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Events curated and promoted by City Music Foundation.

Prom 46: Thursday 22nd August 2019, 7.30pm

We’re delighted to announce that we are auctioning a box (for 10 people) at one of the most sought-after concerts at this summer’s BBC Proms!

Already sold-out, Prom 46 (Thursday 22nd August, 7.30pm) features 2016 BBC Young Musician winner Sheku Kanneh-Mason playing Elgar’s Cello Concerto in E minor (premiered 100 years ago) with the City of Birmingham Symphony Orchestra and Music Director Mirga Gražinytė-Tyla. 

The CBSO also celebrate the centenary of Mieczysław Weinberg – the man Shostakovich hailed as ‘one of the most outstanding composers’ of his day – with a rare performance of his Symphony No. 3, a work that combines folk melodies and dances with confessional urgency.

The concert opens with Dorothy Howell’s radiant tone-poem Lamia (first performed, like Elgar’s concerto, 100 years ago) and also includes The Way to Castle Yonder, a suite from the much-missed Oliver Knussen’s opera Higglety Pigglety Pop!

The box, which seats 10 people, is situated next to the Royal Box in the Grand Tier, making it one of the most desirable spots in the Royal Albert Hall.

All proceeds will go towards supporting CMF Artists!

Click here to bid. Bidding closes on Thursday 1st August.

CMF returns to The Wallace Collection for our 4th annual Summer Residency.

Monday 22nd  Friday 26th July 2019

Featuring six CMF Artists, 2019 sees the residency expanded beyond the popular free lunchtime recitals to include a children’s concert, a performance for dementia sufferers, and an evening concert centred around Schubert’s ‘Trout Quintet’ with guest performer, Sholto Kynoch.

Lunchtime Recitals (free)

The daily lunchtime recitals feature five of our newest 2018 CMF Artists: Ariana Kashefi (cello), Tom Millar (jazz piano), Toby Hughes (double bass), Helen Charlston (mezzo-soprano), and A4 Brass Quartet. Their programmes include music by Brahms, Debussy, Clara Schumann, and Jonathan Bates, a member of A4 Brass Quartet, who also offer a world premiere (the winning entry from their latest composition competition). See below for the full lunchtime recital schedule and programmes.

Children’s Concert with A4 Brass Quartet (free)

A4 Brass Quartet will also present an interactive concert for children and their families (Friday 26th July, 10.30am) during which the audience will have the chance to sing and play along in music ranging from film favourites to Rossini and Tchaikovsky.

‘Discover the Wallace’ with Tom Millar (free)

On Wednesday 24th July, from 2pm, jazz pianist Tom Millar presents an intimate ‘Discover the Wallace’ concert. ‘Discover the Wallace’ is the Collection’s programme for people living with the early stages of dementia and their friends and families. Taking the audience on a trip down memory lane, Tom’s programme will include hits of yesteryear, with songs such as ‘Tea for Two’, ‘Mack the Knife’, and ‘I’ll Be Seeing You’. The performance starts at 3pm, with tea and an opportunity to gently explore the Collection with specialist educators starting from 2pm. This is event is free, but booking is essential. Book here.

Schubert’s Trout (ticketed)

The residency will culminate in our first evening concert at the Collection, an evening of chamber music and song centred around the bubbling ‘Trout Quintet’. Joining to present Schubert’s ever-popular quintet, the Eblana String Trio (2017 CMF Artist) and double bassist Toby Hughes (2018 CMF Artist) collaborate with guest performer, the celebrated pianist Sholto Kynoch. The first half of the concert sees Kynoch join with mezzo-soprano Helen Charlston (2018 CMF Artist) to present a selection of fish-inspired songs, including Schubert’s Die Forelle [The Trout]. Adding dolphins, crayfish, and a few singing fishermen to this lyrical aquarium, Charlston’s programme also includes songs by Mahler, Poulenc & Faure. Tickets start at £25 and are able from the Wallace Collection’s website.

2019 Summer Residency: full schedule and programmes

MONDAY 22nd JULY 1pm

Ariana Kashefi (cello) with Maksim Štšura (piano)

Claude Debussy (1862 – 1918)
Sonata for cello and piano
i. Prologue
ii. Sérénade
iii. Finale

Gabriel Fauré (1845 – 1924)
Après un rêve

Johannes Brahms (1833 – 1897)
Cello Sonata No. 2 in F major, Op. 99
i. Allegro vivace
ii. Adagio affettuoso
iii. Allegro passionate
iv. Allegro molto


Tom Millar (jazz piano)
Programme to be announced on the day


Toby Hughes (double bass) with Daniel King Smith (piano)

Alfred Desenclos (1912 – 1971)
Aria from Aria and Rondo

Vilmos Montag (1908 – 1991)
Sonata for double bass in E minor

Giovanni Bottesini (1821 – 1889)
Elegy No. 1 in D major

Johannes Brahms (1833 – 1897)
Cello Sonata No. 1 in E minor, Op. 38
i. Allegro non troppo
ii. Allegretto quasi minuetto
iii. Allegro – Più presto


‘Discover the Wallace’ with Tom Millar (jazz piano)


Helen Charlston (mezzo-soprano) with Adam Cigman-Mark (piano)

Garden Paradise

Alma Mahler (1879 – 1964) 
In meines Vaters Garten

Johannes Brahms (1833 – 1897)
An eine Äolsharfe

Karl Horwitz (1884 – 1925) 
Das Gartenfest

Johannes Brahms (1833 – 1897) 
Im Garten am Seegestade

Clara Schumann (1819 – 1896) 
Die stille Lotosblume

Paul Kletzki (1900 – 1973)
Der tote Park

Johannes Brahms (1833 – 1897) 
Die Mainacht

Paradise Lost

Johannes Brahms (1833 – 1897)

Rudi Stephan (1887 – 1915) 

Karl Horwitz (1884 – 1925) 
Lied eines Knaben

Johannes Brahms (1833 – 1897)
O kühler Wald

Alban Berg (1885 – 1935) 
Vier Gesange, Op. 2

Paradise Remembered

Clara Schumann (1819 – 1896) 
Die gute Nacht, die ich sage dir

Karl Horwitz (1884 – 1925) 
Die Nacht

FRIDAY 26th JULY 10.30am

Children’s Concert with A4 Brass Quartet

FRIDAY 26th JULY 1pm

A4 Brass Quartet

Jonathan Bates (born 1995) 
Toccata 3

Domenico Cimarosa (1749 – 1801) arr. Chris Robertson 
Overture to ‘The Impresario’

Johann Sebastian Bach (1685 – 1750) arr. Chris Robertson 
‘Little’ Fugue in G minor, BWV578

Andy Wareham (born 1994)*
The Code (world premiere)

Kentaro Sato (born 1981) arr. Jonathan Bates 

Percy Grainger (1882 – 1961) arr. Chris Robertson 
Shepherd’s Hey

Béla Bartók (1881 – 1945) arr. Chris Robertson
Six Romanian Folk Dances

Astor Piazzolla (1921 – 1992) arr. Jonathan Bates 

Claude Debussy (1862 – 1918) arr. Illiam Quane 
Arabesque No. 2

Anton Bruckner (1824 – 1896) arr. Chris Robertson 
Locus Iste

Jonathan Bates (born 1995) 
Mists of the Mountains (excerpt)
iii. Requiem from the Tuvan Hills
iv. A Tale of Two Peaks

*A4 Brass Quartet Composition Competition Winner

FRIDAY 26th JULY 7pm

Schubert’s Trout – click here to book tickets

Gustav Mahler (1860 – 1911)
Rheinlegendchen [Little Rhine Legend]

Francis Poulenc (1899 – 1963)
Songs from Le bestiaire:
Le dauphin [The dolphin]
L’écrevisse [The crayfish]
La carpe [The carp]

Gabriel Fauré (1845 – 1924)
Les berceaux [The cradles]

Franz Schubert (1797 – 1828)
Liebhaber in allen gestalten [Love in all guises]
Erlafsee [Lake Erlaf]
Der Fischer [The fisherman]
Des Fischers Liebesglück [The fisherman’s luck in love]
Das Fischermädchen [The fisher maiden]
Die Forelle [The trout]
Meeres Stille [Calm at sea]
Fischerweise [Fisherman’s ditty]


Franz Schubert (1797 – 1828)
Piano Quintet in A major ‘Trout’, D. 667

Helen Charlston, mezzo-soprano
Sholto Kynoch, piano
Jonathan Martindale, violin*
Lucy Nolan, viola*
Peggy Nolan, cello*
Toby Hughes, double bass

* members of Eblana String Trio

This weekend City Music Foundation is partnering with Barbican and Culture Mile for Sound Unbound, a free music festival taking place in the City of London.

This weekend-long classical music festival will explore unexpected spaces across Culture Mile, which stretches from Farringdon to Moorgate in the north-west of the Square Mile, celebrating fantastic music alongside the history and heritage of the area.

We’re proud to be presenting five City Music Foundation Artists, Lotte Betts-Dean (mezzo-soprano), Helen Charlston (mezzo-soprano), Tabea Debus (recorders), Bartosz Glowacki (accordion/bandoneon), and Andrey Lebedev (guitar), in venues including The Charterhouse, Piano Smithfield, and St Bartholomew the Less, which will be our base throughout the weekend.

All concerts are free and unticketed. See below for a full schedule!

Saturday 18th May 2019

St Bartholomew the Less, West Smithfield EC1A 9DS

2-2.40pm An Eye for Music from Tabea Debus + Paula Chateauneuf

3.30–4.10pm Viva España! with Andrey Lebedev

4.45–5.25pm An Eye for Music from Tabea Debus + Paula Chateauneuf

6–6.40pm The Anatomy of the Accordion with Bartosz Glowacki

Piano Smithfield, 14 Long Lane EC1A 9PN

1.15-1.55pm Brasiliana from Lotte Betts-Dean + Andrey Lebedev

4-4.40pm History of Tango with Bartosz Glowacki

Charterhouse Great Chamber, Charterhouse Square EC1M 6AN

5-5.40pm Brasiliana from Lotte Betts-Dean + Andrey Lebedev

Sunday 19th May 2019

St Bartholomew the Less, West Smithfield EC1A 9DS

2-2.40pm Viva España! with Andrey Lebedev

3.30–4.10pm An Eye for Music from Tabea Debus + Paula Chateauneuf

4.45–5.25pm Listen, Lovers! from Helen Charlston + Toby Carr

6–6.40pm The Anatomy of the Accordion with Bartosz Glowacki

Piano Smithfield, 14 Long Lane EC1A 9PN

2.30-3.10pm History of Tango with Bartosz Glowacki

5-5.40pm Brasiliana from Lotte Betts-Dean + Andrey Lebedev

Charterhouse Chapel,Charterhouse Square EC1M 6AN

1.45-2.25pm Listen, Lovers! from Helen Charlston + Toby Carr

Notations & Sketches, the debut album from Alexander Soares was released on Rubicon Classics in January 2019 and features solo piano works by Boulez, Dutilleux, and Messiaen.

City Music Foundation is proud to have funded this album, one which has now garnered plaudits from both of the UK’s most prestigious classical music magazines.

Gramophone Magazine (Editor’s Choice, May 2019)
“Although most of these pieces have been collated on various anthologies of French piano music, few of them can match this new release in its balanced conception or consistency of execution… Soares has their measure in abundance, resulting in what could hardly be a more auspicious debut album”

BBC Music Magazine
★★★★ “playing of style and sophistication”

International Piano
”Notations finds Soares matching virtuosity and exploratory curiosity, fierce competition for Pierre-Laurent Aimard and David Fray”

★★★★ ”The debut album from the talented British pianist Alexander Soares showcases several rarities… a perfect avowed approach is a triumph in the nervy” [sic]

Opus Klassiek
“Soares is a brave pianist with a mission. He shows this with bold choice of repertoire and excellent performance”

Musique Classique & Co
“A superb disc – very well produced – a pianist to follow!”

We’re recruiting for a Communications & Events Officer to join our team based in Smithfield, EC1.

We are looking for someone educated to at least degree level with a real knowledge of and passion for classical music (and jazz, if possible), as well as a love of social media and experience in marketing and publicity. The post-holder will be involved in all aspects of the two-year CMF Artist Programme, specifically from the angle of marketing, publicity, PR and communications. You will be promoting the work of CMF itself, current CMF artists and alumni, events and recitals, developing networks and relationships – all of which also impacts on fundraising. You will work with the Director and Artist Manager on developing content for campaigns. In addition, the role includes managing logistics of CMF events, and organising and running the annual applications process.

Experience of and proven effectiveness with social media marketing, publicity and communications in the Arts sector is essential, as well as excellent research and writing skills. Computer skills are required, including Microsoft programmes and design software, plus experience of administrating websites and managing social media accounts and content. The successful candidate must be able to work independently, multi-tasking and prioritising the workload, but will also be part of a close-knit team on a daily basis. Communication is central to the role, face-to-face, by telephone and email, and the post-holder will need to be confident and effective in these skills. Attention to detail is a key requirement, to ensure accurate record keeping, invoices and budgets. We encourage all team members to attend artists’ concerts as much as possible and build networks within the industry, and this can result in long days.

Reports to: Dr Clare Taylor, City Music Foundation Managing Director

Full-time, permanent role (with 4-month probationary period + 8 weeks’ notice thereafter)

Salary £23,000 to £26,000 (negotiable depending on experience)

Pension: Workplace pension with Aviva, with employer contribution

Hours: 9.30am – 6pm Monday to Friday (with one hour for lunch, total 37.5 hours) with additional hours for which overtime is not payable

Essential criteria:

  • Educational Attainment: degree level or beyond, via university or conservatoire
  • Excellent knowledge and appreciation of classical music
  • Experience of and proven effectiveness with social media marketing, publicity and communications in the Arts sector
  • Experience of planning and managing events in the Arts sector
  • Excellent telephone, research and writing skills (including editing & proof-reading)
  • Ability to prioritise and work to deadlines
  • Proven team-working ability and flexibility to cover additional roles when required
  • Skilled with Microsoft Office including Word, Outlook and Excel
  • Minimum of 2 years previous employment in the Arts sector (preferably classical music)

Desirable experience:

  • Successfully marketed a classical music event using social media
  • Taken the lead in planning and managing a classical music event
  • Proven ability to write intelligently and engagingly about classical music
  • Managed a PR campaign and engaging with online, print, and broadcast media
  • Demonstrable skills on a design platform, such as Canva, InDesign or Photoshop
  • Managing websites and social media on a day-to-day basis
  • Dealing with a wide range of stakeholders, both internally and externally

Key responsibilities include, but are not limited to:


  • Write, design and send fortnightly and extraordinary newsletters using Mailchimp to share CMF news and events
  • Manage and add-to mailing lists in accordance with GDPR regulation
  • Write news articles for CMF website
  • Manage CMF’s PR by sharing news and events with online, print, broadcast and media outlets through Press Releases
  • Use own networks and contacts to enhance reach and reputation of CMF


  • Market CMF concerts and events through social media (Twitter & Facebook)
  • Design, arrange printing for, and disseminate physical marketing materials
  • List concerts on relevant online listings websites
  • Engage with online, print, and broadcast media outlets to secure previews, reviews, appearances, airplays, and social media shares
  • Tap into local networks to market concerts to local audiences, residents and workers

Event Planning and Management

  • Plan and manage logistics for all CMF events (lunchtime recitals, evening concerts, albums launches, and fundraising events)
  • Design and arrange printing for all event programmes
  • Write programme notes for event programmes (could be subcontracted)
  • Manage ticketing through Eventbrite
  • Set up and prepare venues or co-ordinate external contractors for larger events

Website & Social Media

  • Manage the CMF website on a day-to-day basis, updating Homepage, News, Press, and Events, as well as ensuring other pages are up-to-date and adding new material
  • Liaise with web designer to perform more complex updates and redesigns
  • Manage CMFs’ Twitter & Facebook accounts on a day-to-day basis, engaging with and promoting the content of CMF Artists and aiming to widen CMF’s online reach

Managing annual applications

  • Be point of contact for all applicants throughout process
  • Promote CMF Artist Programme to graduating students at UK music colleges, teachers and heads of department, venues, festivals, other contacts
  • Ensure all application information and Conditions of Entry are up-to-date
  • Liaise with web designer to update online application form
  • Manage incoming application fees
  • Manage applications, logging applicant information in Excel spreadsheet
  • Ensure applicants are eligible by rigorously checking application forms, visas etc
  • Produce relevant materials for judges in Round 1 & 2

Support for other staff members

  • Support Managing Director with professional development workshops, mentoring and fundraising when required
  • Support Artist Manager with filming and recording projects
  • Support Artist Manager with admin for external CMF Artist bookings, such as social media support or sending images

Support for CMF Artists

  • Liaise with CMF Artists and web designer over creation of new websites
  • Support CMF Artists with social media when required


  • Manage office supplies
  • Answer CMF phone during office hours
  • Take minutes at board meetings and produce draft minutes
  • Attend and engage with workshops
  • Maintain and update CMF data bases and contact lists as relevant (all team does this)

To apply please email a covering letter and an up-to-date CV to

Deadline for applications: CLOSED

Interviews on Friday 17th May (TBC). Start-date in w/c 15th July.

We’re delighted to announce that City Music Foundation is partnering with Barbican and Culture Mile for Sound Unbound, a free music festival taking place in the City of London Saturday 18 – Sunday 19 May 2019.

This weekend-long classical music festival will explore unexpected spaces across Culture Mile, which stretches from Farringdon to Moorgate in the north-west of the Square Mile, celebrating fantastic music alongside the history and heritage of the area.

Five City Music Foundation Artists, Lotte Betts-Dean (mezzo-soprano), Helen Charlston (mezzo-soprano), Tabea Debus (recorders), Bartosz Glowacki (accordion/bandoneon), and Andrey Lebedev (guitar), will be performing in venues including The Charterhouse, Piano Smithfield, and St Bartholomew the Less, which will be our base throughout the weekend. Our Artists will present 14 concerts in total with programmes including intimate duets for voice and lute, Brazilian bossa nova hits, and four world premieres.

Andrey Lebedev (2015 CMF Artist) & Lotte Betts-Dean (2017 CMF Artist) in St Bartholomew the Less (September 2018)

The festival as a whole features over 100 short performances in a relaxed festival atmosphere where informality is key. To pick out some highlights: Britten Sinfonia and Thomas Adès perform one of Beethoven’s most popular works, the Eroica symphony in the Barbican Hall; sackbut ensemble Sacred Bones performs music from the 16th and 17th centuries in the churchyard of St Bartholomew the Great; and Stalin’s Piano, a multimedia project which combines music with video and audio recordings of eminent artists and political figures from the 20th-century, will be showing in Barbican Cinema 1.

We look forward to sharing full details of the festival in the coming weeks! 

More information about Sound Unbound 2019

Continuing a busy year of concerts throughout the UK, A4 Brass Quartet (2018 CMF Artist) begin a five-date tour of Scotland starting Friday 22nd March.

Supported by The Tunnell Trust, the multi-award-winning brass group will travel to Melrose Music Society (22nd March), Ayr Music Club (23rd March), Gatehouse of Fleet Music Society (24th March), Biggar Music Club (25th March), and Music in Peebles (26th March).

Looking ahead to the Summer, A4 Brass Quartet will be performing on the final day (Friday 26th July) of our 2019 Summer Residency at The Wallace Collection (Monday 22nd – 26th July). They present a Lunchtime Recital (1pm) preceded by an interactive Childrens’ Concert (10.30am).

We’re recruiting for a new Artist Manager to join our team based in Smithfield, EC1.

The role is wide-ranging, with involvement in every stage of the development of our artists while they are on the two-year CMF Artist Programme. The post-holder will get to know the artists personally over this period, supporting them from the day they perform in their live audition through CMF recitals and external concerts, photoshoots, CD and video recordings, commissions and other projects. The Artist Manager will also produce marketing materials and liaise with promoters, venues and festival directors, arranging contracts, negotiating fees, producing programmes and schedules.

Experience in classical music management or administration is essential. Computer skills are required, including Microsoft programmes. The ability to edit websites and use design software is desirable. The successful candidate must be able to work independently, multi-tasking and prioritising the workload, but will also be part of a close-knit team on a daily basis. Communication is central to the role, face-to-face, by telephone and email, and the post-holder will need to be confident and effective in these skills. Attention to detail is a key requirement, to ensure accurate record keeping, invoices and budgets. We encourage all team members to attend artists’ concerts as much as possible and build networks within the industry, and this can result in long days.

 Reports to: Dr Clare Taylor, Managing Director, City Music Foundation

Full time, permanent role (with probationary period)

Salary £25,000 to £34,000 depending on experience

Educational Attainment:

To degree level or beyond, via university or conservatoire

Skills required:

A genuine and in depth knowledge of and enthusiasm for classical music (and jazz too if possible) and the performing arts

A confident, outgoing and empathetic manner when dealing with people

Excellent verbal and written communications skills, with ability to nurture relationships with artists as well as external stakeholders

The ability manage a diverse and rapidly changing workload and to work well under pressure and flexibly when required (including evenings and weekends)

Ability to work autonomously when required, whilst remaining a team player and communicating fully with colleagues, sharing work when appropriate.

Attendance at CMF events helping with the physical work as required

Accurate IT skills, including Microsoft, Office, and preferably website admin and design software.

Ability to create marketing and communications materials and develop sales and PR strategies

An understanding of budget management and financial control


Previous substantive employment within the music industry in artist management or administration

Experience of event management with professional musicians and other events

Experience of working with a range of people of all ages and backgrounds, especially artists, agents, promoters, festivals and venues, composers

Key responsibilities

  • Co-ordinate processing of all applications from candidates for two stage audition process to identify City Music Foundation Artists
  • Check and issue CMF Artists Agreements each year when they join and CMF Alumni Agreements when they finish with CMF
  • Arrange initial meetings with all new artists and with the MD to discuss priorities for working with each artist, and continue regularly to meet all artists
  • Arrange photography of new CMF artists
  • Maintain records of all elements of CMF artists’ support and budget committed
  • Book and contract CMF artists for internal CMF events: concert series’, residencies, fundraisers and other projects
  • Keep detailed records, producing and updating a Task Sheet for each event or series
  • Promote CMF artists to venues, festivals and other organisations and negotiate fees and contracts
  • Create and manage strategic partnerships with venues, festivals, sponsors and other organisations involved in the Artist programme
  • Ensure CMF artists events are attended by agents and music critics
  • Be available by phone or in person for day to day support for musicians
  • Work with the CMF Team on concert management and marketing
  • Work on PR with the team (and periodically with externally contracted PR personnel) to ensure maximum publicity for the artists, their concerts, recordings and other CMF projects
  • Organise and manage all elements of artist’s projects, which may include commissioning new music, recording CDs and making videos
  • Work with the Communications Officer on publicity, marketing, PR, social media, newsletters, websites, programme notes etc
  • Lead on delivery of the programme for the International Artist, currently every 2 years
  • Assist MD as required on aspects of the educational part of the CMF Artists Programme
  • Assist in office management, attend board meetings, taking minutes
  • Promote CMF and all its charitable work at all relevant events and occasions

To apply please email a letter and an up-to-date CV to

Deadline for applications: CLOSED

Interviews in mid-March. Expected start-date mid-to-late April.

We’re delighted to announce that applications to become a 2019 CMF Artist are now open. 

CMF welcomes applications from classical, jazz, folk, and world musicians – both soloists and ensembles – to join our innovative two-year Artist Programme.

Starting in September 2019, those selected for the scheme will enjoy:

  • A series of tailored Professional Development Workshops with topics including tax and financial management, networking, presentation skills, contracts and legal issues, agents, PR, social media, pitching to venues and festivals, programming, and much more
  • Business Mentoring from senior business-people through collaborations with City firms
  • Artistic Mentoring from established, acclaimed international performers, including opportunities for collaboration in performance
  • Performance Opportunities in CMF-produced events, festivals, and residencies
  • Promotional Tools such as high-quality photos, a bespoke website, videos, and professional recordings
  • Day-to-day access to the Artist Manager, who works like an agent to secure live concert bookings and media appearances
  • Additional Support with individual projects and commissioning

 Apply here

Rokas Valuntonis (2017 CMF Artist) with photographer Benjamin Eavolega

The deadline for applications is Wednesday 3rd April 2019, 12pm.

Current and previous CMF Artists include A4 Brass Quartet, Lotte Betts-Dean (mezzo-soprano), Tabea Debus (recorders), Foyle-Štšura Duo (violin & piano), Andrey Lebedev (guitar), Ligeti Quartet, Misha Mullov-Abbado (jazz double bass), and Emily Sun (violin). See all CMF Artist profiles

Lotte Betts-Dean (mezzo-soprano) and Andrey Lebedev (guitar) are to perform at Wigmore Hall on Saturday 9th February in a showcase presented by the Musicians’ Company.

This showcase concert presents the recipients of the Company’s inaugural New Elizabethan Award, a biennial award for classical guitarists and lutenists for the performance of solo and/or ensemble music, written by composers from the two Elizabethan ages.

In July 2018, Lotte & Andrey became the first ensemble to receive the award after a tightly-fought live competition judged by a panel including Dame Emma Kirkby (soprano), John Gilhooly (Artistic Director, Wigmore Hall), and Craig Ogden (guitarist). The other recipient was guitarist Jesse Flowers.

Lotte & Andrey will perform Britten’s Song from the Chinese, as well as music by Brett Dean based on his celebrated opera Hamlet.

Lotte Betts-Dean & Andrey Lebedev
Saturday 9th February 2019, 1pm
Wigmore Hall, London

Book your tickets here

A4 Brass Quartet answer a few questions ahead of their lunchtime recital at St Bart’s the Less on Wednesday 19th December.

When planning our December recital, we immediately thought of A4 Brass Quartet (2018 CMF Artists) – who better to bring us some much needed Christmas cheer! For our final recital of 2018, A4 Brass Quartet present a Celebration of Christmas, a varied programme of carols sacred and secular arranged for brass. You can expect everything from Away in a Manger to Santa Baby, as well as a little seasonal sing-song at the end.

“Everybody enjoys hearing brass during the festive period”

A4 Brass Quartet is comprised of principal players from two of the UK’s top brass bands, Grimethorpe Colliery Band and Foden’s. With “technical virtuosity in abundance” (Brass Band World), these four astonishing musicians come together to perform both lyrical and high-octane works, forming a distinctive and new take on chamber music.

Why do you think people love hearing brass at Christmas? 

I think brass music at Christmas has its roots in the Salvation Army, with many SA bands playing carols in their communities at Christmas time. Everybody enjoys hearing brass during the festive period as it’s traditional and somehow seems to bring a sense of warmth in what is always a cold time of year! For some people it may bring back childhood memories, whilst for children the sight and sound of shiny brass instruments all adds to the excitement of Christmas!

How are you benefiting from the CMF Artist Programme so far?

Although we have only been on the CMF Artist Programme since September, we are already benefiting from numerous professional development workshops as we pursue our aim to become a full-time chamber ensemble. These workshops have involved advice on copyright laws, development of communication skills, and programming, and we look forward to further business mentoring in the coming months. As part of the programme, CMF are also assisting us in planning bespoke projects for the near future, including the release of our second CD during 2019.

Tell us about a gig you’ve got coming up:

In January 2019 we are looking forward to working with the brass students at the Royal Birmingham Conservatoire (RBC). Here we will spend the day coaching various aspiring chamber ensembles; perform our own public recital in the RBC’s newly-renovated concert hall; and judge the annual Bernard Brown Brass Ensemble of the Year competition.

A4 Brass Quartet: a Celebration of Christmas
Wednesday 19th December 2018 1pm
The Hospital Church of St Bartholomew the Less

Help Musicians UK (HMUK) has announced Alex Hitchcock as the winner of the prestigious Peter Whittingham Jazz Award 2018.

Now in its 28th year, the Peter Whittingham Jazz Award offers up to £5,000 for an emerging jazz musician or group to undertake a creative project of their choice that will support their professional development. The award can fund recording, filming, touring, performances, mentoring, collaboration and promotion.

London-born saxophonist and composer Alex Hitchcock  who received the full £5,000 award – has been winning fans around the world for several years, having performed at festivals across Europe including Glastonbury and North Sea Jazz in the Netherlands. This year he released his quintet’s debut EP and completed a 15-date nationwide tour followed by a sold-out launch at Pizza Express Jazz Club in London. His talents have been recognised by a wealth of respected outlets, including BBC Radio 3 and JazzFM, while larger ensemble work includes the Royal Philharmonic Concert Orchestra at the O2 Arena, the BBC Big Band and the Laurence Cottle Big Band.

Trumpeter Sheila Maurice-Grey – a member of 2016 CMF Artists Nérija – also received a £2,000 development award.

Read the full article on the Help Musicians UK website

A4 Brass Quartet have been announced as Honorary Associate Artists of the Royal Northern College of Music.

The Quartet are one of seven recent RNCM alumni selected for this prestigious ambassadorial role as a result of their outstanding achievements since graduation. They will now play an active role in promoting and supporting the college’s strategic initiatives alongside current Honorary Associate Artists Alexandra Dariescu (piano), Tom Harrold (composition), Mikhail Nemtsov (cello), Kathryn Rudge (mezzo-soprano), and Le Yu (percussion), all of whom recently accepted the invitation to extend their two-year tenure for a further three years.

Other new Honorary Associate Artists include James Hendry (repetiteur/conductor), Daniel Kidane (composer), Soraya Mafi (soprano), Alexander Panfilov (piano), Abel Selaocoe (cello), and Andres Yauri (bassoon).

Read A4 Brass Quartet’s profile on the RNCM website


Each weekday from 6th to 21st December, insurance firm Ecclesiastical will be giving £1,000 to 10 charities.

That’s £120,000 to 120 charities in 12 days!

It takes barely a minute to make a nomination – other than a few personal details, this is all you’ll need:

  • Charity Name: City Music Foundation
  • Charity Number: 1148641

Nominate CMF

Thanks in advance!

At this year’s EFG London Jazz Festival (Friday 16th to Sunday 25th November) you’ll find CMF Artists at every turn, in venues such as the Elgar Room (Royal Albert Hall), 606 Club, and Kansas Smitty’s, a venue founded by CMF Artist Giacomo Smith.

Here’s a quick guide to who, when, and where to find CMF jazzers:

Tom Millar (piano) 
– 2018 CMF Artist

Wednesday 21st November, 8pm
Bull’s Head, Barnes, SW13 9PY
In his first of three gigs at the festival, Tom plays with The WayOutWest Allstars,
a jazz musicians’ collective based in West London. Tom is a founder member.
Buy tickets

Thursday 22nd November, 8.30pm
Ram Jam Records, KT2 5EE
Playing with the DJTM Sextet, Tom is joined by musicians such as
Gareth Lochrane (flute) and Duncan Eagles (saxophone).
Buy tickets

Sunday 25th November 8.30pm
Ram Jam Records, KT2 5EE
Tom plays original music from his debut album
Unnatural Events with his own Tom Millar Quartet.
Buy tickets

Alex Hitchcock (saxophone) 
– 2017 CMF Artist

Monday 19th November, 8.30pm
Hideaway, SW16 2BF
Alex plays with leading funk/groove quartet Resolution 88.
Buy tickets

Thursday 22nd November, 8pm
Elgar Room (Royal Albert Hall), SW7 2AP
Alex joins swing singer Jo Harrop to perform the American Songbook.
Buy tickets

Miguel Gorodi (trumpet) 
– 2016 CMF Artist

Sunday 25th November, 11.45am
The Clore Ballroom (Southbank Centre), SE1 8XX
Miguel performs as guest soloist with Wandsworth Jazz Orchestra as part of
Next Generation Takes Over, a showcase for “the rising stars of tomorrow”.
Buy tickets

Shirley Tetteh (guitar) & Sheila Maurice Grey (trumpet), members of Nérija 
– 2016 CMF Artists

Friday 23rd November, 7.45pm
Purcell Room (Southbank Centre), SE1 8XX
Shirley and Sheila play with emerging saxophonist Camilla George.
Buy tickets

Giacomo Smith (clarinet) 
– 2014 CMF Artist

Tuesday 20th November, 8pm & 10pm
Kansas Smitty’s, E8 4PH
Giacomo’s very own Kansas Smitty’s House Band play
back-to-back shows at their East London home.
Buy tickets (8pm)
Buy tickets (10pm)

Misha Mullov-Abbado (double bass) – 2014 CMF Artist

Friday 16th November, 11pm
Kings Place (Hall One), E8 4PH
Misha plays in an opening night ‘Festival Sampler’, which is being
broadcast live on BBC Radio 3’s Jazz Now, presented by Soweto Kinch.
Buy tickets

Sunday 18th November, 7.30pm
Bull’s Head, Barnes, SW13 9PY
Misha joins the Jessica Radcliffe Quintet in a show remembering
the life of legendary singer/lyricist Jon Hendricks.
Buy tickets

Sunday 25th November, 7.30pm
Omnibus Theatre, SW4 0QW
Misha collaborates with celebrated vocalist Alice Zawadzki.

Buy tickets


For more details about the festival go to

A4 Brass Quaret have been awarded the RPS Henderson Prize, one of four awards offered by the Royal Philharmonic Society as part of their burgeoning young musicians programme. The Quartet will receive £5000 as a result of the award. Other prize-winners include the Barbican String Quartet, who also receive £5000, and Izabela Musial (bassoon) and Maria Gilicel (violin), who both receive £2,500.

Click here to read the RPS’s interview the Quartet’s baritone horn player, Mike Cavanagh

Mezzo-soprano Helen Charlston (2018 CMF Artist) answers a few questions ahead of her lunchtime recital at St Bart’s the Less on Wednesday 14th November.

Hailed as “a rather special mezzo” (MusicWeb International), Helen Charlston’s warm and distinctive tone has cemented her as a key performer in the next generation of British singers. She received first prize in the 2018 Handel Singing Competition, was a finalist in the Hurn Court Opera Competition, and in the 2018-19 season she will make her debut with the Royal Liverpool Philharmonic (Handel Messiah) and return to work with Auckland Philharmonia Orchestra (Bach St Matthew Passion).

For her recital, Helen will be joined by lutenist Toby Carr and their programme, titled Lettera Amorosa, pairs the solo vocal works (a voce sola) of two great Italian composers: Claudio Monteverdi (1567-1643) and Barbara Strozzi (1619-77). It will include Monteverdi’s Lettera Amorosa (published 1619) and his Lamento d’Arianna, the only surviving fragment of his 1608 opera, L’Arianna. The recital follows the highs and lows of love – from languishing looks and sighs of passion, to cries of ‘Let me die’ – something which for Helen makes this music ever relevant.

Some of the music you’re performing is over 400 years old – why do you think it still speaks so vividly to us today?

I guess the words are really important here. Despite 400 years of history, the complications, elations, and inconsistencies of Love, or what it might mean to love, surely haven’t changed much, have they? But it’s more than just a ‘theme of love’. What makes these works so vivid is that they are perfect examples of moments or situations that are so extreme, that the only answer is to vocalise it and sing! Just reading the poetry, or writing it, is not enough. Arianna (in Monteverdi’s Lamento d’Arianna) for example, has to lament and bewail as a physical, gutteral response to her abandonment.

This music also presents a vulnerable scene: just a singer and, in this instance, one instrumentalist. It requires both players to be totally open and honest in what they are doing, which in turn draws the audience into a scene that could in fact be completely contemporary.

How are you benefiting from the CMF Artist Programme so far?

It is wonderful to have such a team of experts so easily to hand! As well as the lunchtime recital, I have been preparing for Tchaikovsky: Notes & Letters where I’m performing alongside three amazing artists (also CMF Patrons): Simon Callow, Roger Vignoles, and Joan Rogers. Joan has been guiding me through the songs and coaching me on the Russian and then I get to sing them accompanied by Roger Vignoles; you couldn’t ask for a greater line-up really! It’s also really wonderful to have a team of people around you who are in your corner and very happy to answer your silly questions and help.

Tell us about a gig you’ve got coming up:

On 18th November I have a concert with Amici Voices, a small baroque ensemble that I run. It’s a rather lovely concert format that we started last year centred around music for the Vespers service, performed in a liturgical setting. We started with Monteverdi’s 1610 Vespers, but on 18th we look to Handel and the music of the Italian School that influenced him as a youngster in Rome. The programme includes Handel’s Dixit Dominus and Nisi Dominus, as well as a number of rather glorious psalm settings for voices and instruments by Monteverdi, Cavalli, and Finetti. It should be a pretty special evening. Oh, and its free, so the more the merrier…! Secure your tickets here.

Lunchtime Recital
Helen Charlston (mezzo-soprano) with Toby Carr (lute)
Wednesday 14th November 1pm
The Hospital Church of St Bartholomew the Less
Book to be sure of a seat

Mentoring has always been a central part of the CMF Artist Programme and for 2018 CMF Artist Helen Charlston (mezzo-soprano) a session with legendary soprano and CMF patron Joan Rodgers was her very first experience of what CMF has to offer.

Helen and Joan spent the afternoon together discussing how to build a successful singing career, as well as preparing for Tchaikovsky: Notes & Letters (Friday 16th November), at which they’ll both be performing songs and duets by the Russian composer accompanied by Roger Vignoles, another CMF patron. Joan, Helen, and Roger will be joined on stage by a third illustrious CMF patron, Simon Callow, who’ll narrate the evening.

Tchaikovsky: Notes & Letters
Friday 16th November 2018 6.30pm
Guildhall Art Gallery & Roman Amphitheatre
Book your tickets here

Towards the end of their session, Joan and Helen were interviewed by Classical Music Magazine. The interview provides a fascinating insight into the mentoring process as Joan offers Helen advice on taking the right opportunities, learning resilience, choosing repertoire, and looking after your instrument, i.e. you!

At the end of the article you’ll find a detailed summary of the CMF Artist Programme: Artistic Mentoring, Business Mentoring, Professional Development Workshops, Promotion, Performances, and support from the CMF Team.

Reproduced by kind permission of Rhinegold Publishing Ltd.

Harpist Gwenllian Llyr (2017 CMF Artist) continues our 2018-19 Lunchtime Recital Series at St Bart’s the Less on Wednesday 17th October.

A former prize-winner at the USA International Harp Competition, Welsh harpist Gwenllian Llyr has performed at prestigious venues such as Carnegie Hall and St David’s Hall.

Her programme will include works by Debussy, Scriabin, and Liszt, as well as music by the French harpist/composer Henriette Renié and a trio a of Welsh composers: Grace Williams, Haldon Evans, and William Matthias.

We caught up with Gwenllian ahead of her recital!

Why have you decided to perform music by Welsh composers?

The simple answer is because I’m Welsh! It’s important to me to be a champion of Welsh music and share these wonderful pieces as widely as possible. I’m also preparing for a new recording… stay tuned for more information!

How are you benefiting from the CMF Artist Programme so far?

It has been wonderful to be a part of this programme – I’ve connected with a variety of industry professionals that have inspired me in different ways and provided new opportunities. It’s also incredibly helpful to have a team on the other end of the phone that can guide you in the right direction, be a listener or brainstorm a new idea.

Tell us about a gig you’ve got coming up.

I’m so looking forward to performing in Belgium for the 25th anniversary of Harpe Diem! The programme will be quite varied, including one of my own compositions and I’ll also be teaching a masterclass. It will be great to connect with more harpists and celebrate the success of this great festival. Details of this and other exciting upcoming concerts can be found on my website:

Reserve your seats to see Gwenllian Llyr in recital on Wednesday 17th October 

To mark the announcement of their selection as 2018 CMF Artists, A4 Brass Quartet appeared on BBC Radio 3’s In Tune on Tuesday 25th September.

They were interviewed by Katie Derham and played three contrasting pieces by Anton Bruckner, Martin Ellerby, and Percy Grainger.

In conversation with Katie, they told her about their plans for the future, about being an unique ensemble, and how they’re constantly breaking new ground for the brass band movement. Before their formation at the Royal Northern College of Music, their combination of four brass band instruments playing as a chamber ensemble had never before become established. As a result, the Quartet have worked tirelessly to create a repertoire for themselves, both through commissioning and arranging, most of which is done by two members of the group, Jonathan Bates and Chris Robertson.

You can listen again here until Thursday 25th October 2018.

Looking ahead to Christmas, A4 Brass Quartet will be performing at St Bart’s the Less on Wednesday 19th December as part of our 2018-19 Lunchtime Recital Series. Their recital will feature carols sacred and secular, from Poulenc to Santy Baby, all arranged for brass quartet. Tickets are free, but they are available to reserve here due to limited availability.

Wednesday 19th December 2018, 1pm
A4 Brass Quartet: a celebration of Christmas
St Bart’s the Less

We’re delighted to announce the six artists joining the CMF Artist Programme as ‘2018 CMF Artists’:

  • A4 Brass Quartet
  • Helen Charlston (mezzo-soprano)
  • Toby Hughes (double bass)
  • Ariana Kashefi (cello)
  • Tom Millar (jazz piano)
  • Emily Sun (violin)

Chosen from over 150 applicants, these six successful artists were selected through a series of audition stages, culminating in a final live audition chaired by Ian Ritchie (Festival Curator & Artistic Director). Judges included Michael Collins (clarinetist & conductor), Gary Crosby (Co-Founder & Artistic Director, Tomorrow’s Warriors), Huw Humphreys (Head of Music, Barbican Centre), Mats Lidström (cellist & composer), Sebastian Scotney (Editor, London Jazz News), Roger Vignoles (pianist), and Howard Williams (conductor).

Meet the 2018 CMF Artists

A4 Brass Quartet

A4 Brass Quartet is comprised of principal players from two of the UK’s top brass bands, Grimethorpe Colliery Band and Foden’s. With “technical virtuosity in abundance” (Brass Band World), these four astonishing musicians come together to perform both lyrical and high-octane works, creating a distinctive and new take on chamber music.

Read more on A4 Brass Quartet’s CMF Artist page


Helen Charlston

Hailed as a “rather special mezzo” (MusicWeb International), Helen Charlston’s warm and distinctive tone has cemented her as a key performer in the next generation of British singers. She received first prize in the 2018 Handel Singing Competition and she will make her debut with the Royal Liverpool Philharmonic in the upcoming season.

Read more on Helen’s CMF Artist page


Toby Hughes

Toby Hughes is one of the UK’s leading double bass soloists. A true virtuoso, Toby has exceeded the perceived limitations of his instrument by being the first double bassist to win the Bromsgrove International Music Competition. He has performed recitals in venues such as Wigmore Hall, Edinburgh International Festival, Queen Elizabeth Hall, and St Martin in the Fields.

Read more on Toby’s CMF Artist page


Ariana Kashefi

British cellist Ariana Kashefi has a wealth of experience performing solo and chamber music in venues including the Royal Albert Hall, Wigmore Hall, and Pierre Boulez Saal. Ariana is a recipient of the Royal Philharmonic Society’s Julius Isserlis Scholarship and frequently performs as a soloist with orchestras. This season includes concertos with the Narva Symphony Orchestra (Estonia), North London Symphony Orchestra, and the Janus Ensemble.

Read more on A4 Ariana’s CMF Artist page


Tom Millar

Tom Millar is a London-based pianist, composer, and bandleader. With his own quartet, he has performed at venues such as Wigmore Hall, Pizza Express Jazz Club (Soho), Vortex, 606 Club, KKL Lucerne, and the Paul Klee Centre (Switzerland), as well as at the London Jazz Festival. His debut album, Unnatural Events, was launched in 2017.

Read more on Tom’s CMF Artist page


Emily Sun

Equally at home in recital and in front of an orchestra, Australian violinist Emily Sun was the winner of the 2018 ABC Young Performers Award, which will see her perform concertos with the Melbourne, Sydney, and Adelaide Symphony Orchestras in the coming seasons. Performance highlights include performance of Bach’s Double Violin Concerto with Maxim Vengerov at Buckingham Palace, as well as recitals at Tchaikovsky Great Hall Moscow, Tel Aviv Opera, Auditorium du Louvre, and Wigmore Hall.

Read more on Emily’s CMF Artist page

Photography © Benjamin Ealovega

How time flies! Abner Jairo Ortiz García, our second Mexican International Scholar, has now to come to the end of his time in London with CMF.

To mark the end of his stay we organised for Jairo to give a recital at the Residence of the Mexican Ambassador, which provided the perfect opportunity to reflect on everything that he’s learned and achieved during his time with us.

Jairo’s CMF experience

CMF recognises the importance of international experience in the development of young artists’ careers and are proud of the status of London in the musical world. This programme, sponsored by Anglo Arts (part of The Anglo Mexican Foundation), gives CMF the chance to extend these opportunities and networks to a musician from outside Europe.

For the last six weeks Jairo has been enjoying a condensed version our innovative CMF Artist Programme, a packed schedule of performances, mentoring, and creating professional promotional materials.

During his stay Jairo gave four public recitals. The first, his London debut, formed part of our Day of Music at St Bart’s Hospital; next Jairo performed at the V&A in connection with the Frida Kahlo exhibition (an event sponsored by Anglo Arts); he gave one of five lunchtime concerts in our annual Summer Residency at The Wallace Collection; and shortly before leaving, Jairo gave a recital at All Saints Tooting, the church he’d been using for practice throughout his stay.

As well as performances Jairo took part in professional development workshops, met with a host of artistic and business mentors, saw world-class artists perform in some of London’s top venues, received lessons from renowned Swedish cellist Mats Lidström, had a photo/video shoot, and his brand new website and EP are currently in production. Jairo also traveled to Paris to take part in a side-by-side workshop with leading period-instrument ensemble Les Siècles (conducted by François-Xavier Roth). 

jairo barts
jairo barts

Jairo performing in St Bart’s the Less

jairo V&A
jairo V&A

Jairo entertaining the café at The V&A


Jairo signing autographs at The Wallace Collection

jairo tooting
jairo tooting

Jairo introducing his concert in All Saints Tooting


Back at the Residence of the Mexican Ambassador… after introductions from the Ambassador himself, Julián Ventura (left) and CMF founder, Sir Roger Gifford (right), guests were treated to an exclusive preview of Jairo’s new videos. These videos are perhaps the most significant or certainly the most lasting part of Jairo’s CMF experience. Filmed and produced by Ian Dingle (DH&Co), they will be an invaluable marketing tool for Jairo in the years to come.

He chose to record two works for solo cello:
Johann Sebastian Bach (1685-1750) – Courante from Cello Suite No. 4 in E flat major
Benjamin Britten (1913-1976) – Tema ‘Sacher’ (1976)

These two videos will be released on Tuesday 21st August at midday.

After the videos were shown, Jairo gave a recital with accordionist Bartosz Glowacki (2016 CMF Artist). His programme was both a tribute to the UK – with music by Purcell, Elgar, and Bridge – as well as a celebration of South American music by Eugenio Toussaint and Astor Piazzolla. For the last piece, a traditional Mexican song, the pair were joined by Israel Moreno, a guitarrón player!

We’re very sad to see Jairo to go. His ability to leave a lasting impression on everyone he meets, not least his audiences, is a quality which will sustain him through his career. On leaving us, Jairo has traveled to Poland to give two recitals in Warsaw before returning to France to rejoin Les Siècles (conducted by François-Xavier Roth) for a performance of Berlioz’s Requiem.

From September 2018 Jairo will begin the second year of his Master’s programme at Dusquesne University, Pittsburgh. Armed with these new experiences and tools, we’ve no doubt that Jairo’s career will flourish in the years to come!

Continuing our relationship with The Hospital Church of St Bartholomew the Less, from Wednesday 19th September we will be presenting CMF Artists in a series of monthly lunchtime recitals, which will run throughout the 2018-19 season.

Under the stunning octagonal ceiling of this ancient church (situated within the grounds of St Bartholomew’s Hospital, EC1A 7DS) we will be showcasing some of our newest CMF Artists, many of whom are yet to be announced! In fact, the first recital will act as a launch event for the whole series as our 2018 CMF Artists begin their time on the scheme.

Wednesday 19th September 2018
Lotte Betts-Dean (mezzo-soprano)
Andrey Lebedev (guitar)
Dowland, Britten, Brett Dean, & Manuel de Falla

Wednesday 17th October 2018
Gwenllian Llyr (harp)
Debussy, Henriette Renié, and a trio of Welsh composers

Recitals from November 2018 to April 2019 will be announced in September 2018.

Wednesday 19th September 2018

The first recital on Wednesday 19th September will be given by mezzo-soprano Lotte Betts-Dean (2017 CMF Artist) and guitarist Andrey Lebedev (2015 CMF Artist). Alongside flourishing solo careers, this acclaimed duo perform together regularly around the UK and beyond. After performing at the 2017 Buxton International Festival the duo were hailed by The Guardian as, “an unexpected highlight”, and praised for their “irrepressible sense of drama and extraordinary self-assurance”. In recent seasons they have also performed at Gower Festival, Lewes Festival of Song, Brickwall Music Society, and toured their native Australia taking in Melbourne, Sydney, Adelaide, Canberra, and Mildura Summer Festival.

Their programme will include songs by Dowland, Britten, Brett Dean, Manuel de Falla, as well as some toe-tapping ‘bossa nova’ tunes.

Wednesday 17th October 2018

On Wednesday 17th October harpist Gwenllian Llyr (2017 CMF Artist) gives a solo recital showcasing music by Welsh composers William Matthias, Haldon Evans, and Grace Williams, as well as Debussy, Scriabin, Liszt, and French harpist/composer Henriette Renié.

A former prize-winner at the USA International Harp Competition, Gwenllian has performed at prestigious venues such as Carnegie Hall and St David’s Hall. After graduating with first-class honours from the Royal Welsh College of Music and Drama, Gwenllian moved to New York to study at The Juilliard School, where she awarded the William Schuman prize for outstanding achievement and leadership in music. She was later the first to complete an Advanced Diploma in Harp at the Royal Academy of Music in London.

Join us on Wednesday 19th September for the launch of this new series and the first recital. All recitals are free with a retiring collection.

Ahead of their concerts at Lake District Summer Music (LDSM) at the end of month, the Eblana String Trio will perform live on BBC Radio 3’s In Tune on Tuesday 24th July.

Since its formation in 2006, the Eblana String Trio has been performing regularly at music festivals throughout the UK and beyond; at LDSM the Trio will give two concerts and a masterclass to emerging piano trio, the Mithras Piano Trio.

The day before their radio appearance, the Eblana String Trio give the first concert of our Summer Residency at The Wallace Collection (23-27th July).


Three weeks ago, cellist Abner Jairo Ortiz García, our second CMF Mexican International Scholar (sponsored by Anglo Arts), arrived in London for his six-week CMF experience.

Now halfway through his time with us, Jairo has (so far!): made his London recital debut as part of our Day of Music at St Bart’s Hospital (pictured below), attended a workshop on networking, met with a number of inspirational mentors, received lessons from leading cellist and teacher Mats Lidström, had a photo and video shoot with Ian Dingle (pictured above), and he’s been to Paris and back! On Friday 13th Jairo returned (safely!) from Paris where he was taking part in a four-day workshop with leading French period-instrument ensemble, Les Siècles (conducted by François-Xavier Roth).

Jairo’s upcoming performances:

Monday 16th July, 3pm
V&A Café
Jairo performs at the V&A as part of the Frida Kahlo Exhibition (sponsored by Anglo Arts)

Wednesday 25th July, 1pm
The Wallace Collection

Jairo gives a lunchtime concert as part of our Summer Residency at The Wallace Collection.
His programme includes works by Schubert, Britten, and Arturo Márquez.

Watch this space for the release of his videos and publicity photos…

On 28th June 2018 we brought a Day of Music to St Bartholomew’s Hospital. Three events in three historic spaces around the hospital grounds.

We started the day with a lunchtime recital in The Hospital Church of St Bartholomew the Less, or ‘the less’ as it’s known. Performing under its stunning octagonal ceiling, Mexican cellist Abner Jairo Ortiz García played to packed pews with fellow CMF Artist, pianist Mihai Ritivoiu. Jairo is our second CMF Mexican International Scholar and this concert (his London debut) formed part of his six-week CMF experience, which also includes professional development workshops, a photo shoot, creating a promotional video and bespoke website, and individual artistic and business mentoring. We’ve even organised a trip to Paris!

As the recital drew to a close, the stage was nearly set for an afternoon of outdoor jazz. As well as historic churches, halls, and museums, the hospital is blessed with a large leafy square; over the years we’ve had great success with outdoor music – both at the City Beerfest and Live in the Churchyard on Cheapside) – so it was a no-brainer to bring jazz to the Hospital Square. Hot off the back of his first UK tour and the release of his debut EP, saxophonist Alex Hitchcock (2017 CMF Artist) entertained patients, hospital workers, local workers, and passers-by with three sets of standards and original compositions.

As the sun began to disappear behind the hospital walls and the shadows began to grow, an intrepid audience arrived for the third and final event of the day: Death Speaks. This our sold-out headline event, was the brainchild of mezzo-soprano Lotte Betts-Dean (2017 CMF Artist) and guitarist Andrey Lebedev (2015 CMF Artist), one which couldn’t have been more suited to its venue: Barts Pathology Museum. Situated at the top of the hospital and not often open to the public, The Pathology Museum (part of Queen Mary University of London) is a Grade II Listed Medical Museum, which houses over 5000 medical specimens displayed over two mezzanine levels.

Surrounded by these vivid reminders of our mortality, Death Speaks presented an evening of music musing on the end, the one certainty in life; the one thing about which we know the least. Leaving very few musical stones unturned, the programme meandered through folk song, lute song, lieder, indie rock, and baroque opera before winding up at the evening’s namesake. The performance culminated in death speaks, a haunting song cycle by Pulitzer Prize-winning composer David Lang. Premiered alongside his acclaimed the little match girl passion (a fusion of Hans Christian Andersen’s short story and Bach’s St Matthew Passion), death speaks continues its moving comparison between the worlds of the living and the dead. Revisiting Andersen’s tale, Lang was reminded of the frequent occurrence of Death as a character in the songs of Franz Schubert (e.g. Death and the Maiden). In an attempt to create a fuller picture of this elusive being, Lang scoured every single Schubert song text, compiling every instance of when Death speaks. After roughly translating and trimming passages from 32 songs, Lang assembled them to create these five songs.

To transform the museum into a concert venue we brought in a stage, sound equipment and lighting; the lighting in particular played a key role in creating an immersive musical experience. One of the many things which makes the museum unusual is its glass ceiling. As a result the evening had the palpable sense of a journey, from light to dark, from day to night; a journey from life to death.
This concert, this whole of day is just the beginning of CMF’s relationship with the hospital and The Hospital Church of St Bartholomew the Less. CMF has been looking for its own space, its own home for some time, a place to host our many core activities (concerts, workshops, rehearsals etc.) and our office. CMF is currently exploring – with the Parish of Great St Bartholomew and other stakeholders – the possibility of making St Bartholomew the Less our permanent home in the City of London. Watch this space for announcements about this and our 2018-19 concert season!

On 24th June, cellist Abner Jairo Ortiz García, our second Mexican International Scholar, arrived in London for his CMF experience.

CMF recognises the importance of international experience in the development of young artists’ careers and are proud of the status of London in the musical world. The CMF International Artist Programme gives us the chance to extend these opportunities and networks to a musician from outside Europe.

A UK Mexican Scholarship Programme was the first such collaboration and was organised with Anglo Arts (part of The Anglo Mexican Foundation) in conjunction with the Secretaría de Cultura of Mexico. It was launched as part of the UK Mexico Year of Culture 2015.

The first scholar, marimba player Eusebio Sànchez spent two six-week periods in London in 2015 and 2016, benefiting from many aspects of the CMF Artist Programme. Jairo, like Eusebio, will be spending much of the summer here in London.

During his stay Jairo will give two public recitals. The first, his London debut, forms part of our Day of Music at St Bart’s Hospital (Thursday 28th June), and in just under a month’s time he’ll give one of five lunchtime concerts in our Summer Residency at The Wallace Collection (23rd-27th July).

As well as performances, Jairo will take part in professional development workshops, have a photo shoot, create a promotional video and bespoke website, and enjoy individual artistic and business mentoring.

We’ve also arranged for Jairo to take in the London music scene with concerts at Wigmore Hall, Cadogan Hall, and the BBC Proms. He’s also taking a short trip to Paris to participate in an historical performance workshop.

Please support Jairo by attending one or both of his concerts; they are both free!

Thursday 28th June, 1.15pm
The Hospital Church of St Bartholomew the Less

Abner Jairo Ortiz Garcia (cello)
Mihai Ritivoiu (piano)

Programme to include works by Haydn, Schubert, and Vaughan Williams

Wednesday 25th July, 1pm
The Wallace Collection

Abner Jairo Ortiz Garcia (cello)
Maksim Štšura (piano)

Programme to include works by Bach, Britten, and Arturo Márquez

More information about our International Artist Programme

“There is a simplicity and directness to David Lang’s music that draws the listener in immediately” – Lotte Betts-Dean

As part of our day of music at St Bartholomew’s Hospital on Thursday 28th June, we’re bringing David Lang’s haunting song cycle death speaks to The Pathology Museum (part of Queen Mary University of London). As the title suggests, this piece gives death a human voice, but how did Lang approach bringing this unimaginable character to life? What does death sound like? Do we talk enough about death as a society?

Here to answer all these questions and more is CMF Artist Lotte Betts-Dean (mezzo-soprano), who’ll be performing Lang’s songs as well as works by Schubert, Dowland, and Brett Dean.

The New York Times wrote that “death speaks connects the dots between Romantic morbidity and emo rock.” Can you help us understand what they meant?

The piece is heavily influenced by the massive song catalogue of Franz Schubert. In particular, Lang was fascinated by the omnipresence of death in Schubert’s songs, and perhaps how Schubert grappled with his own mortality through his writing and choice of texts. Lang has drawn on several death-themed texts Schubert used and constructed his own versions of them for this piece, creating, as Pitchfork neatly called the set, “stem cells of Schubert songs”. By weaving the “romantic morbidity” inherent in these 19th century texts into a sound world that is leaning towards what the NYT dubs “emo rock”, a sub-genre characterized by an emphasis on emotional expression, Lang has created an incredibly effective musical fabric using these two unlikely partners. They have a lot more in common than one might think!

What is it that makes David Lang’s music so captivating?

There is a simplicity and directness to David Lang’s music that draws the listener in immediately. He is known as a hip post-minimalist composer, but in a way his more recent vocal writing also has a lot in common with early music and madrigals, which creates this other-worldly space that feels both incredibly current yet also timeless.

This is only the second piece of his I have performed – my first encounter with his music was last October at a brilliant little festival in Port Fairy, Australia, where I was lucky enough to sing his incredible Pulitzer Prize-winning the little match girl passion, a work for four percussion-playing singers. It’s fitting that my next venture with Lang’s music should be death speaks, a work which was originally written to accompany the little match girl passion.

death speaks is written for piano, guitar, violin and voice; are you looking forward to working with this slightly unusual line-up?

Very much so! I’ve never sung anything with this lineup before, which is funny considering how much I have performed with each instrument individually. Of course other pieces on the program involve solo works or works for the voice with individual instruments, but Lang’s death speaks brings us all together. What makes this more exciting is that for the Lang, all instruments are amplified and in the case of the guitar, requires an electric instrument. It’s been a very long time since I have sung with an electric guitar so I am looking forward to getting back to my roots of singing with bands. Speaking of which, I am really excited to include on this program a few covers of songs by my favourite band, Radiohead, whose devastatingly beautiful lyrics and songwriting, particularly surrounding the ideas of transience and death, still leave me breathless.

What have you chosen to perform alongside death speaks and why?

Alongside the aforementioned Radiohead numbers – which shall remain nameless until the evening, but I can promise they are some of the best! – Andrey Lebedev (guitarist) and I have devised a program that spans several centuries of music for guitar, voice, violin and piano, all of which deals with the idea of death in some way. From the 16th-18th centuries, we have two early English perspectives on death with songs by Dowland and Dido’s Lament from Purcell’s Dido and Aeneas, in which Dido faces her own mortality in the moment of dying, and a solo guitar version Bach’s stunning and funereal Chaconne from the Violin Partita No. 2.

It would be remiss of us not to include Schubert, considering his music was the inspiration behind Lang’s “death speaks”, so Andrey and I will perform guitar arrangements of some of the extraordinary songs Lang drew text from, as well as his quintessential conversation with Death himself, Der Tod und das Mädchen.

From Ravel’s astonishingly challenging solo piano work Gaspard de la nuit, we have the haunting imagery of a hanged man in ‘Le gibet’, based on the incredible Bertrand poem of the same name.

Moving into the modern, we present three strikingly existential excerpts of György Kurtág’s Kafka Fragments for violin and voice, and Brett Dean’s Gertrude Fragments for voice and guitar, which was written for Andrey and myself in 2016 and offers a glimpse into the character of Gertrude in Shakespeare’s Hamlet as she witnesses her son’s demise.

We have a few other surprises up our sleeves too, and we promise it’s not all doom and gloom. We want this program to represent all elements of death – its darkness, its emptiness and sadness – but also the intangible beauty of its inevitability, the odd comfort in the idea of dust returning to dust.

Finally. Do you think we talk enough about death?

I don’t think we do, no. Death can be an uncomfortable thing to talk about, let alone program an entire concert about. We don’t really understand it, it’s impossible to know how it feels or what happens afterwards, and the idea of one’s consciousness being extinguished is strange, if not terrifying. We fear what we don’t know. But it is, after all, the only certain thing we face in this life, so there’s no need to be afraid of talking about it more. I think in talking about it, confronting it and finding the lightness in it, it becomes less uncomfortable to think about.

We have composers on this program who are very much alive, like Lang, Dean, and Kurtág, and composers who died well before their time, like Schubert and Purcell – each of them offers a different perspective on death and transience.

This concert is an attempt for performers and audience alike to look straight at death and not be afraid. If anything, it becomes a celebration of life. As Eric Idle muses from his crucifix at the end of Life Of Brian, “you know, you come from nothing, you’re going back to nothing, what have you lost? Nothing!”

Buy your tickets here

Death Speaks
Barts Pathology Museum
Thursday 28th June 8pm
Tickets: £15 (includes refreshments)
Doors from 7.15pm

Lotte Betts-Dean* (mezzo soprano)
Andrey Lebedev* (guitar)
Iona Allan (violin)
Joe Havlat (piano)

* denotes CMF Artist

A hospital may not seem like the most obvious music venue, but walk through the Henry VIII gate of St Bart’s Hospital and you’re soon greeted by a stunning 15th-century church tower followed by a large Georgian square. Journey further in and you’ll discover the hospital’s hidden gem, the Barts Pathology Museum.

On Thursday 28th June, City Music Foundation presents a day of music at St Bartholomew’s Hospital. Using all three of these very different venues, the day includes three musical events, all performed by CMF Artists.

Lunchtime Recital (free)
The Hospital Church of St Bartholomew the Less

Abner Jairo Ortiz Garcia (cello)
Mihai Ritivoiu (piano)

Jazz in the Square (free)
St Bart’s Hospital Square

Alex Hitchcock (tenor sax)
Will Barry (keyboard)
Dan Casimir (bass)
Will Glaser (drums)

Death Speaks (£15)
Barts Pathology Museum  

Lotte Betts-Dean (mezzo-soprano)
Andrey Lebedev (guitar)
Iona Allan (violin)

Lunchtime Recital (free)

In April 2018, cellist Abner Jairo Ortiz Garcia was selected to be the second CMF Mexican International Scholar. Jairo makes his London debut in this lunchtime recital at The Hospital Church of St Bartholomew the Less with pianist Mihai Ritivoiu.

Jairo won First Prize at the National Cello Competition of Mexico in 2014 and has performed at the Cervantino Festival (Mexico), the Piatigorsky International Cello Festival (Los Angeles), and Young Euro Classic (Berlin); he is currently studying in Pittsburgh (USA). Ritivoiu is busy as both a solo and chamber pianist working throughout the UK and Europe. Recent and upcoming highlights include Shostakovich’s Piano Concerto No. 2 with the English Chamber Orchestra at Cadogan Hall and a recital with cellist Yoanna Prodanova at the St Magnus International Festival.


Henry Eccles Cello Sonata in G minor
Haydn Cello Concerto in D Major – I. Allegro Moderato
Schubert Arpeggione Sonata in A minor, D. 821 – I. Allegro Moderato
Vaughan Williams Six Studies in English Folk Song
David Popper Hungarian Rhapsody, Op. 68

Tickets available here

Jazz in the Square (free)

Described as “one to watch” (Jazzwise Magazine) and “a fantastic talent” (Helen Mayhew, Jazz FM), Alex Hitchcock is already widely celebrated as a leading saxophonist and bandleader. Hot off the back of his first UK tour and the release of his debut EP, Hitchcock is joined by three of his regular collaborators  for an afternoon of jazz in the hospital square.

Alex Hitchcock (tenor sax)
Will Barry (keyboard)
Dan Casimir (bass)
Will Glaser (drums)

Death Speaks (£15)

In death speaks, Pulitzer Prize-winning composer David Lang gives Death a human voice.

Premiered alongside his acclaimed little match girl passion, this haunting song cycle continues its moving comparison between the worlds of the living and the dead. With lyrics drawn solely from the songs of Franz Schubert, who personified Death numerous times, Lang “connects the dots between Romantic morbidity and emo rock” (The New York Times). death speaks is paired with songs and instrumental numbers by Dowland, Ravel, JS Bach, Kurtág and Jonny Greenwood, as well as by Schubert himself.

The performers include two City Music Foundation Artists: Lotte Betts-Dean (mezzo-soprano) and Andrey Lebedev (guitar). Not often open to the public, Barts Pathology Museum is a Victorian gallery hidden at the top of St Bartholomew’s Hospital; it houses over 5000 medical specimens displayed over 3 mezzanine levels.

Tickets available here

City Music Foundation and St Bart’s

CMF has been looking for its own space for some time, a place to host our many core activities (concerts, workshops, rehearsals etc.) and our office. CMF is currently exploring – with the Parish of Great St Bartholomew and other stakeholders – the possibility of making St Bartholomew the Less its permanent home in the City of London.

We are committed to protecting the privacy of your personal data. We will respect any personal data you share with us and keep it safe. We aim to be clear when we collect your personal data and not do anything you wouldn’t reasonably expect.

Please read this Policy carefully to understand our practices regarding your personal data and how we will collect, use and store your personal data.  We may update this policy from time to time so please check it regularly. If there are significant updates, we will inform those people with whom we are in regular contact.

Who we are

CMF or City Music Foundation refers to registered charity number 1148641 (with The Charity Commission) and company number 08133744 (Companies House).

CMF’s registered address is: Church House, Cloth Fair, London EC1A 7JQ

Reason for this new policy

This new data handling and privacy policy is on the occasion of the direct application, effective on the 25th of May 2018, of the European Parliament Regulation (EU) 2016/679 and the Council of the 27th of April 2016, on the protection of individuals with regard to the processing of personal data and on the free movement of such data (GDPR).

The policy applies to the head office of CMF and any branches, and all staff and volunteers working with us in accordance with GDPR 2018. The Trustees and Board of Directors of CMF are ultimately responsible for ensuring that data is collected, stored and handled correctly.

We are in the process of checking and where necessary changing our internal systems and protocols in order to adapt to the new regulations and comply with the requirements established by the GDPR.

Managing Director – responsibilities

To draw up and regularly review the Data Protection and Privacy Policy and update as necessary.

To ensure CMF staff and volunteers are aware of the policy, and what it means to them in their working practice.

To ensure that all necessary steps are taken to ensure CMF complies with the new regulations in terms of collection, storage and confidentiality of data.

To deal with questions from staff and other individuals about their data, and with requests to see the data held about them.

What personal data we collect and the purposes for which we use it

Some examples of the type of information we may collect and hold about you are as follows:

  • your full name and your title, and an indication of the gender that you most closely identify with
  • birth date or a relevant age range
  • postal address
  • telephone number(s)
  • email address(es)
  • records of your correspondence with us on paper and email, social media, text message.
  • donation and gift aid details (if you donate to us)
  • dietary, accessibility, and mobility information
  • photographs and digital images and videos of individuals (usually attending CMF events)
  • your relationship with CMF for example music industry professional, CMF artist, applicant to CMF Artists Programme, audience member, friend, donor (financially or in-kind), mentor, workshop contributor, or other interested person.

But we may also occasionally collect, hold and process other personal data where it is appropriate and relevant, for example:

  • details of why and how you have decided to support/contact us and how you may have heard about us and the work that we do
  • details of how you would like to be involved and what you intend to do with any information we provide about CMF
  • personal data about you that will enable us to be more precise in how we approach you in future
  • for purely business and events-related reasons, so we can managing relationships with third party and partner organisations, as well as with suppliers and external service providers

We will only process sensitive personal data also known as special categories of data (e.g. in relation to your health), with your explicit consent, for reasons of substantial public interests or where necessary for the establishment, exercise or defence of legal claims.

How and why will we use this personal data

  • To provide you with the information, product or service you have requested from us, including such things as relevant music news, CMF updates, CMF artist news, concerts and events information and ticketing, other specific events that we run, merchandise, new CDs or videos being released, responding to your enquiries and requests.
  • To tell you about our work and our fundraising activities and specific campaigns.
  • To provide you with other information which we feel may interest you of broader interest, questionnaires or surveys, opportunities and requests for help or support, and details of any promotions and competitions we are running. We may also send you details of events we think you may be interested in attending

Also to:

  • administer all aspects of being a patron or mentor or judge or workshop leader of CMF
  • deal with any membership of friends schemes of CMF
  • deal with enquires about and process applications to CMF
  • keep a record of our relationship with you
  • improve how we communicate with you, how we fundraise, and how we operate more generally
  • keep in contact with you in the ways that you have requested or agreed to
  • personalise our services and communications to you (for example, to ensure that they take into account your age, location and previous involvement with CMF)
  • provide you with information about carefully selected third party events, products, campaigns and competitions especially involving CMF artists, patrons and other connected people, where we are permitted to do so
  • notify you about changes to our services
  • administer and process payments you make for products, services and charitable donations made
  • verify your identity where required to use some of our services and benefits
  • comply with applicable laws and regulations and requests from statutory agencies including for such purposes as health and safety; the detection and prevention of crime and safeguarding
  • carry out any obligations or provide you with any other services, functionality or content which you specifically request or agree to



Charitable giving is very important to CMF’s ability to achieve its mission.  We carry out a wide variety of marketing activities to seek individuals’ support for our work, ranging from appeals for small one-off donations, to large donations to support our core activities, to large fundraising initiatives for specific projects, such as building renovations.  We want to ensure that we are contacting you with tailored and appropriate communications, and ensure we direct our resources and fundraising activities as efficiently and effectively as we can.  We also want to communicate with you from time to time to thank you for your support and tell you what we have achieved with the help of your donation.

Since we were founded in 2012 CMF has relied on individual donations as well as trusts and foundations and businesses to support both our recurrent costs and for new projects. In order that our fundraising is appropriate, respectful, efficient and effective, we tailor our approaches to different people in different ways. We use information you have given us, sometimes together with data we collect from publicly available sources, to help us decide how best to do this.

For a small number of people, we may undertake research using publicly available information relating to philanthropic activities, wealth and capacity to give, to create a profile of interests and preferences.  This helps us understand the background of the people who we believe may be willing to attend events and enter into a dialogue with us to learn more about supporting our work and organisation.  Ultimately it helps us to ensure that proactive requests for gifts are directed to only those who we believe may be able and willing to give. This information is collected from public sources such as news articles, Companies House, the Charity Commission, Who’s Who as well as specialist charity research sources such as

If we do collect such information about you, whether jointly or on our own, we will inform you in order to provide you with an opportunity to opt out of your data being used for these purposes. You can also opt out by emailing us on


We also have an obligation to ensure we are undertaking appropriate due diligence on potential donors, in accordance with guidelines set out by the Charity Commission and the Fundraising Regulator, and we may collect information from the public domain information for this purpose too.


What lawful bases do we rely on to use your personal data?

Through consent:

Where you will have provided your consent to us using your personal data for a specific purpose:

  • We will ask for your consent to use your personal data to send you emails.
  • You always have the right to withdraw your consent at any time.

For working or contractual relationships:

For example, if you apply to be a CMF artist, or support us as a patron, or help in our selection process, or with mentoring or with workshops or any other support of CMF’s core mission, if you purchase something from us (e.g. CDs), or join a membership scheme, or enter any other relationship with us, we will require your personal data to enable us to perform our agreement.

To comply with a legal obligation:

This would include where we have to retain certain records, for example, to manage health and safety, for the detection and prevention of crime, safeguarding obligations, to ensure we comply with marketing laws, for tax reasons (such as those related to gift aid donations) and undertaking due diligence before accepting certain donations or entering into certain relationships.

When it is within our legitimate interests:

Applicable law allows personal data to be collected and used if it is reasonably necessary for our legitimate interests or a third party’s legitimate interests (as long as the processing is fair, balanced and does not unduly impact individuals’ rights).  We will rely on this ground to process your personal data when it is not practical or appropriate to ask for your consent, and where we are confident that this will not impact your rights.

Our legitimate interests include raising funds for a wide range of activities to support our charitable objectives, ranging from recitals and concerts, other musical events, recording and filming, website development, dissemination of information on what we do, attracting applicants to the scheme, the selection process, education, mentoring, workshops, publications and many other activities. We also have a legitimate interest in publicity and income generation, campaigning and fundraising in order to support these objectives and undertaking due diligence to establish the provenance of donations that are made, or may be made, to us.

Where you have provided your details to us, we may contact you by post and phone for certain marketing and fundraising activities as set out above (but we will explain this to you at the point that we collect your details). You can opt out of this activity at any time by emailing us on

We will also rely on our legitimate interests for the proper administration of CMF, and to manage our operations (for example, maintaining appropriate records and databases, for the detection and prevention of crime and safeguarding all those who access our premises and facilities).

When we process your personal data to achieve such legitimate interests, we consider and balance any potential impact on you (both positive and negative), and your rights under data protection laws. We will not use your personal data for activities where our interests are overridden by the impact on you, for example where use would be excessively intrusive (unless, for instance, we are otherwise required or permitted to by law).

How we collect personal data

When you give it to us directly

  • You may give us your personal data when you meet members of CMF staff or volunteers, or board members, or CMF Artists or alumni at CMF events or elsewhere.
  • You might give data in order to receive information from us when you purchase event tickets, or buy recordings, when you join a membership scheme, when you help us in delivering our charitable aims, when you donate to us, or respond to a survey or when you otherwise engage with us on our websites and digital products.
  • You may give us your data when you enquire about or apply for a place on the CMF Artists Programme.

When a third party provides us with your personal data

Your personal data may be shared with us by third parties in certain circumstances. This may include (but is not limited to) ticket agencies that may sell tickets to access CMF events, other musical organisations with whom CMF, or CMF artists, work, schools or hospitals or other institutions who work with us or our artists, mutual contacts who recommend you to us, our partners who may host and run events (or help to run and host events) with us, or who run competitions or prize draws jointly with us.  Where appropriate you should check any Privacy Policy of any third party when you provide your personal data to them in order to understand fully how they will process your personal data.

When you use our websites and digital products

We may collect personal data about you when you use our website and digital products. Whenever you input personal data into our website (for example, if you join a memberships scheme, or otherwise support us through our website we will collect the personal data that you give to us.

We may have links to other websites on our website.  This privacy policy does not cover external websites and we are not responsible for the privacy practices or content of those sites.  We encourage you to read the privacy policies of any external websites you visit.

Communications and marketing

We may contact you by post and telephone, and, where you have provided consent, by e-mail, to let you know about our events and activities (and we may also mention those of third parties, particularly where they are collaborating with us or sponsoring our events) that might be of particular interest to you; offers and promotions, or about the work of CMF more generally; and to request donations and provide you with information about and the opportunity to participate in our fundraising activities.  We provide the opportunity for you to opt-out from receiving our marketing communications every time we contact you.

In addition you can opt-out from receiving our marketing communications, or update your contact preferences at any time by emailing:

Data sharing

We do not sell your information under any circumstances.  We may from time to time share your personal data with third where we are embarking upon a joint musical venture or a joint fundraising project. However, we will only ever do this where you have given us permission to do so.

We may also, in certain circumstances, receive your details from charitable giving platforms such as Just Giving or CAF Donate, in accordance with a particular platform’s privacy policy. For example, where you donate to CMF through an online platform, they may then give us your address so that we can write to you and say thank you. Please do review any such policies before giving your data to these platforms, to ensure that you are happy for your data to be shared in this way.

We may need to disclose your personal data upon request to regulatory and government bodies as well as law enforcement agencies.

Unfortunately, the transmission of personal data via the internet is not completely secure.  Although we will do our best to protect your personal data, we cannot guarantee the security of your personal data transmitted to or via our websites and digital products; any transmission is at your own risk.

How we keep your personal data safe and who has access to it

We are committed to ensuring that there are appropriate controls in place to protect your personal data including protection from misuse and unauthorised access.  Data is stored on our network, and in cloud storage and Mailchimp and email servers, which are safeguarded. It is also stored in electronic files on hard drives and sometimes on paper.

Your information is only accessible by staff, volunteers and contractors who are bound by appropriate policies and procedures to protect your information

Your rights

  1. Rights to find out what data we hold on you
  2. Right to request removal of all information about me

Please note that you may only use/ benefit from some of the following rights in limited circumstances.  For more information, we suggest that you consult guidance from the Information Commissioner’s Office (ICO) –  – or please contact us using the details below.

Right to restrict processing

In certain circumstances as outlined in the ICO guidance referred to above, you have a right to require us to stop processing your personal data in a particular way.

Right to erasure

You have the right to request that your personal data is erased from our records in certain circumstances.

Right of access

You have a right to ask for a copy of the personal data we hold about you.  If you want to access your personal data, please send a description of the personal data you want to see and proof of your identity by post to Managing Director, City Music Foundation, Church House, Cloth Fair, London EC1A 7JQ.

Right to rectification

We also want to make sure that your personal data is accurate and up to date.  Please let us know if your details change.  You may also ask us to correct or remove personal data which is inaccurate.

Right to object

You can also opt-out of receiving all or some of our marketing/ fundraising communications or request that we stop processing personal data about you for certain purposes at any time by contacting us using the details below.

Right to data portability

In certain circumstances you have a right to data portability which means we will provide you (or a third party you nominate) with your personal data in a structured, commonly used and machine-readable format.


If you are unhappy with the way in which we have handled your personal data please contact us using the details below.

You are also entitled to make a complaint to the Information Commissioner’s Office.  For further information see the Information Commissioner’s guidance here:

Data retention

We keep personal data for as long as there is a need to keep it in connection with the purposes for which it was collected.  We may keep your personal data after a particular matter or exchange has concluded but purely for record keeping purposes and to be able to respond to queries.  In some cases, we are also obliged to retain your personal data to comply with legal or statutory obligations (for example, to keep records of contractual or financial matters).

Whilst the specific time periods vary depending on the circumstances, in general we will not keep records that include personal data for more than 10 years after a particular matter or exchange has concluded.  In the event that you ask us to stop sending you marketing communications, we will retain certain details, such as your name and email address, but only to ensure that you are not contacted again.


For all enquiries in respect of this privacy policy, please contact Managing Director, City Music Foundation, Church House, Cloth Fair, London EC1A 7JQ.



Websites and digital products

In this policy “websites and digital products” refers to all CMF websites, including the primary CMF website found at , and all our digital products, such as email, applications and digital channels, including social media.


Changes to this privacy policy

We keep our privacy policy under regular review.  This privacy policy was last updated in May 2018.

We’re delighted to announce that CMF has been chosen as the recipient of this year’s Rhinegold Charity Fund. 

CMF will receive £10,000 worth of advertising to spend across Rhinegold’s flagship classical music publications and websites, including Classical MusicOpera Now and Music Teacher, as well as marketing, design and account management support from Rhinegold.

Dr Clare Taylor, CMF managing director, said: ‘CMF is very proud to receive this endorsement from the Rhinegold Charity Fund. Thank you so much! The Musicians’ Union has just published more data on how classical musicians still struggle to earn a living from performing. Being brilliant on its own is not enough to succeed in the 21st century – life skills, understanding the “business of music”, getting noticed, and developing networks within the industry are all essential. This award will help us to continue with our mission of “turning talent into success” for exceptional young professional musicians.’

Stephen Turvey, chairman of the Rhinegold Charity Fund, said: ‘CMF provides a unique service to the outstanding musicians on its programme. It operates with stand-out professionalism and teaches invaluable skills on how to turn fantastic talent into a rewarding and financially successful career. I’ve seen and heard the fruits of their work first hand at Rhinegold LIVE and other concerts and can only encourage anyone not yet familiar with CMF’s work to do the same.’

Previous recipients of the fund include Orchestras Live, Southbank Sinfonia, the Young Classical Artists Trust, Live Music Now and Pro Corda Trust.

Full article on Rhinegold website

An interview with Tabea Debus

Recorder player Tabea Debus launches her third album XXIV Fantasie per il Flauto on 10th April 2018

Commissioning new music is not an everyday occurrence. It takes time and careful planning and there’s still risk involved; there’s no guarantee you’ll get what you want at the end of it!

In 2017, CMF worked closely with Tabea Debus to commission thirteen new works from thirteen leading contemporary composers. Commissioning so many new works at once is a rarity in itself, but when you consider that these are works for solo recorder – an instrument often pigeon-holed in the early-music world – the project is all the more remarkable.

XXIV Fantasie per il Flauto is the culmination of a two-year project, one that was instigated by Tabea’s wish to celebrate the 250th anniversary of the death of her Baroque hero, Georg Philipp Telemann, whose Twelve Fantasias for Unaccompanied Flute is one of the stalwarts of the recorder repertoire.

The album presents a complete recording of Telemann’s Twelve Fantasias interspersed with twelve of these new works, each of which is a response to one of Telemann’s fantasias. The contemporary composers include established names such as Colin Matthews and Ronald Corp, rising stars like Dani Howard and Leo Chadburn, and two CMF alumni: Alastair Penman and Misha Mullov-Abbado (now a BBC Radio 3 New Generation Artist).

Together these 24 (XXIV) fantasias form a rich anthology, a hybrid work almost, which is both a natural extension of Telemann’s own ravenous appetite for new musical styles and a true picture of what it is to be a recorder player in the 21st century.

CMF Artist Manager, Tabitha McGrath caught up with Tabea ahead of the launch at Dr Johnson’s House on Tuesday 10th April.

How did this project come about?

Last year I really wanted to find some way of commemorating Georg Philipp Telemann, who died 250 years ago in 2017. Having always looked for an excuse to play (and learn) all of his twelve flute Fantasias, the idea to combine this with my passion for contemporary music seemed like the perfect project.

Which part of this project has been the most exciting for you?

Meeting and collaborating with all the contributing composers – and of course learning their pieces!

What does Telemann’s music (and in particular his fantasias) mean to you?

A recorder player himself, Telemann writes so well for the instrument! Although technically the Fantasias are composed for the flute rather than the recorder, they are ideal unaccompanied additions to any concert programme. With regards to my project, I’ve particularly enjoyed the freedom that comes with adapting them for the recorder and taking them into the 21st century – especially deciding which size of recorder to use, which tone and which sound colour.

Is it important for musicians to commission?

Absolutely! We are often so busy studying, exploring and playing music from the past that we have to remind ourselves of the importance to support and perform the music of our own time, and the opportunities that come from communicating with living composers! As a recorder player the lack of repertoire from the late-18th and 19th centuries is an encouragement to commission and a chance to add to the fairly limited stack of ‘original’ recorder works.

Have these new commissions taught you anything?

All of them have challenged my own perception of what is and isn’t possible on the recorder. Most of the composers had not written for the recorder before and thus their approach to this unknown territory has been very refreshing, and reminded me of the sheer unlimited possibilities this instrument holds.

What do you hope will be the legacy of this project?

I hope the new pieces will become an important part of many recorder players’ concert programmes and encourage others to develop their own projects and collaborations.

Why did you decide to record these pieces?

Apart from practical reasons (documentation of the project for myself and the composers) the pieces were written for me so I wanted to be the first to record them as well. Additionally, the recording scenario added another aspect to playing the pieces outside concert performances, and it has been really exciting (and challenging) to record my first complete solo album.

Tell us about the recording process – where and how did you record the album?

I only started planning the recording a few months before the actual sessions, so I was lucky it all came together! We had three days of recording sessions in St Mary’s Church in Harrow-on-the-Hill at the end of October; Adam Bunks then had the first edits ready only a couple of weeks later, although it was another three months until the CD was printed.

This is your first solo recorder album – how did the recording experience compare with your ensemble sessions?

In some ways recording a solo disc was much more straightforward than a recording involving a number of players. On the other hand it’s so much more “open”, i.e. every single noise in and outside the venue was immediately audible and so we had to stop much more often than I had anticipated. Finally, due to the nature of the project and commissions, the large number of (12) different recorders required nearly as much logistic planning as a chamber music recording 😉

How did you come to play the recorder?

Coincidence! A friend of mine wanted to have lessons when we were about 6 years old, but didn’t want to go alone. He stopped after a year or so, but I liked it so much I continued with the lessons.

What has been a recent career highlight?

Apart from premiering all the CMF commissions in various solo recitals across England and Germany, I’ve just been on tour with The English Concert to play the recorder obbligato in Händel’s Rinaldo in Seville, Madrid, London and New York!
(Review of the New York performance)

What are you looking forward to in the coming season?

Lots of exciting projects and concerts coming up this summer, including solo recitals presenting my new album, collaborations with La Serenissima, a new contemporary music project with LSO Soundhub and the YCAT finals at Wigmore Hall in May.

This recording and launch will be the culmination of your bespoke project with CMF, has CMF been useful to you?

I couldn’t have done this project without CMF! Firstly it is down to their persistence that we ended up commissioning 13 new pieces (despite my initial hesitations with regards to the right number of new works 🙂 With our combined efforts, we managed to get a stunning array of emerging as well as well established composers on board. The luxury for me was that I only had to think about the musical, playing and creative side of the project as CMF took care of all the administrative and financial aspects, and have continued this invaluable support throughout the project and the CD recording. This project has really helped me create a unique project and define who I am and what I do as a professional musician – and that’s all thanks to the CMF Artist Programme!

If so, what have been the best bits about working with CMF?

They have been super reliable in their support, always patient no matter how small or big the issues were, and most of all focussed on me as an individual musician and the overall aim of creating something personal that would help me achieve the next steps in my career.


Interview with Nico Muhly: “Write for your friends and behave well”

In a few weeks’ time, chamber music will crash against the concrete walls of the Collingwood Underground Carpark. Wedged inside a program of Schumann and Brahms, American composer Nico Muhly’s piece So Many Things will be performed by singer Lotte Betts-Dean and the Penny Quartet as part of this month’s Play On series.

Nico’s musical career has spanned continent and collaboration. The New York-based artist has received commissions from The Metropolitan Opera and Carnegie Hall among others, and has worked on the scores for films such as The Reader and Me, Earl and the Dying Girl. He studied at the Juilliard School and has conducted and edited for Philip Glass himself. His style ranges from American minimalism to the Anglican choral tradition. And we will hear this variety of style and experience in his music this March 23 – but first, we take a few minutes to introduce you to this composer.

Hi Nico! So – Play On. Tell us everything. How do you feel about having your work presented as part of this concert series?

I’m excited! One of the most exciting things for a composer is to write a piece and then see it have ‘legs’, which is to say, have people you don’t actually know well play your music. I’ve met Lotte Betts-Dean for about two seconds a few years ago. One of the things that thrills me about her singing my music is the combination of her devotion to contemporary music, but also the context of this program, which is Brahms and Barber and Schumann. I like when my music sits alongside older music.

Talk us through your piece So Many Things that’s going to be performed at Play On. What’s it all about conceptually, and what can audiences expect musically?

So Many Things is a special project for me; it sandwiches a beautiful, narrative poem by Joyce Carol Oates between two poems by CP Cavafy, in Daniel Mendelsohn’s delicious translations. The resonance between the three poems is, to me, quite moving. It begins rather kinetically and mechanically (it was originally commissioned for American pianist Manny Ax, so I had to give him something to do…!) and then dissolves into abstraction. The Joyce Carol Oates poem, which depicts a woman walking through a plate glass window, is urgent and spikey, and that texture gives way into a drone texture, with very slow-moving harmonies, and ends with the line: ‘…and you’ve been wholly remade into feeling for me’, a glorious apostrophe.

You’ve written for a crazy range of styles, from Anglican choral to American minimalism right through to opera, film, and stage. Amazing. Why have you chosen a path filled with diversity and versatility, rather than carving your own ‘niche’ in a particular style? 

I like doing a lot of different things, but would be, I think, perfectly happy to write just choral music for a year or work on a ballet or opera for a year. If I have a niche, I think it would be to not have one; this week, I am making an arrangement of a folk song for an Icelandic string quartet, editing my most recent opera, starting sketching out a bassoon concerto, and writing a piece of electronic music over which my friend in London is going to sing.

I’ve always thought that working in a variety of ways and context is as helpful as learning how to cook anywhere. If you can make a great meal with one knife and a hot plate, you can make a great one in a huge industrial kitchen, or over a few coals. Writing chamber music teaches you a lot of the skills you need to deploy when writing a film score, which happens in a fraction of the time with an exponential amount more energy and stress. But, in turn, a film score teaches you how to collaborate with a choreographer or rock band.

What advice would you give to young composers today who are looking to start their careers in any area?

There are two:

1) Write for your friends, and

2) Behave well.

The only reason I am doing even remotely well is because I spent the entire time I was in conservatory writing for my friends; a practice that continued through grad school, in the scary few years after, and to this very day. It’s almost never going to be the case that an orchestra is going to call you up at the age of 21 and be like, ‘Write us a symphony!’. In my case, it was writing for my friends — violists, pianists — who would then program my music on their recitals. So instead of being next to other contemporary music in an unintentional competition, the music was contextualised next to Stamitz, Hindemith, Bach…

Your friends can also teach you so much about the intricacies of their instruments, which then translates, down the road, into more confident and secure instrumental writing in any context, from orchestral to an arrangement of a folk song. So, even if your friend plays some weird historical instrument, or the organ, or the bassoon, get in there, and learn everything you can.

The second thing (behave well) is equally important — you need to not sh*t-talk other composers, you need to say ‘please’ and ‘thank you’, you need to act right in rehearsals, you need to learn when to make a comment or let the musicians find their own way to a solution. You need to figure out how detailed you want your scores to be, knowing that most musicians’ first impression of you is going to be on the first page of the part sitting on their music stand. Let your parts reflect as much work on your part as the thousands of hours of practice that got the violinist into that rehearsal room. I cannot tell you how many younger composers I see getting this wrong — expecting musicians to be mind-readers and acting a fool when things don’t go a certain way right from the start!

See Nico’s music performed by the Penny Quartet at Play On. Also featured on the program is singer Lotte Betts-Dean, and Pjenné in a second set. Gig takes place at 8pm March 23 in the Collingwood Underground Carpark. Be sure to pick up a copy of CutCommon’s inaugural print mag while you’re there: this concert is an event featured in our national Roving Launch.


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