“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…

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.

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.

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.

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 >