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Why would a talented leading British composer include a document called a Failure CV on her website, alongside details of her extensive oeuvre and the many plaudits for her work?

British composer Cheryl Frances-Hoad is not alone in including such a document on her website. She prefaces it with the comment that “for every success I have, there are usually a LOT more failures that nobody ever gets to hear about”, and each entry on this Failure CV includes a note of how each project or submission turned out. On one level, it’s sobering reading – proof that composers (and musicians in general) must work hard and that success is often hard won. But it’s also rather inspiring and positive. Its honesty shows that Cheryl, and others like her, accept that a successful career trajectory is paved with many setbacks and failures, and it reveals a certain confidence which seems far more genuine than a list of accolades, prizes and press reviews.

The more usual kind of CV lists successes only, but this does not represent the bulk of one’s efforts. Nor does it acknowledge that failure is a necessary part of progress and without it, one cannot reflect on nor learn from those failures.

A composer can “hide” their failures. They need not mention the rejected funding applications nor the works which never got commissioned. A performing musician, however, exposes themselves to criticism in the very public forum of a live concert and errors will be remarked upon by audiences and critics. As musicians, failure can have a very profound effect on how we approach our music making and professional career. It can create feelings of personal humiliation which in turn may stifle our ability to learn and develop. Sadly for many of us, the “wrongness” of making mistakes is inculcated in us from a young age – by parents, teachers, and peers – and such prejudices combined with a constricted mindset lead us to blame and criticise ourselves for our failings

In fact, mistakes and slips in concert are a very tiny part of the “setback-reflect-progress” habit of the serious musician, who regards mistakes as positive learning opportunities rather than unresolved failures. Failure is part of creativity and mastery, and without it we cannot learn, explore, experiment, expand our horizons, and progress

It also fosters resilience and equips one with the tools to cope with the exigencies of one’s creative life. Being honest about failure is empowering, for oneself and for others, as it can help them deal with their own shortcomings and career setbacks, and encourage them to stick to the task.

What Cheryl Frances-Hoad’s Failure CV so neatly proves is that failure – and a willingness to learn from it – is a fundamental part of success: without those setbacks, Cheryl may never have reached the pre-eminent position she now holds in classical music in the UK and beyond.

Meet the Artist – Cheryl Frances-Hoad

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Inspired by a guest post on performance anxiety written by a friend from my piano Meetup group, I am launching a new occasional series of guest posts called Advice to Myself.

The articles are aimed at pianists and musicians in general and will offer practical, supportive and inspiring advice on aspects such as managing anxiety, preparing for performance, practising, repertoire, teaching, music exams, avoiding injury and more. The advice of others based on their experience of similar issues and challenges can be very helpful, and I hope these articles will also create a forum for discussion of the many issues which face musicians, amateur and professional.

Articles can include images, links, video and sound clips.

If you would like to contribute to the series, please contact me

 

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Does a mentor necessarily have to be a teacher? Of course not. A mentor is someone who offers guidance, support and inspiration, someone we might turn to for advice. Last night, I learnt that someone I regarded as a mentor, and also a friend, had died peacefully at home, surrounded by her family.

I first met Linda Kelly, and her husband Laurence (for whom I worked as a PA for 15 years until I moved out of London) in 2003. At that time, I was rather in awe of her – a published and highly-regarded author, she was doing something I aspired to. During the time I worked for Laurence, Linda completed three books – not slim volumes but carefully-researched tomes whose text sparkled with knowledge, intelligence and good humour.

My office was on the top floor of Laurence and Linda’s house in Notting Hill and her study was across the landing from where I worked. I learnt a lot about being a writer from observing Linda. She clearly had a routine and was at her desk every morning. In addition, it was quite evident that writing was an incredibly significant part of her life (along with her family and friends), and also a place to escape to. She felt that writing also provided an important contrast to family life and running a house, but I don’t think she ever regarded it as something exceptional or special – it was just something that she “did”.

When I started writing this blog and reviewing concerts, she would regularly read my articles and reviews, offering positive commentary on my writing. On my weekly visits to the house, she would always find time to come and chat to me, asking after my family, my son’s progress as a fledgling chef, and my own musical and writerly endeavours. Her view was that it was important to have an outlet, a place to go to, to escape – not necessarily to escape from the exigencies of everyday life, but rather a place where one could exercise and pursue one’s creativity. (In fact, she had experienced a number of complicated family health issues before and during the time I worked for her and Laurence, and I wonder if writing was also a form of therapy for her.) She was very generous and supportive of my writing, and also my musical activities and accomplishments, and to have that endorsement from someone whom I respected as a celebrated professional writer and also a friend was incredibly important to me. In addition, when my husband had to go into hospital in April 2017 for complex cardiac surgery, she simply hugged me and said nothing else – she knew that platitudes like “he’s in good hands” or “he’s in the right place” were not that helpful. Her sensitivity combined with a pragmatism and philosophical attitude to life (particularly in her last year when she was terminally ill) was something to admire, and emulate.

As we resonate with a mentor, we make them our role model, tune into their special qualities, and draw these into ourselves so that we can utilise and be inspired or motivated by them. Linda’s support and kindness will continue to inspire and resonate with me as I remember her with great fondness and gratitude.

Linda Kelly – writer and biographer

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Who or what inspired you to take up composing, and pursue a career in music?

I have a musical family and so my brother and I would hear music every day. I guess the music got into my soul and I started writing when I was at school from the age of about 12.

That said, I only started composing professionally in my mid-thirties. At that time I found that I really started to get satisfaction from creating music and particularly music that other people enjoy playing.

Who or what were the most significant influences on your musical life and career as a composer?

My parents warned me that the musician’s life is not easy! However, I’ve always enjoyed performing whether on piano, singing or on trumpet. It was a natural step for me to form, run and conduct a swing band at my school, and then two more bands when I went to Cambridge University.

What have been the greatest challenges/frustrations of your career so far?

I think, probably like many people, I find the marketing aspect of writing (i.e. blowing one’s own trumpet!) to be a challenge. I guess it is constantly having to judge the best use of time and money in how to reach the right people with my music.

What are the special challenges/pleasures of working on a commissioned piece?

It’s always a pleasure to write a new piece of music – and especially so as a special request. Coming up with an original, catchy and visual title can take time though.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

I perform regularly with very talented UK jazz musicians in a variety of ensembles. It’s highly satisfying to try and play up to their standard and I always get ideas for new pieces after my gigs.

Of which works are you most proud?

Gosh – that’s a tricky question! I’m particularly proud of my JukeBox book series which has taken a great deal of work and seems to be popular so far. If it comes down to a particular piece, then at the moment the duet ‘Little Green Men’ makes me smile.

How would you characterise your compositional language?

I would say that it is a blend of jazz and other popular styles. As long as there is a melody and nice chord progressions, then I’m happy.

How do you work?

Ideally, I start with a title, perhaps from my growing list of potential candidates. Then I consult my spreadsheet of current compositions so that I try and avoid repeating the same combination of style, grade, key etc. I guess that’s my engineering background coming into play!

In reality, what tends to happen is that I get a melodic idea or rhythmic groove (often in the shower) and then try to find a title that works with it.

Either way, I’ll then sit down at the piano and experiment. Sometimes it works… sometimes it doesn’t!

Who are your favourite musicians/composers?

Al Jarreau, Oscar Peterson, Prince, Jamie Cullum, Stevie Wonder, Ella Fitzgerald, Dizzy Gillespie, Paul Simon, James Taylor…

As a musician, what is your definition of success?

If I can write and record a piece of music, then listen to it weeks or months later and think, “that sounds good!”, then that to me is a success. It doesn’t always happen, but it’s nice when it does.

Also, if I write a piece and someone, somewhere in the world plays that piece and enjoys it – then that is a success.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I think it is essential to love the music you’re writing or performing right now at this moment. We all have hopes and dreams of what might be in the future, but it’s probably best not to cling to those too tightly.

Where would you like to be in 10 years’ time?

Still gigging and writing most likely in the UK.

What is your idea of perfect happiness?

Being aware of the present moment – for example, during a gig and being in ‘the flow’.

What is your most treasured possession?

Materially, my piano.

What do you enjoy doing most?

Reading, watching and learning.

What is your present state of mind?

It varies, but mostly happy!

Olly Wedgwood has been playing the piano, singing, composing and performing in public since he was knee-high to a grasshopper. It all kicked off at school, many years ago in 1986 when he won a music scholarship to Hampton School and started to write for his favourite instrument – the piano…

After four years of formal music training, Olly discovered Jazz and formed, conducted and managed the Hampton School 15-piece ‘Big Jazz and Blues Band’, also recruiting from the girls’ school next door ;). Hooked on jazz, he began to study jazz piano under top UK jazz pianist Roger Munns.

At Cambridge University, Olly performed in and directed ensembles ranging from pop and rock ‘n’ roll outfits, to jazz trios and big bands. He formed ‘Selwyn Jazz’ big band with his partner-in-crime, Jon Hooper, in 1993 and the band is still gigging to this day.

(Editors note: actually Olly studied an Engineering Degree, but he and his partner in crime, Jon Hooper, probably spent more time on the gig circuit than they did in the engineering lab…).

After University, Olly worked as an engineer and physics teacher by day, also conducting the Magdalen College School big band. By night, he gigged with various jazz and soul ensembles, both as a wedding pianist-vocalist and as a ‘front man’ wedding entertainer.

In 2004, he handed in his notice for his day job and went pro, playing frequently with the Oxford Jazz Quintet (one of Jamie Cullum’s previous ensembles). Olly now runs his Jazz Soul Boogie Band – an awesome wedding entertainment band on the professional gig circuit in the UK, performing a variety of music styles from jazz swing, Latin to funky 70s soul. Wherever Olly is playing, you’re guaranteed a great night’s music and dancing!

Also in 2004, Olly co-wrote ‘Wedgwood Blue’, a landmark piano collection which brings together the extraordinary talents of the Wedgwood family. Olly’s younger brother Sam Wedgwood is a talented singer/songwriter and their mother Pam Wedgwood is recognised around the world as one the UK’s most prolific and successful composers of popular repertoire for young instrumentalists.