1

Life on the front desk of NYO

Plan your summer

A week at university

A SURVIVAL GUIDE FOR YOUNG STRING PLAYERS

Ask a violinist

How well do you know the masters?

SUMMER 2016

2

jesta

jestajesta

www.estastrings.org.uk

jesta

jesta is published for young string players by ESTA (UK)

General manager Philip Aird 61 Worlds End Lane, Weston Turville HP22 5RX tel 0845 241 2198

Editor Ariane Todes editor@estastrings.org.uk

jesta is produced for ESTA (UK) by Muso Communications Hill Quays, 14 Commercial Street, Manchester, M15 4PZ tel 0161 638 5615 info@musocommunications.com Designer Peter Davin Publisher and Sales Manager Marcus Netherwood

The statements and opinions in Jesta are those of the authors and do not necessarily express the views of ESTA.

For more about string playing go to www.estastrings.org.uk. If you have any ideas or would like to contribute to Jesta

please email editor@estastrings.org.uk.

Christian Garrick’s guide to jazz

Millie Ashton tells us about leading NYO

Quiz –how well do you know the masters?

Have you planned your summer holiday yet? Try these ten ideas

Q&A with violinist Braimah Kanneh-Mason

A week in the life of a music student

News

Bursary reports

05

10 22

06

16

27

09

30

Vadim RepinStrings Handmade in Germany

www.pirastro.com

Pho

to C

red

it ©

Har

ald

Ho

ffm

ann

A SURVIVAL GUIDE FOR YOUNG STRING PLAYERS

4 54

THE LATEST EVENTS IN THE STRING WORLD

NewsYouth orchestra faces closureA campaign has been set up to save the European Union Youth Orchestra (EUYO), which is set to disband in September after the European Union (EU) changed the way it gives funding.

The orchestra was set up in 1976 under the Musical Directorship of Claudio Abbado and draws its members, aged between 16 and 26, from all 28 of the EU’s member states. Conductors who have led the orchestra include Leonard Bernstein, Colin Davis, Bernard Haitink and Vladimir Ashkenazy, and many of its 3,000 alumni have gone on to become professional musicians.

Since 2014 the EU has required arts organisations to apply for funding through its Creative Europe programme, but EUYO’s application in 2015 was unsuccessful, leading to it facing closure.

Join the campaign to save EUYO at www.euyo.eu/about/saveeuyo

Viola win in Isle of Man

Timothy Ridout, the 20-year-old viola player featured in Jesta in 2015, is the first ever British winner of the Lionel Tertis International Viola Competition, held in March in the Isle of Man.

Timothy studies at the Royal Academy of Music with Martin Outram, and has already won several competitions, including first prize at the 2014 Cecil Aronowitz International Viola Competition and second prize at the 2015 Windsor Festival International String Competition.

When we spoke to him in 2015 he explained his work regime: ‘When I have some time I generally practise between five and six hours per day. I find more than this becomes tiring, and my concentration starts to weaken. My ultimate career aim is to be a viola soloist, and to show to the public what a fantastic instrument it is, and what a unique sound world it has!’

Parliament to debate music education

Music education in English schools will be part of a debate in Parliament on 4 July that will decide whether schools focus on creative subjects. The government’s proposals for the English Baccalaureate (EBacc) would rule that students have to study English literature and English language, Maths, double or triple science, a modern or ancient language, and history or geography, but not any creative subjects, such as music, dance, design or drama.

Various music organisations launched a campaign against the changes, creating a petition stating that, ‘The exclusion of art, music, drama and other expressive subjects is limiting, short-sighted and cruel. Creativity must be at the heart of our schools.’ The number of signatories to the petition passed the 100,000 responses required to take the debate to Parliament.

Cellist wins BBC competition

The BBC’s Young Musician of the Year contest has been won by 17-year-old cellist Sheku Kanneh-Mason. He performed Shostakovich’s Cello Concerto no.1 in the finals at the Barbican Centre in London. Sheku goes to Trinity Catholic Comprehensive in Nottingham, and has a scholarship at the Junior Academy of the Royal Academy of Music in London, where he studies with Ben Davies.

He entered Britain’s Got Talent in 2015, along with members of his family (see page 10 for an interview with his older brother, Braimah). He plays an instrument made by Frank White, and was lent an Amati for the final.

In the semi-finals, Sheku played against violinists Stephanie Childress (16), Charlie Lovell-Jones (16), Louisa Staples (15) and cellist Joe Pritchard (16).

Previous winners of the competition include Nicola Benedetti, Jennifer Pike, Natalie Clein and Guy Johnston. You can watch the competition rounds and final on BBC iPlayer:

www.bbc.co.uk/programmes/b07blqjf.

76

The living is easy

1 Take a course

Going on a music course is a brilliant way to make new friends, improve your playing, gain new perspectives and get coaching from leading teachers. All this, combined with a summer holiday in some of the most beautiful parts of the UK, Europe or the world: win–win!

It’s best to ask friends and teachers for recommendations, or get online to search. Courses and travel can be expensive, but most of them have scholarships and financial assistance, so don’t be shy to ask the administrators. Also, if your teacher is a member of ESTA, you might be eligible for a bursary, so check out our website: www.estastrings.org.uk.

2 Make a video

It’s never been easier to get creative, with only a phone and your imagination. Performing music is just one part of being a professional musician, and the more experienced you are at communicating with people in a variety of ways, the better – and the more fun. The possibilities are endless and cost nothing. Video your performances or compositions; tell a story about the pieces you’re playing; film something of what it’s like to be a musician. Who knows – maybe your video will go viral! (Although don’t forget that people might still be watching your video when you’re famous, so be careful!)

3 Go to a festival

There are few festivals where you can listen to classical music, but if your interests are wide-ranging, and you like non-classical music, going to a festival is a great way of hearing lots of different things in a short space of time. Most of them have special prices for students, and some offer free passes in return for stewarding. You’ll need a tent, though, and hope that the sun shines!

4 Prom Prom Prom

If you live anywhere near London, you can access a phenomenal range of international string players over the summer from only £6 at the BBC Proms, which run 15 July–10 September.

There’s a special cello theme this year, with soloists including Sol Gabetta (15 July); Alban Gerhardt (3 August); Johannes Moser (9 August); Paul Watkins (12 August); and Truls Mørk (25 August). And if that’s not enough cellos for you, on 25 July, Guy Johnston leads an afternoon concert of 12 cellists, at the Royal College of Music. If you’re under 18, all tickets are half price, but it only costs £6 to stand in the arena, where you can find the best sound. Check out the programme at www.bbc.co.uk/proms.

5 Busk

If you’re feeling skint and you enjoy performing in public, kill two birds with one stone by busking. You’ll have fun and make some money. If you’re playing to people who don’t know much about classical music, and don’t want to stop to listen, it can also give you an interesting perspective on how to communicate music and interact with audiences. You’ll work out what music brings in the most money – be prepared to play Vivaldi’s Four Seasons on repeat! Make sure you follow the law, though – busking is legal, as long as you are 14 or over, but some councils have local byelaws: www.gov.uk/busking-licence.

6 Play chamber music

Whatever standard you are, playing chamber music can improve your musicality, your sight-reading and your technique. It’s also fun, and if you find music at the library or borrow it from your school, it’s free. So get together with friends and see what happens. You might even want to put on a concert (see no.7).

7 Put on a concert

If you’re thinking about becoming a professional musician, it’s never too early to put on your own concerts. They are an excellent incentive to practise, and a good way of getting used to nerves. All you need is a venue. You may have to pay something, but put together a budget and see if you can raise the money from family and friends. (This might be easier if you decide to donate your profits to charity.) Your budget might also include printing posters and publicity, but you can do a lot of marketing for free, using social media. Marketing, budgeting and organising are vital skills, whether or not you become professional, so enjoy the experience – but don’t forget to practise!

8 Learn something new

Having a good chunk of time is a great opportunity to discover new things, and the internet, apart from having all those kitty pictures, is also full of places to learn. Some universities run online versions of their academic courses, and there are many different music modules. For example, you can study Music Business Foundations at Berklee; Music and Social Action at Yale University; or Fundamentals of Rehearsing Music Ensembles at the University of North Carolina. Visit www.coursera.org or www.openculture.com to see what’s on offer – you may have to pay for certification but many courses are otherwise free.

9 Learn to teach

If you’re thinking about becoming a string teacher, or even if you just want to improve your own playing, learning about string pedagogy is very useful. There are plenty of places online where you can do this, including ESTA’s newly revamped website, www.estastrings.org.uk, and if you are 18 or over, you can apply to come to ESTA’s summer school (31 July–4 August). For more details visit the Events page of the website.

10 Practise

It’s good to have a nice break from all your hard work, but you know that if you don’t practise, not only will you not get better, you’ll forget lots of the things you’ve practised. So set yourself some time off to relax and refresh, but then set yourself a target to get going again, so that you’re bright and ready for the new term!

SUMMERTIME

Summertime is just round the corner, and with it, long weeks of freedom from routine and having to go into school or college. Have you made plans yet? If not, here are ten ideas to inspire you and keep boredom at bay.

9

Beginner’s guide to… playing jazzMore and more music students are exploring the possibilities of jazz, but making the leap from reading notes on the page to being free to improvise can be daunting. Leading jazz violinist Christian Garrick, professor of jazz and non-classical violin studies at the Royal Academy of Music, Royal College of Music and Guildhall School of Music and Drama, offers his advice for taking your first steps

• Listen to anything that takes your ear, and then listen to more of that style or of that artist. • Transcribe what you’re hearing. It takes time,

which means that you’re absorbing it at a deeper level. Then play it back and put it into your language. Create your own palette. • Listen some more. • Look at the full picture, not just your part in it.

Transcribe the whole band. It heightens your awareness of what’s going on with the rhythm section, the harmony guys and the top line, instead of only the top line. You’re aware of what’s going on and how it fits together. By understanding this you perform better. • Think outside the box. When I was a student at

the Royal Academy I had a violin tutor, but I also lessons with a guitarist, saxophonist and pianist. I got as much – if not more – from those people. They’re all musicians. Sure, you need someone on the instrument to show you the technical details, but when it comes to musicality there’s no point boxing yourself in. I used to transcribe solos by Charlie Parker, Pat Metheny and Keith Jarrett; even an occasional drum solo.

• Get some musicians together in a room and get a groove happening, so you can experience it together. It’s no different to swimming for the first time. You think, ‘I’m out of my depth,’ but then you realise, ‘I just have to move my hands and legs a bit. Hang on, I’m not sinking!’ The next time it’s like second nature. It’s as simple as that. • The most obvious thing is usually the best .

Try playing the root note of the tonic on the down beat. It’s brilliant, because you’re developing repetition, rhythm and intuition all in one go and you’re playing something strong. Repeat that and before you know it, you’ve built a solo with direction • Tell a story by using pitch, dynamics and rhythm

– these are the same features of any kind of music • Create tension and release; tension and release.

It’s that sensation that makes you want to do it again and again, and when the audience senses that tension and release, you know it’s working and that’s gratifying. You already have all the technique you need.

Playing jazz is a positive thing. It’s a good additive to your music – not a danger! INTERVIEW BY ARIANE TODES

BEGINNER’S GUIDE

1110

Braimah Kanneh-Mason

Q&Awith

Violinist Braimah Kanneh-Mason, 18, is the second oldest of seven super-musical siblings from Nottingham. He achieved Grade 8 Distinction at the age of 12, distinction at DipABRSM, and has won a place to study at London’s Royal Academy of Music, where he previously attended Junior Academy, studying with Nicole Wilson. He is a member of Chineke!, and as part of his family ensemble, performed on Britain’s Got Talent. We asked him some questions about his life as a violinist.

What’s your plan?

I’d love to be a chamber musician and to teach. At the moment I’m in a piano trio with my oldest sister, Isata, and my brother Sheku, who’s in the year below me.

Why chamber music?I like the social aspect, as well as the collaboration. Orchestras are also social, but with chamber music you only have one player to a part and it’s quite intimate. It teaches you a lot of transferable skills, like team work and working hard. It’s very useful.

Congratulations on getting into the Royal Academy of Music. What were the auditions like?Your practice time increases and everything becomes more intense. My auditions were quite close together, which was good in a way, rather than being intense for a long period of time. I played the Mozart G major Concerto, and the first movement of the Brahms G major sonata. For about a year before I was doing on average three hours a day; during that term, four hours; and five hours for the two or three weeks before the audition. I enjoyed it. When you practise, there’s nothing more satisfying than when you improve and you’re playing better than you have before.

How has your teacher helped you?

When I first went to Nicole, my concentration would waver when I was performing. I’d get nervous and not play as well as when I practised. She introduced something called the ‘memory palace’. If you had to remember a list of ten objects, starting, for example, with a kangaroo and a watch, it would be hard to remember, but if you say you came into the foyer and a kangaroo handed you a watch, it’s easier.

We did that for the Mozart and the Brahms. For the opening two chords of the Mozart, the palace doors are opening, and then there are children running around. It takes your mind away from everything – it’s just you and the music. It helps with memory, but it was more to improve my performance and communication, and to take away my worried expression. It was a relief. At first you have to build it up, but now I find myself running away with it, rather than having to think about it.

How did you start the violin?I started on the piano when I was six because my sister played. A year later she started playing the violin, so I started, too, and it quickly became my favourite. I liked the sound – it was more like a voice. I realised I was getting better at it more quickly than my sister, which is something I didn’t achieve on the piano. My mum taught me violin for about a month and then I went to a local teacher, Nadia Hinson, who I had until I went to Junior Academy, where I started with Julia Jasinski.

Did you want to practise when you started?

At first you practise because your parents tell you to, but I really started to enjoy it and by the time I was eight I became more independent. When I did summer music courses I found myself practising more, and also when I came to Junior Academy.

What was it like being on Britain’s Got Talent?It was fun to play in front of the cameras. It was a week of being quite famous, which is something we’ll always look back at with a smile. Our first reaction when we were invited was that it wasn’t for classical music, but then we talked about it and said it would be a good experience. We’ve had the odd gig since then where we’ve played that kind repertoire. It’s not what we’d like to do solely, but it’s good to try things out if opportunities come your way.

How do you feel when people talk about classical music being ‘boring’?In the semi-finals of Britain’s Got Talent, Simon Cowell said, ‘It’s nice to see you’re happy, because a lot of people are quite miserable when they play this kind of music.’ Of course, on stage I had to smile but I was thinking, ‘No, they’re not miserable. There’s concentration and there’s being miserable, and they are two different things.’

It’s a shame that classical music has the image of being middle class and very serious. There are a

Q&A

BRAIMAH PERFORMS IN A TRIO WITH HIS SISTER ISATA AND BROTHER SHEKU

1312

variety of reasons for it, one being that music is expensive, so you only get a certain type of people doing it. I think a lot of people just haven’t had a chance to just listen to it, especially young people.

Three years ago some of my siblings and I gave a lunchtime recital where we played Shostakovich. We thought that not many people would turn up, but to our surprise it was sold out. All our friends who came to see us said they really enjoyed it. It just goes to show what happens if people give classical music a chance.

How can we change that as a society? It all starts from education. When my parents were at school, music lessons were completely free. People need to have proper teaching and to be exposed to music. In Nottingham they’ve started a Go Classics card: if you’re under 25 you can go to concerts for £5 and see all the great soloists and orchestras. My family and I have been to lots of concerts and it’s nice to see younger people there, thanks to the card. Venues around the country could do that, and put up posters around schools, so that people are aware of it from a younger age.

Do you have any advice for parents?If parents were aware of the many transferable skills that music offers, more of them would invest in a musical education for their children. Learning an instrument doesn’t only teach you to play the instrument. It teaches you hard work, time management and discipline – all necessary things.

Was there any competition between you and your siblings?It’s all friendly. There has been the odd time when Sheku and I have been against each other in a competition, but the important thing is that we each play our best. Everyone’s always very encouraging.

What was it like playing in Chineke!?Until that orchestra, I’d never been aware that when my brother and sister and I did music courses we’d be the only people from our background. It was a really nice experience to play with so many other ethnic minority musicians, and to play with professionals at such a high level.

It’s good to think that one day, orchestras in this country will represent the people living in this country. I don’t think there’s any reason why black people should be really good at reggae and jazz and white people should be good at classical, as the stereotypes have it. As long as you’ve trained, there’s no reason why it should be like that.

Will it change the world?I think people will be surprised how easily an idea can catch on. All it takes is a few people to see something. If, as a young black person, I switched on the television to see an orchestra that was full of people who looked like me, I’d probably be inspired.

What are you learning at the moment?Arvo Pärt’s Fratres and Saint-Saëns’s Rondo Capricioso.

Is there something you want to change about your technique?At the moment I’m working on my sound, trying to get a vibrato that’s less from the arm and more from the wrist, and which can change speeds. I start my practice with open strings, one oscillation to a bow, then two, doubling it each time and then using patterns. It has been helping.

Who do you listen to?My all-time favourite is Itzhak Perlman, not only as a violinist, but also as a musician.

Do you have any solo aspirations? Of course it would be nice to perform a few concertos.

To have the opportunity to play, say, the Tchaikovsky Concerto, with the Philharmonia, would be amazing

INTERVIEW BY ARIANE TODES

Q&A

At Bishop Instruments & Bows we have an extensive range of violins, violas, cellos and bows by the

worlds finest contemporary craftsmen and the old masters. Our clients include students, amateurs,

orchestras and professionals of all levels. Our large shop is just two minutes from Wigmore Hall, with

two showrooms and a large workshop for repairs of the finest order.

Current examples in stock include: Violins by GB Guadagnini, Gagliano, JB Vuillaume, E Ceruti, V Postiglione, L Bisiach, C Candi & G Pedrazzini. Violas by G Rocca, G Dall’Aglio, G Rivolta, Capicchioni, Carletti, Sderci. Cellos by G Antoniazzi,

Capicchioni, Gilkes, Panormo & Fredi. Bows by Simon, Henry, Sartory & Fetique.

2 Hinde Street, London W1U 2AZ | Bond Street | Mon to Fri 10am - 5pm (Saturdays by appointment)Tel: +44(0)207 4875682 Email: sean@bishopstrings.com Web: www.bishopstrings.com

instruments & bows

instruments & bows

Instruments & Bows that Work

10 thAnniversary

London Shop

Bishop - ARCO January 2014 1-0.indd 1 13/01/2014 12:45:54

• Stentor violins, violas, cellos and double basses are carved fromsolid tonewoods, with correct measurements and good tonalquality offering students the best start to their musical careers.

• Start playing with our best-selling outfits: - Stentor Student I and II

• Step up to a Stentor Graduate or Stentor Conservatoire

• Choose from our high grade orchestral models: - Messina, Elysia and Arcadia

• Stentor Student I and Student II outfits are played in most schoolsin the UK and many throughout the world.

www.stentor-music.com

STENTOR MUSIC CO. LTDREIGATE, RH2 9EZ, UKTel: 01737 240226 Email: info@stentor-music.com

STENTORThe First Choice

Stentor violins, violas, cellos and double basses areavailable in all sizes from your local retailer.

Request our Stentor brochure for full details or visit our website

See us at ESTA 2013 in Oxford

• Stentor violins, violas, cellos and double basses are carved fromsolid tonewoods, with correct measurements and good tonalquality offering students the best start to their musical careers.

• Start playing with our best-selling outfits: - Stentor Student I and II

• Step up to a Stentor Graduate or Stentor Conservatoire

• Choose from our high grade orchestral models: - Messina, Elysia and Arcadia

• Stentor Student I and Student II outfits are played in most schoolsin the UK and many throughout the world.

www.stentor-music.com

STENTORThe First Choice

STENTOR MUSIC CO. LTDREIGATE, RH2 9EZ, UKTel: 01737 240226 Email: info@stentor-music.com

Stentor violins, violas, cellos and double basses areavailable in all sizes from your local retailer.

Request our Stentor brochure for full details or visit our website

Arco4-13 ad 25/9/13 13:47 Page 3

• Instrument & accessory cover• Unlimited professional use• Accidental damage & theft• Premiums from £33 per year

Get a quote:

Terms and conditions apply. Allianz Musical Insurance is a trading name of Allianz Insurance plc.

Step outside and play something new.

allianzmusic.co.uk0330 102 2088

Let your creativity flow with Allianz Musical Insurance.

1716

Work hard, play hard

As a normal South London girl who loves music and playing the violin, I played with local youth orchestras and was

heavily involved in the music department at my secondary school. In Year 11, the head of music there, Mary Graham, handed me an application form for the National Youth Orchestra of Great Britain (NYO) and said I should give it a shot. Enthusiastic and up for any new opportunities, I naively applied, but expected nothing as an outcome – I just wanted to enjoy the audition process. I had friends who had been in the orchestra and raved about it. I’d watched their 2013 BBC Proms performance on television, and it was truly epic. I learnt the many audition excerpts and after two rounds of auditions I found out I had a place in NYO for 2014. It was an immense feeling.

I still vividly remember my first tutti rehearsal in NYO. I was the inside player of the tenth desk of the second violin section, player number 40 out of 40 violins. The opening of Mahler’s 5th Symphony gave me goose bumps and I had the most ridiculous surge of adrenalin before our first entry. Something clicked and I knew that all I wanted to do was become a professional violinist.

The orchestra is so huge, that at the end of the season when we performed at the Royal Albert Hall

for the BBC Proms, I was so far back I was almost offstage. But the amazing thing about being in NYO is that everyone has so much commitment and energy. Your seating is irrelevant and the responsibility to make the section sound amazing is required from the front to the very back. We played Lutosławski’s Concerto for Orchestra and at one point the whole string section goes wild with repeated down bows, and the stage was shuddering. I loved it!

I applied straight away for NYO 2015 and after a few months of hard work in the lead up to the audition I was placed nestled among the first violin section. It was another incredible year, and the highlight was probably performing Mahler’s 9th Symphony in the Konzerthaus Berlin with Sir Mark Elder. The whole orchestra was in floods of tears after the emotionally uplifting final movement.

I also loved working with the conductor John Wilson, who had such attention to detail and made the string section sound dazzling, producing a shimmering vibrato from us all.

Fast forward to October 2015 and I was walking into an audition for the leadership of the orchestra. Despite it being my third year auditioning, I’d never been so nervous for an NYO audition. However, once I’d put my violin under my chin I enjoyed the experience of playing to the panel of NYO violin tutors and its orchestral manager. After I played I had a very long interview, with lots of questions asked.

A few weeks later I was in London, about to get on to the Underground, when I had an influx of messages from my friends saying they’d received emails telling them they were back in the orchestra for another year. I hadn’t had one, so I waited eagerly for what seemed like a lifetime, with 10 per cent battery-life on my phone. Eventually an email came through telling me I had been offered the position of leader of the orchestra. It was one of the most amazing moments of my life, and goes to prove that if you find a passion for something and work–work–work, amazing things can happen.

I have made friends for life in NYO, and although it’s been sad each year when friends leave the orchestra to go on to music college and university, another amazing group of people joins. Some of my best friends are in NYO, and it’s great to have the opportunity to play amazing music with people with whom you have a laugh.

NYO courses are very intense. The level of playing is extremely high, so full preparation of the repertoire before the course goes without saying. When a section has prepared its parts very well, you spend the course focusing on the musical aspects of the work, which is extremely good fun. My section has come well prepared to both residencies of the year so far, which allows me to go into further detail with the section about the musical intentions I have for the repertoire. Orchestral etiquette is very well observed in NYO.

Rehearsals happen in silence, with the upmost respect for our tutors and conductors, and we have a two-minute silence before each rehearsal to get focused.

On the Spring residency, we did some awesome warm-ups with our tutor, Kyra Humphreys. To work on our sound and awareness, and to gel as a section, we did funky scales every morning. This involved beginning a scale and slurring a different number of notes to a bow, alternating every other bow between slurring and separating. This got faster every day, and people were picking more wacky tonal centres. Everyone in the section had a go at leading the scale and we tried out a different number of articulations.

MILLIE LEADS AN NYO INSPIRE SESSION IN FRONT OF THE QUEEN

‘It goes to prove that if you find a passion for something

and work–work–work, amazing things can happen’

‘Something clicked and I knew that all I wanted

to do was become a professional violinist’

NATIONAL YOUTH ORCHESTRA

Playing in the National Youth Orchestra of Great Britain requires talent and dedication, but for Millie Ashton, who steps down as leader this year, the hard work has paid off and offered her career inspiration

1918

Mastering these enabled us to tackle some of the extremely challenging technical demands for the right hand in Stravinsky’s Firebird. I shan’t lie, though – I found some of this challenging myself! Despite being leader of the orchestra, there are still things I struggle with, and I went back to my room after each day of rehearsals and practised tricky bits, to keep on top of my game.

Inevitably, over the past three years I’ve found the preparation process before each course easier, and I’ve discovered some tips and tricks. (I made some vlogs about preparing for an orchestral course and an NYO residency which are available to watch on the NYO’S YouTube channel.) The most amazing piece of advice I’ve had since being the leader of NYO was from Lyn Fletcher, leader of the Hallé Orchestra, who told me just to ‘be myself ’. With each new leader the orchestra is different and I’ve felt most comfortable, confident and assured in the position by being nothing but my true self.

One of my biggest desires is to make the true intentions of the music completely flourish, not

only in my section but also across the whole orchestra. I’ve noticed that since being in the role I’ve been able to take musicality to a new level in my solo playing as well. Technical proficiency is one thing, but conveying the music in a new and interesting way is the true mastery of the instrument, I believe.

What I love about being leader is creating

relationships with musicians throughout the whole orchestra, which enables us to work together more effectively and to get the best results. The position can sometimes be stressful, with lots of questions and situations coming your way, but, with a close-knit group of friends and other supportive principals, nothing becomes too much.

A key part of each residency is NYO Inspire – a scheme set up by NYO to give breakthrough experiences of orchestral music to teenagers of all backgrounds, both as musicians and audience members. I have loved being involved in NYO Inspire projects.

‘If you love your instrument, persevere and make the most of all opportunities, it’s amazing to see hard working paying off’

NATIONAL YOUTH ORCHESTRA

KRISTJAN JÄRVI CONDUCTS NYO AT ROYAL FESTIVAL HALL

THE WORLD IS READYFOR ANEW SOUND.YOURS.

daddario.com/kaplan | #THEMOVEMENTBEGINS

Introducing Kaplan Vivo and Amo, violin strings designed to combine the richness of gut with the

projection of synthetics. Now, even the most refined players can discover new dimensions in their sound

while wielding greater control over their musical voice. This is a new era of classical music. Be a part of it.

With Kaplan, the movement begins now.

www.caswells-strings.co.uksales@caswellsstrings.com

Telephone: 01280 707140

10% discount for all ESTA members. E-mail for your privilege card today

Everything for the string player

21

The opportunity to perform to and inspire other teenagers is so rewarding and has taught me so much.

Being in NYO massively enhanced my future ambitions. In December 2015, I auditioned for music college and was offered places and scholarships in my audition to the Royal Academy of Music and Guildhall School of Music and Drama, as well as a place at the Royal College of Music. I will be attending Guildhall School of Music and Drama, studying with David Takeno from September 2016. I hope to have a versatile career as a violinist. I love all the aspects of playing the instrument offers; be it

orchestral, chamber music or solo playing. I love leading NYO and if a position like this transpired at a professional level it would be all my dreams achieved. But more than anything I want to continue discovering my instrument and enjoying playing all different kinds of music.

As a young string player, it doesn’t matter what stage you’re at and what you’re achieving. Everyone develops at different rates at our age and if you love your instrument, persevere and make the most of all opportunities, it’s amazing to see hard working paying off.

Check list for being in a youth orchestra:

• Learn your orchestral excerpts VERY well, as well as your audition pieces!

• Be yourself in the audition. Don’t be too nervous – it’s a brilliant experience.

• If you get in, completely immerse yourself in the preparation in the lead-up to the course to make sure you’re ready for the demands.

• Get to know people in your section and across the orchestra.• Make the most of and love every second. It doesn’t last forever!

Millie Ashton leads NYO for a final time this August, including at the BBC Proms on 6 August. For more details about NYO see www.nyo.org.uk.

NATIONAL YOUTH ORCHESTRA

MILLIE AND THE ORCHESTRA ACKNOWLEDGE APPLAUSE

232322

MondayDeadline Day! I start the week by handing in my composition assignment. For this project I had to compose for a mixed quintet. Composition is one of my favourite modules at Cardiff. So far I have learnt about some really interesting and complex techniques used by modern composers, such as using modes of limited transposition and serial rationalism. It is such a relief handing in this assignment, as I know it means I have one less thing to do.

Next on my agenda is a committee meeting for the university Wind Orchestra. We are planning our trip to Manchester, as we have a place in the finals of the National Concert Band Festival. I have really loved being involved in the committee as it has given me an insight into how large ensembles are run and what work goes into making them successful.

In the afternoon I have a composition lecture, in which they give us our next assignment.

This time it’s for a vocal consort. Not being a singer, I’ll have to make sure I do lots of research for this one. Monday evenings are always tiresome, as they end with a three-hour orchestra rehearsal. However, this particular rehearsal is really good fun – we play through all the music for our next concert to check how it is progressing. In this concert we will be playing Walton’s Belshazzar’s Feast and Rachmaninoff’s Symphony no.2. I particularly love the Rachmaninoff, because there are some lovely solo sections for the violas.

After I leave uni I am planning on applying to do a Masters in orchestral performance at a conservatoire. Although doing my undergraduate degree at university rather than a conservatoire has allowed me to continue on a more varied course, including composition and musicology, I want to specialise on viola, and I feel I need to do this at a conservatoire.

TuesdayEvery student will say that one of the worst things about uni life is having 9.30 lectures, especially after a late evening of orchestra rehearsals the night before. This morning’s lecture is for a module called ‘Reading Film Sound’ which looks at the use of classical and popular music within film, through the history of film. After my lecture I head off in search of a practice room in order to do some last-minute practice on my piece for the soloist competition on Wednesday. I am going to play the Bruch Romanze for viola, and the winner of the competition will get the opportunity to perform with the University Chamber Orchestra, so I am keen to practise as hard as I can.

After battling through two hours of practice, I head into Cardiff city centre to pick up some bits and pieces. Cardiff has a beautiful city centre and I always enjoy going there. My Tuesday finishes with a trip back to the music department for the Tuesday evening concert. As part of my course I have to go to a certain number of concerts within the year, and luckily the department organises professional contemporary concerts every week. This week it’s a concert by the Riot Ensemble, which plays us some music by Dutilleux – the university is helping celebrate his centenary this year.

Georgie Arnold is a second-year music student at Cardiff University. Her principal instrument is viola, but she also plays the saxophone and enjoys composing. She shares with us a week in her busy schedule

Student

WednesdayWhen I wake up, I almost forget that it is the day of the soloist competition. Luckily I have my viola lesson early on, which reminds me. I head into the department and go and find my viola teacher, Philip Heyman. He is principal viola in the Welsh National Opera Orchestra, and it is always exciting to hear about his experiences at the opera and playing professionally. This week we spend most of my lesson talking about posture and nerves, and how to give a convincing performance in an audition, as well as sorting out a few of the tricky bits in the music. This helps calm my nerves for the rest of the day.

It’s annoying that my audition isn’t until 5.30. To distract me in the afternoon I have Wind Orchestra rehearsal, where we go through our set for the trip to Manchester. By the time the rehearsal is finished it’s time for my audition, so I go and find my pianist and have a quick run-through. Then it’s time. I’m not as nervous as I thought I’d be, and I am really pleased with my performance. Unfortunately, I don’t win the concerto competition: we are all commended on our playing, but ultimately there can only be one winner and that is a guitarist in my year.

WEEK IN THE LIFE

2525

ThursdayThursday morning means going to my favourite lecture of the week. This is the module ‘British Music in the 20th Century’. One of my favourite composers is Vaughan Williams, and I always jump at the chance to play his music, so given the chance to study the composer and his contemporaries I knew I would take this module.

Thursdays are always busy, because at lunchtime there is a student-run concert, which allows us to test our recital pieces, and ensembles to show off what they’ve been doing. It’s also a

chance for groups of friends to get together and just perform. This week I am playing with five of my friends in a saxophone sextet, playing a jazz number.

The combination of playing viola and saxophone is unusual but highly rewarding. It has

allowed me to explore both classical and jazz repertoire and benefit from learning techniques for both a stringed instrument and woodwind. It is challenging to master very different techniques at a high level, and trying to balance rehearsal time is particularly tricky!

After the lunchtime concert I spend the afternoon deliberating over my recital programme for the end of the year, as it has to be submitted early on Friday morning. I go through some of the pieces I have learnt this year and decide that in

order to fill the allotted ten minutes of music I will play the Rhapsody from Bloch’s Suite Hebraïque and the final movement of Schubert’s Violin Sonata in D major (transcribed for viola, of course). I think this programme offers an interesting contrast of pieces for me to perform.

WEEK IN THE LIFE

• Large range of Violins, Violas & Cellos for all levels, from beginners to professional players

• Many brands of cases & accessories available• Showcase of new makers’ instruments & bows • Five trying-out rooms for privacy • Assisted purchase scheme for educational instruments • Repairs & restoration of instruments & bows • Insurance valuations• Set-ups and tonal adjustment a speciality• Distance trying-out of instruments for students via

their ESTA teachers

MAKERS, RESTORERS, DEALERS OFVIOLINS, VIOLAS, CELLOSAND THEIR BOWS AND ACCESSORIES

15-23 The Balcony, Castle Arcade, Cardiff, CF10 1BYSat Nav: CF10 1BS

cardiffviolins@btconnect.com Phone: 029 20 22 77 61 Open: Tuesday - Saturday, 9am - 5pm Closed: Sundays & Mondays Open by appointment in August

Cardiffviolins ESTA2013 1-2 17/3/14 15:27 Page 1

Rehearsal Orchestra

Artistic Director Levon Parikian

Orchestral repertoire courses for advanced players

Orchestral repertoire courses for advanced players

London weekends spring and autumn

Edinburgh Festival summer week

“The Rehearsal Orchestra does invaluable work on the quiet and with the minimum of fuss.” Sir Simon Rattle

www.rehearsal-orchestra.org Follow us on Facebook

Twitter @RehOrch Registered charity

number 237816

FridayEnd of term! As much as being away from home at university is a wonderful experience, when you have had a week full of deadlines, rehearsals and competitions, it is a lovely feeling when you know your parents are on their way to take you back home for three weeks of rest!

27

Bursary reportsESTA’S JOAN DICKSON CHAMBER MUSIC FUND OFFERS STUDENTS THE CHANCE TO GO ON MUSIC COURSES. WHAT DO YOUNG MUSICIANS GET OUT OF THE EXPERIENCE? SOME RECENT PARTICIPANTS EXPLAIN

Arpeggione (Intermediate)

This year’s Arpeggione Viola Course was held at the fabulous Milden Hall in Suffolk. I am lucky enough to have been on the course before, but this was the best yet.

Along with many good friends I enjoyed masterclasses, delicious meals, recitals, technical tips, orchestra and amazing chamber coaching. This was given by Jacky Woods, Stephen Tees, Michael Posner and Anna Dryer-Beers, along with visiting tutors Jonathan Barritt, Sarah-Jane Bradley, Nick Logie and Katie Heller.

Rehearsing in our chamber groups took up the vast majority of the course, with each person playing two different pieces, one classical and the other an arrangement of a more recent song. I loved playing first viola in Fauré’s ‘Agnus Dei’ and second viola in ‘Smoke Gets in Your Eyes’. All the pieces – orchestral and chamber – were ingeniously arranged for all-viola ensembles, yet still managed to capture the diverse character of the music perfectly.

Chamber rehearsals were taken by the resident tutors as well as visiting coaches, on a rotating schedule, meaning that each group had the opportunity to gather an array of different musical ideas and opinions on how they might approach their pieces.

This was also helped by the truly inspiring surroundings of the Tudor barn and farm at Milden Hall.

During the breaks it was very refreshing to be able to play a game of table tennis or chat on a bench, breathing in the fresh air. The food, with most ingredients sourced from the farm itself, was very tasty.

Overall, Arpeggione has greatly improved my playing ability, especially as a chamber musician, as well as being one of the most fun and memorable five days in my whole life.

Thank you so much. Rosalind (aged 12)

National Strings Music Course

I had a great time and a lot of fun playing violin with the other students. They were all friendly and nice. We played chamber music in the mornings, and we had a mini-concert every evening. We performed in front of our parents at the end of the course. My mum told me I looked like a professional violinist!The most important thing I learnt is how to keep in time with the other students in chamber music.THANK YOU!Katie (aged 7)

BURSARY REPORTS

Providing specialist, flexible insurance cover for you and your instruments since 1997

To discuss your insurance needs or to get a quote

Call: 0345 450 6987(quoting 203671)

Or visit www.orchestralguard.co.uk/esta10

insuring the UK’s musicians

10%DISCOUNTfor ESTA Members!*

*10% discount applies to new customers only and is applicable to the lifetime of the policy. Orchestralguard is a trading style of Thistle Insurance Services Limited. Lloyd’s Broker. Authorised and regulated by the Financial Conduct Authority. A JLT Group Company. Registered office: The St Botolph Building, 138 Houndsditch, London EC3A 7AW. Registered in England No 00338645, VAT No. 244 2321 96.

TPD0551 1 0216

Duetsfun

Easy pieces to play together

Available from all good music shops and online from www.schott-music.com

Exciting and inventive duet repertoire for improving players

• Original pieces for two players

• From the baroque period to the modern day

• Fun to play, and a great way to develop your skills in ensemble playing

• Both parts mostly at the same difficulty level

• Ideal for concerts and auditions

• Exploring a wide variety of styles this collection offers instrumentalists something for every occasion £9.50 each

for

28

Arpeggione (Senior)

The Arpeggione Viola Course, organised by Jacky Woods, was a great experience musically and socially. I made new friends and really enjoyed learning from some amazing teachers.I took part in two masterclasses, one with Susie Mészáros and the other with Roger Chase. These both really helped me with preparation for my BBC Young Musician regional auditions and then the regional finals in Cardiff in November.

For Roger, I played Prokofiev’s Dance of the Knights and Frank Bridge’s Allegro Appassionato. I learnt how to pronounce every note, especially the tenutos in the Prokofiev, and he also gave me ideas of what repertoire to play. With my chamber group, we played Dale’s Introduction and Andante for six violas, which was written for Lionel Tertis and is incredibly challenging. This is the piece we worked on most on the course. Roger, who has recorded the piece, came in and coached us the day before the concert, which was a real privilege.

We also played in the viola orchestra, conducted by Michael Posner. We Played, ‘You Do Something to Me’, arranged by Jacky, Shostakovich’s ‘Cheryomushki’ Gallop, and the Prokofiev. The spirited Shostakovich was everyone’s favourite piece – we even choreographed some moves for the encore at the concert!

We also played the ‘Blues Night Train’ by Jimmy Forrest, conducted by Stephen Tees, which was great fun! Apart from playing our violas, we had various activities, including Tudor

dancing, ping-pong and eating delicious food. Everyone dressed up in Tudor dress for the party on the last night, and we ate venison – a typical Tudor meal – which was very amusing.

We had two concerts, one in the Tudor barn in Suffolk where the course took place, and the other in a church in Highgate, North London.

Thank you ESTA for this valuable course!Lena (aged 15)

Joan Dickson Chamber Music Fund would like to thank Thomastik-Infeld Vienna and Hidersine for their generous support. To find out more about applying for a bursary, go towww.estastrings.org.uk/about/bursaries/joan-dickson-bursary.html.

Arpeggione (Intermediate)This year’s Arpeggione Intermediate course was certainly the biggest highlight of the year in my music-learning journey. I enjoyed it tremendously. I wish I could have stayed there longer: there was so much to learn. It was my third time attending the course, so I felt myself at home again with the friendly teachers and children, and the tasty Marmite on toast!

I especially like the two beautiful pieces we played in chamber class: Chrysanthemums by Puccini (arranged by Jacky Woods) and Czardas by Joanne Martin. It helped bring out my feelings and to learn how to express myself through music. I also loved the orchestra class, which helped me to improve my listening and playing

skills in a large group, with a wide range of different level of players.

I learnt so much by watching players on a different level performing in the Masterclass, including special tricks on the viola. It was inspirational!

Last but not least, I treasured and benefitted so much from the precious final concert performance opportunities the course offered me – both in Suffolk and in London. I already miss the Arpeggione teachers and friends and I can’t wait for the next course in a year’s time!

Love, Alexander (aged 11)

BURSARIES

“A must...” Alexander Baillie.

“A real service to young cellists..” Steven Isserlis.

“Delightful pieces.. a worthwhile addition tothe cello repertoire. I highly recommendCellowise Popular Classics.” Felix Schmidt.

SP898, SP962, SP1129 ( Grades 3 to 8 )

new ideas for cello, ananthology from the

Baroque to the 20th. Century.

Published by Spartan Press.www.SpartanPress.co.uk

00691 cellowise advert new proof 2_Layout 1 21/05/2014 17:14 Page 1

“A must...” Alexander Baillie.

“A real service to young cellists..” Steven Isserlis.

“Delightful pieces.. a worthwhile addition tothe cello repertoire. I highly recommendCellowise Popular Classics.” Felix Schmidt.

SP898, SP962, SP1129 ( Grades 3 to 8 )

new ideas for cello, ananthology from the

Baroque to the 20th. Century.

Published by Spartan Press.www.SpartanPress.co.uk

00691 cellowise advert new proof 2_Layout 1 21/05/2014 17:14 Page 1

“A must...” Alexander Baillie.

“A real service to young cellists..” Steven Isserlis.

“Delightful pieces.. a worthwhile addition tothe cello repertoire. I highly recommendCellowise Popular Classics.” Felix Schmidt.

SP898, SP962, SP1129 ( Grades 3 to 8 )

new ideas for cello, ananthology from the

Baroque to the 20th. Century.

Published by Spartan Press.www.SpartanPress.co.uk

00691 cellowise advert new proof 2_Layout 1 21/05/2014 17:14 Page 1

The XXVII InternationalString Teacher Training CourseHelsinki, Finland5th - 10th August 2016

COLOURSTRINGSFORUM 2016 • Led by Colourstrings® teachers: Géza Szilvay, Yvonne Frye,

Heidi Viksten, violin; Pirkko Simojoki, viola; Csaba Szilvay, Taru Aarnio, Csilla Szilvay, violoncello; Jaana Laasonen, flute; Arja Suorsa-Rannanmäki, Aija-Riikka Rannanmäki, piano;

Markku Klami, solfège; Karen Mackenzie music kindergarten. Accompanist: Maija Väisänen

• Violin, Viola, Violoncello, Flute, Piano, Music Kindergarten

• Heidi Viksten ☏ +358-40-451 6919 ✉ heidi.viksten@ihmo.fi

• Minna Launonen ☏ +358-40-451 7497 ✉ minna.launonen@ihmo.fi

• Plus for instrumentalists, pre-instrumental kindergartenworkshop 11th August 2016

• Intensive workshops, Concerts

www.ihmo.fiwww.colourstrings.fi

For more information please contact: The East Helsinki Music Institute

3130

Past masters

a b c

d e f

g h

aPABLO CASALS

bJACQUELINE DU PRÉ

cJASCHA HEIFETZ

dFRITZ KREISLER

eERICA MORINI

fMAUDE POWELL

gJOSEPH SZIGETI

hEUGÈNE YSAŸE

QUIZ

How well do you know the great string players of the past? See how many of these you recognise. Check your answers against the names that are printed upside-down at the bottom of the page, and then go and hunt down some of their recordings!

SPICE UP YOUR

ALPHAYUE SET

WITH THE NEW

SILVER D STRING

(not included)