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.

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.

Pianists Mariam Loladze-Meredith, 15, and Elias Ackerley, 16, will be joined by trombonist Isobel Daws, 18, for the televised rounds, which will be shown on BBC Four during March. For Isobel, the competition will also be a reunion – fellow trombonists Sam Dye and Michaias Berlouis, who finished Year 13 at Chetham’s last year, have also reached the semi-final stage. Meanwhile, another former student, Elodie Chousmer-Howelles, will appear in the strings competition

Mariam, from Stockport, joined Chetham’s in 2010, aged just 8. Alongside her musical studies with Dina Parakhina, she is now preparing for GCSEs, and next week will compete in Chetham’s Concerto Auditions, in which soloists are selected for Symphony Orchestra concerts in 2018-19. Earlier this year she joined a trip to Uganda with The Commonwealth Resounds, collaborating with young musicians in schools and orphanages around Kampala. Mariam is half Georgian, and hopes that the BBC crew will be able to travel to Georgia with her to meet her grandmother over half term.

Elias, our second pianist, joined Chetham’s in Year 9, in 2014. He studies with Head of Keyboard Dr Murray McLachlan, and has given several high profile concert performances with the school, as well as singing with the Chamber Choir. In 2017 he was both overall winner of the Scottish International Piano Competition Youth Prize, and Junior Winner of the Eisteddfod. Elias’ family live in Wrexham, and he’s in his first year of Sixth Form, taking A-levels in Music and History.

Isobel is in her second and final year at Chetham’s, having joined for the Sixth Form in 2016 to study with Katy Jones. She’s had a series of successes since then; first as one of the winners of the School’s Concerto Auditions last year, which means she’ll give a solo performance of Tomasi’s Trombone Concerto with Chetham’s Symphony Orchestra on Friday 16 February. In April 2017, she won the BBC Radio 2 Young Brass Award, playing Gordon Langford’s Rhapsody for Trombone live with the Foden’s Brass Band. Alongside the BBC rounds this spring she’ll be preparing for A-levels in Music and English Literature, before bidding the school farewell in July.

Sam Dye, 18, will be familiar to regular BBCYM audiences as a semi-finalist in 2016. From Leicestershire, he’s an alumnus of both Chetham’s and the National Youth Orchestra, and is now studying at the Guildhall School of Music and Drama. His former classmate Michaias Berlouis, originally from Northamptonshire, is now studying bass trombone at the Royal Academy of Music after joining Chetham’s in the Sixth Form. In the string finals, Elodie Chousmer-Howelles, 19, who studied at Chetham’s from the age of ten, will perform on the violin; she’s now part of the Junior Royal Academy of Music, is a London Philharmonic Orchetsra Junior Artist, and performs with the Chineke! Orchestra.

This year’s quintet maintain Chetham’s illustrious history in the Young Musician competition. In 2016, five semi-finalists included pianist Jackie Campbell, who won the Keyboard Category and received the Walter Todd Bursary for the most promising young musician. The competition’s two youngest ever winners, Peter Moore and Jennifer Pike, were both just 12 when they lifted the overall prize in 2008 and 2002, respectively. Other successes include saxophonist Alexander Bone, who won the inaugural Young Jazz Musician award in 2014, and who returns to Chetham’s to give a free Lunchtime Concert alongside former tutors Steve Berry and Les Chisnall on Friday 9 March; pianist Anna Markland, the first female winner, in 1982; and cellist Guy Johnston in 2000, who overcame a broken cello string to win the competition and who maintains a strong relationship with the school, paying us a visit in December to perform with Manchester Collective in The Stoller Hall and to lead a masterclass for current string players.

As ever, we’re delighted that judges were able to recognise the qualities we see every day in young musicians at Chetham’s. Over 30 of our students – 10% of the entire School! – reached the second round this year, and we’re sure that the entire Chetham’s community of students past and present will be cheering on our players – hopefully, all the way to the final in May.

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

“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.

Meanwhile, current students celebrated success in examinations and competitions.

The Rosario Marciano Piano Competition is a major annual competition organised by the Vienna International Pianists Association.  Year 13 student Susanna Braun, who is taught by Helen Krizos, was awarded third prize in the 2016 competition, held in the Erbhar Concert Hall in Vienna.  Susanna will perform with other soloists in Chetham’s Lunchtime Recital at St James’s Church in Piccadilly, London, on Monday 28 November.

At the other end of the School, Year 4 student Leo Bailey-Yang, aged 8, became the youngest person ever to gain a Performance Diploma in Piano from Trinity College London.  Performance Diplomas are one of Trinity’s most advanced performance awards, more often taken by graduate level students, and are based around an advanced recital performance.  Leo passed with a superb mark of 92%, gaining him a distinction, and now continues his studies at Chetham’s with Simon Bottomley. He also played his part in inspiring young pianists in a recent edition of CBeebies Let’s Go Club, talking about his instrument, his trip to New York’s Carnegie Hall, and of course, his School!

Finally, three members of Dr McLachlan’s family saw success at the Scottish International Youth Piano Competition, held at the Royal Conservatoire of Scotland in July.  Sons Callum, 17, and Matthew, 16, were awarded first and third prizes in the Senior Category, whilst daughter Rose, 14, gained first prize in the Junior Category.  Rose also won the £900 special overall prize as the most exceptional pianist in both senior and junior sections of the competition.   All three are students at Chetham’s and Callum may be heard performing Liszt’s Piano Concerto No. 2 with Chetham’s Symphony Orchestra on Thursday 20 October.  This summer, both Matthew and Callum were awarded the highest diploma from Trinity College – the FTCL, equivalent to a finals recital at conservatoire, whilst Harry Knott was awarded the LTCL, Henry Cash the LRSM and Varvara Manichuick and Mark Englander the DIP ABRSM.