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Introduction
Head of Woodwind, Heather Nicoll DRSAMD MA
The Woodwind department has an international reputation for developing leading musicians. Our team of dedicated staff includes many of Britain’s finest woodwind players, with world-class reputations as soloists, orchestral, and chamber musicians. The department delivers an intensive and dynamic training and provides a supportive and collaborative environment to talented musicians from all over the world. Through our extensive one-to-one specialist care and invaluable performance exposure, the department ensures a challenging and inspiring environment to promote excellence.
Why study here?
Unparalleled one-to-one tuition
Students receive a principal study lesson per week with their tutor.
Performance collaborations with international artists
Weekly tuition is enhanced by regular visits from distinguished guest artists from across the globe. Students benefit from creative collaborations with those artists in addition to the masterclass programme.
Diverse performance opportunities
All woodwind students benefit from the enormous range of performance opportunities. Symphony, chamber and wind orchestra performances, opera productions, wind ensembles and chamber experience are also central to the training of each student. We encourage you to form your own ensembles and offer professional coaching to support your work.
Side-by-side concert series
All woodwind students will have the opportunity from Year 1 to perform alongside professional musicians in our Monday @ 1 concert series. RCS staff members and visiting artists perform in chamber ensembles with our students throughout their training.
Stevenson Winds
The department’s elite ensemble, Stevenson Winds, provides students with intensive coaching from professional players and offers extensive performing experience alongside those professionals in prestigious events across the country.
Unique mentoring schemes
Students are given the best possible start to their performing careers, participating in public performances, TV broadcasts, and worldwide tours with Scotland’s major orchestras and ensembles. We currently run schemes with the BBCSSO, RSNO, Orchestra of Scottish Opera and Red Note Ensemble.
Fantastic concerto opportunities
Annual professional concerto performances with both the BBC SSO and the RSNO are available to students. Further concerto opportunities with the RCS Symphony and Wind Orchestras are available & offer performing experience throughout the country in prestigious venues.
Professional accompanist provision
A professional accompanist is provided for students throughout their training. Weekly rehearsal sessions with Scott Mitchell are available in preparation for performance classes, competitions and examinations.
Woodwind venues
A dedicated reed-making room provides superb equipment and facilities for regular classes in this specialist art and the David Nicholson Room provides flautists with a devoted rehearsal and practice space.
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Programme structure
MMus
The MMus programme is designed to refine your Principal Study skills to meet the demanding artistic and technical expectations of the contemporary professional world.
The RCS values its MMus students as autonomous and creative learners and the programme has specialist Principal Study pathways allowing each student to tailor their training to support their own professional ambitions.
Principal Study Pathways
Solo Performance – assessed in a public recital
Orchestral Performance – assessment comprises an orchestral audition and live orchestral performances
Chamber Performance – assessed in a public recital
Concerto – assessed in a concerto performance. Enviable concerto opportunities are available with the BBC SSO, RSNO and RCS Symphony Orchestra (selection by audition).
Studio Recording – assessed in a studio recording comprising repertoire appropriate to the specialisms of the student and a viva examination discussing the values of the recording process and repertoire decisions.
New Work – assessed in a performance or studio recording of a new work and viva examination on the collaborative process with the composer.*
Lecture Recital – assessed in a lecture- recital on a relevant specialist subject
Independent Project – assessed through a practice-based project designed around a particular area of a student’s specialism.
* Students with a passion and aptitude for contemporary performance may wish to work intensively with a student from our composition department to create a new composition for their instrument. Our prestigious contemporary festival ‘PLUG’ offers a public platform to showcase new works.
Supporting Studies comprises the core 1-2-1 lessons, performance and technique classes, (reed-making if relevant), chamber music collaborations, orchestral and operatic productions, ensemble work and masterclasses. MMus students are eligible for all competitions and apprenticeship schemes.
MMus/MA Programme Structure
The MMus/MA programme is divided into Stage 1 and Stage 2. Stage 1 is common to both degrees, and may also lead to the exit award of PGDip. In Stage 2, MMus and MA students follow different pathways leading to their respective degrees.
Stage 1: PGDip
Principal Study 1 — 80 SCQF credits
Supporting Studies 1 — 30, 20 or 10 SCQF credits
Practice Research— 10 SCQF credits
Options — 0, 10 or 20 SCQF credits
Stage 2: MMus
Principal Study 2 — 90 SCQF credits
Supporting Studies 2 — 30, 20 or 10 SCQF credits
Options — 0, 10 or 20 SCQF credits
Stage 2: MA
Negotiated Study (or HIPP dissertation) — 60 SCQF credits
Principal Study
The primary focus of your learning will be the Principal Study. This core activity — and in particular, the individual lesson — will refine the skills essential to meeting the artistic and technical expectations of the programme. It will equip you with many of the skills needed to exercise independent learning and develop the autonomy necessary for a professional career. In the case of the degrees in Performance, and Historically Informed Performance Practice, the Principal Study is your instrumental or vocal discipline; for the degrees in Opera, Conducting, Repetiteurship, Piano for Dance, and Accompaniment, it refers to the full range of skills associated with those roles, including high-level performance skills. For the MMus Composition, Principal Study is the practice of composition, within which you may specialise in acoustic or electroacoustic composition. For the MMus Chamber Music, the Principal Study will comprise the ensemble work of the group. Within the credit assigned for Principal Study, the contact hours are flexibly assigned to suit your particular needs as a student.
Supporting Studies
Supporting Studies incorporates many of the distinctive features of conservatoire study, and contributes towards the creation of a near-professional learning environment. In this module, you will have the opportunity to take part in a range of negotiated activities in support both of your Principal Study and your development as an emerging professional. The emphasis is on working with your peers, whether through the presentation of performance classes or collaborative activities such as chamber music, orchestra or ensemble work. The module also incorporates a series of cohort-wide graduate seminars, addressing such areas as research skills, critical thinking, professional development, reflective practice, health and wellbeing, and equality and diversity.
Practice Research
This module challenges you to examine critically an aspect of your arts practice by means of an individually-negotiated portfolio of research, reflection and/or documentation. Over the course of your studies, with the support of a supervisor, you will assemble a portfolio of documentation and reflective writing that interrogates a self-chosen research focus and communicates your findings.
Options
Options give space within the curriculum for you to engage in studies which enhance your professional versatility, by pursuing areas of interest either close to or far away from your core discipline. The range of modules available is very wide, including otions drawn from the undergraduate programmes in both the School of Music and the School of Drama, Dance, Production and Film. The design of the programme puts no restrictions on the level of the options/s chosen. There is a significant range of choice available in the amount of credit taken in this way, with students free to choose pathways which place greater weight on Supporting Studies.
MMus or MA?
The MA and MMus programmes share many similarities, with the first three terms of the programme being common to both. The chief differences are in the length and volume of study, and in the pattern of delivery in relation to the four terms that make up the academic calendar. There are also some differences in the programme aims and learning outcomes, and in the proportional number of hours available for principal study lessons.
The MA degree is designed for students who wish to achieve a Masters level qualification in one year, with 180 SCQF credits at level 11 (90 ECTS credits). The programme runs full-time for four terms, 43 weeks in total, with the fourth term being dedicated to a largely independent project.
The MMus degree is intended for students who are seeking an extended and thorough professional grounding at Masters level in their chosen area of specialism. This is a two-year, full-time programme, leading to 240 SCQF credits at level 11 (120 ECTS credits). The majority of the teaching and learning takes place in terms one, two and three of both years, to a total of 81 hours across the two years. (Nine extra hours may be allocated to additional study of a related instrument, where appropriate).
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Why choose us?
The Royal Conservatoire of Scotland is in the World Top 10 for performing arts education 2016, 2017, 2018, 2020, 2021 and 2022 (QS World Rankings)- Diverse and unique performances within RCS and externally with Scotland’s major orchestras and ensembles. Opportunities include radio broadcasts, orchestral tours, educational projects and collaborative performances
- A one-to-one lesson on your principal study per week
- A rich programme of public masterclasses, chamber coaching coaching and side-by-side performances offer our students a fantastic collaborative and tailored experience with each guest musician
- Performance opportunities alongside professional musicians in our Mondays and Fridays at 1 concert series
- A professional accompanist is provided for students throughout their training. Weekly rehearsal sessions with Scott Mitchell are available in preparation for performance classes, competitions and examinations.
- Work with elite wind ensemble, Stevenson Winds, and receive intensive coaching with its expert players
- National and international performing opportunities; students previously toured India with the BBC Scottish Symphony Orchestra and annually perform side-by-side with the Scottish Chamber Orchestra Winds in a series of live concerts
- Facilities include the David Nicholson Room, a dedicated space for flautists to rehearse and practice, and a double reed room, filled with reed-making equipment for this specialist art
- 100% of postgraduate respondents from the School of Music are in employment or further study (HESA, 15/16)
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Teaching staff
Flute
Richard Blake — Principal, Orchestra of Scottish OperaKatherine Bryan — Principal, Royal Scottish National Orchestra
Ruth Morley — Scottish Flute Trio / Red Note Ensemble
Helen Brew — Associate Principal, Royal Scottish National Orchestra
Piccolo
Janet Richardson -BA Hons, Principal, Royal Scottish National OrchestraLuke Russell – Principal, BBC Scottish Symphony Orchestra
Oboe
Stephen West — ARCM DipPerf RCM, former Principal, Royal Scottish National Orchestra
Amy Turner — Principal, Orchestra of Scottish Opera
Peter Dykes – Associate Principal Oboe, Royal Scottish National Orchestra
John Roberts – Visiting Artist in Orchestral Performance and Principal Oboe, Royal Philharmonic Orchestra
Cor anglais
Henry Clay — Principal, Royal Scottish National Orchestra
Stephen West — ARCM DipPerf RCM, former Principal, Royal Scottish National Orchestra
Clarinet
John Cushing — Former Principal, Royal Scottish National OrchestraYann Ghiro — Principal BBC Scottish Symphony Orchestra
Lawrence Gill — Orchestra of Scottish Opera
Timothy Orpen – Principal, Royal Scottish National Orchestra
Nicolas Baldeyrou – Buffet-Crampon Visiting Professor in Clarinet
E Flat Clarinet
Josef Pacewicz LRAM, ARAM — Former Associate Principal, Royal Scottish National OrchestraBass Clarinet
Heather Nicoll DRSAMD MASaxophone
Josef Pacewicz LRAM, ARAMAndrew Somerville
Arno Bornkamp — Visiting Artist in Saxophone http://www.arnobornkamp.nl/uk/
Bassoon
Janet Bloxwich — Principal, Scottish Opera OrchestraAlison Green — sub-principal, Scottish Chamber Orchestra
David Hubbard — Principal, Royal Scottish National Orchestra
Graeme Brown Principal Bassoon No. 2, BBC Scottish Symphony Orchestra
Peter Wesley – Principal, BBC Scottish Chamber Orchestra
Paolo Dutto – Principal, Royal Scottish National Orchestra
Accompanist
Scott Mitchell LRAM ARAMWoodwind Lecturer
Jennifer Stephenson -
Facilities
- Weekly performance, technique and repertoire classes take place in our world-class recital venues providing the ideal environment for your development.
- A dedicated reed-making room houses the highest quality specialist reed-making equipment.
- Exclusive use of the David Nicholson Room provides flautists with a dedicated rehearsal and practice space.
- The RCS possesses, for student use, a wide-ranging and extensive collection of specialist ancillary instruments for both modern and period performance.
- State of the art studios provide our students with professional recording performance experience. Recent Woodwind Department CD’s are available from our box office.
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Graduate destinations
Royal Conservatoire Woodwind alumni occupy positions in numerous prestigious orchestras and ensembles worldwide.
Our alumni make an impact across the wide range of specialist areas in the music profession such as education, arts administration, composition, conducting, arranging, research & psychology.
Many graduates are influential tutors in Conservatoire training; specialist, private and local authorities schools; and in leading arts projects and organisations devoted to widening access and participation in music.
Jo Ashcroft & Victoria Lopez Senior Musician & Woodwind Tutor respectively, Big Noise, Sistema Scotland
Alan Bacchetti Head of Wind, Erskine Stewart’s Melville Schools
Graeme Brown BBC Scottish Symphony Orchestra Principal Bassoon No.2 & RCS Tutor
Jay Capperauld Composer & Saxophonist
Gemma Carlin Music Ensembles Manager, RCS
Richard Craig Contemporary Artist & Researcher
Rachel Drury Researcher & Educator
Peter Dykes Royal Scottish National Orchestra associate principal oboe & RCS Tutor
Lindsey Ellis BBC National Orchestra of Wales principal piccolo
Robert Fairley Orchestra of Scottish Ballet principal clarinet
Konrad Fiszer Opera Nova w Bydgoszczy flute and piccolo
Lawrence Gill Orchestra of Scottish Opera clarinet & RCS Tutor
Fraser Gordon Royal Philharmonic Orchestra principal contra bassoon
Alison Green Scottish Chamber Orchestra bassoon & RCS Tutor
John Hall BBC National Orchestra of Wales flute
Michael Hallit Macau Orchestra former principal piccolo
Samuel Hernandez Avila Tenerife Symphony Orchestra clarinet
Lee Holland Freelance Musician & Performance Coach
Gillian Horn Freelance Musician & Arranger
Jennifer Hutchinson BBC Philharmonic Orchestra principal piccolo
Mary James Orchestra of Scottish Ballet oboe
Fraser Langton BBC Philharmonic Orchestra clarinet
Janet Laird Orchestra of Scottish Ballet clarinet
Stewart MacIlwham Royal Philharmonic Orchestra principal piccolo
Michelle McCabe Orchestra of Scottish Ballet flute
Catriona McKinnon Welsh National Opera principal oboe
Kate McDermott Gothenburg Opera co-principal clarinet
John McDougall BBC Concert Orchestra principal bassoon
Lorna McGhee International soloist & Pittsburgh Symphony Orchestra principal flute
Chris McShane Orchestra Accademia China bassoon
Ruth Morley Scottish Flute Trio/ Red Note Ensemble flute & RCS Tutor
Sinziana Mugea National Radio Orchestra of Romania sub principal oboe and cor anglais
Heather Nicoll Head of Woodwind, RCS
Heather North Scottish Opera, Orchestra Co-ordinator
Andrew Nunn – Choral Conductor
Paul Rissmann Animateur & Composer
John Roberts Royal Philharmonic Orchestra principal oboe & RCS Visiting Artist
Ewan Robertson Orchestra of Scottish Opera flute & RCS Tutor
Lorraine Robertson L’ensemble Orchestral du Loir et Cher principal flute
Matthew Rogers Conductor & Composer
Ian Scott Royal Ballet Sinfonia principal clarinet
June Scott Philharmonia Orchestra flute
Jennifer Stephenson Freelance Musician & Woodwind Co-ordinator, RCS
Kathleen Stevenson BBC Symphony Orchestra principal piccolo
Kenny Sturgeon BBC Philharmonic Orchestra oboe
Ryan Sullivan Head of Primary Music in Doha College
Sarah Turner Gran Teatre Del Liceu Orchestra, Barcelona former oboe
Thomas Voelcker Zurich Tonhalle Orchestra former principal piccolo
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Fees and scholarships
Tuition fees for academic year 2022-23
MMus – Scottish Students
£9,927 (full-time)
£4,965 (part-time)
MMus – Rest of UK (RUK) Students
£9,927 (full-time)
£4,965 (part-time)
MMus – International Students (Including EU)
£19,635 (full-time)
£9,819 (part-time)
MA – Scottish Students
£13,464
MA – Rest of UK (RUK) Students
£13,464
MA – International Students (Including EU)
£23,601
From the next academic year (21/22) all EU students commencing study in Scotland will pay fees at the International rate.
Scottish
New Scottish domiciled students may be eligible for a Postgraduate Tuition Fee Loan. All eligible students will be able to apply directly to Student Awards Agency for Scotland (SAAS) for a non-means-tested loan. See the SAAS website for further details of the PSAS scheme.
Scottish domiciled postgraduate students on eligible courses can also apply for a Postgraduate Living Cost Loan to contribute towards living expenses. This is in addition to the existing loan available towards the cost of their tuition fees.
English
Postgraduate students from England can benefit from a postgraduate loan to be used towards tuition fees and/or living costs.
Northern Irish
Students from Northern Ireland may be eligible to apply for a Postgraduate Tuition Fee Loan to help with the cost of their course fees. Please see the Student Finance NI website for more details.
Welsh
From 1 August 2019, students ordinarily resident in Wales (and those from the EU studying at a Welsh institution) may be entitled to a combination of loan and grant as a contribution to costs while studying a postgraduate Master’s degree course. The total amount of support available is non-means-tested and is paid directly to the student. More information can be found on the Student Finance Wales website.
EU Students
The Royal Conservatoire is resolutely international in outlook and we celebrate and are enriched by the diversity of our community of students and staff. Students from across the globe are welcome and valued members of the RCS community and we continue to welcome applicants from across the EU and throughout the world.
Q: What is the fee situation for EU students?
A: On July 9 2020, Scotland’s Minister for Further Education, Higher Education and Science, Richard Lochhead announced changes to the fee regime for EU students studying in Scotland. From 2021/22, all EU students commencing study in Scotland will pay fees at the International rate.
Q: I’m an EU student looking to start my studies in 2022-23. How does this impact me?
A: From 2021/22, all EU students commencing study in Scotland will pay fees at the International rate.
Only EU nationals who are ‘settled’ or ‘pre-settled’ in the UK will remain eligible to apply for home tuition fees providing they meet the residency conditions. Other EU nationals and associated groups, starting a course of study in academic year 2021-22 or later, are not eligible to apply to SAAS for tuition fee support. Because of a long-standing agreement between the UK and Republic of Ireland, new students from the Republic of Ireland starting their studies in 2022-23 will be eligible to pay the rest of UK (RUK) fee and will be able to access a tuition fee loan from SAAS.
Please also see the SAAS website for more information.
Scholarships
Any potential student who auditions for a place at the Royal Conservatoire will automatically be considered for a scholarship. They are awarded on a combination of talent, potential and financial need. More information about Scholarships is available on our Fees and Funding page.
Sources of external funding
For more information about alternative funding sources, including external scholarships and bursaries, please visit our Fees and Funding page.
The Conservatoire’s International and Student Experience team are available to advise and assist applicants and current students in respect of queries about funding your studies at the Conservatoire. Please email or telephone +44 (0)141 270 8281/ +44 (0)141 270 8223 for further information.
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Entry requirements
Our admissions processes are designed to be fair, transparent and efficient. The audition/interview approach serves the dual nature of allowing the panel to assess first-hand an applicant’s suitability for their chosen programme and it also affords the applicant the opportunity to gain a deeper insight into the nature of that programme and the opportunities offered by the RCS.
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
Academic Entry Requirements
Candidates for both the MMus and MA are normally expected to hold a good honours (at least 2:2) degree, or its overseas equivalent, in a subject area relevant to the demands of the programme.
Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 6.0 (with a minimum score of 5.5 in each component) is required of applicants to the School of Music.
Direct Entry
Applications for direct entry beyond Year 1 will be considered on a case-by-case basis and in accordance with the Royal Conservatoire’s Recognition of Prior (Experiential) Learning policy. If you wish to apply for direct entry, please mark the point of entry on UCAS Conservatoires application as 2.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
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Auditions
All auditions are planned to take place in-person at our campus in Glasgow in November 2022. Should you apply on time, you will be e-mailed directly with details of your audition date and time, and your UCAS Conservatoires track will be updated with this information.
International applicants are welcome to submit a recorded submission via Acceptd. For those submitting a recording, the deadline dates to apply and submit your audition recording can be found in the table below:
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 3 October 2022 17 October 2022 Recording Guidelines:
- When setting up for your video recording, your body (typically, from about the waist up) and instrument should be the focal point of the frame. The committee wants to be able to see not just your face but how well you navigate your instrument.
- The video recording should be provided in ONE continuous shot without separate tracks for different musical pieces.
- Please begin the recording by introducing yourself to camera and stating what you will be performing. You can take a little time between pieces so long as your body must remain in the frame.
- For any pieces that were written for your instrument and piano accompaniment, you are encouraged to perform with piano accompaniment (whether live or pre-recorded) if practical for you. Be assured, however, that if this is not possible for you, then you will not be disadvantaged in any way.
For more information on recording a video audition, Guitar Lecturer Matthew McCallister reveals his top tips on recording your music audition online below:
All decisions will be posted on UCAS Conservatoires following your audition or recorded submission via UCAS Conservatoires track (you will need your username and password). We aim to post outcomes before Christmas.
Details of the repertoire requested for your in-person audition/recorded submission can be found below:
Applicants will be expected to perform two works: the set concerto for their instrument as indicated below, and a piece of the applicant’s own choice.
Flute
Mozart Concerto in G major (1st and 2nd movements)
Oboe
Mozart Concerto in C major (1st and 2nd movements)
Clarinet
Mozart Concerto in A major (1st and 2nd movements)
Bassoon
Mozart Concerto in Bb major (1st and 2nd movements)
Saxophone
Glazunov Concerto in Eb major
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How to Apply
- Apply via UCAS conservatoires
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Applications are made through the UCAS Conservatoires website. The UCAS Conservatoires application system is separate from the main UCAS undergraduate application system. If you wish to apply to conservatoires and universities within UCAS, you will need to register for both services. There is a UCAS application fee of £26.50 to register to use UCAS Conservatoires.
To begin a new UCAS Conservatoires application, you will need to register. You can read the UCAS Conservatoires’ advice on completing the UCAS Conservatoires application. If you need assistance with your application, you can contact UCAS Conservatoires team by telephoning (Monday to Friday, 8.30 — 18.00). Phone 0371 468 0470 from within the UK or +44 330 3330 232 if you are calling from overseas.
Application deadline date
The deadline dates to apply and submit your audition recording can be found in the table below –
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 3 October 2022 17 October 2022 If you submit your application after this date, we cannot guarantee that your application/audition recording will be reviewed by the audition panel. If you do want to submit a late application, you must contact admissions@rcs.ac.uk in the first instance to check we are accepting late applications. Late applications will be considered on a case by case basis and may not be considered in the first round of scholarship allocation.
We do not offer deferred entry. If you wish to commence in 2024, you must apply next year.
The Royal Conservatoire of Scotland institution code is R58.
MMus Performance (2 years) – 890F
MA Performance (1 year) – 801F
Book an advice lesson with one of our Music tutors
An advice lesson gives you the chance to experience having a lesson at the Conservatoire and provides a great opportunity for you to gain some expert advice and insight. Advice lessons normally take place from late August to early October and are dependent on staff availability. Book your advice lesson here or e-mail our team for further information at hello@rcs.ac.uk.
- Application fee
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There is a UCAS Conservatoires application fee of £26.50. In addition to the application fee, each conservatoire charges an audition assessment administration fee. For RCS, the audition assessment administration fee is £65 per programme applied for. Fees are not refundable. The fees are paid via the UCAS Conservatoires website and not directly to RCS.
Audition Assessment Administration fee
The Royal Conservatoire of Scotland charges an audition assessment administration fee of £65 per course.
We recognise that auditioning and interviewing for conservatoires, drama and ballet schools can be costly. The audition assessment administration fee charge allows us to offer a thorough and positive experience to all applicants and we encourage you to get in touch to ask the panel questions and find out more about the Royal Conservatoire of Scotland to see if it is the best place for you
- References
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It is your responsibility to ask two separate referees to write references and ensure that these are sent to RCS.
The references must be written by two different people and we will not accept references from family, other relatives or close friends. You can submit your UCAS Conservatoires application form and send your references at a later date, but they must be received prior to your audition date.
UCAS Conservatoires provides reference forms for you to download and send to your referees for completion.
- Entrance requirements
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Our admissions processes are designed to be fair, transparent and efficient. The audition/interview approach serves the dual nature of allowing the panel to assess first-hand an applicant’s suitability for their chosen programme and it also affords the applicant the opportunity to gain a deeper insight into the nature of that programme and the opportunities offered by the RCS.
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
Academic Entry Requirements
Candidates for both the MMus and MA are normally expected to hold a good honours (at least 2:2) degree, or its overseas equivalent, in a subject area relevant to the demands of the programme.
Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 6.0 (with a minimum score of 5.5 in each component) is required of applicants to the School of Music.
Direct Entry
Applications for direct entry beyond Year 1 will be considered on a case-by-case basis and in accordance with the Royal Conservatoire’s Recognition of Prior (Experiential) Learning policy. If you wish to apply for direct entry, please mark the point of entry on UCAS Conservatoires application as 2.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
- Selection process
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Applicants are selected first and foremost on the basis of merit and potential. However, due attention is also paid to the range of Principal Studies accepted in order to ensure the optimum experience for each student and to sustain the critical mass required for curricular activities, such as the symphony orchestra and choral activities.
Please note that the Conservatoire is obliged to offer one audition date per application. If you are unable to submit your application/audition recording by the deadline date above, you must email us immediately stating the reason. We have a specific period allocation to audition and all on time applications will receive a decision before Christmas. If your audition recording is delayed, there is a risk that places will already have been taken and your application may not be considered in the first round of scholarship allocation.
- Audition
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All auditions are planned to take place in-person at our campus in Glasgow in November 2022. Should you apply on time, you will be e-mailed directly with details of your audition date and time, and your UCAS Conservatoires track will be updated with this information.
International applicants are welcome to submit a recorded submission via Acceptd. For those submitting a recording, the deadline dates to apply and submit your audition recording can be found in the table below:
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 3 October 2022 17 October 2022 Recording Guidelines:
- When setting up for your video recording, your body (typically, from about the waist up) and instrument should be the focal point of the frame. The committee wants to be able to see not just your face but how well you navigate your instrument.
- The video recording should be provided in ONE continuous shot without separate tracks for different musical pieces.
- Please begin the recording by introducing yourself to camera and stating what you will be performing. You can take a little time between pieces so long as your body must remain in the frame.
- For any pieces that were written for your instrument and piano accompaniment, you are encouraged to perform with piano accompaniment (whether live or pre-recorded) if practical for you. Be assured, however, that if this is not possible for you, then you will not be disadvantaged in any way.
For more information on recording a video audition, Guitar Lecturer Matthew McCallister reveals his top tips on recording your music audition online below:
All decisions will be posted on UCAS Conservatoires following your audition or recorded submission via UCAS Conservatoires track (you will need your username and password). We aim to post outcomes before Christmas.
Details of the repertoire requested for your in-person audition/recorded submission can be found below:
Applicants will be expected to perform two works: the set concerto for their instrument as indicated below, and a piece of the applicant’s own choice.
Flute
Mozart Concerto in G major (1st and 2nd movements)
Oboe
Mozart Concerto in C major (1st and 2nd movements)
Clarinet
Mozart Concerto in A major (1st and 2nd movements)
Bassoon
Mozart Concerto in Bb major (1st and 2nd movements)
Saxophone
Glazunov Concerto in Eb major
- Following your audition
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All decisions will be posted on UCAS Conservatoires following your audition via UCAS Conservatoires Track, (you will need your username and password). You will also receive notification from UCAS Conservatoires when decisions on all your choices are available.
UCAS Conservatoires Codes
Guaranteed Unconditional (GU) RCS is satisfied from the information you have given, that you have already met the conditions for entry. Unless your application and/or qualification are subsequently shown to be fraudulent, a guaranteed unconditional offer is binding.
Guaranteed Conditional (GC) RCS has made the offer subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track. Unless your application and/or qualifications are subsequently shown to be fraudulent, the offer is binding if you accept the offer and meet the conditions. You must meet the conditions of the offer by 31 August 2021, unless an earlier date is specified. If your conditions include obtaining IELTS (English Language test), you must meet this condition by 31 May 2021.
Reserve Unconditional (VU) RCS is satisfied from the information you have given, that you have already met the conditions for entry and you have been offered a place on our reserve pool.
Reserve Conditional (VC) RCS has offered a place on its reserve pool subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track.
Unsuccessful (R) RCS does not wish to offer you any type of a place.
- Replying to offers
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As soon as a decision is made, UCAS Conservatoires will let you know. You must reply online via UCAS Conservatoires Track. Your reply date is displayed on Track. If you do not reply by the date given, your offers will be declined automatically. The reply date may be different to other applicants as it is based on when you receive your last decision.
Last decision by Your reply date is 3 January 2023 1 February 2023 15 March 2023 11 April 2023 15 May 2023 1 June 2023 11 July 2023 27 July 2023 2 August 2023 8 September 2023 Please see the UCAS Conservatoires website for more information on replying to offers. If you make an application through UCAS Conservatoires, UCAS or UCAS Teacher Training, you cannot hold more than one confirmed place. A confirmed place in UCAS Conservatoires is a guaranteed unconditional offer as your first choice (GU1) and in UCAS and UCAS Teacher Training it is an unconditional firm (UF) place. If you receive more than one confirmed place, UCAS will ask you to accept one offer and withdraw from any others.
- Policy
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We have a number of policies and statements which you should read when applying to study at the Royal Conservatoire.
Please select the links below to read each policy.
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Masterclass and visiting artists
Visiting international artists work regularly with our students.
A rich programme of public masterclasses, chamber coaching, lecture recitals and side-by-side performances and professional recordings offer our students a fantastic collaborative and tailored experience with each guest musician.
Recent Visiting Artists Include:
Flute
- Ian Clarke – Internationally acclaimed flautist and composer
- Michael Cox – Principal, BBC Symphony Orchestra
- Lorna McGee – Principal, Pittsburgh Symphony Orchestra
- Emily Beynon – Principal, Royal Concertgebouw Orchestra
- André Cebrián – Principal, Scottish Chamber Orchestra
- Fiona Fulton – former flautist with The Liverpool Philharmonic Orchestra (masterclass)
- Gitte Marcusson – freelance flautist and Musical Director at Vanersborg School of Music (masterclass)
- Cormac Henry – Principal, Royal Liverpool Philharmonic Orchestra (masterclass)
- Charlotte Ashton – Principal Flute, BBC Scottish Symphony Orchestra (masterclass)
- Michel Moragues – Second flute soloist with the Orchestre National de France (masterclass)
- Elzbieta Wolenska – Distinguished Pedagogue (masterclass)
- Catherine Gregory – Decoda Ensemble (masterclass)
- Adam Walker – Principal, London Symphony Orchestra (masterclass)
Piccolo
- Ewan Robertson – Orchestra of Scottish Opera (orchestral performance masterclass)
- Luke Russell – Principal Piccolo, BBC Scottish Symphony Orchestra
- Jenny Hutchinson – Principal Piccolo, BBC Philharmonic Orchestra (masterclass)
Oboe
- Diana Doherty – Principal, Sydney Symphony Orchestra
- Emmanuel Laville – Principal, Swedish Symphony Orchestra
- Michael Niesemann – Principal – Orchester Revolutionnaire et Romantique
- John Roberts -Principal, Royal Philharmonic Orchestra and RCS Visiting Artist in Orchestral Performance (masterclass)
- Dudu Carmel – Principal Oboe, Israel Philharmonic Orchestra (masterclass) Olivier Stankiewicz – Principal, London Symphony Orchestra (masterclass)
- Steven Hudson – Section Leader, BBC National Orchestra of Wales (Crowthers Sponsored Artist – performing in our Double-reed concert and leading a masterclass).
- François Leleux – International Artist (masterclass)
- Nicholas Daniel – International Artist and Principal, Britten Sinfonia (masterclass)
Oboe & Cor Anglais
- Alan Garner – Principal Cor Anglais, The Orchestra of the Royal Opera House (masterclass)
- Alexandre Oguey – Principal Cor Anglais, Sydney Symphony Orchestra (masterclass)
Clarinet
- Nicolas Baldeyrou – International Artist and Principal, Radio France Philharmonic Orchestra (masterclass)
- Anthony McGill – Principal, New York Philharmonic Orchestra (masterclass)
- Timothy Orpen – Principal Clarinet, Royal Scottish National Orchestra. Founding member and Principal Clarinet of the Aurora Orchestra (masterclass)
- Fraser Langton – Sub-principal, BBC Philharmonic and RCS Graduate
- Oliver Janes – Principal, City of Birmingham Symphony Orchestra (masterclass)
- Annelien Van Wauwe – International Artist (masterclass)
- John Bradbury – Principal, BBC Philharmonic Orchestra (masterclass)
- Maximiliano Martín – Principal, Scottish Chamber Orchestra (masterclass)
Bass Clarinet
- Sarah Watts – Contemporary bass clarinet specialist (masterclass)
Bassoon
- Ole Kristian Dahl – Principal, Swedish National Orchestra (masterclass)
- Vahan Khourdoian – Principal, Ulster Orchestra (masterclass)
- Fraser Gordon – Principal Contra Bassoon, Royal Philharmonic Orchestra (masterclass)
- Julie Price – Principal, BBC Symphony Orchestra (masterclass)
- Joost Bosdijk, London Symphony Orchestra (masterclass)
- Amy Harman – Principal, English National Opera and Aurora Orchestra (masterclass)
- Pascal Gallois – International artist (contemporary masterclass)
- Graeme Brown – Bassoon Principal No.2, BBC Scottish Symphony Orchestra (Crowthers Sponsored Artist – performing in our Double-reed concert and leading a masterclass).
Saxophone
- Arno Bornkamp – International renowned solo & chamber performer and RCS Associate Artist (masterclasses/chamber coaching and Director of the Saxophone Department Concert)
- Kyle Horch – Professor of saxophone, Royal College of Music, London (masterclass)
- Timothy McAllister – International Artist and Professor of Saxophone at the University of Michigan School of Music, Theatre & Dance (masterclass)
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Competitions and prizes
The students of the Royal Conservatoire of Scotland’s Woodwind Department regularly demonstrate their calibre by winning prestigious competitions and awards, both within the Conservatoire and on the global stage.
Recent RCS Woodwind Prize Winners:
Andrew Dardis (MMus Flute) was announced as the winner of the Woodwind Governors’ Recital Prize 2021 following a recital performance with Scott Mitchell. The competition was adjudicated by Maximiliano Martín, Principal Clarinet with the Scottish Chamber Orchestra. Congratulations also to Emma Simpson who was Highly Commended.
Emma Simpson (BMus 4 Bassoon) was declared the winner of the RCS Bassoon Prize. This annual recital prize was established in 2020 by RCS Bassoon Graduate, Ryan Sullivan and was adjudicated this year by Anthea Wood. Kaylyn McKeown was also awarded Highly Commended in this year’s competition.
Adam Lee (BMus 4 Clarinet) won the prestigious RCS Concerto Prize 2021 with a wonderful performance of Nielsen’s Clarinet Concerto, Op.57. Adam also won the RCS Classical Concerto Prize 2021 performing Crusell’s 2nd Clarinet Concerto in F minor, ‘Grand Concerto’ Op.5. Adam will be invited to perform both concertos with the RCS Symphony and Chamber Orchestras respectively. Marija Rackauskaite (MA Flute) was Commended in this competition for her performance of Devienne’s Flute Concerto No.7 in E minor.
The Principal’s Prize for All Round Excellence, (School of Music) 2021 was awarded to Adam Lee (BMus 4 Clarinet). This prize is awarded at the discretion of the Principal for all-round excellence and contribution to the corporate life of the Conservatoire. Congratulations to Adam.
Astrid Eriksson (MMus Flute) was awarded the David Nicholson Flute Award for Travel and Study.
This award is granted annually to a graduating MMus flute student based on the result of their final public exam recital, and for exhibiting all-round excellence and contributing to the corporate life of the Conservatoire throughout their academic career.Andrew Dardis (MMus Flute) was awarded the John MacGregor Flute Prize.
This prize is presented at the discretion of the Principal and the Head of the Woodwind Department, to the most promising student on the basis of his / her musicianship and technical ability on the flute.Recent notable successes include:
Clarinet and Saxophone Society of GB (CASSGB) Clarinet Soloist Competition
This year, the CASSGB launched new prestigious online Clarinet & Saxophone Soloist Competitions. The Competitions were open to all UK nationals and international students studying full-time in the UK aged over 18.
Esteemed adjudicators of the Clarinet Competition, Janet Hilton and Andrew Marriner, awarded first prize to Adam Lee (BMus 4 Clarinet).
Tunbridge Wells International Music Competition 2021
In the Wind Category at the Interim Tunbridge Wells International Music Competition, three performers were given Distinction awards including Adam Lee (BMus 4 Clarinet) and recent graduate Richard Scholfield (Saxophone).
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Alumni profiles
Graduate of Royal Conservatoire of Scotland MMus with Distinction and Co-Principal Clarinet of Gothenburg Opera
I chose to return to Scotland after completing my undergraduate degree in London because of the incredible amount of performance opportunities in Glasgow. With two symphony orchestras, opera and ballet companies, and a chamber orchestra in nearby Edinburgh, it seemed the ideal place to launch my career as an orchestral musician.
Coming from a London college meant I was able to compare the two experiences, and in my opinion one of the biggest advantages the RCS offers is having one of the country’s top accompanists on hand when you need him. After an undergraduate spent searching for, and paying for accompanists, this was a privilege that removed a lot of the stress from preparing for performance classes and recitals.
The apprenticeship schemes meant I got to experience orchestral auditions early on — something that is crucial for those hoping to secure an orchestral position, and which helped me personally with the many auditions I did after I left. My apprenticeship with Scottish Opera was particularly valuable to me as I got to perform my first opera with them, something I now do as a full time job!
My best memories of my time at the RCS include symphony orchestra concerts in City Halls, and performing John Adams’ ‘Gnarly Buttons’ as a concerto soloist. Some highlights of my career since leaving the RCS have been playing principal clarinet in orchestras such as the Royal Opera, Covent Garden; English National Opera and the BBC Symphony Orchestra. As well as my job in Gothenburg I am also a regular guest with orchestras around Scandinavia and the UK, where I often come across fellow alumni from the RCS, who are playing with orchestras all over the world.
Graduate of Royal Conservatoire of Scotland MMus with Distinction and sub-principal Clarinet with the BBC Philharmonic Orchestra
I chose to study at the Royal Conservatoire of Scotland because the quality of the woodwind faculty is amongst the best anywhere. The woodwind staff are top players from Scotland’s professional orchestras and with the orchestral scene buzzing in Glasgow, there are so many chances to see your teachers perform. Already, I have had some fantastic opportunities, which I may not have experienced, had I decided to study elsewhere.
The Royal Conservatoire operates three apprenticeships in conjunction with the RSNO, BBC SSO and the Orchestra of Scottish Opera. This has given me the chance to appreciate the subtleties of the profession first hand. Those opportunities included experiencing playing 2nd clarinet in a professional orchestra, taking part in the complete run of a full opera production as part of the Scottish Opera collaboration. I was also the concerto soloist with the BBC SSO performing Francaix’s Clarinet Concerto, which was an unbelievable experience!
There are also many performance opportunities within the Conservatoire itself. The orchestral programme is diverse and highly developed and there are many other specialist chamber ensembles such as the Stevenson Winds Ensemble that brings in leading artists to direct. There are also regular performance classes and masterclasses given by amazing artists, which heighten your development as a musician.
Graeme Brown
Graduate of Royal Conservatoire of Scotland and Bassoon Principal No.2 with the BBC Scottish Symphony Orchestra
The Royal Conservatoire of Scotland’s Woodwind Department is ‘ simply the best’. From the word go opportunities are abound for the aspiring woodwind player — and during my time here I have been given many, which I strongly believe would never have been offered to me elsewhere. The woodwind staff are extremely friendly and supportive in helping you to become the musician you want to be.
The early years in the department are a great opportunity to build on existing technique and understand your instrument more, particularly as we are offered a generous weekly 90minute lesson on our principal study and a further 30minutes on our related instrument (in my case, Contra). It prepares you well for the growing performance opportunities, and initial appearances in the Royal Conservatoire’s Symphony and Wind Orchestra’s helped me to build my understanding of orchestral technique early on — a valuable skill.
As a bassoonist, I was also able to do lots of work on reed-making before it ‘ really mattered’. All double reed players know that making your own reeds is very important and at the Royal Conservatoire the Woodwind Department has some of the best provisions for this in the UK. We have a double reed room for exclusive use of double reed students for personal practice and lessons. It also houses the Conservatoire’s reed-making equipment where we received regular reed-making classes.
As you develop through the course more opportunities arise in the form of competitions, concerto performances, large scale symphonic orchestral programmes with internationally renowned conductors, three professional orchestral training schemes, larger scale chamber music, opera orchestra, contemporary ensembles…the list is endless. Everything, I believe, is here for the aspiring woodwind player — great opportunities in a friendly and welcoming environment.
Lewis Banks
Saxophonist and graduate of the Royal Conservatoire of Scotland BMus and MMus degree programmes.
One of the key advantages of studying at the RCS are the sheer amount of performance opportunities afforded to you on a weekly basis. Within the first month of study, I had played in two performance classes, a wind orchestra lunchtime concert and a saxophone department showcase concert. Over the course of my two degrees I performed in countless performance classes, public recital/masterclasses, 3 concerto performances, contemporary music ensembles, orchestral concerts…the list is endless. I now realise that this constant exposure has really allowed me to develop a comfort in being on stage in many different performing scenarios, and this has stood me in very good stead when working in the profession.
The close relationships that the conservatoire has with professional ensembles such as the RSNO, BBC SSO and Red Note resulted in me taking part in a number of side by side schemes with professional musicians. Not only were these fantastic learning experiences for me, they also allowed me to make connections with musicians and conductors who later asked me to work with them on a professional basis.
The environment at the RCS is very demanding, but does allow enough flexibility for each student to pursue the avenues in which they are most interested. As a saxophonist, most of my focus is on solo playing and one of the highlights from my years at the RCS was the opportunity to perform Ibert’s Concertino da Camera with the Royal Scottish National Orchestra. Many musicians will never have the chance to perform a concerto with an internationally regarded orchestra during their whole career, but thanks to the RCS I was able to realise this ambition as an undergraduate student which was absolutely brilliant!
Since graduating I’ve been working on my own solo project with composer and fellow RCS Woodwind graduate Jay Capperauld, which is due to be premiered in September 2019. My other activities since graduating have included playing with the BBC SSO on a TV recording, guesting on lead alto with the Staatsorchester Rheinische Philharmonie, and I’m due to make my London debut recitals at the Purcell Room and St Martin in the Fields in 2019. I’m also returning to the RCS in 2019 as the soloist in Santiago Baez’s l’Arlessienne Fantasy Concerto’ with the composer at the piano.
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Woodwind department collaborations
The Woodwind department is proud to present a number of events in association with distinguished partners & artists each year. Details of our recent collaborations include:
Chetham’s School of Music
20 Nov 2019 / 28 Jan 2020
The RCS Woodwind Department continues to develop its relationship with Chetham’s School of Music. RCS alumnus, saxophonist Lewis Banks and RCS tutor / RSNO Principal Bassoonist, David Hubbard, were the featured artists during our latest visits.
Collaboration is embedded in our curriculum and Lewis’s playing and presentation on his collaborative project, AFTERLIFE, was well received by the Chetham’s students.
AFTERLIFE is a cutting – edge new music and film project inspired by David Eagleman’s book ‘Sum: Forty Tales from the Afterlives’ and features new music by the Scottish composer and RCS alumnus, Jay Capperauld.
David gave a wonderful recital and masterclass. Chetham’s captured some footage from the day and have shared on their social media. See the footage below:
Royal Conservatoire of Scotland Chamber Orchestra, Composer Santiago Baez and Saxophonist Lewis Banks
RCS alumnus Lewis Banks & the RCS Chamber Orchestra gave a stunning performance of Santiago Baez’s L’Arlésienne Fantasy for saxophone and orchestra. It was a privilege to have Baez perform himself on the piano in his work.
Our saxophone and guitar students set-up the orchestral concert beautifully performing a set of duos by Baez in a pre-concert event. In preparation, the students received coaching from both the composer and our visiting Professor in Saxophone, Arno Bornkamp (who Baez has dedicated several of his works to).
Santiago told us ‘Last week I had the privilege of playing “L’Arlesienne Fantasy Concert” with musicians of a high artistic level and in an institution as prestigious as the Royal Conservatoire of Scotland. I felt very honoured with the invitation of the Woodwind Department, whose Head of Department, Heather Nicoll, was kind to organise this event. I only have words of thanks for the magnificent treatment and respect as a composer with which the RCS has honoured me. Congratulations to the great saxophonist Lewis Banks, RCS Chamber Orchestra and conductor Minhyung Lee.”
Watch the full performance here.
Collaboration with Crowther’s of Canterbury
Monday 15 April 2019
Generously sponsored by Crowthers of Canterbury, our double-reed students presented a wonderful concert directed by RCS Oboe Tutor Stephen West. The audience was treated to student side-by-side performances with RCS Oboe Tutor Peter Dykes (Royal Scottish National Orchestra), and Guest Artist and RCS Graduate Graeme Brown (BBC Scottish Symphony Orchestra).
Graeme Brown also directed a superb masterclass with our bassoon students.
“I really enjoy coming in to work with the students as a graduate of the RCS. It’s great to come back to the building I trained in and help the current students, by being another pair of ears and giving them other techniques and ideas to try. It’s also extremely useful for me to know who is who in the student body and get to know their playing so that if need be, we could call on them for professional work.”
Graeme Brown, Principal Bassoon No.2, BBC Scottish Symphony Orchestra and RCS Woodwind Graduate.
RCS Double Reed Concert, 2019
Chetham’s School of Music
Sunday 31 March 2019
RCS Clarinet Tutor Yann Ghiro was a featured artist at the Chetham’s School of Music Wind, Brass & Percussion Chamber Music Day. Yann gave an inspiring masterclass working with a number of chamber groups in preparation for a public performance at the event.
Stevenson Winds Collaborative Performance
Friday 22 March 2019
The Woodwind Department was thrilled to continue its collaborative work with the BA Acting students whilst celebrating its first such partnership with students from the BA Performance in British Sign Language (BSL) & English programme.
The eclectic programme had a literary or theatrical influence. Opening with a performance on a famous balcony in Verona, scenes from Shakespeare’s tragic Romeo and Juliet were performed to Prokofiev’s ballet suite. Piazzolla’s distinctive tango music provided the perfect setting for a passionate evening in Argentina, before Patterson’s ingenious blend of poetry and music told the hilarious tale of ‘Rebecca’, a very naughty little girl…!
Watch Paul Patterson’s Rebecca in full here
The Royal Conservatoire of Scotland Clarinet Competition Sponsored by Buffet Crampon
14 October 2018
The Royal Conservatoire of Scotland and Buffet Crampon held a day of masterclasses, concerts, workshops and talks all in celebration of the clarinet.
The festival featured international Buffet artists, Nicolas Baldeyrou, Maximiliano MartÃn and our acclaimed RCS teaching staff: John Cushing, Yann Ghiro, Lawrence Gill and Josef Pacewicz.
The event welcomed more than 200 clarinettists from around the globe and included concerts, a competition, collaborative performances and interactive sessions for every age and stage to enjoy.
Our festival image has been designed by RCS Woodwind Graduate Victoria Lopez. See more of her work at fagotina.
The Royal Conservatoire of Scotland Clarinet Competition Sponsored by The Wind Section
June – October 2018
Young clarinettists from all over Europe applied to take part in the Conservatoire Clarinet Festival. Four finalists from Scotland, England, Lithuania and Croatia were selected to perform in a live final as part of the Conservatoire Clarinet Festival. The winner was awarded a £2000 voucher from The Wind Section.
RCS Woodwind collaboration with Chetham’s School of Music
24 September 2018
RCS Woodwind Tutors John Cushing and Stephen West accompanied by two of our current students, spent an inspiring day working in collaboration with Woodwind students at Chetham’s School of Music. Read what Chetham’s had to say about our visit here.
Collaboration with Crowther’s of Canterbury
21 May 2018
We welcomed back Crowther’s of Canterbury as the generous sponsor of our annual double reed concert and masterclass series. Oboist Steven Hudson (Royal Northern Sinfonia) and bassonist Graeme Brown (BBC SSO /RCS Woodwind Graduate) were this year’s guest artists.
“This long standing collaboration is always a highlight of the RCS Woodwind calendar and includes double reed masterclasses with the two invited artists performing in the concert, as well as Crowthers’ well stocked display of music, accessories and instruments.” Stephen West, RCS Oboe Tutor
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Chamber Music
Chamber Music
Chamber music is embedded in the training of RCS Woodwind students, providing a supportive and creative environment for young groups to hone their skills.
Chamber performance experiences include:
- Performance opportunities alongside professional musicians in both our Mondays and Fridays @ one concert series.
- Our prestigious ensemble Stevenson Winds affords high profile performance opportunities both within and out with the RCS.
- The unique opportunity to rehearse and perform side-by-side with members of the Scottish Chamber Orchestra Winds.
- Contemporary ensemble opportunities to perform in RCS MusicLab and Plug Festival (premiers of works by RCS composition students).
- Student led ensembles are given specialist professional coaching throughout their studies.
Chamber Music Alumni Profiles
Aisling Agnew
Flautist and graduate of the Royal Conservatoire of Scotland
The Agnew McAllister Duo is internationally recognised as one of the leading Flute & Guitar Duos. Since the duo’s first concert together at the Harty Room in Belfast in 2000, Aisling Agnew and Matthew McAllister have performed extensively around the world earning the highest admiration from audiences. The duo has released two Duo CDs, ‘Recital’ and ‘Bidla’ and has featured on various other recordings as well as enjoying numerous broadcasts on radio including Classic FM, RTE Lyric FM, BBC Radio Ulster and BBC Radio Scotland. The duo performs regularly around Europe and has also recently toured in North/South America and Asia.
“Chamber coaching was a hugely important part of my studies at the Royal Conservatoire of Scotland. I had 4 years of consistent tuition for my flute and guitar duo (as well as various RCS wind ensembles). Studying with different instrumentalists was enlightening and helped us realise the importance of rising beyond our individual parts, no matter what challenges they bring. We also had excellent sessions from our individual teachers David Nicholson and Allan Neave. One of the earliest pieces Matthew and I worked on as a duo was Eddie McGuire’s ‘Improvisations on Calderon’ and our tutor Stephen West went to the trouble of getting Eddie in to work with us (who we’ve had the pleasure to work with many times since). From this experience, we started to work with other composers and this became an important part of our ensemble in terms of sourcing and expanding repertoire and getting to the core of the music. It also helped in my journey as a contemporary musician and is something I do constantly in my work with Hard Rain Ensemble.
During our studies, Matthew and I developed a very wide-ranging repertoire and a strong sense of ensemble so that when we embarked on our early professional concert tours, we were already a confident and established duo. We are now fast approaching 20 years of concerts and international tours together. At the RCS we had many opportunities to perform in student concerts, performance classes, masterclasses and also concerts outwith the Conservatoire. In addition to my duo, I also toured with my RCS wind sextet around Scotland giving workshops and concerts, and the performances we gave of Poulenc Sextet were of lasting benefit, especially when I had the chance to perform it at Wigmore Hall the following year.”
Genovia Quartet is an innovative and dynamic bassoon quartet comprising current and recent RCS students – Rhiannon Carmichael, Gillian Horn, Victoria Lopez & Ana Rodriguez Garcia. The ensemble has performed to critical acclaim on the international stage.
“The most essential part of evolving and learning as a chamber group is to have as much platform time as possible, in order to try out ideas and put your hard work into practice. The RCS Woodwind department offers numerous performance opportunities including its Mondays and Fridays at One concert series, as well as links to external engagements (such as the Westbourne Music concert series). We were ‘Highly Commended’ in the RCS Governors’ Recital Prize for Chamber Music and we were honoured to receive the Mary D. Adams Prize for outstanding achievement in chamber music.
In terms of preparing for performances, we received high quality tuition sessions throughout the year from experts including David Hubbard, RSNO and Alison Green, SCO. We were also able to perform in the weekly performance classes, open days, education workshops, and participated in masterclasses with prominent musicians such as Joost Bosdjik from the London Symphony Orchestra.
Having access to the top quality recording studios in the RCS was a huge bonus, as we were able to put together a CD for promotional use.
Performing chamber music is one of the most fun and beneficial learning experiences you can have as a musician. Programming your own concerts, discovering new repertoire, organising your time/members and most importantly being dedicated to your ensemble – these are all skills we learned within the Conservatoire and have been putting into practice ever since. If you make good use of the facilities and excellent tuition, you can build on these skills to become autonomous and well-prepared to enter the profession.”
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Introducing Nicolas Baldeyrou
October 2019
Nicolas Baldeyrou talks of his musical motivations and his new relationship with the Woodwind Department.
April 2019
In celebration of our close links with Buffet-Crampon, the RCS Woodwind Department is thrilled to announce that Nicolas Baldeyrou will become our first Buffet-Crampon Visiting Professor in Clarinet.
“Following on from a highly successful Clarinet Festival at the RCS, we’re delighted that one legacy will be further opportunities for students to be inspired by a talent such as Nicolas Baldeyrou.
Buffet-Crampon is proud to continue its collaboration with the musicians at the RCS”
Timothy Barrett, Buffet-Crampon UK Sales Manager
Commencing in October 2019, Nicolas will be visiting the RCS to work with the woodwind students in a series of masterclasses, side-by-side performances and collaborative events.
“Nicolas is a first class performer and it’s a real privilege to have him associated with the RCS Woodwind Department. His contributions will undoubtedly be invaluable to our young musicians”.
Heather Nicoll, Head of Woodwind
“The clarinet students recently had the opportunity to work with Nicolas Baldeyrou as part of the RCS Clarinet Festival. There is palpable excitement from students throughout the department to have the opportunity to work with such a great performer and pedagogue on a regular basis!”
Osian Dance, BMus 4 Clarinet Student