The Endz is a production mounted by school children in South London, supported by the Multi Story Orchestra, a radical performance group well-known in the industry for mounting live performances in a former multi story car park (now known as Bold Tendencies) in Peckham.

Since its Proms appearances in 2016 and 2017, the team behind the orchestra led by Kate Whitely has sought out new ways to enhance cultural experiences for the community its made its home in.

But Multi Story’s vision and method feel slightly different from convention when you hear from two of their teenage collaborators Flame and Prince talk about The Endz – a musical setting of a play a group of teenagers created themselves in response to violent crime in their neighbourhood.

The word is collaboration rather than education and outreach. Co-creation too might be a good word. And the other thing that’s important to stress is how Multi Story are helping young creative talent make the music they want to make rather than what the orchestra thinks they ought to be making.

RPS award-winning composer and vocalist Laura Bowler talks about her newest opera 'The Blue Woman', and her climate-change inspired collaboration with Cordelia Lynn, 'Houses Slide'.

TICKETS: https://www.roh.org.uk/tickets-and-events/the-blue-woman-by-katie-mitchell-details

Laura's new work Distance is premiered by Juliet Fraser and the Talea Ensemble at Cheltenham Festival on 10 July.

This year Aldeburgh Festival celebrates 50 years of the artist development programme - a music-making experience rooted in the Suffolk countryside that has supported many of the world's leading musicians. In this episode, previous participants reflect on their experience attending the Britten-Pears Orchestra and courses at the Britten-Pears School for Advanced Musical Studies now known as the Britten-Pears Young Artist Programme. 

Contributors in order of appearance:

Josie Dixon the great great great great grandaughter of Polish Lithuanian violinist and composer Felix Yaniewicz explains how a chance discovery unearthed a series of discoveries about the man in her family she knew only from a portrait. https://www.yaniewicz.org/piano.html

Helen Charlston and Toby Carr release 'Battle Cry' in May 2022 - available from 27th on Delphian records featuring songs by Barbara Strozzi, Henry Purcell, John Eccles, Claudio Monteverdi & Owain Park. To coincide with the release, both performers appear at the London Festival of Baroque at St John's Smith Square and the Norfolk and Norwich Festival. TICKETS: https://www.lfbm.org.uk/whats-on/helen-charlston-and-toby-carr

Written in 2019 and originally premiering at the Aldeburgh Festival in 2020, Tom Coult and Alice Birch's 'Violet' tells the 24-day story of a village discovering the gradual loss of time. Recorded at rehearsals in the Jerwood Space in London in May 2022. 'Violet' opens the 2022 Aldeburgh Festival on 3 June. 🎫 https://brittenpearsarts.org/events/violet

Released on Friday 6 May, 'Air' features a collection composer Oliver Davis' characteristically uplifting writing performed by the Royal Philharmonic Orchestra, Kerensa Peacock, and Grace Davidson. Jon Jacob speaks to Davis about his dyslexia, his compositional influences, and his commercial writing experience. This podcast was recorded in March 2022 at the Southbank Centre. 

"Beauty and the Seven Beasts is possibly the most incredible but also the most challenging Opera Story project so far." Opera Story Hamish McKay, soprano Katherine Aitken, Dan de Sousa, and conductor Berrek Dyer talk about this new work combining the librettos and music of eight composers in one chamber opera staged at Brixton Jamm, 6-14 April 2022.

On the day James Ehnes was meant to be playing Berg's Violin Concerto with the BBC Symphony Orchestra, we meet on Zoom to discuss intonation, Walton, and being a tourist in London. 

How did Gillian Moore's musical upbringing shape her views about the relevance of music in the lives of everyone today? Ahead of her appearance a the Association of British Orchestras conference in Glasgow in February 2022, she reflects on her own experiences and offers some thoughts on what we need to do next to secure music in the lives of future generations.