Piano fest - coming soon!
27 August 2013
Over 40 models of Yamaha pianos are going to be available to try out in London and Liverpool over the next few months.
Exclusive selection sessions will be held, where people can book 45 minute slots to have a look at the latest instruments in privacy, with advice on hand from leading technicians and piano specialists.
The sessions will run between 9.30am and 7.30pm on 11-12 October 2013 at London’s Southbank Centre, and on 17-18 January 2014 at St George’s Hall, Liverpool. The selection sessions are aimed at individuals as well as institutions. In line with Yamaha’s ‘piano upgrade’ initiative, all buyers will be offered a part-exchange deal on the value of their existing instrument.
Yamaha’s Leanne Barrell comments: ‘These selection sessions provide the most comprehensive range of Yamaha pianos in the UK and are a rare opportunity for pianists to try multiple variations of the same models.’
Amongst the pianos on display will be the
acclaimed Yamaha CFX concert grand, as well as a wide range from the CX series. A number of high-end upright pianos will also be available to view, with
options including Yamaha’s ‘SH’ silent technology for practice with headphones.
To book your private session, email firstname.lastname@example.org, or call 01908369224.
Conservatoire and Opera House Collaboration
23 August 2013
The Guildhall School of Music & Drama, together with the Royal Opera House, have just announced plans for their first Doctoral Composer-in-Residence. Starting this September 2013, composer Philip Venables will spend three years researching and writing a major operatic work, for performance in the Linbury Studio Theatre the end of the residency.
This collaboration is the first example of an opera company joining forces with a conservatoire to offer a Composer-in-Residence studentship which leads to a doctoral degree. This new initiative will be part of Guildhall’s existing doctoral programme, fully funded by the conservatoire and supported by the ROH. While the idea of a resident composer has long been established in the world of orchestral music development, it is a fairly new notion in opera.
Philip Venables said of his appointment: ‘I'm really excited about starting work on this opera with the Royal Opera House and the Guildhall School – it’s a potential game changer for me, and a chance, in a structured and supported way, to really explore what opera means to me, to be completely inventive, bold and daring and to present the results of that on a high-profile stage… I know there's going to be a lot of collaboration with writers and hopefully some exciting and diverse cameo performers. It'll be great to be able to try everything out over the next three years at the Guildhall School of Music & Drama. Bring it on!’
Sign up for the ABRSM Teaching Conference
21 August 2013
Teachers of all instruments and levels are invited to attend the ABRSM’s annual conference, which will take place this year on 5 October at London’s Mermaid Conference & Events Centre.
The conference will focus on the ABRSM’s new marking criteria, with the first session of the day entitled ‘Using the criteria before, during and after the exam’. Other sessions include creative teaching ideas for the new ABRSM flute and clarinet repertoire lists, insights into the importance of rhythm and articulation, developing your students’ perfect pitch skills, and motivation.
Workshops and presentations will be led by ABRSM chief examiner John Holmes alongside a team of fellow examiners: pianist Anthony Williams, violinist Jessica O’Leary, flautist Louise Matthew, clarinettist Paul Harris, and singer Heidi Pegler. ABRSM’s syllabus director Nigel Scaife and director of strategic development Lincoln Abbotts will also present sessions.
‘It’s always exciting to come to these events and work alongside such innovative and passionate teachers,’ conference presenter Anthony Williams told Music Teacher. ‘And the programme is so wide-ranging. As well as demystifying the examining process, we’ll look at what makes a convincing, communicative performance, and explore ways of engaging and guiding the musicians of the future. It promises to be a great day!’
Attendance at the conference costs £75 per delegate, which includes refreshments and lunch. Visit the ABRSM website for the full programme of events, or to see participants’ feedback on last year’s conference.
Pianists: Competition Opportunity!
21 August 2013
The Orpheus Foundation has now opened applications for its second Orpheus Musician of the Year competition. A wonderful opportunity for exceptional young soloists, this year the competition is open to pianists of all nationalities between the ages of 18 and 30.
First prize is £1000 and a concerto performance this October with the Orpheus Sinfonia; second prize is £500. All applicants will be required to play the Grieg Piano Concerto in A minor.
The closing date for applications is 1 October 2013, with semi-finals taking place on 16 October and the finals as a public concert on 22 October. The winner's concerto performance will be on 24 October, at St George's Hanover Square.
For more information, visit the Orpheus Foundation website.
Belcea Launches New Charitable Trust
19 August 2013
The Belcea Quartet has now launched the Belcea Charitable Trust, created with the dual aims of commissioning new works and coaching young string quartets.
Young string quartets will benefit from regular coaching sessions with Belcea Quartet members for between one and two years, in the style of a residency. The first three ensembles selected for coaching are the Bernadel and Jubilee Quartets, both from the UK, and the Dahlkvist Quartet from Sweden.
The Trust’s first commission has been awarded to Austrian composer Thomas Larcher, whose new work will be performed by the Belcea Quartet in 2015 as part of their 20th birthday celebrations.
Pianist Imogen Cooper CBE is president of the newly-launched Trust. ‘I am proud and excited at the creation of the Belcea Charitable Trust. Adhering as it does to the best aims, namely new composition and the intensive coaching of gifted ensembles, it can only be an enriching success for all those involved. The Belcea Quartet members are generous in their musicianship and in their humanity, and will undoubtedly be a huge inspiration to the young players who they will coach, and to the composers whose works will be commissioned. I wish the Trust all the success that it deserves.’
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