1940s and 1950s ReunionAlumni Network

Friday 12th June 20153.00pmDuke’s Hall

Please switch off your mobile telephone.No photography or recording in the auditorium, please.

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Welcome I am delighted to welcome you back to the Academy for this special occasion for students from the 1940s and 50s. I know many of you are regular visitors and have observed the evolution of your alma mater closely over the last 60-odd years; it is always hugely gratifying to meet you at concerts, and other events, and to hear tales about life at the Academy so long ago.

I am also aware that several of you are returning here after decades away. You may find certain aspects of the Academy almost unrecognisable — but I hope not disconcertingly so! Our prime objective today is to allow you an opportunity to visit old haunts, share stories and rekindle your sense of belonging to this very special place. Ruth Byrchmore has thought long and hard about how best to offer a snapshot of our work here in 2015, which includes a performance of Saint-Saëns’ Organ Symphony with our wonderful new Kuhn Organ donated by Sir Elton John, and we hope you enjoy the day. You will be amused to hear that such was the strength of take-up from your generation that we have had to ask Yan Pascal Tortelier to perform the concert again, especially for you! Finally, we would be thrilled to hear any memories you have of life at the Academy which you imagine might be of historical interest as we gather archival materials towards our bicentenary in 2022. I know Ruth has both a tape recorder and lightening shorthand... Many thanks again for all your continuing support in consolidating and developing our place as a world-leading conservatoire. It is much appreciated.

Professor Jonathan Freeman-AttwoodPrincipal

Welcome back to the Academy! It’s so great to see you again! I know that for some of you, this is the first time you have ventured back to your alma mater since you graduated, for some coming back to master classes and concerts is a regular occurrence. Many of you have travelled some distance to get here and we are delighted to welcome guests from across Europe today. Whatever your circumstances, thank you for taking the time to venture back. Our reunion events serve as a constant reminder to me that this is a very special place filled with very special people — talented and incredibly loyal. Very many thanks to so many of you who have generously donated to the Alumni Scholarship Fund during this year. The Alumni Scholarship Fund helps to support a graduating student in the earliest stage of their career and is awarded amid great anticipation at Graduation each year. With your support, we are hoping to be able to offer two scholarships in 2016.

This is your Academy and your Alumni Network. I hope that whatever today brings, the connection you feel to the Academy is reinvigorated and that you feel tempted to come back again soon. Have a wonderful day!

Ruth Byrchmore FRAM, MMus, BMus (alumna 1988–1991)Head of Alumni Development & BMus Tutor

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Today’s Events

3.00pm | Duke’s HallAcademy Symphony Orchestra conducted by Yan Pascal Tortelier

Camille Saint-Saëns Symphony no.3 in C minor, op.78, ‘Organ’ (1835–1921) Adagio — Allegro moderato — Poco adagio Allegro moderato — Maestoso

Joseph Beech organ

The performance will be followed by a greeting from the Principal, Professor Jonathan Freeman-Attwood, and Ruth Byrchmore, Head of Alumni Development.

4.00pm–6.00pm | Various venues

Academy Canteen/York Gate lawnAfternoon tea will be served.

David Josefowitz Recital HallMemorabilia viewing space

York Gate Museum (open until 6pm)Ground Floor: War Music ExhibitionFirst Floor: Strings GallerySecond Floor: Piano Gallery

Academy Chimes: Ground Floor, York GateAn opportunity to visit Academy Chimes (open until 6pm) and receive 10% off any purchase

5.00pm | Academy Bar openPlease note the cloakroom will close at 6.15pm

PhotographyPlease note that photography will be taking place throughout the day. Photographs will be made available online to attendees a few weeks after the event. If you do not wish to be photographed, please inform a member of the Alumni Network team.

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Described by Tom Service as ‘the ultimate steampunk symphony’, Saint-Saëns’ Symphony no.3 demonstrates the composer’s ability to take orchestral tradition and combine with nineteenth-century innovation. It is a glorious package of oppositions; structurally fashioned from tradition wrapped in innovation; texturally polarised by articulation and orchestration; and thematically shaped by economy and extravagance.

The symphony’s structure is, on the surface, cunningly split into two movements. However, underneath this mask lies a fairly conventional four-movement symphony. The opening bars of the ‘first’ movement present us with the foundation of thematic material — a rocking between major and minor and a consequential chromatic falling — from which the ideas for the whole of the symphony are manipulated. As a champion of Liszt, who died just months after the symphony’s premiere in 1886 and to whom it is dedicated, Saint-Saëns adopted many of his fellow composer’s inventions, such as thematic transformation underpinning the entirety of motivic development in this work.

The Allegro moderato immediately sets off with brisk and agitated semiquaver movement in the strings followed by blocked woodwind as its Mendelssohn-like first subject. A gentle legato second subject follows, thickly deployed in the woodwind above fizzy strings, after which the orchestral machine races into a great waltz-like carousal before disintegrating into patchwork punches between woodwind and strings. Here we can hear subtle hints of the infamous Maestoso chorale of the final movement.

At the arrival of the Poco adagio we hear the first entry of the organ on a pianissimo A flat. In a

surprising move to D flat major, a low tonic pedal is employed at an almost inaudible frequency as we are lulled into a hushed string warmth not unlike a Mahlerlian Adagio. The melody is then rhythmically diminished, developing into a semiquaver call and answer before falling to a gentle swaying between E minor and D flat major — an idea that is reused in the wind solos of the last movement.

Our quasi-scherzo movement, an energetic Allegro moderato, follows. This movement strikingly appropriates characteristics of many of its predecessors, notably of Brahms’s and Tchaikovsky’s symphonic third movements of the 1870s, whilst still in keeping with idiosyncrasies of Saint-Saëns’s style. An example of this is the use of piano for four hands, before now tacet, that adds a unique textural sparkle. The movement reduces into a sentimental string fugue and singing oboe solo that ends on a tactful Tierce de Picardie in G major, pausing for the moment that everyone has been waiting for: that colossal Maestoso C major organ entry. The orchestra erupts into fugal recitative-like answers punctuated by the response of further organ blows. Then our triumphant theme takes flight into an array of characters and orchestrations, from soaring strings with arpeggiated piano, full fugue and brass chorale to sumptuous wind solos. Throughout this the theme develops, taking on a distinctive triplet quality that gallops ahead to a bombastic finale.

The work’s colossal size is generated not only by its forces, although they are indeed large, but by the textural polarisation and density created through the orchestration of these forces, the most notable of, of course, being the use of the organ; Saint-Saëns’s highly idiomatic writing,

Programme notes

Camille Saint-Saëns Symphony no.3 in C minor, op.78, ‘Organ’

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subtle textural integration and timbral orchestral parallels demonstrate compositional use of the organ that is entirely unlike any other appearance in the symphonic genre before it. This is unsurprising, since the French composer spent most of his career as a church organist, starting out at Saint-Merri after graduating from the Paris Conservatoire, as an equally gifted pianist, in 1853. Owing to damage and poor restoration after the French Revolution, the organ at Saint-Merri was unsuitable for performing solo repertoire thus reducing the resident organists’ workload. Subsequently, Saint-Saëns used his spare time to compose, his opus no.2 being his First Symphony in E flat. By 1858 he had won the job as organist at the prestigious La Madeleine, a position he held for almost two decades, where he was internationally famous for his elaborate and impressive improvisations.

As an organist, pianist, composer, teacher and conductor, Camille Saint-Saëns led a hugely varied career that spanned a lifetime beginning less than a decade after Beethoven’s death and ending three years after Debussy’s. He was instrumental in influencing and encouraging the next generation of young French musicians, creating the Société Nationale de Musique in 1871 with Bussine as vice-president and Duparc, Massanet, Franck and Fauré amongst its first members. Given, then, that he was only too familiar with having an orchestra at his fingertips (and toes) on a daily basis, one begins wonder whether the magic of Saint-Saëns’s orchestral colours in this third and final symphony were in fact coming out of the monumental organ pipes all along.

Programme notes by Katy Ovens

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Yan Pascal Tortelier enjoys a distinguished career as guest conductor of the world’s most prestigious orchestras. He began his musical career as a violinist and, at the age of fourteen, won first prize for violin at the Paris Conservatoire, making his solo debut with the London Philharmonic Orchestra shortly afterwards. Following general musical studies with Nadia Boulanger, Tortelier studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and from 1974 to 1983 he was Associate Conductor of the Orchestre National du Capitole de Toulouse. Further positions since then have included Principal Conductor and Artistic Director of the Ulster Orchestra (1989–92) and Principal Guest Conductor of the Pittsburgh Symphony Orchestra (2005–08). He was also Principal Conductor of the São Paulo Symphony Orchestra from 2009 to 2011, and currently holds the position of Guest Conductor of Honour, in which capacity he returns to the orchestra a number of times each season.

Following his outstanding work as Chief Conductor of the BBC Philharmonic between 1992 and 2003, including annual appearances at the BBC Proms and a very successful tour of the US to celebrate the orchestra’s sixtieth anniversary season, he was given the title of Conductor Emeritus and continues to work with the orchestra regularly. He also holds the position of Principal Guest Conductor at the Royal Academy of Music.

Yan Pascal Tortelier has collaborated with major orchestras including the London Symphony Orchestra, London Philharmonic Orchestra, Orchestre de Paris, Royal Concertgebouw Orchestra, Czech Philharmonic, St Petersburg Philharmonic, Oslo Philharmonic, Filarmonica

della Scala Milan, Philadelphia Orchestra, Los Angeles Philharmonic, and the Boston, Chicago and Montreal Symphony orchestras. Further afield he has collaborated with the Melbourne Symphony, Tokyo Metropolitan Symphony, and the Hong Kong and Malaysian Philharmonic orchestras.

Recent highlights have included a successful debut performance with the Singapore Symphony Orchestra and return visits to the Dresden Philharmonic Orchestra, the Residentie Orkest in The Hague, and the Pittsburgh Symphony, Utah Symphony, New Jersey Symphony, Bournemouth Symphony and Royal Scottish National orchestras.

Highlights of the 2014/15 season and beyond include returns to the United States to conduct the orchestras in Pittsburgh, San Francisco, Minnesota and Baltimore; European performances with the Iceland and Bochum Symphony orchestras, and the Royal Liverpool and BBC Philharmonic orchestras; and his return to Australia to conduct the Queensland, Melbourne, Adelaide and Sydney Symphony orchestras. Tortelier will also perform with the St Petersburg Philharmonic and Montreal Symphony.

Yan Pascal Tortelier has enjoyed a long association with Chandos Records, resulting in an extensive catalogue of recordings, notably with the BBC Philharmonic and Ulster orchestras, and including award-winning cycles of orchestral music by Debussy, Ravel (featuring his own orchestration of Ravel’s Piano Trio), Franck, Roussel and Dutilleux. He has also conducted critically acclaimed discs of repertoire ranging from Hindemith and Kodály to Lutosławski and Karłowicz. Recent releases for Chandos include the Ravel piano concertos coupled with

Yan Pascal Tortelier

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Joseph Beech is a second-year undergraduate student at the Royal Academy of Music, where he studies organ with David Titterington, supported by the Norman Askew scholarship. He has also been the recipient of the E Power Biggs and William John Kipps scholarships. Since commencing study at the Academy he has performed in both of the two opening concerts for the new organ in the Duke’s Hall, been broadcast on BBC Radio 3 from Neresheim Abbey, and played in masterclasses given by Bine Bryndorf, Eric Lebrun and Lionel Rogg. Recent and forthcoming solo recital venues for this year include Westminster Cathedral and St Albans Cathedral, as part of the St Albans International Organ Festival.

Joseph is also Pettman Organ Scholar at the London Oratory (Brompton), home to the senior Roman Catholic musical foundation in the country. He previously held similar positions at St George’s Chapel, Windsor Castle, and HM Chapel Royal, Hampton Court Palace, and as such has performed frequently for members of the Royal Family.

Debussy’s Fantaisie, with pianist Jean-Efflam Bavouzet, and a disc of works by Florent Schmitt with the São Paulo Symphony. In the 2013/14 season, Yan Pascal Tortelier added to this catalogue with the release of an entire disc of Stravinsky, once again collaborating with Jean-Efflam Bavouzet.

Joseph Beech

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Academy Symphony Orchestra

First ViolinRosemary HintonYijia ZhangRoberts BalanasAlice RuffleDavid ShewchukMari WakasugiIrma VastakaiteStuart McDonaldAna Popescu-DeutschBeatriz RolaChendi ZhangElena Tanski

Second ViolinMaria Florea SitjaLaura Custodio SabasSalomé RateauKanako YanagidaJacky WongChieko AraiCristian Grajner De SaHaewon YoonAlina MakhinaSofia YatsyukFrancisco La Rocca Coser

ViolaUgneI TiškuteI Sofia Silva SousaClaire NewtonUilleac WhelanBettina RaczAriane Van HoofJo Eun ShinKesari Pundarika

CelloElizabeth Porter Anil UmerSuzanne GaleMaia CollettePedro da SilvaMidori Jaeger

* This player’s instrument was purchased with the help of the Sir John Barbirolli Memorial Foundation.

Double BassRaivis MisjunsEmre ErsahinJosephine JobbinsAyesha D’Oyley*Kohki Watanabe

FluteRose GallagherHugh RobertsLinda Speulman

PiccoloLinda Speulman

OboeEleanor TinlinElia Cornejo Muñoz

Cor anglaisLavinia Redman

ClarinetFulvio CapraSabina Heywood

Bass ClarinetMary Tyler

BassoonAlice QuayleJoshua Wilson

ContrabassoonBernadette Childs

HornElliot SeidmannOliver DavisAlexei WatkinsAleksi Mäkimattila

TrumpetWilliam MorleyThomas Freeman-AttwoodEmily Mitchell

TromboneAshley HarperQuinn Parker

Bass TromboneAlexander Kelly

TubaFrederick Lange Hewlett

TimpaniBen Burton

PercussionSami TammilehtoLaura Bradford

PianoLena NapradeanNathan Ben-Yehuda

Welcome to Alumni Network …keeping the Academy present in the minds and lives of its alumni…

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www.ram.ac.uk/alumniI02078737390Ialumni@ram.ac.uk

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Academy-themed gifts and merchandise as well as a wide range of printed music and books for all levels.

M U S E U M

If you don’t have time to visit the Museum today come back for one of our events, a free lunchtime tour which takes place on the first Wednesday of every month at 1pm or our forthcoming temporary exhibition on Yehudi Menuhin which opens in January 2016.

Opening times

Monday-Friday 11.30am - 5.30pm, Saturday 12.00pm - 4.00pmClosed Sundays, pubic holidays and the month of December

Free entry

Visit the Museum today to see the ‘History of the Academy’ display, some of the Academy’s finest instruments and the current temporary exhibition, War Music: Notes from the First World War.

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Teresa Ardagh-Walter (Hetherington)1958 PianoLeon Bailey 1951 OrganMargaret Banwell 1953 ViolinJoan Bayliss (Halliday) 1960 PianoIsabel Beyer 1954 PianoFrances Bigg (Dyos) 1957 ViolinEunice Bint 1957 PianoAnn Biscoe-Taylor (Rylands) 1951 PianoChristine Blair (Notman) 1952 PianoHoward Blake 1960 PianoWendy Blanks 1962 PianoBarry Booth 1958 PianoNorris Bosworth 1960 ViolaIris Bourne 1954 Singing Felicity Brichieri-Colombi (Notariello)1960 ViolinGerald Britnell 1956 Singing Betty Britten (Boys) 1947 PianoGillian Broomfield (Sterry) 1958 PianoPamela Burton (Ferrand-Rook) 1950 PianoCatherine Butler-Smith (Smith) 1959 OboeDavid Butt 1958 FluteValerie Butt (Wetton) 1960 FluteSylvia Calvert (Hellewell) 1945 ElocutionMichael Campbell 1955 PianoJanet Canetty-Clarke (Clarke) 1956 Degree WorkNorma Carroll (Coombs) 1957 PianoValerie Childs 1959 PianoPamela Clements-Nichols 1958 PianoBridget Coles (Sudbury) 1957 PianoJune Collin (Hubbard) 1956 PianoMargaret Coolen (Lucas) 1955 Piano Accomp.Sylvia Coutts (Dobing) 1956 PianoBrian Cresswell 1961 PianoEdythe Crosse (Laing) 1949 PianoHarvey Dagul 1952 PianoJeremy Dale-Roberts 1959 CompositionPaul Davies 1952 ViolaRohan De Saram 1958 CelloPauline Del Mar (Arthur) 1948 CelloAnna Dew (Myers) 1954 PianoElizabeth Dixon (Ashwin) 1955 PianoDiana Doherty (Redmayne) 1956 PianoDeirdre Dundas-Grant 1948 BassoonMolly Dussek (Lowe) 1950 ViolinMarjorie Dutton 1961 Piano Accomp.Ruth Eden (Pocock) 1957 PianoAnne Edwards 1957 OboeChristine Edwards (McCallum) 1956 FluteMyrna Edwards 1958 PianoDoreen Elderkin (Wyatt) 1957 PianoKate Elmitt 1955 PianoChristine English (Malkin) 1951 PianoJennifer Fisher (Herring) 1955 PianoMonica Foster (Neal) 1955 PianoKenneth Freemantle 1952 PianoJoyce Fretwell (Dixon) 1953 PianoHilary Gann (Twyman) 1956 Piano

Barbara Garton (Howson) 1956 Singing Graham Garton 1953 CompositionJohn Georgiadis 1960 ViolinDavid Goodall 1962 ViolinIan Gorman 1961 PianoMargaret Gorman (Fisher) 1960 Singing Astrid Gorrie (Salvesen) 1957 PianoBernard Graves 1958 Degree WorkJoan Hall (Mackerras) 1956 ViolinValerie Halstead (Marsh) 1959 Singing Llywela Harris 1951 PianoRonald Harris 1960 HornCarmel Hart (Levine) 1954 PianoRuth Harte 1948 PianoSheila Hawkins (Spencer) 1950 ViolaIan Herbert 1955 ClarinetJennifer Hetherington (Tatam) 1959 Singing Margaret Hewitt (Burgess) 1953 PianoPamela Hewitt 1956 PianoJocelyn Hill (Gale) 1959 CelloMarjorie Hodlin (Bednall) 1956 PianoHilary Holloway (Davidson) 1962 ViolinJulia Hooper (Brown) 1955 PianoBettina Houlder 1951 PianoValerie Howe (Chatterton) 1957 ViolinCatherine Hyde (Dey) 1955 PianoMargaret Indeg Thomas 1956 Singing June Ingleton (Smith) 1956 PianoPatricia Jacobs (Pickmere) 1948 PianoGloria Jennings 1958 Singing Brian Johnston 1962 ViolinDerek Johnstone 1948 PianoFiona Jones (Forrest) 1952 ViolinMargaret Kemp (Steven) 1958 PianoElizabeth Kennedy (Ogden) 1949 OboeAnn Kenton-Barker (Broadhurst) 1958 Speech/DramaCarmel Kinnear (Cryan) 1958 Speech/DramaAnn Kirby (Makings) 1960 PianoRachel Lambert (Gutsell) 1963 PianoRosemary Lang (Gray) 1960 PianoYsobel Latham (Danks) 1959 ViolinChristine Law (Auger) 1958 Singing Lawrence Lea 1957 ViolinMarion Lea 1958 PianoMary Leaf 1952 ViolinJoan Lee (Calton) 1955 PianoBrenda Lewis (Grainger Ford) 1948 CompositionPeter Lewis 1959 ViolaGillian Lovett 1952 Singing Pearl Mace (Smith) 1949 ViolinBrian Mack 1958 ViolaIan Macpherson 1959 PianoDavid March 1960 TrumpetEleanor Martin (Capp) 1956 Singing Shirley Mason (Evemy) 1956 PianoGillian Mayer (Hepton) 1961 PianoJohn Mcleod 1961 Clarinet

Reunion Attendees List

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Mary McNeill (Auger) 1955 PianoJean Middlemiss 1946 ViolaJudith Miller (Newcombe) 1961 PianoSheila Miscampbell (Wilkinson) 1950 Singing Jean Moelwyn Hughes (Thomas) 1958 HarpOlwen Morris (Goodwin) 1957 PianoSonia Morrison (Leadbeater) 1951 CelloSusan Moser (Waley) 1952 PianoJanice Mottram (Boxall) 1958 Speech/DramaMargaret Murray-Mcleod (Murray) 1960 PianoNaomi Newlands (Elliott) 1960 CelloCharles Nolan 1958 ViolinDiana Nolan (Butler) 1962 SingingRoger North 1951 CompositionMichael Ogonovsky 1960 HornAnn Olver (Truscott) 1958 PianoHeather Osborne (Malcolm) 1948 ViolaRaymond Ovens 1954 ViolinMargaret Owen (Brett) 1954 ViolinGillian Palmer (Kentsbeer) 1954 PianoHazel Pantony (Cripps) 1953 PianoAnne Park (Norman) 1960 ViolinMary Pateman (Phelps) 1949 PianoJudith Peak 1958 PianoJames Peschek 1951 PianoMuriel Philpott (Edmunds) 1957 PianoMary Powney (Earl) 1958 Singing Lorraine Preater 1959 PianoJennifer Prentice (Nixon) 1960 PianoLesley Price (Wood) 1953 Singing Keith Puddy 1958 ClarinetMarilyn Puddy (Johnston) 1960 PianoGriselda Rawlinson (Carlisle) 1953 PianoPamela Rawlinson (Loveys) 1959 PianoClare Renwick 1959 ViolinPauline Richards (Evans) 1954 Singing Patricia Round (Ball) 1949 ViolinFrancis Routh 1953 PianoSarah Sayers (Fridjhon) 1959 ViolinAnne Schultz (Bray) 1960 PianoBryan Scott 1957 PianoGraeme Scott 1962 ViolaIta Scott (Herbert) 1961 ViolinPrunella Sedgwick 1960 ViolinEleanor Shimmin (Clarke) 1954 Singing Robert Simans 1961 CompositionPhilip Simms 1960 OrganSylvia Simon (Veronique) 1955 Singing Jillian Skerry 1955 PianoMarion Smith (Hughes) 1954 Singing Jill Spurrell (Davis) 1957 ViolinEdwina Stacey (Savidge) 1952 Singing Gwyneth Stolow (Jones) 1956 PianoDavid Stone 1948 ViolinJohn Streets 1954 PianoPatrick Strevens 1948 HornPrudence Studd 1952 Piano

Isolde Summers (Grove) 1958 BassoonCatherine Suttie (Kearns) 1958 ViolinDorothea Thomas (Bostock) 1940 PianoAudrey Twine 1955 ViolinDenis Vigay 1950 CelloChristina Ward 1952 PianoPamela Weldon 1957 Speech/DramaChristine Wells 1956 CelloRichard West 1961 ClarinetJanet Whelan (Rogers) 1949 PianoJennifer Whelan (Bryant) 1958 Speech/DramaDenis Wick 1950 TromboneJohn Wilkinson 1955 ClarinetKeith Wills 1947 PianoPatricia Wise (Douglas) 1958 Speech/DramaOlwen Wonnacott 1954 PianoLinda Wright (Garratt) 1955 Violin

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Vivienne Smith (1939–42)

I am now 94 years of age and have very happy memories of my time at the Royal Academy even if it was war time. Recently I found my diary of 1943 when on one day I had noted that on a day when Sir Henry Wood was holding his weekly rehearsal with the First Orchestra an air raid warning caused them all to go down to the basement, not once but several times during that rehearsal. Eventually we had our own Roof-Spotter and only when a warning came from him was it really essential to take cover!

Memories of Colin Sauer (1940–46) who died on 9th January 2015.

At the age of 16 Colin started as a student at the Academy. Colin was taught by the infamous Rowsby Woof and under his direction played Lalo’s ‘Symphonie Espagnol’ under the baton of Sir Henry Wood. During Colin’s time at the Academy he was invited to play with the Hallé Orchestra on tour in Holland and Belgium under the baton of John Barbirolli and the BBC Symphony Orchestra under the baton of Sir Adrian Boult. He was awarded the most coveted DOVE prize for ‘general assiduity and all round excellence’. He also had an ARAM and FRAM conferred upon him. His first recital at the Wigmore Hall, accompanied by his sister Sheila, led to the inclusion in a book titled ‘Violinists’ of Today’ by Donald Brook.

Sylvia Calvert (née Hellewell) (1942–45)

My first memory of the Royal Academy of Music is arriving on my first day to be met by a double row of sandbags across the front door. I was met by Bradbury, the Porter inside, who showed me where to go. He was the “keeper of the keys” to the practice rooms, one had to him approach him with due respect!

There was a small room to the right of Duke’s Hall entrance which was a ladies’ lounge/waiting room. I never saw anyone in there; we all spent our spare time down in the canteen. There would often be complimentary tickets left in there for concerts at Wigmore Hall and Saturday morning rehearsals at the Albert Hall with Malcolm Sargent, John Barbirolli or Adrian Boult conducting.

I remember Tuesday afternoons in the Concert Hall listening to Henry Wood conducting the First Orchestra – he was so proud of them; delighted when they achieved what he asked from them.

I don’t have photographs of the Academy; during the war, film was difficult to come by and expensive to develop.

I loved my time there.

Derek Johnstone (1943–48)

Hitler hated me! September 1943 – from a quiet Scottish town to London for the first time and I arrived during an air raid. Very noisy, but I was quickly in the Underground and so to my suburban digs, telling my landlady on arrival that the all clear was sounding a major 3rd (was it?).

June 13th 1944 – my debut as an organist in a Handel concerto. The rehearsal was puzzlingly interrupted by frequent alerts and all clears, each involving a trip between the Duke’s Hall and basement. Rumours of bombs with wings turned out to be true – it was Hitler again, the first day of his notorious V1 bombs (doodle bugs as we knew them). Surprisingly, Adolf laid off on the day of the concert which went well (I think). February 1945 – Hitler was still at it. I was called up into the army and was soon bashing cymbals in the Irish Guards Band. But I was able to continue part-time study at the Academy until my first job in January 1949.

Reminiscences & other remarks

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To this day the dear old Academy doesn’t quite seem right without sandbags round the ground floor and particularly the main entrance. In spite of Hitler, the happiest four and a half terms of my life.

Elizabeth Cooper (née Ashton) (class of 1946)

I was a student at the Academy from 1940, with Evelyn Langston for Singing, and John Pauer for Piano. I later took viola and organ lessons, then I became a sub-professor of singing for another 3 years. For the next 12 years I was singing, recitals, oratorio, broadcast recitals, largely of French repertoire, Mozart Opera. Later I started teaching in schools, founded two youth choirs and a youth orchestra, and was invited to teach Aural Training and singing in the Junior Academy on Saturdays, which I did for 30 years or so.

It was interesting sometimes to see orchestras on TV with musicians who had been in my classes in the Junior Academy! I married Roy Ashton, tenor, who was a more mature student, and was 14 years my senior. He had previously trained as a make-up artist in the film industry. He returned to film work, and became famous as the creator of many of the monstrous characters in Hammer Horror films.

I am now in my 93rd year, and am still teaching piano, which I have done since the age of 15, adding Singing later. Several old students of mine are teaching Singing, notably Kathryn Harries, who is now the Director of the National Opera Studio, and is still singing in opera all over the world, and Catherine Hamilton who lives in Plymouth, is teaching Singing and performing herself throughout the West country.

Leon Bailey (1948–51)

One Monday morning in September 1948 a rather nervous 17-year old student up from the West Country climbed the steps to the organ in the Duke’s hall. Sitting by the organ was a middle-aged man with a (characteristic) bow tie, the esteemed organist and teacher C H Trevor.

“So, what are you going to play for me, Mr Bailey?” “The Mendelssohn first organ sonata, Sir”. [Bad choice – a tricky piece on an organ I’d only played once before, for a short time].

At the end – a quizzical look – “And what did you think of that?”. Oh dear, what a mess, not a good start.

Thus began a tortuous (and sometimes tortured) journey to Graduation. I learned the importance of technique, articulation, style and complete accuracy through a vast repertoire – the ever-present J S Bach, of course, Franck, Reger, Karg-Elert, Dupré, Buxtehude, Krebs, Tournemire, Hindemith, Bridge, Brahms, Whitlock, Stanley, (Messiaen was banned) culminating in a final performance of Liszt’s BACH Prelude and Fugue.

At the very end an unexpected glowing testimonial – and a card every Christmas until CH died. What a gentleman?

Mrs Ann Biscoe-Taylor (née Rylands) (1948–51)

– The bus conductor who always shouted “Royal Academy of Music – anyone on the fiddle?”!

– Thorunn Tryggvason – who was a Junior Exhibitioner prodigy pianist who made us look like beginners! She married Ashkenazy – her father was doing a conducting course.

– The suet puddings in the canteen which were

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cooked in steel cylinders – we were always hungry because of rationing.

– Singing in a choir for Ernest Read at the Albert Hall in December every year.

– My father called it “The Royal Academy of Coffee and Chat” and said it was the most expensive club he had ever subscribed to! I explained that we also learnt a lot over the coffee and chat.

They were very happy years.

Lorna Denham (née Race) (1948–56)

I have a great love of the Academy and feel that it is part of my DNA. [Initially a pianist] life could suddenly be shared with the flute which, after the solitude of years of piano practice, was such a convivial experience. I played the flute in a Wind Divertimento by Malcolm Arnold who coached us himself –Keith Puddy was the clarinettist.[Among my friends] was Sheila Arnatt (the broadcaster Sheila Tracey). Sheila and I shared a flat and I was a great admirer of her jazz achievements.

Enid Roberts (1948–52)

As a result of my cello lessons with Cedric Sharp, one of the first things I did on leaving the Academy was to go down to the Pyrenees to hear Pablo Casals play the cello. Casals taught Paul Tortelier (who) taught the Finnish cellist Arto Nora, who has a Chamber Music Festival in Finland every year in June. I have been going to this Festival for about 20 years with the result that I will be in Finland on 12th June. I am very sorry not to be able to be with you. I have many happy memories of my student days at the Academy.

Ann Wilkinson (née Peacock) (1948–55)

I was very happy during my years at the Academy. I was fortunate enough to be a pupil of Frederick Grinke who was one of the top professors at the time. I had also been a member of the National Youth Orchestra, so I already knew several other students as we started our first awe-inspiring year.

Our first encounter on entering that imposing building was with Paddy at the reception desk. He was keeper of the keys, and if you were nice to him, he would let you have an empty room to practise in. Otherwise it was across the road to Dinely Studios.

In our first year we had History of Music with Dr Cole, Aural Training with Dr Ernest Read, Orchestra with Clarence Raybould (how thrilled he was when we performed ‘Don Juan’ by Strauss) and Chamber Music with Herbert Withers. He did not think much of our effort with Beethoven Op. 8 in F! We had thought we were pretty clever to get through it at all.

In those days there were separate waiting rooms for men and women and our only meeting place was the canteen, dark and gloomy in the basement.

There were no Masterclasses that I remember. However, I do remember a special recital by Jascha Heifetz. We watched spellbound as this incredible player demonstrated his talents. It was a never to be forgotten experience. In those days we were not supposed to accept outside engagements, although sometimes we did so - on the quiet!

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All the violin students seemed to congregate together, and after the annual exams we used to wander off into Regent’s Park to rejoice in our freedom!

Thank you Royal Academy of Music.

Anthony Addison (class of 1949)

My career brought me to the USA and I have not kept up with my contemporaries at the Academy, but I send good wishes to anyone who remembers me, and whom I most probably would remember.

Iris Bourne (1950–54)

I have a very vivid memory of my first day at the Academy in September 1950. I was in the Duke’s Hall and saw Myers Foggin, the then Warden and Director of Opera, walk in to take an orchestral rehearsal of Carmen. I had spent the previous four years in the ATS, mostly in Brussels after the liberation of Belgium. I took singing lessons there and sang in several concerts including one organised by the partisans. I was persuaded to consider a professional career after the war. So, two years and a professional scholarship later, there I was, and whenever I hear the Carmen overture I remember that first day.

My teacher was May Blyth who had been a prima donna in Sir Thomas Beecham’s opera company in the 1930’s. 1952 saw the arrival of Callas to sing Norma at the ROH. I was lucky to be at the first night and to be part of the tumultuous reception from the audience. She became a lodestar for me, along with Fischer- Dieskau, the great lieder singer. I enjoyed a varied career of opera, oratorio and recitals including many for the BBC. Such exciting times.

Freda Murden (née Masterson) (class of 1950)

I really loved the time I spent at the Academy and would love to have met some of my contemporaries again. I wonder if we would recognise each other after all this while!

I remember Felix Swinstead with great admiration and respect – he was my professor – wasn’t I fortunate?

Thelma de Leeuw (1951–54)

I recall my days at the Academy as a great privilege, which led to a happy and successful career in school music and teacher education. The fact that I then moved from Music and Education departments in Colleges of Higher Education into College Management and Vocational Guidance was a surprise to many, not least myself; but I found that the disciplines of earlier study served me well in those new roles and that the many skills were very transferable – and of course music in many forms remains a great joy in my life.

Richard Mason writes about Raymond Hockley (1951–55)

Raymond died three years ago. He composed throughout his life and a few works were published and performed. He became an Anglican priest, was Chaplain at Emmanuel College, Cambridge and, for 17 years, Precentor of York Minster. He recalled his time at the Academy remembering having to share his composing ideas with Ralph Vaughan Williams. RVW suggested (that) to be a composer means you should be sure of a private income!

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Margaret J Smith (née Walk) (1951–54)

I am so very disappointed to have to reject your invitation. I have only been in the Academy once since leaving and would dearly love to have come and seen all the changes. I have such fond memories of those early mornings, trying to grab a piano before the professors got in (after which) we had to migrate to those ghastly Dyneley Studios (at 1s 6d an hour for a honky tonk!).

It would have been lovely to join you all – perhaps another time?

Gloria Jennings (1953–58)

I spent five very happy years at the Academy between 1953 and 1958. I remember how thrilled we were that Vaughan-Williams attended a dress rehearsal of his opera “The Poisoned Kiss”. We, the cast, were introduced to him and shook hands. His wife, Ursula, gave me some long evening gloves to wear in the production. I remember the protocol for Prizegiving at which the Duchess of Gloucester would present the prizes. We were taught how to curtsey and Mrs. Rawlings (The Lady Superintendent) looked over our long white dresses to make sure we were presentable. One girl wore a dress with straps and bare shoulders and was made to cover up with a white blouse! The end of term Academy Ball was looked forward to but there were never enough men to partner us due to National Service. Above all I remember the friends I made, some lifelong and some sadly, like Ursula Connors, no longer with us. We would sit in Regent’s Park and Lyons Corner House drinking coffee and discussing singing technique for hours on end. Happy Days.

Felicity Phillips (class of 1953)

I did enjoy my time at the Academy and was very fortunate in my teachers.

Some years later when I was writing my Piano Tutor, Guy Jonson went through the three books in great detail. His suggestions incorporated, he congratulated me on ‘a really splendid Primer in every way.’ He was happy for me to quote his commendation when trying (unsuccessfully) to find a publisher. James Lockyer was also very encouraging. He would be glad to know that after having my left shoulder joint replaced, I am back to playing in a quartet and two orchestras: Haslemere and the Farnborough Symphony Orchestra.

Ronald Milne (1954–56)

Thank you for extending an invitation to the Academy reunion. Unfortunately, the distance is just too great from Western Canada, otherwise I would certainly have attended.

For your alumni records, I enclose some of my information re my stay at the Academy and subsequent professional life.

I entered the Academy Sept 1954 and studied violin with Frederick Grinke who was a fine teacher and also supportive and caring towards his students. My first year was mainly devoted to the right hand and developing a dependable bow technique! For that, I was forever grateful throughout my career to Grinke's teaching. I remember taking part in the Royal Academy Opera Orchestra in some fine performances of Puccini's Gianni Schicchi and Souer Angelica. I also recall being introduced by Hebert Withers to Schubert's great masterpiece…The String Quintet for two cellos. I also remember well, and with some humour, the large classes of 60

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or more students of all instruments and singers where we did ear training and sight singing with various degrees of success. Usually the string players fared better than most!

I left the Academy in June 1956 and joined the Royal Liverpool Philharmonic Orchestra. There, I found a happy and friendly orchestra where I learned a vast amount of orchestral repertoire and toured throughout much of the UK and to the continent.

I returned to Canada and to my home town of Vancouver in 1967. There I became a member of the Vancouver Symphony Orchestra, and was invited to join the CBC Radio Orchestra based in Vancouver. I also played for a number of years in the Baroque Strings of Vancouver which was founded and led by Norman Nelson formerly of the London Symphony Orchestra.

Both in Liverpool and Vancouver, I was fortunate to work with many of the finest conductors and soloists. I had three trips to Japan with the Vancouver Orchestra and the orchestra also toured western USA and nationally in Canada. I retired from playing in the year 2006.

Caryl Roese (née Roberts) (1956–60)

Enclosed ........... photocopies of my references from Dr Norman Demuth (bless him, he was such a wonderful man) and Bruce Boyce (the lady killer!). Bruce could charm the birds off the trees. Great times at the Academy in the 1950s.

Share your memories of the Academy In 2022 the Academy will be celebrating its bicentenary. To mark this milestone in our history we plan to develop an oral history of the Academy from the 1940s to the present day. Our aim is to create an archive that will enable future generations to access the memories of those that were here ‘on the ground’, and gain some understanding of what daily life was like at the Academy in the second half of the Twentieth Century and beyond. To achieve this, we are looking for alumni who are willing to share their memories of their time at the Academy with us. If you are interested in taking part, we would love to talk to you. Please get in touch with Sandra Green to arrange a time to record an interview with Timothy Jones, Deputy Principal (Programmes & Research) in person or by telephone.

Sandra Green Executive AssistantEmail s.green@ram.ac.uk Tel 020 7873 7309

If you share our passion for music and would like to become more involved in Academy life, then we hope you will consider joining the Patrons of the Royal Academy of Music.

As we aim to remain at the forefront of the leading international conservatoires, your contribution will provide a vital source of support for Academy students, who will in turn become the artists of tomorrow.

To find out how your support could help future generations of Academy students please contact Carol McCormack, Director of Development: telephone 020 7873 7332, c.mccormack@ram.ac.uk

www.ram.ac.uk/support

Join us

Out now, the third in a series of Academy recordings on Linn – reigniting Schoenberg’s vision of performing chamber reductions

Mahler arr. Schoenberg Lieder eines fahrenden GesellenBusoni arr. Stein Berceuse élégiaque, op.42Zemlinsky arr. Austin Sechs Gesänge, op.13Wagner Siegfried Idyll

Trevor Pinnock conductor Katie Bray mezzo-sopranoGareth Brynmor John baritoneRoyal Academy of Music Soloists Ensemble

www.ram.ac.uk/discs

‘Surely a glimpse of heaven’

Evening Standard

Chamber arrangements of Zemlinsky, busoni

and Wagner

royal aCademy of musiC soloists ensemble

Trevor Pinnock

Mahler: Lieder Eines Fahrenden

Gesellen (arr. Schoenberg)

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Armorel Wykes (Sterling-Hill) 1949 CelloJacqueline Wylie (Bolton) 1960 Piano

What happened next...?

1942 Academy professor Arnold Bax appointed Master of the King’s Music.

1943 Benjamin Britten composes Serenade for tenor, horn and strings for Peter Pears and Academy alumnus Dennis Brain. 1950 Academy alumnus Sir John Dankworth forms his Big Band.

1953 The Coronation of Queen Elizabeth II: HM The Queen becomes the Academy’s Patron. 1957 Harrison Birtwistle enters the Academy.

1961 Sir John Barbirolli, a former student, joins the Academy as conductor of the First Orchestra.

1968 The new Library is opened by Her Majesty Queen Elizabeth the Queen Mother. Academy alumna and pianist Harriet Cohen bequests Royal Academy of Music prestigious collection of 20th- century art to commemorate Academy professor and composer Arnold Bax.

1970 The GRSM course is founded. 1971 The 150th anniversary of the Academy is celebrated.

1976 The Sir Jack Lyons Theatre is opened in the presence of HRH Princess Alice, Duchess of Gloucester, the Academy’s President.

1984 The Academy presents its first International Composer Festival, each of which is devoted to the work of a distinguished living composer with a tribute to Wiltold Lutoslawski. The composer himself attends the festival. 1985 Diana, The Princess of Wales, becomes the Academy’s Presidnt.

1991 The Academy’s unique BMus degree course is launched. The Sinfonia’s first overseas orchestral tour travels to the Republic of Korea. 1992 The refurbished Duke’s Hall is re-opened. 1993 The Da Capo Composers Festival, features over 60 composers who studied at the Academy. 1996 The British and American Film Music Festival features four concerts conducted by Ron Goodwin, Michael Nyman, Michael Kamen and John Williams. 1998 HRH The Duchess of Gloucester becomes the Academy’s President. The Sinfonia makes its first orchestral visit to Beijing and Tokyo. 1999 The Academy becomes the first conservatoire to be admitted as a full member of the University of London, Britain’s largest university.

2001 The Academy’s new museum and the David Josefowitz Recital Hall are both opened. The new two-year postgraduate Royal Academy Opera course is introduced. 2002 Sir Elton John performs at the Royal Opera House with the Academy’s Symphony Orchestra and musical theatre choir, raising nearly £1 million for the Academy’s Sir Elton John Scholarship Fund.2002 Honorary Doctorates are presented at the Academy for the first time. The first recipients are Sir Colin Davis and Sir Elton John.

2004 The Academy, with generous assistance from the Foyle Foundation, acquires Yehudi Menuhin’s archive. 2005 A collaborative orchestra of students from the Academy and The Juilliard School perform under Sir Colin Davis at the BBC Proms. The Academy acquires the ‘Viotti ex-Bruce’ violin by Stradivari which was famously saved for the nation. 2006 In the final events of the Academy’s Paganini in London festival, Maxim Vengerov plays Paganini’s Cannone violin — the instrument’s first visit to London since Paganini himself played it here. 2008 Academy students play crucial roles in critically-acclaimed performances of Luigi Nono’s Prometeo and Gérard Grisey’s Les espaces acoustiques at the Southbank Centre, in collaboration with The London Sinfonietta. 2009 New facilities include a suite of practice facilities and an opera rehearsal suite. The Academy is ranked Britain’s top conservatoire in Times Higher Education Table of Excellence, which is based on results from the national Research Assessment Exercise. 2010 Honorary Doctorates are presented to Daniel Barenboim, Pierre Boulez and Stephen Sondheim. 2011 The acclaimed premiere production of Sir Peter Maxwell Davies’s Kommilitonen! An Honorary Doctorate is presented to Sir Simon Rattle. The Guardian’s table for music education is topped by the Academy for the third year running. The Academy celebrates a century in Marylebone, and 190 years since the first discussions which led to its founding in 1822. 2012 Appointments include Maxim Vengerov, Semyon Bychkov and Sir Harrison Birtwistle. An orchestra of Royal Academy of Music and Juilliard School students performs at the BBC Proms, conducted by John Adams.

2013 Installation of the new Sir Elton John / Ray Cooper Organ in the Duke’s Hall. Outline planning permission is granted for a new theatre and recital hall.

2014 New appointments include Robin Ticciati (Sir Colin Davis Fellow of Conducting), Edward Gardner (Sir Charles Mackerras Chair of Conducting) and Oliver Knussen (Richard Rodney Bennett Professor of Music).

2015 Historical performance instrumentalists and singers from the Academy and the Juilliard School in New York combine to perform in the United States and Europe, conducted by renowned Bach authority Masaaki Suzuki.

Royal Academy of Music

The Royal Academy of Music has been training musicians to the highest professional standards since its foundation in 1822. As Britain’s senior conservatoire, its impact on musical life, both in the UK and abroad, is inestimable. The music profession is permeated at all levels with Academy alumni, including classical giants such as Sir Simon Rattle and Sir Harrison Birtwistle, pop icons Sir Elton John and Annie Lennox, a host of opera stars such as Dame Felicity Lott, Lesley Garrett and Susan Bullock, principals in some of the world’s leading orchestras (including the Royal Concertgebouw Orchestra, the Berlin and Vienna Philharmonic Orchestras, the Orchestra of the Metropolitan Opera New York, and all of London’s leading orchestras), innovative soloists including Dame Evelyn Glennie and Joanna MacGregor, best-selling recording artists and UK media celebrities Miloš, Gareth Malone and Myleene Klass.

An institution that trained Sir Arthur Sullivan, Sir Henry Wood, Sir John Barbirolli, Lionel Tertis, Dame Myra Hess, Dame Moura Lympany, Richard Lewis, Dennis Brain, Sir Clifford Curzon, Philip Langridge and John Dankworth, and with strong associations back to Mendelssohn, is bound to be proud of its history; but the Academy is firmly focused on refreshing creative traditions for tomorrow’s musical leaders in the classical, jazz, media and musical theatre worlds. Every year some of the most talented young musicians from over fifty countries come to study at the Academy, attracted by renowned teachers and by a rich artistic culture that broadens their musical horizons, develops their professional creativity, and fosters their entrepreneurial spirit. In addition to a busy schedule of lessons, classes and masterclasses, students benefit

from the Academy’s ambitious and unrivalled calendar of concerts, operas, musical theatre shows and other events, in which they work with leading practitioners and visiting professors such as Sir Peter Maxwell Davies, Sir Mark Elder, Trevor Pinnock, Stephen Hough, Maxim Vengerov, Semyon Bychkov and Sir Thomas Allen. As International Chair of Conducting Studies from 1988 until he died in 2013, Sir Colin Davis conducted a total of eight operas and over fifty orchestral concerts at the Academy.

Ever since its inception, the Academy has been committed to transporting its musical activities from its central London home to the widest possible national and international audiences. Today, Academy students perform at many leading venues and festivals, including Wigmore Hall, Southbank Centre, Kings Place and the Aldeburgh Festival. They collaborate with distinguished partners such as the London Sinfonietta, the Orchestra of the Age of Enlightenment and the Juilliard School in high-profile projects that attract national attention and critical plaudits. In 2012 the Academy and New York’s Juilliard School joined orchestral forces in sensational concerts at Lincoln Center and the BBC Proms. The Academy’s own recordings with Linn and its own CD label have received critical acclaim. (‘While the big record companies flounder, the independents flourish. The Royal Academy of Music’s own label is a case in point, with some jolly good recordings in its catalogue’ — Metro).

The Academy is committed to lifelong learning, ranging from the Junior Academy that trains musicians up to the age of 18, through many ‘Open Academy’ community music projects with schools in London and

further afield, to performances and educational events for the musically curious of all ages.

The Academy’s museum is home to one of the world’s most significant collections of instruments and artefacts. Highlights include the important collection of Italian stringed instruments (with many examples by Stradivari, Guarneri, and members of the Amati family), a unique collection of nineteenth-century keyboard instruments, composers’ manuscripts (including Purcell’s The Fairy Queen and Vaughan Williams’s Fantasia on a Theme of Thomas Tallis) and collections that belonged to Sir Henry Wood, Sir John Barbirolli, Lord Menuhin, Otto Klemperer, Sir Charles Mackerras, Nadia Boulanger, Richard Lewis, Robert Spencer, Norman McCann and David Munrow. These collections are an invaluable educational and artistic resource for the Academy’s entire community, underpinning teaching and research and enabling young musicians to find their own artistic profile in the context of musical riches of the past.

As the Academy approaches its bicentenary it goes from strength to strength. In the past three years alone, the Academy has been rated the top conservatoire in the country for student satisfaction in the National Student Survey, top conservatoire in The Times University Guide and the best conservatoire for research by the Times Higher.

‘A student’s choice of university makes a difference when it comes to finding a job or a place in a graduate program... The Royal Academy of Music was the only British post-secondary institute with a perfect score’ — New York Times, 2013

‘The Royal Academy of Music in London is internationally known and recognised as representing the highest values of music and musical society’— Daniel Barenboim

‘This building has been absolutely at the centre of everything that I have done, everything that I have learnt’ — Sir Simon Rattle

The Alumni Network: keeping the Academy present in the minds and lives of its alumni.

www.ram.ac.uk/alumniTelephone: 020 7873 7390 Email: alumni@ram.ac.uk

A date for your diary:Friday 27th November 2015

Carols by Candlelight6.00pm–8.00pmSt Marylebone Parish ChurchTickets £8.50 from the Academy’s Box Office: www.ram.ac.uk/events from Friday 17th July, telephone 020 7873 7300 from Monday 14th September.

Celebrate the musical majesty of Christmas with the entire Academy family at this annual festive event. Following the service, the Alumni Network invites you to the Academy Canteen for some festive cheer.

Special thanks to: Rita Castle, Marcus Dods, Ayesha Garrett, Kathleen Gilbert, David Gleeson, Andy Hawkins, Katy Houston, Kath O’Shea, Nicola Mutton, Emma-Ruth Richards, WIll Scott, Janet Snowman, Pete Smith, Adam Turner-Heffer, Rob WIlding, Hana Zushi-RhodesAnd the Alumni Network team:Ruth Byrchmore, Helen Wills and Philip White

Sir Henry Wood conducting the Royal Academy of Music student orchestra, c.1940

Supporting the Academy

We rely on the generosity of our supporters to maintain the highest standards of tuition, to provide world-class musical facilities and to offer direct scholarship support to young musicians during their studies here. There are many ways to support our work, be it by joining our community of Patrons, remembering the Academy in your will, supporting a scholarship or masterclass or by contributing to the campaign to transform our theatre. Every gift, large or small, makes a difference to our talented young students and to the Academy as a whole. Thank you.

Professor Jonathan Freeman-Attwood, Principal

Individual donors: John Kenneth Adams; Anonymous; Mr Richard Ashby; In memory of Jacob Barnes; Mr David Barnett; Lord Blackwell; Mrs Jennie Blythe; Miel de Botton; Mr & Mrs David Bowerman; The late Betty Brenner; Molly Bridge; Mr & Mrs Richard Bridges; Mr & Mrs John Burgess; Lord & Lady Burns; Mrs Jean B Collyer; Miranda Curtis; Neil Dalrymple; Lord Gawain Douglas; Ms Anne Edwards; Mr & Mrs Mark Elliott; Serena Fenwick; Matthew & Sally Ferrey; Denys & Victoria Firth; Mr Neil Franks; Dr Anthony Freeling & Mrs Laurel Powers-Freeling; Mrs Joyce Fretwell; Mr Michael Gilsenan; Mrs Kyoko Gledhill; In memory of Sylvia Foodim Glickman; Mr John Gontarz; Charles & Analida Graham; The late Mary Stuart Harding; Mr Peter Hardy & the Friends of Clumber Studio; In memory of Howard Hartog; Ms Rosamund Hattey; In memory of Hannah Horovitz; The Horovitz, Blake & Stone Families; Mr Steven Isserlis; Sir Elton John; Joseph & Jill Karaviotis; In memory of Margaret Kitchin; The late Therese Mary Kitchin; Sir Ralph & Lady Kohn; Ms Jeanette Lander; Ms Helen Lawrence; Mrs Margaret Lewisohn; The Rt Hon Lord Lloyd of Berwick; Mr Peter Lofthouse; Mr Mark Loveday; Mrs Audrey Lyons; Mr & Mrs Raffy Manoukian; Dennis Maunder; Mr William Newsom; Mr John Newton-Jones; The late Nancy Nuttall; Mrs Daniela Oetker; Mrs Catherine Osborne; Alan & Jette Parker; Ms Judith Parker; Mr & Mrs Richard Portnoy; Tony & Vanda Renton; Sir John & Lady Ritblat; Lord & Lady Rothschild; Sir George & Lady Russell; Lord & Lady Sainsbury of Turville; Mr James Smillie; Sir Martin & Lady Smith; Mr & Mrs Steven Smith; Nicholas Snowman; Nicholas & Kai Spencer; Sir James & Lady Spooner; Mr Barry Sterndale Bennett; Mr Ian Stoutzker; John & Bonnie Suchet; Mrs Tabor; Sir David Tang; Ms Dinny Thorold; Mr William Tilden; Christopher Tolley; Mr & Mrs Anthony Travis; The late Mrs Pamela Ann Turner; In memory of Richard Turner; In memory of Jennifer Vyvyan; Ms Rebecca Wang; Mr Eric Warne; In memory of Professor James Watson; Veronica Williams-Ellis; The late John Fawcett Wilson; Richard & Jacqueline Worswick; Mrs Julia Yorke & many others...

Trusts & Foundations: ABRSM; AF Trust Company; The Amaryllis Fleming Foundation; The Andor Charitable Trust; Anonymous; The Arts Club Charitable Trust; The Ashley Family Foundation; The Athena Scholarship; The Austin and Hope Pilkington Trust; Backstage Trust; John Baker Opera Award; The Band Trust; The Lionel Bart Foundation; The BBC Performing Arts Fund; Sir John Beckwith Charitable Trust; Blyth Watson Charitable Trust; The Brooks Van Der Pump Charitable Trust; The Derek Butler London Trust; Calleva Foundation; The Carr-Gregory Trust; The Cavatina Chamber Music Trust; Winifred Christie Trust; Ruth Clark Scholarship; Clemence Charitable Trust; The Eta Cohen Scholarship Fund; The John S Cohen Foundation; The Ernest Cook Trust; Nan Copeland Award; The Cosman Keller Art and Music Trust; The Noel Coward Foundation; Else & Leonard Cross Charitable Trust; The Davey-Poznanski Award; Dischma Charitable Trust; D’Oyly Carte Charitable Trust; Worshipful Company of Drapers; Ann Driver Trust; EMI Music Sound Foundation; Toni V Fell Musical Trust; The Allan and Nesta Ferguson Charitable Trust; Worshipful Company of Fishmongers; Fordyce Scholarship Fund; Vera Franklin Will Trust; Albert & Eugenie Frost Music Trust; The Maurice Fry Charitable Trust; Future of Russia Foundation; Gatsby Charitable Trust; The J Paul Getty Jnr Charitable Trust; Jean Ginsburg Memorial Foundation; Golden Bottle Trust; Golden Charitable Trust; The Sibyl Goold Fund; The Gordon Foundation; Lucille Graham Trust; Joan Green Harris Trust; The Greenbank Scholarship; The Greenwich Award; The Mabel Harper Trust; The Headley Trust; Help Musicians UK; The Derek Hill Foundation; The Christopher Horn Trust; The John Hosier Music Trust; Independent Opera; International Music & Art Foundation; The Khodorkovsky Foundation; The Roy King Award; Kohn Foundation; The Leche Trust; The Leverhulme Trust; Richard Lewis/Jean Shanks Award; Lord & Lady Lurgan Trust; Lynn Foundation in memory of Dr Peter Andry; The Humphrey Lyttelton Jazz Award; The Mackintosh Foundation; The Edward Mandel Bursary Fund; The Mendelssohn Scholarship Foundation; Woolf Mernick Scholarship for a Young Violinist; Mills-Williams Foundation; GM Morrison Charitable Trust; Worshipful Company of Musicians; The Clarence Myerscough Trust; In memoriam: The Harold Nash Award for Trombones; Newby Trust; The Ofenheim Charitable Trust; The Oldhurst Trust; PF Charitable Trust; Stanley Picker Trust; The Pitt-Rivers Charitable Trust; The Polonsky Foundation; The President’s Club Charitable Trust; The Edmond J Safra Philanthropic Foundation; St Marylebone Educational Foundation; St Marylebone Rotary Musicians Award; The Seary Charitable Trust; Shoresh Charitable Trust; Sickle Foundation; Skyrme Hart Charitable Trust; Sophie’s Silver Lining Fund; The South Square Trust; The Steel Charitable Trust; The Bernard Sunley Foundation; The Kiri Te Kanawa Foundation (UK); The John Thaw Foundation; Tillett Trust; Anthony Travis Charitable Trust; Constance Travis Charitable Trust; John Wates Charitable Trust; The Andrew Lloyd Webber Foundation; Jo Weinberg Flute Award; The Wolfson Foundation.

Companies: BMI; Cranshaw Corporation; Deutsche Bank; Howard de Walden Estates; Jaques Samuel Pianos; The John Lewis Partnership; Lark Insurance; Santander; Steinway & Sons; Top Wind.

For more details of how to offer support, please contact:Carol McCormack, Director of Development, tel. 020 7873 7332 email c.mccormack@ram.ac.uk, or Joana Witkowski, Deputy Development Director, tel. 020 7873 7334 email j.witkowski@ram.ac.uk. Royal Academy of Music, Marylebone Road, London NW1 5HT. www.ram.ac.uk/support

Marylebone Road London NW1 5HT | tel 020 7873 7373 www.ram.ac.uk | Registered Charity No. 310007facebook.com/royalacademyofmusictwitter.com/RoyalAcadMusicinstagram.com/royalacademyofmusic

Patron: HM The Queen

President: HRH The Duchess of Gloucester GCVO

Principal: Professor Jonathan Freeman-Attwood