‘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 >

Remember A Charity Week 2021: leave a gift in your Will to Orchestras for All

Orchestras for All is supporting Remember A Charity in Your Will Week (6–12th September) – an annual awareness week that aims to encourage people to leave a gift to charity.

New research has shown that more kind-hearted Brits are leaving gifts to charities in their Wills than ever before, with a million legacies left in the past decade.

The inspiring data – released by Remember A Charity and Smee & Ford – reveals that the percentage of people leaving a gift to a charity in their Will has increased by almost a third (30 per cent) over the past 20 years, with many people keen to support a charity close to their heart even after they’ve gone. 

Gifts in Wills are a critical source of funding for charitable services across the country, raising more than £3 billion for good causes annually – and have been the fastest-growing source of voluntary income for charities over the past 21 years.

The powerful new statistic comes as charities across the country celebrate Remember A Charity in Your Will Week, raising awareness of passing on something wonderful after your family and friends have been taken care of.

At Orchestras for All, we are committed to spreading the joy of playing music with others. That’s why we can help bring your gift to thousands of young musicians in the UK who currently face significant barriers to music-making – whether that’s due to physical disability, a mental health condition, rural isolation or lack of financial support.

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

As well as boosting their musical ability, being part of an ensemble offers huge benefits to our young people: self-confidence, independence, and improved team working and communication skills.

Sharing his musical journey, National Orchestra for All (NOFA) ambassador and violinist, Isaac, said: “When my dad became sick with his chronic pain, my sister got glandular fever and then chronic fatigue syndrome. With my mum working a lot of the time as well, I kind of took on a bit of a young carer role but NOFA was a place just for me.

“It was people who I knew, it was my experience, and my family would come and they were really supportive. It was a place where for a bit of time each year, I did this wonderful thing with lots of people – and it was just for me.”

Meet our young musicians >

A recent Modulo Programme participant added: “The masterclass was a really worthwhile experience. The session was led by professional musicians who all gave us advice about having a musical career as well as helping us improve our band’s pieces. The exercises and warmups I played on the drums were really fun too!”

Meanwhile, former head judge of Strictly Come Dancing, Len Goodman, is lending his support to the week, having altered his own Will to include a charity close to his heart.

Len commented: “I am honoured to be supporting Remember A Charity Week for the fourth year running and to have the opportunity to meet some of the inspiring people working hard for a range of charitable causes.

“I really hope this week will encourage more people to leave a gift, however big or small, after they’ve gone. I’ve included a charitable gift in my Will after my family has been taken care of – it’s so simple and it really does make an enormous difference!”

If you would like to leave your own musical legacy and pass on your love of music to future generations, please consider leaving a donation to Orchestras for All in your Will.

All gifts are welcome and every donation made will help us change the lives of thousands of aspiring young musicians across the UK.

Make a difference and leave a musical legacy 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 >

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

The National Orchestra for All (NOFA) tutor will be participating in the race this October – and we’re with him every step of the way.

We’re delighted to announce that professional musician and NOFA keyboard tutor, Matthew Poad, will be running the London Marathon 2021 to support Orchestras for All’s mission.

By participating in the world-famous event – which was founded in 1981 and takes place annually – the 28-year-old musician will be helping thousands of young people across the UK who currently face significant daily challenges to achieve their dreams.

For 98 per cent of NOFA members, cultural barriers and limited access to music-making have prevented them from doing what they love the most. Many also face health barriers, with 55 per cent previously unable to play in an orchestra due to autism, a physical disability, learning difficulty, or social, emotional or behavioural difficulties.

And despite only 1.6 per cent of Black, Asian and ethnically diverse musicians being members of British orchestras, 37 per cent of NOFA players come from underrepresented groups – with 54 per cent based in the lowest 3 IDACI multiple deprivation deciles.

We caught up with the keen pianist to find out more about his life in music and inspiring running journey so far …

Please support Matt today and help us change young lives >

NOFA keyboard tutor, Matt, runs through Roath while participating in the Cardiff Half Marathon 2019

Hi Matt! Tell us a little about what you do.

By day I teach piano, lead performance workshops and accompany ensembles in a variety of nearby secondary schools; by night I write, record and perform all sorts of different music with groups and as a soloist in venues across London.

In addition to being a life-long lover of all things music, I take a keen interest in TV and film and keep active with weekly five-a-side football and squash!

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

It’s impossible to pin down exactly one inspiring person or experience! I’ve always loved listening to and playing music, right back to when I would drum on the floor along to Queen’s music videos as a toddler.

I was really inspired by my piano teacher, who alongside being a skilled pianist was always friendly, patient and supportive – all elements which I now take forward as a teacher myself. My parents were amazing at tolerating my relentless practice and noisy band rehearsals at home during my teenage years.

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

Then, while studying at university, some friends and I managed to secure a few weekly slots playing jazz at different cocktail bars. This regular work gave me confidence that a future in music was plausible for me, and so when my studies ended I actively sought out more performing, accompanying and teaching opportunities and here I am six years later absolutely loving what I do!

Doing what he loves best: Matt sings and plays the keyboard during a recent performance

Could you tell us about the marathon you’re running?

I’ll be running the Virgin Money London Marathon on Sunday 3 October 2021. I’m really excited to run the official London route, which begins in Blackheath, ends at The Mall and takes me around famous landmarks in the city.

There will be 100,000 runners taking part on the day: 50,000 will be running the route alongside me, with the other half taking part virtually elsewhere. People say that the atmosphere on the day is incredible, so I can’t wait to experience it for myself.

What motivated you to participate in the event?

As soon as I became aware of Orchestras for All (OFA), I wanted to contribute to their amazing work. Over the past few years I volunteered as an instrumental tutor and helper at a number of their events before officially joining the team as NOFA keyboard tutor in March.

Having taken part in a number of half marathon events in recent years, I’d been looking for a new challenge to work towards – when the opportunity came up to run the London Marathon for OFA, I leapt at the chance!

Meet Orchestras for All’s young musicians >

While working with OFA, have there been any standout moments?

While volunteering at a Modulo event a few years ago, I remember young musicians from a variety of secondary schools jamming together during their lunch break. Although they didn’t know each other, they came together to share in the joy of music-making – what a wonderful example of how music can bring us together!

Now as a tutor with the NOFA team I get to work closely with a small group of keyboard players at the creative courses held regularly throughout the year. It has been wonderful to see each player develop their skills and gain confidence while getting to know each other better and better. We make a really great team and I look forward to seeing them all again at the next NOFA event in November.

Pictured: Matt (bottom right) enjoys a four-day online music festival with National Orchestra for All

Every NOFA course ends with a performance showcase where the young participants play pieces and compositions in front of each other. The performances themselves are always fantastic and full of passion and energy but it’s also wonderful to see how supportive all of the listeners are. It’s an incredible atmosphere and I can’t wait to experience what these showcases will be like when courses can return to face-to-face!

How are you preparing for the marathon?

I’ve been loosely following a training programme over the past few months, so my legs are in good shape so far. Now that the event is less than two months away, I’ll be stepping up training a lot!

Last week I ran a total of approximately 45 miles, including a half marathon at the weekend. Over the coming weeks I plan to run at least three or four times a week, increasing my distance bit by bit and hopefully getting a little quicker, too!

When you hit a challenging part of the course, how will you stay positive?

There are those rainy Sunday mornings when you’d probably rather have a lie-in and a cuppa with some biscuits rather than go for a long run… That’s not an option!

The knowledge that I am raising money for a fantastic cause has helped me a great deal in my training already – and that is absolutely what I’ll be thinking of during the toughest moments of the marathon. I’m hopeful that the cheers of the crowd will help, too!

Discover five ways to protect your wellbeing >

“The knowledge that I am raising money for a fantastic cause has helped me in my training,” says Matt

Do you have a personal best that you’re hoping to beat?

Last year I ran my own marathon route around Hampstead Heath for the virtual event – far too hilly, a silly choice really! I had set a time of 3:55 hours, so that is my time to beat. I’ll be chuffed with anything quicker than that!

How can people support you on your journey?

I’m hoping to raise at least £1,500, so I’d be incredibly grateful for any contributions to help me reach that target. I’ve recently hit £700, so thank you ever so much for everyone who has supported me already.

For those who would like to support, the easiest way to donate is via my Virgin Money Giving page where you can find more information about me, my targets and the amazing work that OFA do.

From now until the race, I’ll be sharing weekly updates of my training on social media. If you’ve donated and are still looking for ways to help, then spread the word to as many people as you can. And of course, the more friendly faces lining the marathon route with a cheer and a whoop as I pass, the better!

Why should others join Orchestras for All’s movement?

Through my work and volunteering with OFA, I've seen the immensely positive effects of their work first-hand. As a musician myself, I've been lucky enough to have experienced the truly life-changing impact that these music-making activities can have on a young person – not only in terms of developing practical skill, but in building overall confidence and forging life-long friendships in the process.

This is why I passionately support Orchestras for All in their mission to provide these same opportunities to all young people regardless of their circumstances.

Read more: Orchestras for All just held a virtual music festival for 100 young musicians – and it was pure joy >

“I’m really excited to run the official London route”, says professional musician Matt

If you could share three top tips with aspiring young musicians, what would they be?

1. Get creative
Don’t feel limited by playing only the pieces in your grade syllabus or by sticking to sheet music – these are important but so is playing the music that you love and exploring your instrument.

Why not experiment by learning the latest pop song, that tune from the new game you like or even have a go at writing something of your own? There is a huge amount to learn about melody and chords, aural skills and ensemble-playing that don’t necessarily come from following the sheet music.

2. Keep an open mind
Don’t be too quick to judge music that challenges you. We all know of those songs that you don’t like on the first listen but then by the fifth listen, they’re your new favourite! You never know what might inspire you next if you give it the chance.

3. Give it a go!
Put yourself forward for as much as possible and say yes to everything. We all get a little nervous at trying new things but you’ll learn so much from playing different types of music with different people. Dive in – you never know where it might take you…

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

Orchestras for All is bringing young people together from across the UK through a shared love of music – it’s essential work and they deserve your support!

To support Matt on his fundraising journey and change young lives, please donate today >

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

The star beatboxer insists that no-one should ever be restricted from playing music with others.

British beatboxer and tenor, James Botcher, has spoken out about the growing need for young people to bond through music-making.

Known to his fans as ‘Beatbotch’, James – who also teaches singing, piano and music theory – is convinced that group music-making creates “unique and meaningful” connections.

The freelance musician shares his view following a turbulent year for young people and music leaders in the UK, amid the coronavirus pandemic.

During his recent workshop at NOFA Festival 2021, James introduced the 100 young members of National Orchestra for All (NOFA) to the art of beatboxing and encouraged them to pursue their musical dreams regardless of their background.

After the event, we caught up with James to find out more and hear about his inspiring life in music.

Read more: Orchestras for All just held a virtual music festival for 100 young musicians – and it was pure joy >

What’s your earliest musical memory?

I’ve played the piano ever since I was a boy. I can still remember my mum teaching me to play almost 20 years ago – and can even remember my ABRSM graded exams and performances at my primary school!

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

Although I don’t come from a family of musicians, music has always been in my life. Being able to spend my time in secondary school – engaging more and more with the musical world – made me want to spend more time in it, until I just realised it was what I wanted to do one day. I was very lucky to have a supportive and encouraging music department at school to guide me in the direction I chose.

Discover how to set up an inclusive ensemble in your school >

Could you tell us about some of your career highlights so far?

Something I really enjoy is singing for film and video game soundtracks – the most exciting recording session I’ve done to date has to have been for World of Warcraft.  That was back in 2019 with the London Voices – I didn’t know what I had been booked for until I turned up and I play games myself, so that was a small dream come true!

Other highlights include being a semi-finalist beatboxer at The Voice Festival UK, visiting the world’s first ever beatbox camp, and singing with I Fagiolini as chorus in Monteverdi’s L’Orfeo!

‘Perform in ensembles, take up lessons and enjoy your time with your instrument,’ says the beatboxing pro

What do you enjoy the most about beatboxing?

There are a few things I really love about beatboxing. It offers the opportunity to be spontaneous and interactive. Beatboxers love to jam together and improvise with each other on the spot to create something entirely live and reactive.

Similarly, providing vocal percussion for an ensemble allows you to work as an accompanist, reacting by shaping your sounds to match the tone and texture of the piece! I think my favourite part would have to be that it’s so accessible. I’m a firm believer that anyone and everyone can be a beatboxer and have fun doing it. It’s all boots and cats!

You’ve also performed some beautiful choral pieces. Why should young people be open to all musical genres?

I believe that young people should be open to all musical genres because you never know what style, instrument or era you’re going to enjoy until you’ve tried it! For those young people who have found their niche, I would still recommend playing music of styles and eras that you’re less familiar with or wouldn’t normally study because you can only develop as a musician by learning more.

A very important thing I was told towards the end of my time at secondary school is: “You don’t have to enjoy listening to a piece of music to enjoy playing it.” This turned out to be true when I had a great time playing plenty of contemporary percussion in my time at university, but you’d be hard-pressed to find me listening to composers like Xenakis.

If you could share any top tips with NOFA members who are considering a career in music, what would they be?

If you enjoy it then you should play it, study it, go for it. Do as much as you can (or want) to do while also looking after your health. Perform in ensembles, take up regular lessons if these are available to you and enjoy your time with your instrument. This last step is crucial because if you pursue a career in music, you’ll be spending a very long time with it!

Read more: Over 100 school pupils nationwide team up online for epic day of music-making >

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

During the pandemic, there have been almost no opportunities to perform or to musically interact with others. When your career is built around these things, it’s not just tough financially, but also emotionally.

The need to isolate from others meant that for many musicians, their passion and career was suddenly taken away, leaving them without structure or a safety net. Self esteem, mental health and having the motivation to practice have all taken a hit over the past year and a half.

11 ways playing music with others can boost your wellbeing >

Being unable to talk about emotions and without gigs to look forward to, it became incredibly important for musicians to practice wellbeing – to make a conscious decision to look after one’s own physical and mental health, to be mindful, and to remember there are better days to come. Thankfully, these better days seem to be beginning now – at last!

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

I have a few gigs and recordings coming up. I’m most looking forward to performing as the tenor soloist for The Sirius Orchestra’s rendition of Haydn’s The Creation next month! Like many others, I’ve had a lot of work cancelled (some as recent as the start of August), so it’s great to see work solidly booked in again.

Read more: ‘We can be a part of something bigger together’, explains teenage trombonist and youth board member

Why should the public support Orchestras for All?

Orchestras for All is cool! Music is so important for young people. Even if we ignore studies that suggest students who engage with music perform better in some academic subjects (such as maths, English and the sciences), it is still an emotional and social outlet.

It allows young people to connect with themselves – and with others – in a completely unique and meaningful way. I believe that nobody should ever be restricted, in any way, from being able to enjoy music-making and that with more people enjoying it, it can only develop as an art form.

Would you like to give the gift of music-making to a young person? Please donate today >

Orchestras for All just held a virtual music festival for 100 young musicians – and it was pure joy

From fancy dress costumes and improvisation workshops, to beatboxing tutorials and tear-jerking performances, NOFA Festival 2021 was truly an event to remember.

Last week, Orchestras for All (OFA) launched its first online music festival in a bid to break down barriers to music-making for young people in the UK, amid the coronavirus pandemic.

Known as NOFA Festival 2021, the musical extravaganza – held on Zoom from 27-30 July – was attended by the 100 young members of National Orchestra for All (NOFA) as well as 14 orchestral tutors, 14 wellbeing tutors, special guests, and several core staff and volunteers.

It comes as NOFA, the only completely inclusive national orchestra in the country, shares a new season of work titled ‘The Way We See It’ – a musical portrayal of equality, diversity and inclusion, and with youth voice at its core.

Throughout the week, festivalgoers were able to enjoy an exciting programme of workshops and activities over at the Main Stage, Music Tent and Games Arcade – with young people left completely free to choose what they attended, and when – while the Chill Zone, Green Rooms and Space to Speak areas offered a moment of calm.

Sharing a message of gratitude with OFA’s funders, donors and supporters after the event (watch video below), NOFA trombonist and Young Leader, Haseeb, said: “Thanks to you, I’ve had the opportunity to work with musicians my age from all around the UK, developing both my social and musical skills.”

Read more: Over 100 school pupils nationwide team up online for epic day of music-making >

Ambassador and former NOFA member, Kate, added: “Thanks to you, I’ve been able to support young people in their journey to music-making, helping them to adjust to the reality that we will (hopefully) be in person in the winter and building the confidence that they need to come and enjoy an in-person session with us as well as an online session.”

Among the 40 diverse workshops on offer included a jaw-dropping beatboxing session, led by James Botcher (also known to fans as BeatBotch), an inclusive folk music workshop with OFA’s Artistic Director, Emma Oliver-Trend, and an introduction to creative remixing, hosted by NOFA composer, Jack McNeill.

They were joined by piano tutor, Matthew Poad, who explained how to write music using just four chords, and esteemed jazz trumpeter, Byron Wallen, who led an improvisation masterclass and invited orchestra members to experiment with their musical instruments on-screen.

Meet the National Orchestra for All musicians >

Sharing his top tips on improvisation, Byron told NOFA: “It’s a judgement-free zone. The best ideas often come from mistakes! It’s like a language and unites the world, so don’t be afraid to express yourself. Remember – one person’s chilli is another person’s lemon!”

Jazz trumpeter Byron Wallen leads the way during an improvisation masterclass

Given the new challenges faced by so many of our young people and music teachers following the coronavirus pandemic, the four-day festival also placed extra emphasis on wellbeing and mental health.

Yoga, meditation, poetry readings and virtual walks through nature were just some of the peaceful activities available at the Chill Zone, with our dedicated team of wellbeing tutors always on hand for a friendly chat.

Meanwhile, the Games Arcade offered a wide selection of online games and quizzes for NOFA members to enjoy, should they be keen to take a break from any of the workshops and play with their friends.

Discover five ways to protect your wellbeing >

The young musicians were also introduced to OFA’s new Wellbeing Lead, Elli Chapman, who inspired attendees with her moving personal story and infectious positivity.

She told NOFA: “It’s important for you to understand your unique superpowers. Resilience is about being strong and standing up to any challenge. Your experiences as a young person are what make you great!”

“Stand up to any challenge,” says Orchestras for All’s new Wellbeing Lead, Elli Chapman

National Orchestra for All members and tutors enjoy a moment of musical solidarity on Zoom

After a fun-filled week of 60 individual lessons and group music-making, the festival was brought to a memorable close with a full day of showcases and recitals – featuring a moving rendition of Celine Dion’s ‘My Heart Will Go On’ (courtesy of NOFA member, Edwin), impressive Bach from violin tutor, Georgia, and a stunning choral recording of ‘Time After Time’, performed by NOFA trumpeter, Cameron, and his family.

For 98 per cent of NOFA members, cultural barriers and limited access to music-making have prevented them from doing what they love the most. Many also face health barriers, with 55 per cent previously unable to play in an orchestra due to autism, a physical disability, learning difficulty, or social, emotional or behavioural difficulties.

And despite only 1.6 per cent of Black, Asian and ethnically diverse musicians being members of British orchestras, 37 per cent of NOFA players come from underrepresented groups – with 54 per cent based in the lowest 3 IDACI multiple deprivation deciles.

On behalf of everyone at Orchestras for All, we would like to thank our wonderful funders, Youth Music, Arts Council England, Clore Duffield Foundation and The Headley Trust, as well as our loyal individual donors and supporters, for helping to make NOFA Festival 2021 happen.

Together, we can change lives through the power of music.

To support young musicians in National Orchestra for All, please donate today >

Over 100 school pupils nationwide team up online for epic day of music-making

When lockdown strikes, bring together aspiring young musicians through the power of Zoom…

Last week, eight schools from across the UK gathered virtually to make music together as part of Orchestras for All’s Modulo Programme – and it was pure joy.

Known as a Modulo Meet, the national event gives secondary school music teachers and their students the opportunity to team up with others for a day, experience how it feels to be part of a large-scale orchestra and enjoy a much-needed moment of musical solidarity.

The Zoom event comes as music education in many schools has faced an unprecedented crisis as a result of the coronavirus pandemic – with 68 per cent of primary school teachers and 39 per cent of secondary school teachers reporting a reduction in music provision.

According to the ISM’s recent report, titled The Heart of the School is Missing and surveying more than 1,300 music teachers across the UK, extracurricular musical activities have been discontinued in 72 per cent of UK primaries and 66 per cent of secondaries, while almost one in 10 schools are not teaching music as part of the curriculum at all.

That’s why our Modulo Meet was surely a day to remember, with over 100 young musicians of mixed ability in attendance and a whole host of special guests taking the lead – including star conductor, Karin Hendrickson, members of our partner orchestras, BBC Philharmonic and City of London Sinfonia, National Orchestra for All composer, Jack McNeill, and digital visual artist, Bryony Simcox.

Read more: We bet you can’t name the orchestral piece from the emojis >

Leading the way: Star conductor Karin and percussionist Glyn host sessions during Modulo Meet

And while some of the young musicians were advanced (having completed Grade 6 in their chosen instrument), for many others it was the first time they had ever played.

To fund a life-changing programme like Modulo, please donate here >

Thanks to the power of technology, the diverse collective were able to enjoy an energetic series of warm ups, creative workshops, sectional rehearsals focusing on Purcell’s ‘Rondeau’ (taken from the composer’s famous Abdelazer Suite), and much more.

After the event, we caught up with Kathryn Dawson, a participating music teacher at The Hathershaw College in Oldham (watch full interview below), to find out more about her experience of Modulo Meet as well as her personal experience in education this year.

Kathryn told us: “I first started Modulo in 2015 with a school and ever since then, I’ve always taken it with me. The kids absolutely love it because it’s not just about playing in the orchestra.

“Of course, that’s a huge part of the day but last week we were looking at graphic scores and installations – that’s not something you’d necessarily get on another orchestral course, so it’s really nice for the students to explore different ways of using their musical skill.

“[Breaking down barriers to music-making] is an ongoing challenge not just for Orchestras for All, but all of us in music at the moment. I couldn’t afford to bring in performers from BBC Philharmonic – that’s way beyond our budget and a real opportunity for the students. They’ll be speaking about that for a long time!

Donate a musical instrument >

“I’ve also been very lucky to have been gifted 10 or 12 instruments from Orchestras for All – and that’s not something you get everywhere else either. It’ll be really nice to bring those instruments back into school and for students to make use of them.”

Getting creative: Students at The Hathershaw College in Oldham experiment with plasticine while listening to music during a Modulo Meet workshop

She continued: “In our case, they’re students who can’t afford an instrument at home but really want to learn to play, or have an instrument at home that’s broken and they don’t know how to fix it. [Modulo] will provide us with more opportunities for more of our students and that’s fantastic.

“Yes, there’s a fee – but it’s a drop in the ocean for a school and Orchestras for All have worked really hard to keep that fee as low as possible.”

Sharing her advice with aspiring young orchestra players and music teachers, Kathryn added: “Be brave! There’s no right or wrong way to do this, it’s just the way that works best for the students. In my experience, this is a really good way of trying it out because it’s so friendly, relaxed and supportive.”

Pictured: Bryony Simcox shares a variety of musical scores with Modulo participants

So far, Orchestras for All’s Modulo Programme has collaborated with 47 state secondary schools nationwide and provided them with bespoke resources, arrangements, music-making opportunities and visits from 30 professional musicians.

Our recent Modulo Meet welcomed participating schools from all across the country – from Cumbria to Huddersfield, London to County Durham.

While music-making in schools has become something of a challenge over the past year amid the coronavirus pandemic, Orchestras for All’s Modulo Programme – supported by Scops Arts Trust and The Rayne Foundation – has continued to provide musical opportunities throughout.

To find out more about our Modulo Programme or participate with your school, please email info@orchestrasforall.org.

QUIZ: We bet you can’t name the orchestral piece from the emojis

Think you can tell your symphonies from your suites? Can you really speak fluent emoji? Take our quiz to find out…

From pianos and trumpets, to puppies and tabby cats, there’s a whole world of tiny emojis out there – and we can’t get enough of them.

That’s why to celebrate this year’s World Emoji Day (17 July), Orchestras for All is here to put your musical knowledge to the test with an orchestral emoji quiz.

Think you can score full marks? Let’s find out…

*For answers, just scroll to the end!

Read more: 7 female composers you really need on your radar >

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

ANSWERS:

1. Benjamin Britten’s ‘Young Person’s Guide to the Orchestra’

2. Modest Mussorgsy’s ‘The Great Gate of Kiev’, from Pictures at an Exhibition

3. Pyotr Ilyich Tchaikovsky’s ‘Dance of the Sugar Plum Fairy’

4. Lucy Hale and National Orchestra for All’s ‘Stories of Silk’

5. Antonio Vivaldi’s The Four Seasons

6. Léo Delibes’ ‘Flower Duet’

7. Wolfgang Amadeus Mozart’s Overture from The Marriage of Figaro

8. Florence Price’s Mississipi River Suite

9. Sergei Prokofiev’s ‘Dance of the Knights’, from Romeo and Juliet

10. Pyotr Ilyich Tchaikovsky’s Swan Lake

11. Antonín Dvořák’s ‘New World’ Symphony

12. Clara Schumann’s ‘Three Romances for Violin and Piano’

13. Gustav Holst’s The Planets Suite

14. Edvard Grieg’s ‘In the Hall of the Mountain King’

Want to fund a life-changing orchestral experience for young people? Please donate here >

7 female composers you really need on your radar

Over the decades, some of the world’s best-loved musical masterpieces have been written by women – and we’re here to celebrate them.

It’s no secret that in music, women are largely underrepresented – and now with the coronavirus pandemic and its devastating effect on the industry, it’s never been more important for us to address this issue.

According to new research from Donne, which analyses composers’ works scheduled by 100 orchestras from 27 different countries, there is still much to be done.

Titled ‘Equality and Diversity in Concert Halls’, the alarming research has shown that of the 1,505 concerts performed from 2019-2020, only 123 included works written by female composers – that’s just 11.45 per cent.

And perhaps more worryingly, only 747 of the 14,747 compositions scheduled by the 100 orchestras were composed by women (a total of 5 per cent), with only 1.11 per cent of those pieces written by Black and Asian women.

At Orchestras for All, we’re here to champion female composers every step of the way, so here are seven inspiring women who you should really know about…

Read more: 17 LGBTQIA+ musicians who totally rock our world >

1. Ethel Smyth

Born into a military family in 1858, English composer and political activist, Dame Ethel Smyth, is regarded as one of the most distinguished composers of the 20th century. While studying at the Leipzig Conservatory, her spectacular work was encouraged by two other well known musicians: Johannes Brahms and Antonín Dvořák. Ethel first rose to fame after penning the score for Mass in D (1893), but her most famous work is 1906 opera, The Wreckers. Owing to her strong involvement in the women’s suffrage movement, Ethel’s uplifting March of the Women (1911) was also adopted as the anthem of the suffragettes.

2. Alice Mary Smith

Alice Mary Smith, also known by her married name, Alice Mary Meadows White, was an English composer who published her first song aged 18. Her major works include two symphonies, six concert overtures, an operetta and several choral works, among many others. Alice studied at The Royal Academy of Music (where she would later become a professor) and became the first known British woman to compose a symphony, with her Symphony No. 1 in C minor. Some of her other notable compositions include ‘Clarinet Sonata’ and ‘Duo Concertante for Pianoforte and Clarinet in A’. Since 2010, Smith’s manuscripts have been housed in the Royal Academy of Music Library.

3. Lucy Hale

Born in 1994, Lucy Hale inspired fans of orchestral music with her captivating compositions as well as being a role model for others living with disability. In 2019, Lucy became National Orchestra for All’s Inaugural Young Composer in Residence and worked closely with its diverse ensemble of 100 young musicians to create ‘Stories of Silk’ – specially written for NOFA’s 2019-2020 season, My Roots, Our Routes, exploring music inspired and influenced by human migrations and journeys. After completing her studies for a Master of Music in Composition at the Royal Northern College of Music in 2017, she was appointed as inaugural Young Composer-in-Association with BSO Resound, Bournemouth Symphony Orchestra’s disabled-led ensemble. Alongside ‘Stories of Silk’, Lucy’s striking compositions include ‘Zeta’, ‘To Run With The Tigers’ and dramatic orchestral masterpiece, ‘Against the Tide’.

4. Augusta Holmès

Irish singer, pianist and composer, Augusta Holmès, became popular with music enthusiasts during the 1800s owing to her striking symphonic and operatic works. Two of Augusta’s best-known symphonic poems include Andromede and Irlande, while her Ode triomphale was specially written to celebrate the centennial of the French Revolution in 1889, which required around 1,200 musicians. Like other female composers, such as Fanny Mendelssohn and Clara Schumann, Holmès chose to publish many of her early works under a male pseudonym (“Hermann Zenta”) as European women were not taken seriously as artists at the time.

5. Florence Price

Born in Arkansas in 1887, Florence Price was the first African American woman to have her music performed by a major symphony orchestra – in 1933. She studied at the new England Conservatory of Music, majoring in piano and organ, before working as an organist for silent film screenings and later as a composer. A deeply religious person, Florence’s music was heavily influenced by the African American church as well as Dvořák, Tchaikovsky and other European Romantic composers. Some of her best-loved compositions include Symphony No. 4 in D minor, Fantasie Negre and Mississippi River Suite.

6. Vítězslava Kaprálová

The daughter of a composer, Václav Kaprál, and singer, Viktorie Kaprálová, it’s perhaps no surprise that Czech composer and conductor, Vítězslava Kaprálová, followed in the footsteps of her musical parents. She first rose to fame in 1937 after leading the Czech Philharmonic and a year later, the BBC Orchestra in her rousing composition, Military Sinfonietta. Although Vítězslava’s untimely death at the age of 25 meant her career as a composer was short-lived, her impressive portfolio of music has been praised by music critics across Europe and includes several art songs, two piano concertos, a string quartet, an orchestral cantata and a wide selection of music for solo instruments, such as the violin, cello and piano.

7. Samantha Fernando

The music of Surrey-based composer, Samantha Fernando, stands out owing to its harmonic colour and resonance, which often gives her work a meditative quality – with Sense of Place (2014) and The Journey Between Us (2016) being two of her most popular works. Samantha’s career as a composer has gone from strength to strength in recent years, having been commissioned by numerous ensembles and festivals – including the London Sinfonietta, Aldeburgh Music, the Oxford Lieder Festival and the Philharmonia Orchestra. Currently, the multi-award-winner works as a lecturer in composition at Royal Holloway, University of London and in 2020, she took to Twitter for a live Q&A to share her musical expertise with the 100 young musicians of National Orchestra for All.

Read more: Watch young musicians’ plea as they urge public to break down barriers to music making >

Watch this mesmerising digital work created by 100 young musicians

‘It will show others how we’re all going on a journey,’ says 16-year-old pianist, Troy.

Orchestras for All has shared a captivating new video in a bid to highlight the importance of youth voice and self-expression.

Titled ‘The Great Interstellar Orchestra’ and premiered today via YouTube, the six-minute clip (watch above) combines beautiful sounds and striking animations, created and performed by 100 young musicians.

The diverse musical group are members of National Orchestra for All (NOFA) – the UK’s only completely inclusive national youth orchestra – which has taken to Zoom for its rehearsals this season, amid the coronavirus pandemic. By harnessing the power of technology and exploring new ways of connecting, digital creativity became possible.

As part of NOFA’s four-day spring course, members were invited to a series of virtual workshops on remixing and collage led by British composer, Jack McNeill, and digital visual artist, Bryony Simcox. It was the unique stories and creations that emerged from young musicians during these sessions that formed the basis of the audiovisual composition.

Read more: 5 reasons why becoming an Orchestras for All trustee is the volunteer role you never knew you needed >

“‘The Great Interstellar Orchestra’ is all about giving young people a voice,” explains NOFA composer, Jack

After seeing the digital work – which was also named by NOFA members – for the first time, Troy, a young pianist with NOFA, said: “It had all the unique elements of people’s different ideas put together… I thought it was amazing!

“By the end I was so interested in it, I wanted to see more. I’m really happy that I was a part of it and that I was able to contribute to all of this. It will show [others] how we’re all going on a journey… where we are, what we want to do and what we want to achieve.”

NOFA percussionist, Abz, added: “It’s got the different noises and different instruments, and it represents us all as a whole. We’re not the same but we’re all linked in some way.”

Together: NOFA members share what performing means to them during the spring 2021 course

Ahead of the premiere, Orchestras for All caught up with UK-based composer, Jack, and digital visual artist, Bryony, to find out more about the creative process for the project (watch video below).

Speaking about the music, Jack explained: “The sounds that you will hear in ‘The Great Insterstellar Orchestra’ are all sounds that the members of the National Orchestra for All recorded themselves. After four days of workshops, members began to create their own works, exploring the sounds of their instruments, their creative potential, and sharing the sounds they had made with the NOFA creative team.

Discover more on National Orchestra for All’s young musicians >

“‘The Great Interstellar Orchestra’ is all about giving young people a voice and showcasing their creativity. And this is exactly what this piece does. The audio track is constructed (almost) exclusively of the NOFA members’ own recordings, processed, chopped up and warped to create this digital ensemble. Within the texture, every single sound that was sent has been included in some way and every member has an important role and voice within the team.” 

He continued: “The piece fully represents the diversity of NOFA members’ creative ideas, with some instrumental melodies peppered across the piece, interspersed with percussive interludes, rich ambient textures, and almost synthetic-sounding extended techniques. If you listen carefully, you will hear the voice of every single NOFA member in this work.

“I have hugely enjoyed working on this project. It is one of the largest and most ambitious I have worked on, with almost all of the creative decisions in the hands of the NOFA members, and over 100 pieces of audio to weave into the final piece.

“While ‘The Great Interstellar Orchestra’ is built up of individual voices, NOFA members demonstrated their creative capabilities as an ensemble. With many of the sounds that were sent in, there was clarity in each submission’s role in the piece and how they would support the work as a whole. Even remotely and in a digital medium, these young musicians so clearly understand and appreciate the inner workings of an ensemble, and it shows in their creative work.”

Read more: ‘We can be a part of something bigger together’, explains teenage trombonist and youth board member >

“Tunnels, car rides and cogs reflect the idea of coming together,” says digital visual artist, Bryony

Explaining her approach to the artwork, digital visual artist, Bryony, added: “When you watch the piece, look out for the abstracted images of instruments – each of these are photographs sourced by NOFA members who looked for patterns and shapes within the instruments they play. Also observe the use of colour – each of the colours included were chosen by NOFA members as a visual interpretation of the sound and timbre of their instruments.

“The idea of colour and sound working together is especially apparent in the middle section, where the adrenaline of tuning up and getting ready to perform as an orchestra is represented through a cycling rainbow of colours and flashing words. This reaches its climax as the ‘orchestra’ is in perfect harmony and the screen fills with the colour red.

“As well as pattern and colour, the overarching structure of the piece was curated by NOFA members, who used storyboarding in Zoom to imagine ways to tell the story of being part of the orchestra. First, the disparate pieces emerge, just as each NOFA member comes together from different backgrounds and corners of the country. As the video continues, we use tunnels, car rides, cogs and train journeys – all literal imagery suggested by the young people to reflect the idea of coming together.”

In perfect harmony: NOFA members and tutors get creative with colour using the screens of their devices

NOFA musicians explore the medium of collage on Miro and create their own artwork

She continued: “After the red climax of the piece, the video features animation which bring collages to life in time to the music. Here, it feels as though ‘The Great Interstellar Orchestra’ is performing together, and each and every instrument and musician has a role to play. Before the piece comes to a close, the finale features some of the artwork created by the young people at the end of the spring season workshops – 2D abstract collages made using software called ‘Miro’.”

But it wasn’t just young people that inspired NOFA’s digital piece. Artistic Director at Orchestras for All, Emma, says the team were also influenced by the orchestral world: “Our spring course for 2021 was the one-year anniversary of NOFA working together on Zoom, and we wanted to work with the visual medium to dig deeper into how we can be an orchestra online. Our starting points were themes found in Britten’s ‘The Young Person’s Guide to the Orchestra’ – the central work to our artistic season: unity within community, solo voices within an ensemble, the parts of a whole and being heard in a crowd. NOFA took these initial ideas and moved them on.

“‘The Great Interstellar Orchestra’ seems to me, now, to champion being part of something new: joining a community, making a contribution, taking action and valuing others. Maybe it will tell different stories to others. The making of ‘The Great Interstellar Orchestra’ was a complete joy. Using a wide range of musical and visual practices, NOFA members brought wonderful ideas and fun to the storytelling. This project has certainly transformed the possibilities of creative work for this orchestra for the future, and we are so grateful to Jack and Bryony for enabling the individual voices of NOFA to speak as one.”

While the arts sector may have been faced with unexpected challenges during the coronavirus pandemic, Orchestras for All won’t let that become another barrier to music-making. By fully embracing digital trends such as Zoom, we can continue to connect with our young people and create exciting new pieces of work.

A very special thanks to Arts Council England, Youth Music, our loyal funders and individual donors, ambassadors, volunteers, and pastoral and orchestral tutors for helping to make this digital project possible.

To fund a life-changing programme like National Orchestra for All, please donate today >