THE WORSHIPFUL COMPANY OF MUSICIANS TIME TO … · 4 Milord sung by Edith Piaf 5 Bizet, Beat Out That Rhythm on a Drum from the film Carmen Jones sung by Dorothy Dandridge 6 Schubert,

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Abrief glance at the presentannual Company Yearbook would seem

to indicate that no more than 30% of thecurrent membership featured at the timePreserve Harmony first appeared in 1990.How much do they remember?

In those far away days the conduct andorganisation of the Court might well havebeen thought far more formal than today, butreaders should not deduce that freshly electedAssistants John Iles and Adrian Davis (the co-founders of Preserve Harmony) were somehowunduly intimidated by their supposed venerableand infinitely more knowledgeable seniors. Onthe other hand, they would still admit that theirproposal to establish a new internal journalembraced an extraordinary degree of presumption,given that they possessed only limited relevantvalid training, let alone journalistic experience.As for being professional or experiencedmusicians, a quick referral to our Musicians ofthe Millenium would readily reveal all!

That said; there was what could then bedescribed as some arguably inconsistenthistorical and restricted recording of eventswithin our organisation, even allowing for theemergence of word processors andcomputers. For example, priorto 1990, the then annualLivery List (superseded by theYearbook in 2000) containedlittle news about the Companyactivities beyond some record ofevents undertaken by the currentMaster - a feature championed bythe then Master, Jack Iles, someyears previously. Equally,examination of the Court Minutesbetween 1989 and 1991 revealsalmost minimal reference to theauthorised new publication, let alonethe reactions to the first issue.Subsequent researchers may however

deduce that it was satisfactory, as formalauthority was granted to produce a furtherissue on the basis of the provisional

content document submitted to the Court inFebruary 1990.

Since that time, the content of succeedingissues has yet to be challenged, nor anysignificant amendment made to the originalguidelines. Meanwhile, the early editorialpreparatory days, which involved your co-founders lying on the floor trying to fit sundrypieces of text into some cohesive format, arehappily but a distant memory – not least thanksto the engagement of a professional designer –as are the car journeys to confer with the thenprinter in remote Devon!

A pause to mention and record a fewelements of what has been achieved so far?Above all has been the voluntary written input bya significant segment of the Livery and Freemen,

TIME TO CELEBRATE

Page 1 of Preserve Harmony Issue 1 saw itsfounding editors inviting readers to

“dispute with Ecclesiastes to show that a littlemore knowledge was neither sorrowful nordangerous to enquire”. This edition of ‘PH’,not surprisingly, provides a reflection of theMusicians’ Company itself; great pride in ourlong history and good fellowship within theCity’s Livery, coupled with an active, forward-looking commitment to celebrating andencouraging young talented musicians.

As you know, the Company has nurturedand supported hundreds of emergingmusicians, rewarding musical excellence andrecognising lifetime achievements throughprizes, scholarships and awards. Recent yearshave seen the creation of a burgeoningOutreach programme with Inner Londonschools, giving our Yeomen the experience ofengaging with different audiences andextending performance opportunities. Now acompletely redesigned Company websiteenables us to raise the profile of theCompany’s work and reach a far wideraudience.

Consequently we include articles illustratingour heritage and our future: the 50thanniversary of one of our most prestigiousprizes, the John Christie Award; the ImmediatePastmaster’s highlights of his year as Master;news of our Yeomen’s activities and the sheerscale of our Outreach; the brand newCompany Archive website - and much more.We hope that you will find something ofinterest and, as always, we welcome comment,criticism and suggestions for future articles.

And who better to reflect upon 25 years ofPH in his own inimitable style than EditorEmeritus, Pastmaster Adrian Davis? Charmingsketches, drawn by the magazine’s co-founderPastmaster John Iles, and a selection from thevast number of images from previous issuescomplete the picture.

Court Assistant JEFF KELLY Editor

O xford-born Kathleen Dale’s childhood was

immersed in music. Her father claimed he

had lessons in conducting from Paul Steinitz

“although I confess I never saw any evidence of

that, but he did play that wonderful theme from

Finlandia on the piano from heart”, says

Kathleen; he was undoubtedly adept at picking

up a tune by ear. Both parents were teachers and

great music lovers. That her mother had learned

to play the piano earlier, the BBC Third

Programme was always on the radio and the

family piano readily available, both to Kathleen

and her sister right from the beginning, meant

music permeated her early life. So was there

sibling rivalry? “Oh no, my sister is seven years

older and I have vivid memories of hearing her

playing downstairs when I was tucked up in

bed”. Looking back, Kathleen now realises how

profound the impact the sound of that music had

upon her emotionally.Complaining about the ‘banging and crashing’

the four year-old Kathleen apparently made on

the piano, her parents arranged for her to have

lessons with a Miss Ross, who proved to be the

perfect teacher, encouraging her young student

to enter competitions “and I loved it”. Kathleen

was fortunate in being educated at Christ’s

Hospital, which, having such a strong musical

reputation was ideal for her. By age 10, having

already reached Grade 5 piano, she had to

choose between studying the violin or the organ.

To her violin teacher’s chagrin, she chose the

organ and “took to it like a duck to water”,

including a BBC radio broadcast. In her last year

at school Kathleen was taken to see Klemperer

conducting, there were visits to Welwyn Garden

music concerts “where I saw John Ogden nearly

demolish the piano playing the Bach-Busoni”

and other concerts, including a dashing young

Ashkenazy. Music was everywhere and Kathleen

I S S U E 4 9 A U T U M N 2 014

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The New Master

“I can’t imagine life without music…”

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Mrs Kathleen Duncan OBE

25YEARS OFPRESERVE HARMONY

1990-2015

continued on page 8

Historical Reflections

Published by The Worshipful Company of Musicians2015. Registered at Stationers’ Hall. Views expresseddo not necessarily reflect the opinions of either theCourt or the editors. Printed by Potts Print (UK) Ltd.,Northumberland NE23 1WG. Unless otherwise stated,individual contributors retain their copyrights, and nopart of this publication may be reproduced withoutprior written permission.

2 PRESERVE HARMONY SPRING 2015

Editor EmeritusAdrian DavisEditorJeff KellyEditorial TeamChris LawrenceMargot MouatAdrian MumfordDesignJohn HawkinsClerkHugh LloydDeputy ClerkAmanda RatcliffeMagazine co-foundersJohn Iles and Adrian Davis

The Worshipful Company of Musicians1 Speed HighwalkBarbicanLondon EC2Y 8DXT 020 7496 8980F 020 7628 4528E [email protected] www.wcom.org.ukRegistered numbers of the CharitableFunds 310040 and 264303VAT No. 162 1105 58

My year in 750 words – with just five per event,I’ll concentrate on a few themes. First, the

music – so many delights and so varied. Forexample, the fortnight in which I went frompresenting awards at the British Open Brass BandCompetition in the Symphony Hall in Birmingham, awhole new world to me, to being a guest of theBBC at the last night of the Proms and then givingout awards again, this time for Jazz at the SohoPizza Express. Then the musicians; so many excitingyoung talents, from the Company Medallists at theInstallation Dinner to the winners of our prizes, withthe added privilege of sitting on the judgingpanel at the auditions. Then, at the otherend of the scale, the Santley Awardwinners, Yvonne Kenny and GeraldFinley, both of whom I had heard andadmired when I was at ENO,followed by the MidsummerBanquet with another ENO stalwart,Lesley Garrett, singing for us.

Next the visits, and two standout. First was the Livery Clubweekend at Malvern, a reallyenjoyable time with a verycheery group. Perhaps the

highlight was when someone spotted theCompany’s Cobbett medal awarded to Sir EdwardElgar in 1929 among an array of awards displayedin the Elgar Birthplace Museum, though theprivileged view of the ancient manuscripts in theTower rooms of Worcester Cathedral was also atreat. Then the annual visit to

DIARY 201510 MayJazz Winner’s Gig Soho Jazz Club 7.00pm12 MaySons & Friends of The Clergy ServiceSt Paul’s Cathedral 5.00pm 24 JuneMidsummer Banquet Stationers’ Hall 6.30pm2-7 JulyLivery Club Visit: Janá

V

cek Festival Hukvaldy, Moravia8 JulyMusicians’ Company Maisie Lewis ConcertPurcell Room 7.30pm15 JulyCourt & Informal Lunch Tallow Chandlers’ Hall12.30pm25 SeptemberBach Cantata Bishopsgate Hall 1.05pm27 SeptemberJazz Competition Soho Jazz Club 7.00pm30 SeptemberMusicians’ Company ConcertSteinway Hall 1.10pm7 OctoberCompany Evensong St Paul’s Cathedral 5.00pm12 OctoberJohn Christie Award 50th Anniversary ConcertBritten Theatre, Royal College of Music 7.30pm11 NovemberInstallation Dinner Merchant Taylors’ Hall 6.15pm9 DecemberCarol Service St Michael’s Cornhill 6.00pm

A MASTER’S YEAR

The Immediate Pastmasterwith Gerald Finley

Lesley Garrett with Immediate Pastmaster Sir Anthony Cleaver

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PRESERVE HARMONY SPRING 2015 3

Who would have thought that choosingeight records could pose so many

problems! But preparing for three hours in aBroadcasting House studio with the delightfulKirsty Young nearly drove me demented. Perhapsbecause music has always played such animportant part in my life, from a three year-oldlistening to Passing By sung by my fatheraccompanied by my mother, and performing withmy school choir which Ruth Railton trained andconducted, followed by sixty-odd years of gloriousmusic in Durham and London, made narrowingmy choice to a mere eight particularly difficult.

If I had applied my mind beforehand, I wouldhave realised that in the recording session thecastaway only hears the first few bars and thefinal notes of each of their selected discs, so it’squite difficult to collect one’s thoughts for thenext part of the conversation. Although I’d haddiscussions with the producer in advance, Ihadn’t been introduced to Kirsty and had no ideahow she was going to phrase her questions orindeed what the questions were going to be.Another pitfall is reflecting on the answer onehas given to a previous question and thinkingwhy on earth it hadn’t been better phrased. Toomuch reflection means one is unprepared for thenext question. Of course the skilful editing gets

rid of all the jerky moments and ensures thediscussion flows beautifully. Full marks to thebrilliant studio technicians.

Little did I think when I joined the BBC as atrainee Studio Manager and started off creatingsound effects for Monday Night at Eight, PaulTemple and Mrs. Dale’s Diary as well as plays byBrecht and Beckett, that one day I would be on theother end of the microphone as a contributor. Veryscary! Give me behind the scenes work any day.

Biddy’s Desert Island Discs:1 Benjamin Britten’s Ceremony of Carols –

Deo Gracias (Adam Lay Y Bounden)2 Victor Hely-Hutchinson’s Carol Symphony –

an excerpt from the First Nowell section3 The Chorale from Bach’s St. Matthew Passion4 Milord sung by Edith Piaf5 Bizet, Beat Out That Rhythm on a Drum

from the film Carmen Jones sung by Dorothy Dandridge

6 Schubert, Quintet in C Major7 Rodrigo, Concierto de Aranjuez, Allegro

(played by Miloš Karadaglic with the LPO)8 Mozart, The Magic Flute – Papageno Duet

(conducted by Sir Simon Rattle, Patron of theJohn Hosier Music Trust, with the BerlinerPhilharmoniker, 2013).

Ironbridge when all the year’s Masters and theirwives come together for a weekend – a greatopportunity to catch up with all those one hasexchanged a few words with while waiting toprocess on various occasions.

Two landmark events with other Companiesstand out. The Royal Charter ceremony for theHackney Carriage Drivers at St Bartholomew’sChurch saw Prince Charles making thepresentation, followed by a most entertaininglunch with a splendidly witty speech from theprincipal guest, a chap called Andrew Parmley.Contrast that with the corresponding occasionfor the Air Pilots with the Duke of Edinburghhanding over the charter at a very formal dinnerin a packed Guildhall. As always, the services inSt Paul’s were a highlight for me, with our ownEvensong being the best. What a privilege to beable to choose the music for such an occasion,and yet again I found our Elegy most moving.And then there was the drama of the Dean’scollapse while giving the final Blessing. Dealtwith quite smoothly by his acolytes and, with theMaster Apothecary on hand, happily with nolong-term consequence. All was neatly summedup in the Dean’s message the following morning“The Dean sends his apologies and promises not to lie down on the job again.” The City ofLondon link was underscored by various Mayoraloccasions during the year, all culminating in aflurry of ceremonial events as a result ofPastmaster Parmley’s election as AldermanicSheriff and finishing with my second ride in a Musicians’ Company carriage at the LordMayor’s Show.

And most important of all, the people – achance to meet and learn from literally hundredsof folk one would never have met otherwise. Allmade possible by the support of the Home Team– both literally the home in the case of Jennie,always there either to accompany me or simplyto ensure I was properly dressed - and absolutelycrucially Hugh and Amanda. For a new team theysupported me superbly at every turn. AfterMaggie departed, having stayed to see me safelyinstalled, Hugh must have had real doubts abouthis decision to join us as the office movedescended from disaster to farce, with BT totallyunable to transfer our phone number to theGuildhall School site and the Royal Mail unableto deliver our post as we had no post-code. Butby the end of January most things were sorted.The year then saw great progress in some of theless visible areas of the Company’s operation,while the website was transformed thanks toAssistant Telfer and his team’s sterling work.Finally the Yeoman programme really took offunder John Nichol’s untiring efforts – we nowhave a great platform on which to build ourprofile in the coming years. Would I do it again?No, once is enough, but what a privilege thatone year was. I shall never forget the time I wasregularly greeted as “The Master Musician”.

Immediate Pastmaster SIR ANTHONY CLEAVER

Known to all as Biddy Baxter, Liveryman Biddy Hosier appeared as a guest on BBC Radio’sDesert Island Discs last summer. Here she tells us about it.

My Castaway Experience

Biddy Baxter in the Blue Peter Office with a bronze of the programme’s first dog, Petra

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For anyone new to the “whys and wherefores”of the Company, the first resort to get an

explanation for something is to turn to Apollo’sSwan and Lyre, the comprehensive history of theCompany compiled by my distinguishedpredecessor, Pastmaster Richard Crewdson. Thecopy of this history in the Clerk’s Office is wellthumbed, but as a new Clerk having to catch upon the Company’s history, The John ChristieAward was something I did know about. This waspartly through having spent two formative yearsin the early 1980s working at Glyndebourne butalso having had 17 of the winners pass throughthe National Opera Studio (NOS) which I ran fortwenty-five years!

The origins of the John Christie Award I did not know, and this is what the esteemed historytells us:

The first substantial post-war endowment cameto the Company in the form of a gift from CyrilDavis, a liveryman whowas later called on tothe Court, with theobject of establishing anannual scholarship foropera singers, which wasknown at first as the‘Opera SingingScholarship’. It was to bea competitive award,and the winner of thefirst competition was thecelebrated Australiansoprano, Marie Collier.However after the firstyear the administration of the award provedmore difficult than anticipated, and the donordecided, with the approval of the Court, toestablish the scholarship as a closed award atGlyndebourne, and in 1964 the ‘John ChristieAward’ was set up. Ryland Davies was the firstholder of the scholarship in its new form.

The list of award winners is a roll call of some ofthe great singers of the last fifty years:

Ryland Davies, Richard Van Allan (my colleaguefor over fifteen years when he was Director of theNOS), Jill Gomez, Liveryman Teresa Cahill, LindaEsther Gray, John Tomlinson, Elizabeth Gale,Anthony Rolfe Johnson, John Rawnsley, FionaKimm, Keith Lewis, Louise Winter, Peter Rose,Alastair Miles, Robert Poulton, Gerald Finley, AlfieBoe, Kate Royal, Matthew Rose, Allan Clayton,Duncan Rock and the 2014 winner, Louise Alder.It is no wonder that the award remainsGlyndebourne’s most prestigious, theannouncement of each year’s winner being madefrom the Glyndebourne stage on the last night of

the Festival season by the Chairman ofGlyndebourne. This was for so many years thelate Sir George Christie but in more recent yearsGus Christie. The award winners’ names are alsorecorded on an honours board in theGlyndebourne Opera House.

The actual terms of the award stipulatesupport to benefit advanced study for a singer,producer, conductor or repetiteur identified byGlyndebourne. However, in fifty years it hasalways been a singer who has benefited and adirector, repetiteur or conductor didn’t even getthe nod in 1969 or 1995, the only years when noaward was made! Until 1998, the award wasgiven to a British singer but the rules were thenupdated to keep pace with changed employmentlaws and the award was widened to includeEuropean singers.

The John Christie Award has proved to be notonly prestigious. It is also valuable to those whohave won the award in terms of providing

funding to undertakeadditional study at a vitaland formative time intheir careers. As GeraldFinley says “I used theJohn Christie awardspecifically for voicelessons in New York,which set me on a securepath in my singing. Itwas a perfectly timedsupport at a crucialmoment in my earlycareer. I am verygrateful”.

Louise Alder, the mostrecent winner of the award, confirms this. “Theprestigious John Christie Award is not only agreat honour to win, but something that hasenabled me to continue my vocal studies throughlessons with my teacher and coaching withseveral brilliant coaches on the vast amount ofrepertoire I am learning at this beginning stage ofmy career. I have also used the award to financeGerman lessons in order to set me up for life inGermany and my new job at Frankfurt OperaHouse. It has been invaluable to feel prepared notonly musically, but linguistically, and now nearly 8months into my contract I can safely say I wouldhave been lost without that initial groundwork. Itwill continue to fund travel and lessons with myteacher and other coaches in the UK to preparefor (amongst other things) my debut atGlyndebourne Festival Opera this summer, and forCzech coaching on the role of Vixen for a newproduction of Janá Vcek’s The Cunning Little Vixenat Frankfurt Opera in April next year.”

The fact that this award has survived for half a

The John Christie Award at Gly

Louise Alder, the current John Christie Award winner


century is a testament to the Davis family; CyrilDavis, who had the foresight to endow theaward, and to Pastmaster Adrian Davis who hasdone so much to keep this award going over theyears. For ten years the Richard Lewis/JeanShanks Trust provided additional funding and weare so grateful to Elizabeth Muir Lewis (aFreeman of the Company) for her invaluablesupport for the award, which allowed its value tobe increased to £10,000.

The first winner fifty years ago in 1965 was avery young Ryland Davies, at the start of hiswonderful career, which of course featured so

many notable performances at Glyndebourne. Iam thrilled that Ryland has agreed to compèrethe Celebration Gala Concert, which will featureseveral past award winners and which will beheld on Monday 12 October at the Britten Theatreat the Royal College of Music (see box for details).

Apart from enjoying what promises to be agreat celebration in October, one of the aims ofthe concert is to try to secure the future for theaward and to fund an increase in its annual valueto £15,000.

Clerk HUGH LLOYD

ndebourne: The First 50 Years!JOHN CHRISTIE AWARD50TH ANNIVERSARYCELEBRATION GALA CONCERT

Monday 12 October 2015To help secure the next fifty years of the JohnChristie Award, The Musicians’ Company andGlyndebourne will be celebrating with a GalaConcert featuring several past winners. Booking opens: 1 June 2015

Royal College of Music, Britten TheatrePrince Consort Road, London SW7 2BST: (020) 7591 4314W: www.rcm.ac.uk/events/boxoffice

Gerald Finley as Hans Sachs in Richard Wagner'sDie Meistersinger von Nürnberg


INSTALLATION DINNER 2014Ph

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L-R: The Junior Warden, The Master, The Senior Warden, flanked by the Company's Award winners and Medallists

The Fanfare Trumpeters of The Honourable Artillery Company

The Master and Guest Speaker, Sir Thomas Allen CBE, celebrating the Ceremony of The Loving Cup

Members of St Paul's Cathedral Choir,conducted by Andrew Carwood


The first donation by the Company to St. Paul’sfor a Chorister was in 2000, and the 15th year

of this award provides an opportunity to explain alittle more about it.

St. Paul’s Cathedral School has a long history; itwas almost certainly founded in the seventhcentury, at the same time as the Diocese of London,but no details are known about it until the twelfthcentury when the Bishop of London, Richard deBelmeis, refounded it for the choristers. The boyswere in the charge of the almoner who, as well aslooking after them, was responsible for theireducation. Over the centuries the school sufferedvarious changes of location, and was even closedfor several decades in the late 18th century whenthere were insufficient funds to support thechoristers; theywere put outonto the streetsand left to fendfor themselvesbut were stillexpected toperform theirchoral duties!Fortunatelymatters improvedand a new homefor the boys wasfound in the early 1800s. Thecurrent purpose-built school building in NewChange dates from 1965.

The School today has 27 full choristers plus 6probationers, all aged between 9 and 13, and all ofwhom board at the School. The regular schedule forthe boys is an exacting one, with rehearsals beforeand after school on four weekdays and tworehearsals on a Saturday. They sing five days a weekwith the addition of Mattins and Eucharist onSunday morning, and at Christmas they haveadditional performances and may sing to as manyas 20,000 people throughout December. In additionthere are concerts and broadcasts outside the usualCathedral duties, so that along with theireducational classes the boys are kept very busyduring their time at the School.

It costs some £14,000 per year for the Chapterof St Paul’s to educate a chorister, and their familiesneed to find an additional £8,000 per year for theschool to house them, but many of the boys receivea Chorister Trust means-tested bursary towardsthese costs. The Cathedral has set up a scheme,which asks participants to commit to a regulardonation for at least 5 years (the typical stay of aboy at the School), and some 15 Livery Companies

currently supportthis scheme alongwith the Musicians’Company. Thedonation funds ascholarship ratherthan a specificnamed chorister, sounlike many of ourother awards thereis no element ofcompetition. TheCompany providesSt. Paul’s with asilver Companybadge and the

Trust nominates a chorister to wear this for theirtime in the choir as a symbol of the Company’sgenerosity. The Company’s donation in 2014 was£5000 and this may be increased in time.Individuals may also join the donation scheme, andthe St Paul’s website has more details if you areinterested in being an individual supporter.

The choristers nominated to wear the Company’sbadge to date are detailed below, and it isinteresting to note that a number are still activelyinvolved with music:

2000 Julian Leang – now a teacher atUppingham School

2001 Benjamin Sheen – an accomplishedorganist, he became a Company SilverMedallist in 2011 and is currently AssistantOrganist at St Thomas Fifth Avenue, New York

2002/3 Joshua Allen – went on to Forest School,London

2004/5 Cem Hurrell – studying MechanicalEngineering at Imperial College, London

2006 Freddy Ireland-Rose – current whereaboutsnot known

2007/8 George Raikes – currently on gap year inNew York where he is singing in the choirof St. Thomas Fifth Avenue. George hasbeen awarded a place at Jesus CollegeCambridge to read music under thedirection of Mark Williams in September 2015

2009- Kevin John – currently a music scholar 2013 at King’s Canterbury2014 Hector Revill – in year seven with one to go

Look out for our next nominee in a future edition ofPreserve Harmony!

Liveryman MARGOT MOUAT

The Annual Award to a Chorister of

St Paul’s Cathedral School

Julian Leang, the Company’sfirst chorister (2000)

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Hector Revill, the Company’spresent chorister

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Music from Ashley Fripp, winnerof The Prince's Prize 2013

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together with their guests.Whilst perhaps in the early days of seeking contributors,on observing an approach from your editors, prospective

candidates might have takenavoiding action, negative responses

have in fact been absolutely minimal. Per contra,one enthusiastic composer offered a text of somesix closely typed pages. Quite an editorial reduction

exercise! Otherwise, whilst Johannes Brahms

was reputed to apologise for failing to offenddeliberately when addressing individuals at

social gatherings, it is hoped that prospectiveand new contributors will refrain from takingumbrage because they have remained uninvited

to participate! Previously, tentative reservation has been

suggested as to the (in)adequacy of committeerecords. Within Preserve Harmony, the plea isguilty as charged. Other than aplanned Content List for each issuethere is no record of what we thought- or said - at our editorial meetings!Thus, throughout our twenty-five years, theCourt has generously and consistentlyallowed the team to plough whatever equates to aneditorial furrow without let or hindrance.

The editors hope that they will continue toretain Court confidence in their aspirations toreflect the scope of the Company’s activities,

and the contribution of the Livery to the artand science of music.

Clues to the images are given on page 11

25YEARS OFPRESERVE HARMONY

1990-2015


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Image 1 Visit the new ‘Archive Projects’ website at www.wcomarchive.org.uk

Image 2 The rather delicate state of Minute Book

No. 3 (1803-1830). Publishing images of what is

inside should also avoid the book being handled

any further

Image 3 The painting of St Cecilia

by John Pettie RA, which hangs in

the Guildhall Art Gallery. This is

the first of the Company’s Art

Treasures to be included on the

new Archive website

Image4 All back issues of

Preserve Harmony will

in future be stored on the

Archive website, whereas

the main Company

website will feature all

editions published in the

preceding five years


Stored securely in the Guildhall Library are boundvolumes containing the handwritten minutes taken

at every Court Meeting of the Company since 1772.Offering a fascinating look into how things were donedifferently in the past and how many things have stayedthe same, they give an overall feeling of being ‘at themeeting’.

The Archive Project Team has been working for sometime on how best to publish, not only the rawinformation held within these ‘Minute Books’, but alsoan indication of the Court’s proceedings, attitudes,finances and tolerance (or otherwise) to issues withinthe Company. We are now set to pursue these goals inthree separate, but interconnected ways.

First, the work already started with the Institute forHistorical Research at UCL and ROLLCO (Records ofLondon’s Livery Companies Online – see PreserveHarmony Issues 48 and 49), is continuing in the safehands of Liveryman Dr Frances Palmer. Facts are beingtaken from the Court Minute Books (names, dates, finesetc.) and added to the centralised database of Freemenand Apprentices - already published by the IHR at:www.londonroll.org

Second is the photographing of every page of eachMinute Book and publishing them chronologically on anew and separate website set up for the purpose. In thisway, each page can be read as written ‘on the day’ bythe Clerk. The number of pages is still not exactly known,but (up to the year 1914) somewhere in the region of2,400 seems likely. The address for this new website iswww.wcomarchive.org.uk and it already contains manyimages from the first few books.

The Musicians’ Company’s website remains atwcom.org.uk and work is underway to present an easylinkage between the two sites. The importance of aseamless integration between these resources hasunderpinned the new site’s development from the verybeginning. (Image 1)

The third channel, and perhaps the most ambitiouspart of the project, will be to convert each page into acomputer readable format such that it can be searchedby existing, readily available PC software. This means thepages will be much easier to read than the handwrittenscript of the original – sometimes written in immaculatecalligraphic style… and sometimes not! (Image 2)

The technical challenges of this are being addressed,and no doubt volunteers will soon be required to takepart in the conversion and transcribing activity. Once therequired layout details have been established, Project

HOW MANYDID YOURECOGNISE?

Answers to the images onpages 8 and 9

Top Row 1 HRH The Duchess of Kent

receiving the HonoraryFreedom of the Company.

2 Outreach activity at Treloar School.

3 An anonymous member of our Company.

4 The 25-year Maisie Lewiscelebratory concert

Second Row5 John Christie Award

winners Alison Hagley & Gerald Finley.

6 Jazz at Ronnie Scott’s.7 Our first Lady Master,

Petronella Burnett-Brown and7a her husband Anthony, the

Company’s first wife andhusband Court members

8 A Professional Musicians’Advisory Panel symposium

Third Row 9 A Christmas choral tradition

directed by Stephen Cleobury.10 “Hell-bent for the Royal

Academy”, Alison Pearce.11 The first lady member of the

Preserve Harmony team,Patricia Norland Prindl.

12 Quincentenary memorabilia.13 Pancake racing in

Guildhall Yard

Bottom Row 14 Kneller Hall musicians

in Afghanistan.15 The Summer Banquet fire

at Stationers’ Hall16 Military bands.17 Maggie Alford receives the

Company’s Gold Medal.18 The initiator of Company

Jazz, Jeffery Lockett.19 Preserve Harmony Founders

Adrian Davis & John Iles

Far Left Corner20 Henry Willis 4, the current

father of the Company21 The Brooke Swan Car,

complete with steam organ.22 Ivor Mairants, provider of our

first guitar prize

Team member Liveryman Emma Ryder Richardson willbe co-ordinating the volunteer ‘army’ (hopefully we can,indeed, assemble an army), dealing with the allocationof Minute Book pages and reception of thetranscriptions. The Archives website already containscharts showing the progress of this activity – at thetime of going to press we are 0.1% complete… so, weare well on the way!

The Archive Project Team is pleased and thankful towelcome on-board Freeman Jan Yerbury, whose eye fordetail and calm persistence will be much utilised as thetranscribing part of the project progresses and indeed inareas of historical research.

The Archive website also includes ‘Treasures’, whichwill contain images of items such as original scores andmanuscripts, artworks, documents and other items ofimportance, value or just interest to the Company andits members. Sir Edward Elgar’s Elegy is familiar to mostmembers, especially due to its inclusion in theCompany's Annual Evensong at St Paul's Cathedral.Elgar’s original handwritten score is owned by theCompany and is now one of the first manuscriptsavailable to view on the Archive website. Explanatorynotes, further historical documentation regarding itsprovenance and indeed a 1933 sound recording(conducted by the Composer) are also now availableonline. (Image 3)

The information, evidence and images presented onthis Archive site will be of great value to historians,genealogists, City researchers and, of course, CompanyMembers who may be trying to find mention of pastfamily members, or those otherwise fascinated to lookthrough some of the Company’s history. As our newrepository of all archive material, copies of past issuesof Preserve Harmony will also now be stored on theArchives website. Access and download will be just asbefore, but simply from a different address. Asmentioned above, easy links will be in place betweenboth systems. (Image 4)

If any readers of Preserve Harmony have documentsor items they feel might be of relevance and importanceto the Company (and wouldn’t object to them beingphotographed for the website), please contact theProject Team via the site’s “Contact Us” page. Anyviews on content, layout and organisation of theArchive website are also welcome. Future issues ofPreserve Harmony will contain updates on ourengrossing and expanding project - or visit the newwebsite at: http://www.wcomarchive.org.uk

Hard on the heels of the new Company website, an exciting new development is the creation of thelinked Musicians’ Company Archives Project website. Pastmaster Paul Campion is the driving forcebehind the initiative to collate and facilitate direct access to the wealth of the Company’s archivesand treasures. Freeman David Herbert has been instrumental in setting up this new, associated,website to help make such access a reality. We asked David to tell us more.

Company Archives: IMAGES AND INFORMATION


The obituaries were so dry; mere sequences offacts, giving no measure of this extraordinary,

life-enhancing man. What did not come across wasthe way in which Chris’s great gifts of infectiousenthusiasm, curiosity, intelligence, creativity,musicianship and friendship transformed the waymy generation think about, perform and enjoymusic.

I was 16 at Bedford School when Anton LeFleming joined the staff fresh from Cambridgebringing his contemporaries in tow: David Munro,Chris Hogwood and JamesBowman amongst them.Encouraged by Anton and TedAmos (the Senior Warden’spredecessor as Head of Music atBedford), our lives were foreverchanged; singing, playing andthinking about music in radicallydifferent ways. These ‘Thurston“Bob” Dart’s boys’ explored earlymusic based on solid academicresearch, bringing it to life withheart-stopping freshness. I wasimmersed in unknown,revolutionary ways of making music at odds withthe received wisdom of the “mittel europa”traditions. One memorable night I took part in a St Matthew Passion at the Leys School, with theEarly Music Consort in the band; staying overnightat Bateman Street in Mary Pott’s house, (theharpsichordist and pupil of Dolmetsch), listening toWilfred Brown, that night’s Evangelist, talk aboutstory telling in Bach. A man of great faith, there wasno more important story for his telling. There wasChris’s enthusiastic sharing of Geminiani andVivaldi Sonatas and encouragement to explore andexperiment with continuo playing. We became firmfriends. Vivid memories abound, not least Chris’sanger at the 1968 invasion of Prague – havingstudied with Zuzana Ruzickova. Our ways partedand I went to University at Leeds where my musicalcontemporaries complained about my frequentrequests on Chris’s radio programme The YoungIdea. In fact, I made no requests but Chris,frequently despairing that the ‘Young Ideas’ thatcame to him were so thin and uninspiring, decidedwhat he wanted to play and attributed them to hisfriends!

When visiting him in the early 1970s, he hadbecome increasingly disillusioned with makingperforming editions of Corelli, Handel and Vivaldibecause it was so historically wrong. This was thegenesis of the Academy of Ancient Music, the life-changing start of the period instrument movementhere and abroad. Contact with Jap Schroder, GustavLeonhardt, Frans Bruggen and others showing himthat period instrument performance to required

standards was possible, the Early Music Consort’swork in renaissance music paving the way.

The surge in period instrument ensembles andperformances in the 1970s and ‘80s wasastonishing; shaking the traditional establishment,changing audiences’ and musicians’ view ofbaroque and classical music and forcingfundamental shifts in attitudes and approach. JohnEliot Gardiner, Roger Norrington and Trevor Pinnockalso founded and directed crack period ensemblesand choirs that largely survive to this day. This

depended on the creation of apool of players and singers whohad relearned and absorbed thenew disciplines of periodperformance. Chris, more thananyone, enabled this to happenthrough the recording contractswith Decca and their L’Oiseau-Lyrelabel. Other recording labelssuddenly found they needed to re-record entire swathes of therepertoire, further fuelling growthin the breadth, depth andstandards of performance and

scholarship. Without this backing, the progresswould have been fragmented, much slower and theworld-leading Orchestra of the Age ofEnlightenment, the players’ own orchestra, wouldhave been impossible.

Chris loved all of this. A natural teacher andsharer, unlike others he handed on his orchestra,ensuring its sustainability and pursued seemingly

insatiable musical avenues of research andperformance. His tenure at the Handel and HaydnSociety in Boston, his world-wide conducting andteaching, his exploration of Martin°u, his editions ofMendelssohn and C.P.E. Bach being a very narrowreflection of the range of his activities, but theyillustrate the extent of his interests and passions.Only last year, he passed me copies of his edition ofarrangements of late Haydn String Quartets byWranitzky, the violinist and composer friend ofHaydn in Vienna. Only Chris would have done this,searching the arcane byways and finding equalpleasure and merit in extending the boundaries ofour collective knowledge and understanding ofgreat music by helping us to experience it throughthe eyes of one of Haydn’s contemporaries.

Our friendship was renewed and strengthenedthrough the Musicians’ Company. His GreshamLectures brought together a life of scholarship,reflection, insight, enthusiasm, curiosity and a sheerdesire to share and teach. Beyond these lectures,the best example encapsulating these qualities ishis biography of Handel, containing a wonderfulquote when William Savage approached Handelsaying that a movement in Jephtha reminded himof Purcell. Handel’s riposte: “Oh Gott teufel, ifPurcell had lived he would have composed bettermusic than this”. How typical of Chris to haveunearthed and preserved this. He would have anddid say the same of others’ achievements.

There was no side to the man and a moreinstinctively generous musician and friend would bevery hard to find. A last poignant memory is of onemorning at breakfast in Bateman Street in the late‘60s. Chris was eating yoghurt, a bit exotic forthose days – but then also was he. “If you eat ayoghurt a day you will live to be a hundred!” hecheerfully and confidently declared. Sadly, this wasnot to be. We are all the poorer for his passing.

Court Assistant CHRISTOPHER LAWRENCE

Chris Hogwood:A PERSONAL MÉMOIRE

There was Chris’senthusiasticsharing ofGeminiani andVivaldi Sonatas andencouragement toexplore andexperiment withcontinuo playing

The Late Christopher Hogwood

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LIVERY CLUB VISITS


Plans for our trip to the Janá Vcek Festival in Hukvaldyin July are well advanced. The programme includes

a staged performance of Janá Vcek’s opera Jen oufa, anorchestral concert featuring his epic tone poem TarasBulba and Dvo vrák’s Symphony No. 9 in E Minor “Fromthe New World”, and two chamber concerts by theBritish group HarmonieMusik. There will be a seminargiven by a leading Janá Vcek expert on his life and musicand a showing of a 1960’s biopic, with a semi-stagedEnglish commentary prepared by Liveryman DavidSulkin, who is acting as artistic consultant to the whole Festival.

There is plenty to see and do in Hukvaldy – includinga dramatic Castle set in a beautiful nature reserve andJaná Vcek’s charming little summerhouse. We areplanning a day-trip round the beautiful countryside, avisit to an open-air museum with reclaimed historicalbuildings arranged as a village, and a tour and lunch at a brewery.

In May, I have arranged a visit to Stone House, alittle gem almost lost in suburban Lewisham, andformerly known as The Comical House on account of itsidiosyncratic architecture. Their famous cream tea willfollow a guided tour by the owners, after whichYeoman and Company Prize-winner Joseph Shiner willawaken our musical senses. Joseph will play music forclarinet and piano by Debussy, Mozart, Fauré,Rachmaninov and Lutosławski.

The Company has more events than ever planned forthe second half of this year, so after consultation withthe Master and Clerk, the Livery Club has agreed topostpone an autumn visit to Glyndebourne.

The Livery Club hosts the lunch after the BachCantata concert and a supper after the Company CarolService, but last year the service at both venues wasslow and uninspiring (to say the least!). This year wewill move the Cantata lunch to the magnificentBishopsgate Room of the old Great Eastern Hotel (nowrenamed the Andaz), and after the Carol Service wewill go to the Tallow Chandlers’ Hall.

Plans for 2016 include a visit to King’s CollegeCambridge including: a guided tour of the 500-year-oldChapel; an exploration of the College archives, whichcontain material related to Rupert Brooke, Alan Turingand John Maynard Keynes; and Evensong directed byLiveryman Stephen Cleobury. Those of you who saw theRoyal Marines Bands’ impressive Beating Retreatdisplay last June at the Horse Guards Parade will beinterested to know that I am hoping to arrange a visitto Portsmouth to see and hear them in action again,preceded by a tour of the historic dockyards.

Livery Club President KEITH MARIES

The Livery Club’s latest plans

Hukvaldy Castle

Stone House


Previously, we have published articlesconcerning music in the Military. This time,Liveryman Roy Terry writes about themusical tradition of a different kind of army.

Philip Cobb, principal trumpet of the LondonSymphony Orchestra, who recently performed

Shostakovitch’s Piano Concerto No 1 in C minorwith Yuja Wang under Michael Tilson Thomas, is oneof many professional orchestral musicians, a numberof his LSO colleagues among them, who receivedtheir formative musical experiences within TheSalvation Army (SA). For much of the twentiethcentury, attending a Salvation Army Sunday Schoolmeant joining the youth choir or the young people’sband – ‘music for all’ before the slogan was invented.

The identification of the SA with its music can betraced back to one man, Richard Slater (1854 – 1939).Thanks to unprecedented access to Slater’s diaries,Gordon Cox’s recent biography of ‘the father of SAmusic’ gives us a fully formed picture of this

influential figure.Brought up in poverty in Kings Cross, Slater was

taught to play the violin by J.Sidney Jones,conductor of the local drum and fife band who laterbecame conductor of the Harrogate MunicipalOrchestra. Aged 18, Slater was playing first violin inthe Royal Amateur Orchestral Society.

Joining the SA, Slater wrote that he could setaside “the more extravagant aspects of themovement” because of its “earnestness andprogressive nature” and “its dealing so successfullywith people”. At 29 he was appointed by WilliamBooth as an officer to work in the MusicalDepartment.

In order to support amateur musicians startingfrom scratch, Slater standardised the publication oftutors and graded music for bands. He initiated asystem of examinations and his books on harmonydrew examples from Bach, Beethoven, Berlioz,Cherubini, Chopin, Gounod, Rossini, Schubert,Spohr and Wagner.

To provide for “the bands that are on top, thatcan play to any crowd, including the rich educatedcrowd”, Slater persuaded Booth to allow theinclusion of original material in selections of hymntunes. Slater’s embryonic tone poem The Stilling ofthe Storm (1910) preceded Percy Fletcher’s nationalchampionship test piece Labour and Love by threeyears.

Slater’s music editorial department was staffedby full-time SA officers who could devotethemselves entirely to their editorial duties and tocomposing. In effect, the department became acomposition faculty, reaching its high point in theperiod between 1950 and the 1980s. Impressed bythe International Staff Band’s ‘classical style’,Vaughan Williams wrote his Prelude on Three WelshHymn Tunes for publication by the SA in 1955.Composers such as Ray Steadman-Allen, LeslieCondon and Ray Bowes, wrote extendedcompositions using symphonic forms, with a richmusical language showing the influence of Delius,Vaughan Williams, Walton, and even Charles Ives.

In 1905, the critic of The Standard newspaperhad referred to “the ill-tuned bands of TheSalvation Army”. George Bernard Shaw responded,saying “your critic may say what he pleases aboutmy plays: but he should not slander the SalvationArmy bands whilst my hand can weld a pen in theirdefence”. Given this cue, Slater invited Shaw towrite a review of a concert by five London bandsplaying at Clapton Congress Hall. Astonishingly, theevent was covered not just by the brass band pressbut by three national newspapers. The Daily Newscritic thought that the International Staff Band“could well compete with the pot-hunting bands ofthe North” and that its bandmaster George Mitchell“might easily become a second Sousa”.

Slater also supported the internationalism of SAbanding. He composed selections of national songsfrom European countries as well as from Japan andIndia for the International Congress of 1914. Thisdrew bands to London from the USA, Sweden,Australia (1,710 bandsmen), the Netherlands,Denmark, Germany, Switzerland. (Today’s SA brassband culture is particularly strong in the DemocraticRepublic of Congo.) In later years, formerSalvationists were to play a key role in the widerbrass band movement throughout Europe as well asin Australia and New Zealand, Canada and the USA.

Sociological and theological factors havecontributed as much to the decline of SA bands asto church choirs. A recent estimate put the currentaverage size of an SA band at eight players withonly a handful of elite bands remaining. However,Slater’s vision lives on through what might betermed the SA musical diaspora. Whether asplayers, conductors and composers, or in the field ofmusic education, they keep alive the credo asexpressed by Cox in the conclusion of hisbiography: “(Slater) believed music could… helpregenerate and revitalise individuals andcommunities”.

Gordon Cox – The Musical Salvationist: The World of Richard Slater (1854-1939),Boydell Press

With a thousand bands and a thousand drums(nineteenth century Salvation Army song)

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(L-R) Richard Slater; Fred Fry (who started the first SA band in Salisbury); Henry Hill – the first members ofthe Musical Department

COMPANY YEOMEN NEWS

Performance OpportunitiesCourt Assistant John Nichols continues as a one-man tour de force securing performanceopportunities. He has almost single-handedlyconfirmed 80 to 90 Yeomen opportunities for2015, equating to roughly five each for ournewly registered Yeomen. Additionalopportunities arranged since Preserve Harmony,Issue 49 include:


A five-year deal with Lotherton Hall near Leedsinvolves Yeomen for two concerts a year; RyeFestival are taking two Yeomen for 2015;Petworth Festival are taking six for two concertsand the Buxton Festival eight for four concerts.

St John’s Smith Square want Yeomen for eightconcerts in 2015/2016 and Thames Concerts areemploying three for three separate concerts. TheGoldsmiths’ Company is taking seven Yeomen toperform at their Livery Dinners.

John Nichols is also negotiating with theFoundling Hospital for their lunchtime concerts.

External Support for theProgrammeThe Board of Finsbury Educational Foundation(Richard Reeve’s Foundation) has approved a grantof £10,000 towards this year’s Yeomen Programme.This is in addition to the £20,000 approved by theCourt for 2015. This splendid vote of confidence bythe Foundation in the Yeomen Programmerecognised “the extensive Outreach work that itdoes in schools in London”.

WebsiteYeomen profiles are available on the Companywebsite. Every month a new ‘Yeoman of the Month’features, together with a different YeomanInterview. These slots are now booked untilSeptember 2015. The Twitter feed is active (Newsand Events/Yeomen events/Twitter feed) givinginformation about Yeomen’s gigs and events.

MentoringYeomen were encouraged to attend anIncorporated Society of Musicians event in March,entitled Make Music Work – a day similar to theevent we held last October.

Yeomen BulletinWe are delighted that Pastmaster Andreas Prindlhas presented Yeoman Nicky Crowe with theinaugural Patricia Prindl Prize for Outreach. Awell deserved recognition of Nicky’s exceptionalcommunication skills with young children and herdedication to the Outreach programme.

Our Yeomen have been busy as usual. Albums ofnote are Yuki Ito’s Rachmaninov Complete CelloWorks with Sofya Gulyak (recommended disc inthe UK by Strad magazine); James Turnbull’s thirdrecital disc entitled Blues, Airs and Dances (due forrelease in June); Yeoman Yuka Ishizuka alsorecorded an album of Brahms, Grieg and Faurépieces with James Baillieu.

Congratulations to Yeoman Claire Wickes on

being appointed Principal Flautist of ENO. She islooking forward to forthcoming productions ofCarmen, Pirates of Penzance, and Ed Gardner’sproduction of Tchaikovsky’s The Queen of Spades(his last as Music Director). Charles Court Opera,where Yeoman John Savournin is ArtisticDirector, has just celebrated its 10th anniversarywith a production of G&S’s Ruddigore inLondon. John will be with Opera Holland Parkthis summer in Jonathan Dove’s Flight, returningto Opera North in the autumn. Violinist IrminaTrynkos performed with pianist PavelTimofeyevsky for the Kensington Music Society,featuring sonatas by Brahms, Mozart andProkofiev, alongside Bartók’s fiery Romanian FolkDances. Irmina is now touring Asia.

Percussionist Calum Huggan completed achamber music tour of England with flautist, JoAshcroft. He recently performed a concerto forsolo marimba and voices, O Magnum Mysterium,at St Gabriel’s Church, Pimlico, and will return tothe Royal Conservatoire of Scotland as ArtisticDirector for several summer schools. ViolinistBenjamin Baker released a new album withChamps Hill Records, featuring Strauss andBeethoven Sonatas, Kreisler’s Three Old VienneseDances and Ernst’s variations on the Irish air TheLast Rose of Summer. Cellist Alejandra Díazcompleted her Master in Performance at theGSMD. She has recently been appointed principalcellist of Atlantic Coast Orchestra in Esposende,Portugal, and will return to London to performwith the LSO as part of the Pierre Boulez 90thBirthday Festival.

Contributions from members of the Yeomen Coordination Committeecompiled by Liveryman Gordon Buky-Webster.

Schools Outreach2014 saw 12 volunteers accompanying Yeomenon 84 visits for 40 schools bringing music toalmost 4,000 children. 2015 has also startedstrongly with 15 volunteers arranging 31 visitswith 30 Yeomen for circa 1,500 children. Onemore volunteer has joined the team and six moreschools, giving us a total of 50. Arts First, theIslington Music Hub, is filming severalOutreaches; the completed films will feature onArts First and the Company’s websites. FourOutreaches are in the can, with eight moreplanned throughout 2015.

The Lord Mayor and Lady Mayoress observedan Outreach at a Special Needs school inFebruary. Following this, we have been asked toprovide a brief about our Yeomen Programme forthe ‘Big Curry Lunch’ at Guildhall. Finally,conversations continue with The BarbicanEducation Department about possible Outreachcollaboration.

The Lord Mayor Alderman Alan Yarrow and TheLady Mayoress observing the Outreach sessionat Swiss Cottage SEN School

Nathaniel Facey at St Jude & St Paul's PrimarySchool Islington

Nicky Crowe, the first winner of the PatriciaPrindl Prize for Outreach

AND FINALLY

IN MEMORIAM

We record with regret the deaths ofthe following Liverymen:John Chadwyck-HealeyMyles GloverPeter HowesClive Morley

COURT NEWS


25 YEARS OF PH!To mark the publication of 50 editions of Preserve Harmony, the EditorEmeritus very kindly hosted a lunch in March at the Royal AutomobileClub, inviting those who have been involved closely with its production inboth past and more recent years. Those who were able to attend this veryhappy celebration are shown here.

COLLARD LIFEFELLOWSHIPEstablished by the Musicians’Company to be awarded to themost distinguished Britishcomposer, the first recipient ofthe Collard Life Fellowship wasSir Edward Elgar in 1931. On hisdeath, the Life Fellowship wasawarded to Ralph VaughanWilliams and, subsequently, toHerbert Howells (who wasMaster of the Company in1959). When Professor Howellsdied in 1983, the award fell intoabeyance and it was only in2014 when the present CollardFellow, Joanna Lee, came to signthe Collard Fellows’ book at aCourt meeting that thesignatures of the three LifeFellows were discovered, somethirty years later.

NEW YEAR HONOURS 2015Our warmest congratulations goto:Freeman Anne Marsden ThomasMBECORPORATE MEMBERSBoosey & Hawkes Music PublishersLimitedMusic Sales GroupEdition PetersSound Technology LimitedTrinity College LondonVictoria College ExaminationsDenis Wick ProductsAWARDSCollard Life FellowshipSir Peter Maxwell Davies CH CBEWalter Willson Cobbett MedalTrevor Pinnock CBECharles Santley Memorial GiftDiana MontagueMark PadmoreBeethoven MedalMihai RitivoiuHarriet Cohen Bach PrizeAnna SzałuckaThe WCoM Dankworth JazzComposition PrizeBig Band Prize: Chris McMurranSmall Band Prize: Ralph WyldIvor Mairants Guitar AwardFirst Prize: Bradley JohnsonSecond Prize: Sasha SavaloniThird Prize: Tom EllisMusicians’ CompanyConcertsMaisie Lewis Fund:Yoon-Kyung Cho (cello)Anna Szałucka (piano)Alena Lugovkina (flute)Dinara Klinton (piano)Concordia Foundation:Marta Kowalczyk (violin) and Somi Kim (piano)Joanna Skillett (soprano)

This year’s Dankworth Prize concerttook place in the Britten Theatre atthe Royal College of Music. Thewinners were Chris McMurran (BigBand Prize) with Continuum andRalph Wyld (Small Band Prize) withhis composition Subterranea; Alecand Emily Dankworth presentedthe prizes.

Now in his fifth year studyingmedicine at Trinity College,Cambridge, Chris aired his firstoriginal big-band chart at theMontreux Jazz Festival, age 17.Whilst hoping to pursue a career inmedicine, he will continue to playand compose jazz. Ralph alsocomposed from an early age, and

L-R: Liveryman Malcolm Farrer-Brown; Court Assistants Jeff Kelly, ChrisLawrence, Adrian Mumford; Pastmaster Paul Campion; Graphic DesignerJohn Hawkins; Co-Founder, Pastmaster Adrian Davis; Liverymen StephenPlumb, Anthony Peagam; Foreground: Co-Founder, Pastmaster John Iles.

At the suggestion of CourtAssistant Christopher Lawrence, theCourt decided to reinstate thisprestigious honour. Sir PeterMaxwell Davies CH CBE has beendelighted to accept the Collard LifeFellowship, conferred upon himwhen he was presented with amedal at the Livery Dinner in April.Also presented was the Company’sdonation of £5,000, made to themusical charity of Sir Peter’s choice.

his works have been performed atvenues such as the Royal Albert Hall,Royal Festival Hall, Queen ElizabethHall and the Barbican, as well asRonnie Scott’s and the 606 Club.

Follow the link below to hearContinuum:https://soundcloud.com/chris-mcmurran/sets/compositions

Chris McMurran & Ralph Wyld

BACH TRIO SONATAS CDThe Musicians’ Company, led byPastmaster Gavin Barrett, has workedwith Steward Ben Pateman at OpusArte on releasing a new recording ofthe Bach Organ Trios, which went ongeneral release in March. For furtherdetails of this recording, performed byDavid Newsholme (recipient of the W.T. Best Scholarship 2009-2013),please visit the Company website at:www.wcom.org.uk

J S Bach Trio Sonatas BWV 525-530(Opus Arte: OA CD9037 D)

Alec & Emily Dankworthannounce the winners

MUSICIANS’ COMPANYDANKWORTH PRIZE FORJAZZ COMPOSITIONFEBRUARY 2015

Sir Peter Maxwell Davies CH CBE

Documents

THE WORSHIPFUL COMPANY OF MUSICIANS TIME TO … · 4 Milord sung by Edith Piaf 5 Bizet, Beat Out That Rhythm on a Drum from the film Carmen Jones sung by Dorothy Dandridge 6 Schubert,