February 2016 - Feedback

Double Page Spread - First Draft

The National Youth Orchestra of Great Britain is known to be one of the world’s best collections of young musicians, a grand symphony orchestra of 163 advanced players. The members are between the ages of about 14 to 18, and come together three times a year from across the entirety of the UK. The orchestra itself is larger than most symphony orchestras are in themselves, with an extensive 10 desks in each string section, 11 French horns, 6 percussionists and a further extensive cast of people creating massively inspiring music and performing in concert halls in the UK and beyond.

Not only does the orchestra perform and play for others around the country, but they introduce other young players to the orchestra, and to classical music itself. Each year, every member will contribute to at least one event that includes, introduces and inspires progressing players to pursue their work. One of these events is ‘Play The School’, where a chunk of the orchestra travel to visit local schools and preform for them. As they do this, they run workshops where the pupils they work with can learn about and play with advanced musicians. Another is the ‘Inspire day’ project, in which another chunk of the NYO musicians let other young musicians of a similar age (some of whom are younger) join them in a day of rehearsing with a schedule and repertoire similar to that of an everyday NYO musician’s, to give them a sense of what it’s like to be in an orchestra playing at such a level. As well as this, some of the people who audition and don’t make the cut are allowed to join the orchestra for one day in their regular rehearsals for a real concert tour. This way, they get to know what it’s like to play with the entire orchestra, rather than just a handful of its participants. The purpose of these projects are to introduce as many young people as possible to new kinds of music, and inspire them to pursue their own musicality. As they say, representation matters, and for people to see those their own age playing at such a seemingly ‘unattainable level’ and being approachable to others, it could encourage them to not only work hard to develop their own musicality, but maybe to help support the classical music industry, something that is losing its funding and support practically daily.

This year, the NYO are playing yet again at the BBC Proms, an international music festival hosted by the Royal Albert Hall in London. The repertoire for this year’s performance includes two of the most famous and popular pieces known worldwide today – The Planets, a suite by Holst, and ____ by Strauss. These pieces are likely to not only be executed phenomenally by the extensive orchestra, but to bring in a larger audience of younger people by bringing to them a live performance of pieces they will surely recognise and appreciate. We interviewed the orchestra’s new leader, Evelyn Purdy, who has played as a solo violinist in many a concerto, and has taken a pause from her own solo touring to lead the NYO in their upcoming year of concerts and, obviously, to end it with the final Prom.

Q – HOW DOES IT FEEL TO LEAD THE NYO THIS YEAR?

A – “It’s a huge privilege – even to be part of such an amazing group of people is one thing, but to be able to actively help and guide them to drive their musicality towards such a goal is something I find astounding. I won’t lie, my job is hard work. I have to guide players during each rehearsal, and it can be slightly unnerving knowing that there is always someone behind you, watching your every bow so they can follow pursuit. But as scary as it can be, the people I work with are so supportive and I honestly couldn’t hope for a better environment to work in. I’m definitely proud to have been offered this role, and I look forward to embracing it further in the future!”

Q – WHAT DO YOU THINK OF THIS YEAR’S REPETOIRE FOR THE PROMS?

A – “Say what you like about it, I am so, so pleased this is what we’re playing! I think it’s funny that we’ve decided to go with a space theme for the concert but I can’t say why. You see, we don’t usually play more than one piece per concert with such renounce, so to have an entire programme to prepare with such famous works is going to be fantastic. The Planets is something I’ve played before, and I am more than willing to play it many times again! The Strauss, in all honestly, is new to me, but having heard it so many times in movies, videos, everywhere – it’s going to be so weird making that music myself! So weird but so wonderful, I guess. As well as this, the NYO’s aim is primarily to make classical and orchestral music accessible to as many young people as possible right? That way they can support the business, pursue what they enjoy, all of that. I can guarantee that anyone of any age will know the works we’re playing, and kids especially would enjoy hearing something they recognise. It’s all good stuff, I think”

Q – WHAT ARE YOUR PLANS AS LEADER?

A – “Plans? Well, being a leader in this context doesn’t give you quite the freedom as you’d expect. It’s my job to sit at the front and play confidently, allow others to follow me and bring people in at their queue. When it comes down to it, referring to the final concert, I can’t really choose what happens at all. Having said that, it’s almost a completely different setup during the course. I have to make my contributions during rehearsals as to what I think sounds best, or how I think it’s easiest to play, or to pick out ay reoccurring mistakes that a conductor or tutor fails to notice themselves. I also have to work with bonding my section – during our free time on the residentials, we sometimes have what we call ‘section night’ – in short, it’s when we spend the evening getting to know the other members of our sections through activities organised by our section leader. That being, of course, me. So I guess my overall plan for this year is to make sure everyone knows their contribution and work as a performer is important, and to encourage everyone to work hard!”

Q – ANY ADVICE FOR MUSICIANS AROUND YOUR AGE, OR MAYBE YOUNGER?

A – “Be inspired! Keep trying! I am fully aware that all of this sounds kind of corny and that you probably hear it a lot, but each and every musician in the NYO started out by not knowing a thing about music. But they all pursued what they enjoyed; they worked hard at it, and look at them now! And there are more perks than you think. The thing about being a musician is that the better you get the higher standards you set yourself for playing. As well as this, you constantly find yourself surrounded by people around your level in playing. Because of this, it’s hard to believe that you’re getting any better at what you’re doing. But every now and again, you need to remind yourself that you are doing well and you are improving! Because if that’s what you’re working to do, it will inevitably happen. Being in the classical music business allows you to make friendships that last a lifetime. I’, still in close contact with a friend I met at an orchestra 6 years ago! We live miles and miles apart, but here’s the thing – you honestly meet such amazing and unique people that the relationships you make truly and honestly last a lifetime. There’s nothing like it, you’ve got to embrace the opportunities you have. Get out there! Make the most of it! And most of all enjoy yourself!”

Magazine Front Page - First Draft

 I made the picture on this cover black and white. This is unconventional of most covers, which are in colour. This may make it stand out and thus attract a reader. This also allows the text in colour to stand out. As well as this, the model fits into the background better, as the manuscript she's lying on is black music on white paper. The anchorage text is placed in the middle, so it can be easily noticed and attention is easily directed towards it. The model is using direct mode of address, acknowlaging the reader. As well as this, she's positioned unlike expected - lying down, and facing upside-down the photographer. Also, she's making a face instead of smiling normally. On top of this, her hair is spread out slightly messily over the music. This is different to most classical music magazines, as the models posing on the front are usually posing formally and often don't face the camera. This gives off a 'playful' vibe which will seem more friendly and will likely appeal more to younger readers. 

In this picture, the photo is black and white for the same reason as the last photo. I am less fond of this picture in comparison to the previous one, because there is more of the floor underneath the music visible, making it look professionally taken. However, she is still using direct mode of address. Where she is still lying down, she is smiling formally - however, she smiling still makes the magazine look friendly. As well this, she's holding a prop in this picture - a violin. This makes it more apparent to the viewer that she is a violinist, and shows them clearly what  she is doing on the cover of a classical music magazine. 

 In this photo, the prop (the violin) is used again, and is more prominent in the picture, as it is held in front of her face. This picture looks less informal, as she is neither smiling properly or  making a face. However, the placement of the masthead on the page is more unconventional of typical magazines, as it usually goes at the top. The text, in this case, is actually clearer than on the other two pictures (I think). Information like the price is displayed clearly, but out of the way of either the picture, or the text that will encourage the reader to buy the magazine and look inside. The text fits a colour scheme based around purples and blues. However, what I dislike about the colour scheme is that the model's outfit doesn't fit into the scheme - this was the advantage of the black and white photos, as whichever colour scheme I chose to use wouldn't clash with the photo.

This is the cover that I have chosen to use.