Applications for the New Music Biennial 2025 (NMB 2025) are currently open, with a deadline of Monday 4th November at 6pm.In 2025 NMB will take place in Bradford as part of Bradford 2025 UK City of Culture (BD2025) on 6th – 8th June 2025 and the Southbank Centre in London on 4th – 6th July 2025.Through their open call application process, they are looking for pieces, each lasting 12 – 15 minutes long, which can be new commissions that will be premiered in 2025 or existing works that have been premiered in the last 4 years.Organisations can apply for up to £20,000 for a new commission, or £10,000 for an existing work. 20 pieces will be selected to be in the NMB programme and each work will be performed twice at each weekend, and composers/music creators will be interviewed by a BBC broadcaster in between performances. Parts of the programme will be broadcast on BBC Radio 3 and all works will be released on NMC recordings.If you are interested in applying for NMB 2025 please read the below brief, and if you would like to discuss anything to do with your application please do get in touch.The BriefSince its Launch in 2012, New Music Biennial (NMB) has continued to create a world class programme of commissions, performed at London’s Southbank Centre and across the UK in cities including Glasgow, at the Commonwealth Games and cities of culture Hull and Coventry. The festival creates a fantastic opportunity for audiences to experience short pieces of new music no longer than 15 minutes, for free, and allows music creators to compose exciting innovative music across all genres and take risks. New Music Biennial also presents a unique opportunity for music creators to share their composition process and thinking with audiences before they see it performed a second time.In 2025 we are looking forward to presenting NMB at the festival’s spiritual home of the Southbank Centre in London and in Bradford, as part of UK City of Culture. We are inviting UK based commissioning organisations and composers to present new or existing works representing the society that we are living in, as well as celebrating the arts, empowering young people and engaging new audiences. We are looking for pieces that reflect the richness of music-making in the UK today, cover all genres and cross genres, and could be performed in a range of venues or in the public realm. We wish to reflect on the importance of sustainability and the environment by programming at least one piece centred around this. We also encourage works that will involve Bradford communities.Our NMB open call is available via an online application which can be found on our website, and we welcome submissions from UK based commissioning organisations presenting works from UK based composers. It is important that Bradford is reflected in the programme and we aim to include at least 3 works that have a direct connection to the City.In 2025 New Music Biennial will premiere in Bradford and we will then celebrate this programme in the Southbank Centre in London. The works will be recorded for broadcast on BBC Radio 3 and digital release on NMC recordings.Please continue to the eligibility and criteria belowWe are looking for projects which:contain distinctive and exceptional musicwill be performed to the highest standard at the scheduled weekend showcases in Bradford as part of the UK City of Culture 2025 programme and at London Southbank Centrefit with the programme’s vision to celebrate the breadth and talent of those making new music in the UK, reaching new audiences through imaginative programming.are works written by UK-based music creators who are either already registered as members of PRS for Music or would be able to join PRS for Music either as a PRS member worldwide or with split membership which includes PRS membership for the UKProjects must:be performed at the weekend events in Bradford (6 – 8 June 2025) and London Southbank Centre (4 – 6 July 2025)feature a living UK-based music creator (either a new commission or existing piece written in the last 4 years)feature music which does not exceed 15 minutes in length, to allow for repeat performances and flexibility (12 – 15 minutes long)ensure that the composer is available to appear at the weekend festivals in Bradford and LondonThe programme is not open to:individual applicantscompanies limited by shareslead applicants based outside of the UK (although international artists / venues / organisations can be included as partners)applications for equipment purchaseUK music creators no longer permanently resident in the UKprojects funded through New Music 20×12 or New Music Biennial 2014, 2017, 2019 or 2022 (previous grantees and composers may still apply, but with a different project)
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In this edition of ‘Notes from an Organist’ we discover more about them, and what to expect from their recital including winning a chorister scholarship at Ripon Cathedral; growing up in Wharfedale; and being involved in restoring organs.Could you introduce yourself, how you got into music / become an organist and your musical journey to where you are today?I grew up in Menston in a household of music loving, hymn-singing Methodists. I joined the village parish church choir and then was fortunate to win a chorister scholarship at Ripon Cathedral. I loved singing there and I’ve wanted to be a musician ever since. After school I was organ scholar at Blackburn cathedral for a year and then studied at the Royal Academy of Music in London for six years. I now combine my concert playing with teaching, choral conducting, continuo and some singing. I love the variety and working with so many amazingly talented people each week. I was organist of the Abbey church in Florence for two years, Director of Music of Corpus Christi College Cambridge for four years, and now live in Canterbury, where I teach the organ at The King’s School along with lots of other things. I’m looking forward to whatever the future holds.What can people expect from your recital at Bradford Cathedral?People can expect a fun, entertaining programme which will hopefully give a smile or two, and also a few moments for reflection and quiet. Perfect for a Wednesday lunchtime.Why do you enjoy playing the organ?I was first drawn to the organ, as so many of us are, by the sheer scale and scope of the instrument. I do love the complexity and difficulty of the instrument, and the challenge of presenting music in a way which sounds natural and musical. Having a whole orchestra at your fingertips is of course a daily treat!Do you have a particular favourite piece out of those you are playing?It’s always hard to pick favourites, but I think the piece I’m most looking forward to sharing is John Ellis’ Concert Waltz. I first met John at the Annual Festival of New Organ Music in London, and played this piece then. He liked my playing and asked me to record the second volume of his organ works, which we did at Bolton Parish Church. John sadly succumbed to cancer only a year later, and though I only knew him for too short a time I became very fond of him. John somehow managed to find the perfect balance between music which was melodic and attractive but with harmonic depth and complexity. I really hope people enjoy this piece.This season’s theme is ‘The Town Hall Organ (Secular and Concert Repertoire)’. How are you reflecting this in your programme?I’ve picked music which would have appeared on Town Hall concert programmes, and others which reflect the fun and non-churchy town hall concert atmosphere. We sadly very often associate the organ only with church, and this is a great shame, as there is so much wonderful non-sacred repertoire for the instrument.What are your hopes or plans musically for the rest of 2024 and into 2025?I’m enjoying playing some services at Rochester Cathedral before their new Assistant arrives, and also working with the probationary choristers at Canterbury cathedral each week. I’ve got fantastic concerts coming up with the chamber choir I conduct in Kent: Cantate. We’re performing a completely contemporary programme in November and next April the Brahms Requiem. I’ve got organ recitals booked in including at Canterbury cathedral, and duo and ensemble things on the harpsichord, so lots to look forward to.You grew up in Yorkshire, and enjoy walking – where are your favourite places in this county to explore?We were blessed to grow up in Wharfedale, surrounded by stunning scenery, and wonderful walking and cycling, and a love of the outdoors has stayed with me throughout my life. My wife Alison and I took a long multi-day walk from Southampton to Canterbury a few years ago (along the Old Way if anyone wants to look it up), and this is certainly the walking highlight of my life to date. I love walking our dog in the woods near where we live – every day is a new experience as the weather and the seasons change.You have played across the world; are there any particular places or performances that stand out for you?I’ve been very fortunate indeed to have travelled far and wide to perform. My trips to play in the USA, and especially to work with my great friend composer Frederick Frahm recording his music have been particular highlights. Giving a concert in a packed Helsinki Cathedral is hard to forget…. Having said that, every concert, however far you travel, must be special, otherwise you’re not doing it properly!You have been involved in the restoration of two organs; what was that like to be involved in, and was it an interesting process to see?Having the chance to play and care for historic instruments is a great privilege and an equal responsibility. I am very grateful to have led the restorations of St Giles-in-the-Fields, London built in 1734, and the Onofrio Zefferini da Cortona organ of 1558 in the Badia Fiorentina, Florence’s ancient abbey church. The process was fascinating and rewarding, from appointing specialist advisers, to seeing the work progress, and finally to share the finished work with as wide a public as possible. Both of these instruments hold great significance to the organ world, and I encourage everyone to visit and play them and help them teach us more about the English Baroque and Italian Renaissance.On your Instagram page you are wearing a very interesting historic wig – what’s the story behind that snap?I was playing the harpsichord for the weekend in Hampton Court Palace, accompanying my friend Susan, who is a fantastic singer. It was historically themed event in the palace, and we were in full 18th century costume in a beautiful period room in the palace – quite the experience.Finally, how would you sum up your upcoming recital at Bradford Cathedral?Fresh, fun and full of tunes.You can join us on Wednesday 6th November at 1pm to hear Robin’s organ recital, with an optional £4 buffet lunch beforehand at 12:30pm. You can find out more about them on their website.You can discover more about our organ recital season on our dedicated page.
