Good Vibrations.My Autobiography by Evelyn Glennie

Author:Evelyn Glennie
Language: eng
Format: epub

©Telemessage

KEC4754 LI1W2722 PCII0031 P27 BUCK52 13 JUL l'T?!/’7,’.C

Buckingham Palace London

SW1 18 July 1984

TELEMESSAGE

MISS EVELYN GLENNIE

FLAT C,

82 SAVERNAKE ROAD

LONDON

NW3 2JR

I WAS THRILLED TO HEAR THE WONDERFUL NEWS OF YOUR SPECTACULAR SUCCESS IN WINNING THE GOLD MEDAL AND FIRST PRIZE IN THE PERCUSSION COMPETITION. THIS BRINGS YOU MY WARMEST CONGRATULATIONS AND EVERY BEST WISH FOR CONTINUED SUCCESS IN THE YEARS AHEAD.

CHARLES

In September I went to Glasgow and Aberdeen for a formal presentation of the award. I still had a year to go at the Academy, but somehow the path ahead seemed clearer. I was finally sure of my destiny at the end of the long haul. First, however, I had to graduate.

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I graduate with honour

‘You must have the score in your head, not your head in the score.’

Hans von Bulow

My final year flew past in a whirl of activity: classes, rehearsals, performances, and practice, practice and yet more practice. I had long had an ambition to graduate while still a teenager and it now seemed likely that I would finish at the Academy the following July, when I was still not yet 20. Although some students feel the need to prolong their studies beyond three years, I was eager to test myself in the real world of professional music, and was straining every nerve to prepare myself for this great adventure.

My deafness meant extra work for me as the pressure towards the final examinations mounted. As teachers began to cram more and more information into classes, I was having to do a considerable amount of private study to make 214

sure I was fully informed on the theoretical part of the course, and there was the additional strain of having to learn all my musical parts off by heart visually, rather than being able to rely on aural memory. However, I remained cheerful, encouraged by the new friends and contacts I was making outside the Academy, and the increasing opportunities to make an income for myself.

I was also beginning to take positive steps towards planning my future. Through my contact with colleagues already well established in the music world, I realized that a key figure in the life of any professional musician is his or her manager, whose role is to help the musician to secure engagements, and to look after the publicity and promotional aspect of things. A good manager can have a major influence on her client’s career, advising on image, the kind of work to accept and pursue, and helping to build the career profile. At this stage, I was barely aware of needing this kind of help, but I did know how hard it was for a novice to attract any of the more important personalities in the management business. Late that autumn, however, Ann Rachlin introduced me to Nina Kaye of Kaye Artists Management who were based in Chelsea.

Nina’s clients included Julian Lloyd Webber,

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the violinist Anne-Sophie Mutter, and the Israeli piano duo Bracha Eden and Alexander Tamir. I was impressed by Nina’s forceful personality and sincere concern for the artists she represented, and made tentative enquiries about the agency.

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