CHILDREN’S CONCERT
TRAVELLING BY TUBA — THE SEQUEL
Chris Cranham (tuba)Stewart Death (piano)
Chris Cranham (Tuba) and Stewart Death (Piano) are a unique duo performing stunning, innovative programmes – “Travelling by Tuba are experts who really get their enjoyment of music across” (The Times). With a vast array of Wind and Brass instruments they owe their success not only to their virtuosic performances but to their ability as irrepressible entertainers to communicate with audiences of all ages.Following the great success of their concert last year, we have invited them back to perform “Travelling by Tuba — THE SEQUEL”. Featuring Wind and Brass instruments from the Four Corners of the Earth and, impossible as this may sound, the opera Carmen in four and a half minutes. Imagine the sounds of the Roman Cornu, the Swiss Alpine Horn – the original one thousand year old mobile phone – the beautiful Chinese Dragon–headed Trumpet and a pair of six foot high Tibetan Dungs! Contrast these with the mellow sounding Gems Horn and the trickiness of the Ocarina. Hear the blaring Turkish Schnib and the Zulu warrior Kudu Horns. Marvel at the Cembasso, Verdi’s tuba with the bell going forward – such an amazing variety of sights and sounds. A marvellous musical journey and a brilliant introduction to brass instruments for children of all ages.
Tickets: £6 adults, £3 children
Friday, 16 April 2010
ISM survey of teacher rates
survey
TWENTY-EIGHT pounds per hour is the mid-point of the range of fees charged by private music teachers, according to research commissioned by the Incorporated Society of Musicians.
Almost 1,100 instrumental and singing teachers reported what they had charged for private lessons in September 2009, making the survey a truly authoritative picture of tuition fees charged by professional musicians in the UK.
Most teachers in the UK charged between £24 and £34 per hour and the mid-point was £28 per hour – meaning half of the respondents charged more than this and half charged less. Teachers who had taught for more than 15 years tended to charge more than those with less experience.
Teaching fees were highest in London, the South-East, Southern England and East Anglia.
http://www.ism.org/news_campaigns/article/price_of_private_music_lessons_revealed1/
TWENTY-EIGHT pounds per hour is the mid-point of the range of fees charged by private music teachers, according to research commissioned by the Incorporated Society of Musicians.
Almost 1,100 instrumental and singing teachers reported what they had charged for private lessons in September 2009, making the survey a truly authoritative picture of tuition fees charged by professional musicians in the UK.
Most teachers in the UK charged between £24 and £34 per hour and the mid-point was £28 per hour – meaning half of the respondents charged more than this and half charged less. Teachers who had taught for more than 15 years tended to charge more than those with less experience.
Teaching fees were highest in London, the South-East, Southern England and East Anglia.
http://www.ism.org/news_campaigns/article/price_of_private_music_lessons_revealed1/
Thursday, 15 April 2010
Beethoven study day
The Beethoven Study Day - part of the Amersham Festival of Music - was hugely successful.
Our lecturer amused, informed and illuminated us with his views on Beethoven's character and music. His research on the unpublished composition fragments - frequently completed by himself from short score in the case of orchestral works, or from a melody line in the case of a piano work -was absolutely fascinating. One could see and hear Beethoven's ideas taking shape, and witness how during the compositional process an initial idea - often really quite a banal one - had been sculpted into something wonderful and new. I gained much insight from understanding how Beethoven's improvisatory playing informed his composition process, and how the maestro's incredibe powers over form and structure shaped in particular the 9th symphony and the late sonatas.
Our lecturer amused, informed and illuminated us with his views on Beethoven's character and music. His research on the unpublished composition fragments - frequently completed by himself from short score in the case of orchestral works, or from a melody line in the case of a piano work -was absolutely fascinating. One could see and hear Beethoven's ideas taking shape, and witness how during the compositional process an initial idea - often really quite a banal one - had been sculpted into something wonderful and new. I gained much insight from understanding how Beethoven's improvisatory playing informed his composition process, and how the maestro's incredibe powers over form and structure shaped in particular the 9th symphony and the late sonatas.
Exam results
Well done to the following:
Michael who passed at Grade 5
Romy who passed at Grade 2
Mia who passed at Grade 1
Michael who passed at Grade 5
Romy who passed at Grade 2
Mia who passed at Grade 1
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