‘Tis the season to be jolly: meet Orchestras for All’s barrier-smashing new trustees!

From fundraising experts and young musicians to marketing-savvy professionals, here we introduce the latest additions to our team…

Orchestras for All (OFA) is delighted to announce that its Board of Trustees has welcomed six inspiring new members in a bid to elevate its practice and take the charity to new heights.

The decision comes as OFA continues to strive towards its bold vision: a country where all young people have access to the benefits of orchestral music-making regardless of the daily challenges they might be facing.

According to the Young Trustees Movement, less than 3 per cent of charity trustees are aged 30 and under despite young people often being an integral part of their work, while one in 12 trustees are named either John or David – highlighting the growing need for board diversity across the sector.

With this in mind, OFA is proud to share that its new trustees include Belfast-based musician, Chloe Morgan – an alumna of its inclusive, non-auditioned youth orchestra, National Orchestra for All (NOFA), who participated in three seasons of the programme and also supported the charity as a dedicated Young Leader, Youth Board member and co-host of OFA’s online fundraising launch event last winter.

This means that a quarter of OFA’s Board of 12 Trustees are currently aged 23 and under or alumni of its programmes. Chloe said: “Joining OFA back in 2018, I had no idea that I would wind up a trustee but I always wanted to give back to the organisation that led me down the path to here. From a young age, I’ve had a passion for politics and community work (and of course music) but it was joining OFA that made me realise the gap that existed for accessible music-making – and the need to fill that gap.”

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

Chloe continued: “Having benefitted so much from music and NOFA, I’m excited to help OFA evolve and I’ve already been involved in discussions about exciting new things. Learning from the OFA team and Board of Trustees is a big thing for me – they have so much experience in so many fields and I’m sure I’ll be all the wiser from working with them. Most importantly, I’m ready for OFA to achieve what the Youth Board likes to call “world domination!”.

Learn more about Orchestras for All’s young musicians >

Joining Chloe on the Board is senior leader in the international development sector, Rosie Parkyn, who runs a radio station for young people at Riverside Studios, and Rachael Adediran, who takes over from former trustee, Emily Sayers, and has kickstarted a culture of music-making for hundreds of young people during her time as Associate Assistant Principal at Skinners’ Academy in Hackney, London.

Rosie said: “I believe everyone should have the opportunity to access and make music as much as they wish. It is always life-enhancing and can be transformational. I am frustrated that these opportunities are still not available to all young people – they should not be a luxury. This is why I support the fantastic work of Orchestras for All. I am immensely proud to be a Trustee and hope that my professional experience in non-profit leadership will help this organisation realise its immense potential.”

Rachael added: “I first knew music was going to feature in my life aged seven when I passed the ‘test’ to have flute lessons at school and, in the same year, joined the Steel Band – no test necessary! These two steps started me on a lifelong journey of music-making and I have actively worked to remove barriers to participation for young people. OFA also does fantastic, truly inclusive work in removing those barriers, so I'm really excited to be part of its journey as a Trustee and support the team who drive it forward!”

Pictured (clockwise): New Orchestras for All trustees Rachael Adediran, Chloe Morgan, Philip Raperport, Rosie Parkyn, Dominic Parker and Lucinda Coulthard

Working alongside Rosie and Rachael is Director of BBC Scottish Symphony Orchestra, Dominic Parker, whose background includes fundraising and marketing for Southbank Centre, London Philharmonic Orchestra and Royal Welsh College of Music and Drama, as well as freelance arts fundraiser and former Head of Development at Scottish Chamber Orchestra, Lucinda Coulthard, and Commissioning Executive for BBC Sounds and Radio 3, Philip Raperport.

Dominic said: “OFA is doing incredible work and is at a pivotal point in its development, having just joined the Arts Council’s NPO portfolio. I’m very happy to be joining the Board of Trustees and to lend my support and experience as this inspirational company continues to make music with hundreds of young people each year.” 

Lucinda commented: “I can’t remember when music wasn’t part of my life. Learning the recorder with my classmates during Year one at Primary School was possibly the first time I felt genuinely good at something – and now I know how much I benefitted from that newfound confidence. I firmly believe that every young person should be able to achieve their potential – and there is plenty of evidence to prove how much performing music in ensembles can help with so many important life skills. I’m so pleased to be a Trustee of OFA and I look forward to playing my part in its future.”

Watch National Orchestra for All’s epic summer concert >

Philip added: “The role of collective music-making in stimulating creativity, developing social skills and supporting wellbeing is hugely undervalued, and OFA’s mission to support and empower young people through access to instruments and playing music together has never been more important. As a Board Trustee, I hope I can play a small part in supporting the charity’s big ambitions. I’m most excited about working with and learning from the Youth Board and other young trustees. OFA is unique in the way it prioritises and champions young voices, not only through its programmes but within the charity itself.”

On behalf of everyone at Orchestras for All, huge congratulations to each of our new trustees and a warm welcome to the team!

Please support OFA’s life-changing programmes 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 >

Join our live webinar for music leaders this November and create unity in your mixed-ability ensemble

The virtual event aims to boost creativity and inclusivity in ensembles at a time when many of the nation’s music leaders are under-resourced.

Are you keen to take your youth orchestra to the next level? If so, join us later this month as Orchestras for All (OFA) hosts the fourth live webinar in its Music Leadership Training series.

Titled Mixed-Ability Ensembles: Finding Unity, the one-hour session is scheduled to take place via Zoom at 16:00 GMT on Wednesday 30 November 2022 and will be led by the charity’s Artistic Director, Emma Oliver-Trend.

Emma said: “What runs through your head when someone says ‘mixed-ability ensembles’ – one big compromise? A musical mishmash? At OFA, we have a ‘three-ingredient recipe’ for working with a mixed-ability ensemble: carefully created music parts, a variety of notation and music learning options as well as rehearsal techniques that create unity in the group – the focus of this session.

“Also known as NOFA, our National Orchestra for All is a 100-piece mixed-ability orchestra. We have Grade Eight-ers sitting next to complete beginners and we’ve worked this way for over 11 years – living proof that mixed-ability ensembles can be satisfying both musically and socially.”

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

Pictured: Emma Oliver-Trend leads the way during a Modulo rehearsal at Royal Northern College of Music

While the webinar is free to attend, participants are invited to donate what they can to help OFA continue its life-changing work in breaking down barriers to group music-making for young people, which has become ever more vital at a time when hundreds of schools, music hubs and arts organisations are currently struggling across the country owing to lack of funding.

Learn more about Music Leadership Training >

Following the success of Emma’s last webinar, which explored how to redefine rehearsals and included a live Q&A, the forthcoming session will surely be a thought-provoking afternoon for both attendees and the Cornwall-based musician – a keen classical and folk violinist, whose previous roles have included Principal Guest Conductor of the Harlow Symphony Orchestra and Founder Director of the Ware Community Orchestra.

Emma has also produced several operas and arts programmes for Welsh National Opera and Dartington Arts, and collaborated with Belgian singer, Nele Van Den Broeck, to pen the stage musical ‘How to fail at being perfect’ – a Young Lyric Production performed at the Lyric Hammersmith in August 2017 and Latitude Festival 2018.

“We value equality of opportunity, removing hierarchy and accessibility to rehearsals,” says Emma

Meanwhile, Emma’s current role as Artistic Director at Orchestras for All includes orchestral conducting, creating large-scale inclusive arrangements, leading conducting training for music leaders and contributing towards the artistic programme of the charity.

Speaking about Mixed-Ability Ensembles: Finding Unity, she said: “This session aims to share our approach, practical ideas and challenges and will invite you to share yours! Our starting point is to invest in a strong community – a culture of social and musical equality that is essential to making a great orchestra.

“We also think it is vital to acknowledge and activate the wide range of musical abilities that young musicians bring. We value equality of opportunity, removing hierarchy and accessibility to rehearsals through inclusive learning.”

Mixed-Ability Ensembles: Finding Unity comes after music education consultant, Professor Nate Holder, and music producer, Jack McNeill, also delivered live webinars this year as part of OFA’s Music Leadership Training series.

Vulnerable young musicians supported nationwide as Orchestras for All secures new Arts Council England funding

The funds will help Orchestras for All break down significant barriers to music-making for thousands of aspiring young musicians in the UK.

Orchestras for All (OFA) is delighted to announce that it has secured vital new funding from Arts Council England (ACE) to assist the charity in continuing its life-changing work.

Also known as the National Portfolio Organisation (NPO) Transfer Programme, the generous funding supports arts organisations to ‘deliver creative and cultural activity which delivers against the Outcomes in Let’s Create, Arts Council England’s Strategy (2020-30)’.

The news comes as ACE shares its plans to invest £446 million per annum in 990 organisations (including 276 new organisations of all shapes and sizes) over the next three years, following 1,700 applications to the programme – enabling even more people to enjoy the comfort, distraction and everyday wonders afforded to local communities through creativity and culture during tough economic times and wherever they are.

As part of the programme, successful organisations must be open to moving their registered office out of London to another UK-based location by October 2024 – this will present exciting new opportunities for OFA, which has fully embraced a remote/hybrid working pattern following the devastating impact of the coronavirus pandemic on the music education sector.

Benefits of the transfer might include strengthening the charity’s national team, effective new ways of staying connected, in-person meetings in different cities, exploring deeper partnerships with music venues and regions as well as allowing team members to collaborate in a way that works best for them, taking into account accessibility, flexibility and wellbeing.

National Orchestra for All Ambassador and young carer, Isaac, said: “This is fantastic news. I’m so glad that OFA’s got the funding to improve the lives of young people – just like they did for me. Their commitment for making a space where young people can thrive both musically and socially is unique.”

Read more: Musical Chairs 2022: experience the magic of performing with a live symphony orchestra at this epic one-day fundraiser >

Pictured: Young musicians from schools across the UK gather for OFA’s Modulo Programme at the RNCM

Youth Board member, Mars, added: “A big thank you to Arts Council England; NOFA has been something I’ve looked forward to year after year and thanks to this grant, I know NOFA will be able to inspire and empower a new generation of musicians.”

Over the past decade, OFA has strived to become fully national, broadening and diversifying its core team while also recruiting young musicians, maintained schools, music leaders and volunteers from across the country for its three powerful programmes.

Its inclusive, non-auditioned National Orchestra for All (NOFA) brings together 100 young musicians from across the UK who would otherwise be unable to access musical opportunities – whether that’s due to a physical disability, mental health condition, economic deprivation or rural isolation – while the charity’s Modulo and Music Leadership Training programmes equip under-resourced music leaders with the vital tools and support they need to run their own inclusive ensembles in schools and local communities.

Discover OFA’s programmes >

Former National Orchestra for All trumpeter, Kate, said: “It’s brilliant to hear that we’ve been chosen for ACE’s funding. It makes a massive difference to how we can deliver and create our programmes to those who need it most. It’s also amazing to see our wee organisation get recognised for the tireless work that we do – our young people are craicer!”

NOFA Ambassador and woodwind player, Joe, commented: “OFA will do so much with that amazing money. The Arts Council proves yet again that there will always be room for the creative industry and I’m so glad that we can go forward as part of that movement.”

OFA’s Executive Director, Nick Thorne, added: “This is a milestone moment for Orchestras for All; thank you to Arts Council England for believing in our vision to break down barriers to give all young people the life-changing experience of making music together. Thank you to every single person that has supported us on our journey so far, but special mention from me to the young people we work with who inspire me each day through their passion, energy and barrier-smashing enthusiasm towards our work.

“While we take this moment to celebrate, the journey doesn’t end here – our mission just becomes more important and support from current and new donors becomes ever more vital. Please join us as we continue to champion inclusive music-making nationwide.”

On behalf of everyone at Orchestras for All, we would like to thank Arts Council England for this incredible opportunity and our thoughts are with other organisations across the arts sector who will be receiving news today.

Please make a difference to a young musician’s life and donate today >

“Music is about connecting with others and expressing yourself,” explains violist

The keen string player shares her thoughts as members of the public prepare to gather for a day of music-making at Musical Chairs 2022.

Orchestras for All’s winter fundraiser, Musical Chairs 2022, is just on the horizon – and our music-making family couldn’t be more excited to welcome this year’s diverse cohort of participants, who will be joining us from all across the country.

Taking place on Sunday 20 November 2022 at Westminster School, London, the inclusive event invites you – budding musicians and members of the public – to embark on a new challenge and experience what it feels like to perform with an orchestra for a day, regardless of your age, background or musical skill level.

What’s more, it’s all for a good cause – every single donation (whether that’s through sponsorship to participate or an individual donation to play) will be match funded by Harriet’s Trust, helping us to develop our three life-changing programmes that break down barriers to music-making for young people in the UK.

With our friendly team of NOFA members, alumni and orchestral tutors on hand to support you during rehearsals, it doesn’t matter whether you’re a seasoned professional or a complete beginner – everyone is welcome to play.

Megan Jowett, who will be supporting the violin and viola sections at Musical Chairs 2022, said: “I’ll be helping each section by playing alongside our participants as well as supporting them with bowing suggestions or ways of performing different sections of music – hopefully making it much easier for them!”

Learn more about Musical Chairs 2022 >

Pictured: Musical Chairs participants gather at Cecil Sharp House, London, for a day of group music-making

Megan continued: “For me, music – and Musical Chairs – is about the connections you make with other people. It’s enjoying the process of learning new skills, the different sounds you can make on your instrument and how you can express yourself, while exploring the stories of each piece of music.”

However, it’s not the first time the string player has performed live with a large-scale ensemble. Sharing a few of her career highlights so far, she explained: “I feel very lucky to have been involved in musical projects with some brilliant musicians – some of my favourites have been performing improvised music in Berlin, recording for TV and film and playing in some amazing concert halls all over the UK.

Watch this epic live concert starring NOFA at Nottingham’s Albert Hall >

“I love the work I do outside of performance as well, like leading creative workshops for children and their families as well as teaching students the violin and viola. A fun fact about me is that I started weaving and macramé during lockdown, so now my house is full of looms!”

Comedian and TV presenter, Sue Perkins, leads the way at Musical Chairs 2016

In true Orchestras for All style, repertoire at Musical Chairs 2022 will be specially arranged for a mixed-ability ensemble and includes ‘Spoitoresa’ – a sprightly Romanian folk song that was performed by National Orchestra for All at Nottingham’s Albert Hall in the summer.

With many participants often taking up the challenge of picking up a new musical instrument just weeks before the event – which includes performing live in concert to an intimate audience – it offers a refreshing alternative to the usual list of New Year’s Resolutions.

Megan said: “I’m really looking forward to meeting all the participants, hearing how everything comes together on the day and playing ‘Allegro’ from Alice Mary Smith’s Symphony in A minor. I’ve never played this piece before, so I’m excited to learn it!”

Keen to join Megan in the Musical Chairs orchestra and support aspiring young musicians in the process? Find out more and sign up >

‘If you have ADHD, don’t try to fit the neurotypical mould – work with yourself instead,’ says National Orchestra for All ambassador, Phoebe

“Find unique ways to make you a happier version of yourself.”

In the UK, an estimated 2.6 million people have ADHD – with 1.9 million of those being young people, giving a childhood incidence rate of five per cent.

Also known as attention-deficit/hyperactivity disorder, ADHD is a neurodevelopmental condition that affects both children and adults worldwide and is typically associated with lack of focus, impulsivity and hyperactivity. There is no one cause; it is considered to be the result of both environmental and genetic factors, with the latter being around 70-80 per cent responsible.

An individual can present with one of three types of ADHD: predominantly inattentive, predominantly hyperactive-impulsive, or combined. Since it exists on a spectrum, everyone’s ADHD brain is different and so some people may require more support than others.

Despite the daily challenges people with ADHD often face, they are also creative problem solvers who thrive on variety and innovation as well as being capable of deep focus on tasks or hobbies that interest them. Famous musicians with ADHD, or thought to have had ADHD, include ‘Rhapsody in Blue’ composer, George Gershwin, pop singer-songwriter, Lily Allen, The Beatles star, John Lennon, and panel judge for The Voice UK, Will.i.am, to name but a few.

At Orchestras for All, we celebrate each and every one of the young people in our diverse, music-making family – this means championing members with ADHD as well as those who may be living with a physical disability, learning difficulty or other mental health condition. With ADHD Awareness Month celebrated nationwide this October, we caught up with National Orchestra for All (NOFA) ambassador and flautist, Phoebe, who has ADHD, to find out more.

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

Phoebe (pictured left) supports the woodwind section at National Orchestra for All’s summer concert

Tell us what having ADHD means for you.

For me, having ADHD means that my brain just works a bit differently to other people’s and I experience the world in a slightly different way. I was diagnosed at 17 and it felt amazing to have an answer for why I was always a bit too loud and could never make myself finish schoolwork or any other tasks, even if I knew it was very important and needed to be done.

It also helped stop me from feeling like I was “lazy” or “didn’t try hard enough” – instead I could be a bit kinder to myself and start working with my ADHD brain, instead of trying to treat it like a neurotypical one and struggling.

Read more: 5 of the best ways to protect your wellbeing >

How does it feel to be part of the inclusive National Orchestra for All (NOFA) family?

It feels absolutely amazing! My favourite thing about it is that even though I’m now an adult and staff member, the fact I may need a quiet space to chill out in during rehearsals or other events, or the fact that I can sometimes feel overwhelmed, is still recognised. I feel just as supported now by the team of orchestral and wellbeing tutors as when I was performing with NOFA (the UK’s only inclusive, non-auditioned national youth orchestra) as a young person.

I’ve been involved with NOFA for around six years – first as a flautist and now as an ambassador – and it’s been so special to watch so many young people learn and flourish. I just love to hear all their stories of what they’ve achieved both within and outside of the orchestra because they feel more confident and valued as a result of the incredible work we do.

Discover Orchestras for All’s three life-changing programmes >

“People with ADHD have things called “hyperfixations”, or special interests,” explains Phoebe.

What daily challenges have you faced?

My biggest struggles have definitely been organisation, motivation and emotional regulation. Organisation is very difficult for me as my brain thinks everything is very important, so I’ll spend as much time worrying about whether I need milk as I would completing schoolwork!

I also find it very difficult to start tasks that I don’t think are exciting enough, or mean I have to concentrate for a long time, which means I also push off things like schoolwork. One tip to work on this was to write “To-do” lists, however I usually think of more and more tasks to do until I end up with a long, overwhelming list that I don’t even want to start.

Read more: How Orchestras for All supports young people facing daily challenges >

Have you received any support to help with your ADHD?

I was very lucky to work with a lifestyle coach that focuses on people with ADHD, which gave me strategies like using a whiteboard or chalkboard to track my tasks, so I can see everything in front of me and it doesn’t suddenly become that long, overwhelming list. I can split it up into different days and move it around if I’m having a bad day.

I also struggle with sensory stimulation, especially noises, which is a bit ironic considering I study music! I use noise-cancelling headphones that I keep on my keys – they are quite small and subtle and mean that while I can still hear people speaking to me, they take the edge off loud noises that might upset me and allows me to keep doing the things I love!

At OFA, we believe that having ADHD is also your superpower! Do you have any hobbies that you feel are encouraged by your ADHD?

For me, ADHD means that I really love crafting! I like doing physical things like crochet, embroidery, sewing and whichever other interest I might have at the moment. People with ADHD have things called “hyperfixations”, which is basically a special interest that completely takes over our brain for a while.

These can last for days, weeks or months and can make it really difficult to think about anything else, which can be both a blessing and a curse! I’ve managed to make a whole cosplay prop in a night before just by hyperfocusing on it, but I also have a lot of other projects I’ve lost interest in – and promise myself I’ll get back to them one day! 

If you could share one message with others about ADHD, what would it be?

If I had to pick one thing, it would be this: if you have ADHD, don’t try and fit yourself into the neurotypical mould. Work with yourself instead! If you need an orange scrunchie to play with just to be able to do your schoolwork or practice your musical instrument, go for it!

Don’t try to change how your brain works – instead, find unique ways to make you a happier version of yourself rather than what other people might want you to be.

To support other young musicians with ADHD like Phoebe, please donate today >

If you’re aged 11-16 and keen to join National Orchestra for All, please visit our programmes page for full details >

Please note: National Orchestra for All applications close at 10am on 7 November 2022.

For further information about ADHD, or if you have ADHD and would like to find the right support, the NHS and ADHD UK websites share useful resources.

Musical Chairs 2022: experience the magic of performing with a live symphony orchestra at this epic one-day fundraiser

Taking place in London this November, Musical Chairs 2022 aims to make a difference to the lives of aspiring young musicians nationwide.

Are you keen to try something new this winter and make a positive impact in the process? If so, join Orchestras for All (OFA) for its exciting forthcoming fundraiser: Musical Chairs 2022.

Taking place on Sunday 20 November 2022 at Westminster School, London, this spectacular one-day event gives members of the public the opportunity to experience the joy of playing with a full symphony orchestra, supported by National Orchestra for All members, alumni and a team of professional tutors.

Perhaps you’ve been waiting for the perfect excuse to dust off that childhood viola that’s been sitting under your bed, or maybe you want to challenge yourself to learn a new instrument and perform live with an ensemble before the year is up?

Whether you’re a complete beginner or a professional musician with years of performance under your belt, it doesn’t matter – Musical Chairs is fully inclusive and welcomes people of all ages and skill levels, from all backgrounds.

Read more: Orchestras for All relaunches programmes in a bid to improve access to group music-making for young people across the UK >

First, participants will spend a day rehearsing at the venue before putting their day of learning to the ultimate test – performing two pieces live in concert to an audience.

Specially arranged for a mixed-ability ensemble, the pieces include ‘Allegro’, taken from Alice Mary Smith’s stunning Symphony in A minor, along with ‘Spoitoresa’, a traditional Romanian folk song, which has become a firm favourite with OFA’s young musicians.

However, Musical Chairs isn’t just a fun day out – it’s also held for a good cause.

Each year, participants help OFA to raise money in sponsorship, with all funds contributing towards our life-changing musical opportunities for young people who may not otherwise have had the chance to play music with others due to the daily challenges they face.

Meet our musicians >

This year, OFA’s fundraising target is £30,000 and the suggested target for participants is £300. Those getting involved will also have the option to donate to play, with a suggested donation of £300, while further information on how to make the donation as well as sheet music and welcome packs will be provided after registering.

We are also very pleased to share that every penny raised (up to £10k) from this year’s Musical Chairs will be doubled thanks to generous match funding from Harriet's Trust.

This is a true highlight in the Orchestras for All calendar – and we hope that you can join us!

Pictured: National Orchestra for All rehearse at Westminster School, supported by a team of orchestral tutors.

Musical Chairs 2022 will run on Sunday 20 November, from 10:00 until 17:00, with food and refreshments provided throughout. The live concert will commence at 16:00, followed by a drinks reception from 17:00 until 18:00.

To find out more, you can contact the OFA team via email at info@orchestrasforall.org or by phone on 020 7267 4141. If you would like to participate in Musical Chairs 2022, please complete the sign-up form below:

Orchestras for All relaunches programmes in a bid to improve access to group music-making for young people across the UK

The life-changing programmes aim to break down significant barriers to music-making for young people who need it the most.

With a new season of musical activity just on the horizon, Orchestras for All (OFA) is delighted to announce that it is now recruiting young musicians and schools nationwide as it relaunches two of its core programmes: Modulo and National Orchestra for All.

Specially designed to kickstart a fun culture of inclusive music-making in maintained schools and local communities, Modulo assists under-resourced teachers and music leaders to set up or develop their own ensemble (known as a “Modulo”) of between four and 15 young people aged 11-18, before they team up to play with other groups as one epic orchestra at “Modulo Meets”.

All young people are welcome to join a Modulo regardless of their musical ability, previous experience or chosen instrument – so whether they’re tab-reading guitarists, open string players, keyboardists or simply keen to play a traditional orchestral instrument with other like-minded individuals, there’s room for everyone to thrive.

A recent Modulo participant said: “I feel more confident after this experience because I’ve played in front of a lot of people, so now I feel like I can do anything!”

Another commented: “Go to Modulo if you want to learn how to play a new instrument – but even if you already play one, it’ll still help you to build on your skills.”

Read more: Orchestras for All’s Artistic Director Emma Oliver-Trend announced as host of new webinar for music leaders >

Pictured: Young musicians from schools across the country play together during a Modulo Meet.

A Modulo teacher added: “Watching the pupils supporting each other was such a joy. Although they’re all from the same year group, they’re not necessarily from the same classes but I can see new friendships forming.”

Find out more about the Modulo Programme >

Meanwhile, the charity’s non-auditioned, inclusive national youth orchestra, National Orchestra for All (NOFA), is open to 100 young musicians aged 11-19 who face significant barriers in their daily lives – whether that’s due to physical disability, a mental health condition, rural isolation or economic deprivation.

NOFA harnesses the orchestra as a catalyst for social change, offering transformative experiences that build a young person’s social and communication skills, while also boosting their confidence and introducing them to diverse new communities.

For both NOFA and Modulo, repertoire is carefully selected to represent the season’s theme, with last year’s ‘The Way We See It’ represented by Britten’s iconic ‘Young Person’s Guide to the Orchestra’, an uplifting musical crossover written by Jack McNeill celebrating club culture, an infectiously catchy arrangement of a Romanian folk tune and a beautiful symphonic poem from Alice Mary Smith. For this next season’s theme, OFA’s repertoire celebrates music and change, along with an exclusive new piece written by members of NOFA.

National Orchestra for All (NOFA) members play the melodica at their 2022 summer residential.

During NOFA’s spring 2022 residential, NOFA oboeist, Lily, said: “I love all the different music we play – I wouldn’t perform this type of music in my orchestra back home, so it’s nice to have that balance between classical music and dance music like ‘Crossfade’ and ‘Spoitoresa’. It’s great to have the variety.

“Being part of NOFA has also helped me to develop as a musician – the music we’re learning takes you out of your comfort zone but not to the point of breaking you, so it’s good to have that little push.”

Meet NOFA’s inspiring musicians >

Seventeen-year-old keyboardist Troy commented: “In secondary school, I didn’t have much going for me and didn’t have many opportunities, but then my teacher found NOFA and suggested that I should apply.

“I’m so happy that I did – it’s amazing and has made my life much more interesting! I can brag about being in an orchestra to my friends but it’s also really fun as there’s loads of activities happening and more opportunities to perform and connect with other people as well.”

NOFA musicians and ambassadors enjoy an evening of games and activities at their spring 2022 residential.

Polly, parent to keen NOFA trumpeter, Cameron, added: “The work OFA does is amazing and there is no other setting where Cameron feels as happy, included and valued as with the NOFA family. Thank you so much for everything your team do to give Cam a place to belong, just the way he is and for bringing out the very best in him.”

Orchestras for All would like to take this opportunity to thank its loyal funders, individual donors and advocates for their ongoing support towards NOFA and the Modulo Programme.

Are you a maintained secondary school with limited access to music-making, or perhaps you’re looking for inspirational events for your students to participate in? Find out more about Modulo and sign up here.

Are you a musician aged 11-16 facing daily barriers, who wants to experience the magic of playing in an inclusive orchestra? Learn more about National Orchestra for All here.

Orchestras for All’s Artistic Director Emma Oliver-Trend announced as host of new webinar for music leaders

“If you’re keen to energise the musicianship and community of your ensemble through thoughtful rehearsal practice, this session is for you!”

Orchestras for All (OFA) is delighted to announce that its Artistic Director, Emma Oliver-Trend, will be hosting a live webinar as part of the charity’s Music Leadership Training programme.

Titled Flip the Script: Redefining Rehearsals, the one-hour session – which is the third event in OFA’s dynamic online series – is scheduled to take place via Zoom on Wednesday 21 September 2022 at 16:15 GMT and will explore the theme of critical listening when leading a young ensemble in classrooms and music hub contexts.

The National Orchestra for All conductor explains: “In the conventional rehearsal model, the ensemble plays a few bars, they stop, the conductor tells them what went wrong and how to fix it and then they try again. Okay, that’s a blunt description and perhaps unfair as this rehearsal practice can easily bring musical progress and great concerts. What’s not to love?

“At Orchestras for All, we value the discipline of ensemble rehearsals and we love it when they’re full of music-making and not too much talking. However, overall this rehearsal practice is not entirely fit for purpose. It’s simply not effective enough in delivering our aims and supporting young people’s musical, personal or social development.

“We are experimenting with rehearsals where active critical listening is owned, explicitly, by everyone. So, if you are interested in energising the musicianship and community of your ensemble through thoughtful rehearsal practice, this session is for you! We’re redefining rehearsals, we’re on a journey and we’d love to share your ideas, so do join the discussion.”

Read more: Watch this epic live concert starring one of the world’s most inclusive youth orchestras >

Pictured: Artistic Director, Emma Oliver-Trend, leads the way at National Orchestra for All’s summer concert

It will surely be a memorable evening both for attendees and the Cornwall-based musician – a keen classical and folk violinist, whose previous roles have included Principal Guest Conductor of the Harlow Symphony Orchestra, Founder Director of the Ware Community Orchestra and a performing member of the Bishop’s Stortford Sinfonia, among others.

Emma has also produced several operas and arts programmes for Welsh National Opera and Dartington Arts, and collaborated with Belgian singer, Nele Van Den Broeck, to pen the stage musical ‘How to fail at being perfect’ – a Young Lyric Production performed at the Lyric Hammersmith in August 2017 and Latitude Festival 2018.

Meanwhile, her current role as Artistic Director at Orchestras for All includes orchestral conducting, creating large-scale inclusive arrangements, leading conducting training for music leaders and contributing towards the artistic programme of the organisation.

Discover Orchestras for All’s programmes >

While Emma’s forthcoming webinar is free to attend, participants are invited to donate what they can to help the charity continue its life-changing work with young people and music leaders nationwide.

It comes after British DJ and composer, Jack McNeill, and music education consultant, Professor Nate Holder, hosted the first two webinars in the online series.

Students from across the country team up with Emma in Manchester for a day of Modulo music-making

Music Leadership Training Programme Manager, Sam Williams, said: “This webinar will focus on an extremely important topic – how to ensure every member of your ensemble has a voice, is listened to, and feels able to contribute. Although the expertise often lies with the conductor or ensemble leader, no group should be a dictatorship, where only one person makes the decisions. To be truly inclusive, a musical ensemble should be flexible enough to accommodate the views of its members, and we really have fostered a culture of this across our programmes at OFA.”

She continued: “Our wonderful Artistic Director, Emma, really lives for inclusivity when she works with young musicians. She is always interested in hearing what people have to say, valuing their contribution and making their feedback mean something in the way she develops artistic themes each season. I couldn’t think of anyone better to deliver this session, which is suitable for music educators and ensemble leaders at any stage.”

Reserve your seat at the webinar >

Watch this epic live concert starring one of the world’s most inclusive youth orchestras

It’ll brighten your day.

In July 2022, National Orchestra for All’s diverse young ensemble treated a Nottingham audience to an afternoon of powerful orchestral music – and it was pure joy.

Titled ‘The Way We See It’ (a tribute to the season’s theme), the one-hour concert was held at the city’s prestigious Albert Hall and celebrated all that the orchestra, better known as NOFA, has achieved over the past two years – and in spite of global uncertainty following the coronavirus pandemic.

While NOFA’s inspiring members each face significant challenges in their daily lives – from physical disability and mental health conditions to rural isolation and economic deprivation – they can leave their troubles at the door when taking centre stage and instead, focus on doing what they love the most: making epic music together.

During the show (watch video above), we see the musicians – who come from all corners of the country – team up with NOFA’s squad of tutors and alumni to perform an eclectic programme of music, accompanied by newly-written spoken word produced in collaboration with witty Nottingham-based poet and comedian, Ben Macpherson.

NOFA cellist and Orchestras for All youth board member, Chloe, told attendees: “Playing in an orchestra is playing with pieces of puzzles. These pieces are like a well-lit forest: enormous and sometimes scary. It’s super important to keep counting.”

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

Pictured: National Orchestra for All performs a powerful end-of-season concert in Nottingham.

She continued: “One musical family, playing equally important roles, working in unison to create and develop an atmosphere: diverse and talented, very colourful and fast, forgetting to count to four.”

NOFA violinist, Alasdair, added: “Synchronised swimming in sound form. A triangle of unity, mistakes and waves. All of it feels good. The power of an orchestra when everyone works as a team. Work harder, challenge myself more, sitting next to a great musician, forgetting to count to four.”

They were joined by esteemed conductor, José Salazar, who first rose to fame after participating in Venezuela’s prestigious El Sistema programme and was coined by the media as “the world’s youngest conductor”.

It was surely a memorable occasion, with each piece of music specially selected to reflect the season’s modern theme as well as one of Orchestras for All’s key values: harnessing the power of youth voice.

Repertoire included a stunning rendition of ‘Andromède’, a symphonic poem drawn from the myth of Greek goddess, Andromede, which was penned by French-Irish female singer, pianist and composer, Augusta Holmès, in 1883.

National Orchestra for All members take a moment from playing to enjoy spoken word at the event.

This was followed by ‘Crossfade’, British composer Jack McNeill’s unique take on a musical crossover that expertly fuses traditional orchestral instrumentation with electronic influences and boasts a steady beat reminiscent of popular club culture.

Listen to other music by Jack McNeill and NOFA >

And of course, no summer concert would be complete without an iconic masterpiece from one of the late great composers – this time, Britten’s ‘Young Person’s Guide to the Orchestra’.

Also known as ‘Variations and Fugue on a Theme of Purcell’, the spectacular 1945 work is based on the second movement of the Abdelazer suite, ‘Rondeau’, and was originally intended to introduce children to the instruments of the orchestra – making it just as relevant with classical fans today.

On the surface, we hear variations played by a whole host of instruments and groups, with the style of each section telling us about a particular quality of that instrument, while characters tell their stories through the music within a unifying theme that celebrates the diversity of the orchestra itself.

Grand finale: Audience members take to their feet and cheer on NOFA’s bright young musicians.

Finally, a lively performance of ‘Spoitoresa’ – arranged by Mahala Rai Banda, OFA’s Artistic Director, Emma Oliver-Trend, and Jack McNeill – had audience members up on their feet as NOFA trumpeter, Tashan, encouraged a memorable moment of crowd participation with a good-humoured lesson in body percussion.

On behalf of everyone at Orchestras for All, we would like to thank each of our loyal funders – Arts Council England, Association of British Orchestras – Sirens Fund, Finzi Trust, Foyle Foundation, Headley Trust, Promenaders’, Musical Charities, The Radcliffe Trust, Michael Tippett Musical Foundation, Samuel Gardner Memorial Trust, Sarum Hall School Parents' Association, University of Warwick and Youth Music – as well as our individual donors, advocates, Trinity Catholic School, photographer Will Pace, Broaden Films, orchestral and wellbeing tutors as well as our team of volunteers for making NOFA’s summer residential and live concert possible.

Please support us in breaking down barriers to music education and donate today >