A review of orchestral provision
for Yorkshire
Commissioned by Arts Council England
April 2005
Researched and written by
Graham Devlin Associates:
Graham Devlin
Judith Ackrill
Contents
Executive summary
3
Part A: The present situation
9
A.1
Introduction
9
A.2
Background – Yorkshire and its orchestral life
13
A.3
Current professional orchestral activity
17
A.4
Orchestras working in the region
32
A.5
Other related musical activity
36
A.6
Opportunities for locally-based musicians
38
Part B: Opportunities, challenges, core principles
and associated recommendations
39
B.1
Opportunities
39
B.2
Challenges
40
B.3
Core principles and associated recommendations
41
Appendices
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Appendix 6
2
Brief to consultants
People consulted
Questionnaires
Steering group
Current funding of orchestral activity
by Arts Council England Yorkshire
Examples of work from elsewhere
47
48
51
51
52
54
Executive summary
Throughout the consultation for this report, contributors expressed enthusiasm
for moving forward in orchestral work. There was keen interest in discovering
different ways of presenting orchestral music, and in working across the
boundaries between performance and education and between artforms to
create a lively and relevant orchestral ecology and audience. Lively dialogues
which began during the consultation for a seemed to point towards the
emergence of new partnerships between promoters, grass roots organisations
and artists working at a range of scales.
The research also identified opportunities for connecting effectively with
initiatives and organisations outside the region, to maximise their benefit to the
region.
To summarise, a strategy to enhance the region’s orchestral life could build on:

a wide range of promoters working at different scales and levels of musical
knowledge, with a common interest in networking with each other and
drawing on good practice from within and without the region

potential collaborations – both between classical music organisations (e.g.
Music in the Round and Sheffield International Venues) and across forms
(with, for example, South Asian music organisations, Creative Partnerships
and the region’s Youth Music Action Zones)

the musical strength of education institutions in the region (e.g. Leeds
College of Music, York University and the forthcoming Junior Academies);
and of some music services

existing enthusiasm to develop smaller scale (ensemble) work in more rural
areas to complement the larger-scale work in the conurbations

a strong tradition of amateur and semi-professional music-making in the
region which could develop through encouragement, through residencies
and through collaborations with Music Services

the interest of several local authorities in embracing orchestral series within
a broader strategic approach to music and the arts

potential strategic relationships with a number of incoming orchestras (e.g.
Halle, Manchester Camerata and Northern Sinfonia) as well as the
indigenous orchestra of Opera North
3

ongoing access to the Eastern Orchestral Board (EOB) Orchestras Live
initiative and to the new national chamber orchestra promoter circuit which
will be in place from 2005/6

Arts Council resources – both in funding terms (through regularly funded
organisations, managed funds, open application programmes and limited
capital awards) and through officer time.
The opportunities described above will need to be addressed carefully if the
challenges also identified during consultation are to be overcome, these
include:

A decline in the number of orchestral concerts presented in the main cities
of the region and (in many instances) in the public and promoter
enthusiasm for them

the lack of a full-time professional orchestra in the region, compounded by
the fact that incoming orchestras do not have as strong a relationship with
key venues as they might (and perhaps have had in the past)

the demise of a once valued consortium of orchestral promoters in the
region

aspirations for stronger orchestral series in some cities (Sheffield, Hull,
Bradford), without clear agreement as to how to move forward

a partly rural region with many small communities, poorly resourced (often
seasonal) promoters, and a lack of appropriate venues for larger scale
orchestral work (and sometimes, also, for chamber orchestras). As with the
larger scale, relationships with regional or incoming orchestras are not as
strategically developed as they could be

a decline in audiences in several places (including in venues where
commercial managements have been introduced). This can be attributed to
a number of factors (e.g. cultural change, ageing un-refreshed audiences,
difficulties with travel, perceptions of city centre security problems etc) and
threatens a potentially downward cycle

actual or potential redevelopment of existing major concert halls; whilst this
may offer a long-term opportunity, it also brings with it uncertainty and short
term difficulties
4

a decline in local authority support for this sector and lack of funds within
Music Services

a ‘people issue’; some non-specialist promoters in the region (like their
peers in other parts of the country) do not have a great deal of knowledge
or experience in presenting classical music and are accordingly nervous
and/or conservative in their approach to the task
This report suggests a set of guiding principles as a flexible framework for Arts
Council England when initiating and/or responding to opportunities and
challenges for orchestral development in the region. Within this framework,
some immediate initiatives can be undertaken whilst other opportunities
(perhaps unforeseen at present) will be opened up. Drawing on the
consultation and models of good practice, the principles can be summarised
as:






prioritising work of high quality, and organisations and initiatives which are
innovative and have potential for excellence
supporting initiatives which have the potential to succeed in broadening and
retaining audiences
setting out to build sustainability through long-term development rather than
one-off initiatives
encouraging work that is embedded in communities.
drawing on a range of resources and good practice, both inside and outside
the region
basing strategy, wherever possible, on partnerships and collaborations.
A series of recommendations to Arts Council England flow from these
principles.
1
Prioritising work of high quality, and organisations and initiatives
which are innovative and have potential for excellence
Exploring developments to professional concert series in the region’s
conurbations
in ways appropriate to the varying needs of the different cities through:

in Sheffield, encouraging an enhanced presence by the Halle (and, in time,
possibly its partners in a proposed new symphony orchestras consortium)

in Leeds, encouraging FUSELEEDS and programming which explores new
approaches to creating and presenting orchestral music
5

in Bradford, working with the local authority to develop a music strategy
which stimulates new thinking about the orchestral series, building the
relationship with the Halle in order to at least maintain the current level of
concert giving and introduce an audience development programme; and
exploring with Opera North a complementary presence in the series

in Hull, working with appropriate departments of the local authority, the
University and EOB to agree the way forward for orchestral development in
the city, underpinned by audience research including the potential of Opera
North and the Halle

in York and Kirklees, remaining in dialogue with the Universities and local
authorities to monitor the continuing health of orchestral programmes

in general, advocating and supporting repertoire exploration,
commissioning, and cross-genre/artform initiatives
Complementing the concert series in the major cities with a range of other
programming across the region, for instance:

progressing Orchestras Live’s existing relationships (in
Scarborough/Whitby, and Hull

exploring (with colleagues in rural touring and a range of promoters at
different scales) the potential of developing a rural circuit for chamber
orchestras and ensembles

recognising the value of Festivals in providing orchestral concerts of high
quality and/or unusual repertoire and involving them in rural touring
discussions (and, where possible, circuits)

encouraging residencies and concerts by groups of musicians with a
creative approach to programming, to complement orchestral activity

supporting the development of Music in the Round1
1
This principle also applies to the leadership and organisation of community, education and
participatory activity, recommendations about which follow later.
6
2
Supporting initiatives which have the potential to succeed in
broadening and retaining audiences
To address widespread concern about the perceived decline in audiences for
orchestral music Arts Council England should encourage locally based
orchestras (professional and non-professional) to forge still stronger
relationships with particular audiences. Alongside initiatives in programming
and outreach activity, Arts Council England should:



support investment in creative audience development initiatives and the
dissemination of good practice/existing models in close collaboration with
Audiences Yorkshire
build on current initiatives in the EOB’s Orchestras Live programme,
including evaluation and research about audience/repertoire matches
consider whether region-wide research and advocacy by Audiences
Yorkshire could make a strategic contribution to orchestral development.
3
Setting out to build sustainability through long-term development
rather than one-off initiatives
This principle will require increasingly strong partnerships, a strengthening
infrastructure, and sustainable funding. It could involve developing
professional capacity in the region through:

encouraging networks of producers, promoters and orchestras for the
exchange of information, skills and best practice and for enhanced buying
power

exploring the feasibility of engaging an experienced orchestral promoter to
take on a mentoring/advisory role with a group of interested promoters for a
fixed-term period. Alternatively, this might be achieved through an
arrangement with an existing locally-based regularly funded organisation

enabling emerging or potential promoters to develop through, for example,
offering go-see/go-meet grants and/or exploring with the Independent
Theatre Council (ITC) or other training providers the possibility of
developing an appropriate module for professional development

introducing interested promoters to EOB Orchestras Live and the new
chamber orchestra promoter circuit, and to orchestras which might offer
residency models.
7
Developing infrastructure in the region by:

advocacy, including encouraging local authority officers and key music
organisations to explore how orchestras (and concert halls) can play a
wider role in society, demonstrating their ability to contribute to ‘social’
targets and to engage with regeneration initiatives

continuing dialogue with local authorities and others about the detail, timescale and implications (including for programming) of proposed new and
refurbished spaces for orchestral concerts in the region
focusing some sustainable resources on parts of the region which have
been identified as priorities for Arts Council England, such as the former
coalfields areas, North Yorkshire and the Eastern seaboard.

4
Encouraging work that is embedded in communities
This principle entails encouraging local participative activity and its links with
orchestras (both local and incoming). New initiatives should build on the
infrastructure already in place to encourage young people’s musical interests,
including Youth Music Action Zones, Creative Partnerships and Music
Services; and on the strong tradition of performances by amateur orchestras
and choirs.
Enhancing opportunities for locally based musical activity through will pursue
developments:

encouraging interaction between professional musicians and participative
organisations

opening up performance opportunities for local groups and orchestras
through networking with promoters

enabling regionally based musicians to develop their skills in areas such as
education, training and mentoring (where appropriate, in conjunction with
Music Services)

encouraging initiatives aimed at developing culturally diverse approaches to
orchestral activity

encouraging Opera North to include music-based audience development
work in Leeds and other centres where it is developing a concert
programme
8
Ensuring that incoming professional orchestras offer the region the communitybased aspects of their work by:

enabling orchestras with regular series to develop educational and
community-based programmes, in consultation with local providers

encouraging sustainable outreach work coordinated with concert series
where there is no regular orchestra (eg Leeds International Concert Series)

encouraging national chamber orchestra residencies which address both
urban and rural area needs (from, for example, the Britten Sinfonia and the
London Sinfonietta in addition to the Manchester Camerata)
5
Drawing on a range of resources and good practice, both inside
and outside the region
This will enable the region to make best use of national orchestral resources,
ensure that work of national and international significance can be accessed,
and disseminate good regional work. Arts Council England should:

work with incoming orchestras and promoters to advocate and encourage
sustainable programming and audience development, in particular through
working for strategic partnerships between: The Halle and Bradford; Opera
North and Hull; The Halle, Sheffield and Music in The Round; Manchester
Camerata and its potential residencies; in time, there may also be potential
for relationships with the broader consortium of symphony orchestras being
considered in the North West

maintain a dialogue with the new national chamber orchestra network and
EOB

help effective regionally-based organisations to show their work more
widely, both within and without the region

encourage new approaches to orchestral activity which may provide
dynamic models for others.
6
Basing strategy, wherever possible, on partnerships and
collaborations
Already implicit in the other principles, this includes networking, working with
local authorities, organisations from non-Western cultures and other sectors of
the industry. Arts Council England can further this by:
9

working with local authorities, Audiences Yorkshire and other interested
parties to advocate on behalf of the sector

collaborating with partners active in other allied fields to link their work into
orchestral activity, in particular: -non-Western music organisations such as
South Asian Arts UK; Youth Music and Youth Music Action Zones; Music
Services; Creative Partnerships and Making Music and its members

Encouraging collaborations leading to new musical initiatives in priority
areas:
The former coalfields areas: particularly through collaborations with the Music
in the Round ensemble and Manchester Camerata, building on existing
relationships with Music Services and local authorities.
North Yorkshire: beginning with a meeting between parties interested in
working collaboratively to develop a model for resident musicians visiting
smaller venues regularly e.g. Northern Sinfonia, Manchester Camerata,
Scarborough Spa orchestra, Helmsley Arts Centre, Rural touring agency,
Harrogate International Festival, York University and Live Music Now.
The Eastern seaboard: Manchester Camerata should be invited to explore the
possibility of a residency on the East coast with interested local authorities
including Hull and North East Lincolnshire in association with music services
and EOB. In Grimsby, the discussion should involve ‘Stars in the North’, which
should be supported in any plans to develop a relationship with the London
Mozart Players, and to become established as a business/agency.
10
Section A - The present situation
A.1
Introduction
A.1.1 The brief
In 2004, Arts Council England invited Graham Devlin Associates to undertake a
review of orchestral provision in Yorkshire. This current report, representing the
outcome of that review, is one of a suite of strategic documents relating to
orchestral provision in England2. The brief can be found in Appendix 1.
In undertaking this project, we have – whilst recognising the importance and
potential of music from other cultures - focussed primarily on organisations and
artists working in the Western classical tradition. We have also acknowledged
that the various needs of the region cannot all be met by larger-scale orchestral
activity; there are areas where smaller ensembles and/or other musical genres
may be more practical or appropriate.
A.1.2 Methodology
We interviewed a number of interested parties throughout the region, both
individually and in groups (see Appendix 2). We also issued questionnaires to
a wide range of individuals and organisations (see Appendix 3). The research
was greatly assisted by comments and advice from a steering group (see
Appendix 4).
A.1.3 The current national context
The repertoire and sounds of the orchestra have been central to the classical
music tradition of Western Europe for more than three centuries, and
composers, artists and audiences alike continue to be drawn to, and inspired
by them. Over time, the concept of the orchestra has expanded to embrace
folk and jazz orchestras, improvising and world music ensembles. Orchestral
sound now appears in many contexts - from live performance to film music,
recordings and sampling, on radio, television and websites.
However, despite this broadening of horizons, the world of the Western
classical orchestra can present imposing barriers to those not directly involved
2
Including chamber orchestras, provision in the South West and in the South East
11
- including many promoters in multi-art form venues. The language used to
describe a performance or programme, the complexities of the musical score,
the range of instruments, and the formal concert experience itself can be
daunting or worse.
For these – and other, broader cultural reasons – the traditional audience for
classical music concerts tends to be made up of mainly older, white people.
This is a matter of concern to many in the orchestral world who note that, whilst
younger people do attend certain sorts of orchestral event, it is difficult to
attract young adults to most concerts, and question whether the 40 year olds of
the future will develop the concert-going habits of their parents’ generation,
given the mainstreaming of pop and rock music and the diversification of public
taste.
Despite these concerns, outreach, education and a range of innovative work by
orchestras - often supported by local authorities - have shown that behind the
potential barriers lies music which everyone can experience, enjoy, and find
relevant to contemporary life (and the music of their own particular preference).
Such projects can also feed directly into strategies for engaging newcomers in
the arts, for regeneration, for skills development, and for bringing out creativity
in young people. Through all these benefits, orchestral activity has the potential
to contribute greatly to the life and cultural health of a region.
Recent years have seen a number of national developments which have
changed the context in which the professional orchestral sector operates. In
particular:

Arts Council England has published its Ambitions for the Arts which identify
its priorities as The Individual Artist, Enabling organisations to thrive not just
survive, Diversity, Young People, and Growth.

A National Review of Chamber Orchestras commissioned by Arts Council
England in 2002/3 made a number of recommendations, several of which
were accepted and budgeted for action. As a result:
- a portfolio of 8 chamber orchestras, covering a wide range of repertoire
and approaches, is now being core funded with the aim of strengthening
their capacity and their ability to tour nationally
- lack of orchestral provision identified in the Welsh borders, Yorkshire,
the South West and Kent is being addressed through developmental
work with promoters by the Eastern Orchestral Board (EOB Orchestras
Live).
12
- a second initiative, to develop a national chamber orchestra network
for more experienced promoters, is being launched for a pilot year in
2005/6
- in collaboration with local authorities, several national chamber
orchestras undertake regular residencies in communities around
England
- more detailed research on orchestral provision in the South West, the
South East England and Yorkshire (this report) has been undertaken.

five years of Youth Music have established a positive legacy and over 20
Youth Music Action Zones (YMAZs) have been established nationally to
increase young people’s participation in music making. Creative
Partnership areas have also been established around the country

the Government has published a Music Manifesto developed by a sixtystrong coalition of musicians, composers, educators, music industry
representatives and policy makers pledging to work together to deliver an
enhanced range of musical opportunities for young people

Arts Council England’s Stabilisation Programme has worked with the 8
funded symphony orchestras to mitigate their combined £10m debt, and
enabled them to develop a range of new, more flexible operating models;
significant additional revenue funding has also been made available.
Several are now making modest annual surpluses

plans are well advanced for the creation of junior academies for the
advanced training of exceptionally talented young musicians; the first of
these are at The Sage Gateshead and in Leeds. Meanwhile, symphony
orchestras are increasing contact with youth orchestras, and some are
forming their own.
A.2
Section 2 - Background – Yorkshire and its orchestral life
A.2.1 The regional profile
The Yorkshire region comprises four sub-regions covering North Yorkshire,
West Yorkshire, South Yorkshire and the Humber. The region has a population
of nearly five million with 44% living in the conurbations of West Yorkshire. It is
a highly diverse region, which is also known for its strong regional identity and
community spirit.
The past decades have seen a decline of traditional industries such as coal
mining, steel making, fishing, manufacturing and hill farming. In response to
13
this, the region's economic base has diversified. No single industry dominates
the region and key industries include engineering, information technology,
biotechnology and food, chemicals, healthcare and tourism. Tourism is the
region's largest and fastest growing industry providing 5% of the region's GDP.
The number of new businesses in Yorkshire and the Humber is growing faster
than any other region in the UK and Leeds has become the UK's largest
financial and legal centre outside of London. International trade accounts for
20% of the region's GDP and it is home to over 1000 foreign-owned
companies.
30% of wards in Yorkshire and The Humber fall in the most deprived 20% of
wards in England and high levels of multiple deprivation can be found in the
former coalfield areas (e.g. Barnsley, Doncaster and Rotherham).
Just under 6% of the region's population belongs to an ethnic minority and the
largest minority ethnic group in the region is British Pakistani, the great majority
of whom live in Bradford and other parts of West Yorkshire.
A.2.2 Overview of orchestral activity in the region
The region is host to several international festivals, including Huddersfield
Contemporary Music Festival, FUSELEEDS, and the Harrogate International
Festival, and to Opera North. It has no other resident full-time professional
orchestra or chamber orchestra, although there is a very strong tradition of
amateur choral and orchestral activity. The nearest professional orchestras are
the Halle (which gives a number of performances across the region), the BBC
Philharmonic, the Royal Liverpool Philharmonic Orchestra (RLPO), the
Northern Sinfonia and the Manchester Camerata. All of these are involved in
concert engagements in the region, and the Manchester Camerata in particular
is seeking stronger relationships with particular areas/ communities.
In general, contributors to this review expressed concern about a perceived
decline in attendance at orchestral performances and – with some positive
exceptions - a general pattern of local government disinvestment in the arts
For several years, for example, there was a consortium of orchestral promoters
in Yorkshire, coordinated through the office of Yorkshire Arts, with 15 members
all promoting professional orchestral series. Some touring and cocommissioning was initiated, but with a decline in local authority funding in the
1990s some of these series were discontinued and others reduced.
14
Differences in interests between smaller and larger promoters grew, and at
around the same time, responsibility for co-ordinating the consortium passed
from Yorkshire Arts to the organisations themselves. The consortium
subsequently ceased to operate.
Those promoters now providing major concert series tend to network at
national Association of British Concert Promoter gatherings. In Leeds,
Bradford, Hull, Dewsbury, and Huddersfield, local authorities fund and manage
subscription seasons (the latter two with the orchestra of Opera North), while
Sheffield has outsourced its subscription season and Hall management. The
EOB has recently started to work in its Orchestras Live capacity to develop
provision with Scarborough/Whitby local authority, and with Hull/University of
Hull. In York, the University provides a reduced series and the Barbican
Centre has been outsourced.
Elsewhere, individual venues or promoters (including festivals) provide some
orchestral fare as part of a mixed programme of activity. Square Chapel in
Halifax has created its own orchestra to give regular performances, and
promotes tours from Music in the Round, which include some small chamber
orchestra groupings. Stephen Joseph theatre in Scarborough is also a Music
in the Round venue. In Wakefield, Ilkley and Settle, as well as Halifax, theatres
offer occasional orchestral concerts.
In addition to the Huddersfield Contemporary Music Festival, the region hosts
the Harrogate International, Ryedale, Ripon International, Swaledale and other
rural festivals, many of which make major efforts to offer orchestral concerts,
despite limited funds and problems with venues. At a smaller scale there are
music societies promoting chamber music series. Because of these activities
and the strong amateur tradition, the county’s rural touring networks have not
focused on classical music, though their experience could usefully contribute to
any new initiatives engaging smaller-scale promoters with orchestral music.
Lack of funds and the cost of orchestral music are major concerns among most
existing promoters; box office income and local authority support (where
provided) are not seen as adequate to support new initiatives in repertoire,
residencies and/or audience development at any scale. In addition not all
promoters feel well enough informed to tackle these areas. This problem is
being addressed actively in some parts of the region through partnerships
between promoters and the EOB, and through collaborations between
promoters offering different fare and complementary expertise in one city
15
(e.g. Leeds).
There is an acute lack of traditional concert venues of a scale to support
chamber orchestras in North Yorkshire (other than churches, which rarely
promote their own concerts), though there are many interesting buildings in
which concerts might be promoted. There are no significant concert series in
Doncaster, Rotherham or Barnsley although there are longer-term proposals
for a new performance centre in Doncaster which could host chamber
orchestra concerts.
Overall, then, the orchestral landscape in Yorkshire is - with significant
exceptions – characterised by an increasingly fragile pattern of concert
provision, mainly delivered through engagements for orchestras touring into the
region. If this is to be made more secure, promoters and funders may need to
develop new approaches to create a more robust, economically sustainable
model – for example, by demonstrating how orchestral activity can develop
audiences and contribute to local authority social and cultural agendas.
Audiences Yorkshire has identified real potential for working in classical music,
and is in dialogue with its local authority and other members, as well as Arts
Council England, Yorkshire, about how to make a strategic contribution to this
field through research and advocacy.
The region contains a number of higher education institutions which offer music
degrees or modules, including York, Sheffield, Leeds, Huddersfield and Hull
Universities and Leeds College of Music. This infrastructure offers opportunities
for collaboration. Further opportunities may be provided by the various capital
developments under consideration in the region (in Leeds, Bradford, Hull and
Doncaster) although these may also introduce an element of instability during
construction or refurbishment stages.
The region can already demonstrate several creative new initiatives to extend
opportunities for music making and develop audiences, including:
South Asian Arts UK considering how it could build on mainstream music
services provision to strengthen the Asian music infrastructure
Bradford City Council considering commissioning a city-wide music
development policy
Youth Music Action Zones operating in the Humber area and North Yorkshire
University of Hull aiming to launch an orchestra in residence
Music in the Round developing an 11-piece ensemble to succeed the Lindsay
Quartet and offer concerts and outreach work (especially in South Yorkshire).
16
Leeds College of Music working across agencies in the city
A pilot junior conservatoire being planned in Leeds with another under
consideration in Sheffield.
A.3
Current professional orchestral activity
The following section outlines some of the characteristics of professional
orchestral concert activity in the region on a geographic basis. It must be noted
that the picture given is based on information provided by those consulted; due
to low levels of response to questionnaires and forum invitations in some areas
(see Appendix 3), it cannot be comprehensive.
A.3.1 West Yorkshire
Orchestral provision in West Yorkshire is focused on the major local authorityfunded concert series in the bigger conurbations; there is also other classical
music activity taking place both in these centres and in the smaller towns
including Wakefield and Ilkley.
A.3.1.1
Leeds
The City of Leeds has a rich history of orchestral provision. The Leeds
International Concert Season (LICS), run by the local authority, promotes about
200 concerts per year and is the second largest UK concert season after
Birmingham. The concerts include about 24 large-scale symphony concerts
and 2-3 chamber orchestra concerts, with visiting UK orchestras such as the
City of Birmingham Symphony Orchestra, Halle, Royal Scottish National
Orchestra, Bournemouth Symphony Orchestra and various BBC orchestras
complemented by about 6 foreign orchestras on tour (eg Moscow Radio
Philharmonic, Leipzig Gewandhaus). The Orchestra of Opera North, based in
Leeds, usually performs twice in the season and the Manchester Camerata at
least once. Last year’s season averaged 92% attendance, and the local
authority receives an impressively high 70% return on its investment.
Recent audience research shows that the LICS has a loyal following. The
majority of attenders are over 45, and 61% are retired. There is a committed
core (subscription) audience, and not very much crossover by individuals to
different kinds of concerts within the season. Overall, praise was high for the
quality and range of the season and for Leeds City Council’s support for music.
17
Criticism generally focused on the state of Leeds Town Hall as a venue and
city centre issues (transport, parking, security).
Leeds College of Music is the UK’s largest, providing education from beginner
to postgraduate levels. It opened The Venue in 2003, a 350-seat capacity
auditorium with room for 90 musicians, where it has promoted concerts by
students, visits by the Goldberg Ensemble, Joanna McGregor and others
including world music and jazz artists, and hosted LICS lunchtime chamber
concerts and monthly international chamber concerts.
The College has also initiated a relationship with the Manchester Camerata in
2003/4 (supported through Grants for the Arts) with two concerts aiming to
develop a new audience for smaller-scale classical music, and a strong
education strand working with the city council’s active music support services
and youth orchestras. This kind of partnership working is a valuable asset to
the City.
The College has also supported the local authority and South Asian Arts UK
(SAA UK) in establishing the FUSELEEDS new music festival, which
complements the International Series with experimental repertoire (in smaller
spaces). Mainly attracting a different, younger audience, FUSELEEDS has
received Arts Council England support and included concerts by London
Sinfonietta and Samyo, the national South Asian youth orchestra. Following its
success in 2004, the Festival is planned to happen again in 2006.
A new junior centre for advanced training – Yorkshire Young Musicians - came
into operation in January 2005 and is described in A 5.4. below. It will be one
of a national network of such centres.
It is unusual for this level of activity to flourish in a city without a dedicated
concert orchestra in residence providing both the engine and the depth of
contact. In Leeds, the Orchestra of Opera North has self-promoted Sunday
seasons in the past, but has never had the official ‘orchestra in residence’ title.
It aspires to this for Leeds (and for West Yorkshire in general) and would like to
provide a focus for concert giving and outreach work in Leeds; the idea of a
residency is supported by the music services. However, the LICS feels that the
current format is working well and that its audiences prefer variety. The
Orchestra of Opera North jointly organises with LICS a series of Gala concerts
and the Conductors Competition, and together they are planning a new series
for schools this year.
18
Also in Leeds, SAA UK supports and builds infrastructure for South Asian arts.
Working regularly with young people, and those with particular interest in
traditional South Asian musics, SAA UK has made strong links with Leeds
College of Music, and with Yorkshire Young Musicians. It supports Samyo,
and would like to see a regional South Asian orchestra develop, as well as
increased cross-referencing with the stronger western music infrastructure, a
by-product of which could be the sustainability of its own initiatives.
Leeds offers many opportunities for partnership working, audience
development, and residency-type activity. LICS, for example, has in the past
run education work in partnership with others. However, such initiatives are
dependant on specific fundraising efforts which do not readily convert into
sustainable developments with long-term security. This was seen generally as
an issue across the region.
A study has been commissioned by the City Council about the feasibility of
building a new concert hall and/or conference centre.
A.3.1.2
Bradford
Bradford’s orchestral concert series will be 140 years old in 2005/6. However,
over recent years both the numbers of concerts and attendances have declined
as
the City Council, facing ongoing resource limitations, has imposed tight
financial targets on Bradford Theatres, which manage and programme St
George’s Hall (1672 seats). The lack of sustained funding – together with a
need for dedicated staff, no effective partnerships with music services,
competition from Leeds and a range of city centre issues – has significantly
hampered Bradford Theatres’ ability to develop audiences. It should also be
noted that Bradford was a member of the orchestral promoters consortium that
used to exist in the region, and would welcome its revival.
Until 2004 the Halle Orchestra gave 5 concerts within its season of 8-10
performances but attendances for its visits were declining (to as low as 558 for
one concert). After three months of closure for refurbishment in 2004, the Hall
has reopened with a different structure to the series – 3 Halle concerts and
three foreign orchestras, together with 3 chamber music concerts3 at Bradford
3
The programmer of the chamber music is about to retire, and there are licensing cost issues in the
Cathedral as well, but Bradford Theatres aim to maintain the events.
19
Cathedral. The Halle considers Bradford a key opportunity for repeating three
of its Manchester concerts and wants to see the series gather strength; it is not
currently undertaking education work in the area.
The local authority is currently considering commissioning a music policy which
would place the orchestral series in a more developmental context. This could
incorporate African, jazz, brass and other music such as that promoted by
Oriental Arts and Kala Sangam, both of which have strong music programming
strands in the city.
Discussions are also taking place - in the context of regeneration planning –
about whether Bradford needs a larger, more flexible concert space with better
sightlines.
A.3.1.3
Huddersfield/Dewsbury (Kirklees)
The Orchestra of Opera North has managed the concert series at Dewsbury
Town Hall for 10 years. In 2003 it was awarded the tender to run the
Huddersfield and Dewsbury orchestral seasons by Kirklees Metropolitan
Council for 2003-6. The combined season comprises 13 concerts, with Opera
North involved in programming, engaging guest orchestras, audience
development, press and fundraising4.
Huddersfield Town Hall has a capacity of 1100, and Dewsbury of 685. Opera
North’s repertoire in Kirklees has, to date, been aimed at encouraging and
retaining audiences. As a result, some observers consider the programming to
be overly ‘safe’. However, it should be noted that for an orchestra used to
playing for opera, the opportunity to play works such as Beethoven symphonies
is artistically stimulating.
Visiting orchestras have included the Northern Sinfonia (a reciprocal
arrangement), Manchester Camerata and the RLPO. In the past, a concert
from the Huddersfield Contemporary Music Festival (HCMF) was included in
the series, but Opera North found this was resisted by subscribers and has
discontinued the pattern. The orchestra and Kirklees have recently submitted a
Grants for the Arts bid for outreach work.
The HCMF attracts an audience of much broader demographic range than the
4
The Huddersfield series was previously run by the Halle Orchestra, which gave many of the concerts
and also undertook some education work. The orchestra gradually withdrew as a result of financial
pressures.
20
Orchestral series. It programmes one or two orchestral/large ensemble events
per yearin the Town Hall or St Paul’s Hall (230 seats), through complex
partnership funding arrangements. It would like to programme at least one full
orchestral concert, but findsmost orchestral managements nervous of
adventurous programming and its impact onaudiences; however it suggests
that the City of Birmingham Symphony Orchestra has shown how effectively
programme and audience development can go hand in hand. The HCMF also
has an ambition to present a year round programme of education and outreach
activity, working in partnership with local stakeholders and arts organisations
including orchestras and other art forms.
A.3.1.4
Halifax
The local authority-run Victoria Theatre seats 1568 people and has traditionally
presented two big classical orchestral concerts a year as well as ballet and
opera events, one concert being by the North of England Concert Orchestra
(an ensemble consisting mainly of Northern Ballet Theatre musicians). There
is debate within the council at present about the cost/value of these concerts,
as part of a scrutiny of the theatre’s overall activity. Audiences have been
ageing and declining, and a renewed effort to find and retain audiences is likely
to emerge as a priority if the programming is to continue. In addition, smaller
scale classical music events are promoted successfully at the theatre, which
was an active member of the region’s former orchestral consortium.
Square Chapel (capacity 220) is on the Music in the Round circuit (see section
A.3.2.1) thus attracting small professional orchestral ensembles once or twice a
season. There is a locally based Orchestra of Square Chapel ‘in residence’.
Consisting of professional and teaching musicians, the orchestra gives four
concerts a season for no fee, providing a regular diet for audiences of about
150. In general Square Chapel attracts a younger than average audience for
classical music events.
21
A.3.1.4
Wakefield
Although Wakefield Cultural Services do not engage with professional
orchestral music (for economic reasons and because of the proximity of
Leeds), the Theatre Royal (seating 499) can accommodate about 60 players
on stage. The arts centre can accommodate chamber groups. In the past the
Theatre has programmed 2-3 concerts a year, and despite lacking resources
the management is keen to find ways of initiating and attracting new audiences
to classical music.
The Theatre has a full-time education and community development officer, and
there is a very active LEA Music Service; the theatre sees this as a potential
partnership which, if combined with musicians in residence, good venue
marketing to attract audiences across artforms and carefully planned
repertoire, could provide a positive model for increasing classical music
audiences.
The local authority sees community involvement in projects involving orchestral
musicians (and other artists) as a route to engaging new people. Smaller
classical music concerts in rural venues could also be an appropriate
introduction.
A.3.1.5
Other possible promoters
West Yorkshire is also served by a number of chamber music societies. In
Ilkley an international chamber music series is presented by the Ilkley concert
club in the Kings Hall, which seats 482 people. Local festivals present a varied
programme including some classical music (and a Bollywood band in Hebden
Bridge) but not orchestral work.
A.3.2
South Yorkshire
In South Yorkshire, Sheffield has traditionally been the major concert centre,
whilst former mining towns Doncaster, Rotherham, and Barnsley are now seen
by Arts Council England as priority areas for developing grass roots and other
cultural activity.
22
A.3.2.1
Sheffield
Until recently the City Council ran an orchestral season in the 2,300-seat
Sheffield City Hall, consisting of at least 16 concerts by British and international
orchestras, including 2-3 chamber orchestra concerts by the Manchester
Camerata, London Sinfonietta, and/or others. The Halle orchestra regarded
Sheffield as a second home for repeating Manchester concerts (up to 6
concerts a year at its peak). With orchestral audiences dwindling and ageing, a
commercial company, Sheffield lnternational Venues (SIV), was appointed to
run the Hall programme in April 2000, with financial subsidy from the Council.
In May 2004 the Hall closed for major refurbishment, and the concert
programme has been under review since. A minimum of 12 concerts is
required by the terms of SIV’s subsidy from the Council, and a closely
monitored business plan including long term repayment of capital loans is in
place.
During the closure period a limited programme of 8 concerts is being held off
site in alternative venues.
Following the Hall’s reopening in autumn 2005, the Council is keen to see a
well programmed concert series which attracts the former loyal audience and a
broad range of new attenders; there is detailed work to do on the programming
and on audience development so Arts Council England, Yorkshire and SIV are
currently talking to possible expert partners to assist with this, including Music
in the Round (see below). The Halle Orchestra would like to rebuild its
presence in Sheffield, including education and outreach work.
There is a strong amateur orchestra sector in Sheffield, including University
Music Department ensembles, and a possible Junior Academy (see A.5.4.).
These should provide fertile ground for orchestral education work in the City if
funds could be found and SIV or an orchestra were motivated to develop this.
Sheffield also hosts the unique organisation Music in The Round, which started
21 years ago as a chamber music series at The Crucible Theatre presented by
the Lindsay String Quartet (and programmed by their first violinist Peter
Cropper). The organisation fundraises successfully to run education and
outreach projects in the city, and its series has expanded to include a national
network of 10 promoters Around the Country (partly funded by Arts Council
England) who regularly receive and promote work touring out from the Sheffield
23
series. These tours have included concerts by ensembles from chamber and
period instrument orchestras.
Music in the Round has recently appointed a new Administrative Director and is
currently recruiting an 11-piece chamber ensemble to replace the Lindsays
when they disband this summer. Outreach and teaching skills are among the
attributes being sought, and the Ensemble will provide anything from solo and
duo concerts to 11-piece concerts or the basis of a chamber orchestra. Around
the County promoters are excited about this, and there are discussions with
other South Yorkshire districts about how the Ensemble’s members could
provide grass roots activity ‘in residence’.
A.3.2.3
Rotherham
Rotherham Music Services are the main agency for orchestral activity in the
area, supporting a range of initiatives, including running a youth orchestra.
However, Rotherham has no halls suitable for orchestral performance; nor
does it have an orchestra in residence or local authority funding/planning for
professional concerts. As a result, the Music Services cannot make the
ongoing connections with other orchestras that they would like. The Music in
the Round Ensemble may offer a creative solution to these challenges. In the
long term there are discussions through the urban regeneration project about
building a city centre arts centre; a new commercial venue – Yorkshire
Entertainment Sensation – is currently in development on the outskirts of the
town which may offer opportunities for programming.
A.3.2.4
Barnsley
The lack of suitable venues and of any local authority funding for professional
orchestral activity also affects Barnsley, where the Elsecar Heritage Centre
provides a very large space with tiered seating and unusual acoustics. The
town also has a community theatre, the Lamproom theatre with 180 seats and
ambitions to broaden its arts programme. St Mary’s Church can present large
chamber ensembles and may develop more concerts in future, and there is
discussion about refurbishing the Assembly Rooms within the Civic Theatre. At
present, some audiences travel to the Bridgewater Hall in Manchester.
Against this backdrop the Music Service has been working very hard to
develop a fledgling youth orchestra and three string orchestras. In 2004 they
invited the Manchester Camerata into residence with young people, through
24
the South Yorkshire Music Action Zone which was then in place. There was no
associated concert performance by the orchestra, but the residency was seen
as inspiring, and the Music Service is applying for grants to repeat the
experience, as well as keeping contact through a masterclass with the
orchestra’s leader. They are also keen to be involved with the new Music in the
Round Ensemble.
The Dearne Community Theatre in Goldthorpe is a small-to-middle-scale
venue with a focus on work for and with young people, and a theatre company
in residence.
A.3.2.5
Doncaster
In Doncaster, venues include the leisure centre, the civic theatre, school halls,
and St Georges Minster (which used to house large choral concerts and has
recently received a refurbishment grant from the Heritage Lottery Fund) none
of which is ideal for orchestral music or used by professional orchestras.
Choral societies promote themselves effectively in the Methodist Church.
The local authority plans to build a new performance venue with a 500-550
capacity auditorium and a separate flexible space for 200-300. The Music
Services expressed great interest in this idea, which is also supported by the
local chamber music concert societies and Doncaster College. It is hoped that
chamber orchestras could perform in the venue, but funding and management
structures are not yet agreed. There is interest in the Music in the Round
Ensemble.
A.3.3
North Yorkshire
Primarily a rural area, North Yorkshire contains cathedrals and churches
capable of hosting symphony concerts, used by festivals and by local
orchestras. There are purpose-built orchestral concert halls at York University,
which runs a professional concert series, and multi-purpose halls capable of
presenting orchestral fare in Harrogate, York, Scarborough, Bridlington, and
Whitby. In smaller market towns there is a variety of smaller halls and theatres
which are not economically viable for most orchestral work.
Several festivals in North Yorkshire present classical music, including some
orchestral work, in churches, public buildings and informal spaces. As well as
the Harrogate International these include the Ryedale International, North
25
Aldborough and Swaledale Festivals. Brass bands, opera and oratorio, and
large chamber music ensembles feature in their programmes, and audiences
are seen as keen to experience orchestral music ‘on the doorstep’; however,
budget constraints mean these opportunities are rare. North Aldborough has in
the past featured orchestral concerts including performances by the RLPO; in
2004 the programme focused on opera (with chamber orchestra
accompaniment).
A.3.3.1
York
York Minster and the University of York offer the main orchestral concert
venues for the City. The Minster (capacity 1000+) is a centre for local society
promotions and some concerts by University students and the University Halls
(capacities 332 and 950 respectively) are a focus for concerts by incoming
professional orchestras. The Barbican Centre in the city is currently closed and
has no plans for orchestral music.
The University Music Department now promotes 2 professional orchestral
concerts each season in its larger (Central) Hall, usually including one by the
Orchestra of Opera North. This has reduced from a programme of 6-7 some
years ago. Other recent visitors have included the Northern Sinfonia (which
has also in the past been involved in residency work with students) and the
RLPO. Programmes tend to be standard classical repertoire, complemented
by 3 concerts in the smaller hall by the University Symphony Orchestra with a
more experimental flavour. There is also a triennial National New Composers
Forum in collaboration with Opera North, as part of the University’s spring
festival of new music.
The University has a professional chamber ensemble in residence, whose role
is to give public concerts and to work with students. It also hosts a jazz group.
There is a separate MA Community Music course which involves students
working with schools in the area.
York has a very lively early music scene, represented by the National Centre
for Early Music and the annual York Early Music Festival. Although the Centre
is not large enough to accommodate orchestral concerts, the Festival promotes
large ensembles and sometimes chamber orchestras elsewhere in the city.
The Early Music Centre has also been a focus for recent promotions of
Chinese and of South Asian arts.
26
The City Council does not support orchestral concerts directly although it has in
the past given a small grant to the University concert series. The directly-run
Music Services would welcome more opportunities to link into professional
orchestras, and especially a professional orchestra in residence. In interviews,
council officers were not optimistic about the potential for increased local
authority funding to the arts and, in practice, the 2005 budget round delivered
arts cuts across the board, including the grants to the University concert series
and Live Music Now.
The consensus among consultees was that the relatively lively classical music
scene in York does not impact significantly on rural North Yorkshire either
through outreach or touring on.
A.3.3.2
Harrogate and Ripon
Since the closure of the Royal Hall, ideal for chamber orchestras, the
Harrogate International Festival has had the choice of a 400-seat auditorium or
2000 seats in the International Centre. An orchestral series of up to 5 concerts
per festival has dwindled to one (popular programme) event at the International
centre, featuring the RLPO. With Leeds’ successful series so close, the
Festival is interested in doing something other than trying to raise funds for big
classical music concerts; accordingly, it is considering how it could work with
smaller rural promoters to extend the RLPO’s presence into North Yorkshire
through chamber music concerts and outreach work. After discussion, it
decided not to take part in the new chamber orchestra promoter network
currently being established.
There is realism about the timescale and flexibility needed to provide a
valuable rural service, and discussion about the best way of approaching this.
The Festival has recently been awarded the brief for the North Yorkshire
YMAZ, in a consortium with Pied Piper Projects, Swaledale Festival, Whitby
Musicport, Cube Media and North Yorkshire County Council’s Connecting
Youth Culture.
The Festival was an active member of the former regional consortium of
orchestral promoters and, like others, Harrogate would welcome its reinvention.
Ripon Cathedral (capacity 550) is an active centre for orchestral music, where
choral societies and amateur orchestras self-promote and the Ripon
27
International Festival runs 3-4 professional orchestral concerts annually,
including 2-3 during the September festival itself. In 2004/5 concerts are being
given by the RLPO and Manchester Camerata. In May 2005 the festival is
trying a new additional project, Opera North with a Young Singers Showcase of
Mozart Arias. The Northern Sinfonia has made regular festival appearances.
The Festival is interested in trying family concerts in the local leisure centre, but
this is seen as too financially risky to do professionally without extra subsidy.
A significant number of amateur and semi-professional orchestral concerts take
place in Ripon through the work of organiser/conductor Xenophon Kelsey.
A.3.3.3
Ryedale (including Helmsley)
The Ryedale International Festival is an important promoter of classical music
in the area.
Helmsley Arts Centre promotes a classical music concert each month in its
138-seat auditorium, and can accommodate a small orchestra. The centre is
interested in the larger chamber ensemble initiative from Music in the Round.
A.3.3.4
Craven (including Skipton and Settle)
The local authority would welcome visits from orchestras and orchestral
musicians, and has supported an education-based project with the Northern
Chamber Orchestra. Again, lack of affordability for small rural venues is seen
as the main problem for promoters, while professional orchestras are not felt to
be reaching out into rural communities sufficiently with their education
programmes.
The Victoria Hall in Settle has a capacity of 230 and promotes classical
concerts occasionally, including musicians in residence. In contributing to this
review, the manager suggested that there is a need for finance, sustainability,
and expert input if orchestral audiences are to be sustained in smaller venues
such as this.
28
A.3.3.5
Scarborough (including Whitby)
Scarborough Borough Council employs the Scarborough Spa Orchestra to
promote a series of concerts throughout the summer at the Scarborough Spa
Complex (see section 4.2.2.1). In addition the Borough is taking part in the
EOB Orchestras Live programme, promoting 3 orchestral concerts in the
Whitby Pavilion between November 2004 and June 2005. The Scarborough
Spa Orchestra also takes occasional concerts to Whitby. Both the Spa
complex and the Pavilion are local –authority run, and used to accommodate
more regular symphony concerts, including regular visits to Whitby by the
Northern Sinfonia.
Also in Scarborough, the Stephen Joseph Theatre regularly promotes tours
from Music in the Round, including orchestral ensembles.
There is potential for (and interest in) a community and outreach programme
across the Borough. However, the Arts Development department has no
budget for this.
A.3.4 Humber area
A.3.4.1 Yorkshire East Riding (including Beverley and Bridlington)
Beverley Minster is a focus for local music making. The Beverley and East
Riding Early Music Festival, designed to highlight the musical and
architectural heritage of the county town of Beverley and the historic
churches of the East Riding, includes orchestral concerts in the
Minster.
In Bridlington the Spa Royal Hall (capacity 1,800) and Spa Theatre (1000)
can both accommodate a symphony orchestra. Although neither currently
receive regular professional provision, the European Union Chamber Orchestra
is promoting a visit to the theatre, and the East Riding Youth Orchestra
performs in the Hall. In its submission to this review, the Youth Orchestra
pointed out the lack of a suitable chamber orchestra venue along the East
coast although Hull University does have the Myddleton Hall.
29
A.3.4.2 Hull
In Hull the local authority has been running a concert series at the City Hall for
many years. At present the International Subscription Series consists of 8
concerts including 4-5 foreign orchestras booked through an understanding
with IMG, and one or more by the Halle Orchestra. The Manchester Camerata
will be included for the first time this April. The City also organises four annual
concerts by the amateur Hull Philharmonic Orchestra. Other providers in the
Hall include the City of Hull Youth Orchestra, the active East Riding Music
Services annual concerts, the Hull Choral union and Hull Bach Choir.
Commercial promoters also promote occasional concerts.
About seven years ago audiences started to drop fairly rapidly, but in the past
four years they have remained stable (averaging 900 – 1050, with the Halle
attracting good houses). Considerations include the need to sustain the
number of IMG concerts in order to obtain best prices, the relative cheapness
but also lesser appeal of chamber orchestras, and a belief (untested) that
audiences prefer to hear a range of orchestras rather than to have a special
relationship with any one. A recent review of the City Hall and Theatre by Paul
Iles is moving through the Council’s systems towards acceptance. It includes
recommendations about the physical state of the buildings (leading to
refurbishment by 2009), programming, and executive leadership, emphasising
the need for artistic vision and a broader approach.
Meanwhile other new initiatives are taking place in the City. The EOB’s
Orchestras Live project is working with the City Hall and City Arts (different
Council departments) to re-introduce a broader repertoire, starting with the
London Sinfonietta/Gavin Bryars concert in November 2004. City Arts has
developed a close relationship with the Manchester Camerata and is planning
a number of outreach projects with them and with the Music Services. It is also
a partner in the Youth Music Action Zone.
At the University a pilot event has taken place at the Myddleton Hall to test the
potential for a new chamber orchestra drawing on locally-based professional
musicians. Led by Dr Lee Tsang of the University Music Department, the
concert by the 20-strong orchestra attracted Arts Council England project
funding. The aspiration is to establish a resident Hull orchestra with flexible
forces and to explore a wide repertoire. Some local authority Councillors are
(separately) interested in the idea of an orchestra resident in the City. There
are no obvious sources of funds for either initiative at present.
30
The Halle Orchestra would ideally like to perform 2-3 concerts per year in Hull.
The Orchestra of Opera North is also interested in the city, where it has
performed in the past though not to capacity audiences, as a regular showcase
and has strong links with East Riding Music Services. Given this level of
interest from so many different parties, there is an opportunity for a high-level
round-table discussion about the future of orchestral life in Hull.
A.3.4.3 North East Lincolnshire (including Grimsby)
Rural areas of North East Lincolnshire have little professional provision at
present. The former ADO reported early discussion with the Manchester
Camerata (but no other orchestral activity or funding) and a need to educate
and develop audiences.
Grimsby’s orchestral heritage includes the former international singers
competition, popular regular performances by the Manchester Camerata as the
orchestra which used to accompany the Grimsby Philharmonic Choir, and
concerts by the Grimsby Symphony Orchestra (still continuing). As well as the
commercially-run Central Hall (750 and 2000 seats) a little way out of town, it
has a town hall (380 seats) and St James Church (500 seats) which is being
improved as a venue.
Opportunities for relationships with visiting orchestras are opening up through a
partnership between Adele Dixon (a local singer) and the new church organist,
who is keen to bring professional orchestras to perform with a newly formed
chamber choir. Building over three years on an annual concert by Alison
Pearce with instrumental accompaniment – in 2005 by a quintet from the LMP,
which is also giving 3 concert demonstrations in schools supported by the local
authority – Adele Dixon has shown through voluntary effort (and support from
Arts Council England) that there is local enthusiasm for more activity. Future
ambitions include a commission related to the new fishermen’s memorial and
dialogue with EOB about Orchestras Live. A brand and website ‘Stars in the
North’ have been formed, though this is not yet formally an organisation.
A.3.4.4 North Lincolnshire (including Scunthorpe)
Scunthorpe and North Lincs Concert Society promotes concerts in John
Leggott College Hall (325 capacity), which in the past have included 15-18
piece string orchestras. However they now find orchestral fees are beyond
31
their means. The local authority- funded Plowright Theatre promotes orchestral
music including two recent visits by Viva, and the manager is thinking
strategically about building audiences.
A.4
Orchestras working in the region
A.4.1 Professional orchestras making regular visits
A.4.1.1
The Halle
Traditionally the region’s most regular visitor, the Halle Orchestra maintains a
residency relationship with Bradford’s orchestral series (3 concerts per year),
regular visits to Hull (1-2 per season), and a relationship with Sheffield, its
‘second home’, which it is keen to retain and develop when the City Hall
reopens. Concert programmes are based on repeats of Manchester concerts,
and the orchestra would welcome agreements with Hull and Sheffield about
regular visits. The Halle used to run the Huddersfield concert series and would
like to regain a presence there.
With engagements by the Leeds International Concert series (and Piano
Competition), Harrogate International Hall, and occasional appearances
elsewhere, the orchestra has a strong interest in the future sustainability of
local authority promotions. The orchestra is currently exploring the potential for
a consortium of symphony orchestras to supply regular concert series and
associated activity across targeted local authority areas.
A.4.1.2 Manchester Camerata
This regularly funded chamber orchestra has worked hard to develop
relationships in the region, and partly through Arts Council England Grants for
the Arts funding has carried out successful residencies in Doncaster with the
music services and, with local authority support, in Hull where it is interested in
developing an ongoing residency. It plays annually in Leeds, where it is keen
to do more work following a successful project with Leeds College of Music,
and has appeared in the Bradford, Huddersfield, Sheffield and York concert
series. It has also had early discussions with North East Lincolnshire.
32
A.4.1.3
Northern Sinfonia
This orchestra has historically had relationships with a number of promoters in
North Yorkshire as well as elsewhere in the region, and has been programmed
into various concert series and festivals including Orchestra Live in Whitby, and
the Kirklees series run by the Orchestra of Opera North. Despite its busy
schedule at the newly opened Sage Centre (and the possibility that the Centre
may attract audiences from North Yorkshire) the orchestra would be interested
in exploring a structured approach to rural touring work in North Yorkshire.
A.4.1.4
London Sinfonietta
Through its adventurous and cross-cutting programming and commitment to
new work, this orchestra provides a valuable contrast to all those based closer
to the region. Strong recent projects have been funded in Hull, Leeds and the
HCMF, and the orchestra’s approach can attract young audiences from a range
of backgrounds (though it is also seen as ‘risky’, and requires an appropriate
programming context, promotion and level of funding)
A.4.1.5
Other visiting orchestras
The RLPO is a frequent visitor to local authority seasons, and has a developing
relationship with the Harrogate Festival. The BBC Philharmonic and the RSNO
also appear in the region; London-based orchestras are not prominent; nor is
the Britten Sinfonia.
Most concert series draw on international tours promoted by IMG or other
agents, usually by orchestras offering popular repertoire, not necessarily of
world class quality, because these are fairly inexpensive and may appear to
audiences more attractive than UK orchestras. Across the country, there is
some evidence that this approach generally results in initial audience attraction
but that this tends to be followed by a pattern of decline
A.4.2 Regionally-based orchestras
Without a resident full-time symphony orchestra, the orchestras based in the
region have developed individual and creative ways of serving the public.
Especially in rural areas, consultees felt that differentiation between
professional, semi-professional and amateur was less important than the
quality of the relationship between artists and audience.
33
A.4.2.1 Full time professional orchestra: Opera North
In addition to its work in the theatre, the Orchestra of Opera North performs 2530 concerts a year, most of which take place in Yorkshire. In Leeds, it has two
engagements with the LICS each year, and collaborates to organise a series of
Gala concerts, the conductors’ competition, and from 2005 a series of schools
concerts. It has worked with City of Leeds Youth Orchestra and Leeds
Bassline project. It does not have the official status of orchestra in residence in
Leeds, but aspires to this title – and to the associated status and community
identity that would accompany it
Elsewhere, Opera North has been running the concert series in Huddersfield
for Kirklees for 18 months, and continues to run the Dewsbury series. The
combined season is 13 concerts, and Opera North programmes all the
concerts, including engaging guest orchestras. The orchestra has the capacity
and desire to repeat the Huddersfield series elsewhere, for example in Hull
(where the opera company performs and where the orchestra has plans to
work with East Riding Youth Orchestra) or in Bradford, where it will work with
the Bradford Youth Orchestra this year.
The orchestra performs new work during the York National New Composers
Forum but rarely commissions.
This is the UK opera orchestra with the most active independent concert life,
and the company prides itself on its ability to schedule its many roles
effectively. There are 55 contracted musicians, with regular extras called for
work in and out of the pit; the company is currently exploring the possibility of
re-negotiating musicians’ contracts to increase their flexibility. Longer-term
ideas include developing a model wherein a pool of freelance musicians could
be retained as ‘associates’ and scheduled into smaller concerts and outreach
work.
The orchestral programme overall makes a small contribution to the company
finances, partly because it is run by existing opera company staff. If there were
plans for dedicated orchestral outreach work on a wider scale, or for detailed
audience development work in several parts of the region, there would be a
case for having an additional dedicated member of staff. At present the well
respected ON2 Resonance project is creative in reaching communities beyond
34
the company’s mainscale touring centres, with a focus on developing the
operatic artform.
A 4.2.2 Part-time and occasional professional orchestras
A.4.2.2.1 Scarborough Spa Orchestra
This orchestra of 10 players (resident in Scarborough) is contracted throughout
the summer (16-17 weeks) by the local authority to perform about 130 concerts
covering a huge repertoire of light classical and popular music in the Spa
Complex. After 92 years of operation, the orchestra is the oldest of its kind in
the UK and its diverse approaches include themed evenings, outdoor concerts,
gala nights and park proms. The orchestra is aiming to extend its role by
touring beyond Scarborough, and already undertakes local outreach work. The
audience for its more conventional concerts is getting older, and it is keen to
explore ways of presenting music to attract young people.
A.4.2.2.3 Northern Orchestral Enterprises/North of England Concert
Orchestra
Northern Orchestral Enterprises was formed in 1996 by John Pryce-Jones and
Barry Collarbone, to develop the work of the Northern Ballet Theatre Orchestra
outside its regular performances in the pit. Since then it has become an
educational resource instigating and managing a range of educational projects
in West Yorkshire and recently in other parts of the country. It also runs several
Singing for Fun groups, has re-formed the Yorkshire Youth Orchestra and
recently formed the Yorkshire Youth Choir and the Calderdale Boys Choir. The
North of England Concert Orchestra gives occasional concert performances
and accompanies the Halifax Choral Society.
A.4.2.2.3 Orchestra of the Square Chapel
This freelance orchestra formed itself to provide classical music at Square
Chapel, where it performs four times a year without payment.
A.4.2.2.4 Xenophon Kelsey
Xenophon Kelsey runs a range of amateur, semi-professional and training
orchestras based in Ripon and serving several rural communities via village
halls and churches. His experience as a music educator and persistence as an
35
organiser have contributed to the success of these initiatives, all of which have
at their heart a desire to provide more performance opportunities for musicians
and more orchestral concerts in Yorkshire. The Vacation Orchestra is a
training orchestra which recruits its members internationally.
A.4.2.3 Amateur orchestras/Making Music
Yorkshire and the Humber area have a very strong amateur music tradition;
Making Music has about 30 orchestral members in the region. Orchestras
including the Hull Philharmonic and the Guildhall Orchestra in York provide
important concert-giving and -going opportunities and often the most regular
orchestral performances in a locality.
Making Music choral societies offer engagements for professional and semiprofessional orchestras.
Although Making Music (Yorkshire) did not arrange for its members to
contribute to this review, the former training and development officer wrote a
national report on the needs of the amateur orchestra sector in the UK.
Amateur orchestras are – and will remain - a key part of the region’s musical
life and should be involved in discussions of significant orchestral development
in their areas.
A.5
Related musical activity
This section notes some of the organisations and activities in Yorkshire with
which orchestras can (and should) connect when planning work in the region.
All offer opportunities to residents for participation in classical (and other)
music.
A.5.1 Music of diverse cultures
There are several organisations and agencies promoting and supporting nonwestern arts in the region, including SAA UK in Leeds and Oriental Arts in
Bradford. Partnerships between them and the western orchestral infrastructure
are beginning to be explored, and they have great potential for influencing the
future development of broad-based orchestral repertoire and events.
36
A.5.2 Music services
In some parts of the region, including Yorkshire East Riding, Barnsley and
Wakefield, music services provide a strong driving force for classical music,
developing partnership projects with professional orchestras and local
promoters and keen to create other opportunities if funds can be found.
Although only a few music services responded to this review, their
achievements, insight and suggestions show that the potential undoubtedly
exists for them to develop a significant role in any strategy, particularly by
encouraging youth arts engagement with the orchestra sector.
A.5.3 University and College music departments
The region contains several prestigious music departments, whose concert
series, facilities and musical life bring benefits to the whole community. These
include Leeds College of Music, Leeds University, the University of
Huddersfield, York University, Hull University and Sheffield University.
A.5.4 Junior Academies
A new junior centre for advanced training – Yorkshire Young Musicians - came
into operation in January 2005. This is a partnership between Leeds College of
Music, 16 local authority music services and Opera North. It will provide
tailored learning opportunities for exceptionally talented young musicians The
Department for Education and Skills Music and Dance scheme is providing
means-tested bursaries to enable young people to attend. This is one of a
national network of such centres. Another – to be sited in Sheffield and serving
the southern part of the region and the East Midlands – is currently under
discussion.
A.5.5 Youth Music Action Zones
The Humber YMAZ, Music4U, has not yet engaged with orchestral music, but
is in dialogue with Hull Arts Development, which in turn is working with the
Manchester Camerata to develop outreach opportunities. The North Yorkshire
YMAZ has just been re-formed through a partnership between a number of
local organisations (see A 3.3.2).
37
A.5.6 Creative Partnerships
There is a Creative Partnerships programme in Barnsley, Doncaster and
Rotherham where NBT has taken part in a project, and another in Hull which
has included a primary school recorder project. Further Creative Partnership
areas are currently being set up in Bradford and Sheffield.
A.6
Opportunities for locally-based musicians
Regionally-based musicians and peripatetic instrumental teachers, working
independently or with music services, also play in the region’s professional or
semi-professional orchestras, and provide a backbone for local music
experience and learning, including many of the activities in A4 and 5 above.
Programmes such as Arts Council England’s musicians in residence scheme,
and Live Music Now, offer additional opportunities to perform for selected
participants.
Consultees agreed that there is great value in having musicians of high quality
living and working locally - whether as individual musicians, members of
chamber music groups or orchestral players. The relationships between
musicians and the public that arise from such arrangements can help
significantly in sustaining a strong musical ecology.
Whilst this review does not set out directly to address the needs of individual
artists (which are a priority for Arts Council England), it should be recognised
that initiatives which strengthen orchestral provision will also open up
performance and training opportunities for individuals.
38
Section B - Opportunities, challenges, core principles and
associated recommendations
B.1
Opportunities
Throughout the consultation for this report, there was enthusiasm on the part of
contributors for moving forward in orchestral work. This demonstrated a keen
interest in discovering different ways of presenting orchestral music, and in
working across the boundaries between performance and education and
between artforms to create a lively and relevant orchestral ecology and
audience. There was excitement about the dialogues which began during the
consultation fora, and which seemed to point towards the emergence of new
partnerships between promoters, grass roots organisations and artists working
at a range of scales.
The research also identified opportunities for connecting effectively with
initiatives and organisations outside the region, to maximise their benefit to the
region. To summarise, a strategy to enhance the region’s orchestral life could
build on.


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




39
A wide range of promoters working at different scales and levels of musical
knowledge, with a common interest in networking with each other and
drawing on good practice from within and without the region.
Potential collaborations – both between classical music organisations (e.g.
Music in the Round and Sheffield International Venues) and across forms
(with, for example, South Asian music organisations, Creative Partnerships
and the region’s YMAZs)
The musical strength of education institutions in the region (e.g. Leeds
College of Music, York University and the forthcoming Junior Academies);
and of some music services.
Existing enthusiasm to develop smaller scale (ensemble) work in more rural
areas to complement the larger-scale work in the conurbations.
A strong tradition of amateur and semi-professional music-making in the
region which could develop through encouragement, through residencies
and through collaborations with Music Services
The interest of several local authorities in embracing orchestral series within
a broader strategic approach to music and the arts.
Potential strategic relationships with a number of incoming orchestras (e.g.
Halle, Manchester Camerata and Northern Sinfonia) as well as the
indigenous orchestra of Opera North.
Ongoing access to the EOB Orchestras Live initiative and to the new
national chamber orchestra promoter circuit which will be in place from
2005/6

B2
Arts Council resources – both in funding terms (through RFOs, managed
funds, open application programmes and limited capital awards) and
through officer time.
Challenges
The opportunities described in B1 will need to be addressed carefully if the
orchestral life of the region is to be rethought and refreshed successfully and
the challenges identified in Part A - the most significant of which are
summarised below - are to be overcome.
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
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


40
A decline in the number of orchestral concerts presented in the main cities
of the region and (in many instances) in the public and promoter
enthusiasm for them.
The lack of a full-time professional orchestra in the region, compounded by
the fact that incoming orchestras do not have as strong a relationship with
key venues as they might (and perhaps have had in the past).
The demise of a once valued consortium of orchestral promoters in the
region.
Aspirations for stronger orchestral series in some cities (Sheffield, Hull,
Bradford), without clear agreement as to how to move forward.
A partly rural region with many small communities, poorly resourced (often
seasonal) promoters, and a lack of appropriate venues for larger scale
orchestral work (and sometimes, also, for chamber orchestras). As with the
larger scale, relationships with regional or incoming orchestras are not as
strategically developed as they could be.
A decline in audiences in several places (including in venues where
commercial managements have been introduced). This can be attributed to
a number of factors (e.g. cultural change, ageing un-refreshed audiences,
difficulties with travel, perceptions of city centre security problems etc ) and
threatens a potentially downward cycle.
Actual or potential redevelopment of existing major concert halls; whilst this
may offer a long-term opportunity, it also brings with it uncertainty and short
term difficulties.
A decline in local authority support for this sector and lack of funds within
Music Services
A ‘people issue’; some non-specialist promoters in the region (like their
peers in other parts of the country) do not have a great deal of knowledge
or experience in presenting classical music and are accordingly nervous
and/or conservative in their approach to the task.
B3
The core principles and associated recommendations
The steering group for this report agreed that a set of guiding principles would
provide a useful and flexible framework for Arts Council England when initiating
and/or responding to opportunities and challenges for orchestral development
in the region. Within this framework some immediate initiatives can be
undertaken whilst other opportunities (perhaps unforeseen at present) will be
opened up. Drawing on the consultation and models of good practice, these
can be summarised as.







Prioritising work of high quality, and organisations and initiatives which are
innovative and have potential for excellence.
Supporting initiatives which have the potential to succeed in broadening and
retaining audiences.
Setting out to build sustainability through long-term development rather than
one-off initiatives.
Encouraging work that is embedded in communities.
Drawing on a range of resources and good practice, both inside and outside
theregion
Basing strategy, wherever possible, on partnerships and collaborations.
The following paragraphs suggest actions flowing from the principles, which will
address the opportunities and challenges described in Section A.
3.1
Prioritising work of high quality, and organisations and initiatives which
are innovative and have potential for excellence.
3.1.1 There is a need to sustain existing high quality concert activity and to
redress some of the erosion in provision of recent years5. This will be
addressed by exploring developments to professional concert series in the
region’s conurbations in ways that are appropriate to the varying needs of the
different cities through:


5
in Sheffield, encouraging an enhanced presence by the Halle (and, in time,
possibly its partners in the proposed new symphony orchestras consortium
described in A4.1.1.)
in Leeds, encouraging FUSELEEDS and programming which explores new
approaches to creating and presenting orchestral music
Principle 3.1 also applies to the leadership and organisation of community, education and
participatory activity. In addition, residencies and other new models offer interesting
alternatives to the traditional concert series. Section 3.1.1 focuses on sustaining and extending
professional concert activity, while complementary developments are addressed later.
41




in Bradford, working with the local authority to develop a music strategy
which stimulates new thinking about the orchestral series, building the
relationship with the Halle in order to at least maintain the current level of
concert giving and introduce an audience development programme; and
exploring with Opera North a complementary presence in the series
in Hull, working with appropriate departments of the local authority, the
University and EOB to agree the way forward for orchestral development in
the city, underpinned by audience research including the potential of Opera
North and the Halle
in York and Kirklees, remaining in dialogue with the Universities and local
authorities to monitor the continuing health of orchestral programmes
in general, advocating and supporting repertoire exploration,
commissioning, and cross-genre/artform initiatives
3.1.2 Complementing the concert series in the major cities with a range of
other programming across the region, for instance:





progressing Orchestras Live’s existing relationships (in
Scarborough/Whitby, and Hull)
exploring (with colleagues in rural touring and a range of promoters at
different scales) the potential of developing a rural circuit for chamber
orchestras and ensembles
recognising the value of Festivals in providing orchestral concerts of high
quality and/or unusual repertoire and involving them in rural touring
discussions (and, where possible, circuits)
encouraging residencies and concerts by groups of musicians with a
creative approach to programming, to complement orchestral activity
supporting the development of Music in the Round
3.2 Supporting initiatives which have the potential to succeed in broadening
and retaining audiences
To address the widespread concern about the perceived decline in audiences
for orchestral music Arts Council England should encourage locally based
orchestras (professional and non-professional) to forge still stronger
relationships with particular audiences. Those relationships should be
complemented by the work of incoming orchestras which will also need to
address the needs of communities through residencies, other outreach work,
etc. The development of audiences is likely to be achieved most effectively by
committed and enthusiastic individuals and/or a critical mass of committed
organisations. Alongside initiatives in programming and outreach activity, Arts
Council England should:
42
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

support investment in creative audience development initiatives and the
dissemination of good practice/existing models in close collaboration with
Audiences Yorkshire
build on current initiatives in the EOB’s Orchestras Live programme,
including evaluation and research about audience/repertoire matches
consider whether region-wide research and advocacy by Audiences
Yorkshire could make a strategic contribution to orchestral development.
3.3
Setting out to build sustainability through long-term development
rather than one-off initiatives
This principle will require increasingly strong partnerships, a strengthening
infrastructure, and sustainable funding. In common with the other regions with
a relatively low level of orchestral provision, Yorkshire lacks a strong
infrastructure of confident, experienced promoters. The strengthening of this
vital element in the region’s musical ecology - and of its links with music
services and other organisations for participation - should be a priority.
Accordingly, more confident relationships between local authorities and
orchestral activity will need to be developed and where appropriate, major
events and pilot projects should be used as catalysts for development and/or
linking to broader arts strategies and identified regional priorities. For Arts
Council England, this could involve:
3.3.1




43
developing professional capacity in the region through:
encouraging networks of producers, promoters and orchestras for the
exchange of information, skills and best practice and for enhanced buying
power
exploring the feasibility of engaging an experienced orchestral promoter to
take on a mentoring/advisory role with a group of interested promoters for a
fixed-term period. Alternatively, this might be achieved through an
arrangement with an existing locally-based Regularly Funded Organisation
enabling emerging or potential promoters to develop through, for example
offering go-see/go-meet grants and/or exploring with the Independent
Theatre Council or other training providers the possibility of developing an
appropriate module for professional development
introducing interested promoters to EOB Orchestras Live and the new
chamber orchestra promoter circuit, and to orchestras which might offer
residency models.
Developing infrastructure in the region by:



advocacy, including encouraging local authority officers and key music
organisations to explore how orchestras (and concert halls) can play a
wider role in society, demonstrating their ability to contribute to ‘social’
targets and to engage with regeneration initiatives
continuing dialogue with local authorities and others about the detail,
time-scale and implications (including for programming) of proposed new
and refurbished spaces for orchestral concerts in the region
focusing some sustainable resources on parts of the region which have
been identified as priorities for Arts Council England, such as the former
coalfields areas, North Yorkshire and the Eastern seaboard (see also
3.6.3).
3.4 Encouraging work that is embedded in communities
This principle entails encouraging local participative activity and its links with
orchestras (both local and incoming). New initiatives should build on the
existing infrastructure in place to encourage young people’s musical interests,
including Youth Music Action Zones, Creative Partnerships and Music
Services; and on the strong tradition of performances by amateur orchestras
and choirs. These organisations in turn should be encouraged to explore
interesting approaches and connections into orchestral work, drawing on the
education and outreach work of professional orchestras, and teaching and
educational/outreach work relating to orchestral instruments. These
developments will be pursued by
3.4.1 Enhancing opportunities for locally-based musical activity through:

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
44
encouraging interaction between professional musicians and participative
organisations
opening up performance opportunities for local groups and orchestras
through networking with promoters
enabling regionally based musicians to develop their skills in areas such as
education, training and mentoring (where appropriate, in conjunction with
Music Services)
encouraging initiatives aimed at developing culturally diverse approaches to
orchestral activity
encouraging Opera North to include music-based audience development
work in Leeds and other centres where it is developing a concert
programme.
3.4.2 Ensuring that incoming professional orchestras offer the region the
community-based aspects of their work by:
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

enabling orchestras with regular series to develop educational and
community-based programmes, in consultation with local providers
encouraging sustainable outreach work coordinated with concert series
where there is no regular orchestra (eg LICS)
encouraging national chamber orchestra residencies which address both
urban and rural area needs (from, for example, the Britten Sinfonia and the
London Sinfonietta in addition to the Manchester Camerata)
3.5
Drawing on a range of resources and good practice, both inside and
outside the region
This will enable the region to make best use of national orchestral resources
(including the regularly funded symphony and chamber orchestras, Orchestras
Live, and the new national chamber orchestra promoter initiatives); ensure that
work of national and international significance can be accessed, and
disseminate good regional work. Arts Council England can respond to this
principle by:
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

working with incoming orchestras and promoters to advocate and
encourage sustainable programming and audience development, in
particular through working for strategic partnerships between: The Halle and
Bradford; Opera North and Hull; The Halle, Sheffield and Music in The
Round; Manchester Camerata and its potential residencies; in time, there
may also be potential for relationships with the broader consortium of
symphony orchestras being considered in the North West
maintaining a dialogue with the new national chamber orchestra network
and EOB
helping effective regionally-based organisations to show their work more
widely, both within and without the region
encouraging new approaches to orchestral activity which may provide
dynamic models for others.
3.6 Basing strategy, wherever possible, on partnerships and collaborations
Already implicit in the other principles, this includes networking, working with
local authorities, organisations from non-Western cultures and other sectors of
the industry (prioritising, where possible, projects or partnerships that reflect
cultural diversity and social inclusion). Organisations in the region have already
45
expressed enthusiasm for increased dialogue and new partnerships and Arts
Council England can further this by:
3.6.1 Working with local authorities, Audiences Yorkshire and other interested
parties to advocate on behalf of the sector
3.6.2 Collaborating with partners active in other allied fields to link their work
into orchestral activity, in particular: -non-Western music organisations such as
SAA UK; Youth Music and Youth Music Action Zones; Music Services; Creative
Partnerships and Making Music and its members
3.6.3 Encouraging collaborations leading to new musical initiatives in priority
areas:
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
46
the former coalfields areas: particularly through collaborations with the
Music in the Round ensemble and Manchester Camerata, building on
existing relationships with Music Services and local authorities
North Yorkshire: beginning with a meeting between parties interested in
working collaboratively to develop a model for resident musicians visiting
smaller venues regularly e.g. Northern Sinfonia, Manchester Camerata,
Scarborough Spa orchestra, Helmsley Arts Centre, Rural touring agency,
Harrogate International Festival, York University and Live Music Now
The Eastern seaboard: Manchester Camerata should be invited to explore
the possibility of a residency on the East Coast with interested local
authorities including Hull and NE Lincs in association with music services
and EOB. In Grimsby, the discussion should involve ‘Stars in the North’,
which should be supported in any plans to develop a relationship with LMP,
and to become established as a business/agency.
Appendix 1
Brief to consultants
Arts Council England, Yorkshire: Orchestral Review Brief
The Consultants will help Arts Council England Yorkshire to develop a strategy
for orchestral development across the region, make an audit of existing
professional and professional activity and consult with key stakeholders.
The Consultants will be expected to work closely with Arts Council England,
Yorkshire, a range of stakeholders across the region, and an independent
advisor from the region. To this end it is envisaged that the research will
include a raising awareness component and a visioning meeting. Central to
the process will be the strategic priorities of regional ownership, access,
diversity and innovation.
Key aims envisaged at this stage:



assess the amount and level of current orchestral provision in the region
consult with key stakeholders to understand the development aspirations of
the orchestras, promoters and local authorities in the region
make recommendations to Arts Council England, Yorkshire on the future
development of orchestral provision and associated activities in the region
and the resources required.
In order to achieve this it is envisaged that the following areas of investigation
will be amongst those addressed by the review.

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47
How can existing provision be developed and enhanced?
What opportunities exist for funding collaboration, and how can current
funding arrangements (particularly by Local Authorities) be developed?
How can the sector best encourage more performances of contemporary
and innovative work?
How can education and audience development initiatives be developed and
enhanced?
How can existing and future provision best meet National and Regional Arts
Council priorities, particularly with reference to cultural diversity, economic /
social deprivation, regional geographical priorities (rural North Yorkshire,
the Humber region, the former coalfields of South Yorkshire)?
How can the sector maximise opportunities for cross-artform activities?
Appendix 2
People consulted
The individuals consulted in person or by telephone during the preparation of
this document were:
Matthew Sims
Daniel Bates
Shahaa Kakar
Douglas Scarfe
Malcolm Warne Holland
Richard Mantle
Christine Raby
Sheena Wrigley
Paul Holloway
Tony Ridley
Dr. Lee Tsang
Yvonne Barwick
Bill Paton
Tracey Waters
William Culver-Dodds
Yorkshire YMAZ
Celia Frisby
Mike McCarthy
Stephen Wood
Adele Dixon
Sally Martin
Sarah Richards
John Grinnell
Tim Fagan
Kate Wafer
Delma Tomlin
Andrew Cleaton
Fiona Goh
Roy Carr
David Richardson
Kathryn McDowell
Gavin Reid
John Summers
Simon Clugston
48
Leeds International Concert Season
West Yorkshire Playhouse
SAA-uk
Opera North
Opera North
Opera North
Bradford Theatres
Bradford MDC
Hull City Council
Hull City Hall
University of Hull/Hull Sinfonia
Hull Philharmonic Society
Sheffield City Council
Music in the Round
Harrogate International Festival/North
Harrogate Borough Council
University of York
Scarborough Borough Council
Stephen Joseph Theatre
Stars in the North
Square Chapel
Doncaster MBC
Barnsley music services
Victoria Theatre, Halifax
Audiences Yorkshire
Humber YMAZ
Youth Music
Making Music
Making Music
Eastern Orchestra Board
National chamber orchestra promoters circuit
Manchester Camerata
Halle Orchestra
Northern Sinfonia
Sarah Derbyshire
YMAZ
Andrew Herbert
Hilary Boulding
Ivor Davies
Eddie Thomas
independent adviser/Live Music Now/North Yorkshire
Arts Council England, Yorkshire
Arts Council England
Arts Council England, Yorkshire
Arts Council England, North West
The consultants held open meetings in two parts of the region, to which a
wide range of promoters, orchestras and ADOs were invited. Those who
attended were:
National Centre for Early Music, York
Xenophon Kelsey
Alison Goffin
Sharon Brown
Jean Kershaw
Simon Kenworthy
Gill Cooper
Sarah Derbyshire
Andrew Herbert
Celia Frisby
William Culver-Dodds
Roger Shaw
Kate Wafer
Elaine Rogers
Morris Stemp
Katharine Oldershaw
Vacation Orchestra (et al)
City of York Arts Service
City of York Arts Service
Helmsley Arts Centre
Scarborough Spa Orchestra
City of York Council
Independent Adviser
Arts Council England, Yorkshire
University of York
Harrogate International Festival
Beverley Minster
Audiences Yorkshire
Musicians Union
Musicians Union
Swaledale Festival
Arts Council England, Yorkshire offices, Dewsbury
Murray Edwards
Shahaa Kakar
Keranjeet Kaur Gahir
Malcolm Warne Holland
Douglas Scarfe
David Warren
Matthew Sims
49
Wakefield Theatres
SAA-uk
SAA-uk
Opera North
Opera North
Leeds College of Music
Leeds International Concert Season
Christine Brady
Hannah Young
Andrew Herbert
Sarah Derbyshire
Ian Killick
Bradford Theatres
Arts Council England, Yorkshire
Arts Council England, Yorkshire
Independent adviser
Northern Orchestral Enterprises
Similar meetings planned in Hull and Barnsley did not take place because of
lack of response.
50
Appendix 3
Questionnaires
At the beginning of the consultation process, questionnaires were circulated to
organisations recommended by the Steering Group as follows:

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

35 Arts Development Officers
16 Music services
7 regionally-based professional and semi-professional orchestras
2 regionally-based amateur orchestras
70 promoters, venues and festivals
44 questionnaires were returned, providing an overview of key issues for
discussion at interviews and meetings.
Appendix 4
Steering group
The Steering Group members for this report were:
Ivor Davies
Andrew Herbert
Hilary Boulding
Sarah Derbyshire
51
Head of performing arts, ACE, Yorkshire
Music officer, ACE, Yorkshire
Director of music, ACE
independent adviser
Appendix 5
Funding of orchestral activity by Arts Council England, Yorkshire
Most funding for orchestral work falls within regular funding grants to
organisations, of which the ones most involved with orchestral music are:
2004/5
Harrogate International Festival
Ryedale Festival
Huddersfield Contemporary Music Festival
plus project funding
Opera North (including Orchestra of
Opera North Kirklees Series)
Making Music (amateur organisations)
£10,000
£10,300
£169,000
£47,000
£7,900,000
£53,000
Project funding in 2004/5 included:
FUSELEEDS04 (contemporary music festival
including concerts by London Sinfonietta
Ripon International Festival
Northern Aldborough Festival
Light Passing (new opera commission by
Nicola LeFanu performed at National
Centre for Early Music)
Adele Dixon (masterclasses and concert
involving London Mozart Players
in Grimsby)
NOEL (Northern Orchestra Enterprises
Limited - concerts by Yorkshire Youth
Orchestra)
York Symphony Orchestra (new commission)
Hull Sinfonietta (performance of Mahler 4)
Yorkshire Philharmonic Choir
(for work accompanied by Manchester
Camerata)
Hull Choral Union
(for work accompanied by RLPO)
52
£55,000
£13,000
£31,000
£5,000
£3,993
£4,980
£2,250
£3,3500
£2,500
£5,000
Two pieces of work funded in 2003/4 of particular interest were:
2003/4
Vacation Chamber Orchestras
(training orchestra in Ripon)
Manchester Camerata /Leeds College of Music
(RALP grant to build partnership, including
concerts and education work)
53
£4,600
£20,000
Appendix 6 – examples of work from elsewhere
Show the value of orchestral activity in meeting local authority targets
Music development has had an important role in the Heart of Slough
regeneration programme. Creative Partnerships and the local music education
adviser have worked with visiting London orchestras, and a YMAZ has been
established. A new 260-seat multi-use venue West Wing, suitable for concerts
(e.g. by the local amateur chamber orchestra) is opening in autumn 2004 and
in the longer term there are hopes for a 750-seat venue ‘the creation space’ to
complement it.
Contact: Slough local authority
Medway is active in supporting (alongside ACE) the CLS in a pilot residency in
Chatham. It has the potential to meet arts development and social targets in
an area with little professional cultural activity. The CLS has made a point of
meeting local amateur orchestras, in particular the City of Rochester Orchestra
which has an important concert-giving presence in the area.
Contact: the local authority officer, who previously supported a similar
residency in Kings Lyn.
The Eastern Orchestral board are expert in making the case to local authorities
Contact: David Richardson, EOB
Creative programming to boost audiences and attract younger people
The CBSO has experimented successfully with concerts at different times of
day, transport arrangements, family concerts, stranding of concert programmes
with branding designed to appeal to different target markets, and new music
within and without main orchestral series. Audiences have broadened and
diversified.
Contact: CBSO
In Leeds, organisations working in partnership have attracted a wide spectrum
of audience through LICS and FUSELEEDS, without necessarily expecting
audiences to cross over.
Contact: LICS/Leeds College of Music
Involving local community with musicians
London Mozart Players Residency in East Lindsey involves visiting musicians
staying in local homes.
Contact: LMP or EOB
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A visiting orchestra creating a big presence in a rural region
In the South West, the Orchestra of the Age of the Enlightenment is creating
regular relationships with a circuit of promoters including Dartington Arts and
St.George’s Bristol, and a leaflet promoting its activity in the area.
Contact: OAE
Collaborations across musical styles and traditions
Sage Centre, Northern Sinfonia and Folkworks
Contact: Sage Centre
RENGA!
is a group of London Philharmonic Orchestra players who work
regularly with musicians from other cultures. Under director Scott Stroman they
create their own repertoire by working in a creative environment, and enjoy
organic collaborations with leading soloists of jazz, folk, Indian, African and
Japanese music.
Contact: Clare Lovett, LPO
Audience research can help
Detailed research into audiences at the Brighton Dome, Eastbourne and
Crawley by Sussex Arts Marketing, has provided valuable information about
those three areas, noted the difficulty of translating the ‘Classic FM’ audience
into concert attendances and suggested ways of improving the marketing of
classical music in conjunction with educational initiatives and repertoire review.
Contact: Sussex Arts Marketing
Concert series in cities without orchestras in residence
The Anvil in Basingstoke (1400 seats) hosts the third-largest concert series
outside London, behind only Manchester and Birmingham - which have
resident orchestras. The Bournemouth Symphony Orchestra is a central plank
in this orchestral programming, including outreach sessions provided by its
animateur. An 18-concert subscription package includes 4 concerts by the
Philharmonia (the ‘orchestra in association’), 4 by the BSO (the ‘orchestra in
residence’), a BSO Viennese evening and 3 chamber orchestra concerts by
London Mozart Players). Two major international concerts within the series are
supported annually by a ‘great music of the world’ fund provided by Lord
Sainsbury.
Contact: Chrissie Bradwell, The Anvil
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In Chichester the Festival Theatre has established a new ‘residency’
relationship with the BBC Concert Orchestra which will provide a 5-concert
series, covering a range of styles including classical, world music and jazz,
between October and March each year as well as two education projects. Two
concerts will be broadcast on BBC Radio. The theatre is also exploring hosting
chamber music in the Minerva Theatre in partnership with the Box Grove
Festival.
Contact: Ruth Mckenzie, Festival Theatre
YMAZs working with orchestras
In Thanet (Kent) the YMAZ has worked with Glyndebourne Education, which
has been linked to Thanet over three years through the local authority. It has
introduced the value of the live instrument experience by, for example
combining the YMAZ’s DJ ‘orchestra’ – 4 or 5 players scratching records
together - with live instruments. The YMAZ is also planning a project with
Shiva Nova – a global youth orchestra using alternative orchestration. In
addition, Thanet will soon be talking to the Docklands Sinfonia about possible
crossover activity and the sort of musicians who might be suitable for the
inclusion agenda.
Contact: Thanet YMAZ
Portsmouth YMAZ is running a classical orchestra project with the BSO and
Havant SO (amateur), working with existing ensembles run by music services.
Contact: Portsmouth YMAZ
Training regional musicians
In the East Midlands, Arts Council funding has enabled members of the local
orchestra VIVA to train in workshop leadership and community education skills.
Contact: VIVA
In Bristol there are plans for the local Emerald Ensemble to take part in
masterclasses/workshops with members of the OAE.
Contact: Emerald Ensemble
Rural promoters – circuits, touring, chamber music
The North Devon Theatres Trust has had a fruitful relationship with WNO MAX
and a chamber opera series. It also presents touring orchestras. The London
Mozart Players have visited the annual festival several times, and links with
Music Services are being explored to develop a residency model with a guest
orchestra. The Trust is trying to develop a promoters network for theatre work
which may in time lead to shared music projects.
Contact: North Devon Theatres Trust
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Also in the South West, rural promoters presenting successful chamber music
series are being encouraged to include a chamber orchestra element with Arts
Council support, in some cases presenting the orchestra in a different, larger
venue.
Contact: Ambrose Miller
Improving promoters’ skills and programming knowledge
This usually requires a catalyst, for example:
A web-based network, such as is available through South East Music Schemes
for chamber music.
Contact: SEMS
A well-resourced organisation hosting a conference or training days, for
example
Dartington College’s recent all-music conference South West Sound, funded by
Arts Council England.
Contact: Dartington College
An experienced promoter or music officer paid to develop skills and
programming of others, for example Ambrose Miller in the South West
Contact: Ambrose Miller
A full-time orchestra working carefully with promoters, or more ambitious ideas
such as the embryonic plan in the North West for a group of orchestras to work
with a group of promoters.
Contact: Arts Council North West
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