Tag Archives: City of London Sinfonia

Bethlem and Maudsley Hospital School Residency

In 2016, the Bethlem and Maudsley Hospital School invited our musicians to bring their creative, responsive approach to its young people, leading to our current three-year residency. The School, based at two sites in Camberwell and Beckenham, Kent, is attended by young people aged 8-18 from across London and the South East, all of whom are living with severe mental health and psychiatric conditions.

Mental health is a crucial issue for today’s young people with more than one in ten having a diagnosable condition, and more than half of adult mental health problems beginning in childhood. Presenting a broad range of conditions including anorexia and psychosis, the young people at Bethlem and Maudsley need transformational opportunities during a difficult time in their lives. Continue reading Bethlem and Maudsley Hospital School Residency

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WWI Centenary: Fauré Requiem

On Saturday 10 November (7pm), we’re holding a WWI Centenary performance of Fauré’s Requiem at Southwark Cathedral, in which the beautiful and consoling music will be interspersed with original readings, written by the Globe’s Director of Music, Bill Barclay. These texts, written to commemorate the end of the Great War 100 years ago, have been drawn from testaments of both people fighting and awaiting the return of loved ones at home.

Joining City of London Sinfonia in this special performance of words and music are narrators Bill Barclay (pictured middle) and Emma Pallant (pictured left), baritone Stephen Whitford (pictured right), conductor Paul Brough, and the choirs of Southwark Cathedral (Girls), All Saints Kingston and St John the Divine Kennington.

Tickets are available via the CLS Box Office online at cls.co.uk and by phone (020 7621 2800; Mon-Fri, 10-6). Tickets are also available on the door on the night of the concert from 6.15pm – subject to availability.

WWI Centenary Faure Requiem

Bach Remixed in pictures

On 16 October 2018, we presented our second performance in Southbank Centre’s newly refurbished Queen Elizabeth Hall. This time, in Bach Remixed, we turned our attention to JS Bach and his love of maths and numbers – the language of the cosmos. Take a look at our performance in pictures, captured beautifully by James Berry Photography.

From Komm, süßer Tod, Epiphoni Consort broke into Knut Nystedt’s contemporary reworking of the piece, Immortal Bach, in surround sound.

Epiphoni Consort
James Berry Photography. Epiphoni Consort in Bach and the Cosmos: Bach Remixed, 2018

Following four performances exploring notions of beauty and creativity in Bach’s Goldberg Variations, Professor James Sparks from the University of Oxford shared his knowledge on geometry, topology and symmetry in relation to Bach’s Musical Offering and Brandenburg Concerto No.3. We also learnt that cup = doughnut.

James Sparks Bach Remixed
James Berry Photography. James Sparks in in Bach and the Cosmos: Bach Remixed, 2018

Baritone Roderick Williams opened the second half by directing Singet dem Herrn, one of Bach’s most famous motets, from within the choir.

Roderick Williams and Epiphoni Consort
James Berry Photography. Roderick Williams and Epiphoni Consortin Bach and the Cosmos: Bach Remixed, 2018

Our audience enjoyed some unexpected and welcomed comedy from our Principal Oboe, Dan Bates, who starred in Roderick Williams’ modern interpretation of Ich habe genug for solo oboe. The end of the piece dovetailed effortlessly into the full cantata – a piece that Roderick champions and which we all delighted in watching.

City of London Sinfonia.
James Berry Photography. Ich habe genug with Roderick Williams and City of London Sinfonia in Bach and the Cosmos: Bach Remixed, 2018

All images in this blog post are © James Berry Photography for City of London Sinfonia, 2018. You can view more photos of this concert below and learn more about how our Bach and the Cosmos series unfolding on Twitter, Facebook and Instagram.

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The only way is up: Bach, Singet and B Minor Mass

Written by Andrew Dickson (Bass, The Epiphoni Consort)

Singing Bach is a little like mountaineering, I sometimes think. Not only is Johann Sebastien Bach (JSB) the greatest musician of all time (sorry, Mozart), but no other composer requires so much energy and concentration to rehearse, or so much balance and nerve to perform. The arcing lines and dancing rhythms, the switches from darkest tragedy to wild joy, the sheer muscular athleticism and dexterity required… you can ascend to dizzying heights, but only if you use all your muscles, including some you didn’t know you had. It’s upwards, always upwards.

To make things even more challenging, we in the Epiphoni Consort are scaling two pinnacles of the repertoire in CLS’s Bach and the Cosmos series. The first is the 1727 double-choir motet Singet dem Herrn (Sing Unto the Lord), with its delicate balance between exuberance and pathos, which we sing with the superb baritone Roderick Williams. The second is the real biggie – the mightiest, meatiest choral piece of them all: the Mass in B Minor, sometimes described as the summation of JSB’s career, in which we’re conducted by one of the greatest Bach interpreters alive, John Butt. As one of my fellow singers commented at a rehearsal the other night, “there really are a lot of notes”. Not so much mountaineering as marathon mountaineering, if that’s a thing.

Of course, it’s also a pleasure, and none of us would be doing it if it weren’t. Singet I first sang at university, and it’s a delight to reencounter it (though it’s more fiendish than I remember: apparently I’m not as athletic as I was). As well as drilling those notes, we’ve spent a long time focusing on the Lutheran text, which is deeply poignant, especially during the chorale section in the middle of the work: “Gott weiß, wir sind nur Staub. Gleich wie das Gras vom Rechen, Ein Blum und fallendes Laub…” (“God knows we are but dust. Just as the grass that is mown, a flower or falling leaf…”). Singing it is a powerful experience.

The B Minor Mass I first heard in my teens (in that legendary John Eliot Gardiner recording), but I’ve never actually sung it before – more reason our concert on Saturday feels special. This work, which Bach assembled from a collage of cantata movements he’d composed in Leipzig, was intended to show off his skills and catch the attention of a new employer across in Saxony. In that way, I suppose, it’s the greatest job application of all time. (Not that it worked: Bach spent the rest of his life grinding away in Leipzig.)

The Mass is utterly encyclopedic: from elaborate fugues and dizzying double-choir counterpoint to the simplest, slenderest solo arias and plainchant. Singing it, you feel like you’re exploring the furthest reaches of Bach’s architectural imagination. The way he builds the opening cries of “Kyrie”, like placing the great foundation stones of a cathedral, to the filigree of the Sanctus, where we in the bass section sing a joyous, swaying melody that descends through the octaves while the higher voices make shimmering patterns up in the heavens. Encyclopedic though it is, after a while you don’t see the individual textures or effects: you just feel the heft of the whole structure, its solidity and profundity. That, too, is rather moving.

As I hope is clear, it’s tricky, learning to keep your head at these altitudes, but it’s also hugely rewarding. Hopefully we’ll make it all the way to the top.

Bach and the Cosmos: B Minor Mass

The Epiphoni Consort perform Bach’s B Minor Mass with City of London Sinfonia, John Butt, Roderick Williams, Joanne Lunn, Rowan Pierce, Robin Blaze and Charles Daniels at Southwark Cathedral on Saturday 20 October 2018, 7.30pm. Tickets available via the CLS Box Office online, on the phone (020 7621 2800; M-F, 10-6) or on the door.

OHP 2018: Views from the Pit

It’s been an incredible Season of operas at Opera Holland Park: our fifteenth Season as orchestra in residence. From ‘one of the most moving Traviatas’ (The Mail on Sunday) ever staged to the passionately performed (Opera Today) UK premiere of Mascagni’s Italian verismo, Isabeau, Opera Holland Park’s 2018 Season truly had it all.

‘City of London Sinfonia is getting better year on year’
Seen and Heard International (Isabeau)

Throughout the Season, some of the CLS team have been getting behind-the-scenes insight from City of London Sinfonia musicians, conductors and the Opera Holland Park team, all featured in our Views from the Pit podcast mini-series – available on SoundCloud and Apple Podcasts. There’s talk about the Season’s four productions, insight into the rehearsals and opera experiences over the years, as well as insight into a typical day in the life of a professional musician.

Let us know what you think by giving us a like, leaving a comment or a review. You can also tweet us @CityLdnSinfonia or via Opera Holland Park’s dedicated hashtag for the Season, #OHP2018.

Views from the Pit: episode guide

Episode 1: James Clutton and Matthew Swann

Opera Holland Park’s Director of Opera, James Clutton, and CLS Chief Executive Matthew Swann discuss how Opera Holland Park has evolved over the years, the collaboration between both organisations, making opera more accessible to the widest possible audience and, of course, the four operas performed in the 2018 Season.

SoundCloud | Apple Podcasts

Episode 2: Così fan tutte with the strings

Following 2017’s marvellous interval biscuit talk, violinist Charlotte Reid and violist Matthew Maguire return to our podcast series to talk about Così fan tutte and performing an opera after spending a couple of hours working with children at University College London Hospital. We’re also joined by violinist Gabrielle Painter who describes Isabeau and a typical performance day during an OHP show run.

SoundCloud | Apple Podcasts

Episode 3: La traviata with the brass

Two of the Orchestra’s longest-standing members, French horn Mark Paine and Tuba Stephen Wick talk about the exciting and challenging orchestral moments in Verdi’s La traviata. They also go down memory lane, having both been performing at Opera Holland Park since 2004.

SoundCloud | Apple Podcasts

Episode 4: Ariadne auf Naxos with the woodwinds

The woodwinds are very important in Richard Strauss’ Ariadne auf Naxos – an opera that Principal Oboe Dan Bates has loved for 20+ years. We join Dan and Principal Clarinet Katherine ‘Waffy’ Spencer after a six-hour rehearsal of the opera to find out more about the incredible orchestral and vocal writing in Strauss’ score.

SoundCloud | Apple Podcasts

Episode 5: Opera Holland Park with Brad Cohen

In the fifth and final episode of Views from the Pit, conductor Brad Cohen expresses his excitement about conducting Ariadne auf Naxos at Opera Holland Park, giving insight into the rehearsal process and the challenges of moving Ariadne from Glasgow to London. He also explains what makes opera a unique artform.

SoundCloud | Apple Podcasts


Views from the Pit is presented by Tasha Allery and Gabriele Neuditschko, and features rehearsal footage from OHP 2018 dress rehearsals (Così fan tutte, Ariadne auf Naxos, Isabeau) and OHP 2017 dress rehearsals (Zazà). Images © Ali Wright for Opera Holland Park, 2018.

Building on our experience in care homes

Written by Natasha Krichefski, CLS Participation Projects Manager

City of London Sinfonia (CLS) has a long-standing reputation for delivering concerts in care homes, in partnership with Jewish Care, across a range of homes in North London. Building on a new relationship with the Jewish Care ‘Creative Arts’ and Betty and Asher Loftus Centre ‘Living Well’ teams, we recently worked closely together to develop an exciting new pilot for our work.

As Resident at the Betty and Asher Loftus Centre, we worked in the three care homes on the campus over a period of four days. We aimed to look at ways of developing the current format to allow a more flexible responsive approach to residents and make improvements to the residents’ sense of wellbeing, whether we met them in lounges, their rooms, corridors, or in a more formal concert setting, whilst keeping the highest quality of music at the core.

Responding to the needs of care home residents

We wanted to respond strategically to the partner’s desire for us to provide activity for the more isolated, “hard to reach” residents who either chose not to or are unable to attend our concerts and who rarely engaged in any activities in the homes. Becoming Resident on the campus enabled us to build relationships with staff and residents in a way that wasn’t previously possible with a single fleeting concert performance. We were also able to fit with Jewish Care’s commitment to the Principles of Person Centred Care, as well as reflect the principles of Participatory Arts promoted by Jewish Care’s Creative Arts team.

“Working in partnership with CLS and Caroline Welsh was a pleasure. We welcome the opportunity to work with artists and arts providers that are able to respond the needs of our residents, by working together with us to develop bespoke projects. The focus on a participatory approach showed great benefits for both our most isolated residents and the CLS musicians.”

Caroline D’Souza (Arts Development Manager, Jewish Care)

Following dementia training from Jewish Care and a music improvisation session led by animateur Caroline Welsh, the project started in earnest: we opened up the rehearsal sessions so that curious passers-by could pop in; ambient music accompanied the lunch hour in the lounges; and for the first time we visited residents in their rooms for a series of interactive moments, playing to and talking with those people who don’t currently have as much engagement with other residents or staff.

Pairs of musicians were partnered with a member of the Living Well team who could brief musicians on the needs of residents, accompany each visit and provide feedback. Drawing on their specialist skills, expertise and relationships with residents, we were able to target isolated residents and create moments of connection and engagement that wouldn’t otherwise have been possible.

We continued to deliver daily concerts, one in each home, but with an added sense of familiarity as the musicians had built relationships with several of the residents and staff and could refer to the audience by name.

Measuring the impact of our visits

Evaluation formed an important part of the collaborative process, with both organisations reflecting extensively on the best approach to measuring the impact of the project on the participants, the care home environment and our musicians. The Living Well team provided baseline synopses on each of the residents and gave written follow-up summaries after each of the visits.

The project not only allowed us to work with a larger number of residents on this occasion, but we were also able to make a major change to the range of activity offered through the partnership and achieve a much deeper sense of engagement. Over the course of the four days, the Living Well team saw great change in mood and a new openness to interaction and connection from some of the residents.

For example, a team member described one of the residents before the activity as someone who didn’t like socialising, but on the final day of the project, the team member explained: “I felt she didn’t want the interaction to stop today, whereas in general she shows a preference to short interactions unless she really knows the person well and trusts them.”

Another resident was initially described as having “low mood and withdrawn”, but after the first day of visits, the musicians and resident were “smiling and laughing together at the end of the session and he asked when they were coming again”.

Having worked more closely with the Creative Arts and Living Well teams and having started to develop a new practice in this context, we are very much looking forward to working together again and using our learning to inform future projects.

Many thanks to Dunhill Medical Trust and Rayne Trust for generously supporting this project.


Find out more about our participation work in care homes on YouTube.

The Inclusive Orchestra: relaxed performances

Written by Zak Hulstrom, CLS Development Manager

CLS prides itself on having a ‘seriously informal’ approach, which means we play high-quality music, but we think people should have the freedom to enjoy the concert as they please: grab a drink, use their phones, cough, or clap between movements. Our approach works and has grown in popularity. Young people (aged 16-25) made up a surprising proportion of our audience at our Modern Mystics concerts in autumn 2017 (25%).

We’re beginning to realise that this approach works well for anyone, including people living with dementia, who would enjoy having the freedom to get up, talk, clap, or enjoy a break in the quiet space outside the concert hall.

What makes a concert ‘dementia-friendly’?

I often get asked this question, and it’s not a complicated answer: it’s no different to a regular concert. When we are putting together a dementia-friendly concert, we are primarily focused on accessibility around the venue. Can audience members find the toilet, the café and the concert hall with relative ease? Is there a volunteer nearby who can answer questions?

In December 2017, we presented our first ‘dementia-friendly’ concert at St John’s Smith Square. In preparation for the performance, we sought answers from other like-minded organisations who already have experience engaging people living with dementia: The Alzheimer’s Society, Southwark Dementia Action Alliance, Dementia Friends, Shakespeare’s Globe, Royal Academy of Art and The Young Vic.

One of the important steps was having The Alzheimer’s Society audit the concert venue. They showed us all the many ways we could improve access to St John’s Smith Square, and we were delighted by the sheer number of considerations. We were “delighted” because addressing the issues meant we could be more confident about promoting this concert as dementia-friendly. For example, some of the issues they discovered were dark patches on the floor, which, to some people, can appear as holes in the ground or wet patches. Likewise, colours on signs, the chairs and tables must be carefully selected so that the contrast is highest and objects can be differentiated more easily. Signs must also be clear in content and within line of sight as you navigate the venue.

Our team in the office and many of our musicians are trained as Dementia Friends. We’ve participated in a taster course to better understand the many kinds of dementias and how they can affect people in different ways. From losing memory, which is what most people associate with dementia, to visuo-spatial difficulties and emotional changes, there is no such thing as one dementia. We can’t recommend it highly enough to become a Dementia Friend, so that you can learn small ways to help other people.

How are we putting our learning into practice?

Our concerts should be as welcoming as possible. Our first dementia-friendly concert could have been better, as it was held in December, on a dark, windy and rainy evening. We have already considered some solutions, and so our next round of relaxed concerts will be held in CLS Minis in April 2018 – in a much warmer month, and during the day.

Performance dates:

All seating is unreserved. Tickets are just £5 at the CLS Box Office (online or by phone, 020 7621 2800) and the Albany Box Office (17 April only). Standard tickets are £10, and we offer a free companion seat for wheelchair users and people with limited mobility. Tickets will also be available on the door (subject to availability).

You can read more about our Relaxed Lunchtime Performances on Facebook and Twitter, or by visiting our website.


Following our first dementia-friendly concert in December 2017, Zak was given the opportunity to speak more about this and represent CLS at a British Council conference in South Korea. You can read more about his time there in our The Inclusive Orchestra: CLS visits South Korea blog post.

Zak on dementia-friendly concerts

Music and mindfulness in a busy world

In today’s world, we need time to stop and focus. We need time that doesn’t involve being bombarded with the deafening noise of work and noise pollution; to have a break from social media and other things that are supposed to make our lives better, but quite often make our minds overly busy and stressed and tired.

In our Music and Mindfulness concerts, CLS violinist and mindfulness practitioner Ann Lovatt (referred to as Ann Morfee elsewhere) and the musicians of City of London Sinfonia are there to give you a “magic hour” of peace and calm.

Previously, audience members at Modern Mystics: The Fruit of Silence experienced a mindful meditation with Ann before listening to the beautiful music of Arvo Pärt and Peteris Vasks performed in Southwark Cathedral. We also took Music and Mindfulness to a place of work, to help city workers start their day with positive and focused minds.

Ann Lovatt
CLS violinist Ann Lovatt in a King of Ghosts recording session (c) Pete le May.

How do live music and mindfulness work together?

Mindfulness is a practice that encourages you to step out of autopilot. It allows you to reconnect with your body and your breath; to become more aware of stresses and to enable you to step back from stress and its causes. Meditation is a proven method of reducing stress, and music is also proven to have therapeutic effects, as well as the power to excite, to calm and to the reach the myriad of emotions in between.

When preparing for a mindful music session, Ann looks in depth at the music – for example, the structure, context and how the instruments might be used. In each session, she hopes to highlight aspects of the music which allow some insight or reflection appropriate to the practice of meditation. Throughout the mindfulness session, Ann bears all the musical factors in mind and references the chosen piece of music before it is performed live by CLS musicians.

The inclusion of a short mindful meditation within a live performance aims to enhance the listeners’ experiences of the music being performed, bringing an immediate sense of wellbeing to complement that which comes through the music alone.

Where can I experience Music and Mindfulness?

In April 2018, our strings, brass and woodwind sections will take it in turns to perform lunchtime and evening miniatures at various venues in our CLS Minis series. These include three Music and Mindfulness concerts in Deptford, Mile End and Marble Arch.

Performance dates:

All seating is unreserved. Tickets start from £5 (for students and 16-25s with the CLS 5IVER ticket scheme) at the CLS Box Office and the Albany Box Office (17 April only). Standard tickets are £10, and we offer a free companion seat for wheelchair users and people with limited mobility. Tickets will also be available on the door (subject to availability).

Listen to the CLS podcast

Want to know more before you try it out? Ann Lovatt talks more about the benefits of music and mindfulness in our Spring Season podcast: available for download on Apple Podcasts and SoundCloud.

Your guide to CLS Minis

Lots of good things come in mini packages: cars, ice creams, iPads (to name a few). CLS Minis is our version in orchestral music, featuring six short chamber concerts with programmes focusing of different sections of the Orchestra: strings, brass and percussion, and woodwind.

The series of miniatures focuses on mental health and wellbeing and features three programmes curated and performed by CLS musicians. For each programme, there will be a relaxed performance during the day (1.30-2.15pm) and an evening performance with an additional mindful meditation (7-8pm).

Relaxed Lunchtime Performances

The Relaxed Lunchtime Performances are for everyone and aim to provide comfortable environments for people who are perhaps living with dementia, their carers or another invisible disability associated with age. These 45-minute concerts are great opportunities for those who may not be able to attend evening concerts to visit some great venues and watch some fantastic live music in the middle of the day. In these performances, there is no judgement; you can come and go if you need to do so, and you can be confident that the performers are aware of people with those conditions attending the concerts. It is a wonderful way for people to enjoy music that they perhaps loved when they were younger, but don’t get the opportunity to now.

Performance dates:

All seating is unreserved. Tickets are just £5 at the CLS Box Office (online or by phone, 020 7621 2800) and the Albany Box Office (17 April only), and we offer a free companion seat for wheelchair users and people with limited mobility. Tickets will also be available on the door (subject to availability).

Music and Mindfulness

In the early evening, our orchestra sections will perform the same programme as they did earlier in the day but with an added dimension: with a mindfulness meditation integrated into the concert. During the mindful music sessions, CLS violinist Ann Lovatt (referred to as Ann Morfee elsewhere) gives audience members something to focus on, or to watch or listen out for in the performance of the music. Experiencing live music alongside a meditation is so powerful and helps bring an immediate sense of calm and wellbeing at the end of a working day. It enables you to tune out of the outside world and just listen to the music; to just be in the moment.

Performance dates:

All seating is unreserved. Tickets start from £5 (for students and 16-25s with the CLS 5IVER ticket scheme) at the CLS Box Office and the Albany Box Office (17 April only). Standard tickets are £10, and we offer a free companion seat for wheelchair users and people with limited mobility. Tickets will also be available on the door (subject to availability).

Listen to the CLS podcast

Find out more about our CLS Minis series with CEO Matthew Swann and Ann Lovatt on our podcast: available for download on Apple Podcasts and SoundCloud.

Beethoven: Artist to Hero

Comment by Matthew Swann, CLS CEO

Nowadays, we’ve got a very good idea of the artist as hero: an individual who creates what he or she wants to and is very much their own manager. But it wasn’t always the case. Until the eighteenth and early-nineteenth centuries, it was very much the case that artists – particularly musicians and composers – were considered part of a servant class. They were artisans; they were producer of things for the upper classes to consume and they weren’t necessarily in control of their own artistic vision.

Beethoven was the man that changed that. He looked at political, military and leadership heroes throughout his life – particularly Napoleon Bonaparte, leader of the French Revolution and later self-declared emperor. Through a series of events where Beethoven fell out of love with Napoleon, for all intents and purposes, he decided that true heroism came from the artist.

Our Hero Worship concert at Southbank Centre’s Queen Elizabeth Hall follows that journey and Beethoven’s own realisation, at the same time, of his growing deafness. It’s a journey of how Beethoven realises that the artist is becoming the hero, and all the anguish and that realisation is presented in his Third Symphony.

As well as collaborating with Brett Dean, a wonderful composer in his own right, Cambridge historian and music-lover Sir Christopher Clark will bring phenomenal insight to our performance. He’ll elaborate on the historic significance of this change: the change from an artist perceived as a servant – an artisan at the beck and call of the upper classes – to someone who drives artistic, creative and philosophical thinking themselves.

Hero Worship at the Queen Elizabeth Hall

Listen to Matthew talk more about Beethoven and our performances on our Spring Season podcast (available on SoundCloud and Apple Podcasts).

Want to be further enlightened (pun intended) on Beethoven’s historical significance? Come to Hero Worship on Tuesday 8 May 2018 (7.30pm) at Southbank Centre’s Queen Elizabeth Hall. Tickets available at cls.co.uk (including CLS 5IVER for students and 16-25s) and southbankcentre.co.uk.