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EDITORIAL ENQUIRIES Te l : +44 (0)117 300 8752 Email: music@classica l-music.com Post: The editor, BBC Music Magazine, Eagle House, Bristol BS1 4ST SUBSCRIPTIONS & BACK ISSUES Te l : 03330 162 118 Web: buysubscriptions.com/contactus Post: BBC Music Magazine, PO Box 3320, 3 Queensbridge, Northampton Follow us on Twitter @musicmagazine Like us on Facebook facebook.com/ classicalmagazine Find us online classical-music.com Subscribe to our podcast Subscribe today to BBC Music Magazine Save money on newsstand prices! See p10 for our fanta st ic of fe r We l c om e For most music enthusiasts, the name Gustav Holst is synonymous with his most famous composition, The Planets. A work of such colour and drama, this irresistible orchestral suite has all but eclipsed the great English composer’s remaining output. But, as Daniel Jaffé explains on page 24, Holst was far more than a one-hit wonder – and his distinctive compositional style arose from a wide range of inf luences, from Romantic idols like Strauss and Wagner to English folksong through his friendships with Vaughan Williams and Cecil Sharp, to a keen interest in Ri g Ve d a hymns. As we celebrate Holst’s 150th anniversary this month, we also pay tribute to his contribution to education – as music director at Morley College and as a pioneering women’s mentor at St Paul’s Girls’ School. One institution adopting a similarly innovative approach is the Shireland CBSO Academy, the f irst non-selective state school in the UK to be set up in collaboration with a symphony orchestra. On page 46, I report on the impressive way the school has already set about weaving music into the lives of its students, just one year after opening its doors. And continuing the teaching theme, Clare Stevens gives an overview of orchestral education programmes on page 54, while on page 23 Richard Morrison asks how easy it is for talented youngsters to embark on a career in music in 2024. M C T E E I N D Y C Charlotte Smith Editor THIS MONTH’S CONTRIBUTORS Hannah Nepilova Writer and editor ‘I loved my eye- and ear-opening chat with Alexandra Dariescu about her favourite piano works by female composers. Coming to some of these for the first time, I wondered what had taken me so long to discover them.’ Page 20 Daniel Jaffé Writer and editor ‘It all began at a tender age, hearing Holst’s A Choral Fantasia. Researching the man behind the music, I’ve found one of the very nicest and most principled among composers you could hope to meet.’ Page 24 Leonard Slatk in Conductor, composer, author ‘As the worlds of classical music and film continue to converge, I returned to my Hollywood roots and rediscovered what it was like to be on one of the greatest sound stages ever created. Join me on this trip down memory lane.’ Page 38 BBC MUSIC MAGAZINE 3

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EDITORIAL ENQUIRIES Te l : +44 (0)117 300 8752 Email: music@classica l-music.com Post: The editor, BBC Music Magazine, Eagle House, Bristol BS1 4ST

SUBSCRIPTIONS & BACK ISSUES Te l : 03330 162 118 Web: buysubscriptions.com/contactus Post: BBC Music Magazine, PO Box 3320, 3 Queensbridge, Northampton

Follow us on Twitter @musicmagazine

Like us on Facebook facebook.com/ classicalmagazine

Find us online classical-music.com

Subscribe to our podcast

Subscribe today to BBC Music Magazine Save money on newsstand prices!

See p10 for our fanta st ic of fe r

We l c om e

For most music enthusiasts, the name Gustav Holst is synonymous with his most famous composition, The Planets. A work of such colour and drama, this irresistible orchestral suite has all but eclipsed the great English composer’s remaining output. But, as Daniel Jaffé explains on page 24, Holst was far more than a one-hit wonder – and his distinctive compositional style arose from a wide range of inf luences, from Romantic idols like Strauss and Wagner to English folksong through his friendships with Vaughan Williams and Cecil Sharp, to a keen interest in Ri g Ve d a hymns.

As we celebrate Holst’s 150th anniversary this month, we also pay tribute to his contribution to education – as music director at Morley College and as a pioneering women’s mentor at St Paul’s Girls’ School. One institution adopting a similarly innovative approach is the Shireland CBSO Academy, the f irst non-selective state school in the UK to be set up in collaboration with a symphony orchestra. On page 46, I report on the impressive way the school has already set about weaving music into the lives of its students, just one year after opening its doors. And continuing the teaching theme, Clare Stevens gives an overview of orchestral education programmes on page 54, while on page 23 Richard Morrison asks how easy it is for talented youngsters to embark on a career in music in 2024.

M C T E E

I N D Y

C

Charlotte Smith Editor

THIS MONTH’S CONTRIBUTORS

Hannah Nepilova Writer and editor ‘I loved my eye- and ear-opening chat with Alexandra Dariescu about her favourite piano works by female composers. Coming to some of these for the first time, I wondered what had taken me so long to discover them.’ Page 20

Daniel Jaffé Writer and editor ‘It all began at a tender age, hearing Holst’s A Choral Fantasia. Researching the man behind the music, I’ve found one of the very nicest and most principled among composers you could hope to meet.’ Page 24

Leonard Slatk in Conductor, composer, author ‘As the worlds of classical music and film continue to converge, I returned to my Hollywood roots and rediscovered what it was like to be on one of the greatest sound stages ever created. Join me on this trip down memory lane.’ Page 38

BBC MUSIC MAGAZINE 3

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