At the end of this academic year, it’s incredible to look back at the musical highlights of the last ten months. It’s been a rollercoaster of activity, made seamless by our incredible team in the concert and timetabling office who create risk assessments, order packed lunches, book train tickets, hire vans, move chairs, stands and large instruments, and help us deliver an unrivalled musical programme.

September

We began the year with Manchester Camerata and the culmination of their project to record every Mozart piano concerto in the Stoller Hall. As in previous instalments, soloist Jean-Efflam Bavouzet, conductor Gábor Takács-Nagy and the orchestra were joined by four string players from Chets. This edition included the rarely heard Triple Concerto, for which Bavouzet was joined by Andrea Nemecz and Chets alumna Rose McLachlan. We’re very proud that this award-winning series of recordings was made in our hall and has featured our students since it began in 2016. 

We joined Manchester Camerata again for a Mid-Autumn Festival concert with the Chinese Consulate. We played music by Mozart and Smyth alongside works by Chinese composers. We were also joined in the first two months of term by professors from the Royal College of Music, the Royal Welsh College of Music and Drama, and the Central Conservatoire of Music (CCOM) in Beijing, who delivered inspirational masterclasses for our students.

October

Chetham’s Symphony Orchestra Concert at Stoller Hall, October 2024

Sibelius Academy students from Helsinki joined us for Music Course while Professor Petri Aarnio, leader of the Finnish Radio Symphony Orchestra, gave masterclasses on chamber music and orchestral leadership. Chets alumnus Wayne Marshall conducted the Chetham’s Symphony Orchestra (CSO) in a programme of Carwithen, Holst and Rachmaninov with piano soloist Yurij Szyrokyj, and the Chetham’s Philharmonic Orchestra (CPO) performed music by Galante, Smyth, Dvořák and Mozart with piano soloist Harmony.

Meanwhile, our vocalists were recording the colour of all things constant, a new work by Cassie Kinoshi. This was in conjunction with the BBC Philharmonic Orchestra and part of a fresh set of BBC Ten Pieces, a resource that brings classical music to schools across the UK. Vocalists were involved in a live broadcast on BBC Radio 3 and a concert for schoolchildren at Aviva Studios. These also featured Sixth Form hornist Claire Marsden, who played Mozart’s Horn Concerto No. 4 with the BBC Philharmonic Orchestra live on radio.

November

Visit by Central Conservatoire of Music Beijing, November 2024

Shortly after half term, we welcomed guests from our partner school in Beijing, the CCOM. Professors delivered coaching and masterclasses in chamber music and composition. We then held a concert featuring new pieces inspired by an old Manchester hornpipe and written by student composers from both schools. We look forward to a reciprocal visit in the next academic year.

We held our annual Brass Academy Day, where students worked with guest tutors and musicians from across the UK for a day of chamber music, solo playing and coaching. We were also very pleased to welcome back alumnus Mathis Picard, who led workshops with composers, pianists and jazz students before giving an inspiring concert in the Carole Nash Hall.

A trio of students and a duo of tutors travelled to Finland for a weekend of chamber music as part of our exchange with the Sibelius Academy. They were hosted in cabins across the Helsinki campus and enjoyed a visit to the composer’s home, Ainola, in the deep Finnish snow.

December

Christmas Music at Manchester Cathedral, December 2024

Following their impressive performance at last year’s Hallé Steve Reich Festival, our percussionists were invited back to the Bridgewater Hall to play again with Colin Currie during his visit to Manchester.

We welcomed over a thousand children and families for our schools and family concerts at Stoller Hall. The vibrant programme included a setting of Roald Dahl’s Little Red Riding Hood, Vivaldi’s Four Seasons, Samuel Coleridge-Taylor’s Festive Overture, and Mr Bear’s Adventure, a charming piece combining live orchestra and film. These concerts were conducted by Felicity Cliffe and presented with warmth and enthusiasm by Chets Governor and BBC Radio 3 presenter Linton Stephens.

Soon afterwards, we came together for one of the highlights of the Chets calendar: Christmas Music in Manchester Cathedral. This magical evening of music and readings marked the true beginning of the festive season for all in our community.

January

Claire Marsden (right), Benjamin Ellin (centre) and Joseph Buckmaster, January 2025

2025 began with our exchange with Barratt Due Institute of Music in Oslo. As our string players flew out, their woodwind players flew in… or that the was the plan. The 5mm of snow in Manchester caused flights from a more wintery Norway to be rerouted to Liverpool, but all was well in the end and both groups of travelling students enjoyed a brilliant week of music-making.

Our vocalists performed the off-stage voices for Holst’s The Planets and hornist Claire Marsden was the soloist in Britten’s Serenade for Tenor, Horn and Strings at a concert in Slaithwaite conducted by Chets alumnus Benjamin Ellin. Peter Moore, another Chets alumnus, visited with his Nexora Trio, giving inspiring vocal, piano and trombone masterclasses, followed by a stunning recital.

February

 

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We welcomed around 50 young woodwind players to Chets for our Woodwind Academy Day, which featured guest tutors from the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra and Opera North.

While CPO spent Music Course working on music by Takemitsu, Judith Bingham, Borodin and Bruch (with cello soloist Grace), CSO focused on an even broader representation of composers: Anna Clyne, Maconchy, Lili Boulanger, Sibelius, Beethoven, Bruckner, Price, Avril Coleridge-Taylor, Judith Weir and Mahler. The project was supported by the Association of British Orchestra’s Sirens Fund, which enabled us to take the orchestra to the Essa Academy in Bolton and perform to several hundred children, many of whom were hearing a live orchestra for the first time. Students from feeder primary schools had worked with our Creative Engagement team prior to the visit to explore and create music inspired by Maconchy.

In the first half of our Stoller Hall concert, Scarlet Banks sang Beethoven’s Ah Perfido and Claire Marsden played Glier’s Horn Concerto, both conducted by Alec Frank Gemmill.

Within two hours of the final chord of Mahler’s Second Symphony, 45 exhausted students and staff set off half asleep on a bus and plane to be resurrected in the Italian Alps. We spent a magnificent week skiing in Pila, though this being Chets there was inevitably music, with our very own Daisy Mitchell directing the whole Chets Ski Chorus in an impromptu performance for all the hotel guests on our final night.

March

Chetham’s Big Band in Rhyl, March 2025

Arriving back in Manchester with as many limbs as we left with, we were straight back into action. Our strings-playing colleagues from Oslo joined us for some chamber music, and our Big Band visited Rhyl Town Hall to bring joy to a capacity audience. We also held our annual Strings Side-by-Side project, where leading professional players coached our chamber groups.

After several months in the making, Bardo Tsa presented the completely student-led premiere of his musical-cabaret, Afterdeath. Staged in the Carole Nash Hall and featuring a cast of singers and instrumentalists, this hour-long performance was a captivating kaleidoscope of musical styles and colours. A project like this can only happen at Chets, and it reminds us of what a unique environment it is in which we’re all lucky enough to study and work.

April

As spring sprung, we were joined for a day by musicians from the Grenadier Guards. They marched and performed, coached some of our wind and brass ensembles, and gave insights into life within a military band. We were also joined by one of the world’s top brass bands, Foden’s, who led a day of rehearsals and workshops for our students alongside Foden’s Youth Band, culminating in a short performance.

The term ended with our annual Founder’s Day in Manchester Cathedral. It featured music from all our instrumental departments, new compositions by Stephen Frith and Andrea Price, and an address by guest speaker, viola tutor and alumna Gemma Dunne.

May

Chets Bakers at HOME during Manchester Jazz Festival, May 2025

As GCSE and A-Level study leave began, our younger students had the opportunity to work with violinist and Chets alumnus Callum Smart, who led a directing project with the Chetham’s String Orchestra around Elgar’s Serenade for Strings and Ayana Witter Johnson’s Dream City. It was a pleasure to welcome Callum back to Chets before he moves to Pennsylvania, where he will take up a professorship at Carnegie Mellon University.

With Manchester enjoying blazing sunshine, a student septet made their way across town to perform at the opening event of Manchester Jazz Festival. Billed as Chets Bakers, they performed two spectacular sets at HOME that made a room full of strangers listen in wonder at the extraordinary music they heard.

June

Manchester Classical at Bridgewater Hall, June 2025

Before we knew it, June was upon us. Opera props were being sourced, rehearsal schedules finalised and the finishing touches added to the Leavers’ Concerts and Chetham’s Summer Festival. These events exemplify what Chets does best: uniting people and communities through exceptional performances and rich musical experiences.

As part of Manchester Classical, winners of our Sixth Form, Middle School and Years 7 and 8 Piano Competitions played beautifully at Bridgewater Hall’s Stalls Bar Stage. We also launched an Orchestral Pathway with the Royal Northern College of Music to provide talented musicians from China with an unrivalled opportunity to progress their studies here in Manchester, the UK’s most dynamic and innovative city.

July

 

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The year ended in spectacular style. As part of our Summer Festival we staged our first fully staged opera, L’Enfant et les sortilèges, by Ravel, staring Chets alumna Divine Sibanegavi in the title role. Working alongside a professional creative team including director Genevieve Raghu, it marked the culmination of a year-long journey for Chets vocal students and was both a showcase of extraordinary young talent and a powerful example of what’s possible when young people are given the space and trust to create.

Chetham’s Philharmonic Orchestra and other ensembles from our Middle and Lower Schools travelled to Bolton’s Victoria Hall to present a spectacular concert that included Kapustin’s Piano Concerto No. 2 featuring guest soloist Jackson, selections from Stravinsky’s Firebird Suite, and John Williams’s iconic The Raider’s March.

Finally, Chetham’s Symphony Orchestra performed side-by-side with the BBC Philharmonic Orchestra at MediaCityUK, marking the launch of an exciting three-year partnership between the two organisations. The ambitious and vibrant programme featured music by Mark-Anthony Turnage, Roxanna Panufnik, and George Gershwin’s Porgy and Bess: A Symphonic Picture, all under the baton of conductor Lee Reynolds.

We were honoured to welcome our Patron, HRH The Duke of Edinburgh, alongside the Lord Lieutenant of Greater Manchester, the High Sheriff of Greater Manchester and the Ceremonial Mayor of Salford for this landmark occasion. Their presence reflected the importance of this partnership as both a musical milestone and a cultural investment in the region’s young talent.

Chetham’s Philharmonic Orchestra Concert at Victoria Hall, Bolton, July 2025

We must also acknowledge our amazing Choristers. In addition to five regular services each week in Manchester Cathedral, they have been part of many exciting events, including: a service for His Majesty’s Judges; a special Evensong for the Cathedral Organists’ Conference; a performance of Duruflé’s Requiem on All Souls’ Day; performances of Handel’s Messiah and Bach’s St John Passion with Manchester Baroque; a Masonic carol service in St Ann’s church; three Christmas services, including the Festival of Nine Lessons and Carols; a live broadcast of evensong on BBC Radio 3; and services over Holy Week and Easter! Congratulations to all our dedicated choristers and also to Chris Stokes and Geoffrey Woolatt, who make all of this happen.

Beyond these highlights, the year has been filled with a remarkable array of other concerts, workshops, performances, and collaborative learning opportunities — too many to name individually. Among them were 123 lunchtime concerts (including our much-loved relaxed performances), 70 external performances, the ever-inspiring Baronial Baroques, and countless sessions led by our students alongside the Creative Engagement team, using music to make a real difference in people’s lives.

Baronial Baroque in the Baronial Hall, March 2025

Much of this would not be possible without our extraordinary team of accompanists. Their dedication to crafting balanced programmes, supporting every student, and performing with such artistry deserves special recognition and heartfelt thanks.

We are also deeply grateful to the individuals and organisations who support our work, whose belief in what we do is essential. And, of course, none of this could happen without our brilliant young musicians and the vibrant, supportive community that is Chetham’s.

We depend on donations to enable us to provide an inspiring, world-class education to our young musicians. Support us to continue our important work at Chetham’s.

Are you a young musician and are inspired by all we do at Chetham’s? Join us for our next Open Day or book an Advice Audition today.

Still in the early stages of her musical journey, Anastasia is passionate about exploring new ideas, collaborating with fellow musicians, and finding her own voice as a composer. In this interview, she reflects on the female composers who have inspired her, the challenges of representation in music education, and the importance of encouraging young women to see composition as a path open to them.

Can you tell us about your music practice?

I am a first-year undergraduate student studying at the Royal College of Music, London. My time at Chetham’s made me realise my drive and passion for pursuing composition. As a composer, I find it highly rewarding collaborating with other musicians and writing music that is both personal and capable of speaking to an audience. It helps me connect with others and serves as a form of self-expression.

During your time at Chetham’s, did you study and perform works by female composers?

While I was at Chetham’s, I was introduced to the music of Kaija Saariaho (1952–2023), who quickly become one of my favourite composers. I find her works and personal story inspiring. She was a creative and sensitive composer whose music has influenced my own. Errollyn Walen, Unsuk Chin and Caroline Shaw were other contemporary female composers I was exposed and who have left a lasting impression on me.

Since leaving Chetham’s, my knowledge of female composers has only grown. I have particularly enjoyed exploring the works of Helen Anahita Wilson, Daphne Blake Oram and Grace Evangeline Mason. They are all uniquely skilled women whose stories serve as inspiration for young, aspiring female composers who may be questioning their place within the highly competitive world of music.

How do you showcase historical and living female composers and musicians through your own work?

Whenever I approach a new composition, I tend to do a lot of background research and listening to help the process. Through this, I often come across female composers whose legacy has been neglected. Their music sparks my imagination and often influences what I write myself.

What challenges and opportunities do you encounter as a woman studying music?

Due to the history of music in society, it is often hard to find female composers from the past and present with published and widely known music. Because of this, in the classroom, an abundance of male names is often discussed with little to no mention of any female composers. Young women studying music may not realise that they can be composers too and can have equally successful and rewarding careers compared to their male counterparts.

What does progress towards a more equitable landscape for women in music look like?

Simply for all people to look beyond identity and focus on the music and the meaning that is being conveyed. We need to talk about and raise awareness of individuals past and present that have been underrepresented yet played an important, if hidden, part in music history.

What advice can you give to young women and girls at the start of their musical journeys?

Don’t be discouraged by previous imbalances within the world of music. There are beautiful challenges and opportunities available to us all today. Witnessing and playing a part in this change is motivating to any aspiring creative mind.

First, we speak with Lucy Farrimond (Chetham’s, 2015–17), a freelance lyric soprano, composer, and dedicated advocate for female musicians. In this interview, Lucy reflects on her time at Chetham’s, her journey towards championing women composers, and the progress still needed for true gender equality in music. From performing overlooked works to composing pieces that amplify women’s voices, Lucy’s career is a testament to the power of representation and advocacy in the arts.

Can you tell us about your music practice?

I am a freelance lyric soprano and composer, with my performance work centred around oratorios, operas, and recitals. As a composer, I have a growing catalogue of works and primarily compose on a commission basis. In addition to performing and composing, I also teach piano, singing, and composition privately.

During your time at Chetham’s, did you study and perform works by female composers?

When I first arrived at Chetham’s, I was still new to advanced musical training and had little knowledge of female composers. The first I encountered was Cécile Chaminade (1857–1944), introduced to me by my piano teacher, Jonathan Middleton. He encouraged me to learn her Étude de Concert, ‘Automne’ (Op. 35, No. 2), a piece I still perform today. This discovery sparked a deeper interest in female composers, particularly from the Belle Époque, such as Nadia (1887–1979) and Lili Boulanger (1893–1918).

Looking back, female composers were notably absent from academic studies. At the time, the A-level syllabus featured little to no works by women, and the repertoire we studied and performed was overwhelmingly male-dominated. Since students often brought their own pieces to work on in classes, music by female composers rarely appeared unless we actively sought it out. However, I was fortunate to perform works by my female peers in concerts organised by the composition department. I remain grateful to Dr. Jeremy Pike and Gavin Wayte for their encouragement during that time.

One particularly memorable experience was premiering Voices of Remembrance (2016) by Laura Rossi with the vocal department at Manchester Cathedral – likely the first vocal work by a female composer I had the opportunity to perform.

How do you showcase historical and living female composers and musicians through your own work?

I have always made it a priority to highlight female composers, both in my performances and compositions. My debut album, set for release in October 2025, will feature 20th-century English song, including works by Muriel Herbert (1897–1984), alongside my own chamber compositions and arrangements.

In 2022, I was honoured to win the International Category of the George Shirley Competition in Michigan with a piece by living female composer Maria Thompson Corley. I also performed her work in the final of the Williams Howard Memorial Prize at the Royal Northern College of Music, where I received high commendation. Both competitions champion underrepresented composers, and it was a privilege to explore such exciting repertoire.

As a composer, I was commissioned to write for Voices of Women, a 2023 charity concert celebrating female composers. My piece, HER VOICE, was written for six female voices and explored themes of identity and empowerment. I also performed as a vocalist in the concert, singing works by Cécile Chaminade and Annabel Rooney. HER VOICE was later performed again in 2024 at EMPOWER, an event held at the International Anthony Burgess Foundation. EMPOWER is a fantastic initiative that I highly encourage others to explore and support.

What challenges and opportunities do you encounter as a woman working in music?

Being a woman in music comes with both challenges and opportunities. One of the biggest challenges is the lingering perception that there is only limited ‘space’ for female composers. Programming often treats their works as separate or niche rather than integrating them equally with male composers – a dynamic similar to the way women’s football has gained recognition but still lacks true parity.

Female composers also struggle with visibility in academic syllabi and concert programming, making it harder for emerging talents to gain the exposure they deserve. However, there are increasing opportunities within today’s musical landscape. Initiatives like EMPOWER and other organisations dedicated to showcasing underrepresented voices are helping to create a more supportive network for women in the industry.

The growing focus on gender equality in music has also opened new doors for collaboration, performance, and funding specifically aimed at female composers and musicians. By continuing to support and uplift one another, we can help pave the way for future generations of women in music.

What does progress towards a more equitable landscape for women in music look like?

True progress would mean seeing a more diverse range of composers programmed regularly in major concert halls – not just on occasions like International Women’s Day, but throughout the year.

Another key step is increasing the number of female applicants to music programmes, including undergraduate and master’s courses. This could be supported through outreach and mentorship initiatives that encourage young women and girls to pursue composition as a viable career path.

Ultimately, progress means ensuring that women’s contributions to music are valued year-round, and that female artists feel empowered to pursue their careers without barriers. By actively promoting inclusivity and supporting women’s voices in all areas of music, we can move towards a more equitable future.

What advice can you give to young women and girls at the start of their musical journeys?

My advice would be to trust in the uniqueness of your voice and the value of your perspective. No matter the circumstances, there is always space for you and your music in the world. Don’t hesitate to seek guidance from established musicians in the field you aspire to join; they were once in your position and can offer invaluable insights. Remember, we all need help every now and then along the way!

“Friday 8 March is International Women’s Day. It’s a day to celebrate women in every corner of our lives, and as musicians, honour all female composers whose music is too often hidden in the shadows.

“Looking back at history, there has always been a record of women composing music, from as early as the 1100s all the way to the current day. A woman who paved the way for female composers was Hildegard von Bingen. She was one of the earliest female composers to leave a legacy of music that is still being performed today.

“Hildegard composed many liturgical songs that ranged from antiphons, plainchant and hymns to responses. Her music is its own sound-world within itself, exposing the pure sounds of the voice, and when the music is mixed with the grand acoustics of a religious setting, leaves the audience with very little to be desired.

“A strong theme that often runs through the music of female composers are the emotions that were reflective of the time they were writing in, which concluded in some truly evocative and relatable pieces of work. For French composer Lili Boulanger, this was certainly true. Boulanger wrote for a mixture of voices, strings and piano and by the end of her life, had written 64 works, 24 of which were published. Much of her work reflects the isolation and alienation that was starting to emerge during the 20th century, along with her struggles with loneliness and depression.

“One of my favourite works of Boulanger’s is one of her three Psalm settings, Psalm 130, written for voice and orchestra. Lili had composed this work when she was nearer to the end of her life, at only the age of 22. Many say that it displays a special and developed compositional style, with a rounded sense of maturity, very fitting for the theme of IWD 2024 – ‘Invest in Women: Accelerate Progress’.

“At the time of writing this, there is some beautiful music being written by contemporary, modern-day female composers such as Judith Weir, Hannah Kendall and Judith Bingham. Dame Judith Bingham is a British composer serving as the Master of the King’s music and is the first woman to hold this position.

“At Chetham’s, we are conscious of the amount of music by female composers that has gone largely unheard and of the lack of female conductors – we are on a mission to change that. Over the past few years, we have celebrated music by new contemporary composers and have had the pleasure of having female guest conductors work with the Chetham’s Symphony Orchestra. For example, audiences have witnessed our Orchestra, conducted by Karen Ní Bhroin, performing Rann Do Tri by Irish Composer Anne Marie O’Farrell, and Elizabeth Gallego conducting Sizzle by Margaret Brouwer.

“Now, time to explore some pretty amazing music…”

Conductor Karen Ní Bhroin, performing Rann Do Tri by Irish Composer Anne Marie O’Farrell

Igor Stravinsky was revolutionary composer. He pushed the boundaries of musical design.

His first piece for ballet, The Firebird, was an overnight sensation. But his third ballet, The Rite of Spring, caused perhaps the most notorious scandal in the history of music. Musically, the score contradicted every rule.

The work was so unusual it caused a riot at it’s premiere in May 1913. Wealthy traditional music lovers clashed with radical audiences excited for change. They attacked each other and the orchestra. “Everything available was tossed in our direction, but we continued to play,” said the conductor. 40 people were arrested.

A year later, the score was performed in Paris as a concert piece. Stravinsky was carried on the shoulders of his fans in triumph.

Today, Stravinsky is remembered as one of the most important composers of the 20th century.

On Friday 8 July, Chetham’s Symphony Orchestra perform The Rite of Spring at The Bridgewater Hall.

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Today, Wednesday 22 November, marks six months since the terrorist attack at Manchester Arena, which claimed the lives of twenty-two people. Chetham’s students have arranged and recorded a new version of Oasis’ Don’t Look Back in Anger to encourage people to remember and support victims of terror this Christmas.

Directly across the road from the Arena, boarding students were woken from sleep to wait through the night as the incident unfolded. Inside the police cordon, they were unable to leave school for 24 hours – and, as the city gathered in Albert Square to pay its respects to the victims, they held their own vigil on the school yard. Appropriately, they used their most powerful language – music – to express their feelings, singing John Lennon’s Imagine and the Oasis song, Don’t Look Back in Anger, in an expression of support and solidarity.

One student shared a video of Don’t Look Back in Anger on Facebook, giving students’ friends and family the chance to see their children safe and well until they could get home. Her video was picked up by numerous media channels, and when two days later the song was sung again in St Ann’s Square, it was clear that it would come to play an important part in the city’s response to the tragedy.

During the summer, Chetham’s students came together again to plan a longer lasting memorial. Many of those who lost their lives were young people, close in age to Chetham’s students. They were music lovers, listening to pop star Ariana Grande’s concert. These factors, combined with the proximity of the attack, brought it close to the heart of this school – the country’s largest specialist music school, where students earn their places through musical potential, and where music is a shared language for young people from a rich diversity of backgrounds and nationalities. With those things in mind, the Head Boy and Girl, Matthew Wilson and Flossie Plain, suggested a new arrangement of Don’t Look Back in Anger – one which could be recorded and shared more professionally and used to raise funds after the attack.

Matthew and Flossie, along with their fellow Sixth Form students, led on the project. They contacted former student Joshua Hickin, who created the new arrangement for trombone ensemble, a small band and the massed voices of the school’s staff and students. Matthew acted as Musical Director for the recording, with Flossie as Producer. The recording took place in The Stoller Hall, the school’s concert venue, supported by the venue’s Technical Manager Simeon Ogden; whilst Chris Mann of Mannmade Productions, a longstanding friend of the school, generously offered his time to produce the video. Head Alun Jones released the entire school from lessons for an afternoon to allow the recording to take place, and finally, permission was received from the Sony Corporation on behalf of Oasis for the song to be shared.

Chetham’s are sharing the video online to mark the six-month anniversary of the attack – which also happens to fall on the feast day of St Cecilia, the patron saint of music. They hope that people hearing it will contribute to the British Red Cross UK Solidarity Fund, supporting victims of terror not only in Manchester but across the country.

“This initiative was led entirely by the student body,” Mr Jones explained. “They felt strongly that the attack was directed at their age group and peers; and as such, they wanted to use music from their own generation to reflect on it. The first vigil on the yard was very much an expression of their own feelings, and of mutual support at a very difficult time. It was never designed to be shared beyond the school walls; but it struck a chord with the people of Manchester, and felt like the right choice of music for us to record. Coming together as a school to sing and make music was a cathartic process for everybody who had been onsite in May, and we’re very grateful to Joshua, Chris and others who have helped the students turn that into something we can share with the wider world. We hope you’ll watch the video and see what these remarkable young people were able to create in just a few days – and we hope that those who can, will make some contribution to support those most closely affected by the acts of terror that have, tragically, taken place in the country during 2017.”

Matthew added, “The project for me has two main aims, firstly to act as a symbol of remembrance for those who were affected on that night in May, and secondly to try and raise as much money as possible to support the victims and their families through the work of the British Red Cross. My huge thanks go to all those who supported the project from both the technical and production side and the students and staff who feature in the track and video.”

Please support victims of terror across the UK through the British Red Cross UK Solidarity Fund

The judge was Matthew Owens, a former Chetham’s student, published composer and current Director of Music at Wells Cathedral. Matthew enjoyed all the entries and was delighted with the overall standard of the competition.

The winners were:

Upper School 

Winner: Lucy Farrimond
Commended:  Ignacio Mañá Mesas and Ben Collyer

Middle School 

Winner: Dominic Downs

On winning, Lucy commented “I am so thrilled to have won the Carol Competition. I think my inspiration for writing the piece has come from a childhood surrounded by music. I grew up as a member of the Salvation Army in Wigan, therefore would sing carols with them, play them on the piano and in my family’s brass band. I aimed to create a fairly simple yet effective carol, that is accessible with a memorable melody. I do hope you enjoy it.”

Lucy’s piece was recently performed by the Chetham’s Chamber Choir at the Light Up A Life Service in aid of St Ann’s Hospice at Manchester Cathedral.

In the spirit of ideas worth spreading, the TEDx conference presented a programme of short talks given by both outside speakers and students from local secondary schools. This year’s theme was Identity, which the speakers tackled in a variety of thought provoking, inspiring and even funny ways.

Amongst these speakers were extreme athlete, Ben Smith, who talked of how his running had helped him find his identity; geneticist and presenter Ben Garrod who has worked on a variety of fascinating wildlife projects; evolutionary biologist, Kat Arney, who explained genes, memes and wobbles; Nicola Osborne, who provoked much thought on the importance of being aware of our digital footprint and a singer-songwriter, VV Brown. And, of course, the highlight for us: Chetham’s own Tammas Slater and Ignacio Mañá Mesas.

Tammas and Ignacio’s talks on the importance to their identity of being a composer certainly went down well with the audience. We were treated to a view of a couple of Ignacio’s short films and Tammas bravely demonstrated the composition process from the grand piano.

Other highlights included group participation in a chimpanzee call, a selection of videos including specially filmed conversations with local primary school children and their unusual career aspirations and the personal talks from Sixth Form students on their LGBT+ identity.

Everyone had an informative morning and thanks must go to Fallibroome Academy for such a well organised, enjoyable and stimulating event. We are already looking forward to next year’s conference!

The full TEDx talk can be viewed in full here. Tammas and Ignacio feature around the hour mark.