Here in the Creative Learning Department it feels a little like we’ve been waiting for a bus. December and January were relatively calm – a few days at schools down in London, our annual Composers’ Workshop [with Nico Muhly] and our regular work at Cambridgeshire Pupil Referral Units, but by and large we’ve been in the office planning and preparing and watching February sail into view like the proverbial three buses that all come at once when you’ve been waiting for ages.
So on Monday 1 February, we were split three ways – quite a feat when you consider that there are only two of us in the department. Creative Learning Intern Nick Jukes spent the day in Witchford Village College, near Ely, for the conclusion of a project based on Aaron Copland’s Sextet. The aim of the project was for pupils in years 8 and 9 to discover more about minimalist techniques used by Copland, and to compose their own pieces in a similar style. In early January, Rachel Leach (workshop leader) worked alongside Joy Farrall and Miranda Dale (principal clarinet and principal 2nd violin respectively), using music, games and group activities to explain the theory behind Copland’s music. Between then and 1 February, students worked on their own pieces, and attended a concert at West Road Concert Hall, Cambridge, to see Joy and Miranda playing the Copland sextet and (amongst others) a new piece by Nico Muhly. On our 2nd and final trip to the school, Rachel listened to the students’ pieces and spent the day developing and extending ideas through group discussion and performance.
Meanwhile I, along with oboist Emma Feilding and project leader Hannah Conway, journeyed to Norfolk to visit the lovely Browick Road Infant School in Wymondham (one of those wonderful English place names that is pronounced nothing like how it’s spelled – more like “Windam”, but why use one letter when three will do?).
Along with five other primary schools in the area, Browick Road is working with us on a project inspired by a children’s book about a character called Mr Big – a scary-looking gorilla who, despite his gentle persona, frightens off any potential friends. Finding his voice through music, his beautiful piano playing eventually charms his neighbours, until one day he receives a letter asking him to join a band, bringing fame and, more importantly, friends. The story is a gift to music making – from thumping gorilla footsteps to the sad and tender sound of lonely Mr Big’s tears as he watches other people enjoying themselves.
Hannah Conway has already led a training session for the teachers at the six schools, giving them plenty of ideas and resources to create music based on the story with their classes. The visit on Monday enabled us to see how they were all getting on, and help the children to develop their ideas further. With many primary schools lacking a music specialist on the staff – and music often a much-feared subject amongst teachers – projects like this one can be hugely helpful in demystifying the process of composition and showing that, as long as children are being creative and listening to each other and the sounds they are making, there’s no “right” or “wrong” way of doing it. Oh, and to continue with the bus theme, we also discovered that, when asked to mime being on a bus, most children did the traditional steam train action (arms shunting round, knees bobbing). Maybe with all the rail replacement services going around at the moment, it’s all getting a bit too confusing for young minds.
Finally workshop leader Simon Gunton and Britten Sinfonia flautist Sarah O’Flynn spent Monday afternoon at Romsey Mill in Cambridge, working with a small group of pupils from Ascham Road Pupil Referral Unit on writing and recording music. As that’s the bus that Nick and I both missed (so to speak) we will have to wait until we hear the results to find out what went on, but I’m sure that the pupils will have gained enormously from the opportunity to work so closely with such experienced musicians.
Looking ahead, there are plenty more Creative Learning projects to hop on to. We’ll be starting major new projects with two more providers of non-mainstream education in Cambridgeshire: Fenland Learning Centre and Hartford Student Support Centre, which both take pupils who are excluded from mainstream schools for medical, behavioural or other reasons. We’ve also got another visit to Handsworth Grammar School in Birmingham; the culmination of our Mr Big project in Norfolk; coaching / mentoring work with Orchestra Europa in London; and a masterclass at Krakow Academy of Music. So whether by bus, train, plane or (more usually, because - try as we might to be a green orchestra - carrying 30 percussion instruments on public transport attracts a bad back as well as some pretty strange looks) the Britten Sinfonia van, there will be a Creative Learning project coming to somewhere near you soon.
Sophie Dunn, Creative Learning Director
Wednesday, 3 February 2010
Monday, 18 January 2010
Iconic Musical Buildings
The concert hall is the natural home of the orchestra and although Britten Sinfonia regularly perform in alternative spaces (Latitude, Colchester Heritage Weekend etc) the concert hall is where we are more than likely to be found. During January the orchestra will be performing in many concert halls throughout the UK (Cambridge’s West Road Concert Hall, Wigmore Hall, Birmingham Town Hall) and also the Netherlands. However, perhaps the two most iconic music buildings we’ll be playing in this month are London’s Roundhouse followed by Amsterdam’s Concertgebouw. What makes these buildings so special though?
The Roundhouse started life as a Victorian steam engine repair shed before becoming the legendary cultural venue it is today. It was first used as an arts venue in 1964 when playwright Arnold Wesker established Centre 42. In 2006 following extensive refurbishment the Grade II listed building was opened as one of the major venues in London and since then has hosted the BBC Electric Proms, James Brown, Paul McCartney and Jarvis Cocker amongst others. Although not a traditional concert hall, this month the Roundhouse hosts Reverb, a series that explores the many sides classical music. Reverb is about introducing new audiences to classical music and breaking down the barriers that exist for audiences.
The Roundhouse started life as a Victorian steam engine repair shed before becoming the legendary cultural venue it is today. It was first used as an arts venue in 1964 when playwright Arnold Wesker established Centre 42. In 2006 following extensive refurbishment the Grade II listed building was opened as one of the major venues in London and since then has hosted the BBC Electric Proms, James Brown, Paul McCartney and Jarvis Cocker amongst others. Although not a traditional concert hall, this month the Roundhouse hosts Reverb, a series that explores the many sides classical music. Reverb is about introducing new audiences to classical music and breaking down the barriers that exist for audiences.
The final date of Britten Sinfonia’s tour to the Netherlands is the orchestra’s debut performance at Amsterdam’s Concertgebouw. Literally meaning concert hall, the Concertgebouw is considered one of the finest concert halls in the world. Bernard Haitnik once described Concertgebouw as the best instrument in the orchestra it houses. This must have been what the great and the good of Amsterdam had in mind in 1881, when they decided that the Dutch capital should have a proper concert hall worthy of the name. Seven years later, in the marshy fields just outside the city limits, there stood a wonder of neoclassical architecture, the Concertgebouw. Acoustics were something of a black art (some may say they still are) so when the Concertgebouw was built designers drew upon what had worked in the past without entirely understanding the underlying science. When the building was completed, the acoustics were not perfect, and a lot of effort went into fine-tuning the aural ambience. During later restorations, particular care has been taken not to alter the materials used for interior decoration with this in mind. The building now enjoys a worldwide reputation.
We’re very much looking forward to performing at both of these venues. At the Roundhouse on the 23rd January we’ll be joined by pianist Joanna MacGregor - find out more here. Then on the 24th January (also at the Roundhouse) young American composer, Nico Muhly will direct and perform Britten Sinfonia in a programme of his own compositions alongside works by Steve Reich and Philip Glass - find out more here. On 31st January Britten Sinfonia perform a programme of music from both sides of the Atlantic at Amsterdam’s Concertgebouw including music by Purcell, Tippett, Britten, Steve Reich, Nico Muhly and John Adams - find out more here.
Thursday, 26 November 2009
Pictures from Morelia (part of our tour to Mexico)
Here are some pictures of Morelia which we visited as part of our tour of Mexico earlier this month. Stephen Bourne, CEO of Cambridge University Press and Britten Sinfonia board member is the photographer.
Lunch in Morelia
Views of Morelia
Rehearsals with Joanna MacGregor in Morelia
Wednesday, 25 November 2009
Mexico Tour Blog from Stephen Bourne
Britten Sinfonia performed in Mexico earlier this month with pianist Joanna MacGregor. In this blog posting Stephen Bourne, Britten Sinfonia Board Member and CEO of Cambridge University Press (who sponsored the tour) talks about his experiences on tour with an orchestra and the benefits Cambridge University Press receive through sponsoring Britten Sinfonia;
Two years ago, Cambridge University Press was one of Britten Sinfonia’s sponsors on its extraordinarily successful tour of South America. This year, we repeated the venture, wrapping a two-concert tour of Mexico round a business agenda for me and the Press’s Mexican team.
If you've never toured with an orchestra, it's a thrilling experience - particularly when it's a chamber orchestra like Britten Sinfonia. This is a band that consistently manages to bring together first-class musicians and world-renowned soloists, who together put on exciting programmes for audiences at home and abroad.
The short Mexico tour in November 2009 was no exception. Only two of the players had previously visited Mexico, so we began with a tangible anticipation of exotic things to come. Even the otherwise tedious business of a long flight can become an entertainment, with all the buzz generated by a swarm of musicians, marked out by the cellos cases seated amongst them, like a cluster of chubby totems.
It was only a matter of minutes after hotel check-in before the musicians sallied forth into the dusk and onto the streets of Mexico City’s Centro Historico, in search of tacos and mezcal and salsa – and that was the shape of things to come. Although bed came relatively early that night, at only 11.00 pm, it was already 5.00 am back home in England. Small wonder, then, that many of the team were somewhat subdued during the 4-hour coach journey to Morelia the next morning!
Morelia is the state capital of Michoacan, in the west of Mexico. The occasion for our visit was rather more significant than we had at first realised, in three respects: it was a coming-of-age for the Morelia Music Festival, its 21st anniversary; the United Kingdom had been chosen as the special guest country, with our Ambassador participating in the opening ceremonies; and Britten Sinfonia had been selected to perform the inaugural concert with soloist and conductor Joanna MacGregor.
Such venues are never without their hiccups, and there were stressful moments while we waited for piano-tuner to work his wonders, and while the bassists accustomed themselves to their borrowed instruments. But the rehearsals provided me with the kind of education to which so few of us in the business world ever have access: education in leadership, in collegiality, in the pursuit of excellence, and in patience. These are the hidden gifts of participation in tours of this kind. And there are opportunities to do the altogether unexpected, such as ascending into the vaulted roof-space of the concert hall, in my self-appointed role as Tour Photographer, to take photographs from on high of the band in rehearsal!
The Morelians proved to be an audience who appreciated excellent music, but probably did not receive their fair share of the world’s talents. Without doubt, the wide-ranging programme was a huge success with them, showcasing JS Bach, the gentle beauty of Tudor composer John Dowland, Brazilian Egberto Gismonti, Stravinsky and Scotland’s James Macmillan – all rounded off with a thrilling encore from Astor Piazzolla that elicited a standing ovation for Joanna and the orchestra.
Morelia was a lovely place to visit, offering us an instant glimpse of Mexican history, through its gorgeous haciendas, palacios, museos and its cathedral.
Two days later, and after further detailed but fascinating rehearsal, we were back in Mexico City, performing at the Sala Nezahualcoyotl of UNAM, the Universidad Nacional Autonoma de Mexico. This is a splendid auditorium, where Joanna and the band again delivered another storming performance, the finale this time being three Piazzolla pieces, including Milonga del Angel, a delicate trio played by Joanna MacGregor (piano), Jacqueline Shave (violin) and Roger Linley (double bass), who together were responsible for many a misty eye in the audience. And then the inevitable encore, a movement from Macmillan’s Piano Concerto #2, which ensured that the concert-goers ended the evening on their feet, stomping and whooping.
But for me and my colleagues, as business sponsors, there had to be more than that. The concerts presented us with opportunities to entertain our publishing connections in a manner they had never previously experienced from any other business associate. Booksellers, wholesalers, authors, teachers, printers, typesetters, shippers: such people are the bread and butter of our industry, and we are able to thank them for their loyalty to us by inviting them to a reception and to an unforgettable concert. Afterwards, they were able to meet the players and to share enthusiastically their several experiences. We know that brief interludes of this kind will result in Cambridge University Press remaining in their memories, as generous hosts, as purveyors of quality products, and as constant patrons of the arts, even in difficult economic times such as these. Thereby, we enhance our corporate image. But the appreciation of these people provides us with the real payback on our investment.
Nor should we forget our own staff, in our offices around the world. For them, such moments provide a tremendous thrill, as well as a first-hand insight into the things the Press holds dear and into the effort that goes into striving after perfection. These musical tours provide an opportunity to thank them, too, for their efforts on behalf of our business.
For me, though, as a member of the touring party, the greatest surprise and delight was still to come. Back in the hotel after the final concert, those of us who were too drained to spend another night in the musical bars had a final drink or two together. Then David Butcher, Chief Executive of Britten Sinfonia, dragged me away at 11.00 pm to spy on an impromptu string quartet, formed by Jackie Shave just a few minutes earlier, sight-reading Bartok’s incredibly difficult String Quartet #1. Fortified by the odd swig of tequila from a convenient hip-flask, players were heard to mutter ‘I think I played a wrong note’ (just one?), or ‘That was almost right, wasn’t it?’ (having never seen or heard the piece before). It was a performance to turn any Bartok-sceptic into an instant believer. Close to midnight, I finally retired, utterly inspired by the devotion and brilliant musicianship of these players. There is much to be learned from examples such as theirs.
The next day, I sat down with Cambridge University Press’s Mexican management team for a day’s business discussions in the office. Oddly, perhaps, no-one resented being there, despite it being a public holiday. We were still re-living the treat of the weekend with Britten Sinfonia. And we talked some really good business.
Stephen Bourne, Chief Executive, Cambridge University Press
We hope to have some pictures of the tour online soon - watch this space!
Two years ago, Cambridge University Press was one of Britten Sinfonia’s sponsors on its extraordinarily successful tour of South America. This year, we repeated the venture, wrapping a two-concert tour of Mexico round a business agenda for me and the Press’s Mexican team.
If you've never toured with an orchestra, it's a thrilling experience - particularly when it's a chamber orchestra like Britten Sinfonia. This is a band that consistently manages to bring together first-class musicians and world-renowned soloists, who together put on exciting programmes for audiences at home and abroad.
The short Mexico tour in November 2009 was no exception. Only two of the players had previously visited Mexico, so we began with a tangible anticipation of exotic things to come. Even the otherwise tedious business of a long flight can become an entertainment, with all the buzz generated by a swarm of musicians, marked out by the cellos cases seated amongst them, like a cluster of chubby totems.
It was only a matter of minutes after hotel check-in before the musicians sallied forth into the dusk and onto the streets of Mexico City’s Centro Historico, in search of tacos and mezcal and salsa – and that was the shape of things to come. Although bed came relatively early that night, at only 11.00 pm, it was already 5.00 am back home in England. Small wonder, then, that many of the team were somewhat subdued during the 4-hour coach journey to Morelia the next morning!
Morelia is the state capital of Michoacan, in the west of Mexico. The occasion for our visit was rather more significant than we had at first realised, in three respects: it was a coming-of-age for the Morelia Music Festival, its 21st anniversary; the United Kingdom had been chosen as the special guest country, with our Ambassador participating in the opening ceremonies; and Britten Sinfonia had been selected to perform the inaugural concert with soloist and conductor Joanna MacGregor.
Such venues are never without their hiccups, and there were stressful moments while we waited for piano-tuner to work his wonders, and while the bassists accustomed themselves to their borrowed instruments. But the rehearsals provided me with the kind of education to which so few of us in the business world ever have access: education in leadership, in collegiality, in the pursuit of excellence, and in patience. These are the hidden gifts of participation in tours of this kind. And there are opportunities to do the altogether unexpected, such as ascending into the vaulted roof-space of the concert hall, in my self-appointed role as Tour Photographer, to take photographs from on high of the band in rehearsal!
The Morelians proved to be an audience who appreciated excellent music, but probably did not receive their fair share of the world’s talents. Without doubt, the wide-ranging programme was a huge success with them, showcasing JS Bach, the gentle beauty of Tudor composer John Dowland, Brazilian Egberto Gismonti, Stravinsky and Scotland’s James Macmillan – all rounded off with a thrilling encore from Astor Piazzolla that elicited a standing ovation for Joanna and the orchestra.
Morelia was a lovely place to visit, offering us an instant glimpse of Mexican history, through its gorgeous haciendas, palacios, museos and its cathedral.
Two days later, and after further detailed but fascinating rehearsal, we were back in Mexico City, performing at the Sala Nezahualcoyotl of UNAM, the Universidad Nacional Autonoma de Mexico. This is a splendid auditorium, where Joanna and the band again delivered another storming performance, the finale this time being three Piazzolla pieces, including Milonga del Angel, a delicate trio played by Joanna MacGregor (piano), Jacqueline Shave (violin) and Roger Linley (double bass), who together were responsible for many a misty eye in the audience. And then the inevitable encore, a movement from Macmillan’s Piano Concerto #2, which ensured that the concert-goers ended the evening on their feet, stomping and whooping.
But for me and my colleagues, as business sponsors, there had to be more than that. The concerts presented us with opportunities to entertain our publishing connections in a manner they had never previously experienced from any other business associate. Booksellers, wholesalers, authors, teachers, printers, typesetters, shippers: such people are the bread and butter of our industry, and we are able to thank them for their loyalty to us by inviting them to a reception and to an unforgettable concert. Afterwards, they were able to meet the players and to share enthusiastically their several experiences. We know that brief interludes of this kind will result in Cambridge University Press remaining in their memories, as generous hosts, as purveyors of quality products, and as constant patrons of the arts, even in difficult economic times such as these. Thereby, we enhance our corporate image. But the appreciation of these people provides us with the real payback on our investment.
Nor should we forget our own staff, in our offices around the world. For them, such moments provide a tremendous thrill, as well as a first-hand insight into the things the Press holds dear and into the effort that goes into striving after perfection. These musical tours provide an opportunity to thank them, too, for their efforts on behalf of our business.
For me, though, as a member of the touring party, the greatest surprise and delight was still to come. Back in the hotel after the final concert, those of us who were too drained to spend another night in the musical bars had a final drink or two together. Then David Butcher, Chief Executive of Britten Sinfonia, dragged me away at 11.00 pm to spy on an impromptu string quartet, formed by Jackie Shave just a few minutes earlier, sight-reading Bartok’s incredibly difficult String Quartet #1. Fortified by the odd swig of tequila from a convenient hip-flask, players were heard to mutter ‘I think I played a wrong note’ (just one?), or ‘That was almost right, wasn’t it?’ (having never seen or heard the piece before). It was a performance to turn any Bartok-sceptic into an instant believer. Close to midnight, I finally retired, utterly inspired by the devotion and brilliant musicianship of these players. There is much to be learned from examples such as theirs.
The next day, I sat down with Cambridge University Press’s Mexican management team for a day’s business discussions in the office. Oddly, perhaps, no-one resented being there, despite it being a public holiday. We were still re-living the treat of the weekend with Britten Sinfonia. And we talked some really good business.
Stephen Bourne, Chief Executive, Cambridge University Press
We hope to have some pictures of the tour online soon - watch this space!
Monday, 23 November 2009
Clouds
With all the stormy weather we've been having recently I've been looking up at the sky quite a bit to see whether we're likely to have another downpour or I can leave the house without the umbrella. Not sure whether I've seen any Noctilucent clouds though. These are clouds that form in the highest regions of the earth's atmosphere which appear as sun-illumined silvery waves on the threshold of space. Apparently they are extremely rare and are still a mysery to science.
The reason I write about this is the new work Christian Mason has composed for the first of this seasons Britten Sinfonia At Lunch concerts is titled Noctilucent. Like the clouds Christian has said "the piece inhabits the upper regions of available pitch-space, with shimmering string harmonics, piccolo arabesques and bright piano octaves illuming the line which flows through the piece." Below is a picture that Christian asked to be in the programme but unfortunately we are unable to include it so thought I'd post it here.
I'm certainly looking forward to hearing the piece at its UK premiere in Cambridge on Tuesday 15 December. The piece will receive its world premiere a couple of days before in Krakow (13 Dec) and after Cambridge will be performed at London's Wigmore Hall (16 Dec), the Town Hall in Birmingham (17 Dec) and the Assembly House in Norwich (18 Dec). Click here to find out more about the programme and ways to purchase tickets.
Claire (Marketing Director)
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The reason I write about this is the new work Christian Mason has composed for the first of this seasons Britten Sinfonia At Lunch concerts is titled Noctilucent. Like the clouds Christian has said "the piece inhabits the upper regions of available pitch-space, with shimmering string harmonics, piccolo arabesques and bright piano octaves illuming the line which flows through the piece." Below is a picture that Christian asked to be in the programme but unfortunately we are unable to include it so thought I'd post it here.
I'm certainly looking forward to hearing the piece at its UK premiere in Cambridge on Tuesday 15 December. The piece will receive its world premiere a couple of days before in Krakow (13 Dec) and after Cambridge will be performed at London's Wigmore Hall (16 Dec), the Town Hall in Birmingham (17 Dec) and the Assembly House in Norwich (18 Dec). Click here to find out more about the programme and ways to purchase tickets.
Claire (Marketing Director)
.jpg)
Wednesday, 4 November 2009
Digital Music Stands
Britten Sinfonia, is adding a hi-tech element to its upcoming Dialogues concerts. In lieu of traditional paper sheet music, three of the soloists will read their music on a Sahara NetSlate™ Tablet PC by TabletKiosk that is running MusicReader software from Leoné MusicReader.
MusicReader and TabletKiosk developed a special solution for Britten Sinfonia using the Sahara NetSlate a230T Tablet PC on a custom music stand. For page turning the AirTurn AT-104 wireless foot pedals will be used. This combination gives the soloists the flexibility they need for a seamless and uninterrupted performance.
The three "Dialogues" concerts will be performed on November 6, 7 and 9 in Norwich, London and Cambridge respectively and feauture pianist Pierre-Laurent Aimard.
MusicReader and TabletKiosk developed a special solution for Britten Sinfonia using the Sahara NetSlate a230T Tablet PC on a custom music stand. For page turning the AirTurn AT-104 wireless foot pedals will be used. This combination gives the soloists the flexibility they need for a seamless and uninterrupted performance.
The three "Dialogues" concerts will be performed on November 6, 7 and 9 in Norwich, London and Cambridge respectively and feauture pianist Pierre-Laurent Aimard.
Wednesday, 28 October 2009
Family Music Day - Years Ahead of it Time
Hannah Ellis, Family Music Day Co-ordinator talks about this year's Family Music Day;
With Back to the Future replays filling our screens, echoes of ‘Let’s do the Time Warp again’ ringing in our ears and Hollywood inviting us to meet the ‘Time Traveller’s Wife’, Britten Sinfonia has jumped on the time travelling bandwagon as this year’s Family Music Day promises to take you on a journey through the centuries. Our Creative Learning department is busy excitedly planning the day taking place at West Road Concert Hall, Cambridge, on Sunday 1 November, this year directed by Tim Steiner from CBBC’s Clash, who boasts a wealth of experience in family concerts.
This event has been hugely popular over the past few years (and we’ve nearly sold out for this year, so get your tickets fast!), and it provides the ideal opportunity for families to learn more about how music is played and composed in a fun and informative way. What’s more, you don’t need any prior musical knowledge to be able to enjoy the day!
As well as the usual fantastic workshops – percussion, gamelan, instrument building, and strings, wind and brass workshops – we’ve listened to what you have told us in previous years and as a result this year also sees the addition of singing and guitar!! There’s also lots of other activities going on throughout the day and at the moment we are putting together our Composers’ Time Machine (collective ‘ooooooooooohhhh’ please!), to be unveiled on the day! Not forgetting face painting, the Boomwhacker challenge and various competitions with fab prizes!
So as you can see, this year looks set to be even bigger and better than previous years, and with Tim Steiner captaining the (space)ship, you can guarantee everyone will enjoy themselves.
Forget the X Factor and even Britain’s Got Talent, Britten Sinfonia’s Family Music Day is the place to showcase your musical talent.
So grab your nearest flux capacitor and come and join us for a fun filled day!
With Back to the Future replays filling our screens, echoes of ‘Let’s do the Time Warp again’ ringing in our ears and Hollywood inviting us to meet the ‘Time Traveller’s Wife’, Britten Sinfonia has jumped on the time travelling bandwagon as this year’s Family Music Day promises to take you on a journey through the centuries. Our Creative Learning department is busy excitedly planning the day taking place at West Road Concert Hall, Cambridge, on Sunday 1 November, this year directed by Tim Steiner from CBBC’s Clash, who boasts a wealth of experience in family concerts.
This event has been hugely popular over the past few years (and we’ve nearly sold out for this year, so get your tickets fast!), and it provides the ideal opportunity for families to learn more about how music is played and composed in a fun and informative way. What’s more, you don’t need any prior musical knowledge to be able to enjoy the day!
As well as the usual fantastic workshops – percussion, gamelan, instrument building, and strings, wind and brass workshops – we’ve listened to what you have told us in previous years and as a result this year also sees the addition of singing and guitar!! There’s also lots of other activities going on throughout the day and at the moment we are putting together our Composers’ Time Machine (collective ‘ooooooooooohhhh’ please!), to be unveiled on the day! Not forgetting face painting, the Boomwhacker challenge and various competitions with fab prizes!
So as you can see, this year looks set to be even bigger and better than previous years, and with Tim Steiner captaining the (space)ship, you can guarantee everyone will enjoy themselves.
Forget the X Factor and even Britain’s Got Talent, Britten Sinfonia’s Family Music Day is the place to showcase your musical talent.
So grab your nearest flux capacitor and come and join us for a fun filled day!
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