Esteemed music educator Professor Nate Holder announced as first host in free webinar series for music leaders

“I think it’s important for us to understand why we do the things that we do, in order to make it better for the young people around us.”

Orchestras for All (OFA) is delighted to announce that leading saxophonist, author, speaker and music education consultant, Professor Nate Holder, will be hosting the launch of its live webinar series for 2021-2022.

The series, which commences on 7 December, forms part of Music Leadership Training (MLT) – the charity’s continuing professional development (CPD) programme, specially designed to equip music teachers and leaders with the tools and skills they need to set up and run inclusive ensembles in under-resourced schools and community groups.

With thousands of music educators across the UK still facing significant challenges as a direct result of the coronavirus pandemic, the need to provide support and improve access to music-making is growing.

Nate, who is currently serving as International Chair of Music Education at the Royal Northern College of Music, is perhaps best known for penning several children’s books – including I Wish I Didn’t Quit: Music Lessons (2018) and Where Are All The Black Female Composers (2020).

Ahead of the event, Nate said: “I’m really happy to be doing a session in association with Orchestras for All, called ‘Music educators: why do we do what we do?’. That’s a question I ask myself often. 

“Why do I do what I do? Why do I do it in the way that I do it? I think it’s important for us as we’re learning and growing in 2021 to understand why we do the things that we do, in order to make it better for the young people around us.”

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

Pictured: Professor Nate Holder

To address this topic, Nate’s live Zoom session will be exploring key topics such as whiteness in music education, diversity versus decolonisation and how relationships form an integral part of a music educator’s practise.

He said: “The focus of this session is really going to look at our practises and try to attempt to break down certain misconceptions and broaden our horizons, so that the young people that we work with can feel the benefit of a more inclusive and diverse education.

“Of course, this is just one session and one session won’t fix everything, but I think it’s important to start somewhere.”

Alongside his expert insights, attendees will be encouraged to interact during the event and share their personal experiences in music education, with the key aim of making the industry a better and safer place for all.

Learn more about Music Leadership Training >

To complement OFA’s webinar series, 10 online modules are also available as part of MLT – providing flexible, hands-on training through short videos filmed in real life contexts and in partnership with leading practitioners.

As well as covering traditional conducting techniques, the course invites users to reflect on approaches to group composing, learning music by ear, teaching music without notation and arranging music for inclusive ensembles. 

Conductor Sian Edwards shares her expertise with participants during a Music Leadership Training session

In 2020-2021, a total of 190 participants enjoyed virtual and face-to-face sessions. Tor, a music teacher and recent MLT participant, said: “It was all so, so useful! I came away with new techniques for conducting in 2/4, which will be invaluable. The bit where Sian [Edwards] focused on my piece was also immensely helpful – very personalised and inspiring.

“This was exactly what I needed to keep my spark about ensembles during a tough time for music at schools. It has given me renewed energy for getting our groups back again as soon as possible. I am inspired to do more conducting training because of this, so thank you to Sian and Orchestras for All for arranging the training.”

While OFA’s forthcoming webinar series is free to attend, participants are invited to donate what they can to help the charity continue its life-changing work.

Music educators: why do we do what we do? will be available to livestream via Zoom on Tuesday, 7 December 2021 at 17:30 GMT.

Sign up for Professor Nate Holder’s webinar >

RPS Awards: winners announced for 2021 as Abel Selaocoe and The Hermes Experiment stun with live performances

Pictured: Abel Selaocoe and Ryan Bancroft (left) and The Hermes Experiment (right). Credit: Twitter @kate_caro and @TheHExperiment

“Music will help us through anything, so long as we help the musicians who make it,” says RPS Chief Executive, James Murphy.

Last night, the Royal Philharmonic Society Awards 2021 announced its winners in a glittering live ceremony at London’s iconic Wigmore Hall.

Hosted by BBC Radio 3’s Katie Derham and RPS Chief Executive, James Murphy, it was surely a memorable event for attendees following almost two years of music venue closures during the coronavirus pandemic.

James Murphy, said: “Once again, in times of struggle, our eyes and ears have been opened to the essential role that music plays. Musicians have shown us what role they can play in fortifying the nation.

“Everyone we applaud tonight is representative of countless more creative forces across the country, many onstage working their magic as we stand here. Here’s to that bright constellation of music-makers.”

Read more: Teenage flautist quizzes Orchestras for All founder as charity celebrates 10-year milestone >

English National Opera’s Breathe scheme wins the RPS Award for Impact. Credit: Twitter @E_N_O

Supported by ABRSM, English National Opera’s inspiring scheme, Breathe, took home the prize for the Impact category – with Orchestras for All (OFA) and Live Music Now both making it as proud finalists.

Discover Orchestras for All’s programmes >

Led by ENO Director of Baylis, Jenny Mollica, and delivered in close collaboration with Imperial College Healthcare, the online breathing and wellbeing programme was developed to help recovering Covid-19 patients struggling with breathlessness and associated anxiety through singing.

While speaking about OFA’s efforts during the pandemic, James Murphy told audiences that the charity had become something of a ‘national treasure’ thanks to its three powerful programmes and culture of inclusive music-making.

Other winners on the night included Scottish violinist, Nicola Benedetti, who was presented with the Instrumentalist Award for the ‘outstanding quality and scope’ of her performances, presented digitally or for a live audience.

Members of the Orchestras for All team celebrate at the RPS Awards 2021 after being shortlisted for Impact.

Kadiatu Kanneh-Mason took to the stage to accept the Storytelling award for her book, House of Music – a powerful and heartrending memoir detailing the remarkable journey of her musical family in a country divided by class and race.

During her speech, the mother of seven said: “House of Music is many things, but it is at its heart about gratitude.”

Read more: ‘Coming from a working class family, classical music seemed so inaccessible’, says teenage clarinetist >

Meanwhile, Hilary Campbell and the Bristol Choral Society made it to the top spot for the newly introduced Inspiration Award – as voted for by the public – and BBC National Orchestra of Wales’ principal conductor, Ryan Bancroft, was commended for his ‘electrifying concerts’ with the RPS Conductor award.

Chamber ensemble The Hermes Experiment perform Piazzolla at the RPS Awards. Credit: @TheHExperiment

Tribute was also paid to star mezzo-soprano, Jennifer Johnston, with the RPS award for Singer, Dani Howard’s Trombone Concerto won Large-Scale Composition, and chamber ensemble, The Hermes Experiment, collected the prize for Young Artist before treating audiences to their dazzling arrangement of Piazzolla’s ‘Concert of d’aujourd’hui’ from Histoire du Tango.

Other highlights included an energetic opening performance of ‘Ka Bohaleng’ from South African cellist, Abel Selaocoe, and a rousing recital from bassoonist Ashby Mayes – who received financial assistance from RPS in 2018 for buying his bassoon and is now an undergraduate student at the Royal College of Music.

On behalf of everyone at Orchestras for All, we would like to thank the Royal Philharmonic Society and Wigmore Hall for a wonderful evening of music and togetherness, and extend our congratulations to all fellow nominees and worthy winners at this year’s Awards.

To fund Orchestras for All’s life-changing programmes, please donate today >

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meet Kate. The Belfast-based trumpeter and university student first joined National Orchestra for All (NOFA) as a young person facing barriers to music-making. Now, she’s an ambassador for the group. We shared a virtual tea break to find out more about her musical journey…

What inspired you to play the trumpet?

When I was in primary school, the City of Belfast School of Music used to visit and they would test us to see who had a natural musical ability. Of course, I wanted to play violin because I thought it was very dainty, but I got told that my fingers were too small! I was given a trumpet instead and at the time I was heartbroken. I was like, ‘Urgh, I just want to play the violin!’. But as soon as I went to my first trumpet lesson, I knew I was meant to play this instrument. It was so me!

At first, I actually played a cornet because I was too small for a trumpet. When I went to secondary school they didn't have any brass lessons but because I loved learning it so much, I auditioned for those and did some aural theory classes as well. I just loved it! I think it’s so interesting to learn an instrument that is typically associated with males. In most of the bands and orchestras I've been in, it's very male-dominated in the brass section, so to be this small girl walking in with such a loud instrument feels very empowering.

What music do you like to play?

For brass, I really enjoying playing show music. In our school band, it was great to hear such a big sound from this section. But every section has its own little flavour and every part is significant. In NOFA, even though we usually play orchestral music it feels like that as well, where everyone’s part has such meaning, and it’s just so good to hear everybody come together. Even the quietest of sounds will still convey the emotion or story of the music.

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

Otherwise, I’m a bit of an old soul – I have very dad-like taste in music! I’m obsessed with the ‘60s. At the moment, I love the Beatles. They’re the kings of rock in my opinion! And Blondie’s Parallel Lines is a great album, especially the song ‘Heart of Glass’. When I was younger, my parents would have had me listening to a lot of ska. I also like Bob Marley – he’s a very chill guy and his music is great to study to. He’s one of those artists that you can just vibe to when you’re doing life, he’s so accessible for everybody.

NOFA ambassadors share their musical favourites >

Tell us about your journey with Orchestras for All.

Compared to the other ambassadors, I joined Orchestras for All (OFA) quite late, when I was 16. I was nominated by one of the teachers at my school, who is actually a member of the wellbeing team at the charity. I remember the first time I attended a session – I was so nervous because I felt like a tiny fish in a big pond. I’m from a very small town and the majority of the orchestra usually comes from the mainland of the UK, so it was a bit intimidating.

But the way it was run made it accessible for everybody. At the time I was studying my GCSE music and thought, ‘Hm... I don’t know whether to do an A Level or not,’ but OFA gave me the confidence to perform, understand a piece of music when I looked at it and also know how to speak about it. I didn't feel like I had a lot of confidence in myself and they were like, ‘You should play! What’s the worst that can happen if you sound bad?’ The only way you can move is forwards – you can’t really move down in your ability. And now I’m an ambassador! I just love the message that it represents. It’s so inclusive and you meet so many people.

Pictured: Ambassador Kate (middle left) enjoys a moment of togetherness with National Orchestra for All

Has Orchestras for All broken down any music-making barriers for you?

Well, in Northern Ireland, music is a massive part of where we come from and it can be really competitive. But in NOFA, it’s not competitive at all. You’re never stepping on anybody’s toes – people want to see you thrive. It’s refreshing! I was lucky that at a young age, I was able to go to the School of Music because my parents were able to get me in and fund me to go. But I think the thing we need to focus on is the “luck” part. It shouldn't be about “being lucky” and it shouldn’t be about the school you go to, the parents you have or the status you have in your community.

Orchestras for All is an organisation that isn’t based on luck, ability or your background – they’re so focused on you as a person as well as a musician. They care about how you feel, how you think and how you respond to certain practice techniques – and the communication in wellbeing groups isn’t something I had experienced before.

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

What’s the best part about playing in an inclusive ensemble?

In some bands I’ve played in you have your brass, your winds and maybe a violin now and then, but Orchestras for All includes the piano and even melodicas, guitars and ukuleles – diverse instruments that you wouldn't typically see in an orchestra if they were to go and perform. I think it’s so cool and exciting that these are added in! That sort of representation and seeing your instrument in an orchestra inspires young people.

Some young people think that classical music is all: “You need to be able to read sheet music and can only perform if there’s a piece of music in front of you,” but in NOFA, we often play pieces from memory. It’s amazing to use your ears, have that sense of camaraderie and be in an environment where your conductor actually lets you lift your head to look at your friends and do something funny to make them laugh during a rehearsal! We appreciate that. I think some conductors should loosen up a wee bit and that’s what I like about our conductor, Emma – she makes it so much more fun and inviting.

If you could give one piece of advice to other young people who are considering joining an orchestra like NOFA, what would it be?

Do not be afraid to play out. I’m still a victim of this where I’m afraid to play out sometimes, but the worst that can happen is that someone audibly hears something wrong within your section and you stop. But it’s also the best thing that can happen because they can isolate that little bit you're struggling with and actually help you to perfect it.

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

Chances are, there’s other people who are struggling with that same bit all around the orchestra. If one person is finding something hard, I can guarantee there’s about three other people who are finding it hard too – they’re just too proud to admit it. So, just play out! It’s all a big learning experience.

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

…a community. A place where you can go to learn about music and hear a variety of styles that you might not hear in your hometown. You make great memories and new friends, it’s amazing. When you’re an ambassador, you have to get along and work together but even outside of NOFA, we’re still as close as ever. OFA brings people together through music.

A fun fact about me is that I love to dress as if I’m in the ‘60s and ‘70s! I love going out and wearing the massive go-go boots, with everyone looking at me as if I’m a complete weirdo. I think it’s hilarious. But with OFA, I don’t think there's anything more powerful than being able to connect with a group of young people who are all wonderfully different in their own way.

We shouldn’t have anything in common since we’re all so diverse, but we’re united by a note – whether that’s a C or a C#! OFA is a place where young people can come together to appreciate and enjoy something really accessible – and that thing is music.

To fund a life-changing programme for musicians like Kate, please donate today > 

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

From singing in Elvis tribute bands to nurturing creative young minds across the country, meet our inspiring new Wellbeing Lead, Elli…

Tell us a little about yourself.

Hi, I’m Eleanor Chapman (also known as Elli!) and live in Lancaster. I’ve always loved singing, performing and the theatre. Working behind the scenes wasn’t something I had originally thought possible, but I landed my first paid job in the arts at my local theatre as a box office assistant. It was seasonal and part-time. I was 17 and felt like I had won the lottery.

That same summer, I could be found most Sundays playing the trumpet on Morecambe prom as a member of Baybeat Street Band – run by music education charity, More Music. But it was about so much more than technical skill: it gave me spirit. I was a young, single parent who was now part of a community of drummers, instrumentalists and dancers. These creative experiences got me out of the house, developed my confidence in social situations, helped me find my tribe and unlocked my full potential.

I became hooked on the transformative power of the arts and followed a career path in culture participation for 25 years. I’ve worked as a lead facilitator for BBC Blast on Tour, Super Mentor for Youth Music, and Arts Award Regional Coordinator, among other roles. It’s been varied, but has always involved young people and using the arts to help them progress. 

What does music mean to you?

It’s a continuous mixtape that provides the soundtrack to my life – from my daily routine to important rites of passage. (On cassette, of course – I am a ‘90s girl after all.) It’s the track that goes off with my morning alarm to help me achieve the impossible and get out of bed, or the playlist that motivates me to get a report over the line. It’s my go-to for every emotion – whether that’s a dance track for feeling jubilant, or music to reflect and evoke memories.

Read more: Music teachers and students invited to join classrooms nationwide in ‘joyful’ music-making programme >

Pictured: Wellbeing Lead, Elli (middle left), enjoys an afternoon of music-making at NOFA Festival 2021

Music has afforded me so much opportunity. As a teenager I performed and sang wherever I could. In my 20s I took on the role of Cath Westmoreland (an opera-singing backing vocalist) in a tribute band that played for different Elvis’s across the UK – I loved travelling around in a bus with other musicians! I’ve also taught musical theatre to college students and held community vocal sessions for young people in village halls, prisons, travellers’ sites and skate parks.

While music has taught me a trade, it’s also been about experiences, friends, colleagues and learning new skills. It has got me through the best of times and the worst of times. It’s consistent. Wonderfully non-judgemental. For me, it’s about wellbeing and has always been the one area of my life where I do not come with predefining or assumptive labels – the care leaver, school refuser, in a wheelchair. I’m just Elli, a musician and performer.

Have there been any standout moments in your career so far?

In 2012, I was awarded the Natwest EveryWoman Gaia Award for social entrepreneurship and became a Clore Fellow in 2017. I am deeply proud of these moments and think that’s what people might expect me to pick, But actually, it is often the most discreet of times that others might pass off as fairly meaningless that are my standout moments. Tiny shifts that are crucial to individual success and development.

My work has always been about creating a space where young people can produce and grow creatively. Opportunities that allow them to be curious, explore and nourish their unique capabilities. That could be enabling a young person to make and screen their first film, like when I was regional project director for BFI Film Academy, or watching a young artist respond to their first professional commission at Latitude Festival, where I produced the Inbetweeners Area. Young people never fail to inspire me. They are like chicken soup for the soul.

“Young people never fail to inspire me,” says Elli. “They are like chicken soup for the soul.”

You’ve just joined Orchestras for All (OFA) as Wellbeing Lead. That’s unique in the sector – what are your ambitions for it?

My vision is for deep-rooted, long-term change, using the arts as a means of encouraging young people to progress, develop their interests, sustain newfound skills and flourish in all aspects of their lives. To be ambitious and unapologetic about demanding the absolute best for the young people we work with – and bold about the ways in which we do it.

OFA members must be shown how to manage their own wellbeing and understand what they need in order to be the best they can. As OFA staff, we are responsible for removing any barriers to participation and will offer both high challenge and high support.

We have a golden opportunity to refocus the lens on what talent and intelligence can look like – not based on linearity or conformity, but organic process. This is particularly important for young people who might not follow traditional rites of passage. Instead of hiding behind readily available clichés and stereotypes, we should consider how their life experiences or challenging circumstances give them a unique skill base to offer the world of work.

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

Why is wellbeing so important for young people today?

Young people literally have the weight of the world on their shoulders. An increasingly fast-changing and interconnected world, where many of the jobs of today will be obsolete by tomorrow. Most people currently living on the earth are under the age of 30, so why doesn’t this huge source of talent, innovation and energy for change translate into a stronger and more productive workforce?

It’s imperative that we equip them with the skills, confidence and aspirations to tackle some of the biggest problems facing our human family. As a sector, we need to support and develop the next generation of change makers.

I utterly believe in their capabilities. It is all too easy to fall into the trap of creating too big a distinction between ‘young people’ and ‘adults’. A common perception is that experience can only come from age and therefore only older people make good leaders. Are we collectively disregarding the impact of having leaders start early? We need to step up to the plate and support young people to run the world.

If you could share three top tips on wellbeing, what would they be?

1. Take a moment to breathe and be present in the moment.

2. Try and do five things every day that are just for you. These could be small things – playing your favourite tune on the piano, painting your nails, talking to a friend or family member, or spending time with your nose in a book.

3. Make a gratitude jar and fill it with moments (written on post-its) about things you have done that made you happy or proud, or other memories you want to keep. Take them out whenever you need a reminder or are having a bad day.

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

…a diverse base of talent, not a singular conception of what equals ability.

To fund a life-changing programme for young musicians, please donate today >

RPS Awards 2021: Orchestras for All shortlisted in Impact category

In uncertain times, let music bring us hope and joy.

Orchestras for All (OFA) is delighted to announce that it has been shortlisted in the Impact category at the Royal Philharmonic Society (RPS) Awards 2021.

Supported by ABRSM, the prestigious accolade is awarded for ‘an outstanding initiative or organisation which set out to engage and have a lasting positive impact on the lives of people who may not otherwise experience classical music’.

News of the RPS nomination – revealed live on BBC Radio 3 earlier today – is especially powerful this winter, following the devastating impact of the coronavirus pandemic on thousands of aspiring young musicians and music leaders worldwide.

Despite this unprecedented challenge, Orchestras for All has harnessed the power of technology to keep its audience feeling positive and engaged, providing exciting music-making opportunities to its National Orchestra for All (NOFA) members, under-resourced schools, and teachers participating in its Modulo and Music Leadership Training (MLT) programmes.

Joelle Sogunro, OFA’s Trustee and alumni of OFA programmes, said: “I am so excited to be part of such an amazing charity! I know first-hand how awesome OFA is, so I am really happy that OFA is finally getting the recognition it deserves!”

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

Getting creative: school pupils at The Hathershaw College express themselves during a national Modulo Meet

Nick Thorne, OFA’s Executive Director, added: “At a time when the arts and music sectors were immobilised, Orchestras for All’s team, trustees, funders, partners and the young people we work with made a pact that the Covid-19 pandemic would not become yet another barrier to music-making.

­“I’m so proud that RPS has recognised the impact Orchestras for All has had on hundreds of young people over the past year, who already face significant barriers to participation. Thank you to each and every person who has played a part in our journey. We couldn’t have done it without you.”

For 98 per cent of members in NOFA – the only completely inclusive national youth orchestra in the country – cultural barriers and limited access to music-making have often 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 difference, 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.

Alongside increasing welfare intervention courses to support the emotional wellbeing of our young people, virtual activity for NOFA has included a ‘Stories of Silk’ recording, composed by NOFA and Lucy Hale, and the creation of ‘The Great Interstellar Orchestra’ – six minutes of mesmerising audio-visual art.

Find out more about National Orchestra for All >

Meanwhile, 22.6 per cent of Modulo participants are school pupils on free school meals – higher than the national average of 15 per cent – but continuing to offer our activity online has meant a total of 47 schools and 700 young people have been able to experience the joy of group music-making.

Finally, our online MLT continuing professional development courses have empowered music teachers by equipping them with the skills needed to run an ensemble – with over 159 courses downloaded in 2020-21 and 80 teachers signing up for four webinars, led by special guests such as conductor, Sian Edwards, and folk musician, Emily Askew.

Last year, the RPS Impact Award went to our trusted partner, City of London Sinfonia (CLS), for its Sound Young Minds programme – building confidence and self-esteem in young people living with mental health conditions through music-making and sharing.

Now, Orchestras for All joins two others in the Impact category: ENO Breathe and Including Me – Live Music Now.

Browse our Music Leadership Training courses > 

A registered charity, the Royal Philharmonic Society has been at the heart of music for over 200 years, supporting musicians and championing the vital role that music plays in all our lives.

The Society’s tradition of awarding excellence to musicians dates back to 1870 when it introduced its prestigious Gold Medal, which has been presented to the likes of Edward Elgar, Leonard Bernstein, Martha Argerich, Janet Baker, Daniel Barenboim, Jessye Norman and John Williams, among many others.

The winners of this year’s RPS Awards will be revealed in a celebratory presentation at Wigmore Hall in London, taking place on Monday 1 November 2021.

We would like to extend a special thanks to all of the inspiring young musicians who have engaged with our programmes, our youth board, funders, partners, individual donors, management team, freelance team, trustees and volunteers. Without you, this award nomination would not have been possible.

Together we have been able to make a positive impact during a global pandemic, using music as a tool to transform lives and send out a message of hope, voyage, adventure and limitless horizons to those who need it the most.

To fund a life-changing programme for young musicians, please donate today >

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

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

So, why do you enjoy playing the viola?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

…a comfortable space for everybody!

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

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 >