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.

The opera marked the culmination of a year-long journey for Chetham’s vocal students. Over twelve months, they explored the opera’s characters, learned to sing in French with the help of a language coach, studied staging and dramaturgy, and auditioned for roles, immersing themselves in every aspect of what it takes to become an opera artist. Working alongside a professional creative team including director Genevieve Raghu, set and costume designer Lara Booth, and lighting designer Ben Ormerod, the students experienced the full scope of opera as a living, collaborative art form.

Matthias Robinson (Le Chat) and Lily Rugg (La Chatte)

“From the first few workshops to staging the production, this was such an amazing experience,” says Lily Rugg, a Year 13 vocal student performing the role of La Chatte. “At the start of the process, I really had no concept of just how much time and work goes into bringing an opera to life, but this opportunity to work alongside industry professionals has greatly developed my understanding of the industry. It’s made me realise I want to do this professionally, and that I actually can.”

In this production, Ravel’s playful opera was reframed as a dark and moving exploration of trauma and memory. The Child was now a young soldier, wounded on the front lines of the First World War, spiralling into a dreamscape where objects and memories come to life. Sung in French by an all-student cast, the opera became a surreal reckoning with childhood, guilt and healing. The lead role of the Child was played by Divine Simbanegavi, a Chetham’s alumna now studying Music at St Catherine’s College, Oxford University.

 

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But this production was about more than performance. It was a timely and urgent reminder of what creative education can and should be.

“Opera is a powerful fusion of language, music, design, dance, storytelling and psychology, which invites people to engage with the full spectrum of what it means to be human,” says director Genevieve Raghu. “At Chetham’s, students are given the freedom and resources to explore their creativity. But across the UK, such opportunities are vanishing from view. A-Level Music is becoming a luxury, drama is increasingly absent from school life, and for many young people, the arts are no longer a visible or viable part of their education.”

Chetham’s School of Music remains a special place where aspiring vocalists can access the kind of deep, professional training that’s becoming increasingly scarce in UK education. But this production also raises the question: why is this kind of opportunity so rare?

Elizabeth Tan and Izzy Davies (Fire)

“This opera showed what young people can do when you treat them like real artists,” says Marcus Farnsworth, Head of Vocal Studies at Chetham’s and a professional opera singer. “They’ve not just learned to sing, they’ve learned to lead, collaborate, imagine, and reflect. And they’re proving that creativity isn’t a luxury, but a necessity.”

As much as it celebrates Chetham’s, L’Enfant et les sortilèges was also a call to action: to protect and restore access to the performing arts across all schools, not just the specialist few. Because when students are trusted with creative responsibility, they rise to the occasion, and often exceed it.

This production was made possible by the generosity of our supporters. Special thanks go to Mr David Gaskill and an anonymous donor.

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 singer itching to study at Chetham’s? Join us for an Open Day, book an Advice Audition, or apply for the Summer School’s Singing and Performance Course.

Divine Simbanegavi (L’Enfant) and Tonye Afiesimama (Maman)

It also happens to be ‘World Opera Day’ on 25 October 2023. So, to mark this special day and to celebrate our collaboration with the Welsh National Opera, we spoke to vocal coach Libby Burgess about what it takes to become an opera singer and why she loves this art form.

Why do you love opera?

The best thing about opera is you have all these different aspects coming together. You’ve got music and words but also staging, scenery, costumes, lighting, and movement – it’s an immersive way of experiencing stories.

Do you think there are any misconceptions about opera?

When people think of opera, they often think of really loud singing in a huge space, and actually you don’t have to have a massive voice to sing opera. You have to be interested in storytelling and the music, and what the music is telling us, and you have to commit to character and drama. It’s not about making the most noise, especially when your voice is still growing.

What are the challenges of teaching and learning opera?

For young singers, like we have here at Chetham’s, part of the challenge is that their instrument, their voice itself, is still developing. It’s like someone playing clarinet and having to physically build the instrument as well as learning how to play it. Some are not ready to sing certain operatic music, but they can still develop all the skills they need.

Another challenge is that to put across a character really well, you have to sound like you speak that language fluently. You have to know how to pronounce all the words and you also have to know every bit of meaning, not just literal meaning, but the subtext and the nuance. You have to put the character and emotion into a language you don’t speak.

How do you go about training young people to sing in a foreign language?

We do a lot of work on the sound of the language, the different vowel and consonant sounds. We do work on meaning and ways of integrating the meaning with what you’re singing, swapping between English and Italian or French, and always trying to link to the narrative.

What is your advice to people that have never experienced opera before?

With opera, the best thing to do is to see it to get the whole effect of it. It’s the most amazing type of music! You’ve got everything from dramatic dark stories, like Peter Grimes, to huge romantic stories like La Boheme. You’ve got opera that is modern and gritty, and others are timeless and funny. There’s really something for every moment.

Play Opera Live! is touring until 25 November 2023. You can still book tickets for the Plymouth, Birminghmam, and Southampton shows.

Young singers will now be able to join the School from Year 9, where previously they were asked to wait until Sixth Form; whilst both first study singers, and the School’s many choirs, will be part of a new department led by baritone Marcus Farnsworth.

Marcus himself attended Chetham’s after beginning his musical journey as a chorister at Southwell Minster in Nottinghamshire. Subsequent studies took him to the University of Manchester and the Royal Academy of Music, and his award-winning professional career has included recitals, recordings and operatic performances across the world. He was awarded first prize in the 2009 Wigmore Hall International Song Competition and the Song Prize at the 2011 Kathleen Ferrier competition. He marries his performance career with an ongoing commitment to educational and community singing; he is Director of the Southwell Festival Voices, President of St George’s Singers in Manchester, and Founder and Artistic Director of both the Southwell Music Festival and Manchester Vocal Festival, held at Chetham’s for the first time in 2018.

Marcus will be part of Chetham’s outstanding music department led by Tom Redmond, who also joins the School in September as Director of Music. Principal Alun Jones said, “I am delighted that Marcus is joining us at such an exciting time in the School’s development. As we celebrate Chetham’s 50th Anniversary as a specialist music school, we look forward to the future and to influencing the musical landscape of the nation for many more years as an international centre of instrumental, vocal and choral excellence.”

Chetham’s Chorus

Marcus’ role will encompass both leadership of the School’s excellent choirs, and development of the programme for first study singers, alongside a superb team of vocal teachers. Every student at Chetham’s sings regularly as part of an ensemble, whilst the flagship Chamber Choir and Chorus has performed alongside artists including Paul McCreesh, John Rutter and the Hallé. Previously, students were only admitted as singers into the Sixth Form; the expanded department will welcome young performers from Year 9 upwards, providing a natural development route for maturing choristers and allowing more time for young singers to build their skills in the unique musical environment of a specialist education.

Like all instrumental students at Chetham’s, singers from Year 9 will be eligible for funding up to full fees for all music and academic teaching through the Department for Education’s Music and Dance scheme. Interested students can find out more at Chetham’s Open Evenings for the Middle School and Sixth Form, which take place in June.

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!

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.

“Music Course provides an orchestral playing experience of a professional standard and on a regular basis, which is invaluable for students who aspire to fill a seat in a leading orchestra in the future” – Matthew, trombone, Year 13

This October we were delighted to be joined for Music Course by three very special guests.  Composer Laura Rossi, now a firm friend of the School, returned with her latest piece, Voices of Remembrance, inspired by poetry written during WWI.  The work was performed by Chetham’s Sinfonia and Chamber Choir at Manchester Cathedral on Tuesday, with the original poems read by the incomparable Vanessa Redgrave.  We were delighted that North West Tonight joined us for the afternoon’s rehearsal, and that the performers played to a deservedly packed Cathedral.

Building the atmosphere in the first half were three smaller ensembles.  Saxophone Choir, Violetta Strings  – featuring some of the School’s most junior performers – and Wind Band presented a varied and lively programme to contrast with the more serious content to follow.

Voices of Remembrance

On Thursday, Chetham’s flagship Symphony Orchestra presented a stunning programme featuring two concerti performed by pianist Callum McLachlan and Linda Heiberga on cello.  Conductor Paul Mann – himself a Chetham’s alumnus – then recaptured his school days by leading the orchestra through Mussorgsky’s Pictures at an Exhibition, orchestrated by Ravel.  The piece was familiar to Mann as, when a piano student at Chetham’s, he performed it himself in its original version as a piano suite, and it concluded at RNCM Concert Hall to enthusiastic applause.

“This is home for me.  Every time I come back, I’m 16 again.  I’m blown away by these incredible young musicians” – Paul Mann, guest conductor and alumnus

Congratulations to all of the students involved, and thanks as ever to the staff and families who supported them.  Music Course is now over until February for most of the School – but for a small group, there’s one more performance to go as they play alongside Mr Threlfall and musicians from Jersey Academy of Music in a reprise of Voices of Remembrance at Jersey Opera House tomorrow.