Creative Learning in Mexico!

Judith Kelly leading a sectional

Ali Read in the full rehearsal

We've just got back from two extra days in Mexico working with the Carlos Chavez Youth Orchestra. While the rest of the orchestra spent Monday evening at the airport, I [Ali Reid] went with Judith Kelly (violin) and Bridget Carey (viola) to a hotel on the other side of Mexico City to meet with teachers from the youth orchestra.

We had a fascinating discussion hearing about the project which was founded twenty years ago: two orchestras of the best young musicians in Mexico form a school that the students attend daily. Their orchestral work is complemented by individual tuition from some of Mexico's top professionals as well as more wide-ranging lessons including Alexander Technique and movement classes with a dancer. Having told us about their work the teachers were keen to hear about the British system. We also discussed the difficulties facing music education on opposing sides of the world: some problems are the same everywhere, but they have unique challenges to face and were keen to hear our views.

It was inspiring to meet such a fascinating group of teachers together with the visionary Julio at their helm, and it helped to prepare us for the two days ahead.

Early the following morning we departed the hotel for sectionals with the violins and violas. We spent 3 hours with them (and a translator of course!) putting them through their paces with Britten's Sinfonia da Requiem and Tchaikovsky's Fifth Symphony. They were enthusiastic and really receptive: they have two concerts at the end of the week so were keen to work hard together before the afternoon's full rehearsal.

Having finished the morning we all piled onto two buses to go to the full rehearsal - packed lunches on the way! We arrived at a vast complex for the Arts in another part of the city. Not only is it home to a concert hall, but there's also a theatre, art gallery and dance studio just around the corner! This was the first meeting of the orchestra with their conductor for the week (Kenneth Jean) and he played through all of the programme, which also included a new Spanish work. We sat within the sections which was really useful: we could give some help as well as see how things felt in the thick of things!

The following day was a similar pattern of morning sectionals then full rehearsal. I think the three of us found this day even more productive. Having got to know the students and their playing we progressed quickly, and the full rehearsal that afternoon already sounded like a different orchestra. Sadly we had to dash to the airport straight from the hall, so won't have a chance to hear how they change towards the concerts. But we had crammed a lot into two days!

Before leaving we had several good chats with the students, who were also keen to hear all about musical life in England - we will hopefully keep in touch through the wonders of email! They are a really exciting group and the whole project is doing amazing things for the future of classical music in Mexico. An inspiring few days!

Ali Reid

Second Violin with Britten Sinfonia

Our Creative Learning work in Mexico was generously supported by Cambridge University Press, our International Partner.

Photos from Mexico

The musicians and management team safely touched down at Heathrow airport on Tuesday afternoon following their successful tour of Mexico. We're currently hearing tales of tequila, beautiful concert halls and grass hoppers....

The following pictures were taken by our Orchestra Manager, Hannah Tucker;

Zocalo - the cathedral in Mexico City

The view of Cathedral square from the hotel terrace

Dancing in the square

Amy Wein and Bridget Carey enjoying a glass of wine at a reception following the first concert which celebrated the British Chamber of Commerce in Mexico's 90th anniversary

Violinists Miranda Dale, Kathy Shave and cellist, Juliet Welchman

Gillon Cameron and Ben Chappell talking to a guest at the reception


Walking towards the concert hall in Leon

Teatro del bicentenario - Leon

Inside Teatro del bicentenario

Rehearsing in Leon

Henning Kraggerud and some of his fans after the concert in Leon

Henning talking to some younger fans

Enjoying some food after the concert in Leon

Thomas Gould and Henning Kraggerud deep in conversation

The band at the restaurant

Walking to the Sala Nezahualcoyotl, Mexico City

Sala Nezahualcoyotl Concert Hall

Rehearsing at the Sala Nezahualcoyotl Concert Hall

First day in Mexico

The orchestra arrived safely in Mexico City on Wednesday evening and yesterday they set to work rehearsing with violinist Henning Kraggerud for the first concert to be held tonight at the Anfiteatro Simon Bolivar. The concert is to celebrate the 90th anniversary of the British Chamber of Commerce in Mexico.

Anfiteatro Simon Bolivar

Britten Sinfonia rehearsing

Henning Kraggerud and the viola section

Thomas Gould and Beatrix Lovejoy

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!