Global Symposium on diversity and inclusion

Thanks to the Sphinx Organisation, in association with hosts Southbank Centre, Chineke!, London Music Masters and Sistema Europe, for the recent and first Global Symposium on diversity and Inclusion in Classical Music, held at London’s Southbank Centre on 18 July 2016.

You can download the day’s programme here:


And here are some (very) rough visual notes pulling together some of the conversations:

Global Symposium No. 1 on Diversity & Inclusion - informal sum up 1

Global Symposium No. 1 on Diversity & Inclusion - informal sum up 2

Global Symposium No. 1 on Diversity & Inclusion - informal sum up 3

This was a really energising day, thanks to inspirational voices like trailblazing ‘doers’ Aaron Dworkin, Rosemary Nalden and Chi Chi Nwanoku, and up and coming younger performers like  Braimah Kanneh-Mason and Ravi Veriah Jacques.

Apologies for this rough and ready summary (which omits the actions agreed), and here’s to a more detailed note, and plans for the next convening!

Ce soir nous sommes tous La Philharmonie

It’s big. Actually, it’s massive. Good things may indeed come in small packages, but as tonight’s five star audience including President Hollande and various music industry magnates sit down in Paris’s new 2400 seater Philharmonie concert hall for the official opening concert, everyone should be awed by this humungous and daring piece of spatial construction by architect Jean Nouvel. And that’s before even the first note sounds. Sitting inside the hall is like being cocooned in a gigantic egg like space, with hanging sections of audience seating protruding from the walls and coming at you in all directions, and softly elongated curvy acoustic baffles stationed above like majestic sets of passing clouds. In design terms it’s as if the French Republic had declared an end to the rule of the Cartesian straight line in favour of asymmetric natural curved forms, with a structural and acoustic design derived from – but significantly extending – Berlin’s namesake Philharmonie, the ‘granddaddy’ of all great post second world war concert halls. It’s definitely a vote (to paraphrase Billy Bragg on the Festival Hall in London) for the future.

20150113_185218[1]Some of the hall’s acoustic baffles

I know a little about this hall only because I had the luck to attend the previous night’s general rehearsal (for which read general concert) with run through performances by Paavo Jarvi, Mathias Goerne, and the Orchestra de Paris and its choir, of Ravel’s Daphnis and Chloe Suite 2, 3 movements from the Faure Requiem and Stravinsky’s Rite of Spring, plus a little open rehearsal thrown in for good measure.


OK, ok, I hear you say, so much for the architectonics and the invites, but how does it sound? Well having spent decades of my life playing in the world’s greatest – and less great – halls, and years of my life as head of music in a hall that was being acoustically refurbished and retuned, I know that that is a complex question that will take more than one visit by one person to answer. And the sound in the hall will anyway change. Definitely. I don’t want to come over too Churchillian here, but we are only just witnessing the end of the beginning. Here, nevertheless, are a few preliminaries:

The big, and I guess good, news, is that there is a fair amount of the two really fundamental requirements of the acoustic of any successful concert hall, viz. bloom and clarity of sound. It’s certainly not overly warm compared to the world’s three really iconic concert halls (Boston Symphony, Amsterdam Concertgebouw and Vienna Musikverein). Forget bathroom synonyms for example, but there is enough brightness here to be going on with, and with that relative, but not huge, level of bloom, comes a pay off of epic proportions in terms of some really interesting clarity, and for me that’s an incomparable gain. Yes, the likes of Vienna can make you swoon, but you know what? By now I quite like hearing the detail of what’s being played. And the new hall manages this clarity, crucially, without the hardness of otherwise great halls like Lucerne. Relatively bright it can be, but on last night’s showing, never hard. This then, despite its scale, is still a musician’s hall.

And for orchestras who play here, you’d better hear it now: this is not going to be an easy hall to hide in despite its size, as was demonstrated time and again last night. When the likes of Berlin, Vienna, Amsterdam, Bavaria and Budapest alight here (not to mention an impending Bolivar Dudamel Mahler 5) every one of those great orchestras better be ready and prepared.

I suspect that it is also going to depend a lot on where you sit.  The highest level 5 seats were way too vertiginous for my elderly and knowing companion, and no one in their right mind would have wanted to sit behind the orchestra and watch the backs of the chorus singers in the level 4 seats that we were given. The word had been that the best sound would be – as it often can be – in the cheaper seats towards the top of a hall where you catch those 2nd and even 3rd reflections of sound off the walls and ceiling more quickly. But for last night  a few of us opted in the first half of Ravel and Faure to get ourselves into some prime centre front stalls seats around row 10, and in the second half moved back to the rear stalls section just before the shallow overhang begins a couple of rows behind the front of this section.

Even in these two places not that far from each other, the sound was significantly different, and as you get into some of those higher up overhangs I imagine that things will change yet again. Nearer the front there was a real feeling of engagement and warmth with the sound, but further back I felt that the sound rarely leapt into the hall towards me. This difference is not necessarily a bad thing, it just means it’s worth getting to know the hall and choosing wisely for artist and programme.

Time and again though, details amazed me. Big final chords positively erupted into the hall with a reverberation that is still, the following day, an excitement to remember. Yet the pianissimo trumpets in the second half of the Rite of Spring played quieter than I can ever remember hearing a brass instrument at that distance, whilst being perfectly balanced and easy to hear, and the sound of the muted ‘cellos and violas that followed was only broken by an accidental bass bow hitting what seemed like a music stand. I swear I even heard the cor anglais player close his reed box towards the end of the Stravinsky. There are also ‘noises off’ from the audience and foyer areas in such a lively space, and so throughout the evening my ears were assaulted with sheeting coughs in quiet passages.

First violins often sounded as if behind a veil, both when loud and also when on their own. And I was astounded at one point that their pizzicatos – with violins facing towards me – sounded less clear than the bowed violas that followed, despite the violas pointing away from me to the back of the hall. Care will need to be given to the height of the back riser (the lower the riser the more resonant the timps and percussion as their sound hits off the back wall), which worked well enough for the enthusiastic bass drum player who turned a section of the Rite into a festival for bass drum with orchestra.

Mathias Goerne was the undoubted hero of the evening, and showed that this will be a great space for the best singers. His sound was continuously rich, creamy and imperious, and he looked as if he had oodles of voice to spare. The choir was by turns impressive and deeply troubling: Their Daphnis opening was as dreamy as you could ask, and yet they had the penetrating clarity required for the opening of the Faure – it was as if they had started in London’s Royal Albert Hall and decamped to a small dry cathedral – yet their intonation often found them as flat as a pancake, with the organ chords following them sounding embarrassingly sharp.

One of the questions about this hall is its location, bang on the Paris Périphérique ring road and away from traditional cultural, political and physical heart of Paris. Without doubt that may cause a problem for the fur coat brigade, but with the need for classical music to get away from – not nearer to – cultural snobs and conservative fur coats, this is undoubtedly a move in the right direction. Think Demos and you can already see the deep intelligence of its locus.

I wandered around at the interval. The foyer varies from the nicely designed lower floors to the ugly 80s night club low ceilings of the upper spaces.  Backstage is the usual transition to lower orders design. Mind you, nice toilets backstage (see picture below).


What will work here? Actually quite a lot, because the clarity and balance allows both large and small scale. On a practical level, when it’s actually ready (months off from what I could see, I was really astounded by the lack of finish throughout), if they can stop the stalls seats from wobbling, if they can get rid of the excruciating background hum that I could hear in every silence, when it’s staffed by ushers who all know the answers to our questions, when the storm over the Salle Pleyel has died down  – and it will – and when we have forgotten the gargantuan bill for its construction – and, again, we will –  then this will be one of Europe’s best halls. And so in the end this is nothing but a cause for celebration, a bold enterprise in an age noted more for anxiety and doubt than confidence and self-assurance.

The other two Alpha+ cities of London and New York will – for now – only be able to look on with envy. Of course New York has Carnegie, but if London ever needed an argument for having a great conductor and a great orchestra inhabit a great hall (and we all know who and what I am talking about), then the Philharmonie in Paris is indubitably it. Well done Paris, well done master acousticians Sir Harold Marshall, Marshall Day Acoustics and Yasuhisa Toyota, and well done Laurent Bayle, the quiet super human who in the end has made this success a financial and political possibility.

As the audience take their seats in the next few minutes, remember only this: Ce soir nous sommes tous La Philharmonie

Not a Sponsor, but a Game Changer …

This blog is based on an article first published in the June 2014 edition of the ‘Ensemble’ Magazine
May 2014 – 786 Words

It was recently announced that Venezuela’s National Electricity Corporation (Corpoelec) will form a new youth orchestra in Caracas under the aegis of El Sistema, with the aim of eventually enrolling up to a thousand children. (Stop for a moment and think about that announcement: it’s nothing short of a revolution in institutional and model development for El Sistema). Not long ago came the news of Maestro Abreu’s plan to extend El Sistema’s work into schools throughout Venezuela. Another big, very big, idea. Meanwhile in Barquisimeto the proposal for one of the world’s greatest architects to build an opera house complements the announcement last year of Milan’s La Scala opera house partnership with El Sistema.

Here are three examples – plucked almost at random from El Sistema’s ever burgeoning and seemingly unstoppable structural and institutional growth – of radical new models to advance the spread of successful Sistema work in Venezuela. After almost 40 years, the unremitting daring pace of structural expansion there remains mind bogglingly ambitious, and whilst such changes take their place alongside highly valued pedagogical and musical developments too numerous to list in a blog of this humble length, they are no less integral to the success of El Sistema. Actually perhaps more integral; a point we can often miss.

Now I could go on at length about the developmental ingenuity of Maestro Abreu’s model development and its critical importance for the growth of El Sistema, but instead of preaching to the possibly converted, here’s my question for today: what is happening in the rest of the El Sistema world that can even begin to compare with the virtuosic depth of long term strategic planning and development of El Sistema in Venezuela?

Answers, I suspect, could be proffered on an extremely small postcard.

The fact is that many people are so justifiably impressed by the methodology and pedagogy of El Sistema, that, in my opinion, they have arguably neglected the radical nature of the model development side. Now don’t get me wrong: there are some great programmes and wonderful teaching approaches out there, and there are also some very impressive institutional initiatives, such as Take a Stand and Salzburg Festival’s recent mass Sistema play-in that brought almost 1500 young Venezuelans to perform in one of the world’s most important music festivals.

But how many of these initiatives are being planned on, say, ten – forty year perspectives in order to provide new engines for institutional development in tomorrow’s world at national or regional level? What does the next President of the US (or the one after that) know about the social problem solving capacity of El Sistema? Who has engaged with the George Soros’s, the Bill Gates’s or the Thomas Piketty’s of this world? In England last year, for example, when Sistema England made a presentation to an invited audience with members of the in Harmony Scheme, the question from the floor from the UK government’s Minister for Culture, Communications and Creative Industries, was words to the effect ‘this is all wonderful: have you been in contact with the Ministry of Justice?’

So we have here a philosophy, a methodology, a pedagogy, actually a complete aetiology of positive  social change in a proven program of community cultural activity. (Apologies, proven is a big word that remains arguably short of our current grasp). But is it only Maestro Abreu that we should be relying on to argue the case in front of the World Bank, Davos, G20 and TED people?

My thesis is that to begin to be successful at such a level, at a level where there is significant institutional leverage on big international stages, El SIstema programmes need to be more imaginative and bold in their institutional thinking. And somewhat more outward facing. The laboratory phase of hundreds of varied Sistema organisations worldwide has been great – and continues to be – but it’s essentially a laboratory of pedagogy. What is now needed to lay alongside it is a laboratory of institutional and model development that takes Sistema organisations into daring new partnerships and as yet unimagined alignments.

A couple of examples from Europe: Big Noise in Scotland is hosting an international teachers’ conference in October 2014. How great an opportunity is that for major international tech. companies or inter-governmental organisations to eavesdrop on this gathering? Or the next Sistema Europe Youth Orchestra camp in Istanbul in August. Why not invite major international corporations to come alongside it to see how young Europeans from a dozen countries or more are learning to communicate effectively across major language, social and cultural barriers? Fact: somewhere near you is a company like Corpoelec Venezuela; not a sponsor, but a game changer. Fact: unlocking that change is just a matter of imagination.


Europe’s Sistemas: Lessons from the Past – Patterns for the Future

Where are Europe’s Sistemas going? There has been an almost explosive growth in the development of the Sistema Europe network since its formation in 2012, and within the last 5 years, more than 30 Sistemas in 20 European countries have brought Sistema inspired work to around 15,000 young people. What will the next 5 or 50 years bring for these and other nascent European Sistemas? I recently gave the 2013 Honorary Fellows lecture for the Worshipful Company of Musicians in London at the Purcell Room, Southbank Centre on 28 June 2013 as part of Southbank Centre’s Nucleo weekend:

Subject:  Europe’s Sistemas – Lessons from the Past and Patterns for the Future.
it was great to have 2 hours to go into this question in some depth. My headline conclusion: to develop to their best potential, Europe’s Sistemas, especially those from countries like the UK, might want to focus on four areas:

Screen Shot 2013-07-07 at 17.50.34If you have any time at all I recommend looking and listening to the video from our Turkish friends (with a little help from Guatemala) in slide 40 in the power point presentation below. (There should be embedded video that you can play by clicking on the image). Most of the kids in the video have been playing for around 4 months. This shows what Can be done far away from Venezuela.

Here, first of all though, is a Visual minute of the session by Arianna Corradi of Creative Connection (Thank you Arianna!)

SB - el sistema - 28.06.2013 webYou can also view a video recording of the lecture, in three parts, thanks to Reynaldo Trombetta, Director of Communications of In Harmony Sistema England :

Part 1/3 Opening Lecture 40′:
Part 2/3 Panel Discussion 50′:
Part 3/3 Open Discussion 30′:

Here also, are the powerpoint slides, since they were not always that clear in the video

Panel Members:
Introduced by Leslie East, Pastmaster Worshipful Company of Musicians
Yemisi Blake – poet, artist, producer and researcher
Pam Burnard – Reader in Music Education at the University of Cambridge
Nathaniel Facey – Alto saxophonist
Claire Fox – Director The Institute of Ideas
Marshall Marcus – CEO European Union Youth Orchestra, Founder & Chair Sistema Europe, Trustee In Harmony Sistema England

A Transcript of the 2010 THE WORSHIPFUL COMPANY OF MUSICIANS ANNUAL DEBATE ‘El Sistema: will it translate into English?’ referred to in the lecture can be found here

Eric Booth’s essay The Generous Laboratory, also mentioned in the lecture, can be found here

The image by The hashtag for the Nucleo is #NucleoFest

And finally here is the visual minute (also by Creative Connection, directed by Tim Caswell) from last year’s Sistema session at Southbank Centre’s previous Nucleo weekend, that included Julian Lloyd Webber Chair of In Harmony Sistema England, Nicola Killean Director of Big Noise Sistema Scotland, Dan Trahey Director of OrchKids Baltimore USA, Jonathan Govias Canada, Ricardo Castro Neojiba Salvador Bahia Brazil, Juan Antonio Cuellar Batuta Colombia, and Etienne Abelin Director Superar Switzerland:

Sistema SessionPlease post any comments here:

BBC Young Musician of the Year … but then what next?

Have a listen to this Youtube clip of a 15 year old Martin Bartlett playing the Sonata in F Sharp Major by Scarlatti, or a 16 year old Lara Melda playing Chopin’s Etude in C sharp minor. They both attained the dizzying (although it must also be said shockingly under reported by the media) prize of appearing in the BBC Young Musician finals, in 2012 and 2010 respectively. The competition attracts the world’s finest players, best in their world in their class, if no doubt heavily ‘hot housed’ and mostly used to an atmosphere of privileged tuition.

So what do you do after achieving this rarified level of attainment? Well, head into the arms of waiting agents and a nice comfortable career in club class, might be one of the standard answers.

So let’s hear it for Lara and Martin, and fellow musicians Harry and Tatiana Gilfillan, when they head on to the rather more economy stage of  St. James’s Piccadilly in the middle of London, UK on 10 July for a concert supporting  Street Child World Cup. Street Child World Cup campaigns globally for street children to receive the protection and opportunities that most of us as children were able to simply take for granted. Through football, art and an international conference their aim is to challenge the negative perceptions and treatment of street children. The concert will be focusing on the run up to 2014 and the World Cup in Brazil, when thanks to Street Wide World Cup, children from up to 20 countries will be brought together in Brazil, drawing from a network of projects all campaigning for the rights of street children. The idea is simple: ensure that street childrens’ voices are heard and that for a change they also can be a part of an international festival of football. The concert on 10 July is amongst a number of international football and arts-based events building towards and beyond the momentum of Brazil 2014.

The negative aspects of Brazil’s run up to the 2014 world cup has been well on show to the world in the last few weeks. Here however is something positive to hear about it.


Go Figure: another Sistema No Brainer PART 2

April 2013, 412 words

Last November I wrote about what I saw as one of THE new big issues of note in Sistema land: the question of research and evaluation. Since then SERA (the Sistema Evaluation & Research Archive) membership has gone to beyond 60 people from about 15 countries and 4 continents, and grows weekly. And seemingly dozens of people are engaged in new research studies regarding El Sistema. Don’t get me wrong, it will be a while – I’m talking years – before most of these studies shows significant results. And we are going to have to be careful and rigorous in making sure that such research and evaluation is objective and suitably peer reviewed (and not simply a series of attempted justifications) of what Sistema work is really achieving or not achieving. Nevertheless things have moved on significantly during the last year.

In one way all of this is what you might call ‘small beer’. Because  what we lacked up to now, is a plain audit of what is out there. Knowing from a simple catalogued listing,  who has been, and is doing, research. Well it seems that that is all about to change following the very recent release from Sistema Global. Ladies and gentlemen, here is a copy of the announcement. It seems that there is a new player in the field …

Sistema Global  is delighted to announce that it has commissioned a Literature Review of Projects Inspired by El Sistema. An international team of music education researchers led by Dr Andrea Creech, of the Institute of Education, University of London. Together with colleagues from McGill University in Canada and the Autonomous University of Chihuahua in Mexico, the IOE researchers will be reviewing the many academic journal articles, evaluation reports, dissertations and policy documents that have been produced on Sistema programmes outside Venezuela in recent years. The Review is expected to be available in early July. For further information or to contribute to the research contact Andrea Creech. “

Now that, is what I call progress. Thank you Sistema Global, the Institute of Education, London University, and Dr.Andrea Creech and her team.  We look forward to a research base line. Then we can really move on to identifying the areas of research provision that are lacking. As for that killer piece of research I mentioned last November, well the game is still open on that one. Small steps maybe, but as they say … small steps are better than small beer.

Voice, Power and the Fruits of Difference

Opening the Great Doors of Diversity

I’ve just been in Detroit for three days attending Sphinx’s inaugural convocation about diversity in the performing arts. It was an impressive and imposing rolling structure of creative planning: One lecture space. One networking room. One theme. One inspiring memorial lecture (Jawole Willa Jo Zollar receiving the Arthur L. Johnson award.). And 31 speakers with 15 minutes each on their chosen subject leading out of the theme empowering diversity in the performing arts. Few questions, no break outs, no multiple sessions, no trying to curate a joined up narrative. Brave stuff. And in the end the ‘con’ in Sphinxcon turned out not to be the dreaded conference, or even a convening, but a ‘conversation’, people simply listening to each other talk about diversity. Next time – and I’m sure there will be a next time – it will be different, but this was at least a heady beginning for lots of people who have been battling both severally and separately in the diversity wilderness for many, many years.

So how was it?

Well there was a wondrous pot-pouri feel about it. From Horst Abraham talking about leadership in turbulent times, to Shirley Stancato on dealing with race, Farai Chideya on the global and historical context of diversity, David DiChiera a treasure of a storyteller, María Rosario Jackson on cultural kitchens, Ken Fischer being very successfully practical, and the greatest solo spoken word dance narrative I’ve ever witnessed (Maria Bauman of Urban Bush Women). There was generosity, there was whimsy, and and a sort of home spun mid Western laid back amiability in spades.

And what did I learn? Well it was three days of reminders: I was reminded that Aaron Dworkin is not only a charismatic leader and a great speaker, he is even cleverer than you might have thought before. His last words were the key ones: ‘this may only be the beginning of the conversation, but the conversation has no sense unless it is translated into action’. And to be more precise, he quoted Picasso: “Action is the foundational key to all success”. As for the reminders, near the top of the list were a series of easily forgotten truisms; that prejudice is born of ignorance, that diversity begins with knowing who you are (thank you Delroy Lindo), that in order to persuade people you must first listen, and that – here is perhaps the most interesting  – if only the lots of people doing good in their own projects could come together, then the quiet getting on with it ‘doing’ majority could change the world in quite a small period of time. As it is however the chips suggest that we are definitely in it for the long haul.

Another gain it gave me was the catalyst to deconstruct the word. Otherwise ‘diversity’ can sit down on us a little too squately and heavily as if trained by one of Larkin’s Toads. On the one hand there is ‘power’: the need to redistribute resources, money, platforms and opportunities from the ugly indefensible unjust excesses and over concentrations of power present in the status quo. Then there is ‘voice’, something which all the contributors of color seem to have a powerful handle on (and particularly the idea that they really know and value who they are) rather than the personas and amnesia of self that those who make it over the money parapet often seem to fall prey to. There is also plenty to talk about here regarding fear: fear of difference, fear of giving a platform to people who come from different traditions, fear of the unknown if we are to let in diverse rather than known entities, whatever it is that we do. So  in all of this, difference therefore emerges as not only a personal positive and a group challenge, but a simple brute necessity. Boredom and unknowingness are the probable alternatives.

But really the most important potential gains in sight are the cornucopic and seemingly infinite fruits of difference on offer – a matter I did not have time to riff on in my 15 minute presentation in Detroit on the lessons for diversity in the recent globalisation of El Sistema – if we have the courage and commitment to really open the doors to diversity. As a journeyman in the world of El Sistema in the last few years, this, if nothing else, has struck me time and time again. And now back in Europe as CEO of the European Union Youth Orchestra (an orchestra of young players currently auditioned from 28 countries) I am only just beginning to see some new opportunities and challenges of working with diversity.

I am buoyed up however by the experience of the last 18 months, in which I have had the luxury to be able to watch, teach and listen to diverse groups of young musicians from about 18 countries in 4 continents in dozens of projects, together showing me exactly what that diversity gives us in practice when it flows untamped into the concert hall. Whether I have been in New York or Tbilisi, Caracas or Stirling, Salvador Bahia or Stockholm, Los Angeles or Moldova, or now Detroit with the Sphinx orchestra, the absolute raw driving energy that is humanity at its very best has been almost continually on show to remind me that when race, gender, poverty and class are not allowed in as restraints on trade or creativity, humanity has seemingly limitless and inspirational achievements as its trophies. And the alternative – allowing those doors to close shut – means only one thing: a new Dark Age. You know your duty.


Postscript: below you can find a link to the presentation El Sistema: Lessons in Diversity & Globalisation given in Detroit Michigan, USA on Saturday 16 February 2013 as part of Sphinx’s Inaugural Convening on Diversity in the Performing Arts plus a couple of photos of suggested Characteristics and Program for a Diversity Network made by the conference delegates during the talk on El Sistema.

Sphinx Presentation Marshall Marcus Feb 13