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A major new pioneering initiative to promote women composers
#avoiceforwomencomposers
  • 15 choral works commissioned from five women composers over the next five years
  • Educational outreach, recordings, publishing, competition, festival all part of the plan
  • Cheryl Frances-Hoad appointed as launch composer-in-residence
  • Leading names in the industry voice their support
  • Launch concert in the Dry Berth at the Cutty Sark in Greenwich, Wednesday 6th July, 2016
  • Independent IPSOS survey highlights gender gap in the public’s musical knowledge – only 4% of adults could name a woman composer

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The London Oriana Choir has announced the launch of a ground-breaking new musical venture championing the musical talent of women composers.

The heart of the project, known as five15, is the commissioning of 15 brand new choral works from five women over the next five years, but the plan is to include a programme of new performances, educational projects, recordings and other initiatives to raise the profile of classical music written by women across the UK, as well as helping to encourage and develop the talents of new young writers.

The first composer-in-residence is the award-winning Cheryl Frances-Hoad and the project will kick off in style this summer with a special concert at the Cutty Sark in Greenwich featuring new music from the first five15 commission, as part of a programme of events marking the re-opening of The Queen’s House this year.

This is also the start of a new, longer term collaboration between the choir and the Royal Museums Greenwich, involving its appointment as choir-in-residence for a three-year period, annual performances at the Cutty Sark amongst other events at the Royal Museums and involvement in its education and outreach programmes.

Dominic Peckham, musical director of the London Oriana Choir, said:

“The lack of exposure of the work of women composers is still sadly evident – the results of the independent survey we conducted show that very clearly. The London Oriana Choir has long been associated with commissioning and performing their music but felt that fresh impetus, new thinking and organisation is now needed to bring about greater change. I am very proud and excited to be involved with this project, which already has the support of several high profile individuals and organisations, and we hope that others will join us in developing five15 even further.”

Speaking of her appointment, Cheryl Frances-Hoad said:

“I am thrilled to be the launch composer of the five15 project and am looking forward to hearing the premières of all the new works by female composers that will be created in the next five years. I am sure the project will bring to the fore many positive role models for young composers.” 

The project has the backing of some major names in the classical music industry, including composer Cecilia McDowall who said: “The London Oriana Choir’s inspired project – five15 – brings a new and exciting perspective in highlighting the work of women composers. Conceived as a multi-faceted initiative it offers a broad spectrum of creative possibilities and will give many wonderful opportunities for showcasing new work in superb historic locations.

Composer and arranger Rachel Fuller observed:  “I’m really excited to hear that London Oriana Choir is launching this pioneering project to support and highlight the work of women composers. Composing and the development of young composers is frequently perceived as ‘a man’s’ profession. That’s changing!!”

“BASCA welcomes the London Oriana Choir’s plans for commissioning 15 works by five female composers in the next five years,” Vick Bain, CEO of BASCA (British Association of Songwriters, Composers and Authors), commented. “This is just the sort of initiative that is urgently needed to address the obvious inequality in composition. Over 80% of all composers are male and thus win most commissions in an ever perpetuating cycle. So by creating demand and profile for new works by female composers this will give heart to existing female professionals and inspiration to those young women coming through the ranks just entering the profession.  We very much look forward to hearing the finished pieces!”  

British composer and performer Kerry Andrew commented: “I’m a strong believer in positive prejudice, and I’m loving the London Oriana Choir’s tiered approach to promoting great music by women, from turning the spotlight on existing work to creating opportunities for emerging composers. Go, Oriana!”

Anyone interested in learning more about all aspects of the project should visit the five15 website where full details and contact information are available.

(Source: press release)

 

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du2bpre2bwigmore2bhall Another concert programme, another artist biography comprising a dry list of eminent teachers and mentors, concert halls performed in, orchestras and conductors worked with, recordings made and “forthcoming engagements include”. All standard information: exchange the names and the impersonal text could be used for any international virtuoso.

Wouldn’t it be refreshing, once in a while, to read an artist’s biography which was less a list of achievements and name-dropping, and more about the personality behind the dry words and the professional photograph? To discover more about that person’s musical influences, their likes and dislikes, what music excites them and why, and what makes them tick as a musician? Details that may not be found on the artist’s website and which might bring the musicians closer to their audiences. In reality, most artist biographies tell us very little about the musician or musicians we are about to hear in concert and seem only to serve the requirements of their agents and managers.

Some artists and the writers of their biographies have attempted to go beyond the dull list of activities, resulting in some interesting vocabulary and very purple or simply incomprehensible prose, especially when taken out of context:

“a re-balancing of the artistic equation”

“she breathes the oxygen of imagination and finds balance in musing”

The second quote is from a young female pianist’s biography, penned for her by a French journalist. The complete biography is an interesting read: breathless, adoring, gushing, almost embarrassing in its attempt to sound poetic, and very far removed from the standard artist biography. On one level, it is quite wonderful.

But the more cynical or ungenerous reader or fellow musician might read such hyperbole and suspect that the artist in question is trying to cover up for mediocrity (in fact not an issue for the above-mentioned artist). And then there are those people who describe playing at prestigious venues such as Carnegie Hall or the Leipzig Gewandhaus without mentioning that both venues have smaller recital rooms, or that you have “participated” in a masterclass with this or that renowned international artist when in fact you were sitting in the back row at the Royal College of Music. Unfortunately, in the uber-competitive sphere of classical music, mentioning that you played a coffee concert in the Weill Recital Room to a handful of pensioners is not going to have promoters rushing to your door and therefore such economy of truth is essential in our image-driven world: most of us are guilty of these little white lies in our biographies.

The popularity of the Meet the Artist interview series, which has been running on this blog for 4 years now, confirms that concert goers and readers have a great curiosity about what goes on behind the public persona of a musician or composer. There is, I find, a continual interest in the working lives of creative people – by which I mean what motivates and inspires them to do what they do – and I’m sure that most concert goers would enjoy reading something more like a Meet the Artist interview than a tedious list of international concert venues and renowned conductors.

Of course, it is important to have a comprehensive biography or CV on one’s own or one’s agent’s website for the benefit of prospective promoters and concert managers, but surely it is possible to deliver this information in a style and manner which is both engaging and informative? And at a time when “audience engagement” is at the forefront of the minds of concert organisers, venue managers and musicians themselves, it seems sensible to offer a biography that audiences might actually want to read (and don’t forget that in major venues one can expect to pay upwards of £4 for a programme which often seems more about advertising than the music we are about to hear).

9 classical musician bios that aren’t terrible

Artist Biography Generator

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Who or what inspired you to take up the piano and pursue a career in music? 

I spent my childhood in a small scientific town in the south of Russia. I grew up in a creative family. My father is a radio physicist, my mother was a musician. She opened this fantastic world of music and art for me. She graduated from the College of Music as a pianist and also studied in Imperial Academy of Arts in St. Petersburg as an art historian. We had a lot of books about music and art at home. While I was a child my mother often played for me, or showed gramophone records of great musicians. When I was 6, my mother became my first piano teacher. Aside from that, I studied violin, but after two years I made the decision to play only the piano.

I remember one important moment in my life. I was 10 and I prepared for my first serious competition for young pianist in Moscow. At that time I already lived without parents, studied with another teacher in a town of Volgodonsk (approx. 700 km from my home). My mother also came to Moscow to support me. But everything was so difficult… I missed home, my parents missed me. My new teacher was very strict with me, forced me to practise more and more. When my mom saw how difficult the life of her 10-years-old daughter already was, she told me: “Let’s give up music and go back home?” To which I answered: “No, mommy, it is too late to go back”.

From that moment I never doubted that I was on the right way, and my mom always supported me.

Who or what were the most important influences on your musical life and career? 

For me there is no difference between musical and real life. Everything that happens to me affects my outlook. In other words, I learn from everything. My parents taught me to be always honest and analyze what is happening. I learn from my dear teachers, who are also teaching me to be honest and to listen to the sounds. They are the same important people for me as parents. By the way, my mountain skiing and swimming instructors taught me to be strong and always keep working, no matter what.

When I take the music scores, read them and play, I learn from composers. Some of them have greatly influenced me and my views. When I listen to great musicians, I get inspiration from their way of expression, but never try to copy them.

Life influences me every day and gives the most important lessons. And the music helps me to understand and express them.

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

There are a lot of creative challenges in the life of a musician: for example, to play something, what you wanted to play before, but weren’t ready for; how to analyze and understand, how to unite the form of the piece in your mind. Sometimes this kind of problem interrupt my sleep. But for me, the more harder the challenge is, the more interesting it is. I will never stop searching for new musical challenges.

Which performance/recordings are you most proud of?

It is very difficult for me to be satisfied with my playing. Every time after my performance I know how to make the piece better.

It is too early for me to be proud of something, which I played. The big and interesting endless searching is ahead. I hope I will be able to reach something genuine in the future. But I will start thinking about it no earlier than in 60 years.

Which particular works do you think you perform best? 

The works which I love with all my heart I play well. If I open the score and don’t like the piece, it means that I didn’t looked at the score attentively. Then I try to find more interesting details (there are always a lot). I discover something new for me in the piece and attempt to better understand the intent of the composer. Step by step, I fall in love with the work and then I play the piece, which I love!

How do you make your repertoire choices from season to season? 

The choice of repertoire is a very serious thing. Sometimes I spend weeks choosing the programme for a concert. I often seek advice from my teachers who have more experience than me. We discuss each programme and decide together.

Do you have a favourite concert venue to perform in and why? 

When I go to the stage, I get into a special private space, where I can imagine around me whatever  I want (big or small hall, empty or full audience and etc). There is no favourite concert venue for me. My feelings don’t depend on the external situation. I try not think about it while I’m on the stage.

Favourite pieces to perform? Listen to? 

I happy to play any kind of solo, chamber and orchestral music.

And I love to listen any musical genre in general.

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

The main thing in music for me is to listen and hear.

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

At home with my family, in front of a keyboard with scores and a pencil.

What is your idea of perfect happiness? 

Fortunately, I don’t know yet. When the time comes and if I have a chance, I ask one man, who definitely knows about that.

What is your most treasured possession? 

Health and happiness of my family.

Anna Tsybuleva was born in 1990 and started piano studies at the age of six. Anna is currently a post-graduate student at the Moscow Conservatory, while also studying at the Basel Music Academy with professor Claudio Martinez Mehner.

In 2012, Anna took part in the International Gilels Piano competition in Odessa (Ukraine), where she has won the 1st prize. The same year Anna was one of the winners of the prestigious Hamamatsu Piano competition (Hamamatsu, Japan).

Anna has performed at a number of international music festivals in Russia, the United States, Europe and Japan.

In June 2015, Anna Tsybuleva won 1st Prize at the prestigious Leeds International Piano Competition in the United-Kingdom, leading to many important invitations to perform in the UK and internationally.

 

 

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Sometimes – often! – learning a new piece of music can feel like ascending a steep mountain.

The first few weeks, when the piece is still very new, can be an uphill slog as you cope with note-reading and learning, understanding the structure and harmony, and trying to get a handle on the character and expressive elements of the piece. Then one day you go to practise it and suddenly it seems a whole lot easier: you’ve scaled that initial steep ascent and have arrived on a pleasant plateau where playing becomes enjoyable again. At this point your progress may suddenly become quite rapid as you feel more at ease with the music.

But then – and I’m sure you know the feeling – you reach a certain point where you feel stuck on a ledge, the summit in sight, but seemingly unattainable. You need a push, a burst of energy to get you up there.

When I am reach this point in my learning, it is usually a sign that I need to see my teacher to assess my progress and to give me a shot of inspiration and encouragement to push me to the next level.

Sometimes reaching a seemingly inescapable plateau indicates that we are over-thinking our practising, or fretting over small or imaginary issues which we have turned into bigger problems. In this instance, try shifting the focus of your practising: if you have been practising the same piece in the same way for the past few weeks, try a different approach.

Maybe it’s a sign that it’s the time to put the music away for a few weeks and look at something else. “Oh but I might forget everything I’ve learnt!” I hear you cry. Not true – if you’ve done the careful learning in the first place, revisiting the music after a break should be fairly straightforward and it will take a matter of days to reacquaint yourself with the score. Taking a break also revives our interest in our music and gives us pause for reflection. Returning to the music after a break often throws up interesting new insights and ideas about the music, enabling us to work with renewed energy and excitement.

Conversations with friends, colleagues, teachers can often shine a light on a seemingly intractable issues with a piece. Asking a trusted friend or colleague to hear you play and give feedback can be helpful too. Meanwhile listening to recordings or going to concerts can lead to moments of revelation and inspiration.

Playing the piano is hard – as my teacher regularly says, “If it was easy, everyone would do it!” – and some pieces remain difficult, despite the many hours of work and thought we put into them. Thus, it is important to celebrate the Eureka! moments, while also allowing ourselves time to evaluate and reflect on what we are doing.

If you’ve reached a plateau in your learning, don’t despair. See your teacher, if you have one, or learn something new, something easier, or return to a piece you know you play well (this can be a tremendous confidence booster). Go to a concert with friends and enjoy talking about the music afterwards, join a piano group where you can meet other pianists and discover that we all share the same afflictions, hopes and fears. We don’t have to be chained to the piano every day to gain useful support for our practising and musical thinking.

Above all – don’t give up! And enjoy your music.

Further reading

The Bulletproof Musician

Practising the Piano