5 reasons why becoming an Orchestras for All Trustee is the volunteer role you never knew you needed

Making a difference: Trustees and members of the core team gather for a meeting in London.

Ever considered becoming a charity trustee? Here are just some of the brilliant ways you could benefit…

At Orchestras for All (OFA), trustees play an integral role in our team, using their expertise to help us fulfil our mission: breaking down barriers to music-making for young people in the UK.

Our passionate volunteers bring invaluable support in areas such as fundraising, finance, HR, and digital marketing. Their contributions make a significant impact on the lives of thousands of aspiring young musicians and drive lasting change in society.

Joining the Orchestras for All family in this dynamic and inspiring role offers numerous benefits for you as well.

To learn more, we spoke with two of our former trustees—Emily, a Lecturer at Canterbury Christ Church University, and Kate, Director at Western Jerwood Creative Bursaries—as well as our current Co-Chairs of the Board of Trustees, Beth and Joelle.

Read more: Welcoming a new Co-Chair: Beth White takes up new role as Orchestras for All’s Co-Chair of the Board of Trusteees >

Pictured: Trustees, Ambassadors and OFA team members enjoy a group discussion during an away day.

1. You’ll experience the joy of live (and virtual) events

Emily: When our artistic events are live, the concerts and fundraising activities are hugely enjoyable. Talking to the supporters, young people and their families and seeing the performances themselves is a powerful motivator!

During the pandemic, being invited to OFA’s online events and viewing the videos created after the courses was definitely a lockdown highlight too.

Kate: The pride I feel when the orchestra plays to a packed audience of thousands at the First Direct Arena in Leeds, or when a player talks about the impact of OFA on their life, is immense.

Please donate today and make a difference to young musicians’ lives >

2. You’ll contribute to a great cause

Joelle: I’ve been part of Orchestras for All since 2016 and gained so much knowledge and musical appreciation from the charity, which I’m really grateful for. I’d like to take this opportunity to give back to OFA, an organisation that has given me so much.

Being a trustee is a great opportunity to make an impact within the charity and represent the young people as a young person.

Beth: I would like to bring the voice of the people that benefit from, or have benefited from, the programmes at Orchestras for All. I’m excited to support OFA to launch its new strategy in the best way possible.

Emily: Hearing from our Youth Board about the difference that Orchestras for All has made to their lives is key – and celebrating the successes of the young people OFA works with in a range of fields proves it is making an impact.

Kate: I feel I have played my part, however small, in helping to break down barriers to music-making for young people. Being an OFA trustee gave me a fantastic insight into what goes on behind the scenes to make the charity’s vision a reality. 

3. You can build your professional network

Emily: Being involved in recruitment for key positions is a very practical way of seeing how the charity’s strategy is being implemented and ensuring that it has the skills in its team to achieve it. Helping to build a super team is very satisfying! 

4. You’ll make friends for life

Emily: It’s so wonderful to meet like-minded individuals with a common goal. The thrill when you find out that applications to trusts, foundations and grants have been successful is wonderful and shows that other organisations share and understand our vision. The artistic update at every trustees’ meeting keeps you focused on the art and lets you know what the young people (and the audience) have to look forward to at the next performance.

Beth: When I joined Orchestras for All, I was 13 years old. Before then, I’d only had access to brass bands, so for me it was a great opportunity to join an ensemble and meet people from different backgrounds from around the country. It was my only source of diversity growing up, and I still benefit from this now as a trustee.

5. It looks great on your CV

Kate: I have learnt so much over my years as a trustee about how to make music-making accessible to all young people and this knowledge helps me with my day job promoting diversity and inclusion in the arts.  It really is a two-way exchange of experience between the charity and its Board. 

Emily: As a volunteer, feeling like you are making a difference is vital – if you work for a very large organisation in your day job (as I currently do) you can feel like a tiny cog in a very big machine. But as a Trustee, you feel more like you are the sat nav or co-pilot on an exciting journey. Come and help drive Orchestras for All forward to its next destination!

Keen to become an OFA Trustee? Find out more and apply for our current vacancies >

‘Before joining National Orchestra for All, I felt helpless – but now I’ve grown in confidence and independence,’ says autistic double bass player, Noah

‘It’s all about the music.’

In 2017, autistic musician, Noah, joined National Orchestra for All (NOFA) after struggling to access inclusive music-making opportunities.

Fast forward to 2023 and the 19-year-old double bass player is now an ambassador for the inspiring ensemble, which celebrates all young musicians regardless of their differences or personal circumstances.

We caught up with Noah and his mum, Su, to learn more…

How has NOFA impacted your life?

Noah: “Before I joined NOFA, it wasn’t a great time. I had difficult personal circumstances and wasn’t in school because of bullying and unmet support needs for my autism. I was lonely and had no-one to talk to. My future was very uncertain and I felt helpless.

“Then I met Ed and Charlotte (fellow double bass players) through NOFA who gave me more confidence in my bass playing. Ed encouraged me to do grades and I’m now working on Grade Six! I found other people I could talk to and share my love of music with. It really helped seeing different campus life, accommodation and more, and I am now planning to go to uni.

“My first concert in Leeds Arena was great. I got to play music and be part of a bigger thing. Going to Leeds was my first experience of being away from home – I have enjoyed going to different places. It has really helped my bass playing, I’ve grown in confidence and independence and I learnt to deal with challenges.”

Su: “The two-hour round trip to Leeds every week was a commitment but it really developed Noah’s confidence travelling on the train – a key life skill that didn’t come naturally to him. Throughout his time with NOFA, Noah has practised many vital skills in a safe and supportive environment outside of his special school. I can’t stress enough how much this helped his development and wellbeing.”

Read more: BBC Young Jazz Musician 2022 finalist Ralph Porrett shares a virtual tea break with Orchestras for All >

Pictured: Noah (top right) plays double bass at National Orchestra for All’s summer concert in 2022.

What made you choose NOFA over another orchestra or music group? 

Noah: “I didn’t feel able to access anything else. I like having a week-long programme, spending so much time practising music and getting better. I felt included at NOFA – it doesn’t matter where you are from or what you are like, it’s all about the music rather than where you live or go to school.”

Su: “As a parent I have watched Noah struggle and hover on the edge of groups, never really being able to join in. He was adamant that he needed me to come with him to his first NOFA course. Here I was able to see him relax and join in and gradually, I was able to take a step back knowing he was in safe hands and supported by such a fantastic team. 

“As Noah gained in confidence to attend more independently, we were given the gift of respite care; something that used to be provided by local authorities but is almost non-existent now. For all the families of disabled members, NOFA provides a much-needed and appreciated service by default!

Please help us make a difference and donate to National Orchestra for All >

Any standout moments from NOFA 2021-2022?

Noah: “I enjoyed playing a solo; I did not have the confidence to do this when I started! And playing the music – my favourite pieces were Britten’s Young Person’s Guide to the Orchestra and Romanian folk song, ‘Spoitoresa’.”

Su: “The whole course was just one brilliant thing after another; I saw Noah talking to other musicians and interacting. On the first evening, Noah also ventured into the common room by himself and then put himself to bed – this may seem trivial but these were major achievements. He had become so withdrawn and struggled so much, so NOFA has given him much more than the chance to perform wonderful music.

“NOFA’s recital evening also blew me away and seeing Noah perform made me cry! I couldn’t see how things could get any better but they did. I didn’t realise that Leeds Arena really is a vast arena. I just couldn’t believe what I saw and experienced. Thank you so, so much – OFA really has changed Noah’s life and our family are extremely grateful for everything.”

Did you learn anything in particular during your NOFA experience that will help you in future? 

Noah: “Confidence. Now I feel able to try new things and talk to people, like I did when I joined the Youth Board. Independence. When I first started, I needed my mum to come with me but now feel confident going away with NOFA on my own and being able to talk to people about music as well as other things including being able to ask for help. Finally, I’ve also improved my musical knowledge and understanding and would have the confidence to join another music group or orchestra as an adult!”

Read Orchestras for All’s latest impact report >

Su: “Noah also joined in with icebreakers, spoke in front of everyone at the teatime sessions and even played a solo. Noah has made huge progress socially, emotionally and musically. Music gives him all of these things and it was OFA that allowed him to take the first step to see the potential of where music could take him in life. Even before Noah got a place at a special school, his friends and family had all noticed a huge difference in him after his time with NOFA. He stood taller and spoke to people about the concert and course.

“I can’t even begin to list all the times staff have taken the time to encourage and support Noah. They are all so skilled, professional and kind, I don’t think they know the huge difference they are making – OFA’s generous nature makes everything flow so naturally. Members are appreciated for who they are and what they contribute. The sum of the parts of the orchestra is definitely much greater than all the individuals.”

Please support other young musicians like Noah and donate today >

‘A more equal world is a safer place for everyone,’ says visually impaired composer, Xia-Leon

‘It’s rare to find a space where people’s differences are celebrated – and yet I have found that Orchestras for All is such a space.’

According to disability equality charity, Scope, there are currently 14.6 million disabled people living in the UK. That’s 22 per cent of the total population, with 9 per cent being young people – and yet, one in three disabled people feel that disability prejudice exists.

At Orchestras for All however, we fully embrace equity, diversity and inclusion. This means celebrating each and every one of the young musicians or staff members that we work with regardless of the daily challenges they might be facing.

Ahead of International Day of People with Disabilities on 3 December 2022, we caught up with one of our Wellbeing Tutors, Xia, to find out more about their firsthand experience of living with a disability and why raising awareness of disability is vital in today’s world.

Please introduce yourself and tell us a little about what you do.

Hello, I’m Xia-Leon. I’m from Cambridge, non-binary (trans-neutral) and my pronouns are they/them. I like to compose music that responds to the beauty and fragility of the living Earth, reflecting on issues of spirituality and identity. I’m also autistic and have been blind for almost all my life. In future I hope to train as a therapist, exploring how listening, creative practice and embodiment could form part of healing processes.

What does music mean to you?

Music has played diverse roles in my life. At times, it’s been a safe place that I could retreat to, away from the clamour of the world and complex social dynamics of my peers. It’s also been a vessel for social connection – a space where I could meet others who share this part of my identity. Most people I tend to engage with are either musicians, composers or music creators.

Read more: Vulnerable young musicians supported nationwide as Orchestras for All secures new Arts Council England funding >

Pictured: Xia-Leon (left) enjoys a ‘rise and shine’ wellbeing activity at NOFA’s summer course in Nottingham

One of my earliest memories is of my dad handing me stones to throw into the ocean. I felt so much joy and fascination at the sounds that emerged from the different shapes, weights and sizes of stones as they hit the water. Although it’s not strictly ‘musical,’ it was undoubtedly part of the early explorations of sound that ultimately birthed my later passion.

In terms of my listening preferences, I love Morton Feldman’s late music as well as the jagged beauty of Pauline Oliveros’ accordion improvisations. Laurie Spiegel’s evolving soundworlds and Salvatore Sciarrino’s luminous, fragile timbres fascinate me and have influenced my own work. I also love the harmonies of traditional Bulgarian vocal music, the lyrics and music of Scottish folk singer, Karine Polwart, and I was recently introduced to Malian artist, Oumou Sangare, whose beautiful and versatile work I look forward to exploring further.

How did you first find out about Orchestras for All (OFA) and what’s been your involvement with the charity so far?

After completing a Masters, I was looking for positions that would prepare me for my future training as a therapist and allow me to hone my existing skills. I came across the opening to work with OFA as a Wellbeing Tutor and the role seemed perfect: I would be supporting people from a huge range of backgrounds in a musical setting. I was successful with my application and attended my first National Orchestra for All (NOFA) course in July. It was a privilege to work alongside my fantastic colleagues to support a group of amazing young people, seeing the brilliant culmination of their work together over those four days.

Watch NOFA’s summer concert >

On 3 December 2022, OFA and many others worldwide will be celebrating International Day of Persons with Disabilities. Could you tell us why raising awareness of disability is so important and what it means for you?

As someone who interacts with the world free from ‘visual dependence’, I am very lucky to have grown up in a culture where perceptions of accessibility have come a long way. I had tactile and Braille resources throughout my education and in the UK, it’s not unusual to see someone out walking with a white cane. Most people I know make me feel that blindness is only one aspect of who I am – one node in our connection to be acknowledged and supported, which infuses the relationship in multiple ways.

‘We must move away from the paradigm of ‘inclusivity’ to one that strives towards equality,’ urges Xia-Leon

We have a long way to go before we reach complete equality in the world. It would mean radically reassessing what we value, both individually and collectively, and reshaping our existing frameworks to ensure that everyone’s voice is heard, so they can contribute fully and meaningfully. We need to recognise that change is needed, with the fierce yet compassionate desire to come together and make it happen. All too often, raising awareness is framed as an end point. I think it’s far from that but it’s a crucial first step.

Spending a lifetime moving through a world that simply isn’t made for you is exhausting – especially when articulating who you are and your needs isn’t something many of us have been taught to do. With the help of allies, I hope that those of us who do have the resources to raise awareness can offer others the tools to join us and together, we can learn to use them. An equal world is a safer, happier place for everyone.

Could you tell us about some of the barriers visually impaired people face in music?

During a rehearsal I played in as a 13-year old, I remember a conductor saying: ‘You have to look at me. Your ears are not enough.’ This is a common barrier I’ve encountered throughout my musical training and despite the stereotype of blind people as exceptionally gifted musicians, often there is still a perception in this ocular-centric society that it’s not possible to engage in musical practice without the visual sense.

Other barriers are much simpler and easier for me to accept as ‘just one of those things’. Although I no longer sing in choirs or play instruments, there was very little music available in Braille notation when these were still integral parts of my life, so I learned almost everything by ear. Even when I did have access to Braille scores, I had to memorise them, since I couldn’t read the music with my fingers and play at the same time.

NOFA’s Wellbeing Tutor, Xia, attends a sectional rehearsal with diverse young musicians from across the UK

As a composer, my music has also been impacted by only being able to read up to two lines of music at once (by reading one line with each hand), rather than having an overview of the page as sighted music readers do. It means my musical structures – the shape of the path a particular piece traces through time – are often much simpler than those of my peers. However, the intimate relationship I form with my work by processing it through touch is a dimension many stave-notation users are missing.

Why do you feel it’s important for an inclusive charity like OFA to exist?

It’s rare to find a space where people’s differences are celebrated rather than viewed as tragedies or challenges to overcome – and yet, I have found through personal experience that OFA is such a space. During my time with NOFA, I taught Braille as part of a wellbeing challenge and connected with neurodivergent members who previously, may not have had many role models they could relate to like their neurotypical peers. At OFA, I felt the very aspects of my lived experience were not a burden; they became an entry point for meaningful contribution to the charity’s work, which is empowering and invaluable.

Read more: 13 ways you can be kind to others in an inclusive youth orchestra >

How can arts organisations better support young musicians and staff members with disabilities?

Arrange for music to be transcribed into Braille in advance, and be sensitive to who is in the room when giving instructions. The most important thing for me is to move away from a paradigm of ‘inclusivity’ to one that strives towards equality. ‘Inclusivity’ means allowing people into existing frameworks, often created by those in positions of power, and giving them the tools to be there without changing the frameworks themselves.

National Orchestra for All musicians, orchestral tutors and wellbeing tutors team up for group activities

But you could go further: maybe follow Daniel Barenboim’s example and conduct from memory, if this is open to you, and lead a rehearsal where everyone has their eyes closed or faces away from you. Explain on your public platforms that these are the approaches you take, so that no member is singled out. Connected with this, ask all members, disabled and non-disabled, to share their needs with you, for example through OFA’s ‘PEN profiles’ (as written in the young person’s own words). This will help to convey that you are serious allowing these to shape your organisation alongside each of your members’ strengths.

If you could give three top tips to disabled young people who are considering starting out on their musical journey, what would they be?

1. Listen as widely and as deeply as you can, discover what you love and spend time with like-minded people or communities that value you and make you feel excited about music-making.

2. There may be times when things get tough. Know you’re not alone. These troughs or valleys don’t make you any less of a musician. Stay connected with that initial spark: go back to that person if you can, listen back to that piece, relive that experience if it’s possible and safe to do so. Keep listening and nourishing your creative fire in any other ways that have meaning for you. It might take some time to reignite but it will happen, even if your musical practice changes radically in the meantime.

3. Stay connected. Go back to that person, replay that piece or relive that experience. Keep listening and nourish your creative fire in a way that has meaning for you.

Finally, please complete the following sentence. Orchestras for All is…

…a vibrant, invaluable community shaped by the diversity of its members’ strengths and needs, which dissolves the barriers that so many young people face and welcomes their skills and passion into an industry that is enriched and enlivened by those gifts.

Please support our life-changing musical programmes and donate today >

Ben Macpherson: ‘Put the notes in the instruments of musicians, not those who can pay to hear them’

The British writer and performer recently collaborated with National Orchestra for All, so we caught up with him to find out more…

1.     Please introduce yourself and tell us a little about what you do.

I’m Ben Macpherson, a writer and performer based in Nottingham whose work stretches from serious theatre all the way through to nonsense poetry aimed at children and their families. Within that work is sketch comedy that has been heard on Radio 4, improvised plays from the Star Wars universe and much more.

Linking all of these together is a feeling of playfulness and the role of individuals in relation to their community. For over a decade I’ve been a part of the Nottingham creative scene, making connections in theatre, comedy and spoken word circles. This has led to a career that thinks across medium, building works that draw on many different disciplines for a pretty unique writer and performer.

2.     Who (or what) inspired you to become a writer and performer? 

My route to becoming a creative came through nonsense poetry and sketch comedy. I fit this around a normal job for seven years after university but the opportunity to go full-time came up in 2020 and I took it.

It was a bit scary making that choice during a pandemic but well worth it now. As I worked at my craft I got involved with improv (improvisational) theatre, scripted theatre and more serious spoken word, so I am now excited to work in any range of fields that I get to explore words in.

Read more: ‘The Way We See It’ – National Orchestra for All’s Nottingham concert in pictures >

Pictured: Spoken word artist, Ben Macpherson, runs a creative workshop with National Orchestra for All

3.    What have been some of your career highlights so far?

With such a wide range of work, it is hard to choose any one particular highlight. Working on my first full length play earlier in 2022 was wonderful. It is called Horsemen, and tells the tale of the four horsemen of the apocalypse immediately after the world ends when they are stuck in a limbo of their own creation.

It was dark, funny and ultimately hopeful about choosing the right path for yourself. I’m also very proud of working with Michael Rosen at the Nottingham Poetry Festival.

4.    You recently collaborated with National Orchestra for All in Nottingham – could you tell us a little about that?

I was recently brought in to work with NOFA members as a spoken word artist to create new spoken word sections for Benjamin Britten’s ‘Young Person’s Guide to the Orchestra.’ The piece originally takes its audience through the sections and instruments of an orchestra step by step but the plan for this work was to capture the spirit of an orchestra.

We explored what it means to the young people who are part of it. The group I worked with created so much and shared so freely, exploring their relationships with each other, their instruments, their sections and the expectations put on them as musicians. I was so proud of what they had achieved, the full symphony of personal, poignant and playful.

Learn more about National Orchestra for All >

5.    What did you enjoy the most about working with NOFA?

It was delightful to see these musicians show their creativity in a different way. Skills in rhythm and timing came so naturally to them and the pieces were so varied and creative, from an acrostic poem exploring the panic of a musician performing to the back and forth of two performers ribbing each other’s sections for being too loud or egotistical. Everyone shared their words courageously and got a brilliant response.

“The group of young musicians I worked with at NOFA created so much and shared so freely,” says Ben

6.    Comedy writing is your “first great love” – did you try to incorporate this into your work with NOFA?

Absolutely! Often people get intimidated by spoken word and poetry because it feels like it needs to be serious, worthy or introspective. As a comedian I have learnt to take comedy seriously and as for whether something is worthy or not, it is our job as performers to decide what is worthy for an audience.

Who says what we examine in ourselves has to be painful? Sharing and exploring fun naturally creates comedy, because we laugh at the connection we recognise in others. The NOFA members who shared their words invited audiences into their world, where we could connect with familiar relationships and feelings – no wonder that got laughs!

Read more: “The final performances were astounding!”: National Orchestra for All’s Manager reflects on her year >

7.    Why do you feel that diversity, inclusion and youth voice are so important in today’s world?

The decision makers in the arts so often fit a particular mould. They often come from a degree privilege with traits that align with a western patriarchal optimum. That is increasingly not reflective of society where, as the world shrinks more voice can be heard.

By putting diversity and inclusion at the heart of your creative work, you help tell new and exciting stories. You hear songs that you don’t know the words to and you discover something new. Of course, new can be scary and challenging but by embracing this an engine of collaborations get discovered.

Youth voice is the fuel that drives the engine. If young voices aren’t included then arts go extinct and you see a shrinking cultural literacy and interest of the population. If that diminishes it becomes harder for everyone, from programmers to performers, to keep the arts alive.

Ben Macpherson prepares National Orchestra for All’s young musicians for their final summer performance

8.    If you could share three top tips with aspiring writers/performers, what would they be?

If you want to write it, it’s worth writing about. If you want to perform it, it is worth performing. The only person you have to please with what you create is yourself. Audiences and praise are fun (really, really fun), but if what you are doing doesn’t matter to you then it will slowly take the joy from it.

Find your community. They will help you grow and teach you more than you could imagine. If performing is your thing then try a theatre group or comedy open mic night. If writing is more your speed, then there are dozens of writing support groups and you can find these both online and in person. The barriers are coming down.

If something is worth doing, it is worth doing badly. As creatives it is easy to get caught up in the pursuit of perfect. The problem with that is perfect is subjective. Our memories make things perfect so write the terrible first version of an idea, recite your poem and forget your words. You can always edit and fine tune later.

9.    And finally, why should people join Orchestras for All’s mission in breaking down barriers to music-making?

Orchestras for All is vital for the future of orchestral music. It directly challenges the paradigm of elitist music by putting the notes in the instruments of the musicians, not the hands of the people who can pay for it. In one of our writing sessions we talked about how the group engaged with orchestral music outside of the NOFA setting and one of the most popular ways was the music of film and video games.

These routes have broken down barriers to hearing the music of an orchestra, so why should the barriers to making orchestral music be any higher?  If great young musicians are gradually blocked out then the musical world shrinks and creativity withers until audiences are stuck hearing the same canon of canons, symphonies and fugues as the art fossilises. With the amazing talent and dedication of NOFA’s performers, tutors and organisers that will not be allowed to happen.

Please support our life-changing work with young musicians and donate today >

Conductor José Salazar announced as special guest at National Orchestra for All’s summer concert

Pictured: Venezuelan violinist and conductor, José Ángel Salazar-Marin

“Music shouldn’t just be for the educated; our responsibility as musicians is to find new ways of making it accessible to everyone.”

Orchestras for All (OFA) is delighted to announce that José Ángel Salazar-Marin has been appointed as guest conductor at National Orchestra for All’s forthcoming summer concert.

Titled ‘The Way We See It’, the highly-anticipated recital, which is free to attend, takes place on Friday 29 July at the Albert Hall Conference Centre in Nottingham and celebrates all that the 100-strong ensemble has achieved over the past two years – and with José leading the way, it’s sure to be an afternoon to remember.

The esteemed violinist and international Maestro first rose to fame at the age of 14 after participating in Venezuela’s prestigious El Sistema programme, which seeks to use music education as a vehicle for social change – cultivating an ‘affluence of spirit’ that today brings hope, joy and positive social impact to 400,000 children throughout the country as well as their families and local communities.

Despite growing up in a household with very little exposure to orchestral music, José’s involvement in El Sistema opened new doors of musical opportunity and the talented teenager soon found himself leading between 70 and 80 musicians in the Youth Orchestra of Nueva Esparta – earning him a media reputation as the ‘world’s youngest conductor’.

Since then, José’s career has taken him to new heights and he is currently Artistic Director at El Sistema Greece, where he hopes to inspire other young people who might wish to follow in his footsteps – making him the perfect person to lead the way at National Orchestra for All’s musical extravaganza.

Read more: National Orchestra for All is coming to Nottingham this summer with a powerful end-of-season concert >

We caught up with José ahead of the concert (watch video above), to find out more about conducting and why breaking down barriers to music-making is so vital…

Who or what inspired you to become a conductor?

“The first conductor I saw was Thomas Clamor – he was in Venezuela to work with a brass ensemble. I saw how happy he was, with all these marvellous gestures and smiles – how all this energy was just flowing around and how this environment was created.

“Apart from the music and its quality, I could feel that everybody was part of something – connected – and I just thought, ‘I want to be part of that’.”

Are you looking forward to working with National Orchestra for All this summer?

“What you do is marvellous. I’m really happy that you are the kind of organisation that is doing so much good for a lot of people. I’m excited and motivated to join you but also, I think this will be a really nice learning experience as well.

Meet National Orchestra for All’s musicians >

“I’ll do the best I can working with all these talented young people but everything that I receive from them will give me a lot of ideas about how to move forward. When I talk to teachers, I say that we’re like superheroes with a belt of different tools. I think that by [working with] Orchestras for All, it will give me some tools that I don’t have in my belt, so I’m really looking forward to it!”

“I think the best conductors are those who are really connected to people,” says the young Maestro.

What is the role of the conductor in terms of supporting the wellbeing of young musicians?

“I think a conductor is a facilitator and motivational coach. You have to bring out the best in young people but at the same time, be sensible enough to recognise what they need. You need to facilitate the process in which they’ll discover what they need and then express it.

“It’s just as important to focus on the artistic quality of what we do and as a musician, I try to pass on the best qualities I can. So yes, we are an educational programme, we are focused on wellbeing and we want young people to grow and develop themselves in a human way but also, we’re giving our best artistry-wise. My mission is to bring these things at the same level and always work on them in parallel.”

Read more: ‘We need to support the next generation of change makers’ – arts expert explains why wellbeing is vital for young musicians >

Can you share three top tips for aspiring conductors?

“First of all, you have to really love music – kind of become obsessed with it! Read about it, live with it, listen to it, compare it. As a conductor, you become a bit like a researcher – you’re always looking for new ideas and have to renew the ideas that you had because times change and we need to adapt.

“The second thing is that I don’t think the autocratic image of the conductor exists anymore; it’s more about team-playing, being a musician, being part of a group and enabling people to make music or express and discover who they are through music.

“The third thing is to never lose touch with humanity. Sometimes, when you get into the music business you can become too stiff or old-school, so I think the best conductors nowadays are those who are really connected to people – who are gentle, humble and open, always trying to make people feel good.”

José Ángel Salazar-Marin will be joining National Orchestra for All this summer as guest conductor.

What is the future of orchestral music?

“There are many new and interesting things happening – the inclusion of more female composers in the repertoire, the inclusion of more female conductors and musicians, and having an orchestra running programmes for the community. It’s not only about the image of the orchestra wearing a bow-tie and a nice concert hall but also, the image of an orchestra that plays on the street for people or who sits with the audience.

“As an institution, we need to invent new ways to motivate people to come into this world of music. Music isn’t something that should just be for the educated; our responsibility as musicians is to find new ways of making it accessible to everyone.”

Why should others join Orchestras for All’s mission to break down barriers to group music-making?

“Doing something good for others is as good as doing something for yourself – we live in a community. We’re social beings and I think that when others are better, you are also part of something better. The mission of an organisation like Orchestras for All – or of organisations like El Sistema and Sistema Greece where I work – is about bringing art closer to everyone and building a better society.

“The real value of music is watching people grow – creating spaces where there is dialogue, inclusion, no discrimination, respect for feelings and emotions, and where you motivate young people to help each other, listen to each other, be patient and discover new things as a team.

“You can have an orchestra of 300 young people and maybe only three or four will become professional musicians – but that doesn’t matter. What matters is that these experiences and the training will stay with them for the rest of their lives. When they grow up and go into their chosen field, they’ll always remember these values. So, [OFA] is an organisation worth supporting for the betterment of everyone.”

Book free tickets to National Orchestra for All’s summer concert >

‘Abolish barriers to group music-making – everyone has something to give,’ urges professional flautist

Credit: Twitter

“Why should a young person be told they have nowhere to play and no-one to make music with, just because they face daily challenges?”

Last month, Orchestras for All’s Modulo Programme hosted four regional meets, bringing together 290 young musicians from across the UK for a joyous day of music-making.

Held at the Midlands Arts Centre in Birmingham, London’s Cecil Sharp House and the Royal Northern College of Music in Manchester, the meets gave Modulo participants – students from 23 different schools – the opportunity to experience the magic of playing with others as a large-scale ensemble.

During sectionals and rehearsals, 23 orchestral tutors were on hand to guide along this year’s diverse cohort of musicians, helping to boost their confidence and musical skills – and taking the lead in the woodwind was professional flautist, Jenny Dyson.

We caught up with Jenny to find out more about her experience of Modulo, musical inspiration and love of the flute…

Read more: Modulo resumes live events as music teachers and students join classrooms nationwide in ‘joyful’ music-making programme >

1. Please introduce yourself and tell us a little about what you do.

Hello, it is so lovely to be here! My name is Jenny and I am a professional flautist, which means that I am lucky enough to perform and coach music for my job.

I am a woodwind tutor for Orchestras for All’s Modulo Programme through being a flute extra for the incredible BBC Philharmonic. I also freelance (play) with ensembles across the UK, tutor on music courses as well as teach the flute privately. I really love my job – I get to perform music and connect with so many diverse and wonderful musicians!

“The flute is flighty and fun one minute, sorrowful and strong the next,” says professional flautist, Jenny

2. What’s your earliest musical memory?

My earliest musical memory is dozing in and out of sleep next to my mum as a very young child, probably a toddler, watching our local orchestra.

It’s a warm and comforting memory, with the orchestral sound a bit like a musical blanket. I have always felt at home in the concert hall or at church, watching music. I feel it is a safe space and one that we should all be allowed to relax in – even as much as I did as a child!

3. Who, or what, inspired you to become a flautist?

Growing up, I had music teachers for parents and would sit watching them play in the local amateur orchestra. Music – classical music, in particular – was often played on the stereo at home, meaning I had a childhood completely surrounded by music.

And on my bedtime CD was Fauré’s ‘Pavane’ – I always loved that haunting melody played by the flute at the beginning, it’s still one of my favourite flute solos to play at home.

Read more: 13 marvellous reasons to join a Modulo orchestra at your school >

Pictured: BBC Philharmonic flautist, Jenny, leads a woodwind sectional during a March 2022 Modulo Meet

4. What do you love about playing the flute?

It is an instrument with so many different characteristics; flighty and fun one minute, sorrowful and strong the next. Not only is it a beautiful solo instrument, it can also blend its sweet sound with all the other instruments in an ensemble – just like painting creates other colours.

There are also many different types of flutes and whistles from all over the world to enjoy and explore – from bansuri flutes to dizis, folk flutes to panpipes. When you’re playing the flute in an orchestra, you can be within the texture one minute and the next you’re a high instrument, riding the top of the orchestral sound wave like a surfer!

5. Tell us about some of your career highlights so far.

For me, there are highlights during every project! I love joining the various orchestras that I work with and blending my sound with their wonderful wind sections.

I suppose playing on the Bridgewater Hall stage in Manchester for the first time was a big moment. After watching concerts as an audience member for years, to perform on that stage with a professional symphony orchestra felt incredible.

Of course, the big Modulo meets are always a highlight, too – and during lockdown, our online meets were especially inspiring. One of my all-time favourite highlights!

6. Have there been any challenges on your musical journey?

There have been challenges on my musical journey, absolutely. Unfortunately, every single musician will encounter and have to work through various challenges, whether they be financial, personal or institutional.

Read more: 7 ways to support autistic musicians in your youth orchestra >

However, now there are more voices than ever being raised when it comes to musicians’ wellbeing, inclusion and equality – the future is looking brighter! Do check out Her Ensemble, Chineke! Orchestra, National Open Youth Orchestra and Spectrum Ensemble.

7. If you could share three top tips with aspiring flautists, what would they be?

• Be curious – in your practice, in the concerts you see, in the music you play, and continue to discover new music, artists and performances.

• Be patient with, and kind to, yourself. Things take time, so enjoy the process!

• Play music with others! It may feel a little nerve-wracking at first but you will soon connect through your shared passion, make the best of friends and understand more about yourself and what makes you happy.

Read more: Tear-jerking performances and togetherness wrap up National Orchestra for All’s memorable spring season >

8. Any exciting projects in the pipeline?

Oh, yes – I’m buzzing with excitement! Over the next few months, I am going to be playing Mozart’s Flute Concerto in G for a charity concert in the midlands and a big symphony (Mahler’s 5th) with the Royal Liverpool Philharmonic.

Jenny Dyson demonstrates flute techniques to a class of young music students during a Modulo school visit

I’ll also be working with schools from across the UK for Orchestras for All’s Modulo Programme as well as depping (deputising) on the West End Lion King Tour, where I get to play a whopping 15 flutes! Woah!

9. And finally, why should people join OFA’s mission in breaking down barriers to music-making?

Music is communication, connection, expression, working as a team, supporting, taking the lead, taking responsibility and experiencing joy.

Why should a young person be told they have nowhere to play and no-one to make music with, just because they’re facing challenges like economic deprivation or living with a disability? Or because someone hasn’t judged them to be in the top one per cent of musicians in the country – and what does that even mean? Anyone can be a musician.

Everyone has something to give and can also receive a great deal from participating in group music-making. I believe we should abolish barriers to music-making and that is exactly the mission of OFA – creating a safe space for all young people to experience ensemble music-making… because ALL are welcome! 

To help us change young lives through the power of music, please donate today >

‘I have social anxiety and didn’t think I was up to meeting new people – but National Orchestra for All is like a giant family,’ says young violinist

“In NOFA, it really doesn’t matter if you live with a disability – you can still play music.”

Meet Tianci. The first violinist enjoyed a quick tea break with us at Westminster School during National Orchestra for All’s recent winter session – the first in-person rehearsal for the ensemble in almost two years, owing to the devastating effects of the coronavirus pandemic.

Here the Grade 8 musician tells us her moving story and shares words of wisdom with other young people who may be struggling…

What inspired you to pick up the violin?

I play the violin because you can do many things with a violin. You can pluck it, you can play bow on it, you can do a tremolo. If you picked guitar, I think you could only pluck it! I think if you tried to bow on it, it wouldn’t really work. But I mean, there is the viola and the cello and the double bass but I think the violin has the most – and it’s easy to carry.

You could say the same for the viola but I’m kinda used to the strings of B, D, A and E, rather than C. I mean it would work because they’re still in fifths, if you’re trying to play a scale but I think I’m more interested and open to violin.

What music are you enjoying playing at the moment?

The [NOFA] piece where it involves pizzicato – my mum printed the score for me and I practiced it before I came here today [to the NOFA Winter Session]. It’s one of the old pieces, starts with an S… ‘Spoitoresa’!

Read more: Watch young people facing barriers to music-making share moving words in powerful new video >

Pictured: National Orchestra for All (NOFA) violinist, Tianci, tunes up ahead of her first in-person rehearsal

How does it feel to be part of NOFA?

It feels good, it feels kind of like a giant family. Not to make it like weird but you know. It feels like everyone is your friend.

Has Orchestras for All helped to break down barriers to music-making for you?

Before I joined the orchestra, I think because I’m not really social and because I have social anxiety, I thought I wasn’t really up to meeting new people. But how I described it earlier, it’s like a giant family. I feel like I won’t be scared, I’ll be proud because I did go through all the playing. Everyone’s nice here, we’re all open. In my previous experiences at school, I got bullied but nobody bullies here. Everyone is really nice here.

You know Lucy [Hale]? We all value her, we all miss her – she kind of connected all of us in a way. That made us all like each other and be friends with everyone. Even like adult to adult, adult to child, child to child. It doesn’t matter what age, she joined all of us in a way. She still lives inside all of us.

Read more: A tribute to Lucy Hale, National Orchestra for All's former Young Composer-in-Residence >

Here it doesn’t matter if you’re disabled because you can still play music. You can be in a wheelchair and still play the trumpet or the clarinet. You could be in a wheelchair and play the violin. You could have a stammer and still play the violin. ‘Cos like music is like a new language. It’s a language we can all communicate by – the playing of music, if you know what I mean?

“Music is a new language – a language we can all communicate by,” says NOFA violinist, Tianci

Where do you picture yourself in 10 years’ time?

Now I do some conducting and some pieces for an orchestra. It’s around where I live in Richmond. I conduct in the orchestra and imagine one day being like a giant conductor or a lead violinist, ya know?

Read more: Orchestras for All’s Artistic Patron, Sian Edwards, shares her expert advice on how to lead an ensemble >

Like when we went to Leeds, there was a lead violinist who was really confident and I thought I just want to be like him. I think his name was Isaac or something, I’m not too sure. But yeah, I just want to be like a main violinist one day, enjoying my time.

If you could share a message with other young people who are considering joining an orchestra, what would it be?

I would probably say don’t be scared what other people think because their thoughts don’t matter. Their thoughts don’t matter to you. It’s your goal and if you just continue playing, you’re gonna get your goal.

There were loads of opinions about me before – I didn’t take it to person and now I’m still playing violin, Grade 8. That’s my main message I would say – don’t give up no matter what anyone else says.

Conductor Justin Fung (left) leads the way in Westminster School during a National Orchestra for All session

If Tianci’s story has tugged a heartstring and you would like to help our charity amplify its mission, inspire positive change and provide regular support to aspiring young musicians across the country, you can support us in the following three ways:

1. Please donate what you can

Every donation made – no matter how big or small – will bring us one step closer towards making music education accessible to all. Please also consider becoming one of our regular donors, funding our three powerful programmes through monthly donations.

2. Share our video with your network

Click the button below to access the link for our Music Changes Lives video and share it far and wide with friends, family and colleagues to spread the word about our life-changing work.

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Join the conversation and stay in the loop with all the latest news from our charity, updates from across the sector and inspiring stories from our young people.

Teenage flautist quizzes Orchestras for All founder as charity celebrates 10-year milestone

“The youth voice has always been fundamental and important – we adults have just taken far too long to sit up and recognise that.”

Orchestras for All (OFA) has been on quite the journey since its inception almost a decade ago, where it first revealed its mission to kickstart a vibrant new culture of inclusive music-making in the UK.

Fast forward to 2021 and the charity proudly supports thousands of aspiring young musicians and music educators through its three powerful programmes: National Orchestra for All (NOFA), Modulo and Music Leadership Training.

To mark this new milestone in the charity’s 10-year history, NOFA ambassador, Phoebe, shared a virtual tea break with its Founding Director, Marianna Hay MBE, to reflect on what has been achieved so far and what the future holds.

Describing her experience as a former NOFA flautist (watch video above), Phoebe said: “There’s no doubt that it’s such a successful programme. It’s been really nice because I’ve [grown up with] the orchestra, first playing as a 15-year-old and now I’m on the other side [as an ambassador]. It was really nice to meet people – where you came from mattered but it also didn’t matter.

“[In NOFA], you hear all these different accents but when you play the music, you’re all just part of the orchestra. Now we’ve got people flying in from [Northern] Ireland and Wales, all coming together – it’s honestly so amazing!”

Read more: ‘National Orchestra for All is so diverse – but we’re united by a note,’ says 19-year-old trumpeter >

Pictured: National Orchestra for All Ambassador, Phoebe (left), and OFA founder, Marianna Hay MBE (right)

In NOFA’s current cohort of 100 diverse young members, 98 per cent faced cultural barriers before joining, 55 per cent were unable to play in an orchestra due to autism, a physical disability, learning difference, or social, emotional or behavioural difficulties, and 37 per cent come from underrepresented groups.

And with hundreds of school pupils teaming up for Modulo each year and a growing network of MLT participants – who have regularly gathered together online despite the ongoing challenges of the pandemic – there’s certainly much to be proud of at OFA.

Read more: RPS Awards 2021: Orchestras for All shortlisted in ‘Impact’ category >

Sharing her inspiration behind the musical initiative, Marianna explained: “First and foremost, it was the young people that I had been teaching in a secondary school in London. I was inspired by the extraordinary commitment of the students, many of whom didn’t have much support back at home or in other parts of their life.

“They’d come to the music block every day during breaks and lunch times, form friendship groups out of it, and their love of it was so authentic and real – despite the fact they hadn’t had much support or experience.”

She continued: “Another inspiring person in the journey of OFA was the head teacher of the school where I’d worked, Truda White, who promoted the idea that music could be socially transformative for young people. It felt as though there was a glaringly obvious gap for a national orchestra in this country that could be accessed by people of any musical ability, where cost was not an issue, where they didn’t have to audition, and where it was a truly welcoming and inclusive experience.

National Orchestra for All (NOFA) members gather online to make music together during the pandemic

While founding Orchestras for All may have somewhat fulfilled Marianna’s vision for improving access to music-making, the Scotland-based mother of two admits there is still much to be done.

Sharing her hopes for the future of the charity, Marianna said: “Orchestras for All will be a totally leading light in what it means to combine wellbeing with creative endeavour, and the Modulo Programme has the potential to be in every region across the country. Ultimately though, we’re fulfilling a need here, so should the charity even need to exist in 10 years’ time?”

But for Phoebe, who faces daily challenges living with ADHD (attention deficit hyperactivity disorder) and had previously experienced barriers to orchestral participation, there’s an alternative: “I would like to think (just because I’ve enjoyed it so much) that rather than OFA not existing, we’d shift our views to the experience of people coming together when the focus isn’t on the problem of equal access to music.”

With youth voice at the heart of Orchestras for All’s 2021-2026 five-year strategy, Phoebe’s thoughts have never been more influential and are shared by many other young musicians across the charity – including its inspiring trustees, Young Leaders and recently recruited youth board.

Marianna said: “The youth voice has always been fundamental and important – we adults have just taken far too long to sit up and recognise that.”

To give the gift of music to young musicians like Phoebe, please donate today >

‘In National Orchestra for All, it doesn’t matter if you’re from a working class background,’ explains young viola player

Meet Hannah, our inspiring young viola player in National Orchestra for All (NOFA). When the sixth form student isn’t busy learning Spanish or making music with others, she loves nothing more than getting creative with video editing. Here’s Hannah’s story…

So, why do you enjoy playing the viola?

When I first came to NOFA, I saw the violas and was like *gasp* – they’re so amazing! Darwin, who is also in the orchestra, gave me his viola and I played it a little bit. I was like, “Oh my gosh, I love this already!” and it wasn’t even my own viola.

I fell in love. It was amazing because of how resonant it sounds, the tone and if I was an instrument, I would be the viola!

What’s it like being a member of National Orchestra for All?

NOFA is special to me because you get to meet people from different backgrounds, you get to meet people from different parts of the UK. They may have started somewhere completely different – their journey is completely different to yours and somehow you’ve both ended up in the same place.

If you just look at NOFA, you can see a lot of different personalities even through like how their hair is, how they dress. We share music and that love for making music.

Read more: “Embrace your individuality and put yourself out there” – composer shares top tips with young people >

Sixth form student, Hannah, enjoys rehearsal time with the strings ahead of a NOFA performance

How has Orchestras for All broken down barriers to music-making for you?

My school doesn’t even do any viola lessons – it’s very uncommon. The way that NOFA welcomes you and generally creates a safe space to share your ideas, it allows you to improvise and it doesn’t make you worry about getting something wrong.

It’s a comfortable space. Even if you come from a working class background or aren’t able to get classes, you’re still able to learn and meet other people who can help you learn. It just allows you to have that space to be comfortable, to be confident.

When you’re not playing music with NOFA, what’s your favourite hobby?

Outside of NOFA, I do video editing myself. I’ve made about three pieces of music for these content creators called the Yogscast and also edited a few videos for my friends who are content creators on YouTube.

Read more: Beatboxer James Botcher: ‘Music is vital for young people – it’s an emotional and social outlet’ >

I ask my friends to draw something and then I’ll just pull it together – and a lot of my friends are artists, so they want me to edit their animations, put a voice over it, put music in it. I was talking to my brother about it and I was like, “I could do sound design and film!”. I could somehow get into editing to do that, or stick with music, sound design and music in films.

Viola player, Hannah (pictured bottom left), makes music online with members of National Orchestra for All

What advice would you give to young musicians who want to join an orchestra?

Don’t be scared! Don’t be scared to just throw yourself in there – once you get in, you’ll have that adrenaline.

You feel amazing once you start playing with people and once you find your sort of people who are so accepting and so much like you, you’ll feel comfortable playing with them as an orchestra.

And finally, please complete the sentence: Orchestras for All is…

…a comfortable space for everybody!

To improve access to music-making for young people like Hannah, please donate today >

‘Embrace your individuality and put yourself out there’ – composer shares top tips with young people

From starting his musical journey and getting through the pandemic to the perks of playing music with others, National Orchestra for All composer Jack McNeill reveals all…

What’s your earliest musical memory?

Learning a piece called ‘Knickerbocker Glory’ for my Grade 1 violin exam! I remember really struggling with the piece and getting frustrated with this instrument that was so new to me.  But when I finally managed to learn the piece and got through the exam, I can also remember the feeling of satisfaction, pride and achievement. Years later, I’m still humming the tune!

Who, or what, inspired you to pursue a career in music?

Throughout my musical journey, I’ve had inspiring people around me who have pushed me to do what I’m doing now – from instrumental and classroom teachers when I was at school to university lecturers when I was a student. Friends and family also pushed me to take that next step in my career. I have a great network, both musical and non-musical, who are always eager to hear about what is coming next, sharing their own musical creations with me and supporting me through the successes (and inevitable failures) that I’ve had. 

In terms of what inspired me to pursue a career in music, it was obsessively listening to music and going to concerts or gigs and thinking ‘I could do that!’.  I always wanted to be the person standing on stage or in the studio and was keen to know how that world works.  While I rarely perform these days, I still get a buzz from hearing my work performed live or recorded!

Read more: Keyboard tutor Matt is running the London Marathon to raise money for Orchestras for All – and he needs your help >

Tell us about some of your career highlights so far.

Performing ‘Crossfade’ at Leeds Arena with National Orchestra for All (NOFA) a few years ago was definitely a highlight! The piece was written with the space in mind, so once the electronic parts, amazing light show and visuals came into the space with the orchestra, it was a truly awesome collective moment.

A few years ago, I also released a record and went on a little tour in some venues around the country. It was early on in my career and the shows were small, but I distinctly remember the excitement of standing up on stage, playing my own music and people appreciating it. That was pretty special!

Meet Orchestras for All’s young musicians >

What do you love the most about being a composer?

I love that every day I get the opportunity to create new work and access some level of creativity in myself. I am constantly able to experiment with new ideas and ways of making sound and music. I should say these ideas don’t work 80 per cent of the time, but I really enjoy the process of failing with ideas and building better ones from them – failure is such an important part of the creative process for me. 

I also spend a lot of my time teaching composition and this has allowed me to experience loads of other peoples’ work. It’s always inspiring to hear ideas and engage in creative discussions with other people who are doing similar things to me. No two days are the same in composing or teaching and I find that variety really rewarding.

Jack (bottom right) teams up with National Orchestra for All and its tutors to play online during the pandemic

‘The Great Interstellar Orchestra’ is an incredible piece of work – are there any standout moments for you?

It was all NOFA members’ work! When Bryony and I ran workshops with NOFA in April, we had no idea what material we would be sent to work with and had no outcomes in mind, so for me the standout moment was sitting down after the course and listening to all of the amazing sounds, fragments and compositions that members had created. They even came up with the name for us! 

About halfway through the piece, there’s this rich evolving chord sequence accompanied by some stunning visuals from Bryony. I made that part when I was at a bit of a dead end and didn’t know where to go next. I put one of the NOFA member’s recordings into a sampler, added some effects and started improvising around a pentatonic scale – literally playing random notes and experimenting with building the texture, which I then recorded and loved it. What you hear in the piece is an exact unchanged version of that improvisation!

Read more: Watch this mesmerising work created by 100 young musicians >

Do you have any tips for young people considering a career in music?

Share what you do! Something I have always struggled with is having the confidence to put myself out there. In fact, it is something that I still struggle with. But no-one is going to know about your talents unless you take the plunge and share your work. Getting feedback is a great way to build your confidence and even if something doesn’t work out at first, sometimes connections come back around in the future. 

I would also say that you should embrace your individuality! You are you and it’s never helpful to compare yourself to others. As you develop through your musical journey and eventual career, you’ll find a good space where you belong.

Why has wellbeing become so important for musicians during the coronavirus pandemic?

What we do is based on collaboration and the ability to play together, work together, listen together and perform together. This has become a serious challenge during the pandemic and many musicians – myself included – feel that these challenges have compromised a significant part of our identities. 

The NOFA online courses over the past year or so have been an incredible way to reconnect with group music-making and for many of us, this is central to wellbeing. However, being mindful and recognising our different moods has become important to not burn out! It’s okay to take days off where we don’t pick up our instrument or sit down to do some writing. I’ve learned to listen more carefully to my level of wellbeing, understand exactly when creativity or productivity might strike, and not beat myself up when I have musically (and generally) unproductive days!

What are your plans for 2021-22 – do you have any exciting projects in the pipeline?

I’m working on a really exciting project at the moment with Liverpool’s Resonate Hub, alongside a beatboxer and spoken word artist, Testament, and NOFA’s resident percussion master, Ollie Tunmer. It’s a culmination of workshops with the young people in Resonate’s ensembles that will combine electronic and acoustic music – hopefully it will be an exciting spectacle.

I’m also working on a new sound installation project with Orchestras for All’s Modulo programme in collaboration with Bryony Simcox (of ‘The Great Interstellar Orchestra’ fame!).  The project looks specifically at alternative ways to produce and experience sound, and might get quite experimental! Other than that, I’m hoping to focus a little more on creating my own music, with a few solo and collaborative projects on the go… 

Why is it important for us to break down barriers to music-making?

I have worked with Orchestras for All in various capacities for almost 10 years now. I have seen firsthand the impact that the charity has had on the young people it supports as well as seeing them develop in confidence – whether that’s their instrumental playing, creative music-making, or in themselves.

Orchestras for All offers an extraordinarily unique extracurricular opportunity for young musicians that historically, has only been accessible to a small number of musicians. Year upon year I have seen innovation, both in the way the charity carefully and genuinely supports its members as well as in the ambition and creativity in its artistic choices. I believe this can act as a model in innovative practice for any group, organisation or individual who feels passionately about breaking down barriers to music-making.

And finally, please complete the sentence. Orchestras for All is...

…a voice for innovative, creative and inclusive music-making for young people across the UK.

To fund a programme like NOFA and inspire young musicians in the UK, please donate today >