless and being directed of Performance Studies at Cambridge by Sir John Eliot Gardiner in the Bach University and Director of Studies of the Cantata series. I’ve also had opportunities European Union Baroque Orchestra. to perform outside — at Wigmore Hall with Rachel Podger, at Kings Place, at the London Handel Festival with Laurence Many of the most outstanding performers Mainstream students are encouraged to Some Past Students Cummings, in baroque dance showcases in the current generation of historical take up Historical Performance as a second Joseph Crouch (2000), cello and lecture recitals. We get fantastic performance specialists studied at the study and are always welcome to perform Sarah McMahon (2001), cello opportunities for chamber music in lots of Academy. Intensive training in all aspects in small and large-scale projects in the Richard Sweeney (2001), lute different groups, with frequent coaching by of historically informed performance Historical Performance department. Sarah Moffatt (2002), violin experts. Academy prizes provide incentives practice and interpretation combines with Frances Norbury (2002), oboe to explore even more repertoire. The a full involvement in Academy life through A harpsichord tuned to A=415 or A=440 is Sarah Sexton (2002), violin Academy’s period instrument collection is a range of projects and performance available at London auditions, but no piano. Huw Daniel (2003), violin an invaluable resource — trying different opportunities. Students learn a great Alfonso Leal Del Ojo (2004), viola baroque and classical violins and bows has variety of skills and approaches that will Strings Joel Raymond (2004), oboe taught me so much. equip them to be a professional musician Rachel Podger FGSMD, AGSMD, Hon RAM Pawel Siwczak (2008), keyboard specialising in historically informed ( Chair of Baroque Violin) Chris Bucknall (2009), keyboard Here, learning with eminent scholars and performance. Margaret Faultless MA, FTCL, ARCM, Hon FBCU performers evolves immediately into (violin, Head of Historical Performance) 2012–2013 Highlights playing next to them in concerts, so the Students gain unrivalled experience in Pavlo Beznosiuk AGSM (violin) > A fifth year of sell-out performances in the opportunities for career development are ensemble playing alongside outstanding Nicolette Moonen (violin) Royal Academy of Music/Kohn Foundation fantastic.’ orchestral opportunities for performances MA, Hon RAM (violin) Bach Cantata Series, shortlisted for the at the Academy and beyond. In 2012 the Matthew Truscott FRAM (violin) Royal Philharmonic Society Awards 2012, Bach Cantata series was joined by another Jane Rogers (viola) including guest appearances by Sir John major undertaking, to perform all Haydn’s Jonathan Manson AM, Hon ARAM (cello, Eliot Gardiner (pictured above) and symphonies over the next ten years in a viola da gamba) Masaaki Suzuki variety of performance opportunities, on Chi-Chi Nwanoku MBE, FRAM (double bass) > Baroque Orchestra at Kings Place with period and modern instruments, from self- Elizabeth Kenny MA, ARAM (lute, theorbo) Laurence Cummings directed classes and chamber versions to >The first concert and workshops in a ten- workshops and orchestral concerts. Woodwind year project to perform all Haydn Symphonies, Pamela Thorby (recorder) directed by Margaret Faultless Principal-study tuition is provided on period Daniël Brüggen Hon ARAM (Visiting Professor of Recorder) > Baroque project at Hatchlands Park, instruments by professors who are active Hon RCM (baroque flute) directed by Lisa Beznosiuk as soloists and in leading period instrument Keith Puddy FRAM, FTCL (modern and classical clarinet) > Baroque Dance showcase with Mary ensembles. Additional sessions throughout Katharina Spreckelsen ARCM, Hon ARAM Collins at St Martin in the Fields the course discuss the main areas of (baroque oboe) > Masterclasses and Performance classes historical performance practice from the Andrew Watts (baroque bassoon) with Rachel Podger, Daniël Brüggen, Renaissance to the Romantic with practical Laurence Cummings, Jed Wentz and Lisa emphasis as well as theoretical explanation. Brass Besnosiuk All students participate in the dance project See page 25. > Chamber concerts at the Academy each year. Other classes include sessions > Renaissance recorder consort at Ware for strings, recorder and viol consorts, Historical Keyboards > Side-by-side project with Brecon Baroque oboe band, basso continuo, repertoire and Carole Cerasi Hon ARAM (harpsichord, fortepiano) > Gresham series at Spitalfields with professional development. Terence Charlston MA, MMus, ARAM, FRCO (harpsichord, basso continuo) >The Golden Age of English Music directed The Academy is custodian to many fine by Margaret Faultless instruments in Baroque/Classical set-up, Consultant Visiting Professor including violins by Stainer, Jacobs and Christopher Hogwood CBE, MA, HonMusD ‘Don’t miss the Royal Academy of Klotz, and which are available for students. Music’s outstanding Sunday lunchtime The Becket Collection, a significant Chair series surveying all of Bach’s cantatas’ collection of baroque and classical Laurence Cummings MA, ARCM, Hon RAM, FRCO The Times, February 2013 instruments, was very generously donated by Elise Becket Smith in 2012, enabling many students to experience performing on historical instruments, both in chamber ensembles and orchestras. The Academy Senior Administrator: also boasts a comprehensive library of rare Philip Knight MMus manuscripts and editions. Telephone 020 7873 7379 Email [email protected] 18 | 19 Open Day: Friday 20th Sept. 2013 Head of Musical Theatre Björn Dobbelaere MMus Music director/supervisor to West End Musical Theatre and international productions of Phantom of the Opera, Les Misérables, Fiddler on www.ram.ac.uk/mth the Roof, Miss Saigon, Chess, Cats, Guys and Dolls, , Sweeney Todd and others. Regular guest conductor for major musicals at Gothenburg Opera. Has been involved in international educational projects in the Middle East, Asia and Scandinavia, and he has a keen interest in promoting multi-media technology and entrepreneurship in Musical Theatre. Head of Musical Theatre since 2012.

Simon Loughton ‘ I am always ready for a challenge and Contemporary musical theatre demands Chess, Dirty Dancing, Dreamboats and Raul Cassinerio Guest Choreographer although I thought moving my whole life versatile performers of a high musical and Petticoats, The Glass Slipper, Godspell, The Peter Cregeen Television Director from Australia was going to be hard, I knew vocal standard, with strong dramatic and Go-Between, Hamlet: The Musical, High Mark Etherington Guest Musical Director that I was walking into the open arms of verbal ability, together with dance and Society, Joseph, Mamma Mia, Merrily We Paul Harris Guest Choreographer some of the most talented, hard-working movement skills. The Academy’s intensive Roll Along, The Merry Wives of Windsor, Matthew Lloyd Guest Director and inspiring teachers and students, in one one-year programme trains postgraduate The Phantom of the Opera, Priscilla Queen Torquil Munro Guest Musical Director of the most respected places to study. (or equivalent) students for a career in of the Desert, Rhinestone Mondays, The Andrew Neil Guest Director musical theatre. It provides a direct link into Rocky Horror Show, Scrooge, Sister Act, Guy Retallack Guest Director Regardless of your previous training, the the profession by combining regular class , South Pacific, Starlight Matt Ryan Guest Director teachers and coaches will continually push work and one-to-one tuition with practical Express, Swallows and Amazons, Top Hat, Sam Spencer-Lane Guest Choreographer what you’re not as strong or confident at, opportunities. Tommy and The War of the Worlds. Matthew White Guest Director whilst building your strengths further: from Jennifer Whyte Guest Musical Director learning dance routines early in the morning Students have individual singing lessons, Recent TV/film credits include Alan Partridge, to rehearsing cabaret pieces late at night. repertoire coaching and spoken word At Waters Edge, Austenland, Black Mirror, Specialist Musical Director Coaches And with every passing week there’s a tutorials, as well as classes in voice and Dani’s House, Doctors, Doctor Who, Andrew Friesner GMus RNCM, Hon ARAM class, a concert or a competition that will the spoken word, extended vocal EastEnders, Emmerdale, Great Expectations, Mark Warman MA, ARCM, Hon ARAM allow you to put into practice everything techniques, dance (including jazz and tap), Hollyoaks, Hustle, Les Misérables, David White BA, FRAM you’re learning. movement, acting, singing, improvisation, Lucky Stiff, Little Crackers, Pete vs Life, history of musical theatre, musicality, Phoneshop, Playing It Straight, Pobol Y Singing Teachers There’s nothing that could really have audition preparation and project work. Cwm, Popstar to Opera Star, Stella, Ross Campbell ARCM, Dip RCM (Perf) prepared me for the strength (both physical Students also take part in masterclasses and various advertisements. Kevin Fountain LRAM, DipRAM and mental) that’s required, but from the and workshops with visiting professionals, Ann James BA, LRAM, ARAM minute you walk in through those glass and in internal competitions. Professors Gareth Roberts ARAM, GRSM, LRAM doors, you’re instantly stepping into a Björn Dobbelaere MMus (Head of Musical Theatre) Maureen Scott EVTS, CMT, Hon ARAM professional company. A company that For audition details and application forms Mary Hammond FRAM, LRAM Louise Shephard MA, Hon BC, ARAM allows you to make whatever mistakes please contact us (see below) or see (Sondheim Professor of Musical Theatre Vocal Studies) you need to, and develop to become the www.ram.ac.uk/mth. Karen Rabinowitz Hon ARAM Vocal Coaches include: best performer you can be. I will forever be (Programme Leader, Director, teaching Acting, Movement and Tap) Stuart Barr M.Phil, MA, PGAdvDip RCM, Hon ARAM thankful for my time here.’ Musical Director / Coaching Programme Julie Armstrong Hon ARAM (Dance) Stephen Hill FLCM, ARCM, Hon ARAM This programme is structured according Andrew Friesner GMus RNCM, Hon ARAM Sam Kenyon BA, ARAM, LRAM to individual needs and experience, and (Musicality) Stuart Morley BMus, PGDip, DipRAM, ARAM operates in tandem with the Musical Theatre George Hall Hon ARAM (Director, teaching Acting David White BA, FRAM programme. If you would like to apply, and Musical Theatre History) please contact us to discuss the details. Stephen Hill FLCM, ARCM (Choral Director) 2012–2013 Highlights Anne-Marie Speed MA, CSSD, ADVS, Hon ARAM, > Full company performance on BBC Radio 2 Most Recent Student Successes Licensed Estill Voice Craft Practitioner (Spoken Voice) ‘Friday Night is Music Night’ with Academy Graduates are working in the West End in Lolly Susi BA (Director) alumni Hadley Fraser and Shona White The Book of Mormon, The Commitments, > Showcase for agents and casting directors Les Misérables, Matilda, Once, One Man Panel of Advisors > Major productions including Little Me, Two Guvnors, The Phantom of the Opera, , Howard Goodall, Rob Halliday, A Catered Affair and a cabaret The 39 Steps, Top Hat, We Will Rock You Howard Harrison, Charles Hart, James > Performing at St James Theatre gala opening and Wicked. They have recently appeared Holmes, Sir Nicholas Hytner, Martin Koch, > Concert at Kings Place with alumni soloists in Billy Elliot, Chicago, Hair, Jersey Boys, Christopher Legge, Julia McKenzie Hon RAM, Will Barratt, Sarah French and Laura Tebbutt Legally Blonde, Lend Me a Tenor, The Lion Andrew Neil, Dame Diana Rigg, Matt Ryan, > Masterclasses and lectures with Pippa King, Love Never Dies, Love Story, Priscilla Nick Skilbeck, Tony Slattery, Mike Walker, Ailion, Simon Beck, John Bucchino, Queen of the Desert, Shoes, Spamalot, David White Jonathan Butterell, Jason Carr, Janie Dee, Sweeney Todd, Taboo, The Umbrellas of David Grindrod, Carol Hall, Tamara Harvey, Cherbourg, Viva Forever (Workshop), War Visiting Teachers Elizabeth McGovern, Sir Tim Rice and Horse and The Wizard of Oz. External directors, musical directors and Jeremy Sams choreographers are employed for specific Recent UK tours and international projects, and have recently included: Department Co-ordinator: productions include , Avenue Q, Julian Bigg Guest Musical Director Stephen Minay BA Blood Brothers, The Buddy Holly Story, Daniel Bowling Guest Musical Director Telephone 020 7873 7483 Email [email protected] 20 | 21 Open Evenings: 3rd and 10th Oct 2013 Head of Woodwind Keith Bragg AGSM, Hon RAM Studied with Judith Pearce and William Woodwind Bennett, then in Paris with Maxence Larrieu. Principal Piccolo of the www.ram.ac.uk/woodwind Philharmonia Orchestra since 1982, and Chairman of the Philharmonia from Hannah Morgan 1990 to 2005, he has performed with all ‘I am really enjoying my time at the Academy. the major London orchestras. A founder For me it was the ideal place to pursue my member of the Elysian Wind Quintet, studies: the tuition, both instrumentally the leading British ensemble of its kind and academically, is exceptional and it for over twenty years, which performed is a privilege to be surrounded by such at major festivals all over Europe and accomplished musicians. developed a formidable reputation in contemporary music. The Academy provides so many wonderful opportunities. I have played in orchestral concerts with renowned conductors The Woodwind Faculty provides a thorough Flute Saxophone including Yan Pascal Tortelier, Edward and broad-based training in all significant William Bennett OBE, Hon RAM Richard Addison FRAM Gardner and Peter Schreier; premiered aspects of preparation for entry to the music (international soloist; Principal, English Chamber Orchestra) (Principal, Royal Philharmonic Orchestra) Sir Peter Maxwell Davies’s opera profession. Teamwork is a key element in Keith Bragg AGSM, Hon RAM (piccolo) Simon Haram Kommilitonen!; and made a CD recording the department and students are free to (Principal Piccolo, Philharmonia) with Trevor Pinnock. Last summer I played work with more than one professor. Samuel Coles Hon ARAM (Principal, Philharmonia) Bassoon in a joint Academy/Juilliard orchestra in Michael Cox Hon ARAM (Principal, BBC Symphony Orchestra) John Orford Hon RAM, ARMCM collaborative performances in New York Individual lessons for Principal Study and Paul Edmund-Davies Hon ARAM (Principal, ENO) (Principal, London Sinfonietta) and at , conducted by John related instruments are complemented Kate Hill Hon ARAM (Principal, Britten Sinfonia and David Chatterton Hon ARAM, AGSM, Cert Ed Adams. Chamber music and solo playing by intensive training in orchestral studies, Co-Principal, English Chamber Orchestra) (former Principal Contra-bassoon, Royal Philharmonic Orchestra) are also nurtured – I’ve been offered many art of teaching, reed-making and basic Sophie Johnson (Principal Piccolo, BBC Concert Orchestra) performance opportunities, both inside the instrument maintenance. There are Karen Jones GSMD, Hon ARAM Visiting Professor of Bassoon Academy and at external venues. Numerous fifteen classes each year where students (Principal, City of London Sinfonia) Robin O’Neill (Principal, Philharmonia Orchestra) masterclasses and individual lessons are led by one of a team of eminent Helen Keen (Principal Piccolo, Royal Philharmonic Orchestra) with international players and Academy soloists, which gives an opportunity to Patricia Morris Hon ARAM (piccolo) LRAM (Art of Teaching) professors have broadened my outlook and experiment and to explore communication (former Principal Piccolo, BBC Symphony Orchestra) Janet Way have been inspirational and motivating. skills in performance. Clare Southworth GRNCM, PPRNCM, Hon ARAM (international soloist and tutor) 2012–2013 Highlights The Academy is a unique place in which Chamber music for wind and for mixed Visiting Professor of Flute > Performances of significant chamber one can flourish both musically and as a ensemble is a major part of the department’s Emily Beynon works given with Academy professors, person. One could not hope for a better programme. Concerts are frequent; all (Principal, Royal Concertgebouw Orchestra, Amsterdam) both at the Academy and in venues outside start to a professional career in music.’ ensemble work is coached and the standard > Performances by Academy Symphonic of performance is very high. Oboe Wind including major works by Strauss, v Christopher Cowie Hon ARAM Dvor ák and Mozart From September 2013, the Academy’s (Principal Oboe, Philharmonia Orchestra) > Academy Symphonic Wind performances Woodwind Faculty will operate a side-by- Jill Crowther Hon ARAM at Kings Place of Mozart’s Serenade in side sit-in scheme with the Philharmonia (Principal Cor Anglais, Philharmonia Orchestra) C minor, K.388 and Mozart opera themes Orchestra. Students will be coached in Celia Nicklin FRAM (former Principal, Academy of in late-eighteenth-century arrangements important repertoire before playing in St Martin in the Fields and London Mozart Players) rehearsal with the orchestra. Melanie Ragge MA, MPhil, Dip RCM, Hon ARAM, LRAM Recent Student Successes (New London Chamber Ensemble) > Recent graduates play with the Berlin Recent masterclasses have been given Visiting Professor of Oboe Philharmonic, BBC orchestras, CBSO, by Emmanuel Abbühl, Meyrick Alexander, Jonathan Kelly English National Opera, Gothenburg Opera, Laurent Ben Slimane, William Bennett, (Solo (Principal) Oboe, Berliner Philharmoniker) Hong Kong Philharmonic, Iceland Symphony Emily Beynon, Roger Birnstingl, Maurice Orchestra, London Philharmonic Orchestra, Bourgue, Wissam Boustany, Samuel Clarinet London Symphony Orchestra, New York Coles, Gareth Davies, Paul Edmund-Davies, Timothy Lines Hon ARAM Metropolitan Opera, Royal Concertgebouw Andrea de Flammineis, Martin Fröst, Simon Lorenzo Iosco (Principal Bass Clarinet, London Symphony Orchestra Amsterdam, Royal Philharmonic Haram, Daniel Jemison, Jonathan Kelly, Orchestra) Orchestra, Royal Swedish Opera, Suisse Maxence Larrieu, Marco Lugaresi, Andrew Angela Malsbury Hon RAM Romande and others. Marriner, Lorna McGhee, Patrick Messina, (Principal, London Mozart Players) > Recent graduates include Adam Walker, Alexei Ogrintchouk, Robin O’Neill, Antony Chi Yu Mo (E flat; Principal, London Symphony Orchestra) Principal Flute, London Symphony Orchestra. Pay, Robert Plane, Julie Price, Graham Keith Puddy FRAM, FTCL > Notus Winds, quintet from the Academy, Sheen, Helen Simons, Jacques Tys, (Principal, New Queen’s Hall Orchestra) resident at Brazil’s Festival Internacional de Matthias Ziegler and Jacques Zoon. Christopher Richards (Co-Principal, London Inverno de Campos do Jordão in July 2013 Symphony Orchestra) ‘It’s a magnificent performance, Mark van de Wiel MA, ARCM, Hon ARAM, DUniv but all four works here are superbly (Principal, Philharmonia Orchestra, London Sinfonietta) and spontaneously played by eager Visiting Professors of Clarinet musicians from the Royal Academy of Andrew Marriner (Principal, London Symphony Music who provide wonderful blending Orchestra and Academy of St Martin in the Fields) Department Administrator: and a superbly polished, professional Patrick Messina Francesca Johnson MMus ensemble under their fine conductor, (Principal, Orchestre National de France) Telephone 020 7873 7320 Keith Bragg’ Laurent Ben Slimane (bass clarinet) Email [email protected] 22 | 23 Gramophone, January 2008 Open Day: Friday 27th Sept. 2013 Jason Evans Artistic Director and Head of Brass ‘Brass at the Academy is truly second to none, offering the highest Mark David Hon ARAM standards of teaching and coaching. We are offered countless Principal trumpet of the Philharmonia B rass opportunities to develop as musicians; to hear international 1992–2012, principal trumpet of Academy soloists, to play in masterclasses to the world’s greats, to watch of St Martin in the Fields and a member www.ram.ac.uk/brass our peers perform at a consistently high standard, and to perform of the . Has performed alongside established conductors from around the world. as a soloist with the Philharmonia and Academy of St Martin in the Fields in the We are all very close with our professors and head of department, UK and Europe, and has given recitals in and everyone is willing to offer a helping hand of advice and the UK and abroad. Studied with John support. Being surrounded by such like-minded and talented Wilbraham at the Birmingham School musicians of my age means that as well as there being a unique of Music and in Sweden with Håkan ‘family’ atmosphere to the department, it keeps us all on our toes Hardenberger. Appointed in September and working hard. 2011, succeeding the late James Watson.

Being part of the brass department here has given me the experience, support and motivation to work to my best ability. I’ve recently accepted the principal job at the Philharmonia, and I know The Academy’s Brass Faculty has Trumpet ‘This CD is a “must buy” recording. that I’d not be in the position I am today had I not made the decision established itself as one of the foremost in Paul Beniston BA, MMus, ARCM, FTCL (Principal, LPO) It shows how the Royal Academy Brass to come here.’ the world. The distinguished resident and Mark David Hon ARAM (Artistic Director and Head of Brass) Ensemble is at the forefront of brass visiting teachers of brass are active at the Robert Farley Hon ARAM (Principal, Hanover Band) ensemble playing at all levels in this highest professional level, and include Rod Franks Hon ARAM, Hon DUniv (Principal, LSO) country, which includes professional principals with London’s leading orchestras Gareth Small (Principal, Hallé Orchestra) circles. The highly gifted and talented and world-renowned soloists. Students young brass players display qualities are thus kept in close touch with professional International Visiting Professors and musical maturity well beyond developments and opportunities. of Trumpet their years’ Eric Aubier The Brass Herald, March 2011 Orchestral and ensemble playing are central Reinhold Friedrich Hon RAM to the curriculum, and the Academy expects 2012–2013 Highlights students to investigate all periods of Derek Watkins Chair of Trumpet > Masterclasses with Eric Aubier, Ian performance technique, from historical Mike Lovatt Bousfield, Dudley Bright, Reinhold performance to contemporary idioms. Friedrich, Tim Jones, Michael Laird, Roger Tenor Trombone Montgomery, Jörgen van Rijen, Radovan As well as orchestral and chamber concerts, Hon RAM (international soloist) Vlatkovi´c and Sarah Willis (webcast live to regular rehearsals, sectionals and chamber Dudley Bright Hon RAM (Principal, LSO) thousands of viewers around the world) ensembles are led by distinguished Matthew Gee (Principal, RPO) > Academy Symphonic Brass performances performers from both inside and outside Mark Templeton FRAM, Hon ARAM (Principal, LPO) conducted by Elgar Howarth the Academy. > Orchestral performances with significant International Visiting Professor brass focus included Strauss’s Ein The Academy’s third CD of symphonic of Trombone Heldenleben conducted by Semyon brass, directed by the late James Watson Jörgen van Rijen Bychkov, Rimsky-Korsakov’s Scheherazade and featuring arrangements of iconic (Principal, Royal Concertgebouw Orchestra) conducted by Yan-Pascal Tortelier American 20th-century works, was > Performances both at and outside the released in 2010. Bass Trombone Academy by Academy Trombone Choir and Robert Hughes FRAM (formerly LSO) Academy Horn Ensemble ‘A truly excellent ensemble’ Keith McNicoll (Principal, Orchestra of the Royal > British Trombone Society day, featuring Gramophone, February 2009 Opera House) many Academy professors past and present

Director of Brass Ensembles Tuba Recent Student Successes Elgar Howarth Patrick Harrild Hon RAM (Principal, LSO) Recent graduates play with BBC Oren Marshall (Jazz) orchestras, Birmingham Royal Ballet, Senior Tutor of Brass City of Birmingham Symphony Orchestra, Robert Hughes FRAM Euphonium and Bass Trumpet English Chamber Orchestra, English James Maynard ARAM (LSO) National Opera, Hallé, London Phiharmonic Horn Orchestra, London Symphony Orchestra, Martin Owen FRAM (Principal, BBC Symphony Orchestra) Historical Brass Instruments Netherlands Radio Philharmonic, Michael Thompson FRAM Robert Farley Hon ARAM (natural trumpet and cornetto) Philharmonia, Orchestra of the Royal Opera Chair of Horn (international soloist) (Principal, Hanover Band) House, Royal Liverpool Philharmonic FRAM John Hutchins BMus, LRAM, ARAM (natural trumpet) Orchestra, Royal Philharmonic Orchestra Chair of Horn (international soloist) Patrick Jackman (sackbut and early trombone) and Scottish Opera. Katy Woolley (Principal, Philharmonia Orchestra) (Orchestra of the Age of Enlightenment, Gabrieli Consort) Ensembles include Onyx and Superbrass. Roger Montgomery BA, LLB (natural horn) International Visiting Professors of Horn (Orchestra of the Royal Opera House; Principal, Orchestra Alessio Allegrini of the Age of Enlightenment) Radovan Vlatkovic´ Stephen Wick Hon ARAM (serpent and ophicleide) (London Gabrieli Brass) ‘It’s amazing that such a large group is so athletic and the solos are convincing... LRAM (Art of Teaching) Department Administrator: Altogether a fine tribute to brass culture John Hutchins BMus, LRAM, ARAM Francesca Johnson MMus at the Academy’ Telephone 020 7873 7320 Gramophone reviews ‘American Icons’, Email [email protected] 24 | 25 June 2011 Open Day: Friday 11th Oct. 2013 Tom Lee Head of Timpani and Percussion ‘I’m in my third undergraduate year at the Academy, and have Neil Percy Dip RCM, ARCM, Hon RAM loved every minute here. From the moment you set foot in your Principal Percussionist with the London Timpani & first lesson, you know that everyone here wants nothing but the Symphony Orchestra, who has worked best for you. The percussion department has one of the friendliest closely with many artists and conductors atmospheres you could hope to find, and whatever facet of including Pierre Boulez, , Elvis percussion playing you want to excel in — be it solo, chamber or Costello and John Williams. As a soloist Percussion orchestral — you can be sure that all the staff and students will Neil has performed with Pierre Boulez, help and support you to achieve your goals. the late Sir Colin Davis, Elgar Howarth, www.ram.ac.uk/percussion , Kent Nagano, Steve Reich, The teaching roster at the Academy speaks for itself, as does François-Xavier Roth and the late Ravi the diverse range of styles covered by our many masterclasses. Shankar. He has given masterclasses Every day is different as an Academy percussionist -— one in Europe, the USA and Asia, and has moment you’re playing baroque timpani in the Bach Cantatas coached many leading youth orchestras. series, the next you’re getting a jazz harmony lesson from Joe Head of Department since 2000. Locke, and then you’re sitting in a rehearsal of one of London’s finest orchestras alongside your teachers. It is this broad approach to the world of percussion that I think makes the Academy unique, The Timpani and Percussion Department David Friedman, Keith Aleo and International Drum Set Consultant and the best place to develop into a young professional.’ has a worldwide reputation for its provision Philippe Spiesser have all recently given Peter Erskine for students, and for its training in the multi- masterclasses at the Academy. (international soloist and recording artist) faceted world of timpani and percussion. The members of staff include principal Other recent visitors have included She-e International Vibraphone Consultant players with London’s leading orchestras, Wu, Steve Gadd, Iian Pattinson, David Joe Locke international soloists, and leading session Hockings, Makoto Nakura, Mike Mainieri, (international soloist and recording artist) musicians, all of whom are active in Anders Åstrand and Kurt-Hans Goedicke. music-making of the highest professional International Visiting Professor standard. Students are eligible for the Academy’s Marinus Komst annual Zildjian Cymbal Prizes. First prize is (Principal Timpani, Royal Concertgebouw Orchestra) Orchestral training on timpani and percussion $2,000 and second prize is a visit to Zildjian instruments in all its forms is high on the International in the UK, to select cymbals of 2012–2013 Highlights agenda, and the Academy’s wide range their choice. > Masterclasses given by Frank Epstein, of orchestras and ensembles, together Tony Bedewi, Sam Walton, Anders Åstrand, with its extensive collection of quality The Royal Academy of Music is grateful for Dave Mattacks and Ed Saindon instruments and practice facilities, present the generous support of Zildjian Cymbals > Release of the department’s first CD, outstanding opportunities for all students. and Yamaha UK. ‘Reich for Percussion’, an ambitious project featuring music composed over a period of Timpani and Percussion lessons are Professors of Timpani 30 years complemented by regular faculty Simon Carrington GRSM, ARCM, Hon ARAM > A celebration of Joe Locke’s music, in activities such as repertoire classes and (Principal Timpani, London Philharmonic Orchestra) collaboration with the jazz department masterclasses, together with chamber William Lockhart music coaching for percussion ensembles (Principal Timpani, English National Opera) Past students include and mallet groups. Areas of related study Dame OBE (1985) include classes in Latin American, ethnic Professor of Baroque Timpani International soloist percussion and drumset, emphasising Benedict Hoffnung ARAM Makoto Nakura (1993) rhythmic awareness in both solo and (Principal Timpani, London Mozart Players) International soloist ensemble situations. (1998) Professors of Percussion International soloist The Academy has an extensive provision Neil Percy Dip RCM, ARCM, Hon RAM Simon Lowdon (2002) for marimba and solo percussion. Regular (Principal Percussion, London Symphony Orchestra) Principal Percussion, Royal Scottish National Orchestra masterclasses from many of the world’s Stephen Quigley ARAM Chris Ridley (2002) leading solo percussion specialists offer (Principal Percussion, Royal Philharmonic Orchestra) Principal Timpani, Orchestra of the Royal Opera House excellent opportunities for the aspiring solo Andrew Barclay Hon ARAM Mark Robinson (2005) percussion student. (Co-principal Percussion, London Philharmonic Orchestra) Assistant Principal Timpani/Tutti Percussion, Sydney Symphony Erika Øhman (2008) Our aim is to expose students to a Professor of Solo Repertoire Assistant Principal Timpani, Hallé Orchestra variety of related study areas whilst not and Concerti compromising standards. We hope to Colin Currie FRAM (international soloist) Academy percussion alumni perform enable graduates to have full, rewarding regularly as orchestral and session players and varied careers by providing them Professor of Marimba all over the world. with the skills needed for their continual Eric Sammut Hon ARAM (international soloist) development. Employability is key to the ‘All I can say to Neil Percy and all the ethos of the department. Professors of Drum Set, Latin American musicians is BRAVO! It is a superb and Ethnic Percussion recording which I found technically and Eminent soloists, orchestral principals Paul Clarvis Hon ARAM emotionally satisfying... a first-rate and ensemble leaders are regular visitors (international soloist and recording artist) musical achievement’ to the Academy. Airto Moreira, Birger Dave Hassell Hon ARAM Steve Reich Sülsbruck, Dame Evelyn Glennie, Oladum (session musician and renowned clinician) (Afro-Brazilian ensemble), Anthony Kerr, Department Administrator: Christopher Lamb, Rainer Seegers, Keiko Francesca Johnson MMus Abe, Juanjo Guillem, Alan Cumberland, Telephone 020 7873 7320 Email [email protected] 26 | 27 Open Day: Tuesday 8th Oct. 2013 Head of Conducting To be appointed Conducting Pictured right: Semyon Bychkov, Klemperer Chair www.ram.ac.uk/conducting of Conducting

Karin Hendrickson ’Conducting studies at the Academy are structured to prepare us both musically and psychologically. We work primarily under the watchful eye of our Head of Department, but often also interact with the distinguished visiting conductors.

The class works through an incredible amount of repertoire each term. This work Established in 1983 under the direction The course maintains a strong link with the Klemperer Chair of Conducting usually begins with two-piano sessions and of Colin Metters, the Academy’s post- Composition and Contemporary Music Semyon Bychkov later includes piano and quintet, a reduced graduate conducting programme is now Department and the Manson Ensemble, orchestra, or a full orchestra. As well as internationally recognised as one of the working on established twentieth-century Professors of Conducting these regular conducting lessons, we have foremost programmes in conductor training. repertoire and on premieres of student Colin Metters Hon RAM weekly Aural Skills sessions. We also work compositions, the conductors working in Raymond Holden PhD, Hon ARAM (Contextual Studies to expand our musical perspective and The course provides a comprehensive direct collaboration with the composers. in Performance Practice and Performance History) understanding of historical context, often and integrated programme over three Students also work with Royal Academy Mark Shanahan (Operatic Repertoire) with direct access to important sources years, examining what lies behind the art Opera and the Vocal Faculty on various such as the scores of Sir Georg Solti and Sir and craft of conducting and the role and projects and workshops throughout the Conducting options for other students . responsibilities of the conductor, and seeks year, and have the opportunity to work with There is strong provision for students a better understanding of the complex the Academy’s instrumental ensembles who wish to pursue conducting studies It takes fierce commitment, but the relationship that exists between conductor and orchestras. but who are not on the postgraduate results are incredibly enriching. Life at the and performers. The course is designed Conducting course itself: Academy is challenging, exciting, and full to provide a strong technical foundation, Additional studies, including aural of musical opportunity. Set amongst the studying laws of cause and effect as they classes, keyboard skills, transposition Undergraduate Conducting background of London, with its numerous relate to conducting, and to develop the and score-reading, take place regularly This is designed to equip all second- orchestras, opera companies, and other ability to be both self-aware and self-critical throughout the course. year students with a basic conducting musical groups — it is an ideal place to train in all aspects of the conductor’s craft. technique, enabling them to show to become a professional conductor..’ The closing date for receipt of applications tempo and some degree of texture and Students have the opportunity to work with is 6th January 2014. dynamic through gesture. varied instrumental ensembles on a regular basis as well as in orchestral workshops. Auditions for orchestral conductors are Conducting Electives Orchestral conducting provision has been held in February/March 2014 for entry in Two conducting electives are open to significantly enhanced over recent years. September. Auditions take place in London Undergraduate students: Intermediate Selected students can also conduct concert only. Detailed requirements are available Conducting offers the opportunity for performances in the Academy’s official from the Registry and at www.ram.ac.uk. students to build on the foundations laid orchestral programme as and when in Introduction to Conducting (part of appropriate. Notable alumni include: Supporting Studies). Advanced Conducting Paul Brough deals with enhanced principles of baton Regular classes are held throughout the Principal Guest Conductor, BBC Singers technique and explores in depth the term. Additional masterclasses are given Richard Farnes relationship between conductor and by visiting guest conductors, who have Music Director, Opera North ensemble. included the late Sir Colin Davis, Ilya Musin (St Petersburg Conservatoire), Jorma Leading international conductor Panula (Sibelius Academy, Helsinki), Claus Edward Gardner Peter Flor, Yuri Simonov, Lutz Köhler (Berlin), Music Director, English National Opera Sir Roger Norrington, the late Sir Charles Christian Ludwig Mackerras, Leonard Slatkin, Kenneth Kiesler Principal Conductor, Cologne Chamber Orchestra (Michigan), Carl Topilow (Cleveland), Gunter Kahlert (Weimar) and Thomas Baldner Music Director, Seattle Symphony Orchestra (Indiana). Paul Murphy Principal Conductor, Birmingham Royal Ballet Repertoire over the course is broad-based, Toby Purser the mainstream orchestral and concerto Assistant Conductor, Ensemble Orchestral de Paris repertoire forming the central core of Daniele Rustioni the curriculum. Music Director, Teatro Petruzzelli, Bari; Best Newcomer, International Opera Awards 2013 ‘The most prestigious schools [for conducting] are Sibelius Academy Leading international conductor and the Royal Academy of Music’ Martin West Department Administrator: Wall Street Journal, February 2010 Musical Director and Principal Conductor, Jessica Pitt BMus San Francisco Ballet Telephone 020 7873 7405 Mark Wigglesworth Email [email protected] 28 | 29 Leading international conductor Open Day: Friday 5th Nov. 2013 Daniel De la Puente Head of Choral Conducting ‘After having conducted as an amateur in Spain for quite a long time, Patrick Russill MA, Hon RAM, Hon FRCO, Hon FGCM the possibility of studying choral conducting at the Royal Academy at New College, Oxford, Choral of Music is a dream come true for me. The Academy really paves studying with and the way for any professional musician wanting to develop a career Nicholas Danby. Director of Music at — and the extensive and long-standing tradition of choral music the London Oratory since 1999. He has in the UK provides a valuable extra dimension for us as choral conducted in Scandinavia, Germany, Conducting conductors. Italy and Asia as well as the UK. Work as a choir trainer on DG Archiv, Hyperion, www.ram.ac.uk/choralconducting Most crucially, I greatly enjoy the intensive conducting lessons Herald and EMI labels. Musical Editor of with Patrick Russill — but I am also grateful for our baton technique The Catholic Hymn Book (1998). Visiting lessons, which widen our musical scope and prepare us to work Professor of Choral Conducting, Leipzig with more varied ensembles. The masterclasses and performance Hochschule für Musik und Theater. sessions with outside groups as well as the Academy’s own gifted Chief Examiner (Organ and Choral singers, have also been so valuable, and it is great to be able to Direction), of Organists. work with renowned musicians such as Paul Brough, Jeremy Summerly, David Hill, as well as with top professional choirs. It enriches our musical culture and gives us new skills to face The Academy’s distinctive postgraduate The closing date for the receipt of 2012–2013 Highlights whatever challenges may appear in our musical careers.’ Choral Conducting course has been applications is 6th January 2014. > A day’s masterclass and concert conducted developed from its pioneering Church Music by students with the BBC Singers and their programme. Established in 1997, the two-year Entrance auditions will be held in Chief Conductor, David Hill course embraces a comprehensive range of February/March 2014. Auditions take place > Masterclasses with Simon Carrington sacred music for concert and service plus in London only. You will rehearse a small (Professor Emeritus, Yale University), selected secular repertoire, culminating unaccompanied choir in one specified Roland Börger (Leipzig Hochschule), in the award of an MMus or MA. Choral Renaissance work and a later piece of Paul Brough and Jeremy Summerly Conducting is offered at undergraduate your own choice. You will be required to > Week-long programme of classes and level as an optional choir-training class, sight-sing and aural ability will be tested. seminars on major works from the German not as a Principal Study. Keyboard skills are not required. For tradition with Visiting Professor Roland Börger detailed audition requirements please > Departmental visit to Leipzig and Dresden The modern British choral tradition (both see www.ram.ac.uk/choralconducting observing Thomanerchor Leipzig, English and Latin) is taken as the practical or contact the Registry. Gewandhaus-Chor, MDR-Chor, Choral and stylistic basis for exploration of a Conducting department of the Leipzig broad sweep of European sacred Professors Hochschule and Kreuzchor Dresden repertoire, related secular music and Patrick Russill MA, Hon RAM, Hon FRCO, Hon FGCM > A week’s residency at Neresheim Abbey in historically informed performance practices. (Head of Choral Conducting) Germany, together with Academy Chamber Paul Brough MA, ARAM Choir and organ students, including liturgical Studies include conducting and rehearsal Jeremy Summerly MA, MMus, Hon RAM services, concert and BBC broadcast techniques, repertoire, performance practice Alex Ashworth MA, DipRAM, PGDip, LRAM, ARAM > Classes with the Choir of Royal Holloway, and interpretation, editing, and vocal (Vocal Technique) University of London and the Renaissance technique. These are complemented by Cathal Garvey BMus, MA, LTCL (Baton technique) Singers of London contextual studies which examine the Julie Kennard BA, ARCM, Hon ARAM repertoire (chant, chorale and hymn, as well (Vocal Technique) Recent students include as art-music) and its relationship to the liturgy. David Pettit MA, BMus, FRCO, Hon ARAM (Aural Skills) Matthew Berry (2002) Conductor, Commotio: Naxos recording artists Students observe and work with a variety Visiting Professors Steven Fox (2003) of choral groups, taking advantage Professor Roland Börger Hon ARAM Artistic Director, Clarion Music Society, New York; of the outstandingly diverse range of (Head of Choral Conducting, Leipzig Hochschule Director Musica Antiqua St Petersburg, Russia opportunities that London offers. There für Musik und Theater) Stefan Vanselow (2004) are opportunities to work with members David Hill Hon DMus, MA, Hon RAM, FRCO, Hon FGCM First Prize, Riga Choral Conducting Competition 2005; of the Academy’s Chamber Choir, and the James O’Donnell MA, FRCO, Hon RAM, KCSG Director, Cantamus Dresden course has close working relationships ­ Mihaela Cesa-Goje (2005) with the BBC Singers, the Choir of Royal Dudamel Conducting Fellow 2011/12, Los Angeles Holloway, University of London, and the Philharmonic Orchestra adult professional and children’s choirs of Esther Jones (2007) the London Oratory. ­ Director, Brighton Festival Youth Choir; Associate Director, National Youth Choirs of Great Britain Rachel Staunton (2009) Co- Founder and Musical Director, The London Youth Choirs; Assistant Musical Director, National Youth Choirs of Great Britain David Stevens (2009) Master of the Choristers, St Anne’s Cathedral, Belfast Greg Hallam (2010) Conductor, Swansea Bach Choir Hilary Campbell (2012) Conductor, Blossom Street: Naxos recording artists

Telephone 020 7873 7331 Email [email protected] Open Day: please contact us for an 30 | 31 individual appointment Elen Hydref Head of Harp ‘ During my time at the Academy I learned the Orchestra of St John’s, and was Karen Vaughan LRAM, ARAM skills ranging from solo and orchestral work invited to give a recital at Harp Masters Studied at the Academy and with Maria Harp to contemporary music and jazz with world- in Switzerland. After winning the Camac Korchinska. Founder member of Scottish class teachers. As a freelance harpist I’m Harp Competition I shared a recital with Chamber Orchestra, Principal Harp of www.ram.ac.uk/harp extremely grateful for the diversity of the Isabelle Moretti. The Academy’s many Royal Scottish National Orchestra, then course, as I feel prepared to take on any performance classes and masterclasses London Symphony Orchestra Co-Principal work that comes my way. My teachers made me feel confident and well-prepared harpist from 1984. Has played for such continue to support me, and I feel confident for all concerts, internal and external. eminent conductors as Abbado, that the friendships we formed will always Bernstein, Boulez, Sir Colin Davis, be maintained. I left the Academy last summer and since Gergiev, Haitink and Tilson Thomas, then have already played in the Royal Opera and appears on numerous recordings Highlights of my time at the Academy House Orchestra, Norwegian National and film soundtracks. In 2008 and 2010 include recitals at Colston Hall and the Opera, London Chamber Orchestra and she gave masterclasses for the YouTube Chichester Festival, chamber music Royal Philharmonic Orchestra. My debut Symphony Orchestra. concerts at Kings Place and Drapers’ Hall solo CD was released in November and I’m and performing with Academy Symphonic currently giving recitals across England and Brass in the Duke’s Hall. Thanks to the Wales, through the Countess of Munster The harp has played a major role at the Visiting Professors Notable alumni recommendations of my teachers I also Recital Scheme.’ Academy since the earliest days. In addition Milda Agazarian Recent Harp graduates perform as soloists performed the Debussy Danses with to studying solo, concerto and chamber (Russian Academy, Moscow and Gnessin Special School and in many orchestras and chamber repertoire, students also take part in regular of Music) ensembles worldwide as well as teaching classes in orchestral, operatic and BMus, FRAM at every level. Some graduates include: contemporary performance, early harp, jazz (international soloist) and improvisation, technical advancement, Isabelle Moretti Jimin Lee (2011) art of teaching and harp ensemble concerts. (international soloist and professor of harp at CNSMD, Prestigious teaching position in Korea Paris Conservatoire) LauYee Yeung (2009) The Academy’s numerous orchestras and Isabelle Perrin Hong Kong Harp Teaching Faculty ensembles provide experience in all styles (Co-Principal, Orchestre National de France; professor Claire Jones (2009) of performance from classical to avant- of harp at École Normale, Paris) Former Harpist to HRH The Prince of Wales, concerto garde and jazz. In addition, the Academy Erika Waardenburg performances with ECO and Philharmonia, solo recording artist regularly hosts masterclasses — and many (Senior Professor of Harp Extraordinaire at the conservatoires Celine Saout (2004) students have achieved major successes of Amsterdam and Utrecht) Birmingham Contemporary Music Group and City of in national and international competitions. Birmingham Symphony Orchestra Professor of Jazz Harp Dr Chaerin Kim (2003) The harp department commissions new Park Stickney MM (Juilliard), BM (University of Arizona), Tutor at Harvard University works annually, and its Harp Showcase Hon ARAM Catrin Finch (2002) concerts attract a wide audience. International soloist, former Harpist to HRH The Prince of Wales 2012–2013 Highlights Ruth Potter (2001) Main sponsors: > Recitals by Park Stickney, Katerˇ ina Principal harp, Trondheim Symphony Orchestra Holywell Music. Englichová and Alice Giles Suzanne Willison (1999) > Masterclasses with Erika Waardenburg, Principal Harp, Royal Philharmonic Orchestra Professors of Harp Katerˇ ina Englichová, Isabelle Perrin, Anne-Sophie Bertrand (1994) Karen Vaughan LRAM, ARAM (Head of Harp) Milda Agazarian and Principal Harp, Frankfurt Radio Symphony Orchestra Co-principal, London Symphony Orchestra > Chamber concerts in Eaton Square, Catherine Beynon (1993) Frances Kelly BA Tuesday lunchtime series and Charlton Solo harpist, Orchestre Philharmonique de Luxembourg (Early Harp Tutor) House Alison Martin GGSMD (Opera Tutor) > Academy Harp Ensemble recitals at Grove (Principal, English National Opera) Park Music Festival and Regent Hall Thelma Owen BMus, Hon ARAM (Orchestral Studies) > Guy McGrath Harp Prize: 2013 winner (Former Principal, Royal Philharmonic Orchestra) Elisa Netzer Charlotte Seale ARCM, Premier Prix, > Showcase concert at the department’s Brussels Conservatoire, Hon ARAM main sponsors, Holywell Music Helen Tunstall GRSM, ARCM , Hon ARAM > Recording of Paul Patterson’s harp quartet (Contemporary Music Studies) (Principal, London Sinfonietta) ‘Avian Arabesques’ for Harmonia Mundi Catherine White MM (Juilliard), BM (Curtis)

Professor Emerita of Harp Professor Skaila Kanga LRAM, FRAM (Principal, Academy of St Martin in the Fields and London Mozart Players; composer and international recording artist)

Department Administrator: Jessica Pitt BMus Telephone 020 7873 7405 Email [email protected] 32 | 33 Open Day: Wednesday 2nd Oct. 2013 Head of Classical Guitar Michael Lewin FRAM, DipRAM Michael Lewin studied with Hector Quine Classical at the Academy and later in Spain with José Tomas. He has performed as guitarist and lutenist with the Royal Shakespeare Company, many UK opera companies Guitar and La Piccola Scala, Milan. In addition to solo concerts, Michael has played and www.ram.ac.uk/guitar recorded with leading ensembles and orchestras throughout Europe. Michael Butten Regular adjudicator at major national ‘I’ve been studying at the Academy for four and international competitions. years now, and I’ve thoroughly enjoyed Vice-President of the European Guitar everything about it — and all of the Teachers’ Association, 1996–2006. opportunities I’ve had here which have helped me to develop into the musician I am today. I‘ve done things I never thought The Academy has established itself as a Head of Classical Guitar 2012–2013 Highlights I would — for example, for Royal Academy foremost international centre for the study Michael Lewin FRAM, DipRAM > Lecture/Recitals by Luigi Attademo and by Opera I’ve played guitar, banjo and even of the classical guitar, with a comprehensive James Boyd with Michael Chance bass drum in The Lighthouse by Sir Peter curriculum and unique musicological Visiting Professors > Open Day Masterclass with Fabio Zanon Maxwell Davies, as well as theorbo in resources which encourage students to David Russell FRAM > Showcase Concert of solo music from the Cavalli’s Il Giasone. I’ve also had a great reach the highest standards as soloists, John Williams OBE, Hon RAM two Elizabethan eras time working in smaller ensembles ensemble players and teachers. The Fabio Zanon MMus, LRAM, DipRAM, ARAM > Masterclass with David Russell with a huge range of musicians from expertise of the department embraces all > Ensemble concerts involving woodwind, other departments. aspects of guitar performance, from the Consultant strings, keyboard and vocal students concert platform to the theatre, ballet, opera CBE, Hon RAM > Intercollegiate concert at the Bolivar Hall Our teachers are of the highest calibre and house and recording studio, as well as > Concert celebrating Dowland and Britten they cover every facet of the guitar, from specialisms in the main historical periods. Guitar and Voice > Two concerts of music from Brazil for guitar, chamber music to solo lessons, with Christoph Denoth MA flute and percussion performance classes with Fabio Zanon Each year there is a prestigious series of Timothy Walker Hon ARAM > Performances at The Forge, Charlton House, and David Russell every term. This has masterclasses, lectures and concerts. British Museum, Senate House, Southwark given me the confidence to try my hand Among the distinguished visiting artists Guitar Ensembles Cathedral, Festival in in international competitions and young have been the Assad Duo, Manuel BA, PhD, LRAM, ARAM Northampton, LSO/St Luke’s ‘Soundhub’, artist schemes — and to play my very best Barrueco, Edoardo Catemario, Eduardo and in Royal Academy Opera’s production in them. Fernández, Eliot Fisk, Sharon Isbin, the If you are auditioning for the undergraduate of The Lighthouse by Sir Peter Maxwell Los Angeles Guitar Quartet, David Russell, programme, you should present three Davies, as well as solo recitals in Madrid, The environment in the Academy is one in David Starobin, David Tanenbaum, John pieces and postgraduates four pieces from: Valencia, Zagreb and South–East Asia which everyone has the chance to thrive Williams and Julian Bream (who for almost > a contrapuntal work written between amongst professors and visiting teachers half a century adjudicated his prize each c.1550 and c.1750 Successes for students and recent alumni who are at the top of their profession. The year). Eminent luthiers, such as David > a movement in sonata form Miloš Karadaglic´ (2006) Academy has given me the ability to adapt Rubio, Paul Fischer and José Romanillos, > a theme with variations Solo recital at the Royal Albert Hall, international tours and two to any musical challenge that is thrown at have also been invited to discuss > a dance movement top-selling recordings for Deutsche Grammophon me, and to succeed in my chosen career.’ developments in guitar construction. > a work, or movement(s), written after 1950. Stewart French (2006) Concerto performances with the Royal Philharmonic Orchestra Other special events have featured Established guitar duos are also invited to Antonis Hatzinikolaou (2007) the composers Leo Brouwer, Stephen audition at postgraduate level, performing NMC recording of music by leading British composers, appearances Dodgson, , Nicholas a programme of three contrasted duo at the South Bank and on BBC Radio 3 with the Fugata Quartet Maw, Sir Richard Rodney Bennett and pieces; each member of the duo will also David Massey (2012) Sir Peter Maxwell Davies and an be required to present one solo piece. Winner with Emily Andrews (flute) of Tunnell Trust Award International Guitar Duo Festival. The Rafael Aguirre (2012) promotion of student compositions for See page 59 for general details. Carnegie Hall debut and international tours the guitar also forms an integral part of Merlin Miller (current undergraduate) the department’s work. For details of the Julian Bream Trust Winner of the Lennox Berkeley Society’s Guitar Award Scholarship see www.ram.ac.uk/ Srdan Bulat (current postgraduate) In competitions around the world, from scholarships Second prize in the Ivor Mairants Guitar Award competition the Worshipful Company of Musicians’ Prince’s Prize and Mairants Award in the ‘I had these ideas about music and Other outstanding alumni include David UK to the Tárrega Competition in Spain how I wanted to sound, but I needed Russell, Darko Petrinjak, Stephen Goss, and the GFA , Parkening and Concert somebody to steer it. Michael was Benjamin Dwyer, Antigoni Goni, Gary Ryan, Artists’ Guild competitions in the USA, incredible because he never stopped Fabio Zanon, Mark Ashford, Xuefei Yang, the Academy guitarists have regularly won me from expressing myself the way I Eden/Stell and Katona duos and both Tetra top prizes. Many successfully pursue wanted to, but he always helped me and the English Guitar Quartets. international careers. express myself better’ Miloš Karadaglic´, The Daily Telegraph

Department Administrator: Karen Ingram BA, Hon ARAM Telephone 020 7873 7380­ Email [email protected] 34 | 35 Open Day: Tuesday 29th Oct 2013 Alexander Binns Head of Organ ‘Being a member of the Academy’s Academy organ students are often invited David Titterington prestigious organ department is a fulfilling to perform outside the Academy. Last MA, Hon DMus, Hon DUniv, Hon FRCO, Hon RAM Organ and enjoyable experience. On top of our summer I was invited to Neresheim Abbey Organ Scholar at Pembroke College, Oxford, tuition with our principal study professors, in Germany for a week on an annual visit and the Conservatoire de Rueil-Malmaison, www.ram.ac.uk/organ we also have classes in improvisation, that the Academy makes to perform in Paris, with Marie-Claire Alain and Susan technique, organology, keyboard skills, concerts and services. During my time Landale (Premièr Prix à l’unanimité). Gives harmonium and preparation for RCO here I’ve also been invited to perform in recitals and masterclasses world-wide and diplomas. Our teachers are experts within the Cambridge Summer Music Festival is a member of many international juries. the music profession and they’re always and to play in a lecture-recital at St Albans Has premièred many important works on hand should we need help. International Organ Festival.‘ and records extensively. Visiting Professor, Ferenc Liszt Academy, Earlier this year, we had a course on Italian Budapest. In 2007, David Titterington Organ music, which focused around us was appointed Artistic Director of the performing on the Academy’s beautiful International Organ Festival at St Albans. Italian organ which was built in 1763 by the Senarica brothers and thought to come from a family estate near Lucca. A highlight The Academy’s comprehensive and Thames recorded in collaboration with ‘Politicians could do worse than pay of the year is always the department’s specialist organ curriculum has a world- the Southwark and South London Society a visit to the Royal Academy of Music’s study trip abroad; last year we travelled wide reputation. The course includes of Organists, is documented at department of organ studies to see to Paris, and this year we are travelling to contemporary music seminars, www.ram.ac.uk/SSLSO how substantial change can be northern Italy. improvisation, integration with Historical achieved… the august conservatoire Performance studies, the history and Professors of Organ knows a thing or two about instituting repertoire of the organ and workshops Clive Driskill-Smith MA, MPhil, FRCO, ARCM and managing change, not for change’s by distinguished guest teachers such as Nicolas Kynaston Hon RAM, Hon FRCO sake but for the advantages it offers Marie-Claire Alain, Kenneth Gilbert, Piet Susan Landale BMus, Hon ARAM, Hon FRCO to students. Even the super-hungry Kee, Kei Koito and Daniel Roth. In June Patrick Russill MA, Hon RAM, Hon FRCO, Hon FGCM and obsessively curious among those 2002, a pioneering harmonium course David Titterington MA, Hon DMus, Hon DUniv selected to join the Academy’s annual began under the direction of Anne Page. Hon FRCO, Hon RAM intake of organ students are unlikely to be undernourished by the learning Students have regular access to organs Visiting Professors experiences developed by Titterington in the ‘classical’ and 19th-century French Jon Laukvik (Stuttgart Hochschule) and his colleagues’ symphonic traditions, the four-manual James O’Donnell KCSG, MA, FRCO, Choir and Organ, January 2008 classical organ by Rieger in nearby St FRSCM, Hon RAM Parish Church is part-owned by Lionel Rogg Hon DMus, Hon FRCO Recent Student Successes the Academy and used as its main teaching Matthew Martin (2000) instrument. A rare Neapolitan organ of 1763 Harmonium Organist, The London Oratory by Michelangelo & Carlo Sanarica, restored Anne Page BMus Stephen Grahl (2003) in Italy by the renowned Riccardo Lorenzini, Director of Music, St Marylebone Parish Church; was inaugurated in spring 2004. In summer Organology Assistant Organist, New College Oxford 2013 a new three-manual symphonic organ, William McVicker BA, PhD, LRAM, ARCO, Daniel Cook (2003) built by Orgelbau Kuhn, will be installed in Hon FIMIT, Hon ARAM Organist & Master of the Choristers, St Davids Cathedral the Duke’s Hall. Bart Jakubczak (2003) Improvisation Organ teacher, Fryderyk Chopin University of Music Warsaw; Prix de la Presse, Lausanne International Bach Competition Postgraduates follow a curriculum designed Gerard Brooks MA, FRCO, PGCE for their individual needs. Performance Thomas Wilson (2006) practice projects are supervised by specialists Aural Skills and Paperwork Precentor, Westminster Cathedral; Director of Music, St Mary’s Cathedral Sydney and frequently take the form of overseas David Pettit MA, BMus, FRCO, Hon ARAM visits where repertoire study is matched to Arnfinn Tobiassen (2007) a specific organ-building tradition. LRAM (Art of Teaching) Kantor, Avaldsnes Church, Norway Anne Marsden Thomas BMus, FRCO, FRSCM, David Pipe (2007) The one-year Organ Foundation Course ARAM, Dip RAM, LRAM, ARCM Assistant Director of Music, York Minster is designed primarily for ‘gap-year’ Peter Holder (2013) students preparing either for Oxbridge Comments on the ‘Grand Chorus’ recording: Organ Scholar, Westminster Abbey 2012/13 organ scholarships or for those wishing to develop their organ playing and choral ‘T his recording project is a remarkable direction skills to a high level before achievement, thoroughly recommended’ university or conservatoire studies. British Journal of Organ Studies, 2006

‘Welte Restored’, a recording on the unique ‘T he two CDs allow us to compare and recently-restored organ at Salomons near contrast the myriad colours, characters Tunbridge Wells, was released in 2011. and tonal qualities of these organs played The release features automatic Orchestrion by 19 performers, who have succeeded in rolls, Philharmonic rolls recorded by famous bringing out the best of each instrument. organists of the day, and more conventional The result is a wonderful musical performances made by Academy students. achievement and a recording of major It was prepared in collaboration with documentary significance’ Canterbury Christ Church University and Choir and Organ, January 2007 Department Administrator: can be heard at www.ram.ac.uk/music Eileen-Rose McFadden Hon ARAM ‘Grand Chorus’, a double-CD of 22 historic Telephone 020 7873 7351 and important organs south of the Email [email protected] 36 | 37 Open Day: To be confirmed Bartosz Glowacki Head of Classical Accordion ‘The Royal Academy of Music truly is the Owen Murray place where you can fully explore yourself GRAM, DipRAM (Copenhagen), Hon RAM Classical as a musician. Here you can meet the Born in the UK, studied with Mogens greatest musicians face to face, and learn Ellegaard at the Royal Danish Academy from everything that they say and do. of Music in Copenhagen, graduating with For me, the Academy creates so many the Music Teacher Education, principal Accordion fabulous opportunities to develop every subject accordion in 1980 and the aspect of my musical education, and to Diploma (Soloist) in 1982. Many recitals www.ram.ac.uk/accordion prepare for my future career. both in the UK and overseas. Pioneering founder of the Academy’s Accordion Thanks to the Academy, I have performed department, Head of Classical Accordion in great venues like Wigmore Hall, since 1986, awarded an Hon RAM in 1993. Royal Festival Hall and the Purcell Room. Photo: Owen Murray (left) with Visiting The happiest thing for me is seeing Professor Friedrich Lips. evidence every day that the classical accordion is in symbiosis with the Academy’s life. Here, we accordionists The Academy was the first British Head of Classical Accordion 2012–2013 Highlights can collaborate with and be inspired by conservatoire to introduce teaching for Owen Murray GRAM, Dip RAM (Copenhagen), Hon RAM > Bartosz Glowacki played at Park Lane other musicians in chamber music — the classical accordion. The specialist Group’s young artist concert series in and together with promising composers curriculum complements other courses Visiting Professor January 2013: ‘The poetry and intensity we can create a magical world of sound.’ and includes masterclasses, performance Friedrich Lips (Moscow), Hon ARAM of Glowacki’s playing proved compelling... practice, accordion history, repertoire, the young Pole created a poignant and instrument maintenance and art of ‘Murray is an inspirational teacher’ distinctive sound world’ — The Guardian teaching classes. The Times, January 2007 > Hans Abrahamsen Portrait Concert at Oxford University: three Little Nocturnes The accordion is thoroughly integrated Recent students performed by accordion student Krystian into the life and work of the Academy Search youtube for performances by Sacilowski with Ensemble ISIS through a strong and wide-ranging recent students including > ‘Mainly New’ concert at the Academy chamber music programme. The response > Amadej Herzog featuring the music of Hans Abrahamsen: of contemporary composers to the > Servane Le Moller Air for solo accordion performed by instrument’s emergence is reflected in > Rafal Luc Krystian Sacilowski continuing collaborations with composition > Milos Milivojevic > Academy composers’ collaboration with students and established composers. > Ksenija Sidorova dancers from Roehampton University: five > Borut Zagoranski new ensemble works with accordion Apart from many concert opportunities > Colston Hall concert by Bartosz Glowacki within the Academy, accordion students and Xian Gao have performed at leading music festivals > Two Accordion Showcase concerts in the in the UK and abroad. In 1998 the entire Academy’s David Josefowitz Recital Hall accordion department made its Proms > Ksenija Sidorova (2012 graduate) wins debut with the BBC Symphony Orchestra Latvian Music Award at the Royal Albert Hall. In 2006 three > Decca recording by Martynas Levickis students and Owen Murray were invited (2012 graduate) by György Kurtág to perform at his 80th birthday celebration concert in Budapest. Academy accordion students have enjoyed considerable success in major competitions. Distinguished accordionists who have given concerts and masterclasses at the Academy include Iñaki Alberdi, Jon Faukstad, Lars Holm, Friedrich Lips, Matti Rantanen, Mie Miki, Massimiliano Pitocco, Viacheslav Semionov, Oleg Sharov, Peter Soave and Mika Väyrynen.

In December 2010 Owen Murray became the first Briton to be awarded the prestigious ’Silver Disk’ for special accomplishments in the field of accordion culture.

Department Administrator: Karen Ingram BA, Hon ARAM Telephone 020 7873 7380 Email [email protected] 38 | 39 Open Day: Wednesday 6th Nov. 2013 Olivia Sham ‘ I was first drawn to postgraduate studies himself would have played, and also I hope to continue combining research at the Academy so that I could work examining the multiple versions that exist and performance in this way in the R esearch on my playing at an international-level of some of his pieces. This work has raised future, with an especial focus on the conservatoire with a piano professor intriguing questions that I have been dialogue between modern and www.ram.ac.uk/research I wanted to study with. While on my addressing in a series of concerts on both historical instruments.’ master’s programme, I found the work of modern and historical pianos, the process the performer-researchers in the building of which has come to shape the way I fascinating, suggesting new ways of approach performance. fostering my existing interests while offering new possibilities such as playing on the keyboard collection in the Museum.

I decided to stay on for a doctorate, for which I’ve been studying performance practice in the piano Research at the Academy is centred on The Academy’s research degrees are Head of Postgraduate Programmes music of Franz Liszt. My research the interaction of performers, composers aimed at performers and composers who Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM has involved exploring the and scholars. We maintain a strongly already have highly developed skills and As a soloist and chamber musician nineteenth-century instruments collaborative environment, in which focused career aspirations. Students work Neil Heyde has recorded, performed and in the Museum, such as a intellectual and creative curiosity is with an individual supervisor and a team of broadcast internationally. His work at beautiful 1840 Erard grand encouraged in both students and staff creative staff at the Academy to develop the Academy focuses on relationships piano similar to one Liszt alike. An evolving dialogue between their work through engaging in a substantial between performers and composers, all members of our community aims research project. This will normally be both past and present, and he has to re-evaluate and build on our musical directly connected to and driven by creative written on analytical and collaborative heritage and performance traditions, and to activity as a performer or composer but issues. He is cellist of the Kreutzer generate new types of creative practice. will also require a critical context and Quartet and is currently working on the critical reflection. Œuvres Complètes de Claude Debussy Much of the research activity is ‘practice- and projects with the visual arts and film. based’, focused on the practical aspects The Academy aims to approach practice- of music in the areas of performance based research in ways that are distinctive and composition. This encompasses to the institution and its environment. the analysis and application of collection These are encouraged through an ongoing materials (including manuscripts, marked series of research workshops and through Professor Simon Bainbridge FRCM, Hon RAM MPhil/PhD in Performance Practice Assessment a composer, while offering you a training scores, historic instruments, and museum educational developments on the taught (Senior Professor of Composition) Aims Submissions can range from a Performance relevant to the task of teaching or lecturing artefacts) as well as the critical and degree programmes. Research degree Dr Timothy Bowers BMus, DPhil, FRAM, ARCM The research degree in Performance Portfolio (length to be negotiated in relation in composition. reflective study of practice itself. In addition, students are thus invited to become part (Alan Bush Lecturer) Practice is designed to encourage to the project) and written commentary staff researchers have collaborative of an active community and to take a lead Sarah Callis BA, PhD, Hon ARAM postgraduate performers to engage in of 10–20,000 words (MPhil) or 15–25,000 Entry relationships with researchers from other in furthering practice-based approaches to Gary Carpenter LRAM, Hon RAM, ARCM practice-based or practice-focused words (PhD) to a written dissertation of On application (to MPhil in the first disciplines, including instrument-making, research questions and processes. Dr Philip Cashian BMus, DMus, Hon ARAM research at the highest level. Such 30–50,000 words (MPhil) or 50–70,000 instance), you will submit a portfolio of the visual arts, architecture, art history, (Head of Composition) involvement and training will help already words (PhD) plus supporting performance compositions. If you are selected for museum curatorship and computing. The Academy offers two-year MPhil and Roderick Chadwick MA, MMus, LRAM, ARAM experienced performers to exert an material as required. The written interview you will then be required to three-year PhD awards. Offered as awards of Rachel Chaplin MA, MMus, PhD, LRAM, ARAM enhanced leadership within the music commentary accompanying a Performance provide a detailed research proposal of two Research by staff at the Academy informs the University of London, both programmes Briony Cox-Williams BMus, MMus, PhD, ARAM, FTCL profession, and within higher education Portfolio submission should articulate and pages of A4 outlining the planned content and enhances all areas of teaching, ensure their distinctiveness by being based Brian Elias institutions specialising in performance provide a context for the performance- of your portfolio (including any plans for whether through testing the boundaries on the same premise as all other Academy David Gorton BA, MMus, PhD, ARAM study. The programme is specifically driven research questions governing the collaborative work) and the analytical and of innovative professional practice, the degrees: of students reflecting the highest (Postgraduate Tutor and Associate Head of Research) designed to encourage the development of submission as a whole and should make critical questions to be addressed in the exploration of performance traditions and possible practical standards. Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM new methodologies, new insights and new clear the significance of the performances accompanying written component. key historical figures, or the currency of (Head of Postgraduate Programmes) knowledge within performance research. by employing academically-appropriate academic modules. The Academy’s regular The closing date for receipt of applications Raymond Holden PhD, Hon ARAM lines of enquiry. Assessment research events are open to students, staff (MPhil in the first instance, with transfer to (Sir Lecturer in Music) Entry As a final assessment, you will submit and members of the public. These include PhD usually taking place in the second year Roy Howat MA, PhD, Hon ARAM (Keyboard Research Fellow) On application (to MPhil in the first Supporting Studies a portfolio of compositions of around 45 interviews with leading figures from the of study) is 20th January 2014. Timothy Jones MA, DPhil, LTCL instance), you will submit a detailed Research students attend and take part minutes (for the award of an MPhil) or music profession, lecture recitals, academic Deputy Principal (Programmes and Research) research proposal of around 2,000 words in doctoral seminars, research skills 60 minutes (for the PhD). The portfolio is papers and experimental workshops. The Please contact Neil Heyde, email Daniel-Ben Pienaar BMus, MMus, DipRAM, ARAM outlining the research you wish to pursue training and performance research events. linked to a written commentary of 10– research events are filmed for archival [email protected], if you have any (Curzon Lecturer in Performance Studies) and the methodologies that would support 20,000 words for MPhil, and 15–25,000 purposes and make up the Academy’s questions about the research degree Christopher Redgate ARAM it (including the proposed method of linking MPhil/PhD in Composition words for PhD which should articulate and Performance Research Collection. programme. (AHRC Creative and Performance Research Fellow) academic to practical research outcomes). Aims provide a context for the compositionally- David Sawer BA, DPhil, Hon ARAM The MPhil/PhD in Composition is driven research questions governing the The world-leading quality of research at Teaching Delivery Peter Sheppard Skærved LRAM, FRAM The proposal should suggest how your designed to encourage you to pursue submission as a whole, and which should the Academy was recognised in the 2008 For both MPhil and PhD, you will be (Viotti Lecturer) thesis will contribute to the disciplines of your artistic development to the highest reflect on the creative processes involved Research Assessment Exercise, where allocated 30 hours of supervision per Jeremy Summerly MA, MMus, Hon RAM performance research and to your own possible level and to reflect critically on in producing the portfolio. the Academy was rated highest of the UK year. You may apply for a further year to (Sterndale Bennett Lecturer) development as a performer. You should the significance of your compositional music conservatoires in terms of research complete or ‘write up’ your portfolio or Nicholas Walker LRAM, ARAM also submit evidence of your standards of activity through analytical exploration and Supporting Studies quality. The Academy has a successful dissertation at a reduced rate. Supervision written and practical work, both of which will (where appropriate) collaborative work in a Research students attend and take part in record in attracting research funding, and is hours are divided between academic and be considered at the entrance interview. performance environment. Such intensive doctoral seminars, composition research unique among the conservatoire sector in practical supervision as negotiated with the and wide-ranging study will allow you to seminars, research skills training and having two AHRC Fellows in the Creative Research Degrees Board and your principal extend your scope and effectiveness as research events. and Performing Arts. supervisor.

40 | 41 Facilities Life at the Academy at the Academy

London Instruments Britain’s capital is an exciting and inspiring The Academy’s collection of over 250 city. 30% of its residents were born outside prestigious stringed instruments, in modern, England, and more than 300 languages are classical and baroque set-up, is regarded spoken here: as one of the world’s most as the finest of its type in the world. There is cosmopolitan cities, it offers an unrivalled also a varied stock of woodwind and brass range of cultural and leisure activities. instruments and a substantial collection of modern copies for ‘period’ performance. The Academy is outstandingly located at See page 50 for details. the apex of Regency London, within easy reach of many of the city’s finest cultural The Academy regularly updates its stock institutions, including the Royal Academy of pianos. On-site piano maintenance of Arts, Wigmore Hall, Kings Place, the and rebuilding technicians ensure that Wallace Collection, Asia House, the British all instruments are kept in top condition. Museum and the National Gallery. Students’ Union At the Academy, you will study only The SU supports various societies, provides The Academy includes all the requirements minutes away from the green spaces welfare and international representation, and of a modern conservatoire: of Regent’s Park and the many vibrant holds regular meetings to ensure students restaurants, bars and shops of Marylebone can voice their opinions. Students are also > over 100 teaching and practice studios, Village. Our location at the heart of the represented on all academic committees. rehearsal and lecture rooms transport network provides easy access > new practice pods and opera studio from all parts of London and beyond. Social events are an essential part of Academy > several large concert rooms life. As well as packed Freshers and RAG > the 120-seat David Josefowitz Recital Hall Living accommodation weeks and a legendary summer ball, the SU > the Sir Jack Lyons Theatre The Academy has access to a wide range organises themed parties, karaoke, comedy > the Duke’s Hall, a 400-seat concert venue of accommodation, including halls of and movie nights. Academy students have > recently updated recording studios, with residence in the University of London. full access to the University of London Union’s audio links to major performance spaces superb sports, leisure and social facilities. throughout the building Computers and e-learning > a fully up-to-date Creative Technology Suite The Academy is enabled for wireless Junior Academy > a well-equipped library internet access from students’ personal Junior Academy offers courses at the > an excellent canteen serving healthy computers and mobile devices. Students Royal Academy of Music on Saturdays for and value-for-money meals, including have free access to an Academy email talented and committed young musicians vegetarian options address and the internet as well as to of secondary school age (12–18) as well > a museum which displays some of an increasing range of online academic as a dedicated Junior Jazz course. Primary the Academy’s valuable and historic resources. Computer workstations are Academy (age 8–12) provides for the instruments and manuscripts and which available throughout opening hours, musical development of the most able hosts regular public research events equipped with the latest software, including younger musicians. There are also more > the Academy Chimes shop, which stocks word-processing, spreadsheets, desk-top general preliminary courses (age 4­–8). a very wide range of printed music, books publishing and music notation. Students Full details can be obtained from Junior and accessories benefit from a dedicated printing system Academy at the main Academy address; with multi-function devices distributed telephone 020 7873 7380; The Academy is open during term-time throughout the building. email [email protected] from 7am to 11pm (10pm at weekends) and on a more restricted basis during vacations. As well as recording and video editing Library and Collections studios, there is a computer room with See page 50. specialist audio-editing and composition facilities.

42 | 43 Principal Guest Conductor, ‘The Royal Academy is internationally Performance Symphony Orchestra known and recognised as Yan Pascal Tortelier Hon RAM representing the highest values Director of Artistic Planning Principal Guest Conductor, of music and musical society’ Nicola Mutton BA, Hon ARAM Concert Orchestra , February 2010 (pictured right with her team) Trevor Pinnock CBE, Hon RAM Klemperer Chair of Conducting ‘The Royal Academy of Music... a Telephone 020 7873 7327 Semyon Bychkov place from which lots of wonderful Email [email protected] Visiting Professor of Music music emanates’ Pierre-Laurent Aimard Hon RAM Sean Rafferty, BBC Radio 3, March 2013 www.ram.ac.uk/events Menuhin Professor of Music Maxim Vengerov Hon RAM ‘The Academy’s jazz programme See page 4 for recent highlights. has produced a remarkable crop of newcomers in recent times’ The Guardian, August 2011

Concert & Orchestra Managers Many Academy students play in the European Composer-performer collaborations take Rosie Larkins BMus (maternity cover) Union Youth Orchestra, Gustav Mahler Jugend- many shapes and sizes, ranging from Hannah Melville-Smith BMus, Hon ARAM orchester and Britten-Pears Orchestra. regular projects led by Visiting Professor Liz Williams BMus, Hon ARAM Sir Peter Maxwell Davies to collaborations Orchestral Librarian Chamber Music with choreographers and animators. Stuart Garden Dip TCL Students are expected to become versatile Concerts & Prizes Administrator and experienced chamber musicians. Historical Performance Emily Good BMus, MMus Coaching is available from all Academy The firmly established Academy Baroque Concerts & Programmes Administrator professors: those who have special Orchestra and the Becket Ensemble Hannah Shoukry BA, MA responsibility for this important area perform under Margaret Faultless, External Bookings Managers include members of the Alberni, Maggini, Laurence Cummings and Rachel Podger. Hannah Shoukry BA, MA Endellion and Badke Quartets. The RTÉ The acclaimed Academy/Kohn Foundation Rachel Thomas BA, MA Vanbrugh, Emperor and Wihan Quartets Bach Cantata Series offers professional are frequent visitors. Ensemble Study performance opportunities to vocal and Days, taking place at least once a term, give instrumental students. serious ensembles specialised coaching and advice from a team of Academy and Brass Ensembles Performance is the key focal point of study external chamber musicians. The fast-track Brass ensembles of all shapes and sizes, Musical Theatre Recordings and Media Music at the Academy. Our training prepares Davey-Poznanski Scheme, for up to four including Royal Academy of Music Brass Students from all departments are In Music and Media Application sessions, Recent releases include: students for an increasingly demanding and quartets selected by competitive audition, Soloists, Symphonic Brass, Brass Band, able to work with successful West End orchestral students work with Academy > Reich for percussion: seminal and diverse diverse professional life and encompasses provides extra opportunities and dedicated Trombone Choir and Horn Ensemble are Musical Directors in an annual Christmas composition students and an experienced works dating from 1971 to 2005. chamber, symphonic and operatic support for keen and talented ensembles. particularly active in the Academy’s diary, Show, Agents’ Showcase and two major recording engineer and skilled session > Trevor Pinnock conducts Mahler’s Fourth repertoire, historical performance, media Mentoring for first-year students is also with numerous projects every term. summer productions. In 2013, the Musical conductor/composer, to gain experience in Symphony in miniature: the first in a series music as well as musical theatre and jazz. available from the CAVATINA Chamber Theatre Company recorded a full two- media sessions such as working to a click of Academy releases on the Linn label, Music Fellow students, who assist with Wind Ensembles hour programme for BBC Radio 2’s Friday track. taking inspiration from Schoenberg’s Orchestral Training practical challenges and offer peer support. Wind ensembles, like brass ensembles, Night is Music Night with the BBC Concert Society for Private Musical Performances. Orchestral training is delivered through Many past Chamber Music Fellows — continue to produce a fine range of Orchestra and Academy alumni. Students have access to state-of-the-art > Frank Zappa: Manson Ensemble conducted a range of quick-learn projects, designed including the Aurora Orchestra, Badke acclaimed recordings on the Academy’s music software and professional-quality by Franck Ollu. New arrangements of to reflect the time-critical rehearsals of Quartet, Jerusalem Quartet, Leopold Trio label of seminal works for wind ensemble External bookings studios designed to enhance the learning classic Zappa songs as well as pieces he professional orchestral life, as well as and most recently the Fournier Trio (2011/12) and arrangements of major works, see The Academy secures over 400 bookings experience and stimulate musical creativity. wrote for Ensemble Modern and Ensemble more intensive projects. Distinguished — have gone on to establish prominent opposite. Termly concert projects give for students each year to provide The Academy studios are set up for small- Intercontemporain. conductors such as Martyn Brabbins, international careers. students the opportunity to explore core performance experience as well as the scale recordings and can also link to a > American Icons: Works for brass by Semyon Bychkov, Sir Mark Elder, Edward symphonic wind repertoire. opportunity to gain valuable external number of rooms around the Academy for Copland, Gershwin, Barber and Bernstein. Gardner, Trevor Pinnock, Leif Segerstam, Performances by chamber ensembles are contacts and develop their professional larger recording projects. Complete video Academy Symphonic Brass conducted by Jac van Steen and Yan Pascal Tortelier visit an integral part of Academy life. In addition String Ensembles skills. These opportunities include paid production facilities allow filming through the late James Watson. ‘This CD is a “must regularly to work with Academy orchestras. to their course requirements, students The Sainsbury Royal Academy Soloists, recitals in leading UK festivals and venues, to final delivery on DVD using industry- buy” recording’ — The Brass Herald. Special orchestral and ensemble projects are invited to perform in the high profile a string ensemble of fourteen players as well as corporate and private events. standard equipment and software to > : Complete works for brass. are also devised by Pierre-Laurent Aimard, public Tuesday Lunchtime Concert series selected by audition and usually directed produce professional-quality results. Academy Symphonic Brass conducted by Visiting Professor of Music. and ‘Free on Fridays’ concerts, as well as by Clio Gould, perform around the UK and Music in Community the late James Watson. composer festivals and numerous recital internationally. Recent concerts have taken The Academy is committed to widening The top-quality recordings on the > Richard Strauss: Complete works for Royal Academy Opera productions give series in London and further afield. Eminent place at Wigmore Hall and Bath Abbey as participation. See Open Academy, page 46. Academy’s own ever-expanding label wind ensemble. Royal Academy of Music orchestral students valuable experience of chamber musicians provide coaching for all well as Spitalfields and Bury St Edmunds (see www.ram.ac.uk/music) are regularly Symphonic Wind conducted by Keith this important area of work, teaching them concerts and projects. Festivals. In 2012, the Soloists toured Korea Competitions broadcast on national and international Bragg. ‘It’s a magnificent performance’ — the particular skills required in the opera pit. under the direction of Jack Liebeck. The Academy encourages students radio and can be heard online at Spotify Gramophone. Contemporary Music to participate in internal and external and the Naxos Music Library. Selected > Song Circle’s third recording: ‘Goethe’s Sectional rehearsals for all orchestral The Academy is particularly active in new Jazz competitions, giving opportunities to recordings are sold by iTunes and other Girls and Mörike’s Men’. projects are led by principal players from music. The Academy Manson Ensemble Each year wind, brass and percussion learn new repertoire, as well as to gain online retailers, and are distributed to > Premier Prix: celebrating the virtuoso with London’s major orchestras. regularly takes part in side-by-side projects students have the opportunity to experience performing to distinguished shops throughout the UK. All proceeds this disc inspired by Paris Conservatoire’s with London Sinfonietta and performs in collaborate with the jazz department, adjudicators and to the public. are used to fund future recordings. ultimate accolade. The Academy holds the Association of British major festivals around the UK. ‘Mainly New’ working with eminent jazz musicians Orchestras’ Bronze Charter, confirming projects offer student instrumentalists and including Iain Ballamy, Paul Clarvis, its commitment to best practice in all composers the opportunity to work with Peter Erskine, Dave Holland, Joe Locke orchestral activities. leading composers. and Keith Nichols.

44 | 45 Open Music Academy Business

Head of Open Academy Head of Professional Development Julian West BA, Hon ARAM Marc Ernesti BA, MMus

Open Academy Administrator and Projects Manager Cate Dennes BA, PGCE

Telephone 020 7873 7442 Email [email protected]

‘The Music in Community courses at ‘For proximity to the upper echelons the Academy were a revelation for of the classical world, the Royal me. They showed me ways in which Academy of Music is nigh on I could use my musical abilities to unbeatable... A healthy professional contribute to society... whilst still development scheme means that seeking performing opportunities of students are regularly involved the highest standard. I’ve been made in numerous and varied external a more versatile and employable bookings — and, for many students, musician by these courses’ only the legacy and legend of Adam Clifford, percussionist and London’s classical music scene Academy alumnus will do’ MUSO, December 2011 ‘I had no idea that what I wrote could be so important’ Open Academy participant’s comment

Open Academy combines a series of creative All undergraduates are given the opportunity ‘I think this sort of initiative is beneficial The Royal Academy of Music is acutely In addition to Academy faculty and staff Industry placements projects which challenge preconceptions to participate in Music in Community projects, to everybody. The higher-education aware of just how quickly the music who hold particular expertise in the Music At the Academy we believe that a of what music conservatoires do. and to gain experience in creative leadership. students get a welcome reality-check profession changes, which creates Business, we are proud of a dynamic sophisticated understanding of the music Working as an intern with an experienced on the perception of their art and skills, opportunities for those who understand network of external mentors from the music business is part of being a step ahead The Academy’s mission has always been to leader and partner organisation, students while also getting a preview of the the mechanisms behind these changes sector on our team, including: as a well-trained, professional musician. provide musical training at the highest level. devise and deliver professional education intricacies of teaching... The pupils and are prepared to adapt. Industry placements can play an important Open Academy extends this opportunity projects whilst receiving training ‘on the get an insight on what higher studies Meurig Bowen role in that, and the internships with one of beyond enrolled students and out into the job’. Sessions with top workshop leaders, involve and on the role of music in Our new Music Business strand strives to Director, Cheltenham Music Festival our first-class partner organisations are an fullest range of society. Academy students performers, composers and teachers cover life, and boosts their confidence in equip students with a critical understanding David Butcher FRSA opportunity to complement your principal also benefit directly by engaging in innovative such topics as collaborative composition, their abilities to create something of key concepts and processes in the music Chief Executive, Britten Sinfonia study or other musical interests, and creative learning and participation projects, improvisation, project planning, performing beautiful, which can be simultaneously business, and the supporting skills needed Jonathan Irons enrich your education. All internships are and discovering an application of their skills for new audiences and evaluation. Project ephemeral (as a product) and long- to harness opportunities the future industry Promotion Manager, Universal Edition, Vienna intended to acquaint you, from the inside, beyond the traditional concert platform. partners include Wigmore Hall, Spitalfields lasting (as a learning experience). But will hold. Dr Sibylle Jackson with processes and procedures in the Music, Orchestra of the Age of Enlightenment, maybe more importantly, such events Director of Artist Management, Hazard Chase Ltd music business; in addition, they will equip Music in Community­ English Touring Opera, Glyndebourne Opera have repercussions on surrounding This strand combines structured course you with transferable skills and additional Widening participation initiatives are now and Kings Place. Projects often take the communities beyond the visibility of the offerings and academic supervision; Mentors complement the teaching provision expertise that will be useful whether your part and parcel of the work carried out by all opportunity to draw on the skills of the many events themselves. While not requiring placements with major industry players and, in some cases, also supervise industry aspiration is a portfolio career or a self- UK orchestras, opera companies, festivals eminent musicians who visit the Academy, extensive amounts of resources, they for those so inclined; individual career placements for those choosing the Music governed ensemble — which, after all, and concert venues. Indeed they are intrinsic including Sir Peter Maxwell Davies, Edward propagate values and skills across a support and further resources; and it also Business strand during the course of their could be anything from your own duo to the very identity of many organisations, Gardner, Sir Mark Elder and Yan Pascal group of people and induce creative has an active agenda in mostly practice-led studies. right up to the Berlin Philharmonic. often with principal players and leading Tortelier. exchanges, giving participants and their research and consultancy, which currently artists shaping and guiding the programmes relationships the chance to experience includes work on national cultural treasures ‘The Professional Development Adviser of work. Skills and experience in working in Undergraduates can spend more time (or witness) possibly life-changing such as the centenary of Britten’s birth and I have worked really closely. I had this field are highly valued by employers. exploring the diverse skills needed to moments and a sense of belonging to in 2013. a very clear plan of what I wanted to A young, relatively unknown ensemble who become a skilled workshop musician by their community, and maybe something achieve while I was here, and they are able to approach a festival with a good taking a specialist, hands-on ‘Advanced even greater’ Whether students opt for self-contained have been a great resource for me. biography, an exciting evening programme, Music in Community’ option in their fourth Music in Community alumna workshops or choose to further specialize Professional Development is hugely and an afternoon workshop to engage year. Postgraduates can explore work in this in Music Business and Management during worthwhile. Most musicians are with a wider audience, are much more field as part of their professional portfolio. ‘The children came back to school full of their studies, there are ample opportunities freelancers, and having a business brain likely to get the gig. Similarly, composers, utter excitement and enthusiasm; the for networking, academic and personal is hugely important. So many people singers and jazz musicians are finding very special atmosphere rubbed off on career development. try and do it on their own when they increasing amounts of their work, and and inspired them more than we could don’t need to’ career satisfaction, in engaging with people have predicted!’ Sasha McCulloch, Masters student cellist creatively, away from the concert platform. Primary Music Teacher

46 | 47 Arguably no city in the world offers the A handbook for international students is Student International diversity of London. The Academy’s truly issued annually and the Admissions Officer Support Students international community is similarly varied, is pleased to give advice. Visa information is with many cultures and nationalities available in the Student Support section of represented. www.ram.ac.uk English Language Coordinator Janet McAlpin MA, PGDip, Hon ARAM The Academy has a team of specialists In 2012–13, international students at the dedicated to supporting students who need Academy came from Armenia, Australia, English Language Tutor to develop their communication skills in Austria, Azerbaijan, Belgium, Bulgaria, Gill Barnes BA English. Our English Language teachers Canada, Chile, China, Colombia, Costa Rica, have much experience with coaching Croatia, Czech Republic, Denmark, Eire, students from all over the world, and they Estonia, Finland, France, Germany, Greece, have expertise in music and the arts. Hong Kong, Hungary, Iceland, Israel, Italy, Japan, Jordan, Kazakhstan, Korea, Latvia, Depending on their particular needs, Lithuania, Malta, Mauritius, Netherlands, some students will be required to New Zealand, Norway, Oman, Philippines, attend an intensive English course at the Poland, Portugal, Romania, Russia, Serbia, Pastoral and Academic Support Academy before the start of the academic Singapore, Slovenia, South Africa, Spain, See Tutors, pages 52 and 54 year. Others will attend weekly classes Sweden, Switzerland, Taiwan, Thailand, throughout the academic year in support Trinidad & Tobago, Turkey and the USA. Counsellor/Coordinator Student Support of their programme of study. These classes Dani Singer BA, PGDip, MAPC, UKCP / BACP Snr Accr., lead to an examination, designed to focus Hon ARAM students’ work and to give them a formal indication of their progress. Access and Disability Judith Fink In addition, all students can benefit from Additional Support Tutor the Help Desk run by the English Language (dyslexia/dyspraxia) Co-ordinator Janet McAlpin. This is a facility Paula Bishop BA, MMus, DipRSA SpLD, LRAM for students seeking help or advice for specific communication tasks, or for those Head of Alexander Technique who want to top-up particular English skills. Paul Moore LTCL, MStat

The Academy provides a range of Chaplain Career Development Over the years you will use the Network to well-established support provisions, The Academy has access to a Chaplain In addition to structured courses, Alumni Network reunite with old friends and share news, co-ordinated by the Counsellor. who serves the pastoral and spiritual workshops and the study-specific and take advantage of the benefits and needs of the Academy community, of professional development offered by Head of Alumni Development discounts on offer. Alexander Technique all faiths or none. departments, students are supported Ruth Byrchmore MMus, BMus, FRAM The Academy has taught Alexander through individual career advice. The annual concerts and social events Technique for over 20 years. Students Dyslexia and Disability Alumni Network Producer calendar forms the backbone of a living and normally receive 20 lessons throughout the The Academy has extensive experience See also ‘Music Business’, page 47. Helen Wills BA, Hon ARAM relevant Alumni Network. Many events year. These one-to-one lessons are intended of supporting students with specific are linked directly to the Academy’s main to be an introduction to the technique and learning difficulties and disabilities. We Financial Assistance schedule of public performances, but also are educational rather than therapeutic. are pleased to offer in-house support from The Academy is able to assist some included is a range of exclusive alumni-only Students learn how to ‘use’ themselves in a specialist in music and specific learning students towards the costs of their fees benefits, including behind-the-scenes the best way possible, and thereby function difficulties. We also co-ordinate any access and living expenses. See page 58, and insights, receptions and pre-concert talks. at their best whilst also avoiding injury. arrangements, usually through our Personal www.ram.ac.uk/scholarships Family workshops and reunions also form Learning Plan scheme. This is a confidential part of the annual social calendar for Alumni Noise and Avoiding Hearing Loss service available to applicants and students. Equality and Diversity Network members. The Academy takes students’ long-term The Academy values and promotes an health very seriously. We have extensively Health inclusive learning environment where The Alumni Office offers support for your When you graduate you will join the Online See www.ram.ac.uk/alumni for more monitored sound levels in a wide range of The Academy has close links with the local all students may thrive and realise their transition from student to alumnus and Global Network, giving you immediate details. Academy rooms, and the results are used to medical practice, Paddington Green Health full potential. Our aim is to provide a beyond. Its Alumni Network provides all access to a worldwide community of schedule rehearsals and allocate students Centre, where the doctors (GPs) have welcoming and accessible environment former students of the Royal Academy of Academy alumni. You’ll be able to access to projects to avoid excessive weekly expertise in working with musicians and for all students, staff and visitors, free from Music with a wide-ranging professional the Alumni Jobs Bulletin and find out about exposure. All students attend compulsory can help access a broad range of medical discrimination. support service and social network for our range of professional development noise seminars and undertake audiometric specialists. leaving students and all alumni, whether opportunities. (hearing) tests. Our Equality and Diversity policy, Equality they graduated many decades ago or within Please contact Dani Singer, email Scheme, Objectives and Action Plan set the last few years. Membership is free to all In addition, at any stage in your career you Counselling [email protected], if you have questions out how we aim to promote and advance alumni who have studied at the Academy will be able to enjoy the Careers Strategy The Counsellor provides a free, confidential about any of the areas above. equality and diversity here at the Academy. for a minimum of one year, and alumni pay Seminar Series, access a range of top-up, service to all students. This encompasses Further information is available at competitive rates for a range of premium refresher and from-scratch short courses, emotional support, general welfare and www.ram.ac.uk/equality. events and training options. and participate as a mentor or be mentored performance-related health concerns. within the Alumni Mentoring Scheme. Psychology-based performance classes If you would like to receive this prospectus are available to help students enhance their (or sections of it) in alternative formats, performance. please contact [email protected]

48 | 49 Museum, Collections Programmes of Study & and Library

Deputy Principal How to Apply (Programmes and Research) Timothy Jones MA, DPhil, LTCL

Museum and Collections Library Telephone 020 7873 7443 Telephone 020 7873 7323 Email [email protected] Email [email protected]

Head of Collections Librarian Angela Doane MA, MLSci Kathryn Adamson MA, Dip Lib, Hon ARAM Curator of Iconography Assistant Librarians Janet Snowman MA, Hon FRAM, FRSA Rosalind Cyphus BMus, Dip Lib, Hon ARAM Curator of Instruments (Systems management) Barbara Meyer Adam Taylor MSc (Cataloguing) Museum and Collections Coordinator Library Assistants Joanna Tapp MA Lesley Daniel MSc, Andrew Morris BA, Instrument Loans Coordinator Claire Sharpe MA, Ilse Woloszko GradDipMus Samantha Self MA Special Collections Cataloguer Digitisation Assistant Ian Brearey Barbara Diana PhD

Museum The Academy’s keyboard collection The Library has the facilities one would The Academy is home to world-renowned showcases the development of the piano expect for undergraduate and postgraduate collections of musical materials that enrich from 1764 to 1850. It features English, students, and also has historical collections our performance culture, inform our French and Viennese-style pianos, and of international significance making it a teaching, focus our scholarship, and form a highlights links between the instruments recognised centre for research. Students visible, public symbol of our shared musical and makers, composers and performers. can apply for access to the University of heritage. The Royal Academy of Music These keyboard instruments are maintained London Library and the British Library if Museum contributes to music’s capacity to playing standard, are available to students they require yet further resources. to inspire, unite, console and stimulate. to enhance their studies, and can be seen The Museum exists for the benefit of all by the visiting public. The Library has over 200,000 items, Academy students and staff past and including autograph materials by present, and the general public. The exhibition ‘Kenny Wheeler: Master Beethoven, Mendelssohn, Liszt and of Melancholy Chaos’ (April 2013 to April other seminal nineteenth-century figures. Housed in the Academy’s no.1 York Gate, 2014) has been described as ‘an intimate There are also remarkable collections an 1823 building by and designed insight into the life and work of a true UK of performance materials, ranging from as part of the approach to Regent’s Park, jazz institution’ by Jazz UK magazine. sixteenth-century lute books in the the galleries include early pianos and Robert Spencer Collection to autograph famous violins, manuscripts from the Library The Academy holds a wide variety of other manuscripts by Purcell, Sullivan, Vaughan Special Collections, images and other important collections. Other instrumental Williams and other leading composers, artefacts, plus a programme of temporary collections include horns formerly to marked scores from the collections of exhibitions and displays. The Academy’s owned by Aubrey and Dennis Brain, early Sir , Sir John Barbirolli, Lord Museum regularly holds lecture-recitals, instruments from the collection of David Menuhin, and Sir Charles seminars, workshops and other events, Munrow, and the Becket Collection of Mackerras, which offer unique insights into which include performances that draw period instruments which enables students the working methods and interpretative upon the Academy’s collections. to gain experience of performance on ideals of these twentieth-century giants. period instruments. Collections The Orchestral Library has about 4,000 sets The Academy holds a treasured collection Many important artworks, prints and of parts, constantly augmented with new of over 250 stringed instruments. drawings, photographs and other acquisitions. Important research collections It includes a world-leading group of iconographic materials, are accessible include the libraries of Sir Henry Wood and Cremonese instruments by makers such online through the Academy’s online Otto Klemperer. The Orchestral Library is as , Nicolò Amati, Andrea catalogue Apollo. More information about administered by the Concerts Department Guarneri and Giovanni-Battista Rogeri. the Museum, its collections and activities (see pages 44–45). This is an important playing collection for is available via www.ram.ac.uk/museum students, recent alumni and some staff, as well as being used for research and display.

50 | 51 Academic Undergraduate and Supporting Programme Studies (BMus) and Year-In Programmes

Head of Undergraduate Programmes Faculty Activity Year-In Programmes ‘The Royal Academy of Music’s Academic Studies Electives Anthony Gritten MA, MPhil, PhD, FRCO, Orchestras and Ensembles If you wish to benefit from undergraduate big band showed the class of the Academic Studies are essential to every Offered to students from the third FRSA, ACHEP In addition to regular chamber music, the training at the Academy but do not require emerging jazz generation’ student’s creative development. A year onwards, electives encourage Academy provides comprehensive orchestral a full programme of study leading to a The Guardian, November 2012 comprehensive range of topical courses is exploration of specific repertoire (e.g. Mozart BMus Year Tutors training: see page 44. qualification, we offer Year-In opportunities. offered across the disciplines of Historical Operas, Brahms, Messiaen, etc) and Christopher Atkinson MA, PhD, PPRNCM, Further information is available from ‘The performances were exceptional’ , Analysis, Performance Practice development of areas of specific technical Hon ARAM Ensembles for Singers www.ram.ac.uk/year-in or from the The Times, May 2010 and Composition, as well as Aural Training, expertise (e.g. Instrumentation, Recording Timothy Bowers BMus, DPhil, FRAM, ARCM These include choirs as well as varied Registry. Keyboard Skills, Technology, and Conducting and Digital Editing, Historical Performance, John Hutchins BMus, LRAM, ARAM classes such as acting, movement, Italian ‘Truly impressive facilities for courses which are designed to reinforce Music Business and Management, etc). Martin Outram MA, FRAM song, German language and lieder, French Year-in programmes provide you with tailor- performance and rehearsal’ students’ critical awareness as performers song, English song, and opera. In Years 3 made studies according to your individual The Guardian University Guide 2013 and/or composers. Classes run as seminar groups, and and 4 these elements are divided into two strengths and needs with the same students are expected to engage courses: Stagecraft and Opera, and the Craft performance opportunities as are provided Years 1 and 2 of the BMus comprise a with emerging critical ideas and take of Singing in Modern European Languages. for degree students, and appropriate common core. In Years 3 and 4, students the initiative in individual project work. academic subjects. You will receive a select their own specialisms from a wide Jazz transcript of your studies, but no award range of electives. The programme’s Supporting Studies is a series of four core The undergraduate jazz programme was (degree or diploma). flexibility encourages students to pursue modules that develops essential areas of Principal Study redesigned in 2011 and now leads to a Academic and Supporting Studies their own individual interests in order to musicianship and introduces other vital This is the focal point of a student’s dedicated BMus (Jazz) degree. See p.17. The categories are: Dominic Alldis Hon ARAM prepare for a range of careers within the skills during years 1 and 2 of the BMus. musical development and is taught to a Gap Year — if you wish to spend a year Christopher Atkinson MA, PhD, PPRNCM, Hon ARAM music profession. All subjects may be studied further at professional level on both an individual Composition at the Academy after school and before Harry Blake BA, MMus elective level. and group/class basis. The Academy’s four-year undergraduate taking up a full-time undergraduate Timothy Bowers BMus, DPhil, FRAM, ARCM Techniques and Analysis composition curriculum uniquely integrates programme at another institution. Audition (Alan Bush Lecturer) This two-year, seminar-based course 1. Aural Skills Each student receives one hour of one- the traditionally distinct areas of media and requirements are the same as for BMus Paul Brough MA, ARAM aims to develop understanding and Mandatory during the first two years of to-one tuition per week in Principal Study. concert composition. See pages 14–15. Year 1 entry. Ruth Byrchmore BMus, MMus, FRAM appreciation of music at a technical level. the BMus, training focuses on pitch, A small number of Second Study As a student composer you will receive Year Abroad — if you are a non-UK student Sarah Callis BA, PhD, Hon ARAM Pastiche composition aims to provide rhythm, texture, timbre, analytical and opportunities are available through a rigorous and comprehensive technical on a music degree outside the UK and wish Roderick Chadwick MA, MMus, LRAM, ARAM facility in manipulating musical materials stylistic awareness. competition, and in many cases students training whilst learning to apply your skills to incorporate studies at the Academy (Head of Supporting Studies) and ideas. Analysis of musical processes will take a Related Study (e.g. piccolo for by working regularly and closely with a into your ‘home’ institution’s degree Briony Cox-Williams BMus, MMus, PhD, ARAM, FTCL cultivates an ability to make informed 2. Keyboard Skills a flautist). Students are assessed by an variety of ensembles. From year three, you programme, when there is no existing Marc Ernesti BA, MMus performance decisions. Electives in T&A The one-year curriculum covers score- annual examination in May/June and will specialise in either media or concert exchange agreement in place. Study can (Head of Professional Development) are available in Year 3. reading, harmonisation, improvisation through ongoing Faculty Activities. work, also retaining close contact with the be for one term, one semester or a full Costas Fotopoulos BMus, MMus and accompaniment. alternative major through special seminars academic year. We encourage you to Hannah French BMus, MMus, LRAM, ARAM Introduction to Performance Practice The Tutor System and practical projects. commence the placement in September. David Gorton BA, MMus, PhD, ARAM An investigation of performance techniques 3. Introduction to Conducting The four BMus Year Tutors are available to Organ Foundation — if you are a gap-year Anthony Gritten MA, MPhil, PhD, FRCO, FRSA, ACHEP and interpretative issues. This equips All students are taught the basic elements discuss the performance and academic Exchange Programmes student preparing for an Oxbridge organ Paul Harris FRAM, ARAM, GRSM, LRAM, ARCM, students with tools to investigate repertoire of baton technique, from beating patterns options available to students, timetabling, The Academy has exchange agreements scholarship, or if you wish to develop your MTC (Lond), HonTCL in both historical and contemporary contexts. to influencing sonority. progress, and any other aspects of their with conservatoires across the world. organ/choral direction skills before your Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM programme of study. With responsibility These are normally for students on an formal university or conservatoire training. Alexander Hills BMus, MMus, PGDip, DMA Introduction to Technology 4. Introduction to Technology for both academic and pastoral welfare, undergraduate/first cycle programme who Raymond Holden PhD, Hon ARAM Students use state-of-the-art software Students are introduced to recording Tutors monitor the overall progress of have reached the Academy’s Year 3 entry (Sir John Barbirolli Lecturer in Music) and studios in creative technology-based techniques and studio technology. every student and act as an effective and level. The Academy has been awarded an Colin Huehns MA, PhD, ARAM courses, which are designed to enhance the important representational link between Erasmus University Charter, and exchanges Timothy Jones MA, DPhil, LTCL learning experience and stimulate creativity. Principles of Teaching and the student and the institution. are also available with institutions in North Deputy Principal (Programmes and Research) Music in Community (MiC) America, Australia, Japan and Korea. Aya Kawabata BMus, MMus, LRAM Topics in Western Music History These two introductory electives explore Peiman Khosravi MMus, PhD This one-year course focuses on the two strands of professional development: Exchanges can be for one term, one semester Daniel-Ben Pienaar BMus, MMus, DipRAM, ARAM musicological, social and political context of teaching skills and outreach. or a full academic year. If there is no exchange (Curzon Lecturer in Performance Studies) composers within the western art tradition. agreement with your institution, or if a Patrick Russill MA, Hon RAM, Hon FGCM, Hon FRCO Presentational methods range from formal The Principles of Teaching elective leads reciprocal student cannot be found, you Jeremy Summerly MA, MMus, Hon RAM chronological surveys of historical periods into the optional LRAM teaching diploma may be offered a Year Abroad studentship. (Sterndale Bennett Lecturer in Music) to discussions of selected works. The course and MiC may be pursued at advanced level Please ask your own institution’s exchange Nicholas Walker LRAM, ARAM (Keyboard Skills) aims to generate an environment where as an elective. coordinator for further information. Julian West BA , Hon ARAM (Head of Open Academy) students feel able to question received terms and definitions. 52 | 53 MA and Postgraduate MMus in Programmes Performance

Head of Postgraduate Programmes Introduction Once admitted to the Academy, all Introduction Both of the MMus Programmes (MMus Principal Study (MA and MMus) Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM The Academy provides an enormous range postgraduate students receive regular The MA and MMus in Performance are Concert Project and MMus in Performance Learning Outcomes of opportunities for postgraduate students, tutorial advice to help with their educational aimed at aspiring professional performers and Research) have been created in You will be equipped technically and musically Senior Postgraduate Tutor and including a broad selection of elective and career decisions. There is provision for who have normally completed an response to the changing demands of to demonstrate a distinctive interpretative Associate Head of Research professional development courses. In postgraduate performers to transfer from undergraduate course to a high level of the music profession and a shift of focus personality in both solo and ensemble live David Gorton BA, MMus, PhD, ARAM order to get the most out of this dynamic MA to MMus after one year for one further performance before entry. The flexible among concert promoters and recording concert performances. You will have gained environment students are expected to take year of study, provided the necessary programmes of study provide training companies to work on a project-by-project confidence and experience with the range Senior Postgraduate Tutor a proactive approach to their programme criteria have been met. to meet the demands of the profession basis. The programmes are for students of skills expected of you in your area of the Sarah Callis BA, PhD, Hon ARAM of study. Each department has fixed and support for the development of who wish to expand and develop high- music profession, and learnt critically Principal Study requirements that set a Programme Duration an individual professional profile in an level performance opportunities with to evaluate your own performance. Postgraduate Tutors carefully chosen range of professional The MA is normally a two-year programme, environment in which students are able to practically-oriented academic study and Rachel Chaplin MA, MMus, PhD, LRAM, ARAM criteria you need to be able to meet. In but in certain cases students can be reach the highest possible standards. The research. Students come from diverse Assessment Roderick Chadwick MA, MMus, LRAM, ARAM addition, all master’s degree students allowed to take it in one year. Conducting programmes aim to form a ‘bridge’ to a backgrounds, and may be conservatoire > Final Recital (or equivalent) Briony Cox-Williams BMus, MMus, PhD, complete a Professional Portfolio that normally requires three years. An performance career and those who apply or university graduates with a range of > Concerto Assessment (or equivalent) ARAM, FTCL provides an open framework designed to assessment of suitability for a one- or two- should have a clear idea of their future aims. career aspirations. > Profile Report on Faculty Activity, including encourage you to make the very best of year programme will be made at audition, reports from individual lessons, concerts, the extraordinary range of opportunities according to the applicant’s standard on Students are involved in the full gamut of The MMus Concert Project focuses on performance classes, ensembles, etc. The Teachers available at the Academy. This ethos is entry, educational needs and funding ensemble and complementary activities: the development and delivery of a concert Professor Simon Bainbridge FRCM, Hon RAM carried over into project work for MMus and position. This can be reviewed during the chamber music, orchestras, opera, early event in all of its aspects, specifically Professional Portfolio (MA and MMus) Senior Professor of Composition research degree students. The aim of the first term of study. music, contemporary music, church music, exploring the roles of research (in the Learning Outcomes Philip Cashian BMus, DMus, Hon ARAM programmes is to provide the necessary etc, as arranged by faculty and monitored widest sense) in creating and sustaining You will be equipped to present a portfolio Head of Composition encouragement and direction to help you The MMus in Performance (Concert closely by the Postgraduate Tutors, who performance opportunities. Students summarising your work while at the Anthony Gritten MA, MPhil, PhD, FRCO, FRSA, ACHEP get the most out of working with your peer Project / Performance and Research) assist in balancing the work-load. follow elements of the MA programme, and Academy in relation to the development Alexander Hills BMus, MMus, PGDip, DMA group as well as from the expertise of staff options are similarly flexible, but the normal in addition explore their research interests of your individual professional profile. Raymond Holden PhD, Hon ARAM and visiting specialists. expectation is that studies will take two Students at this level are expected to through a concert event supported by a A key aim is the development of Sir John Barbirolli Lecturer in Music years. Only a small number of students perform regularly. There are opportunities 5,000-word written component. confidence in adapting presentational Roy Howat MA, PhD, Hon ARAM (Keyboard Research Fellow) Our Range of Programmes are permitted to take the one-year option to play in lunchtime and early-evening skills to the demands of particular Timothy Jones MA, DPhil, LTCL > Master of Arts in Performance (MA) (which attracts a significantly higher fee). concerts, to perform concertos with the The MMus in Performance and Research professional contexts. Deputy Principal (Programmes and Research) > MMus Concert Project and MMus in Academy’s orchestras, and to participate in aims to provide first-hand insight into the Daniel-Ben Pienaar BMus, MMus, DipRAM, ARAM Performance and Research The MMus in Composition is an intensive performance classes and masterclasses, ways in which performance research All students produce promotional materials Curzon Lecturer in Performance Studies > Master of Music in Composition — two-year (24-month) programme. In events series and the Academy’s wide is developing through different strata and a reflective commentary, but there is Peter Sheppard Skærved LRAM, FRAM MMus Composition: see pages 14–15 exceptional cases students can be allowed range of competitive prizes and ensemble of the music profession, and to provide also a range of elective opportunities to Viotti Lecturer in Performance Studies > Advanced Diploma in Opera: see pages to take it as a one-year MA. performances. opportunities for students to explore extend your professional development in Jeremy Summerly MA, MMus, Hon RAM 10–11 a variety of projects (editorial, analytic / the following areas: Concert Workshop, Sterndale Bennett Lecturer in Music > Postgraduate Diploma in Musical Theatre The Advanced Diploma in Opera is an The MA in Performance focuses on a aesthetic, and a lecture-recital) under Critical Interpretation, Promotional Skills, — PGDip: see pages 20–21 intensive two-year (21-month) programme. performer’s professional development, close supervision. Students follow Education Work, and Technology. > MPhil and PhD in Composition or and is designed to allow maximum elements of the MA programme, in addition Performance Practice: see pages 40–41 The Postgraduate Diploma in Musical flexibility for students to concentrate to a specialist research pathway, which Project Work (MMus only) Theatre is a nine-month course. upon the range of activities offered within ultimately leads to a 10,000-word research Learning Outcomes Which Programme is right for you? their faculty, and to develop their own project. All student work is focused directly You will have learnt to establish The Academy’s postgraduate programmes For the two-year MPhil and three-year performance initiatives. The Professional on their developing performance profiles, research aims relevant to your individual offer a flexible and co-ordinated scheme PhD, which are both available in either Portfolio (see below) provides a framework with the aim of opening possibilities and development as musicians, and to draw on of awards; from explicitly professional Composition or Performance Practice, for students to prepare for a quickly supporting the highest aspirations. a range of research processes which allow preparation in the MA to doctoral studies. see pages 40–41. evolving profession and is supported by a such aims to be realised at a high level. You large team within the Academy. Both MMus programmes are taught by will have developed a critical awareness of In addition to attending an audition, all LRAM teaching diploma a team within the Academy and visiting how your work relates to developments MMus candidates are required to send Many postgraduates additionally experts, and all students take part in a within the profession and within practice- in samples of their written work. MMus choose to study for the of weekly workshop session which provides based research and/or musicology. Concert Project candidates should also the Royal Academy of Music (LRAM) opportunities to explore the implications of submit a concert proposal, and MMus teaching diploma. The diploma provides the research perspectives opened by the Options Performance and Research candidates a comprehensive, practically-based courses in a direct practical context. One of: should submit a research project proposal. introduction to the principles of teaching. > Research Project www.ram.ac.uk/mmus-written-requirements > Concert Project.

54 | 55 ‘Bringing together exceptional young Application Entry players from leading music schools Procedure Qualifications in New York and London was a great idea... incandescent performance’ New York Times, August 2012 Email [email protected] www.ram.ac.uk/entry-requirements ‘...the youngsters assembled here weren’t exactly novices. Students at London’s Royal Academy of Music and New York’s Juilliard School, they are on the cusp of the profession. To judge from the verve they showed here, they will be entering at a high level’ The Times, August 2012

‘A stellar list of alumni spanning the 1st October 2013 Deferred Entry Entry Qualifications for The following will satisfy fully the Other Matriculation Options worlds of classical and popular music’ Application deadline for London auditions, The Academy does not consider Undergraduate Programmes: matriculation requirement: If you are a mature candidate or have a non- The Independent, April 2012 including composition portfolios, recordings applications for deferred entry. BMus, Gap Year, Organ Foundation > BTEC National Certificate or National standard educational background, see and MMus essays (except MPhil, Diploma (three full units in Music at Merit http://www.ram.ac.uk/entry-requirements ‘Those three years were incredibly Conducting, Choral Conducting, Musical Allocation of teachers and Minimum Age at Entry or higher), or for alternative assessments (APEL). important for me. That’s when I learnt Theatre and auditions in North America). Consultation Lessons Normally 18 on 1st September preceding > Access to Higher Education diploma, repertoire, that’s where I met so The Academy takes great care over the the start of the programme. in Music, or Entry Qualifications for many wonderful, practical musicians For auditions in East Asia, please contact the allocation of students to teachers. Every > International Baccalaureate: the Diploma, Exchange and Year-Abroad who expressed themselves through relevant centre by 1st October 2013 (see effort is made to accommodate students’ Entrance Standards including music as a Group 6 subject. Please refer to ‘Year-In Programmes’ what they did with their instruments page 59). Dates for East Asian auditions are preferences but the final allocation is at Evidence of professional performing on page 52. or voices. I found it completely subject to confirmation. the absolute discretion of the Principal. potential in your Principal Study, sound International Academic Qualifications wonderful and eye-opening’ Consultation lessons may be organised general musicianship and a good aural You may check whether we accept your English Language Requirements for Academy alumnus Edward Gardner 1st November 2013 with a professor prior to entry, for which response. As a guide to the minimum qualifications by visiting our website at International Students on BBC Radio 3, August 2011 Deadline for Musical Theatre applications. there may be a charge, payable to the technical standards expected, consult the www.ram.ac.uk/entry-requirements, If English is not your first language, professor. Please contact the relevant syllabuses for Associated Board of the but you should send copies of official you must demonstrate your language Early November 2013 department www.ram.ac.uk/departments Royal Schools of Music (www..org) transcripts or certificates with your proficiency if required by the admissions Notification of dates for auditions in London to organise this. examinations at Grade 8 and DipABRSM or application form, including English board. Application Procedure in December. Trinity/Guildhall (www.trinitycollege.co.uk) translations where necessary. If See www.ram.ac.uk/apply for details. The Academy does not discriminate against examinations at Grade 8 and Associate subsequently offered a place, you must The Academy will accept either of these Mid-November 2013 students on grounds of age, sex, disability, Diploma (ATCL) level. send original documentation to the two tests: If you are applying for the MMus Notification of dates for Musical Theatre ethnicity, religion, etc. We do, however, Registry before you can enrol. > International English Language Testing programme, you will need to send written auditions. judge applicants critically on their personal There is no formal minimum standard in System (IELTS — academic tests) work (as detailed on your department suitability for a course of study according keyboard skills, but an ABRSM Grade 5 Entry Qualifications for > The Pearson academic test page at www.ram.ac.uk/departments) by November 2013 to ability and their potential to develop into minimum (or equivalent) is desirable in Postgraduate Programmes the relevant application deadline. If the Auditions in Beijing, Guangzhou, Hong professional musicians. The Academy’s piano if keyboard is not your Principal Study, Minimum Age at Entry Information about test centres can be Admissions Board decides that the MMus Kong, Malaysia, Seoul, Shanghai, Disability Statement can be viewed at to enable you to improve your general Normally 21 on 1st September preceding obtained from www.ielts.org and is not suitable for you, you may be offered Singapore, Taipei and Tokyo. www.ram.ac.uk/disabilities musicianship. the start of the programme. http://pearsonpte.com a place on the MA (Master of Arts) programme instead. 2nd to 13th December 2013 Contacts Academic Qualifications for BMus Entrance Standards You should take the examination for either Auditions in London. You should expect to (UK and Ireland) Performance level at least equivalent IELTS or Pearson soon after accepting a If you have a disability and require be called on any week-day during this period. Head of Academic Administration: > England and Wales: Passes in two GCE to a recognised music diploma in your place at the Academy to ensure that your assistance with the application procedure, Results will normally be available in CUKAS Melanie Mullin BA Advanced-level (A2) or Pre-U certificate Principal Study. result reaches the Registry by 1st May please contact the disability advisor by Christmas. (pictured with Registry staff) examinations, including Music. A pass 2014. Your score must be at least: [email protected] or the admissions at ‘AS’ level counts as half an A-level Academic Qualifications IELTS Pearson officer, admissions @ram.ac.uk. See 6th January 2014 Assistant Registrar: > Scotland: B-grade and at least four C-grade You should normally be completing or BMus or PGDip 5.5 51 p. 59 for audition access arrangements. Application deadline for Conducting and Claire Watts BA, Hon ARAM passes in Highers, including Music. An have completed a full-time (undergraduate) MA 6.0 58 Choral Conducting, and for auditions A–C grade Advanced Higher qualification is programme of musical study. To Advanced Diploma 6.5 64 Open Days in North America. Admissions Officer and International considered to be equivalent to an A-level pass matriculate onto the MA and MMus, you MMus/MPhil 7.0 70 Open Days are designed for the public to Co-ordinator: > Ireland: B-grade and at least four C-grade must possess a good Honours degree observe Academy work-in-progress. They 20th January 2014 Edward Kemp-Luck MA, ARCM, FRCO, Hon ARAM passes in the Senior Leaving Certificate (normally in Music) or a recognised If you are joining Postgraduate Vocal are directed particularly towards candidates Application deadline for MPhil. (Higher Level) equivalent. For the MPhil you must possess Studies or Opera, you must score at least who may wish to consult specific staff Awards and Registry Administrator: at least an upper second class honours IELTS 6.0 / Pearson 58 in the Listening and on any aspect of the Academy ‘experience’. Late January 2014 Daly Sarcos BSc Other Qualifications which are accepted degree, and it is preferable also to have Speaking sections of the test. Open Days are organised from late Notification of audition times for as equivalent to Music A-level: a Masters degree. For the Advanced September by each department. For details Conducting, Choral Conducting and Registry Services Officer: > A pass in ABRSM Grade 8 (Theory) Diploma you should normally have at least a If you need a visa to study in the UK, you please see the relevant department’s web North American auditions. Siân Watson BA plus a pass in ABRSM or Trinity/Guildhall Master’s qualification or equivalent. may also need to meet the UK Border page from www.ram.ac.uk/departments. Grade 8 (Practical), or Agency’s language requirements. See You are welcome to come to any of our February 2014 Telephone +44 (0)20 7873 7393 > A BTEC National Award in Music www.ram.ac.uk/study for details. many free public concerts during term-time Conducting and Choral Conducting Fax +44 (0)20 7873 7394 to sample the Academy’s dynamic auditions in London. Email [email protected] atmosphere more informally. March 2014 Auditions in North America. Interviews for MPhil. 56 | 57 ‘It was amazing to come to a place Fees and where I thought everyone was going Your Awards to be very snotty and posh — and to Audition find other people of my age who loved singing as well and were normal. It’s a brilliant place and I definitely wouldn’t be here without it’ Katherine Jenkins television interview with Piers Morgan, October 2009

‘Delectably performed... In a piece teeming with delightful ensembles there is good singing all round. Beg for a return — it’s sold out’ The Times, November 2011

Application Fees Scholarships Awards and Loans for BMus students Audition Requirements International Candidates Hong Kong Centre > Application fee for Musical Theatre, See www.ram.ac.uk/scholarships from the UK and European Union Full details appear on the department pages If you live in Europe, you must attend Warren Lee Conducting and Choral Conducting Candidates with UK or EU fee status who at www.ram.ac.uk/your-audition — please the main London auditions in December Telephone +852 5181 2108 auditions in London: £100. Entrance scholarships are awarded on are applying for the BMus programme should check these regularly. You are welcome 2013 (Spring 2014 for Conducting, Choral Email [email protected] > Application fee for all other London the basis of merit to selected candidates visit www.gov.uk/student-finance to contact the Registry or the department Conducting or research degrees). Other auditions: £95 (or £110 after the following audition. The Academy prides to be assessed for a tuition fee loan. administrator if you have any queries. international candidates are strongly Japan Centre advertised closing date). itself on being able to accept students UK-fee candidates can also be assessed advised to do likewise (but also see below). Mrs Yoko Takamoto > Application fee for auditions purely on the basis of their potential for maintenance awards. These awards The precise format for auditions will vary 65-1-203 Kamimaruko-tenjincho, Nakahara-ku, in North America: £150. and talent, and will therefore try to help are administered through the Student according to Principal Study. In most cases Please see www.ram.ac.uk/apply Kawasaki-shi, Kanagawa-ken, 211-0007 Japan > Application fee for auditions in Asia: deserving candidates as much as possible. Loans Company. auditions will last from 20 to 30 minutes. for full details of all international auditions. Telephone/Fax +81 (0)44 744 1687 refer to local audition co-ordinator. The amount available for scholarships As time is limited, you may be interrupted Mobile +81 (0)90 3451 5912 varies from year to year, with some Similar arrangements exist for EU (non-UK) before you have performed a complete Candidates from North America Email [email protected] If you withdraw before attending the funding coming from the Academy’s own students, who can apply for a tuition fees piece. You may be given sight-reading or If you live in Canada or the USA, you must audition, you will not be entitled to a refund. endowments and the rest secured through loan through www.gov.uk/student-finance. quick study tests. audition in either London (December 2013, Korea Centre If you apply after the advertised deadline, the generosity of individuals, companies, (Maintenance awards are available only to or Spring 2014 for Conducting, Choral Dr Jae Eun Shin, DMA you must pay the late fee and you may be trusts and foundations. UK students.) Musicianship and keyboard skills tests Conducting or research degrees) or North Email [email protected] placed on a waiting list for an audition if the may be required of all prospective America (March 2014, in New York). Telephone +82 (0)10 9334 8749 timetable is full. Other Financial Assistance Payment of Tuition Fees undergraduates, who are also asked to Auditions in North America are not open BMus students on UK or EU fees are Most UK and European Union students will bring a short piano piece to demonstrate to candidates for Opera, Percussion, Jazz, Singapore Centre Tuition Fees additionally eligible to be considered be entitled to pay fees at the ‘home’ rate their level of keyboard skills. Organ, Harpsichord, Conducting, Choral for Singapore and Malaysia auditions For fees for full-time programmes for for support through fee waivers and the provided they have not already gained a Conducting, Musical Theatre, Repetiteur or Lim Yean Hwee, Artists Academy 2014–15, please see www.ram.ac.uk/fees. National Scholarship Programme (except qualification at the same level as the Written paper: all undergraduate candidates Research degrees. The application deadline 217 East Coast Road #02-01/ #02-02 Annual fees for 2013–14 are: students from Scotland, Wales and programme they are joining, and meet are required to take a 50-minute written to audition in North America is 6th January Singapore 428915 Home/EU International Northern Ireland): see www.ram.ac.uk/ certain residency conditions which are paper which comprises harmonisation of 2014 and the application fee is £150. Telephone/Fax +65 (0)66591860 undergraduate-tuition-fees detailed at www.ram.ac.uk and at a short melody and a choice of short essay Mobile +65 (0) 98456226 BMus £9,000 £19,150 www.ukcisa.org.uk and in the notes questions of a general musical nature. Candidates from East Asia Email [email protected] Each year the Academy offers to sent out with application forms. The Academy regrets that it cannot issue Auditions take place in Beijing, Guangzhou, MA £10,175 £19,900 international students one Undergraduate specimen papers. Hong Kong, Malaysia, Seoul, Shanghai, Taiwan Centre and one Postgraduate Associated Board Annual fees are normally payable in advance Singapore, Taipei and Tokyo. If you live in Miss Aki Lin, 8F–1, #181, Chang-an E. Road, MMus £10,250 £20,400 of the Royal Schools of Music Scholarship, with a 25% deposit due in mid-April You are advised to bring your own East Asia, you must attend one of these Sec. 2, Taipei, Taiwan ROC covering fees and part-maintenance for the (31st March for candidates auditioned in accompanist, but if you cannot do this, auditions or the main auditions held in Telephone +886 (0)2 2772 9432 MMus (Intensive 1-year) £12,300 £22,600 duration of undergraduate programmes, Asia in November) and the balance due the Academy provides accompanists London in December 2013. Auditions in Fax +886 (0)2 2773 8834 and for one or two years for postgraduate by the middle of August. for the London and New York auditions. East Asia are not open to candidates for Email [email protected] MPhil/PhD £5,700 £12,500 programmes. There is no charge for using an Academy Opera, Percussion, Jazz, Conducting, We recommend that all students plan to accompanist, and you will be allocated a Choral Conducting, Musical Theatre or Video Recordings Advanced Diploma The Academy may be able to assist some find their own funding sources to cover short rehearsal with them in your warmup Research degrees. It may not be possible If you do not live in Europe, East Asia or (Royal Academy Opera) £14,000 £14,000 students (normally postgraduates and tuition fees and living costs. See time immediately before your audition. to audition Harp, Organ or Historical North America, the Academy will accept full-fee paying international students) www.ram.ac.uk/financial-support We regret we cannot arrange additional Performance candidates because of videos (DVD all-region only) for most Musical Theatre £13,800 £13,800 towards their study costs through the rehearsal time before the audition date. limitations at the host venues. Principal Studies. All recordings must be bursary system. If you are eligible, details received by 1st November 2013 and must Musical Direction £6,800 £6,800 will be sent with your offer letter. Enrolled Access Arrangements Deadlines for auditions in East Asia are be authenticated by a person of authority. students who experience difficulties with Please inform the Registry well in advance specified by the relevant centre: please You must complete both a CUKAS application Year Abroad £10,175 £10,175 living costs may also seek assistance from if you will have any access requirements see www.ram.ac.uk/auditions-in-asia. form and our own DVD form, which is the Academy’s ‘Hardship’ funds. when you come for audition. This will Application enquiries should be directed available from [email protected]. Organ Foundation enable us to discuss your needs and as follows: Please note that if you audition by recording, and Gap Year £10,100 £19,600 have the appropriate arrangements in you will not normally be eligible for an place for you. PR China Centre entrance scholarship. For ELQ (equivalent or lower qualifications) Professor Su Zhen, fees, please see www.ram.ac.uk. Notification of Results Central Conservatory of Music, Visas The Registry will notify all candidates of the 43 Bao Jia Street, Beijing, If you will need a support letter to help apply Estimated average living costs: result of their audition through CUKAS PR China 100031 for a visa for your audition in London, please £11,000 per academic year. as soon as possible. All offers made are Telephone/Fax +86 10 83511052 contact [email protected] after you conditional upon the candidate achieving Email [email protected] have submitted your Academy application. the stated educational and language 58 | 59 requirements. Credits

HRH The Duchess of Gloucester and Lord Burns at Graduation Carol McCormack (Director of Development) Patron Director of Junior Academy Every effort has been made to ensure the Her Majesty The Queen from Summer 2013 accuracy of this Prospectus at the time Howard Ionascu MusB of publication. However, the Academy President reserves the right to vary its programme Her Royal Highness Senior Administrative Officers and staffing according to circumstances. The Duchess of Gloucester GCVO, Hon FRAM Head of Academic Administration: Melanie Mullin BA Photography by Hana Zushi. Vice-Presidents Sir David Lumsden MA, DPhil, Hon RAM, Hon FRCO Marketing and Communications Manager: Printed on paper manufactured using David Josefowitz CBE, Hon FRAM Peter Craik Hon ARAM 75% recycled fibre (100% de-inked post- Sir CBE, Hon RAM consumer waste) at a mill that has Estates Manager: achieved the ISO 14001 environmental Honorary Trustee Pete Smith GRSM, LRAM, FRAM management standard. Lord Armstrong of Ilminster Academic Secretary: Prospectus design and art direction: Members of the Governing Body Catherine Jury BA, Hon ARAM INTRO www.introwebsite.com Lord Burns GCB, Hon FRAM (Chairman) Lady Sainsbury of Turville Hon FRAM Governance Adviser: (Deputy Chairman) Rosalind Sector University of London John Burgess Sir Howard Davies Hon FRAM Matthew Ferrey CBE, FRAM Professor Roger Parker Laurel Powers-Freeling Simon Robey Hon FRAM of the University of London Sir Martin Smith Hon FRAM Her Royal Highness Tony Travis Hon RAM The Princess Royal LG, LT, GCVO John Willan ARAM, FRSA, FCA The Royal Academy of Music is a member Senior Management of the University of London, one of the Principal: oldest and largest universities in the UK. Prof. Jonathan Freeman-Attwood Through its Colleges and Institutes the BMus, MPhil, Hon RAM, FKC University of London offers the widest range of Higher Education opportunities in Deputy Principal: Britain, with over 2,000 courses and Mark Racz BA, MFA, Hon FBC unparalleled facilities for advanced research.

Deputy Principal (Programmes and Research): Timothy Jones MA, DPhil, LTCL

Director of Development: Carol McCormack Hon ARAM

Head of Finance: Judith Barber BSc, CPFA, Hon ARAM

60 Royal Academy of Music Patron: HM The Queen , London NW1 5HT President: HRH The Duchess of Gloucester Telephone +44 (0)20 7873 7373 Principal: Professor Jonathan Freeman-Attwood www.ram.ac.uk Registered Charity No. 310007