10 Pieces of Classical Music About Friendship

by Emily Hogstadt, Interlude

Making and having friends is one of the great joys of the human experience. Not surprisingly, many classical composers have been deeply inspired by their friendships with other people, and especially with other creative people.

Today, we’re looking at ten pieces of classical music that reflect on composers’ friendships in some way, whether it’s Beethoven’s dedication of a private string quartet to a friend or Elgar’s extravagant orchestral puzzle dedicated to his friends.

Enjoy!

Ludwig van Beethoven: String Quartet No. 11 (1810-11)

Beethoven’s eleventh quartet was a unique piece from the start: he wrote in a letter to a friend that “The Quartet is written for a small circle of connoisseurs and is never to be performed in public.”

In it, Beethoven allowed himself to experiment and take risks. It was written the year after Napoleon invaded Vienna when the routines of people in the city had been shattered, so there weren’t many audiences interested in coming to performances, anyway.

Nikolaus Zmeskall von Domanovecz © Wikipedia

Beethoven dedicated this work to his friend, Count Nikolaus Zmeskall von Domanovecz. Zmeskall was a civil servant and an amateur cellist who hosted gatherings in his home where chamber music was performed. These house concerts were the first place where much of Beethoven’s later chamber music was first heard.

Frédéric Chopin: Variations on “Là ci darem la mano” (1827) 

Frédéric Chopin had such an intense friendship with political activist Tytus Woyciechowski that some scholars have recently claimed that the two had a romantic relationship.

Tytus Woyciechowski © Wikipedia

Some historians have protested, but regardless of the truth, Chopin certainly did write some very intimate letters to Woyciechowski, including this one in 1830:

I will go and wash. Don‘t kiss me now because I haven‘t yet washed. You? Even if I were to rub myself with Byzantine oils, you still wouldn’t kiss me, unless I compelled you to do so with magnetism. There is some sort of force in nature. Today you will dream that you‘re kissing me. I have to pay you back for the nasty dream you brought me last night…

Three years earlier, Chopin had written a series of variations for piano on an aria from Mozart’s opera Don Giovanni and dedicated it to Woyciechowski.

The two friends eventually drifted apart, but they always remained in each other’s hearts. Woyciechowski eventually named one of his children after Chopin.

Felix Mendelssohn: Allegro Brillant (1841) 

Since he was very young, composer Felix Mendelssohn was a close colleague of prodigy pianist Clara Wieck Schumann (the woman who eventually married composer Robert Schumann).

Felix Mendelssohn © U.S. Public Domain

In 1835, Mendelssohn was named music director of the Gewandhaus orchestra in Leipzig. Wieck, born in 1819, was a popular up-and-coming Leipzig-born piano prodigy, so the two often worked together professionally.

As a token of his admiration, in 1841, the year after her marriage to Robert Schumann, Mendelssohn wrote the dazzling Allegro Brillant for piano four-hands for Clara.

As a token of respect for his friend’s ability, the Allegro Brillant is devilishly difficult.

Johannes Brahms: Violin Concerto (1878) 

Another musician in the Mendelssohn/Schumann social circle was a Hungarian violinist named Joseph Joachim.

In 1844, at the age of twelve, Joachim gave the first performance in decades of Beethoven’s violin concerto. This performance helped to kick off an entire reappraisal of the work. (By the way, the conductor at that concert? None other than Felix Mendelssohn!)

Joseph Joachim, 1853

When they were young, Joseph Joachim became great friends with pianist Johannes Brahms, and tried to help promote Brahms’s career. In fact, Joachim made the introductions between Brahms and the Schumanns, which became one of the most formative experiences of Brahms’s life.

Brahms and Joachim continued to be friends for many years (although their relationship had its ups and downs).

When Brahms wrote his violin concerto, he wrote it for Joachim, consulting extensively with him via mail. It shouldn’t be a surprise that the finale is extremely Hungarian in character. Joachim reciprocated the friendly gesture by writing the cadenza in the concerto, which is still the only one regularly played.

Edward Elgar: Enigma Variations (1898-99) 

When Edward Elgar published his Enigma Variations for orchestra, he included a dedication: “to my friends pictured within.”

Each movement is a portrait of someone in his life, complete with musical puzzles and extra-musical references that have kept musicologists and nerdy listeners debating as to their identities for generations.

In 1911, he expanded on his dedication:

This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer’s friends. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. The sketches are not ‘portraits’ but each variation contains a distinct idea founded on some particular personality or perhaps on some incident known only to two people. This is the basis of the composition, but the work may be listened to as a ‘piece of music’ apart from any extraneous consideration.

Sergei Rachmaninoff: Piano Concerto No. 2 (1900-1901) 

Rachmaninoff’s second piano concerto may be among his most popular works today, but it only came to life after a lot of blood, sweat, and tears…and one especially helpful friend.

Nikolai Dahl © Wikipedia

To make a long story short, Rachmaninoff was so traumatized by the failure of his first symphony in 1897 that it triggered a mental breakdown. He wasn’t sure if he’d be able to compose again.

After several years of writers’ block, in early 1900, Rachmaninoff finally began going to a neurologist and family friend named Nikolai Dahl. Dahl helped him process the failure of his symphony and feel comfortable composing again. In gratitude, Rachmaninoff dedicated his second concerto to him.

The concerto is lush, deeply emotional, and beautifully paced and proportioned. Rachmaninoff toured the world playing and promoting it, ensuring its spot in the classical music canon.

George Enescu: Violin Sonata No. 3 (1926) 

In 1926, violinist Franz Kneisel died. Kneisel had had a remarkable career. He was born in Bucharest, Romania, and studied music there and in Vienna. He became a concertmaster when he was just a teenager; he was later handpicked to serve in that position with the fledgling Boston Symphony, and he also founded the first professional string quartet in the United States, the Kneisel Quartet, which performed in America for decades.

Violinist Franz Kneisel in 1902 © Wikipedia

So when Kneisel died in 1926, he was very famous. Composer and violinist George Enescu – a fellow Romanian musician – decided to pay homage to Kneisel’s origins by posthumously dedicating a violin sonata “in Romanian Folk Style” to him. It became Enescu’s most popular work.

Karol Szymanowski: Violin Concerto No 2 (1932-33) 

Ukrainian violinist Paweł Kochański became sick with cancer in his forties. Cancer treatments were relatively limited at the time, and he would die at the age of 46 from the disease.

Before he died, however, he commissioned a violin concerto from his friend, Polish composer Karol Szymanowski. Szymanowski was deeply inspired by the request and wrote the concerto in a matter of weeks.

Paweł Kochański © Wikipedia

Happily, Kochański stayed well enough to premiere the work in October 1933 in Warsaw. But his health deteriorated rapidly afterward, and he died a few months later.

Before the score’s publication, Szymanowski edited the dedication to read “A la memoire du Grand Musicien, mon cher et inoubliable Ami, Paweł Kochański” (“In memory of the Great Musician, my dear and unforgettable Friend, Paweł Kochański”).

It ended up being Szymanowski’s last big work, too. He died in 1937 of tuberculosis.

Dmitri Shostakovich: Piano Trio No. 2 (1943-44) 

Composer Dmitri Shostakovich began his second piano trio in late 1943 and finished it in August 1944.

While he was working on the trio, in February 1944, a close friend named Ivan Sollertinsky died in his sleep.

Sollertinsky was a brilliant figure who reportedly spoke twenty-six languages (and no, that’s not a typo). Among other things, he helped introduce Mahler‘s music to the Soviet Union.

Understandably, Shostakovich was devastated at the loss, and he wrote that devastating into his haunting piano trio.

According to Sollertinsky’s sister, the trio’s second movement was a portrait of her late brother. It is followed by a tragic dirge.

Arvo Pärt: Für Alina (1976) 

There’s a deeply bittersweet real-life story behind Estonian composer Arvo Pärt’s short piano piece Für Alina (or “For Alina”).

In the 1970s, some family friends broke up. The father of the family left for England, and his teenage daughter Alina chose to go with him to see more of the world beyond Estonia.

The work is Pärt comforting his friend, Alina’s mother, while also recognizing her grief at her little girl leaving home.

Conclusion

Classical musicians can certainly be temperamental, but as this overview proves, sometimes the best friendships are friendships based on music!

What are your favorite friendship stories in the history of classical music? What pieces would you add to our list?

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Traumhafte Version von Claude Debussys "Claire de Lune"

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"Philippine Classical Music"

 

"Philippine Classical Music" generally refers to 19th-20th century instrumental and vocal works by Filipinos made with the influence of Western music movements, notably of romanticism, post-romanticism, impressionism, and many others.

Among the major Philippine contemporary composers are Francisco Santiago, Nicanor Abelardo, Antonio Molina, Col. Antonino Buenaventura, Lucio San Pedro, Alfredo Buenaventura, and Ryan Cayabyab

Francisco Santiago Santiago (January 29, 1889 – September 28, 1947) was a Filipino musician, sometimes called The Father of Kundiman Art Song.

Life

Santiago was born in Santa Maria, Bulacan, Philippines, to musically minded peasant parents, Felipe Santiago and Maria Santiago. In 1908, his first composition, Purita, was dedicated to the first Carnival Queen, Pura Villanueva, who later married the distinguished scholar Teodoro Kalaw.

He studied at the University of the Philippines (UP) Conservatory of Music, in its original campus in Manila, obtaining a degree in Piano in 1921, and a degree in Science and Composition in 1922. He went to the United States to pursue further education. He first obtained his master's degree at the American Conservatory of Music in June 1923, and finally a Doctorate degree at the Chicago Musical School in August 1924. He is the first Filipino musician to attain a doctorate degree.

He became the director of the UP Conservatory of Music in 1930, after the entire music faculty and students of the conservatory protested for the removal of the previous director, Alexander Lippay, for alleged harassment of students and musicians. Santiago is the first Filipino director of the Conservatory.

In 1934, the President of the university, Jorge Bocobo, launched a committee to collect and document folk songs of the Philippines. Francisco Santiago was named the chair of the committee. Part of this committee were dancer Francisca Reyes-Aquino, who notated numerous folk dances and compiling them in several books, and composer Antonino Buenaventura, who transcribed numerous folk music, including those accompanying the dances recorded by Reyes-Aquino.

In 1937-1939 Santiago would compose his masterpiece - the "Taga-ilog" Symphony in D Major. It is one of the first Filipino classical works to feature Philippine instruments such as the gangsa and sulibaw.

Plagiarism case

In 1939 he was faced with a plagiarism lawsuit by another Filipino composer Jose Estella. According to Estella, Santiago stole a melody from Estella's 1929 work Campanadas de Gloria and incorporated it in Santiago's 1939 song Ano Kaya ang Kapalaran. However, the investigation found out that both Estella and Santiago's melodies were influenced by the folk song "Leron, Leron Sinta" and that Estella's Campanadas de Gloria also contained several quotations from other composers, therefore breaking Estella's claim. The court decided in favor of Santiago in 1942.^[2]

Santiago in 1945

War years[edit]

During the Japanese occupation of the Philippines the University of the Philippines was closed down by the invading Japanese forces. In 1942, Francisco Santiago became music director of the newly established New Philiippines Symphony Orchestra - created to replace the Manila Symphony Orchestra who refused to play under the Japanese rule. In 1943 he suffered a heart attack and his hand and arm were later paralyzed in an illness.

On February 5, 1945, during the Liberation of Manila, while the family was escaping their neighborhood due to constant bombing, a cart full of Santiago's compositions and manuscripts caught fire near the burning Quiapo Church. The family eventually escaped the shelling, but most of Santiago's compositions were destroyed.

Death

After the war in 1946, he was named Professor Emeritus by the University of the Philippines. He died one year later on September 28, 1947, and was buried in Manila North Cemetery.

Jose Estella (1870 - 6 April 1943) was a Filipino composer and conductor who was known for his title as the "Philippine Waltz King".[Besides composing waltzes, he also became one of the major contributors of localizing Spanish zarzuelas from 1890s to 1900

Jose Estella was born in Escolta, Manila in 1870. After studying and graduating from the Madrid Conservatory, he returned to the Philippines and pursued a career in music. In Manila and Cebu, he conducted several orchestras. In Manila, he had a teaching career as a piano instructor. He spends his time studying history, visiting different Filipino provinces and exploring the local folk music. In Cebu, he was director of the Municipal Band where he started to gain recognition.Estella also became a director of the Rizal Orchestra, founded in 1898.

Estella became involved with a plagiarism case in 1939 with Francisco Santiago over which he complains that Santiago copied his Campanadas de Gloria. In the end of the investigation, it was revealed that they both get inspiration from the same folk song named "Leron Leron Sinta".

He died on April 6, 1943, and throughout his lifetime, he composed more than 100 waltzes hence he is given the title, "the Philippine Waltz King". There are no information regarding his personal life except he has a son named Ramon Estella, a film director.

Notable works

Ang Maya

Composed in 1905, it was a piece from Estella's zarzuela, "Filipinas para los Filipinos" with Severino Reyes as librettist The piece represented the everyday life of the common people in the Philippines, thus predating some works by other composers who graduated from UP Conservatory of Music in the 1920s. Severino's youngest son, Pedrito, said that the song was inspired by the maya chirping in the trees near his father's summer hut. Estella's "Filipinas para los Filipinos" was a satire made by the composer as a reaction to an American Congress bill banning American women from marrying Filipino men.

La Tagala

Originally composed for piano in 1890s and 1900s, the waltz is a collection of Filipino folk songs such as Balitaw, Hele hele, Kundiman, Kumintang, etc. It was dedicated to the Tobacco Company Germinal. One of its notable performance was on a concert night of November 1899.

Filipinas Symphony (1928)

Jose Estella's Filipinas Symphony is the first Filipino Symphony by modern scholarly consensus.[2][8][11] Although not much was known about the information of the piece, according to sources, the symphony was based on the Filipino folk song "Balitaw" meanwhile the Slow Movement (Adagio) was based on another folk song "Kumintang".

Other Works

California March (Ragtime)

El Diablo Mundo - First performed at the inauguration of the Teatro Zorrila on October 25, 1893, this zarzuela was described to have a dark and gloomy atmosphere.

Los Pajaros[

Katubusan (Fox-Trot)

My Dreamed Waltz

Filipino Composers

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Lullaby of Tears Claude Debussy: Berceuse héroïque

by Georg Predota , Interlude

The Battle of the Somme was fought between 1 July and 18 November 1916. One of the largest and most brutal engagements of the First World War, almost one million men were wounded or killed! Among them was the young British composer George Butterworth, who was shot through the head by a sniper in August 1916. Butterworth was one of thousands of well-educated soldiers that chronicled their personal experiences through words, art and music. The writers Robert Graves, JRR Tolkien and Edmund Blunden left a legacy of poetry, memoirs and fiction that helped future generations to understand the reality of war. The same is true for Ralph Vaughan Williams, Gustav Holst and Maurice Ravel.

The Battle of the Somme © dailymail.co.uk

Ravel had hoped to help his country as an aviator, but was considered too old and too short. As such, he served as a driver on the Verdun front, and he memorializes six of his dead friends in Le tombeau de Couperin. Arnold Schoenberg, entirely immersed into his reorganization of traditional tonality, was first drafted into the Austrian Army at age 42. He served for almost a year before a petition for his release was granted. One year later, he was called to active duty again, but given his advanced age, was assigned light duties in and around Vienna.

Claude Debussy © super-conductor.blogspot.com

Claude Debussy, meanwhile, was fighting his own personal battle against colon cancer. He dejectedly wrote, “My age and fitness allow me at most to guard a fence…but, if, to assure victory, they are absolutely in need of another face to be bashed in, I’ll offer mine without question.” Just a couple of years earlier, Debussy had hoped for a quick end to hostilities, but was eventually drawn into a well-organized propaganda campaign protesting the violation of Belgian neutrality by the Germans. King Albert’s Book: A Tribute to the Belgian King and People from Representative Men and Woman Throughout the Word was published in November 1914, and included contributions by Edward Elgar, Jack London, Edith Wharton, Maurice Maeterlinck, among numerous others. Debussy contributed the Berceuse héroïque, a short improvisatory piano piece full of melancholy and discretion that the composer explained “has no pretensions other than to offer an homage to so much patient suffering.”

As the war entered its second year, life for Debussy and his family became a real challenge. Shortages of food and fuel, and a steady escalation of cost made it increasingly difficult to earn a living. “It is almost impossible to work,” Debussy wrote, “to tell the truth, one hardly dares to, for the asides of the war are more distressing than one imagines. I am just a poor little atom crushed in this terrible cataclysm.” Yet, Debussy took heart and began to compose more than he had in years. These works, among them En Blanc et Noir for two pianos, Douze Études composed and dedicated to Chopin, the Sonata for flute, viola and harp and the Cello Sonata are strongly affected by the war. Debussy wrote to a friend, “these works were created not so much for myself, but to offer proof, small as it may be, that French thought will not be destroyed…I think of the youth of France, senselessly mowed down…What I am writing will be a secret homage to them.” The Sonata for violin and piano of 1916/17 was Debussy’s last completed composition, and below his name proudly appeared the telling signature “musicien français.”

Debussy’s last surviving musical autograph, a short piano piece, was presented as a form of payment to his coal-dealer, probably in February or March 1917. The bombardment of Paris as part of a final German offensive commenced on 23 March 1918, two days before Debussy’s death. By that time, the composer was too weak to be carried into the shelter. Yet his perception of war had fundamentally changed. “When will hate be exhausted?” he wrote, “or is it hate that is the issue in all this? When will the practice cease of entrusting the destiny of nations to people who see humanity as a way of furthering their careers?”

Recommended Recordings of Chopin Piano Concerto No. 1 in E minor, Op. 11

by Ansons Yeung, Interlude

Frédéric Chopin, after a portrait by P. Schick, 1873
© Library of Congress, Washington, D.C.

One of the greatest piano concertos ever, Chopin Piano Concerto No. 1 in E minor has long been a cornerstone in the repertoire of many concert pianists. It was actually Chopin’s second piano concerto, as it was written after the premiere of Piano Concerto “No. 2” in F minor. Preceded by trials with a quartet and a small orchestra, the premiere took place in October 1830 at the National Theatre of Warsaw with great success. The concerto enjoyed immediate popularity and remained so up to this day.

As we appreciate this masterpiece, we should imagine ourselves as the 20-year-old Chopin deeply enchanted by his first love, Konstancja Gładkowska, who inspired both of his piano concertos. Chopin wrote to his friend Tytus Woyciechowski, “As I already have, perhaps unfortunately, my ideal, whom I faithfully serve, without having spoken to her for half a year already, of whom I dream, in remembrance of whom was created the Adagio of my Concerto” (referring to his Piano Concerto in F minor). Before Chopin left Warsaw, Gładkowska wrote the following poem in Chopin’s diary to bid him farewell:

Yet while others may
Better appraise and reward you,
They certainly cannot
Love you more strongly than we.

I. Allegro maestoso

Konstancja Gladkowska

The orchestra makes a majestic declaration, followed by the second theme in E major marked cantabile, but the music soon resumes its agitated mood. In fact, the indication maestoso often appears in Chopin’s music, such as in Polonaises Op. 26 No. 2, Op. 53 (“Heroic Polonaise”), Op. 71 No. 1, as well as the first movement of Piano Concerto No. 2 in F minor. The piano part presents itself with a powerful, dignified first theme, while the second theme in E major conveys much warmth and intimacy. Later, the second theme appears again but this time in G major, creating a heartrending contrast with the ensuing section with spiralling anxiety and coda, ending in sudden unison in forte.

II. Romanze: Larghetto

The second movement is a breathtakingly beautiful, reverie-like recollection of fond memories, despite the transient turbulence in the middle. In Chopin’s letter to Woyciechowski, he wrote “The Adagio of the new concerto is in E major. It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy; giving the impression of someone looking gently toward a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.” There’s probably no better description than this.

III. Rondo: Vivace

While the first two movements were swiftly written, the third movement was completed with some difficulty in August 1830. Full of zeal, vigour and youthful energy, the final movement is based on Krakowiak, a syncopated folk dance from Kraków in 2/4 time. The styl brillant lives up to its full potential with the dazzling passagework, demanding much virtuosity from the soloist. Aside from the technical bravura, the underlying dancing pulse adds even more vivacity to the music. Eventually, the music is brought to a truly triumphant conclusion.

Below are some recommended recordings from me, which are by no means exhaustive!

Krystian Zimerman, Polish Festival Orchestra

© Deutsche Grammophon

Zimerman’s unremitting pursuit of perfection is astonishing – hand-picking each of the musicians of the orchestra, meticulously (or obsessively) planning the travel route, accommodation and meals for musicians during the concert tour, rehearsing for painstakingly long hours, etc. The outcome is equally remarkable, to say the least.

Right from the opening of Allergo maestoso, there was immaculate attention to orchestral parts, revealing many nuances that haven’t been heard of previously. Every sound was tastefully sculpted, each phrase scrupulously shaped, with rubato plentiful. Zimerman’s pianism was exceptional as usual – from the luscious tone colours in Romanze to the technical brilliance in Rondo. This is not only a legendary recording of this masterpiece but also of Chopin’s music as a whole.

Bella Davidovich, Sir Neville Marriner, London Symphony Orchestra

Having studied at the Moscow Conservatory under Konstantin Igumnov and Yakov Flier, Bella Davidovich shared the first prize with Halina Czerny-Stefańska in Chopin Competition in 1949. When I encountered this recording, I was immediately struck by the simplicity, naturalness and poetry in her Romanze. Long singing lines were maintained with bel canto by Davidovich, who was known for her singing tone and sensitive touch. It was completely devoid of sentimentality, coupled with a fine balance between classicism and romanticism, which many pianists overlook today. On the other hand, her reading of Rondo, albeit not the most extroverted, had such poise with a natural emphasis on the underlying pulse.

Kyohei Sorita, Andrzej Boreyko, Warsaw National Philharmonic Orchestra

In my humble opinion, this is the most outstanding rendition in Chopin Competition in 2021. Combining respect for tradition and creativity, Sorita unearthed so many details throughout (especially inner voices from the left hand), which asked for a deep understanding of the score. For instance, listen to his left hand from 9:20 to 9:28, from 14:18 to 14:22, and the inner line from 12:47 to 12:52. Meanwhile, the emotional aspect was never ignored – żal, poignancy, tranquillity and bliss were all distilled into the first movement, while the final movement was filled with ebullience and verve. What a delight!

Manchester Camerata to Host the UK’s First Centre of Excellence for Music and Dementia

by Frances Wilson, Interlude

The therapeutic benefits of music are well-known and widely documented. For people with dementia, music can help reduce anxiety and depression, help maintain speech and language, enhance quality of life, and have a positive impact on families and carers too. Music is also a powerful connector: music provides entertainment and pleasure, especially when shared with others; it lights up the brain and triggers and stimulates memories.

According to the UK’s National Health Service, there are over 940,000 people in the UK with dementia, with 1 in 11 people over the age of 65 being most affected. The care of people living with dementia in the UK costs more than £34bn each year, with the Alzheimer’s Society saying that by 2040, 1.6 million people in the UK will have dementia.

Manchester Camerata’s Music Cafe at the Monastery in Gorton © Duncan Elliott

The Centre of Excellence for Music and Dementia is a new collaboration between the Manchester Camerata, a British chamber orchestra renowned for its innovative programming and pioneering outreach work, Alzheimer’s Society, and the University of Manchester. This will continue Manchester Camerata’s existing Music In Mind, a research-based music therapy programme, training a workforce of over 300 volunteer ‘Music Champions’, as well as developing Alzheimer’s Society’s ‘Singing for the Brain’, with the aim to offer musical support to people living with dementia across Greater Manchester. The long-term goal of the Centre of Excellence for Music and Dementia is to analyse how incorporating music into dementia care can reduce the need for intervention from healthcare services, reducing pressure on those services and care staff, as well as improving quality of life for patients, their carers, and families.

© Duncan Elliott

The Camerata’s Music Cafes, which have been running for more than a decade now, will provide support to over 1000 people currently living with dementia in the Manchester area. Created in partnership with the University of Manchester, these music champions use the fundamental principles of music therapy, bringing people living with dementia together to sing songs and perform vocal exercises that help improve brain activity and general wellbeing.

Bob Riley (CEO of Manchester Camerata) and Andy Burnham (Mayor of Greater Manchester) © Jay Cipriani

Speaking at the launch, Mayor of Manchester, Andy Burnham, said that Manchester is “a place that has always understood the power of music” and that the project will “unlock that power more fully and ensure that people everywhere, and in all settings, can benefit. For people living with dementia, who love music, the best thing you can do for them…is to reconnect them with that passion, because in that moment when they recognise that music, they are themselves again.” He highlighted the power of music to create connections: for families where a relative has dementia music can “give them glimpses of the person, and that’s why it’s so precious.” (interview with BBC Radio 3).

© Duncan Elliott

The project’s vital funding, totalling over £1million, will support three years of direct musical support activities across all of Greater Manchester’s 10 boroughs, starting in October 2024.

The project will have major significance in terms of ground-breaking research opportunities, and the intention is that the programme will grow into other areas of the National Health Service and areas of the country, with the hope that other musicians and other orchestras/ensembles may get involved.

“It’s one of the most joyous things any of us have ever experienced. It’s really changed how we view music and what it can do for people.” – Amina Hussain, flautist

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