THE NEW MASTER Lady Brewer OBE...Fantasia para un Gentilhombre with Andrés Segovia as soloist; the...

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harmonythe worshipful company of musicians

Tessa Brewer’s immediate comment regardingher family background is “it is very

complicated”. Well, in terms of details mostcertainly, but in essence threefundamental factors shinethrough in her conversation:music, languages and travel.

To say that Tessa Jordá wasborn into a musical world is anunderstatement. Her father wasthe distinguished conductorEnrique Jordá, “a proud Basque” says Tessa, hewas born in San Sebastián in 1911. Happily, hismother’s initial observation that, as a professionalmusician “you’ll never earn a penny”, wasincorrect, meaning that Enrique’s early studies inMedicine were not pursued. He was passionateabout Basque music and culture and enjoyed arewarding relationship with Les Ballets Basques.His career developed rapidly and he conducted in Madrid and Cape Town (where Tessa wasborn), after which he became music director ofthe San Francisco Symphony Orchestra (1954-1963). Whilst there, he gave the premiere of theFantasia para un Gentilhombre with AndrésSegovia as soloist; the work being written for the two of them by Joaquin Rodrigo.

He made several acclaimed recordings forDecca, in the late 1940s and early 1950s, ofSpanish music with the London SymphonyOrchestra, National Symphony Orchestra andParis Conservatoire Orchestra. These includedtwo recordings of Nights in The Gardens of Spainwith Clifford Curzon (a close friend) as soloist. A third recording with Arthur Rubinstein and theSan Francisco Symphony followed, along withother RCA Victor recordings in the later ‘50s. Onleaving San Francisco, Enrique was a guest

THE NEW MASTER

Lady Brewer OBE“I just wantto serve theCompanywell…”

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Published by The Worshipful Company of Musicians 2017.Registered at Stationers’ Hall. Views expressed do notnecessarily reflect the opinions of either the Court or theeditors. Printed by Perfect Imaging Ltd., London E3 3DA.Unless otherwise stated, individual contributors retaintheir copyrights, and no part of this publication may bereproduced without prior written permission.

2 PRESERVE HARMONY AUTUMN 2017

Editor Emeritus ClerkAdrian Davis Hugh LloydEditor Deputy ClerkJeff Kelly Amanda RatcliffeEditorial Team Yeomen Co-ordinator Chris Lawrence Christine TwiteMargot Mouat Magazine co-foundersAdrian Mumford John Iles and Adrian DavisDesignJohn Hawkins

The Worshipful Company of Musicians1 Speed HighwalkBarbicanLondon EC2Y 8DXT 020 7496 8980F 020 7628 4528E [email protected] www.wcom.org.ukRegistered numbers of the CharitableFunds 310040 and 264303VAT No. 162 1105 58 I was speechless.” At that time, however, opera

seemed such an artificial art form that it failed toengage her. When she was 23 her mother took her to a performance of The Magic Flute “and that was it!”

Despite piano and guitar lessons, Tessa did notpursue either instrument, but certainly loved singingin the school choir. What does music mean to hernow? “Oh that is difficult! When I was younger, therecord player went on as soon as I got home, butwith a young family and such a busy life – this isnot a quiet house – I really don’t listen to music at

conductor in Europe, South America andAustralia and from 1970 to 1976 hewas music director of the AntwerpPhilharmonic Orchestra.

Tessa’s mother, Audrey, had a greatlove of music, her childhood also a havenfor highly talented musicians. With herfather being a keen cellist it was, perhaps,not such a great surprise to her that a veryyoung Pablo Casals came to play at theirLondon home! On finishing her studies atthe Brussels Conservatoire, Audrey’s fluencyin several languages led to an extremelyinteresting working life. While based at theBritish Embassy in Madrid, Audrey wasintroduced to Enrique at a dinner party. Hespoke no English and she spoke no Spanish, sothey communicated in French; love blossomed and they were married in Seville.

Some of the greatest musicians of the time were a part of Tessa’s childhood, as they visited thefamily home (in whichever country) to rehearse with Enrique or spend time socially. In addition toCurzon, Segovia and Rubinstein, the likes of MyraHess, Rostropovich, Claudio Arrau and Beechamfeatured, amongst many others. Did she realise justhow remarkable this was? “Well, quite honestly, no,it was always there; music was what we were allabout”. Though, with hindsight, she is the first toagree what an amazing childhood it was. With thatin mind, and having been taken to many concerts,were there any ‘stand-out’ moments? “My parentswere very wise; in my later teens they took me to a performance given by Béjart Ballet Lausanne, the dance being set to a Bach Cantata; it was aspellbinding musical and physical experience –

[DIARY2017-1822 NovemberHelp Musicians UK’s Celebration of MusicWestminster Cathedral 11.00am13 DecemberCarol Service St Michael’s Cornhill 6.00pm24 January 2018Court & Informal Lunch Saddlers’ Hall 12.30pm19 FebruaryMusicians’ Company ConcertWigmore Hall 7.30pm16 MarchUnited Guilds Service St Paul’s Cathedral 11.15am11 AprilCourt & Livery Dinner Salters’ Hall 6.30pm15 MaySons & Friends of The Clergy Service St Paul’sCathedral 5.00pm10 JuneMusicians’ Company ConcertWigmore Hall 7.30pm27 JuneMidsummer Banquet Fishmongers’ Hall 6.15pm10 JulyCourt & Informal Lunch Girdlers’ Hall 12.30pm

THREE SENORS – Joaquin Rodrigo, blind Spanish composer, fingers the musical score written inBraille, as Andres Segovia (left) and Enrique Jorda read composition in sheet music version.(This is the actual caption given - without accents - by the S. F. Examiner on 5 March 1958.)

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Two pages taken from Tessa Jordá’s childhoodautograph book; one signed by Clifford andLucille Curzon. By remarkable coincidence, onthe other, Pablo Casals’ signature isaccompanied by the first bar of the Prelude fromBach’s Cello Suite in C major, which was chosenby Yeoman Abel Selaocoe to play at the Master’sInstallation Dinner!

PRESERVE HARMONY AUTUMN 2017 3

home now. I find that music is something todedicate time to, to listen to without distraction,and certainly not to have on in the background. I love the opera and concerts – classical or jazz – asthey can bring incredible joy and uplift the spirits”.

With a Spanish father, a multi-lingual motherwho, whilst born in England, came from a Germanfamily (with part of the family in Antwerp), it isunsurprising that following boarding school, Audreysuggested Tessa should take a secretarial course inthree languages. Whilst, later, this enabled Tessa toenjoy a very successful career, it seems clear thatstudying in Brussels was not a highlight; Antwerp,by contrast, was much more enjoyable. Through hergreatest school-friend, Tessa lived in Dublin whereshe ‘house-sat’ while working in Fitzwilliam Square:“Dublin in the late ‘60s was such fun and I metpeople of my own age who laughed!”

All of which highlights the third fundamentalfactor mentioned earlier: travel. After Ireland, Tessareturned to Brussels to work for the ParliamentaryAssembly at NATO, and do lots of travelling.Numerous visits included Capitol Hill DC, Ottawa,Cape Kennedy (meeting Astronauts), together withencounters with the likes of Ted Kennedy and theRepublican Jacob Javits. In 1972 she returned toSouth Africa and worked with the US InformationAgency, matching talented black students with USuniversities, and the following year Tessa’scommand of languages enabled her to move toLuxembourg. With regular visits to Strasbourg, sheworked with the European Parliament dealing with the then accession countries of Greece andTurkey. However, Luxembourg at that time lackedthe cultural infrastructure it now enjoys so,characteristically, she took the opportunity to honeher golfing skills and add Italian to her languagerepertoire.

As Tessa says “I travelled all the time and alwayshad really, really interesting jobs”… This was tocontinue. Having decided to return to London,Tessa’s expertise resulted in her appointment as PAto the Chairman of Lloyds of London in 1983. Herresponsibilities included organising the chairman’soverseas travel and programmes. Prior to going ona recce to Japan in preparation for a chairman’svisit there, Tessa met three key Brokers who were toaccompany her, one being a certain David Brewer(who had previously lived in Tokyo for three years).

After reading theology in Durham I began myministry as a priest at St Chad’s, Shrewsbury,

before coming to London almost by accident –thereby hangs a good tale. I have lived and worked in Westminster for overthirty years, holding posts at St Martin-in-the-Fields and King’s College before my current roleas Vicar of St Matthew’s, Westminster and parishpriest of St Mary le Strand. I’m a firm believer inSt Augustine’s observation that ‘he who singsprays twice’, and music has always played a key

part in my life and ministry. Clergy and musiciansmust work well together if the church is toflourish, and I have been privileged to serve withoutstanding colleagues who have all helpedstrengthen the unique musical inheritance of theChurch of England. I’m looking forward verymuch to the privilege of serving as your Master’sChaplain in the year ahead, and offering myprayerful support to the Company.

Father PHILIP CHESTER

The Master’s Chaplain

Father Philip Chester

The visit was successful and a formalinvitation for Lloyds’ Chairman to visit Chinafollowed soon afterwards. It wascomplicated to organise and involved Tessaworking with the same three key Brokers.Clearly the team worked well together. Tessaand David subsequently announced theirengagement and they were married in 1985,their two daughters completing the family in1988 and 1990.

Pastmaster Sir Alan Traill invited Tessa to hisInstallation Dinner as Master Musician in 1999;she became a freeman of the Musicians’Company soon afterwards and was clothed as aliveryman in 2003. However, this was an extremelybusy time for the Brewers. Having served as aCommon Councilman and then Alderman forBassishaw Ward, David became Master MerchantTaylor in 2001 and Aldermanic Sheriff the followingyear. In 2005 they moved into Mansion House asLord Mayor and Lady Mayoress and Tessa recallsthose years as being “quite exhausting, especiallywhen you have young children”. But their livesremained just as busy with Tessa becoming a CourtAssistant soon after leaving Mansion House andDavid being appointed Her Majesty’s Lord-Lieutenant of Greater London in 2008. Remarkably,throughout all this time Tessa also remained fullycommitted to voluntary and charity work, including

being chairman of the Sheriffs’ and Recorder’s Fundat the Old Bailey, chairing the City of LondonFestival, a St John’s, Smith Square Trustee andPatron of Treloar’s.

It is patently obvious that the Brewers could nothave achieved so much without being a remarkablycohesive – and dedicated – team. This wasrecognised by Tessa being appointed OBE in 2015‘for voluntary service to arts and culture in London’and David being installed a Knight of the Garter in2016, after stepping down from the Lord-Lieutenancy. Tessa is now looking forward tobecoming Master Musician immensely as “I sobelieve in what the Company does; as a LiveryCompany it has to be one of the friendliest… I lookforward to the events because the members are soincredible.” Through personal experience, Tessa isfully aware just how tough a life it can be for aprofessional musician: “people have no idea howdifficult it is… our Yeomen Programme is such animportant thing – it is our USP.”

Although claiming that she is not a person withgreat ambitions, what does Tessa see as the mainaim of her year as Master Musician? “Enhancingthe work of the Musicians’ Company YeomenProgramme. We are the one Company who can dothat and make a big noise about it.” Whilst weclearly have an exciting year ahead, it is certainlynot going to be a quiet one.

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IVOR MAIRANTSGUITAR AWARD2017The 19th IMGA was held in April at the GuildhallSchool of Music & Drama. Many talented youngguitarists have proceeded from this award tosuccessful, professional careers and a high standard of performance was anticipated again this year. On offer to the winner, as well as prizemoney, were a solo recital at the Guildford Festival,a collected edition of Joaquín Rodrigo’s guitarmusic, funding towards tuition in playing jazz-influenced contemporary music on the classicalguitar, and an audition for the Company’s 2018London concerts.

Though some of the participants came fromother European countries, they were all currentlystudying at conservatoires in the UK. For theirprogramme each had to select at least onemovement, of no more than five to seven minutes,from Ivor Mairants’s own Jazz Sonatas. The otherrequired item was to be chosen from a set list,which this year included works by Jacques Ibert,Federico Mompou, Alexandre Tansman and FedericoMoreno Torroba alongside more modern fare byHans Werner Henze, Sir Peter Maxwell Davies andRhian Samuel.

Perhaps, predictably, the most popular of the set works they chose were by the two Spanishcomposers, but it was also good to hear on thisoccasion music by the late Sir Peter Maxwell Davies,an Honorary Freeman and Collard Life Fellow of theMusicians’ Company, in a committed account byWill Scott; like Nestor Beveridge and IoannisTheodoridis, his playing of the Mairants had anatural flow and style, but overall was not quiteconsistent enough to come into the final reckoning.Jonathan Parkin, in third place, showed moretechnical assurance and presented his programmein a lively and engaging manner. Also veryaccomplished was Ross Wilson, who played withconsiderable sensitivity and fine control of tone andrhythm to secure second place. The Jury, however,was unanimous in awarding first prize to GiacomoSusani, whose interpretative insight was matchedby an exceptional clarity and warmth of delivery,marking him out as a young musician with a verybright future.

The competition was most ably organised byHugh Lloyd, the Company’s Clerk, with theassistance of Amanda Ratcliffe, Deputy Clerk.Sponsors included the D’Addario Foundation for thePerforming Arts and Ediciones Joaquín Rodrigo. Thepanel of adjudicators comprised Michael Lewin(non-voting Chairman), Julian Byzantine, StephenGoss and Xuefei Yang.

Senior Warden MICHAEL LEWIN

JAZZ AT CRAZY COQS“I am so looking forward to this lovelyopportunity to sing with other jazz medallists ofthe Company at the wonderful, very chic, venueThe Crazy Coqs. An evening not to be missed!” Liveryman TINA MAY

The Jazz Committee has arranged an excitingnew event for Company members. With

opportunities in the City of London Festival and theLondon Jazz Festival disappearing, the committeewas keen to create another opportunity to showcasepast winners of the Company’s Young Jazz MusicianAward. So, on Sunday 4 February at 7.00pm,the Company in association with the West End venueCrazy Coqs is presenting a ‘supper gig’ featuringLiveryman Tina May accompanied by jazz awardwinners, Jim Watson, Adam King and Steve Brown.

Once part of The Regent Palace Hotel, CrazyCoqs Cabaret & Bar is a faithful recreation from theoriginal architectural drawings of the ‘Chez CupBar’, itself created in Art Deco style in 1934 out ofthe hotel’s former billiard room. This intimate andstylish venue will be an impressive setting for whatpromises to be a memorable evening. The ticketprice will include drinks and bowl food, and fulldetails will be sent to members later this year, somake sure to put the date in your diary.

Pastmaster LESLIE EAST

Giacomo Susani

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JAZZ LIFETIMEACHIEVEMENTAWARD 2017

The Master presented this year’s award to PeterInd following the July Court meeting at

Skinners’ Hall. Born in Uxbridge, Peter studied violinand piano before taking up the double bass. Hetook evening classes in piano and classical harmonyat Trinity College of Music and double bass lessonsfrom Tim Bell and the great James Merrett.

At the age of 21, he was playing jazz doublebass on the Queen Mary on her transatlanticcrossings and in 1951 America became his home.There he studied with Lennie Tristano and playedwith many great names, including Lee Konitz,Buddy Rich, Coleman Hawkins and Billie Holiday.He set up a recording studio and launched his ownlabel, Wave, in New York. On visits to the UK Peterplayed with John Dankworth and Ronnie Scott,both former Musicians’ Company lifetimeachievement award recipients.

Returning to the UK in 1966, he performedregularly, and often with our own Liveryman MartinTaylor. He ran the very successful Bass Clef and TenorClef jazz clubs in Hoxton, where he also revived hisrecord label, Wave, which continued to release adistinctive series of CDs. These include many of Peter’sclassic jazz recordings from his New York days anddiscs by talented and creative musicians who, in hiswords, “were not eminently successful commercially”.

Peter continued to play in the new Millenniumbut now began not only to write, but also develop astrong interest in the environment and he hasbecome an accomplished painter, with a majorexhibition of his work in 2008 at the 606 Club.

KATIE JONES: AN APPRECIATION

Katie Jones, the Yeomen Coordinator andAdministrator of the Biddy Baxter and John Hosier

Music Trust, left the Company at the end of August. Katie joined us in March 2016, as the

administrative work associated with the YeomenProgramme was expanding very rapidly. She veryquickly made herself familiar with all aspects of theProgramme, engaging wholeheartedly in Outreach,a particular interest. Her passion for communicatingthe power of music meant that for some time shearranged and conducted Outreach sessions herself,even though this was not formally part of her jobdescription.

Her communication skills were also shown in herdedication to expanding the Company’s presenceon social media, something she rightly felt wascrucial to raising awareness of the Company andthe Company’s work. She quickly identified theareas on which to concentrate and was thenresponsible for significantly enhancing theCompany’s profile. It is thanks to Katie that there is

a steadily growing awareness amongst social media users of what the Company is and does.

Katie worked closely with YCAT on a programmeof courses for Yeomen professional development:offering advice on many essential aspects ofrunning a successful professional career. She wasinstrumental in arranging a course on Outreachwith the Barbican, which is now compulsory for all

Yeomen who wish to do Outreach. We were fortunate, two years ago, in being given

a grant of £15,000 by the Richard Reeve’sFoundation towards our Outreach work in Islington,Camden and the City. Katie provided excellentreports on our work for the Foundation, andprepared another, equally successful application fora renewal of the grant last year. She was alsoinstrumental in obtaining a grant of £4,000 fromThe Hampstead Wells and Campden Trust towardsour work in selected schools. Her skill in meetingthe requirements of the grant bodies has made avital contribution to maintaining and growing ourOutreach work: it has enabled the rapid expansionof Developed Outreach, giving children in-depth,sustained contact with music and music makers.

Katie’s proactivity, cheerfulness andstraightforward approach has endeared her toYeomen and Volunteers alike. She leaves us to moveto Manchester, where she hopes, amongst otherthings, to do more teaching. She has made aninvaluable contribution to the Company and shewill be very sorely missed. We wish her all the verybest for the future.

Junior Warden JOHN NICHOLSKatie Jones; Amanda Ratcliffe, Deputy Clerk Phot

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(L-R): Pastmaster Leslie East; Peter Ind (2017 Award recipient); Pastmaster Nigel Tully

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Faced with a very highly talented group of 6finalists, the capacity audience at Dean Street’sJazz Club rose to the challenge and chosepianist Will Barry as the winner of the 2017award. 25 year-old Will (also a drummer andpercussionist) recently graduated from the RoyalAcademy of Music, but has already performedinternationally in Turkey, Germany andDenmark, alongside extensive engagementsin the UK. Whilst living in Spain, Willperformed with Mario Rossy, MadisonMcFerrin and Perico Sambeat and also Cubanmusicians Julio Montalvo, Yoel Paez and IssacDelgado Jr. in Barcelona, Alicante and Madrid.Faced with a very highly talented group of 6finalists, the capacity audience at DeanStreet’s Jazz Club rose to the challenge andchose pianist Will Barry as the winner of the2017 award. 25 year-old Will (also a drummerand percussionist) recently graduated fromthe Royal Academy of Music, but has alreadyperformed internationally in Turkey, Germanyand Denmark, alongside extensive

engagements in the UK. Whilst living in Spain,Will performed with Mario Rossy, MadisonMcFerrin and Perico Sambeat and also Cubanmusicians Julio Montalvo, Yoel Paez and IssacDelgado Jr. in Barcelona, Alicante and Madrid.

YOUNG JAZZ MUSICIAN 2017

Will Barry receiving the 2017 Award


“Your Yeomen are such incredibly inspirationalrole models for our young people. It is a

hugely powerful thing for them to listen to andplay with instrumentalists of such high calibre.”

So wrote Sheena Masson of Camden MusicService back in July 2016. Recently, the chiefexecutive of Ofsted, Amanda Spielman, wasquoted as saying: “The idea that children willnot… hear or play the great works of classicalmusicians… would be a terrible shame.”

Pastmaster Leslie East has pointed out thatwhat may link these two quotations is what is –or what is not – happening with music in stateschools. The decrease in A-level Music entries isconcerning and the introduction of the EnglishBaccalaureate at Keystage 3 has meant that manyschools are now dropping class music from thecurriculum, with far fewer GCSEs being taken.Meanwhile, what the Musicians’ Company does isto provide the all-important first encounter with,in Sheena Masson’s words, the inspirational rolemodel, the high calibre of musician. Within thiscontext, we asked Liveryman David Wakefield toexplain his and some of his fellow volunteers’thoughts on the Company’s Outreach work inpractice.

Unlike most of our fellow Livery Companies weMusicians are fortunate that the desires and

objectives of our founding fathers are still totallyrelevant in the 21st century. Music remains centralto the life of almost everyone and has beenobjectively described as the only medium which canexpress every aspect of human emotion and feeling.An endless supply of talented young musicians is aprerequisite for the continuation of this vital humanactivity and we are privileged to play an importantrole in exposing young people to the joy of musicand, in the process, training and supporting ourYeomen in delivering effective music sessions tochildren who might otherwise have no seriousexperience of classical music.

Started 10 years ago and now under theinspiring and energetic leadership of John Nichols,the programme encompasses bringing live music toLondon (and some other) schools that usually havelittle music on their curriculum. In 2016 155 visitswere made to 55 schools and 8,122 childrendirectly benefited from these sessions. The 2017figures are set to be even higher. The Company nowspends approximately £28,000 annually on theOutreach Programme with additional funding fromother trusts and, while Master, Alderman Sir RogerGifford has initiated a fundraising campaign tosecure its future.

Typically in these interactive Outreach workshopsone or two Yeomen give a presentation to a group

of school children introducing them to theirinstruments, other families of instruments andconcepts of pitch, harmony, rhythm and melody.Usually the children are given an opportunity toplay one of the instruments and the Yeomen areadept at using different forms of IT to demonstrateinstruments and aspects of music, which theycannot physically bring to the classroom. Secondaryschools and schools for children with learningdifficulties and challenging behaviour are alsovisited, where music can have a hugely calming and therapeutic impact.

Recently the Company has started arrangingmore involved projects (Developed Outreach) wherestudents work with a Yeoman/men for severalsessions to enhance their learning on a specificinstrument or to prepare for a specific event orconcert. Recently a school was helped to composemusic based on the story of Peter and the Wolf; and thanks to support from the Richard Reeve’sFoundation, some Islington schools have beenentitled to longer visits with more Yeomen workingwith children to develop their own musical ideasand interests, often with a Yeoman composer inaddition to instrumentalists.

The Outreach Programme is operated by 23volunteer Liverymen and Freemen who look after two to five schools each and typically arrange onevisit to each of their schools every term. The processstarts with agreeing a date and content with theschool, identifying a suitable Yeoman/men,discussing the structure of the workshop,submitting the plan to the school, attending theworkshop, getting feedback from the Yeomen andthe school and arranging payment for the Yeomenwith the Company Office. It is not particularlyonerous but does require attention to detail andcareful monitoring; and is enormously satisfying.

These days any musician or consort requiringsupport from Trusts, Foundations, the NationalLottery or other charities will almost certainly haveto demonstrate that active Outreach forms part of

Junior Warden John Nichols, Former Chairman, Yeomen Coordination Committee

“OUR VOLUNTEERS ARE, QUITE SIMPLY,

PRICELESS ASSETS FOR THE COMPANY!”

(L-R): Liveryman David Butcher; Liveryman Jan Yerbury (front); Liveryman Simon Morrison (obscured); Liveryman David Wakefield; LiverymanChristopher Patey; Steward Roy Terry; Yeoman Catriona McDermid; Liveryman Rachelle Goldberg (front); Junior Warden John Nichols (standing);Liveryman Richard Lea


their regular activities. The Company’s programmeprovides invaluable experience in managingOutreach sessions and whilst some Conservatoiresnow include Outreach training within their syllabus,practical experience of Outreach is an increasinglyimportant component of a young musician’s CV.

SOME COMMENTS FROM COMPANYVOLUNTEERS:“Having been a Liveryman for some while, I waswondering what I could do to help the Companywhen I was approached by a senior membersuggesting that I might join the OutreachProgramme. At that time I did not know muchabout it, but it sounded very worthwhile helpingYeomen and children. For me it is a very refreshingdiversion from a career in finance! I find thesessions extremely enjoyable and it is a privilege towork with such incredibly talented young musiciansand a joy to see how stimulated and completelyabsorbed the children are. Many of the childrenhave not heard an instrument live before and arefascinated - it broadens their outlook beyond thenormal routine of the school. Some might even beencouraged, possibly years later, to pursue musicalinterests.” Liveryman SIMON MORRISON

“When I was first invited to join the OutreachProgramme I thought it was not for me. What did Iknow about music in primary schools? It was onlywhen I heard two Liverymen talking enthusiasticallyabout their Yeomen and their schools, and havingbeen given a firm prod by then Master KathleenDuncan, that I offered my services to John Nicholswho took me to a session as an observer. Sincethen I have been responsible for about a dozenoutreaches. It is clear that we have an exceptionaltalent bank of players to call upon.”Liveryman CHRIS PATEY

“Developed Outreach, supported by generoussponsors, has enabled the Company to spread itswings and to deliver a project, normally identifiedby a Borough Music Hub, and sustained over agiven period of time. Recent initiatives have been

an extension of the Kentish Town Camerata toinclude two more schools with the aim ofencouraging pupils to engage with Boroughensemble groups; and in Islington a projectfeaturing Peter and the Wolf, facilitating pupils tocompose their own version and to perform it in fullat Barbican Hall! Both of these projects had thechildren working enthusiastically and responsivelyalongside our wonderful Yeomen and building adelightful relationship over a period of time.

The Peter and the Wolf project took place in theschool hall on the top floor where there were twoother classes of another year group. Imagine thecuriosity of the children in Year 6 when they filedout for playtime and could see the double bass forthemselves; and I remember their joy when theYeomen were able to demonstrate the whole of thestring family in order from violin, to viola, cello anddouble bass.” Liveryman JAN YERBURY

“I have very much enjoyed being a volunteer for theOutreach programme. In one school for disabledpupils that I look after there are a variety of iPadsand other devices, programmed so that the pupilscan improvise on them. The equipment was part

funded by the Musicians’ Company and is matchedto the specific needs of the student. For exampleone girl who is about 14, in a wheelchair, has extremelack of movement in her fingers but is able to touchthe base of the iPad with one finger. The iPad hasbeen programmed so that she can make loud orquiet sounds with it; and string or brass sounds.

Having watched the pupils in action at a concert,I arranged for two Yeomen to spend a morning withtwo groups of pupils improvising from the backingtracks. The level of musicianship of the pupils wasquite remarkable, and it was humbling to see theirsheer delight. I have also coordinated DevelopedOutreach projects with a Brass Project at GospelOak where the whole class, using holidays as atheme, improvised music led and supported byYeomen. Another project is the Kentish TownCamerata. Last year the Yeomen did three sessionswith the fourth as a concert at which two schoolswith different instruments joined to form alarger ensemble.

This year, four schools met for two days ofworkshops led by eight Yeomen alongside aboutfifty students. The Yeomen sat amongst the pupilsgiving them encouragement and support whilstplaying with them. The students’ techniqueimproved as well as their musicianship but they alsogained confidence in performing; and for someYeomen this was their first opportunity to work withyoung students and to mentor their playing. Parentswere invited to the concluding concert at theCamden Centre.”Liveryman RACHELLE GOLDBERG

I hope this account gives some idea of thewonderful work being done by the Yeomen andvolunteers who are making a real difference to thelives of many children, introducing them to the joyof music, one hopes, for life. If you would like todiscuss volunteering for the programme pleasecontact John Nichols ([email protected]) andif you would like to contribute to the Outreach fundestablished by the Immediate Pastmaster, pleasecontact the Clerk.

Liveryman DAVID WAKEFIELD

A rehearsal of the Peter and the Wolf project in Thornhill School Hall. (L-R): Yeomen Joe Shiner andAdam King (extreme left); Yeoman Catriona McDermid (standing left); Liveryman Jan Yerbury(standing centre-right) and Year 5 children

Yeoman Catriona McDermid conducting the Islington Primary Orchestra as they perform Peter andthe Wolf in Barbican Hall

THE MIDSUMMER BANQUET 2017


(L-R): Beadle Shaun James; Alderman and Sheriff William Russell; Mrs Hilary Russell; The Senior Warden, Lady Brewer; The Lady Mayoress, Mrs Wendy Parmley; The Rt. Hon The Lord Mayor, Pastmaster Alderman Dr Andrew Parmley; The Master, Alderman Sir Roger Gifford; Lady Gifford; The Junior Warden, Mr Michael Lewin; Mrs Marylyn Lewin; Mrs Lindy Estlin; The Master’s Chaplain, The Revd Canon Charles Pickstone; Alderman and Sheriff Peter Estlin

The Master’s Speech

The Guest Speaker, The Rt. Hon The Lord Mayor The Egyptian Hall, Mansion House

The Lord Mayor receives the Company’sdonation to The Lord Mayor’s Appeal fromThe Master

(L-R): The Livery Club President, Mr PaulGobey; The Master

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Sadly, I cannot claim this memorable phrase as my own. Honoursfor that go to Schumann when writing of Chopin. Yet I cannot

think of a better way to characterise the quite astonishing eveningspent in the company of our Hon Fellow for 2017, Carl Davis CBE,and his good friend John Suchet. To say that the boy from Brooklynhas talent and has done well would be to damn him with very faintpraise. What we experienced and shared on an illustrated journeythough his life showed just how much his art has touched all of us –

consciously or subconsciously. It reinforced, as if it everwere needed, the immense power of music, not only tomove us but to inform, illuminate and intensify ourvisual experience of images, film and television.

Expertly and sensitively curated by John Suchet, theevening delved into the various segments of Carl’smusical life, building our sense of the immensity anddepth of the unique talent of this extraordinary man.

We journeyed from the World at War through silentfilm: Chaplin’s The Immigrant, a truly luminous Garbo inFlesh and the Devil and Napoléon. Modern film: The

French Lieutenant’s Woman and Champions. Working with PaulMcCartney, and Dame Kiri on the Liverpool Oratorio, Aladdin, one ofCarl’s ballets, currently on tour with Birmingham Royal Ballet, theunforgettable Pride and Prejudice and the Hallé-commissioned LastTrain to Tomorrow about the Kindertransport. We ended gloriouslyand uproariously with Carl trying to contain French and Saunderspartnered in crime by (our own Liveryman) Sarah Walker.

Above all, we gained insights and understanding of the high levelsof art, creativity and innovation that go into something that becomesan indissoluble part of the visual and auditory experience, theelement without which the visual experience wouldbecome simply monochrome and narrow in itsimpact.

Carl explained in one succinct phrase therequirement for film music: ‘it has to fit’. Afundamental choice was whether to “MickeyMouse”, to write a score to fit gestures and looks, ornot (think Mickey Mouse and Looney Tunes). Hisstudy of Chaplin’s own scores for Modern Times andCity Lights was revelatory, as were the interviewswith Hollywood greats of the silent era in JeremyIsaacs’ seminal television series. These weretextbooks on how to write for film. Less ‘MickeyMousing’ and more choreography and mood. The

“Hats off,gentlemen,a genius!”

The Company Hon Fellow Event 2017

Court Assistant ChrisLawrence welcomes the

audience to the Company’sHon Fellow Event 2017

Carl Davis CBE inconversation withJohn Suchet

(L-R): The Master; Carl Davis; John Suchet

results were immediately apparent in the music Carl wrote for theclips in the series.

Carl expanded on the importance of capturing the mood, the“temp track” both in exploring the process that led to the score forAbel Gance’s Napoléon, contemporary composers and Beethoven,and for The French Lieutenant’s Woman. Here, Schoenberg’sVerklärte Nacht was the choice of Karel Reisz, but it was obviouslyunusable in its original form. Carl struggled to get Reisz to conveysuccinctly what were the message and the feel of the film – essentialfor Carl. Getting the answer to what the director wanted theaudience to know unlocked the approach, which was informed bythe Schoenberg score and instrumentation. Champions was morestraightforward. John Irwin wanted the music to be the “Holy Grail”.Pride and Prejudice needed to reflect the struggle of heart and mindthat Carl saw as underpinning the novel in a musical language of theperiod. The sparkling score with Melvyn Tan on fortepiano capturesthe essence of this timeless novel in Andrew Davies’ masterlyadaptation, bringing the early 1800’s alive for today’s audiences.

Sadly, editorial strictures do not allow me to record anything more beyond sheer enjoyment and unalloyed pleasure in learningabout Carl’s ballet, the Liverpool Oratorio, The Last Train toTomorrow and the joyfully hilarious French and Saunders. To do so would take space away from acknowledging the art and mastery of John Suchet in curating, guiding and managing anextraordinary man with an immense talent and for giving us all a unique, privileged and intimate evening with the incomparablegenius that is Carl Davis. Hats off!

Court Assistant CHRIS LAWRENCE


Bergen is famous not only for its proximity toNorway’s Fjordland but also as the

birthplace of the country’s most illustriouscomposer: Edvard Grieg. A visit by the LiveryClub, skilfully led by its President, Paul Gobey(who, being half-Norwegian, speaks it like anative), was not only able to enjoy three days ina remarkable city, reputed to receive the highestrainfall in Europe, but to appreciate why it is sucha popular destination for tourists in spite of thehideous expense.

We left Gatwick in sun and we took it with us,so our first exploration proved ideal for thephotographers amongst us. The first stop was a

short violin recital by Peter Sheppard Skærved (aschool friend of Paul’s), which was his musicalresponse to an exhibition by the Norwegian artistJan Groth, and we ended the day with excellentfood and beer in some of the old restaurants in thefamous Bryggen. The next day we visited the villa inwhich Edvard and his wife and cousin, NinaHagerup (a gifted soprano and, as such, his museand the first performer of many of his songs),enjoyed the summer months for the last 22 years ofthe composer’s life. He called it ‘Troldhaugen’,meaning Hill of the Trolls, referring to thosemythical creatures which feature in that well knownmovement in the incidental music he wrote for

Ibsen’s play Peer Gynt, “In the hall of the MountainKing”. The villa is now a museum housing,amongst many fascinating objects, his Steinwaypiano on which we were treated to a performanceof nine of his Lyric Pieces, played by ReidunAskeland.

The garden contains a newly built concert halland, overlooking the lake, the place where Griegand his wife are buried (on the hill-side, catchingthe last of the evening sun) and Edvard’s hut, whichgave him the solitude to compose. A guide playingthe Hardanger fiddle, evoking another of Norway’sgreat composers, Ole Bull, completed the magicalatmosphere. Before returning to Bergen we visitedthe Fantoft Stave Church, built in 1150 originally forthe village of Fortun in the Sogn district (and thenmoved to Bergen in 1883), which has been lovinglyrestored, following a potentially disastrous fire in1992. The day ended with dinner in the GrandHotel Terminus, adjoining our hotel, where EdwardGardner OBE, Chief Conductor of the BergenPhilharmonic, joined us. Edward spoke about thisappointment with tremendous enthusiasm and thenanswered questions before leaving to take the finalrehearsal for the following evening’s performance.

The next day was dedicated to a ‘Fjordland tour’involving three trains, a coach and a ferry. Twotrains essentially took us from and returned us toBergen; the coach took us past waterfalls ofconsiderable height, then descending, sometimes at1 in 5, through no fewer than 13 sharp hairpinbends with views of breathtaking beauty at everyturn. We boarded a ferry travelling the length of theSognefjord, regarded as the King of all fjords, beingthe longest and deepest. The dramatic cliffs, carvedby glaciers over 23 million years, showed wherenature was trying to lessen their austerity, but thetrees broke the rock as they grew, causinglandslides to leave trees crushed at the base. Lowcloud disguised the cliff tops adding to the starkmajesty – no wonder the Norse tribes of olddeveloped those sagas, which have inspired artists,poets and composers to wax lyrical!

LIVERY CLUB NEWS

In the Villa of the King of theMountains Livery Club visit to the Bergen Festival May 2017

The Tour Group at Troldhaugen

Livery Club President Paul Gobey presenting acopy of Preserve Harmony to Edward Gardner


In September 29 Company members, includingThe Master and Lady Gifford, headed to Suffolk

for a three-day visit to Snape Maltings andAldeburgh. It was a fitting year for such a visit,being the 50th anniversary of the first AldeburghFestival. Most of the group stayed in comfortableand convenient accommodation on site at SnapeMaltings. On the first evening, at a speciallyarranged dinner for us in the top-floor restaurant,we were welcomed by Roger Wright CBE, ChiefExecutive of Snape Maltings and formerly Controllerof BBC Radio 3 and the BBC Proms.

The following morning, we were privileged tohave Roger give us a personal tour of the SnapeMaltings site. Remarkably, all buildings on site datefrom their original use for beer brewing, and arenow repurposed for their current uses, with no newbuildings added since. Roger explained that theconcert hall has a near-ideal acoustic given therough brick wall edges on all sides. It was a glorioussunny morning to soak up the idyllic Alde riverbankview and beyond to Snape village to see in thedistance the old mill where Benjamin Britten livedwhen he composed Peter Grimes. We then headedto Aldeburgh, where we split into two groups for aguided tour of the Red House, former home ofBenjamin Britten and Peter Pears, and to view theadjoining archive, exhibition and gardens. Welearned, among many other fascinating insights,that Britten corresponded regularly with the Queenand the Duke of Edinburgh, and had an entranceporch specially built for their visit to the Red Housefor lunch in 1967. Just a few months before hisdeath, Britten’s elevation to a life peerage in 1976made him the first British composer to be thushonoured, perhaps demonstrating that he wasalready held in high personal regard by both TheQueen and Queen Elizabeth, The Queen Mother.

A delightful lunch, of fresh local fish for many,followed at the Lighthouse Restaurant. In theafternoon, we were privileged that PastmasterFrancis Carnwath CBE invited us to his sea fronthome for afternoon tea and to view the extensivelocal art exhibits on display, both at his home and

in the Lookout Tower opposite. On returning toSnape Maltings, the Ducasse Trio, CompanyYeomen, gave us a recital of 20th-centuryclarinet, violin, and piano music includingBritten’s little-known Notturno. On the final day,we sat in on individual vocal tuition sessions withpianist (Company prize winner) MalcolmMartineau followed by a public masterclass ofStrauss Lieder and arias led by mezzo-soprano,Angelika Kirchschlager.

Special thanks are due to Livery Club President,Paul Gobey, for organising such an extensive,stimulating and well-planned programme of events.

Liveryman JULIAN CABLE

After a break for lunch we boarded the Flåmrailway for yet another treat; climbing from a mere2 to 866 metres above sea level, the gradient of 1in 18 makes it the steepest normal gauge line inNorthern Europe. With 20 tunnels (18 of whichhave a total length of 6km and were built by hand),this masterpiece of engineering is one of the mostpopular tourist attractions. This was not the end ofthe day – far from it. We walked to the city’s mainconcert venue, the Grieghallen, where a concertperformance (with some movement and props) wasgiven of Britten’s Peter Grimes. All the male soloistswere British, except Australian, Stewart Skelton, inthe title role, as were Ellen (Giselle Allen) and MrsSedley (Catherine Wyn-Rogers) – luckily, many werestaying in our hotel, which allowed for informalconversations. Auntie and her two Nieces werelocals, as were the predominantly amateur chorus;Edward Gardner conducted the Bergen PhilharmonicOrchestra. Bergen, like Britten’s Aldeburgh, facesthe North Sea so it knows the fickleness of theweather and how storms can suddenly develop andwreak havoc on those within its area.

The orchestra and chorus revelled in Gardner’sclear and concise direction and the superbly drilledsoloists drew the audience, through their expertlycrafted characterisations, into the toxic mix ofemotions where the eponym as an outsiderstruggles to live in a close-knit, suspicious

Livery Club trip to Snape Maltingsand Aldeburgh September 2017

Applause for the performers of Peter Grimes

The Tour Group at The Red House

The Concert Hall at Snape Maltings

(L-R): Angelika Kirchschlager; Kunal Lahiry;Natasha Day

community. First performed in June 1945, whenBritten was 31, this opera is an undoubtedmasterpiece and it is to be hoped that Bergen willbe able to experience its power in future festivals.Some of the group had early flights in the morning,but for others there was a chance to amble throughthe city, attend to shopping and have a final meal. Iwas with Paul and Michael Bradley when,wandering through the park, we bumped into LeifOve Andsnes. He, too, is a resident and it was his(2002) recording of some Lyric Pieces, recorded onGrieg’s Steinway at Troldhaugen, which had mademe want to visit Bergen – and now, AT LAST, I have!

Liveryman RICHARD BRADBURN

The Ducasse Trio (L-R): Charlotte Maclet;Fiachra Garvey; William Slingsby-Duncombe

The legacy of the relationship between theCollard family and the Musicians’ Company

continues to this day, the John Clementi CollardFellowship being one of our most prestigiousawards. Mark David Boden, the Collard Fellow for2015-2017, explains the significance it has hadfor him by providing vital support for his workand development.

The Collard Fellowship represented much morethan a funding opportunity for me. Your faith in myability and potential as a young composer gave methe confidence to explore a range of creativeopportunities to develop my musical skills in anumber of areas. One of the most significant wasthe opportunity to write a substantial commissionfor the Royal Welsh College of Music and DramaChamber Orchestra. That composition, Viral, was

very well received by the large audience and led toa further significant commission for RWCMDSymphony Orchestra.

Another huge benefit was the ability to write forstudents with whom I would normally engage solelyin a teaching capacity. I presented talks to thepupils, intending that they gain an insight into thecompositional process. My aim was also to breakdown preconceived ideas about what contemporarymusic comprises, and any notion that it isinaccessible to new audiences.

Rather than accepting a commission fee for thisnew project, I sought lessons in using a softwarepackage called Ableton. I used some of the CollardFellowship to invest in Ableton Lite software andanother piece of studio kit called Launchpad (whichallows the user to trigger prerecorded MIDI events).

Freeman Edward Farmer, a conductor and former recipient of theConstant & Kit Lambert Scholarship, has recently given a talk for TEDx

on the developing format of classical music performance. The talk entitledThe Power of Familiarity explores the connections between art forms and thedeveloping practice of including other art forms within concerts. Edgained much experience in this area through his work with London ArtsOrchestra, and his assistantship with the Budapest Festival Orchestra. Togive a flavour of Ed’s talk, he has kindly provided the following extract:

The clear relationships between disciplines are often ignored. The majorityof schools teach separate subjects – History, Music, Art, Science, with toofew connections made between them. The Arts are most often presented inisolation. Orchestras play music, art galleries display paintings, theatrecompanies perform plays, and museums present historical orscientific topics. How richer our understanding becomes when we experiencea topic from a multitude of mediums!

It’s beginning to happen! Nearly all art galleries now have audioheadsets, describing the paintings’ history and the life of the artist, and inthe best examples including carefully selected music from the same period ormovement. Modern theatre-makers have brought Shakespeare

into the public consciousness, using familiar modern settings,replacing swords with guns, or castles with pubs, using modern music anddance, and bringing the poetically complex language of a classic writer toa younger generation. Musicians traditionally rely upon the audience’s priorknowledge, or printed programme notes to communicate context. Butthere are more creative solutions.

The talk can be viewed in full on Ed’s website (www.edwardfarmer.co.uk)or by searching YouTube for “Edward Farmer TEDx”.

The Power of Familiarity

This equipment, softwareand the skills I developedwere used to produce theincidental music for aproduction of Pride andPrejudice in Bath, in whichI used technology duringthe four live performancesto manipulate the materialperformed by the liveensemble.

The renewal of theFellowship has enabled meto compose a concerto forClarinet and Orchestra*for BBC National Orchestraof Wales, to be performedin 2018 with a subsequentbroadcast on BBC Radio 3.Endorsed by Tim Thorne(Senior Producer for BBCNOW and Radio 3) andRobert Plane (principalclarinetist with BBC NOW,for whom the concerto is

to be written), the project has enabled me tocollaborate with the influential conductor andcomposer, B Tommy Andersson, guest principalconductor of BBC NOW.

The new work will be dedicated to theWorshipful Company of Musicians; the opportunityto write a substantial new work for one of the UK’smost celebrated ensembles and collaborate with anacclaimed international soloist with the full backingof a BBC producer cannot be underestimated.

With best wishes and sincere thanks,

MARK DAVID BODEN

*[Ed. Please note that further details of thepremiere of Mark’s new work are contained inthis issue’s ‘Company Yeomen News’.]

“Dear Worshipful Company of Musicians…”


Mark David Boden

Phot

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ark Dav

id

Ed giving his TEDx talk

The Collard Fellowship is one of the mostdistinguished awards that the Musicians’

Company makes and since its inauguration in 1931(endowed by a £8,500 bequest from John ClementiCollard) holders have included many celebratedcomposers. The terms of this financially generousFellowship are that it should be given to:

“...a musician of proven ability (minimum age 28)but prevented by financial stringency from fullyexercising and improving their talent”.

The first Collard Fellow in 1931 was HerbertHowells at age 39. On the selection committee forthat inaugural award was Ralph Vaughan Williams.Howells went on to become Master of theCompany in 1959 and was actually awarded theCollard Life Fellowship in that same year. The LifeFellowship (also inaugurated in 1931) is for themost distinguished British Composer of the time. Ithas been awarded just four times, namely SirEdward Elgar, Ralph Vaughan Williams, ProfessorHerbert Howells and Sir Peter Maxwell Davies.

The Company’s Archive websitewww.wcomarchive.org.uk contains a good deal ofinformation about these Fellowships and indeed theCollard family, who served the Companythroughout the 19th and early 20th centuries. Italso gives further details with images regarding theMedals awarded, lists all the recipients since 1931and presents the ‘Fellowship Signature Book’.

The Collards were well-known pianomanufacturers in London for well over 100 years.The first Collard to distinguish himself within theMusicians’ Company was Frederick William

(1771-1860) who served as Master in 1826, 1845and 1846. In 1834 the Company gave him anengraved silver snuffbox, in appreciation of his “…zealous exertions towards promoting… theCompany” (about which, more later). FrederickWilliam’s nephew Charles Lukey Collard (senior)(1807-1891) was elected Treasurer in 1860, andwas Master in 1864 and 1865. C. L. Collard’s familycomprised six children, two of whom continue ourstory.William Stuartson Collard (1843-1904) and

the afore-mentioned John Clementi Collard(1844-1918) served their apprenticeships, wereadmitted to the Freedom and clothed with theLivery on the same day in 1871. W. S. Collard waselected to the Court that same year and waselected Master in 1877 and 1889. He took on theTreasurer’s responsibilities in 1887, a position heheld until 1904.

However, it is John Clementi Collard who lies atthe heart of our story. Elected to the Court in 1886,he served as Master in 1893 and again in 1899.He served as Master once more in 1901when Sir John Stainer, celebratedcomposer, died in office. In 1904J.C.C. was elected Treasurer of theMusicians’ Company, a post heheld for the rest of his life.

On the unexpected deathin 1909 of the JuniorWarden (Revd. RobertHenry Hadden), his 20-year-old apprenticewas “turned over toMr J. C. Collard”. Theapprentice’s namewas Adrian Boult,who in later

years became one of Britain’s greatest and longest-lived conductors and a distinguished member of ourLivery.

In 1911 Cecil Collard (J. C. Collard’s brother)presented back to the Company the silver snuffboxgiven to his great uncle Frederick William in 1834 –a treasure still owned by the Musicians’ Companytoday.

To close this family history, J. C. Collard’s son wasCharles Lukey Collard (junior) (1879–1931). Hewas Senior Warden in 1915 and it was hissuggestion that led to the Company’s presentationof inscribed gold watches to professional musicianswho won the VC in World War One (see PH Issue52, pp. 12-13). It is with C.L.C. that the linksbetween the Company and the Collard family cometo an end – but we have much to remember and tobe grateful for, considering their outstanding serviceto music and the Company.

Liveryman DAVID HERBERT

NB: The Company’s Archive Group welcomescomments from Company members and researchersand would be delighted to hear from anyoneinterested in helping with its work. Contact us viathe dedicated archive website:www.wcomarchive.org.uk/contact-us

THE COLLARD DYNASTY AND THE FELLOWSHIP


John Clementi Collard

Letter from Ralph Vaughan Williams

The Collard LifetimeFellowship Signatures

COMPANY YEOMEN NEWSContributions from members of the Yeomen Coordination Committee compiled by Katie Jones and Liveryman Lucy Beacon


Outreach WorkshopsBy the end of the summer term 2017, Yeomendelivered 89 workshops at over 50 schools,reaching 4,448 children. A huge ‘thank you’ tomembers of the outreach team, without whomthese workshops would not have happened. Wewelcome new members Roger Press, GregoryClifton Smith, Dinah Nichols and TasoullaChristou to the team. Last year saw a recordnumber of developed outreach projects inschools, largely funded by the Richard Reeve’sFoundation and organised by Liveryman JanYerbury. We recently received funding from TheHampstead Wells and Campden Trust, which willenable music outreach projects in four schools inCamden.

Performance OpportunitiesThe Company continues to help Yeomen increasetheir performance experiences by subsidisingtheir fees at prestigious venues and festivalsthroughout the country. We have firm bookingsfor over 100 performance opportunities in 2017.In recent weeks, Cromer Music Evenings andBury St Edmunds Music have both asked for

Yeomen for 2018-2019. Buxton Festival has alsorequested more Yeomen for 2018, following verysuccessful performances this year. Our monthlyYeomen Events Update (in your email inbox every

month) provides details of forthcoming concertsfeaturing Yeomen.

Professional DevelopmentOur partnership with YCAT continues to developinto its second year. Several Yeomen have receivedhelp in aspects of their careers by attending YCAT’smonthly seminars and one-to-one trainingsessions.

Website and Social MediaIt’s now easier than ever to source a Yeoman foryour event. We’ve restructured our Yeomen pagesto make it easier for agents and members of thepublic to search for instrumentalists, singers andensembles. Our social media presence continues toincrease; we now have nearly 1,000 followers onTwitter, and almost 250 on Facebook.

Yeomen HighlightsBritish composer Mark David Boden has beenawarded the Company’s John Clementi CollardFellowship for a second consecutive year (seeearlier article in this issue). The Fellowship willenable Mark to write a newly-commissionedClarinet Concerto for the BBC National Orchestra ofWales (BBC NOW), to be performed at Cardiff’s St.David’s Hall on 28 March 2018 and broadcast liveon BBC Radio 3. In August, baritone JamesNewby won the Company’s John Christie Award.James is a 2017 Jerwood Young Artist atGlyndebourne and sang the roles of Marcellus/4thPlayer in Hamlet and the Notary in Don Pasqualeduring Glyndebourne’s 2017 Festival. Elsewhere, Andrey Lebedev has been awarded

Alena Lugovkina

John Savournin


The Musicians’Company MusicalDirection in MusicalTheatre AwardLiveryman Ben Costello met with the first(2016/17) recipient of the Award, Yeoman ConnorFogel, in May to hear about his year.

Connor Fogel: the man who is determined tomake a huge success out of musical theatre, and forwhom musical theatre is an important part ofpopular music. Connor was born in Wales in 1994and was immersed in the folk traditions of thatcountry from an early age although, he tells me,music-making in the immediate family only kickedoff with him when, at four years old, he received atoy piano from an eccentric grandfather. This led tomuch improvisation and something of an obsession.Piano lessons followed, with a Grade VIII at 16, andadditional studies in violin and tenor horn.

His piano studies continued at the Royal WelshCollege of Music & Drama (BMus), with harpsichordbecoming a second study, and then composition. Hehas always “just sung” without any strict formaltraining, with Judy Garland and Meatloaf beingmajor inspirations. This rather eclectic fact reflectsConnor’s broad musical life to date. An interest inmusical theatre emerged throughout his training, ashe was frequently called on to accompany, coachand perform in that arena, and “the work justsnowballed”. A trip to London to hear Phantom ofthe Opera also made a big impact.

The harpsichord studies led to an interesting TVdebut for Connor’s hands! Called upon by a friendto “dep for some TV show” Connor found himselfbooked to play for the TV drama The Lost Honourof Christopher Jefferies. The booking came in thenight before the recording session, requiring

Connor to stay up overnight learning the requiredwork: Bach’s Prelude and Fugue in D minor fromBook 1 of the ‘48’. Jefferies is a harpsichordist, andmuch older than Connor, so four hours of handmakeup was also required, involving false nails andprosthetics, for Connor’s hands to look the part!

Connor tells me that his post-graduate year atMountiew “has been bonkers”. Based in London,and in the social melting pot that is Wood Green,he reckons he’s had an excellent year’s study. One

of the top colleges for musical theatre training,Mountview was chosen by Connor as he feels“it’s a real underdog school, with an honestenvironment, and rigorous training.” His trainingthere has been extensive: myriad live ‘MD-ing’opportunities, conducting, playing, singing,keyboard programming, editing, coaching,composing and arranging. Not only that, thecollege brought him in to work on an excitingnew show (Lockhart) before his formal trainingthere had even commenced. Right in at the deepend! Highlights of his year included working onthat show, and co-organising and performing inthe Actors’ Cabaret at the Caramel Club in WoodGreen.

I mentioned his eclectic tastes and these arereflected in his musical loves outside of musicaltheatre, which include the music of Liszt,Rachmaninoff, Michael Finnissy, and Ockeghem.He enjoys drifting off to sleep listening toOckeghem masses, and played the firstmovement cadenza to Rachmaninoff’s thirdconcerto as part of his audition for the Companyaward. He remains active as a composer andlyricist, and has written a rock opera Triptych,which premiered in 2012.

“The support from the Company has beenvital,” he tells me, not least in assisting withliving expenses in London. The prestige of hisrelationship with the Company as a Yeoman andbeing the first recipient of the award has alsopaid dividends. When I asked Connor how hefound the Company’s audition process he issurprisingly vivid in his recollections: “terrifying,exciting, it covered all bases, and all in front ofmajor industry Liveryman MDs.”

Connor is looking forward to the future. He isbusy, has already made significant contacts, andis looking forward to getting into the freelanceportfolio lifestyle of an MD.

3rd Prize and prize for the Best Interpretation of theCommissioned Piece at the ARD Music Competitionin Munich. He was also interviewed about hissuccesses in Limelight Magazine.

The Magnard Ensemble, with Yeomenmembers Joseph Shiner (clarinet) and CatrionaMcDermid (bassoon) recently released an album,Revolting Rhymes and Marvellous Music on OrchidClassics. It continues the celebration of the RoaldDahl centenary with innovative and engagingcompositions. Flautist Alena Lugovkina spentSeptember of this year touring in Japan. She hastaken part in masterclasses and concerts in Tokyoand Osaka, and performed in Yokohama with

pianist Masahiro Yamaguchi and Ensemble Lumiere.She was interviewed and photographed for theJapanese magazine The Flute and was featured ontheir front cover in October.

Cellist Yuki Ito recently released his secondalbum on the Sony Music label which will beavailable worldwide via Naxos. He will also makehis Wigmore Hall recital debut in June 2018 as partof the Avex Classics International Wigmore series.Violinist Joo Yeon Sir’s debut CD, Suites &Fantasies was released on Rubicon Classics in Maythis year. She also performed as a soloist at theRoyal Festival Hall, Birmingham Symphony Hall andManchester’s Bridgewater Hall as part of the Sir

Karl Jenkins national tour in September. Pianist Samson Tsoy, along with Pavel

Kolesnikov, performed the UK premiere of MaxBruch’s Concerto for 2 Pianos with the BBCSymphony Orchestra conducted by AlexanderVedernikov at the Barbican in October.

Soprano Gemma Summerfield and duopartner, Sebastian Wybrew, were awarded theJean Meikle Duo Prize at the Wigmore Hall/KohnFoundation International Song Competition inSeptember. John Savournin made his mainstage directing debut at Opera North inSeptember, directing Gilbert & Sullivan’s classicTrial by Jury.

Connor Fogel

AND FINALLY

IN MEMORIAM

We record with regret the deathof the following Members of theCompany:Charles BaronCatherine DunlopPaul FindlayDesmond HillPatricia HolderStanley Patch

STOP PRESSAn account of the second and thirdThe Future of Music Dialogues, heldat The Mansion House in October,will be featured in the spring editionof Preserve Harmony.

Following Katie Jones’ departure forpastures new we are delighted towelcome Christine Twite as theCompany’s new YeomenCoordinator. A fuller introductionwill appear in the next issue of PH.

COURT NEWS


NEW COURT ASSISTANTMichael Hockney MBE (October 2017)NEW STEWARDSAnn RedfearnRoy TerryCORPORATE MEMBERSABRSMBoosey & HawkesEdition PetersMusic Sales GroupTrinity College LondonVictoria College ExaminationsNAXOS UK

Jazz Lifetime AchievementPeter IndWCoM Popular Music Awards:Musical Direction in MusicalTheatre ScholarshipNicholas Tudor RAM

BRIT School Annual ScholarshipSasha AntoineHarriet Cohen Bach AwardAriel LanyiWCoM Prize at Christ’sHospital SchoolTom Walker

THE INAUGURAL LORDMAYOR’S CADET MUSICCOMPETITION 2017Bands from the Sea, Army, and RAFAir Cadets performed in front ofthe Rt. Hon The Lord Mayor andsenior officers from the ArmedForces at Guildhall in September tocompete for the first ever LordMayor’s Cadet Music trophy. All thebands performed The Great Escapeand another tune of their choice,followed by the Last Post andanother bugle tune of their choice.The standard of buglers soimpressed the Lord Mayor that hemade an additional award to LydiaMayne of the Sea Cadet Corps for

Phot

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L-R: Katie Jones; Jaymee Coonjobeeharry (the winner of the BiddyBaxter and John Hosier Music Trust Scholarship 2017); Sir Simon RattleOM CBE, Patron; Liveryman Biddy Baxter MBE

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(L-R): Regiment Quartermaster Sergeant (RQMS) Matthew Betts Grenadier Guards Army School of Ceremonial;Warrant Officer Class 1 Simon Tripp Royal Marines, Corps Bandmaster and Musician Special Advisor, RoyalMarines Band Service; Freeman David Bole, The Musicians’ Company; Major General Ben Bathurst CBE (Guest ofHonour), General Officer Commanding London District; The Rt. Hon The Lord Mayor, Pastmaster Alderman DrAndrew Parmley; Air Vice-Marshal Warren (‘Bunny’) James CBE, Air Officer Commanding 22 Training Wing; TheCity Remembrancer, Mr Paul Double LVO; Warrant Officer Class 1 Benjamin Roberts Coldstream Guards SeniorDrum Major Army, Army School of Ceremonial

AWARDSNew Lambert FellowJaymee CoonjobeeharryMusicians’ Company AwardsLewis Banks (saxophone) RCS

Toby White (cello) GSMD

The Biddy Baxter and JohnHosier Music Trust ScholarshipJaymee Coonjobeeharry (flute) RCM

Busenhart Morgan Evans AwardRhodri Jones (tenor) RWCMD

John Christie AwardJames Newby (baritone) GSMD

RAM Brass AwardMetropolitan Brass:Emily MitchellTom Freeman-AttwoodBenny VernonBen HulmeStuart BeardIles MedalDr Martin EllerbyMortimer MedalAnna Hughes-WilliamsYoung Jazz MusicianWill Barry

her solo and commended all theparticipants, saying

“This is the first ever Lord Mayor’sband competition: it was fantastic tosee the cadets and remind ourselveshow powerful music is, combiningeducation and rigour, much like themilitary. The cadets played withconviction and accuracy: they are acredit to themselves and the cadetservices”.

On collecting the trophy on behalfof their team, Cadet Warrant OfficerAbigail Mackenzie and Cadet SergeantFreddie Toms mentioned that theirband had a vacancy for a cymbalplayer and that the Lord Mayor wouldbe a welcome addition to the team!

THE BIDDY BAXTER AND JOHN HOSIER MUSIC TRUSTSCHOLARSHIP 2017

THE NEW MASTER Lady Brewer OBE...Fantasia para un Gentilhombre with Andrés Segovia as soloist; the...

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