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.

Chetham’s Symphony Orchestra & Chorus, 21 October 2022, 7:30pm, The Stoller Hall

Tell us about your background before starting at Chetham’s

I grew up in Beijing, China and started to learning the piano when I was 6. Piano was my principal study for 5 years and then I started cello at the age of 11. In 2019, I was admitted to the Central Conservatory Of Music middle school, Beijing, gaining first place in cello and also winning the 26^th Salzburg International Music Competition. I joined Chetham’s School of Music for Sixth Form in 2021.

What first inspired you to play the cello?

I was exposed to classical music at a very young age, as my mother used to play Bach, Chopin and Dvorak on the CD player every day. I clearly remember that when I first hearing Dvorak Cello Concerto in B Minor I was fascinated by the deep sound of the cello. Since then, I have had the idea of learning the cello and now it has become the thing that I’m most eager to explore as a career.

How are you feeling about your upcoming performance with Chetham’s Symphony Orchestra?

I am very excited; it is a great challenge and honour, as this is going to be my first time playing with an orchestra.

Why did you choose to perform the Shostakovich concerto?

I chose it because this is a very challenging piece; it is one of the most difficult cello concertos, and it has certain requirements for the cellist’s technical level. Most of the pieces that I have learned before were from the Classical period, so performing this concerto is definitely going to be a very special experience for me.

What would you tell the audience to expect in the upcoming concert?

The core of Shostakovich Cello Concerto no.1 is a sense of struggle against war that permeates everywhere. However, it does not only exist in Shostakovich’s era. I hope this piece will bring the audience to reflect on the war and pray for world peace.

What are you hoping to do next year, after leaving Chetham’s?

I am applying for conservatoire study at the moment because I hope to continue to study of music after leaving Chetham’s. I want to use my time at conservatoire to fulfil my musical potential and to become the best musician I can be.

What is your favourite thing about studying at Chetham’s?

Chetham’s has provided me with invaluable teaching and great performance opportunities. Studying with my cello teacher, Mr. Jones, and my piano accompanist, Miss. Webster, is an amazing experience for me. I also especially enjoy playing in different ensembles – it has helped my ensemble skills and given me greater confidence when I go on stage.

You can still book tickets to watch Hairu’s performance, this Friday at 7:30pm!
Head to the event page now! 

Tell us about your background prior to starting at Chetham’s?

I grew up in Cape Town South Africa and started violin lessons at the age of 7 at the Beau Soleil Music Centre. I went to Westerford High School from 2017 and also joined the youth development program of the Cape Philharmonic Orchestra where I was concert master of the youth orchestra. From 2017-2020, I was fortunate enough to perform solo recitals in many different venues in Cape Town, I participated in chamber music festivals, won a couple of competitions and played solo with the Cape Town Philharmonic.

What first inspired you to play the violin?

When I first saw the violin on TV I was very fascinated by the sound and shape. When I started violin I could not stop playing on it. At that time, it was still strong hobby and it was slowly becoming a passion. What really inspired me was when I watched a performance of Sarah Chang playing the Sibelius Violin Concerto. That was when my eyes opened and showed me that the violin can do many things. This motivated me so much as I wanted to get to that level of playing. The more I practiced, the more connected I felt to my instrument.

Tell us about some of your favourite memories of your time at Chetham’s?

There are many! Musical ones include: collaborating with Manchester Collective, participating in all the music courses, and doing interesting chamber music projects with the Barret Due Institute in Norway.

Jazz and curry nights have been the best socials of the year. Muck up day was definitely a highlight too.

How important do you think Chetham’s Symphony Orchestra is for developing the future generations of world-class musicians?

Performing with Chetham’s Symphony Orchestra gives many students the opportunity to play standard orchestral repertoire. It  improves vital listening and communication skills. And it gives students a taste of what orchestral life could be like if as a future job.

Orchestral playing can sometimes be more challenging than solo playing. As a string player, playing in a string section requires heavy amounts of listening for intonation as a collective and not as an individual. The entire string section needs to look synchronized in bowing, as well as what part of the bow they are playing. It is very pleasing to an audience member to see such unity. To an extent, these factors help with individual solo playing too.

What advice would you give to younger students at Chetham’s?

Enjoy every moment of your time at Chetham’s. Cherish the friendships you have. Embrace every musical experience that comes up, and consume as much information you can. Remember to not be too hard on yourself and remember to express yourself as confidently as you can as a musician.

Tell us one musical piece that you would love to play again and why?

I would love to play the Schoenberg Verklarte Nacht with Chetham’s Symphony Orchestra strings. We played it during the last summer music course. It was one of the most challenging works for string ensemble and everyone played with passion and commitment. The energy in the room was electrical and bought tears to a few audience members.

Tell us how you’re feeling about your upcoming performance in The Bridgewater Hall?

I am extremely excited and humbled to perform in The Bridgewater Hall. I am also a little bit sad as it will be my last performance at Chets.

Why did you choose the Korngold violin concerto?

Korngold’s violin concerto is a piece of music filled a variety of unique aspects. It is a concerto that merges the composer’s 20^th century Hollywood film music influences with Western Classical music ideas, one of them being a concerto with a fast-slow-fast structure. These two ideas combined create a space for endless amounts of expressivity and opens the imagination of the performer and the listeners. The Korngold concerto allows me to play to the extremes of my instrument. It is the best piece to show who I am as a musician.

What are your plans for next year/the future?

I will be studying at The Royal College of Music. There are also a couple of exciting musical projects which I will be part of in UK and in South Africa.

Tell us what audiences should expect when you take to the stage with Chetham’s Symphony Orchestra?

A musical journey of your own imagination!

Jordan will perform, with 200 of his fellow students, for Chetham’s Symphony Orchestra and Chorus at The Bridgewater Hall on Friday 8 July.

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In reality, parents can help far more than they think just by being there for their children to offer advice and support. We consulted our Lead Nurse and Head of Sixth Form to compile some top tips for navigating this challenging and rewarding time. 

My child is revising – how can I help? 

Recall past successes

Self-confidence fluctuates during exam time. Where revision is concerned, there will naturally be good days and less successful ones. So, if your child plays an instrument – or if they’re an athlete, an entrepreneur, or even a gaming master –  remind them of the dedication they showed to progress, and encourage them to apply the same determination to their academic studies. This is a great way to help them put things in perspective and gain some confidence.  

You can also share stories with your children. Tell them about a time when you weren’t sure you could tackle something, but by sticking at it and being positive, you managed to succeed.

Praise effort, over results 

Many students are perfectionists, and this is a trait often seen in children with musical ability or another strong interest. Whilst exceptional academic results are exciting, students need to know that their parents are proud of them for doing their best, as well as for getting great results. It’s actually very healthy for them to know they won’t always be the very best at something, or get top marks – especially when they’ve been celebrated for a special talent from an early age. It’s crucial that they develop resilience and understand that by applying their best efforts, they keep control of their own futures. 

Trust your children 

You know your own children best, so you’ll have a good idea of how diligently they work and how much encouragement they need. Generally though, showing your children that you trust them to get on with revision can provide more of a boost than transmitting your own anxiety to them. However nervous you may feel on their behalf, a gentle nudge and offer of support is more motivating than a panicked appeal! 

I’m a student and I’m feeling anxious – what really works? 

Musicians: take five with your instrument! 

If you’re at a specialist music school, don’t be worried about taking a short break from intense music practice during GCSE or A level exam time. Believe it or not, the exams will be over very soon!  

Play pieces for enjoyment, relish the time to experiment, and remember that creativity boosts your confidence, memory and attention span, all of which will benefit you in your academic work. Rather than challenging yourself too much musically, see your instrument as an enjoyable release from stress, rather than piling hours of rehearsal on top of your revision schedule.  

Look after yourself 

It’s advice you hear over and over again in articles about exam success – make sure you relax, take time out, eat well and go to bed early. Health and wellbeing are the foundations on which you build – so, if you’re neglecting yourself, it’s almost certainly going to impact your studies. So, set yourself a switch-off time each evening and stick to it, establish a routine, and make time for some exercise, even if it’s just a ten minute walk each day. Try not to turn to sweets for an energy boost, but instead choose slow release carbohydrates like a banana or hummus with some oatcakes when you’re peckish. Do something you enjoy and don’t isolate yourself from friends – they’re going through the same thing and sharing feelings can be helpful, as long as you don’t compare yourself. 

Take time out for some exercise when you’re studying

Plan ahead with revision 

Ask for support from teachers if you need, but developing a revision plan for the months and weeks leading up to your exams is the single best way to reduce stress and help you feel more in control of your work. A clear timetable will also break down what can otherwise seem like a huge task and help you to set targets. 

Definitely don’t cram ahead… 

Cramming has literally never been consistently successful for anyone, no matter what people might brag. Spacing out revision, planning well and allowing for time to follow up on rusty topics are always going to produce better results. This is particularly true at A level – even if you did succeed with some last minute cramming at GCSE, this is less likely to work at higher level exams which test how you apply your knowledge.  

Work in chunks 

Working in small chunks of 15 or 20 minutes and taking regular breaks is a great way to cope with large volumes of material without feeling overwhelmed. Even if you find that you work more effectively when you get into a flow for an hour or so, breaks are still essential to ensure you can pace yourself and absorb knowledge more effectively. Experiment early on in your revision to find a pattern that works for you. A lot of people feel the Pomodoro app is very useful. It’s is a timer which breaks sessions into 25 mins and can be linked to a to-do list of tasks. After each ‘Pomodoro’, you get a reward. 

Create a pleasant working environment 

A well organised working environment is important. Get rid of clutter and distractions – being disciplined with use of technology and social media use during exam time will definitely help you concentrate better, too.

Have you any tips for coping with exams? Maybe you’re a parent with experience of supporting your children through exams? Let us know in the comments or on Facebook, Twitter, or Instagram.

What are you looking for in your music teacher?

Start by thinking about your priorities in choosing a music teacher. Make sure your child is part of the process; think about their learning styles, and how they engage with school or other lessons. If they’re academic, and already eager to make progress, they might be ready to start working quickly towards graded exams. If they have little prior experience of music, they’re unsure which instrument is for them, or they’re fitting music alongside numerous other activities, you may need a teacher who can help them to enjoy and appreciate music as a whole, leaving grades until a little further down the line. Graded music exams can provide great motivation for learners at any age, but for younger children, in particular, it’s important that your teacher provides a strong theoretical base whilst leaving space for fun, discovery and enjoyment.

If you’re not sure what’s best for your child, listen! Spend time exploring music with your child, and finding out what they respond to. There’s no limit to how early you can start to listen, enjoy, and help your child discover their individual interests. Look at the programmes at local music venues, community centres and theatres, many of which run music and activity sessions for babies or toddlers, as well as family concerts or teenage inspiration days for older children. Stop and listen to street performers, family members or friends; talk to your child about the music they hear in film or on television, what it adds to the story and which parts they like best. If they particularly enjoy jazz, pop, classical or other genres, make sure you look for a music teacher who can incorporate that into their lessons.

How to find a music teacher near you

Many music shops run ‘try an instrument’ days for children and adults to see which instrument inspires them. Most schools and Music Education Hubs will also have a small stock of instruments to lend or hire, allowing you to try out options before you commit.

Once you know what you’re looking for, there are plenty of networks to help you find a local music teacher. Talk to your school or local music service, or look online at reputable sites including:
EPTA (European Piano Teachers’ Association)
Music Mark
ISM (Incorporated Society of Musicians)
MU (Musicians’ Union)
ESTA (European String Teachers’ Association)

When you make contact, ask teachers about their qualifications and experience, both as performers and teachers. They should be happy to show you a current, valid DBS check, particularly if you plan to leave your child alone with them during lessons.

Most teachers will let you book one or two trial lessons before committing to a regular slot. You should expect to pay for these, but there’s no harm in meeting more than one teacher at the beginning; your child is embarking on what can become a creative and personal relationship, and you need to find the right ‘fit’ for all involved – for you, for the teacher, and most importantly for your child. You should expect the teacher to spend time ensuring your child is playing in a healthy position, developing good physical habits for future practice; talking to them about their interests; and giving them chance to explore their new instrument.

How parents can support children’s music lessons

Once lessons begin, agree with your teacher whether you should remain in the room or not. For many children it’s easier to learn and focus without a parent watching, but you’ll play an important part in their learning even if you’re not there every minute. You should be welcome to ask questions to understand your child’s progress, practice points and learning techniques, or to visit lessons from time to time. Some teachers or organisations might provide parents’ evenings or ask you to pre-arrange meetings and visits, whilst others may invite you into lessons spontaneously; it all depends whether you’re working with a private teacher or organisation, whether you’re in the same building regularly, and how your child’s lesson fits with other timetabling or commitments. Of course, no two organisations or teachers are the same. You should respect their policies and the needs of other children and families learning in each centre.

Most important of all is that you understand how you can support your child’s practice. Generally, teachers will suggest that young learners practice regularly, but not for too long at a time – focus on quality, not quantity. It often helps to find a regular slot in the day, and a quiet, focussed space in the house. Most important, though, is that you can offer support and encouragement, and a genuine understanding of what your child is trying to achieve between each lesson. Practice should focus on ‘sticky spots’ and other challenges rather than simple repetition – as well as giving your child a space to enjoy their instrument!

Once lessons are underway, you will encounter the occasional rocky moment. Your child is being asked to absorb a lot of new ideas, to become an independent learner and to think both logically and creatively. There are likely to be parts of that process which they find difficult, or which they don’t enjoy as much as others. It’s important that you don’t run from your teacher at the first clash – it’s almost certain that he or she has met similar challenges before and has techniques to guide your child through them. Trust in their expertise, but don’t hesitate to ask why they’re using a certain approach or technique; together you can better support your child and help them to understand and overcome challenges. If things get particularly tricky for a while, it might be best to arrange this conversation outside lesson time, when your child is out of the room.

On the other hand, children’s interests can change, their learning styles shift, or their musical ability may outgrow their first teacher. Don’t be afraid to consider moving on when the time is right, but be confident you’re not making that choice on a whim or based on a one-off event; a music teacher who understands and appreciates your child, and knows their strengths and struggles, is invaluable. If your child needs a new challenge, look for opportunities for them to enjoy their music outside lessons – children’s and youth ensembles, choirs, music clubs and festivals are all great opportunities to meet young musicians. If your child shows particular musical potential or talent, look out for holiday schools, regional or even national ensembles, and more advanced opportunities including one of the country’s excellent Advanced Training Centres or Specialist Music Schools.

This year was a particular momentous one, marking the first performances of Chetham’s 50th anniversary year for our two orchestras, Sax Choir, Wind Band and Violetta Strings, as well as for singers in an innovative new take on ‘Opera Extracts’.

Sixth Form Singers: the Drama of the Oratorio

It was the singers who started the week on Sunday 10 February, giving two performances of Margaret McDonald’s reduced version of Mendelssohn’s Elijah. Semi-staged, and taking place for the first time in the Carole Nash Hall to take advantage of our new building’s lighting equipment and projection, it told the entire tale in miniature, drawing out all the drama of the original oratorio. Our thanks to the many students and staff who helped bring it together!

Chetham’s Sinfonia and Ensembles

Next up were our smaller groups and younger ensembles. The Sax Choir, under Andy Wilson, gave the North West première of Ivor McGregor’s Film Noir – to be performed again at our forthcoming Saxophone Day for players of all ages. Violetta Strings, our youngest ensemble led by Dr Owen Cox, performed popular selections by Karl Jenkins, Britten, Bizet and Grieg, ending with the mounting excitement of In the Hall of the Mountain King. Next were Wind Band with David Chatterton, performing Woolfenden’s Illyrian Dances, and after the interval our Middle School orchestra, Chetham’s Sinfonia took to the stage.

Bassoonist George Bailey, 13,  was one of the recent winners of our Lower School Concerto Competition, and performed the first movement of Hummel’s Grand Concerto for Bassoon and Orchestra, to the pride of the numerous family and friends who filled The Stoller Hall and of his teacher, Ben Hudson, who dashed back from work in Yorkshire to ensure he wouldn’t miss it. After George’s well-deserved ovation, and flowers presented by little sister Jemima, Sinfonia closed the concert with Arnold’s Little Suite and Coates’ London Suite.

Chetham’s Symphony Orchestra

It wasn’t over yet! After inviting parents to join them in rehearsal at the weekend, and the public to sit alongside them onstage to explore the context and challenges of the programme, Chetham’s Symphony Orchestra performed in both Manchester and at the Royal Academy in London with Director of Music, Stephen Threlfall, at the helm. Their programme opened with Britten’s Four Sea Interludes and continued with Sibelius’ virtuosic Violin Concerto, performed by Molin Han.

Molin, meanwhile, is in her final year at Chetham’s. After many successes in her native China she joined the School for Sixth Form, and looks forward to continuing to the Royal College of Music in September. Her performance was met with huge applause, impressing audience members with her poise and expression.

Last was Edward Elgar’s Enigma Variations – a celebration of friendship through music, and the perfect piece to celebrate the many friends, supporters and allies who have been part of the School throughout its first half century. Our ability to challenge and support students as they reach new musical heights is down to every one of our students, staff, parents, alumni and donors, and it was those friendships which our orchestra expressed with such flair on, appropriately enough, St Valentine’s Day.

Chetham’s Symphony Orchestra: Review

Students are now enjoying a well-deserved half term break, but not for long. Singers return tonight and tomorrow, for a weekend of song with former students Marcus Farnsworth and Ruby Hughes, as well as fellow students from the Royal Northern College of Music. For many of our orchestral players, it’s only a short break until our next concert on Sunday 10 March, a celebration of music and faith with Manchester Chamber Choir which includes music by Purcell, Handel, and Poulenc’s Organ Concerto performed by Chetham’s soloist, George Herbert.

For the rest, the next challenge is a mighty one indeed – Mahler’s magnificent Symphony No. 8, live on BBC Radio 3 from The Bridgewater Hall on Friday 5 July. We know it’s been performed by young players before, by the National Youth Orchestra and by the Gustav Mahler Youth Orchestra, conducted by former Chetham’s student Daniel Harding. But are we the first school to tackle it? Let us know in the comments if you’ve heard of such a feat before!

The trip is the next phase in a five-year collaboration with Manchester Camerata to perform and record all of Mozart’s piano concertos, bringing together eminent pianist Jean-Efflam Bavouzet and Camerata Music Director, Gábor Takács-Nagy, to perform at The Stoller Hall. Students from Chetham’s will perform alongside the professional orchestra in each of these performances, building their professional performance experience and creating a bridge between two generations of musicians.

The project began last Thursday 6 September when three Chetham’s Sixth Formers – Leo Strelle, Molin Han and Oskar Herfurth – joined Gábor, Jean-Efflam and the orchestra for Mozart’s Overture to Don Giovanni, two piano concertos, and his ‘Jupiter’ symphony. Also featured in the concert was a brand new composition by Harry Harrison, who left the School in summer 2018; this specially commissioned piece, Belt and Road, celebrates the transformational trade initiative between China and the UK and will be performed again in both cities on the China tour.

The finished recordings, supported by Chandos, will be the first to berecorded in Manchester alongside the opera overtures – a unique legacy. Only a handful of artists and orchestras have embarked on this in the world (Barenboim, Brendel, Perahia, Ashkenazy and Mitsuko Uschida).

Chetham’s involvement will continue over the full five years, with a quartet of students joining Manchester Camerata to bring to life each of the series of concertos. Eight quartets will also receive up-close masterclasses from Gábor every year, a fantastic opportunity to learn from one of the world’s leading chamber music coaches.

This partnership offers artistic and educational, audience and reputational benefits over a minimum of five years. It celebrates the inspirational leadership of Gábor Takács-Nagy for the next generation, creating an environment in which world-class musicians and the next generation of talent can inspire and develop each other.

Help make it happen

Chetham’s and Manchester Camerata are committed to delivering this project over the next five years, performing all of Mozart’s incredible piano concertos, paired with his largely unknown, but equally extraordinary, Opera Overtures at The Stoller Hall. This is a significant undertaking and will require investment and support in order to be realised. We are already over a third of the way to reaching the required £320,000 target and are now looking to secure the future of the project.

Find out more

If you feel you can help in any way, or would like to learn more about the project, please do get in touch to arrange a time for us to talk with you further (see contact details below) – we would love to hear from you.

Bob Riley
Chief Executive, Manchester Camerata
briley@manchestercamerata.com
07968 059767

Alun Jones
Principal, Chetham’s School of Music
alunjones@chethams.com
0161 838 7214

The Bernstein Beat involved a full orchestra of players, all aged 18 and under. Hosted by Nina Bernstein Simmons, and devised by Bernstein’s three children, the event invited audiences of all ages to discover and enjoy the unforgettable rhythms and rich Latin flavours of Bernstein’s music. Extracts included music from On The Town, Trouble in Tahiti, Candide and West Side Story, with audience members invited onstage to discove the ‘hamburgers’ and ‘hotdogs’ that make up those incredible patterns. “We first performed The Bernstein Beat in 2008 as part of Bernstein’s 90^th anniversary celebrations, and it was one of those especially memorable events – whether you were onstage or in the audience,” explained conductor Stephen Threlfall, Chetham’s Director of Music. “Led by Nina, local children, young players and audience members all combined in exploring the infectious rhythms, melodies and orchestral colours which are an intrinsic part of his Bernstein’s genius as a composer. Some of those involved were experiencing his music for the first time, others returning to old favourites, but everyone was instantly captivated by his music – and even had chance to join in at a few crucial moments! It’s particularly appropriate that the concert was performed by an orchestra of young musicians. The music was demanding but hugely rewarding – I’m sure they won’t forget it in a hurry!”

That might be particularly true for the young brass player who took up the Shofar, a ram horn flute which influenced Bernstein’s early compositions – and who received a private lesson from Nina herself in how to extract its sound!

Two days later,  Nina took to the stage a second time – on this occasion, introducing her father’s 27 ‘Anniversaries’ for piano. “They are miniature musical gifts,” continued Stephen; “each dedicated to a different one of Bernstein’s friends, relatives or colleagues, from Stephen Sondheim to Nina herself. Framed by anecdotes from Bernstein’s life, presented by his daughter, they form a remarkably intimate look into his personal life.”

Each Anniversary – some lasting barely a minute – was performed by a different piano student from years 7-10, following a rare screening of the 2005 documentary film A Total Embrace, which pays tribute to Bernstein’s life and music. “The whole evening was a chance to get closer to the brilliance and charisma that Bernstein brought to his life and work,” Threlfall continued. “We’re absolutely delighted that Nina Bernstein Simmons was be with us in person to lead our celebration of her father’s work.”

Away from Manchester, the celebrations continued. Five pianists also travelled to Leominster to perform Bernstein’s Anniversaries in their Music in Quiet Places series; and to Jersey Academy of Music where they performed alongside young singers and instrumentalists from the school and local area.

With so many students playing at an exceptional standard, the Concerto Auditions are formed of several rounds. Over the course of a week students play in departmental auditions, before a final twelve are selected for public Concerto Finals on The Stoller Hall stage. For this, we were delighted to welcome a quartet of knowledgeable judges to make the final decision alongside Director of Music, Stephen Threlfall. Martin Roscoe, Professor of Piano at Guildhall School of Music, has enjoyed an extraordinary career spanning over four decades. Bob Riley, CEO of Manchester Camerata, was named Orchestra Manager of the Year at the ABO/Rhinegold awards in 2017, and has seen his ensemble billed as, “Probably Britain’s most adventurous orchestra”. Quentin Poole, Conductor, Oboist and Educator, is a  Fellow of the Royal Academy of Music and was for many years Director of Music at the Purcell School in Hertfordshire. Finally, Nick Thompson, Head of Wind, Brass and Percussion at RNCM, joined the panel in his first year in Manchester following a 30 year role as Principal Trumpet of the Chamber Orchestra of Europe.

Over six hours, the judges heard twelve concertos for instruments as diverse as cello, French horn, piano and marimba. The doors were opened to  fellow students who dropped in to support friends and classmates, and to a public audience coming to see how closely their assessment matched that of the panel. Students ranged in age from 15 to 17, and came from Russia, China, Bulgaria and Belarus, Korea and Venezuela, as well as various parts of the UK. Their chosen repertoire encompassed the classicists, Tchaikovsky and Weber, to 20th century Shostakovich and Prokofiev and living composer Emmanuel Sejourné.

After a long deliberation, the results were announced, with three overall winners:

Molin Han, 17, is a violinist from China. She performed Prokofiev’s Violin Concerto No. 2 in G minor alongside accompanist Brenda Blewett. After attending the Shanghai Conservatory of Music Affiliated Primary School, where she won first place in the entrance exam, she played with the China Youth Chamber Orchestra as chief performer and the China Youth Symphony Orchestra. Molin joined Chetham’s in September 2017 and has since performed in the Menuhin Competition – as the youngest player in the Senior Group – and Chetham’s programmes in London, Manchester and the upcoming Shaldon Festival, performing solo repertoire.

George Herbert, 17, joined Chetham’s as a chorister. He went on to focus on trumpet until joining the Sixth Form in September 2017, when he switched his main study to voice and organ. It was the organ which George, from Cheshire, showcased on this occasion, performing Poulenc’s Organ Concerto in G minor as the first public performance on The Stoller Hall’s chamber organ. With tuition from Christopher Stokes he has had opportunities to perform on the new Stoller organ at Manchester Cathedral and at The Bridgewater Hall with Chetham’s ensembles, and in 2018 gained his ARCO Diploma.

Rose McLachlan, 15, from Stockport, played Ravel’s Piano Concerto in G major. After joining Chetham’s as a chorister in 2010, she now studies piano with Helen Krizos. Rose was the 2016 winner of the Scottish international piano competition youth prize; in 2017 she was awarded the LtCL diploma with distinction; and she will shortly appear on a new album of John McLeod’s complete piano works performing his Hebridean Dances. Last week, since her success in Chetham’s Concerto Auditions, Rose won the Duet group prize for her performance of Chopin’s Third Scherzo in a competition with students of Chetham’s and the RNCM.

Our congratulations to all who performed; and thanks to all of the tutors, accompanists, and particularly our guest judges, who supported the Concerto Auditions. We look forward to hearing the solos performed by the successful students in 2018-19.

The School was delighted to welcome Dr. Alessandra Vinciguerra, President of the Foundation and Director of the Gardens of La Mortella on the island of Ischia in the Gulf of Naples, which was the home of Sir William and Lady Susanna Walton for many years. She was joined by Caroline Howard, who is responsible for the summer season of youth concerts in the Gardens, in visiting the School to present the set of Walton’s music to the Music Department.

Chetham’s friendship with the William Walton Foundation, and Lady Susanna in particular, dates back to the late 1990s when the School’s students performed for the third time at the Oldham Walton Festival. Their landmark performance of Walton’s Cello Concerto with soloist Ben Birtle, and Henry V: A Shakespeare Scenario, conducted by Stephen Threlfall with his brother David Threlfall as narrator, sparked a friendship with the Trust which has continued over many years. Since then, Chetham’s students have made numerous visits to the island of Ischia to perform both solo and chamber repertoire, most recently in the summer of 2016, when the Chamber Orchestra performed Prokofiev’s Peter and the Wolf with Giovanni Visentin of Inspector Montalbano fame.

During their visit to Manchester, Alessandra and Caroline heard three of the six bagatelles that Walton composed in Ischia for the guitarist, Julian Breem, performed by student Henry Rubiano Poveda, age 17.

Stephen Threlfall, Director of Music, commented, “This hugely generous gift is something that I will personally treasure. I am delighted to accept the scores on behalf of the school, as a lasting reminder of the friendship that exists between Chetham’s and La Mortella. We have given as many as 30 concerts featuring Walton’s music over the years, and it remains an honour and a privilege for us to have been regular visitors to Ischia, and part of a special event celebrating the life of Lady Susanna in London. I am delighted that this friendship will continue into the coming years, with two performances by Chetham’s students in the concert hall at La Mortella in June 2018, and a return visit by the Chamber Orchestra the following summer as part of our own 50^th Anniversary celebrations.”