Making Music: Annual awards showcase talent and innovation – now YOU get the chance to vote!

Shortlists announced for 2022 Making Music Awards

We thought our friends in the music library world – staff and music library users – would welcome the chance to participate in these awards being made by our friends at Making Music! YOU HAVE FOUR DAYS TO VOTE!

Awards for leisure-time music groups across the UK and the people who work with them  

Making Music, the UK’s membership organisation for leisure-time music, is delighted to announce the shortlists for the 2022 Making Music Awards.

The annual awards celebrate the creativity of Making Music’s 3,900 member groups and the often unrecognised individuals who help the UK leisure-time music sector to flourish. Prizes range from promotion across Making Music’s networks to financial support towards commissions and other musical projects.
The shortlists and winners are decided by panels of experts drawn from across the music sector. One exception is the group hero award – introduced last year to recognise individuals, groups or committees who have gone the extra mile for their music group – which will be decided by online public vote. Voting closes at 5pm on Tuesday 20 September.

All winners will be announced by Debbie Wiseman OBE, Making Music President, at a special online awards ceremony at 7pm on Thursday 22 September. Anyone who would like to attend is welcome to reserve a free ticket.

Barbara Eifler, Making Music Chief Executive, said:

“These awards have drawn an enthusiastic response from members, seizing on the opportunity to lavish much-deserved praise on the professionals or volunteers who help their group flourish. At Making Music, we are delighted with the quality of the submissions and look forward to announcing the winners next week.”

The shortlists for the 2022 Making Music Awards are as follows: 
Best music creator for leisure-time music group 

  • Finn AndersonDistant Dream, for The Sunday Boys 
  • Joanna Forbes L’Estrange and Alexander L’EstrangeSing, Sing, Sing!, for Scunthorpe and District Choral Society 
  • Nathan James Deardeni breathe, for National Youth Choirs of Great Britain 

Highly commended: Paul AyresReasons for Singing, for Concordia Voices; John C HayesWensleydale March, for Lymm Concert Band. 
Best arranger for leisure-time music group 

  • George Morton – five pieces including The Sorcerer’s Apprentice, Scheherazade, William Tell Overture, for Sheffield Philharmonic Orchestra 
  • Michael BetteridgeUrge for Going, for The Sunday Boys 
  • Peter Davis – two extracts from William Hamilton Bird’s Oriental Miscellany, for Street Orchestra Live 

 Panel for best music creator and best arranger: Debbie Wiseman (Making Music President); Dorothy Wilson (Making Music Chair); Russell Keable (Music Director, Kensington Symphony Orchestra); Sally Groves (former music publisher). 
Best project with a focus on new music 

  • Aldworth Philharmonic Orchestra 
  • Haddo Arts 
  • The Sunday Boys 

Panel for best project with a focus on new music: Dorothy Wilson (Making Music Chair); Clare Edwards (Director of Learning & Events, Young Voices); Emma Campbell (Music Officer, Creative Scotland); Graeme Wilson (Music Director, Kirkcaldy Orchestral Society). 
Best music director

  • Chris Parsons, Bury St Edmunds Friendly Orchestra 
  • Stephen Marshall, Crickhowell Choral Society  
  • Thomas Leech, Bradford Festival Choral Society 

Highly commended: Melanie Le Breuilly, Reading Youth Orchestra 

Panel for best music director: Martyn Brabbins (Music Director, English National Opera); Dorothy Wilson (Making Music Chair); Derek Harrison (Music Director, Knebworth Community Chorus). 
Group hero 

  • Ben Baughan, The Sunday Boys 
  • Bradford Festival Choral Society team, Bradford Festival Choral Society  
  • Musicians in Exile, The Glasgow Barons 
  • Nigel Britten and Sally Moran, Beckenham Chorale 

The group hero award will be decided by public vote. Read more and vote online for one of the shortlisted nominees by 5pm, 20 September.  

Every year, Making Music presents numerous awards, bursaries and prizes to individual musicians, music groups and organisations in both the leisure-time and professional music sectors. Find out more

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Pendlebury Item Spotlight – New Scores by Joseph Bologne, Chevalier de Saint-Georges

Mather Brown – Joseph Bologne de Saint-Georges, 1787 Despite having worked in music libraries for quite a few years, it still seems that rarely a week goes by in which I don’t come across a composer I’ve never heard of before. Recently, that composer was Joseph Bologne, Chevalier de Saint-Georges, who caught my eye not […]

Pendlebury Item Spotlight – New Scores by Joseph Bologne, Chevalier de Saint-Georges
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Volunteering Opportunity: Music Libraries Trust (Bursaries Administrator)

The Music Libraries Trust is looking for a new Bursaries Administrator to manage the bursary for the IAML (UK & Irl) Annual Study Weekend, and the Ian Ledsham bursary for the international IAML conference. The volunteer role is rewarding and offers a range of experience and networking opportunities.  

The role involves:  

  • Advertising the bursaries through universities, social media and IAML 
  • Contacting and liaising with possible sponsors, often music publishers, by post and email 
  • Liaising with IAML committees about prices and to inform them of successful bursary applicants
  • Acting as a point of contact for successful bursary applicants 
  • Attending quarterly meetings, where all Trust business is discussed. A Bursaries Report is given at each meeting
  • Writing blog posts on the Music Libraries Trust website about relevant bursary opportunities and uploading conference reports 
  • Opportunities sometimes arise for engaging with further Trust activity on an ad hoc basis, if desired 

The role will begin in September. Please contact Music Libraries Trust secretary, Edith Speller if interested. 

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IAML 2022 Prague Congress

As you may know, our international organisation (‘big IAML’) is meeting in Prague this week, 24-30 July 2022.

Conference Schedule – click here.

If you’re curious to know what’s going on, do follow the Twitter hashtag, #IAML2022, and make sure you follow both ‘big’ IAML’s and our own Twitter accounts:-


Now is probably a good time to remind you that this time next year, we’re hosting the international congress in Cambridge! The website for this event will be launched during this year’s congress, so we’ll share it at the first possible opportunity.

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CILIP/IAML (UK & Irl) Memorandum of Understanding

We are very pleased to have signed a Memorandum of Understanding with the Chartered Institute of Library and Information Professionals, and welcome the opportunity to work more closely together. 

We look forward a fruitful collaboration with CILIP, as we work to preserve and make available the rich musical heritage in our libraries.

IAML(UK & Irl) Current Concerns

A Dispersed National Resource

IAML (UK & Irl) has particular concern for performance sets at present, which are a national resource but widely dispersed across library authorities and libraries in other sectors. Together, they are a unique and essential collection for music making in the UK, but they are very vulnerable (as a non-statutory service) in the present financial climate, and their use is not fully recognised or acknowledged due to lack of data. One loan may be registered, but may be for 200 copies of a work, which is then performed to an audience of say 500, meaning 700 people have effectively ‘used’ that single loan – this data is relatively obscure, and makes it difficult for funders and managers of collections at a higher level when they have hard choices to make.

Cross-Sectoral Collaboration

The Inter Library Loan system for music sets is actually also a prime example of cross-sectoral collaboration, with music libraries from public, higher education and private sectors all lending to each other, maximising use of resources and demonstrating joined-up thinking across regions and sectors. 

Web-Based Platform

IAML (UK & Irl)  supports and funds a national database of these performance sets, which has recently moved to a new web-based platform and currently has data for 90,000 sets from more than 95 library services , to support ILLs of sets.

Funding Challenges – Solutions Sought

This database is funded entirely by membership subscriptions at present, although this is unlikely to be sustainable in the long term, as music library posts are deleted and membership numbers consequently fall. We are trying to ensure a long-term solution to ensure performance sets provision for all with a more effective and efficient method of loans, a ‘library of last resort’ to hold collections which libraries (usually local authorities) no longer wish to support, and a regional or national system which works for the many thousands of music users and music lovers across the country.

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New discovery at the Royal College of Music Library

Title page written in pencil on manuscript paper. It reads: "Nourmahal's Song: Scena for contralto & orchestra".
Front Cover: “Nourmahal’s Song: Scena for Contralto & Orchestra”
Click image for full size.

The Royal College of Music Library is delighted to announce the discovery of a previously unknown composition by Samuel Coleridge-Taylor: Nourmahal’s song. This short, unpublished, song by Samuel Coleridge-Taylor has long been assumed to be related to his two-movement piano work, Nourmahal’s song and dance, op. 41. Although the names are similar, comparison of the music reveals that they are in fact unrelated compositions. In the process of cataloguing and processing the manuscript, Assistant Librarian Jonathan Frank realised that the present song does not appear in any of the composer’s own work lists, or any compiled by later biographers – therefore being previously unknown to modern scholarship.

Described as a “scena”, this dramatic song was intended by Coleridge-Taylor to have orchestral accompaniment, as evidenced by his subtitle on page 1 of the manuscript. The original orchestration, if one was ever written, has not survived. In 1936, an orchestration by Louis Kirkby Lunn Pearson was completed with the approval of Coleridge-Taylor’s son, Hiawatha. This orchestration was passed on to none other than Sir Henry Wood, for consideration for performance in Wood’s upcoming concert conducting the Worthing Symphony Orchestra. Despite being advertised, the performance of Nourmahal’s song never took place; in the end, contralto Enid Cruickshank sang songs by Tchaikovsky and Bantock.

Title page from Samuel Coleridge-Taylor's "Nourmahl's Song". Written on manuscript paper, the title page reads: Nourmahl's Song scena for contralto and piano or orchestra. Orchestrated from the original unpublished piano manuscript in his possession by L. Kirkby Lunn Pearson. Text from the poem "Lalla Rookh" by Thomas Moore.
Title Page: “Nourmahl’s Song” (Scena for contralto & piano [or orchestra].) Orchestrated from the original unpublished piano manuscript in his possession by L. Kirkby Lunn Pearson. Text from the poem “Lalla Rookh” by Thomas Moore.

Nourmahal’s song is currently on display at the RCM Library, and you can read more about this exciting discovery on the Royal College of Music’s website. A detailed write-up will be published in Fontes Artis Musicae (volume 69, issue 2, April-June 2022) in the coming weeks. In the meantime, the manuscripts have been digitised and are available to view here:

Jonathan Frank
(Royal College of Music Library)

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Music Librarians Announce Winners of C. B. Oldman Award 2020 and 2021

IAML(UK & Irl) are delighted to share the two citations for the winners of the 2020 and 2021 awards. 

2020: Trevor Herbert, Arnold Myers and John Wallace

Herbert, Trevor, Myers, Arnold, & Wallace, John (eds).  The Cambridge Encyclopedia of Brass Instruments.  (Cambridge: Cambridge University Press, 2019).  ISBN: 978-1-10718-000-0 

The Cambridge Encyclopedia of Brass Instruments is the first major dictionary on this subject. Entries have been selected from four broad categories of instruments, biographical entries, entries on works of music, and topics and themes that cast light on the way brass instruments are used in the present and have been in the past.  It is aimed at both specialists and non-specialists, with an extensive coverage of brass instruments across the world providing wide geographic diversity, and including historical context from ancient times to the present.  Technical language was not discouraged by the editors although clarity was encouraged.

Hugely useful appendices include pitch ranges of instruments, a list of vernacular horns and trumpets, and a selective list of brass instrument makers and museum collections.  There are contributions from a wide range of experts, and the editors are widely-known experts in their field.  Entries even include mention of specialist fields such as conservation and curators.

The introduction explains why the editors had to streamline some content and therefore, considering the scope of the publication, give in to some possible omissions.  The bibliography is specifically limited to works cited within the publication rather than giving a broader coverage of the literature. However, this is an impressive volume which has significant broad use across the spectrum of students, teachers, players and researchers with significant inclusions of entries relating to classical music, sacred rituals, popular music, jazz, brass bands and military bands.

The committee commends this volume for the C.B. Oldman award for the year 2020.

2021: Donald Burrows, Helen Coffey, John Greenacombe and Anthony Hicks

Burrows, Donald, Coffey, Helen, Greenacombe, John, & Hicks, Anthony (eds).  George Frideric Handel: collected documents.  Volume 4, 1742-1750.  (Cambridge: Cambridge University Press, 2020).  ISBN: 978-1-10708-021-8 

Volume 4 of the Handel Collected Documents project contributes what is and continues to be a focussed and all-encompassing rich set of reference material relating to the composer George Frideric Handel in manuscripts, correspondence, programmes, advertisements, newspapers, diaries, poetry and literature, art and many other printed formats which the editors have included.

The committee noted that the editors realise that some entries had been discussed in publication over many decades, however, we found the usefulness of bringing all together in one chronological sweep created an immense resource.  For instance, the composer’s correspondence has appeared in several publications but is here included, obviously, in the chronological sequence.

When social life was often structured around “the season” we find that the data collection in this publication includes a useful summary of the dates of a season, such as the stage and opera seasons, or the Lenten oratorio season, both of which contextualize the texts for the reader and highlight Handel’s musical prominence in various spheres and at different periods of time.

The committee enjoyed the excellently described and non-patronising textual commentary.  The summaries included citations and locations to sources such as the manuscript and correspondence, notes on where images of such items have appeared in print in the past, and incredibly helpful and detailed cross-referencing to other entries in the publication.  The index is thorough and helpfully guided and when there are multiple entries under a name entry these topics have been narrowed to useful subject matter entries. The volume usefully includes English translations of other-language based materials.

This volume in the series continues to provide an essential reference resource for Handel scholars and those with an interest in the eighteenth century, and embodies enormous scholarly research.

The committee commends this volume for the C.B. Oldman award for the year 2021.

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Ledsham Bursary – Prague 2022

The Music Libraries Trust is accepting applications for the Ledsham bursary. The Ian Ledsham Bursary is awarded annually to a member of IAML (UK & Irl) in order to assist attendance at IAML international conferences. This year’s IAML international congress will be held in Prague, 24-28 July 2022. The preliminary programme may be found here and the conference website here.

The successful candidate will receive £350 towards the costs to attend the conference and will write a 1,000-word report about attending the conference that will be published on relevant IAML and trust websites. The application procedure and funding application form can be found and downloaded from the Music Libraries Trust website here. The deadline for submitting applications is Friday 24th June 2022. To apply please fill out the form and email it with any other supporting documents to Kirsty Morgan at

This video was originally recorded for the congress in 2020, which was postponed to 2021 and finally to 2022
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Music Librarians Shortlist Candidates for C. B. Oldman Award

The British Museum, where C. B. Oldman was Keeper 1948-1959 (Pixabay, free licence image)

As music librarians, it goes without saying that we are specialists in terms of what goes into music libraries – and that embraces not only music, but books about it as well.

The C. B. Oldman Award is a long-standing and prestigious award celebrating the best of today’s writers about music. This year we have two shortlists, due to the hiccup caused by the pandemic lockdown. The ultimate winners will be named at our next Annual General Meeting, so … watch this space!

The final short list for the 2020 C.B. Oldman Award is as follows:-

  • Herbert, Trevor, Myers, Arnold, & Wallace, John (eds), The Cambridge Encyclopedia of Brass Instruments. (Cambridge: Cambridge University Press, 2019). ISBN: 978-1-10718-000-0
  • Iddon, Martin, John Cage and Peter Yates: Correspondence on Music Criticism and Aesthetics. (Cambridge: Cambridge University Press, 2019). ISBN: 978-1-10857-177-7
  • Simeone, Nigel, The Janacek Compendium. (Woodbridge, Suffolk: The Boydell Press, 2019). ISBN: 978-1-78327-337-9

The final short list for the 2021 C.B. Oldman Award is as follows:-

  • Brooks, Jeanice, & Francis, Kimberly A. (eds). Nadia Boulanger: Thoughts on Music. (Rochester, N.Y.: University of Rochester Press, 2020). ISBN: 978-1-58046-967-8
  • Burrows, Donald, Coffey, Helen, Greenacombe, John, & Hicks, Anthony (eds). George Frideric Handel: Collected Documents. Vol.4, 1742-1750. (Cambridge: Cambridge University Press, 2020). ISBN: 978-1-10708-021-8
  • Seaman, Gerald, Peter Tchaikovsky: a Research and Iformation Guide. (New York: Routledge, 2020). ISBN: 978-1-1381-2235-2

(Who was Cecil Bernard Oldman? Find out here!)

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True is The Dream (Barbican Music Library exhibition)

Barbican Music Library’s current exhibition, True is The Dream, showcases the photography of Derek D’Souza who, over four decades, has taken insightful images of The Jam, The Style Council, and Paul Weller.

© Michael Southwell

In 1981 he submitted some photographs which he had taken at The Jam’s gigs to the band’s fan club, as a result of which he was asked by Paul Weller’s mother, Ann, to photograph them for their next single, Absolute Beginners. The location for the photo shoot, Chiswick House in West London, was carefully chosen by Weller because it was where The Beatles filmed their ground-breaking music videos for Rain and Paperback Writer. It was here that Derek took his most iconic image, showing the band behind gate railings.

© Derek D’Souza

Between 1977 when The Jam released their debut single, and 1982 when they split up, they released 18 consecutive Top 40 Singles – including The Eton Rifles, Going Underground, Start!, and Town Called Malice  – four of which topped the charts. Paul Weller also experienced success with The Style Council, which was founded in late 1982, as well as critical acclaim as a solo artist with albums such as Stanley Road and Wake Up the Nation.

© Michael Southwell

Many of the photos show Paul Weller, The Jam, and The Style Council in concert at venues including Wembley Arena, Hammersmith Palais, The Rainbow Theatre, and Royal & Derngate (Northampton). The most recent image on display shows Paul Weller performing at The Roundhouse in December, 2021. There are also original mock-ups of the sleeves for The Jam albums Snap! and Sound Affects.

The six display cabinets contain a range of memorabilia including letters from Paul Weller and Jam bandmate Bruce Foxton, signed singles, press passes, and concert tickets.

© Michael Southwell

The exhibition, which has been curated by Derek D’Souza and Michael Southwell (Principal Library Assistant, Barbican Music Library), runs until 16th May, 2022.

Richard L. Jones
(Music Librarian, Barbican Music Library)

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