Who or what inspired you to pursue a career in music?

I started my musical journey by having group trombone lessons at school ran by my local music service in Wolverhampton and then soon took up the clarinet, too. Unusually, I did not grow up in a home filled with music, as my parents and wider family have no musical training and there was certainly no music playing in my house at all. Therefore, my formative musical experiences rely mostly on my involvement with my city youth orchestra. My parents have always been extraordinarily supportive of my ideas so at age 14 they bought me a piano and then I began improvising on it and then notating it down. This became something I did rather frequently, although my motivation for doing so was purely just for the enjoyment of it; I didn’t really consider it the act of ‘composing’ as such. A few years later I attended a BBC Proms Inspire workshop in Birmingham and there, due to a chance encounter, I found out that conservatoires existed. I then applied to and attended the Junior Royal Northern College of Music and won the BBC Proms Young Composer’s competition in the following year, which had a large influence on my decision to take composing seriously. Since then, my career has expanded in directions that I could never have imagined or dreamed of. I, therefore, can’t recall the exact moment that I decided to become a composer and pursue a career in music, as I just simply followed the path of what I loved doing. I’m extremely grateful for all the opportunities and experiences that it has afforded me so far.

Which composers have most influenced the development of your music?

When I first started listening to classical music it was mostly Russian composers from the classical canon! Since then, however, the composers that I’m interested in do change frequently and vary widely. I think that the people that have had the most influence on my development would probably be those immediately around me, such as those that I meet, the musicians I write for, and the composers I interact with.

You compose for diverse ensembles, orchestral arrangements, choirs, solo voices, even operatic forms. What drives your experimentation?

I think mostly wanting to develop a musical language that is able to transverse a variety of instrumental ensembles or combinations drives my composition. My method is often the same regardless of what the ensemble is. It’s really important to me, however, to know what the instrumentation is going to be for a long period of time before I begin composing, as I like to imagine a sound-world that utilities that particular instrumental grouping effectively.

How would you characterize your compositional/musical language?

I think my musical language is mostly characterized first and foremost by the use of texture to create atmospheric sound-worlds, which are formed out of linear melodic fragments often inspired by art, poetry or literature to take a listener on a narrative journey… or something along those lines!

How do you work?

I often use extra-musical sources such as contemporary artwork or poetry as my starting point to inspire my music. I will then ruminate over my ideas before taking them to the piano where I improvise musical fragments, and develop the overall structure of the work, before I begin to notate the music down on paper. My compositional process is highly intuitive, almost always in response to my own thoughts and feelings and, therefore, I don’t have a specific writing technique that I can replicate for each piece. I suppose the most fixed aspect of my working process is instead the environment that I choose to compose in, which is often past the midnight hour in that form of silence that you can only achieve whilst everyone else is asleep.

We first heard ‘beneath the silken silence’ at LSO St Lukes as part of the Panufnik Composers Scheme. The work is beautiful and striking, and contains rich tonal harmonies set against more atonal underpinnings. Can you explain how you achieve this unity?

‘Beneath the silken silence’, like a lot of my works, was written in response to a poem, which in this case was Sara Teasdale’s ‘The Faery Forest’. The piece is inspired by both the imagery and phrase structure within the prose and therefore, acts as an unspoken vocalization of the poem. The work seeks to create an atmospheric sound-world to reflect the dream-like movements of nature portrayed in the poem. The harmonic content of the work is also based on this poetic setting, as it is created as a linear line and then loosely reoriented to achieve a tonally centred foundation.

The sophistication of your music seems to belie your age. ‘Fireworks’ is another striking work. How was the piece conceived? Can you tell us something of the process you use in composition?

To compose ‘Fireworks’, a piece for solo soprano voice and orchestra that I wrote in 2018, I began with the text, which is a poem of the same name by the American poet, Amy Lowell. After altering the text by changing and adding a few lines, as I often do, I set it to music as a fragmentary melodic vocal line, which becomes the basis of the work. I then also used this to inform the harmonic and structural shape of the piece. This, as I explained previously, is all a very intuitive process.

Each of your works seems to be associated with or inspired by a specific story, idea, image or illusion. How important is this in your work?

The concept behind each work is extremely important to me. The first step of composing any piece begins with my interaction with an extra-musical source inspiration, and from that I form the idea and the all-important title, which becomes the identity of the work. The story, idea or image that is associated with the work is what enables me to become energized to write and envelop myself in the world of the piece that I’m creating.

What have been the greatest challenges of your career so far? Which compositions are you most proud of?

The greatest challenges are probably trying to avoid being over-critical during the composition process and also creating a good balance between composing and life. The compositions that I’m most proud of are always hopefully the next ones!

As a musician, what is your definition of success?

I think definitions of success are highly subjective and will be different for every musician but, for me, it is being able to continually strive to impart the music of my own particular ‘musical voice’ with genuine clarity. Something I love about the arts is that each person can have their own differing experience from the same piece of music or artwork, whether that’s emotionally or something else, through their own perception of that specific work and the lens of their own influence, and so I’d also like to write pieces that allow space for people to explore themselves through the work whilst simultaneously remaining faithful to my own self-expression.

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

Be true to yourself, explore the music you are passionate about, and don’t be afraid to experiment!

What’s next for you? Where would you like to be in 10 years’ time? For the future, do you have a dream project or collaboration in mind?

I feel very fortunate to have worked with brilliant organizations, musicians and ensembles and my interactions with them have certainly shaped my work, how I think about music, and its relation to the wider community. I am always coming up with dream ventures and thinking far into the future about musical, and non-musical, passion projects. I think two of my dream pieces that I would really love to write (and ones that I often daydream about in any spare time!) are to write both the music and the libretto for a full- length opera, and a concerto, possibly for viola or something….. I would really love that.


Grace-Evangeline Mason is an award-winning composer based in the UK. She has worked with ensembles and artists including members of the BBC Symphony Orchestra, BBC Philharmonic Orchestra, London Symphony Orchestra, Manchester Camerata, BBC singers, Trio Atem, Royal Northern Sinfonia, London Early Opera, Aurora Orchestra and the Royal Liverpool Philharmonic Orchestra’s new music group, Ensemble 10:10, in venues across the UK and internationally. Her music has been performed at festivals including the New Music North West Festival, the Open Circuit Festival, London Festival of Contemporary Church Music, Cheltenham Music Festival, Southbank SoundState Festival, Norfolk Chamber Music Festival, Connecticut, and the 2017 BBC Proms. 

Mason is the recipient of awards including the BBC Proms Inspire Young Composer of the Year (2013), the Rosamond Prize (2016), the Royal Liverpool Philharmonic Orchestra’s Christopher Brooks Prize (2017) and the Royal Philharmonic Society Composition Prize (2018).

graceevangelinemason.com

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

My music teacher at school, Margaret Semple, instilled the habit of musical curiosity, and didn’t think it strange that I would want to write and perform my own music.

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

As a teenager, playing the oboe in all kinds of rep, from Bach to improv. The lively new musical culture in my youth, the 1960s, both pop and “classical”. Early inspirations included Cage, Stockhausen, Messiaen, John Tavener.

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

The frustration has always been, and remains, the huge amount of time it takes to compose a new piece of music. A perpetual challenge is to sense the right structure and timescale for musical ideas while struggling to write these ideas down for the first time.

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

Composing for friends or close colleagues is like spending time with them – they are constantly in my mind as I write. Conversely, the challenge is writing for people you don’t know – will they understand and sympathise with your intentions?

Of which works are you most proud?

I am usually thinking about recent work – it’s as if the music I wrote long ago can look after itself. Coming to mind immediately are In the Land of Uz (mini-oratorio), The Big Picture (site-specific cantata) and my Oboe Concerto.

How would you characterise your compositional language?

Above all it is animated by line/melody and rhythm.

How do you work?

I brood for a long time. I’m trying to think of a concept which will be so irresistible and compelling that it writes itself. It doesn’t always work out that way…

Who are your favourite musicians/composers?

They change all the time, it’s impossible to say. To give some kind of answer, I’ve just looked at what is piled on my CD player today: We Go To Dream (a lovely album by Astrid Williamson); Not Now Bernard and Other Stories (composer Bernard Hughes, excellent); Brendel plays Bach, on the piano obviously; an organ album played by Konstantin Reymaier (more Bach, plus Handel, Marcello,etc).

As a musician, what is your definition of success?

When the work continues to flow in, of its own accord.

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

I wanted to study music because I was interested and curious about it – I still am, almost fifty years later. That has kept me going in difficult times. So my advice is: If you’re not really, really interested in music – the actual dots – don’t bother!


Judith Weir was born into a Scottish family in 1954, but grew up near London. She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. She went on to Cambridge University, where her composition teacher was Robin Holloway; and in 1975 attended summer school at Tanglewood, where she worked with Gunther Schuller. After this she spent several years working in schools and adult education in rural southern England; followed by a period based in Scotland, teaching at Glasgow University and RSAMD.
During this time she began to write a series of operas (including King Harald’s Saga, The Black Spider, A Night at the Chinese Opera, The Vanishing Bridegroom and Blond Eckbert) which have subsequently received many performances in the UK, Germany, Austria, the Netherlands, Belgium and the USA. The most recent opera is Miss Fortune, premiered at Bregenz in 2011, and then staged at the Royal Opera House Covent Garden in 2012.
As resident composer with the City of Birmingham Symphony Orchestra in the 1990s, she wrote several works for orchestra and chorus (including Forest, Storm and We are Shadows) which were premiered by the orchestra’s then Music Director, Simon Rattle. She has been commissioned by the Boston Symphony Orchestra (Music Untangled and Natural History) the Minnesota Orchestra (The Welcome Arrival of Rain) and the London Sinfonietta (Tiger under the Table); and has written concert works for some notable singers, including Jane Manning, Dawn Upshaw, Jessye Norman and Alice Coote. Her latest vocal work is Good Morning, Midnight, premiered by Sarah Connolly and the Aurora Orchestra in May 2015.
She now lives in London, where she has had a long association with Spitalfields Music Festival; and in recent years has taught as a visiting professor at Princeton, Harvard and Cardiff universities. Honours for her work include the Critics’ Circle, South Bank Show, Elise L Stoeger and Ivor Novello awards, a CBE (1995) and the Queen’s Medal for Music (2007). In 2014 she was appointed Master of The Queen’s Music in succession to Sir Peter Maxwell Davies. In January 2015 she became Associate Composer to the BBC Singers.
Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. In 2014-15 there were releases of The Vanishing Bridegroom  (NMC) and Storm (BBC Singers/Signum).  Judith Weir’s music is published by Chester Music and Novello & Co.  She blogs about her experiences of cultural life in the UK at judithweir.com.

 

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

At the age of 5, having heard classical music on the radio and piano lessons at my mother’s school, I asked my parents if I could have piano lessons. After piano lessons started I decided I wanted to be a concert pianist and a few years later I began writing pieces for myself.

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

Contemporary dance. People, songs, dance and the landscapes of my native Jamaica. The music of Bela Bartok. Later also the music of J S Bach, Birtwistle, Stravinsky, Messiaen, Schoenberg, Robert Cohan.

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

Two things: issues of race and gender in as much as they have defined me in the minds of others.

Not having had what is considered a thorough and proper university education as a composer.

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

Deadlines; they are as energising as they are terrifying.

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

Finding out and knowing about the special strengths of particular soloists or groups. I found that working with, for instance, Mary Plazas whilst writing my opera was a big influence in how that role was shaped. Ditto writing my first violin concerto for my violinist husband, Thomas Bowes.

Of which works are you most proud?

‘Snow White’ as it was my first piece for that size of orchestra. Far from being intimidated I felt instantly at home.

My three String Quartets I can now look back on with great pride. I managed three quite substantial pieces I feel, and that they are all very different from each other pleases me especially now that they have been recorded.

The Opera ‘Letters of a Love Betrayed’ because it so clearly moved people when they saw and heard it.

I was also proud of ‘Arise, Athena!’ which I wrote for the last night of the BBC Proms.

How would you characterise your compositional language?

I have a language which ranges from things clearly derived from my Jamaican childhood and heritage through to the sort of sounds people more often associate with modernism. There always seems to be a sliding scale of the proportions of these two extremities. This has been a problem for some people – even me – at times. But I’m now quite relaxed about this. I write to be me.

Who are your favourite musicians/composers?

There are those I’ve admired from afar; composers Schoenberg, Berg, Bartok, Stravinsky, Shostakovich, Messiaen, JS Bach; pianists Martha Agerich, Sviatoslav Richter, conductors Kleiber and Furtwangler amongst others.

And then those who I’ve actually had the pleasure of hearing or getting to know or working with – Jeremy Huw Williams, Mary Plazas, Thomas Bowes, Joseph Swensen, Joanna MacGregor, Peter Ash, Harrison Birtwistle to name a few.

As a musician, what is your definition of success?

Sensing an audience has been moved or thrilled or for whom one senses time has stood still during a performance. All three at once is good.

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

Be serious about what you are doing. Be persistent, dedicated, disciplined and passionate. Be yourself – that’s the tricky bit.

What is your most treasured possession?

My home.

What do you enjoy doing most?

Composing, playing. Relaxing with my hubby and friends.

 

London’s premiere youth orchestra, the London Schools Symphony Orchestra, will mark Eleanor Alberga’s 70th birthday with a performance of her musical adaptation of Roald Dahl’s Snow White and the Seven Dwarfs at London’s Barbican Hall on 23 September. More information


With her 2015 Last Night of the Proms opener ARISE ATHENA! Eleanor Alberga cemented a reputation as a composer of international stature.  Performed by the BBC Symphony Orchestra, BBC Chorus and conducted by Marin Alsop, the work was heard and seen by millions.

Her music is not easy to pigeon-hole.  The musical language of her opera LETTERS OF A LOVE BETRAYED (2009), premiered at the Royal Opera House’s Linbury stage, has drawn comparisons with Berg’s Wozzeck and Debussy’s Pelleas, while her lighter works draw more obviously on her Jamaican heritage and time as a singer with the Jamaican Folk Singers and as a member of an African Dance company.  But the emotional range of her language, her structural clarity and a fabulously assured technique as an orchestrator have always drawn high praise.

Born in Kingston, Jamaica, Alberga decided at the age of five to be a concert pianist, though five years later she was already composing works for the piano.

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eleanoralberga.com

a23_inumvx_2019-01-05-17-00-29Who or what inspired you to take up composing, and pursue a career in music?

I was always drawn to music from a very young age. We used to live in Poland when I was about five or six, and the house we rented had a piano in it. Even though I didn’t know how to play, I would spend hours trying to reproduce the music that I heard on TV, or write tunes to go along with my favourite books and stories. Soon after I started taking lessons, and when I realised writing music for films and for stage was an actual, real job, well, my heart was set on it.

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

Film and theatre music has always been a huge influence on my life. I didn’t listen to a lot of classical music, so I was mainly introduced to the orchestra by way of the screen and the stage. Bernard Hermann had a big impact on me as a child, as did Franz Waxman, Alfred Newman, Dimitri Tiomkin, John Williams, and Alan Silvestri…to name just a few! My parents also had some cassettes of Offenbach operettas which we used to listen to in the car on repeat, so that also really drew me towards the operatic voice. Later, at music college, I was thrown in at the deep end and discovered the world of contemporary classical music. As you can imagine this was quite a change from John Williams and Offenbach! It was a complete revelation for me, opening up a world of textures and sounds I had never even considered.

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

Probably the greatest challenge in my work is convincing directors and producers to fund recording with live musicians, particularly on smaller-scale film projects with very small budgets. A lot of film music is produced electronically with instrumental samples, which can be a great tool for demonstrating ideas or mocking up sketches for editors. But even though there is a huge industry in place working to produce some very refined orchestral samples, nothing compares to real musicians. Without them, the music is simply two-dimensional. It lacks humanity.

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

The greatest pleasure is that it will actually be heard by an audience! As a film composer, we produce huge amounts of material that does not necessarily see the light of day: different sketches, pitches, or music for scenes that end up on the cutting-room floor… So it’s nice to work on something with the knowledge that it will be performed or broadcast. From a more practical point of view, film and TV work always provides a certain framework that music has to fit in to, and I really enjoy being creative within the architecture of the visuals. Often these projects have extremely tight deadlines, and I strangely find something extremely exciting and, ultimately, gratifying about pushing oneself creatively when working to the clock.

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

I’ve been very lucky to work with some fantastic musicians and I particularly value the common understanding that builds over years of working performers again and again. It really is unique. I guess there are challenges to that relationship too: remaining rigorous and not getting lazy with my notation…!

Of which works are you most proud?

I’m particularly proud of my score for Amma Asante’s new feature film ‘Where Hands Touch’, which comes out in the UK on 10 May. It was the first feature I scored and so it holds a very special place in my heart. I also really love working on a series of comedic operettas I’ve been writing for the past ten years which, although something of a side project compared with the film and TV work, are still very dear to me. They are tremendous fun to develop and extremely liberating. I aim to write a new show every couple of years. My current one is called Pygmalion 2.0, a one-woman opera about a scientist trying to engineer a better generation of men using artificial intelligence.

How would you characterise your compositional language?

As you’d probably guess from my first answer, I’d say my musical language is first and foremost cinematic: tonal, narrative and melodic.

How do you work?

I write every day but ideas and projects tend to get finished in focused bursts. As for a particular piece, I work things through mostly in my head so will spend an awful lot of time thinking about a piece of music, envisioning it. Then I move to paper, rather than the piano; I find that if I move to the piano too quickly things can easily get altered by my fingers, which will automatically go into a certain key or add musical idioms that aren’t necessary. So I make it a rule never to play through anything I have in mind until I have written the core of it out on paper first. That way the idea feels somehow truer to its conception.

Who are your favourite musicians/composers?

That’s a hard question. It’s an ever-changing list really, I listened to a lot of Takemitsu over Christmas. I also love Xenakis, Reich, Ravel, Chopin. I’m writing an EP for trombone, viola, and electronics at the moment, and I tend not to listen to any music in the weeks surrounding a project. Instead, during those time sI like to research traditions of music that have been lost. At the moment I’m looking at musical traditions in ancient Greek drama and what modes and scales might have sounded like 2500 years ago.

As a musician, what is your definition of success?

This is a difficult one to define, I suspect for many other artists too. Often it can be blurred with external perception and audience validation, so for me the important thing is to focus on having personal pride in what I do.

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

A strong work ethic and, above all, perseverance. It’s an industry which can be truly gruelling and often completely contradictory in its nature: one day it feels meritocratic, the next it’s about who you know and not the music you make. Maybe because of this it can be easy to get swayed by hype and trends – but the constant in any musician’s life has to be one’s work, and one’s voice.

What do you enjoy doing most?

I love improvising along to narratives, and one of my favourite ‘exercises’ is to put books up on the music stand and improvise on the piano while reading them. At the moment I do this with a Belgian comic book series called Yoko Tsuno.


Anne Chmelewsky is a composer and writer for screen and stage. 

Anne composed the score for Amma Asante’s feature film Where Hands Touch, (TIFF 2018). Past projects include the music for Mark Weeden’s feature film Only People (2018), Sofian Khan’s Do We Belong (The Atlantic Selects 2018) and An Act of Worship, (Field of Vision 2017), as well as the Emmy & Golden Globes nominated Derek (dir. Ricky Gervais, Netflix / C4).

Her third opera ‘Pygmalion 2.0’ has been developed with the support of the PRS foundation, and is currently previewing in the UK. Her second opera, The Looking Screen, was performed extensively both throughout the UK and internationally, as well as broadcast on UK TV and radio. She has also written for The Independent and The Huffington Post. 

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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

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