Music Works: an exciting new podcast for the classical music industry

Polyphony Arts is pleased to announce the launch of their new podcast: Music Works which looks at the classical music industry, how it works today, and explores how it can work better in the future.

The podcast is a natural extension of the vision of Polyphony Arts founder, Katie Beardsworth, who has been a long term campaigner for better work life balances for musicians and improved working conditions across the industry.

Now, since COVID-19 has brought lock down and effectively put a stop to performing arts everywhere, problems inherent in the industry have come more and more to the fore. In response to which Music Works offers a forum for everyone who cares about the arts, whether as a music professional, funder, policy maker or music lover, to express their thoughts, suggestions and personal experiences.

Katie explains her thinking behind the podcast:

“We’ve seen how fragile a musician’s income can be. We’ve seen how fragile music organizations can be, and I want to change that. So I’ve started Music Works with a view to having important, forward thinking discussions around the classical music industry as it is now and how it will work in the future.”

In the first episode the team at Polyphony Arts share their thoughts in an informal manifesto for the classical music industry going forward.

Upcoming episodes include conversations with composers and perfomers such as Ella Jarman-Pinto and bassoonist Fraser Gordon who both discuss the importance of belonging for people who may feel excluded because of their race, gender or social class; business leaders like Jessica Fearnley; and policy strategists such as Ben Cooper, author of the latest report from the Fabian Society “Cultured Communities” on the importance of the arts in society and how to improve our current funding models.

“We can’t just look at artistic content or individual experience unless it goes to helping us explain and develop our thinking on how to improve our sector and build sustainability through improved models,” Katie concludes. “We need a holistic, not a fragmented approach and that’s what Music Works is designed to promote. Musicians work through cooperation and collaboration; this podcast is all about that and more.”

You can find the podcast on the Polyphony Arts website and YouTube channel, social media and soon to appear on all major podcast apps such as Apple and Spotify.

Perfect Press Release with Polyphony Arts

Are you a solo musician, an ensemble or an arts organisation with a story you want to see picked up by the media? 

Not sure how to pitch your information in a way that will catch the editor’s eye?

As artist and arts project managers, we send out press releases all the time so we’re happy to share our experience of what makes the perfect press release. 

And, if you want help with this, check out our Perfect Press release service – send us your draft press release, and we’ll perfect it for you!

First of all, the clue is in the name: you are selling a story. That means you have information you want to present, but it has to be framed as a narrative and one with a hook to catch the reader’s eye. That’s a story. 

First: get your information in order. 

For example:

  • I’ve got a concert/event coming up/a new album coming out
  • Venue, date, time, label, launch date
  • I’m playing XXX/we’re presenting XXX/the album title is
  • Where can you buy tickets/find out more about the album

Now you have put flesh on the bones and turn those facts into a story. That means something different and/or original to make this a story an editor thinks their audience will want to hear.

“Violinist gives concert in Devon” isn’t exactly “hold the front page” material.

“Award winning violinist to returns to her home town with dazzling programme” already has two hooks in there to show why this story is interesting: this isn’t just any violinist but an award winner and, even better, it’s a local lass!

Think about your hook; think about what turns your information into a story an editor might want to hear.

Here’s a headline we wrote for an album launch in May:

“Classical guitar sensation, Duo Tandem, lead the way in remote collaboration with exciting new release.”

The hook here is the fact that Mark and Necati, have an amazing way of making fabulous music together even though Mark lives in Chicago and Necati lives in London. Given how everyone has been trying to work out how to get their music online during the Covid lockdown, this was especially topical.

Do you have any juicy quotes either about you or your event?

Here’s one from the same press release: 

“pushing the boundaries of what’s possible on classical guitars,” Minor7th

It was from a review of an earlier album by Duo Tandem, but it fitted our story perfectly.

Contemporaneous quote are also useful.

‘“We are delighted that Isadora will be the first to perform live music here again. The fact that she grew up in the town makes it so much more special for us and for our audience,” said the centre’s artistic director, Julia Wishbone.’

Tip: if you don’t have a quote, get in touch with friends/colleagues/the promoter and get one!

You’ve heard of the elevator pitch. You find yourself in an elevator with a big movie producer and you have just so long as it takes to get to his floor to pitch your script idea.

Tell your story simply and effectively and get back out the door. Editors are busy people and they get bored very quickly. If you haven’t sold your story within the first few lines, you’ve missed the boat.

You also have to consider what type of media you are aiming for. If you’re giving a recital to a small concert society in Norfolk, don’t target the national press. Look at local papers and radio. Get online, find the name of the editor (or better yet the arts correspondent) if you can, plus email addresses, phone numbers.

Tip: if you haven’t already, now is a good time to start building a database of press contacts.

If you have a good quality photo, send it along. 

If you have some online video performances, include the links.

And don’t forget to include all your contact details at the foot of the release!

Head your press release: “PRESS RELEASE” and put “ENDS” after the body of the text. All you extra information – your details and any links – come after that. Don’t send it as an attachment; copy it into the body of your email. 

We had a lovely live discussion on our live series about the ins and outs of writing the perfect press release. You can watch the full video here.

Katie Beardsworth and Margaret Pinder

Three mindset tips to help you become your own agent

Are you a musician who pitches for their own work? Have you thought about getting an agent, but prefer the idea of managing your own career? What is holding you back? 

As an artist manager and artistic director, I have a deep understanding of the music agent industry, and I want to share my three top tips for becoming your own agent.

When things hold me back in my career, they are almost always to do with mindset. I know from my work with hundreds of musicians how powerful mindset is in the music industry in particular. 

Are you ready to take control of your music career?

Here are three mindset altering tips to help you become your own agent.

Tip 1: Make sure you love what you’re offering

I believe that the most important thing as a musician is to be working on projects that fill you with joy and enthusiasm. Music is so personal. What you’re doing has to feel right to you. 

Tip 2: Tell people, clearly, why you love it

Plan ideas clearly so that you can easily explain to others what is wonderful about it. Write it down so you can send it by email, and talk to friends and family about it – see if you can express the main idea in a sentence. Listen to their feedback – can you make them love it as much as you do?

Tip 3: Send it out with confidence

This is your ideal project – use that experience of explaining it to friends and family to explain it to others. Be warm, confident, and share the love for what you’re doing. Is your inner voice telling you that the person you’re pitching it to might not be interested? Overrule that inner voice! Replace it with the evidence that you’ve gathered from your conversations – this is a project that is inspired and special, and you are the perfect person to be doing it.

Did this resonate with you? Do you want more practical and mindset exercises to help you maximise your music career?

My online course, Become Your Own Agent is available now, as a self-paced online course. It costs £150, and you can spread the cost over three months if you wish. When you sign up, you receive the course materials and exercises, and can work through it at your own pace.

You will also be able to join the Polyphony Arts online course community, where you can develop your network further, and share tips and ideas with like-minded musicians. 

Find out more and sign up here.

Do you have tips to add? We’d love to hear from you on social media!

Perfect Pitch with Polyphony Arts

Are you a musician who pitches for work? 

As artist managers, we pitch for our clients all the time. 

Our performers want concert, oratorio, concerto and chamber work, both on the concert platform and in the recording studio. 

Our composers want commissions, and performances and recordings of their works.

We are also concert promoters, which means we book musicians for work, and therefore receive countless pitches.

We wanted to share our insight into this part of the music industry, having seen it from both sides, so today we reached out with a live discussion on this very topic, full of insights about the ins and outs of pitching for musical work.

You can watch the full video at the bottom of this blog post.

However, if you want a quick round-up of our top tips for pitching, here they are.

What to include

  1. Headline – what is the most interesting thing about your project?
  • What instrument/s you/your ensemble play – unbelievably, I often have to search pitches for this information! A photo can be a great way to make this clear.
  • What we can expect from the performance – a sense of repertoire or theme
  • Why it will be high quality – career highlights / competition success / press quotes / testimonials
  • A link to a recording or video of your work (if you are a composer, a midi file is fine)
  • Links to your website and socials
  • Your contact details
  • Your availability – even if you suggest a date patch and it doesn’t work for the promoter, it still helps them focus on the possibility of booking you if you mention a specific date or time of the year. Bonus points for working out when the promoter usually has events and suggesting something that fits with that pattern, for example…

I notice you usually hold concerts on Thursdays”. Golden.

How does this make you feel?

A note on the above, especially number 4 – this does not mean you have to make it sound as though your career is in a different place from where it is. If you are a frequent visitor to the Wigmore Hall, say so. If you are just finishing education, and making your first steps into your professional career, say this.

Concert promoters don’t only book musicians whose careers are in full flight, and you will always come across better if you are honest and genuine.

So, are you ready? Are you raring to go? 

Do you feel like you could use a second pair of eyes?

We have a special offer for you. 

From 1 June 2020 we are launching a new service: Perfect Pitch with Polyphony Arts. You can send us your pitch and we will perfect it for you.

More details of how this works and how you can get your perfect pitch for only £60 are here. We look forward to hearing how you get on!

Katie Beardsworth and Margaret Pinder

NEW ARTIST! A warm welcome to award-winning composer Edwin Roxburgh!

Polyphony Arts is delighted to welcome Edwin Roxburgh to the Polyphony Arts team!

Distinguished composer and virtuoso oboist, Edwin has won numerous prizes and Fellowships. As a student, he was recipient of the Elgar Trust Award through a BBC Symphony Orchestra commission, as well as a British Academy Award for his Oboe Concerto, An Elegy for Ur, and a Cobbett Medal for Services to Chamber Music.

Edwin’s musical works encompass a broad range of instrumental setting, adventuring through a variety of sophisticated, fascinating sound worlds. His work Saturn, with a tribute to Holst, explores the mythical characters of its moons and satellites, in “an epic orchestral and electronic space-scape effortlessly blending Roxburgh’s understanding of Boulez and Stockhausen with a Birtwistle-like sense of ritual” (The Wire). He awaits a performance of his opera Abelard (libretto by Edwin and Julie Roxburgh), published by United Music Publishing under the auspices of a Leverhulme Research Fellowship. Other commissions include How Pleasant to Know Mr. Lear, for narrator and orchestra, produced on ITV’s Aquarius with Vincent Price and Diana Menuhin as narrators. Recordings of Edwin’s works are available on various prestigious labels, including NMC, Naxos, Warehouse and Metier.  

Beside his busy career as a composer, Edwin’s artistic activities include performing, conducting and teaching. He is currently a visiting tutor and researcher at the Royal Birmingham Conservatoire, where he was awarded an Honorary Fellowship, and has conducted numerous premieres – originally with the Twentieth Century Ensemble of London, which he founded, and later with several other principal orchestras of the UK.

You can read more about Edwin here: https://polyphonyarts.com/edwin-roxburgh/

What a pleasure to have you with us, Edwin!

Beardsworth Arts welcomes the Hull Philharmonic Orchestra to the team!

Extremely delighted to announce a new client for Beardsworth Arts! It’s a pleasure to welcome the Hull Philharmonic Orchestra on board, with an exciting new season ahead. Do have a look at the wonderful concerts lined up here: http://www.hullphilharmonic.org/current-season/

The Hull Philharmonic Orchestra has been a major feature in the city’s cultural landscape for over 130 years. Over the years, Hull audiences have been able to enjoy a wide variety of orchestral works, from the well-known classics to newly commissioned pieces—and most recently, a premiere of the adventurous 8-Bit Symphony project, which showcased 80s gaming music for symphony orchestra!

A warm welcome to the team, HPO!