We were delighted to see one-handed recorders on stage at the Royal Albert Hall in March, performing 'This World of Ours' as part of Wandsworth Music's annual showcase 'A Brighter Sound 2023'. The sell-out concert involved around 1,650 students from schools across the borough and partner organisations, the Royal Philharmonic Orchestra and National Opera Studio. It covered everything from opera to jazz to musical theatre and rock and pop, plus a new composition 'This World is Ours' highlighting the risks of climate change - and featuring two one-handed recorders on stage.
We think this may have been a first at the Royal Albert Hall, but hope it won't be the last time to see OHMI instruments featuring in such a prestigious venue. Read more about Brighter Sound 2023, including a photo of the one-handed recorder in action. People with acquired brain injuries in Wylde Green are being offered the opportunity to make music through a pioneering partnership between the brain injury charity, Headway, and the disabled music charity, OHMI.
Music-making has long been recognised as playing an important part in an individual’s journey to recovery from illness. The benefits are wide-ranging. At the very basic of levels, it is an activity that can be undertaken simply for enjoyment. There are, however, more complex reasons why playing an instrument has such a profound impact. It improves fine motor skills, as well as memory when it comes to learning the sequence of chords. Playing to the rhythm of particular beats of a bar is also a useful counting exercise. They are all benefits well recognised by Headway, and the reason why it approached OHMI to work with the individuals it supports. The sessions have been taking place every week for the last five months. Paula Ewer, a guitar teacher at Solihull Music Service with some 40 years’ experience, was commissioned by OHMI to lead the sessions. “There was a group consensus that the guitar would be an interesting instrument to learn. However, some of our musicians are quite restricted in their movement – perhaps only being able to move one finger – so navigating the fingerboard would prove prohibitive. “We therefore opted for the Artiphon Instrument 1 as an alternative to the guitar. It’s a midi-controller so it can be anything you want it to be – whether that be a drum kit, ukulele or guitar. At £350, it is also a relatively cheap instrument. “We started off using the Artiphon Instrument 1's as drum machines, with the group playing rhythms alongside my playing and singing. ‘We Will Rock You!’ by Queen was an obvious choice as it has such a strong drumbeat. Now we’ve moved on to the guitar setting, and the group have chosen Neil Diamond’s ‘Sweet Caroline’ and Rihanna’s ‘Lift Me Up’. Regardless how severe the brain injury, everyone can participate – and that really is a joy to see and hear!” The project necessitated the purchase of six Artiphon Instrument 1's, iPods, as well as the teaching provision. It was made possible by funding from the Boshier-Hinton Foundation, Edward and Dorothy Cadbury Trust, the Hopkins Sayer Charity, the Clothworkers' Foundation and Grimley Charity. Emma Brown joined OHMI as our youngest trustee in 2022. One year on and, particularly as we celebrate Limb Loss and Limb Difference Awareness Month this month, it’s a good point at which to hear more of her experiences – as OHMI trustee, talented flautist and amputee.
Emma brings us up to date. “Life is pretty busy for me at the moment! I’m currently studying for my Masters in Flute Performance at Birmingham Conservatoire. My studies had been deferred for a year, following a life-changing injury in May 2021 which resulted in bilateral amputations below the knee. It was whilst I was undergoing rehabilitation at Queen Mary’s Hospital, Roehampton, that I realised almost all the activities suggested to amputees are sports related. I have never been particularly sporty so there was nothing on offer that held any great appeal. My unfailing passion has, and always will be, music, and I was determined to continue with that. The importance of music in recovery Being in a neck brace for some five months gave me a real insight into how it feels to be prevented from making music. As a flautist, that time was beyond frustrating but it did provide me with the opportunity, at least, to practise the piano, with my injury forcing me to rely on the pedals less and play better as a result. The ability to make music during such a period of seismic change was so integral to my recovery. Life as an amputee musician I realised early on that life as an amputee musician can be challenging, particularly when performing in an orchestra. As well as the additional considerations of getting from A to B (with musical instrument in tow and often relying on public transport), there’s the expectation that musicians join and exit the stage at lightning pace. Added to that, it is typical to stand between performances, and moving from seated to standing position so often can be pretty tiring. There are also other practicalities to consider, particularly in older theatres and music halls where the disabled toilet is unlikely to be anywhere near the stage. These experiences have brought into sharp focus the hurdles an amputee or wheelchair user faces when they seek to perform. It is what led to me setting up my own network, Amputee Musicians UK, which aims to connect people with limb difference or loss who love either playing or listening to music. I've certainly learnt a lot since commencing my studies at Conservatoire. It's inevitable that I will have ‘bad leg days’ since it’s only been two years since my injury, and I’ve only recently started to live independently. My prosthetics are a mobility aid in the same way as my manual wheelchair, and there are times the wheelchair presents the better option. As the first wheelchair user to study music at Conservatoire, there have been a few hiccups along the way – simply because such accessibility issues have never presented themselves before. Some – such as the difficulty in accessing the Winds section (always one step up) – apply to every orchestra. Others will be unique to that particular environment - in the Conservatoire’s case, it's the fact that the door to the woodwind store cupboard is unbelievably heavy. I'm pleased to say both issues were quickly addressed. I was really delighted that the Conservatoire also invited OHMI’s General Manager, Rachel Wolffsohn, to lead a workshop to help raise awareness of accessibility in music. It was really well-received by my fellow students who understand that they may well find themselves teaching disabled musicians in the future. I’ve had the opportunity to advocate for disabled students in other ways. As a Conservatoire student, I also belong to Birmingham City University where the number of disabled students means there's a huge amount of disabled support. The university has recently lowered one of its printers for use by disabled students. I was asked to test its suitability and, in return for my feedback, was offered extra printing credits. Playing the one-handed flute I see my role as an OHMI trustee as two-fold. Firstly, the empathy I can show to my disabled students when I teach. I’ve thoroughly enjoyed teaching the one-handed recorder at recent session of OHMI Music-Makers. Secondly, the part I can play in helping to increase awareness of opportunities open to amputees. When I recently fractured my right hand, I faced the prospect of going back to my parents in Surrey to wait out the five weeks until my cast was removed. Being offered one of OHMI’s one-handed flutes has given me both purpose and a reason to stay in Birmingham. I will, of course, go back to my regular flute once my hand is healed but, for now, the one-handed version is helping me to retain my sound and quality. It has also allowed me to continue playing in my Minerva flute quartet, our most recent gig being a local retirement home. My next OHMI project is to ensure that hospital Prosthetic departments know as much about music-making as they do sport activities. For anyone recovering from injury, music is, after all, as important mentally as sport is physically. There is still a lot to do if the industry is to be truly accessible for the disabled, and I am certainly committed to helping to change that! Maria is one of OHMI’s most established musicians. She started her musical journey with the recorder but moved on to the clarinet some time ago. We were delighted that she performed as part of the ‘Clarinet Trio’ at OHMI’s Tenth Anniversary Celebrations in 2021. Her performing career has only flourished since, following her acceptance to NOYO (the world’s first disabled-led national youth orchestra).
Here, Maria and her mum, Mirela, recount what a difference the adapted clarinet has made to their family. In Maria’s words: “It was in Year 2 that I started playing the recorder. It wasn’t long after I’d had surgery as a 5-year-old, and it was a family friend, Clare Salters, who found an adapted recorder for me through OHMI. Clare has been my music teacher ever since and is the one I thank for helping me play a musical instrument. She is always very patient if I get it wrong, and we just practise until I get it right. No disrespect to the recorder but I decided to switch to the clarinet in Year 4. I love the clarinet because of the way it feels and its deep sound, and it definitely functions better than the recorder which is small and light. Also, the clarinet is not an instrument everyone can play so it’s a nice feeling to be someone who can! I really like playing in an orchestra because no-one notices that I play any differently when I’m with others. Playing at OHMI’s event in 2021 was a bit scary but I like the idea that I was teaching people about the clarinet. I see playing the clarinet as another step to becoming what people don’t expect of me. My recent audition with NOYO (the National Open Youth Orchestra) was a success. I get to rehearse and perform with other children and young people from the ages of 11 to 25. Some have a disability, others don’t, but there’s always extra help for those who need it. When I’m older, I want to go to a university specialising in music. I want other children to see what I’m doing, see that it’s really cool and to then follow in my steps. I’d actually quite like to be a famous in this way! My advice is to remember that people can do whatever they want – even if it’s something they had never previously considered.” In Mirela’s words: “We’ve known Maria’s teacher (Clare Salters) for eleven or so years since our sons were at primary school together. Clare has become such an important part of our family because she’s really helped make things happen for Maria, including putting her name forward to NOYO. My husband and I like listening to music but don’t know much about it otherwise so we needed someone who would see Maria’s potential and help her dream big. Music is such a huge part of the school curriculum. When Maria moved up to secondary school, she initially felt left behind. The options available for whole-class teaching were only on instruments such as the flute and ukulele which, for any child with an upper limb difference, are very hard to play. That’s why the opportunity to play the clarinet is so important to her – although she now has her sights set on the piano! I have real admiration for the instrument makers out there who take the time to think about how children and adults like Maria can be supported, and to charities like OHMI who help connect the two. The ideas for adapted instruments are certainly very clever, and work in this area is so important in ensuring that no-one who wants to play music, gets left behind.” Know a child or young person between the ages of 11-25 who might be interested in joining NOYO in London, Birmingham, Bristol, Bournemouth or Cardiff? Applications for auditions are open until 31 March. Learn more on the NOYO website. We had the opportunity recently to meet once again with Martin Fröst, a Swedish clarinettist and conductor considered one of the most renowned instrumental soloists ever.
The meeting took place at London’s Wigmore Hall in December 2022, a venue included as part of Martin’s European tour. Its purpose was to bring Martin up to speed with OHMI’s exciting work on the 3D-printed one-handed clarinet following a first meeting with him some ten years ago. The 20-minute conversation involved Martin, Dr Stephen Hetherington (OHMI’s Chairman), Clare Salters (OHMI trustee) and Peter Worrell (acclaimed instrument maker). Stephen explained the concept behind the 3D-printed one-handed clarinet: namely, that the charity recognised the need to produce an instrument that is more economically viable. Fortunately, Arts Council England were in full agreement, and provided the funding for research into the instrument and development of a prototype. Peter went on to demonstrate the features of the instrument, created entirely in his workshop in Norfolk, using relatively inexpensive machinery. We were delighted to hear that Martin considered the instrument to be the ‘perfect idea’ and is committed to collaborating with OHMI further to help raise awareness. You can watch the video in full here: https://youtu.be/7gt6r1aMLLM |
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March 2024
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