Graduate harpist Stien de Neef and Master’s flute student Japheth Law have been selected for the London Philharmonic Orchestra’s (LPO’s) annual Foyle Future Firsts (FFF) Development Programme, alongside 14 other young musicians from across the country. They tell us about their experience so far and how Royal Birmingham Conservatoire has helped them get to where they are.
What is Foyle Future Firsts (FFF)?
This programme aims to bridge the transition between education and the classical music profession for early-career orchestral musicians. It nurtures and develops talented orchestral players, forming the base for future appointments to the London Philharmonic Orchestra (LPO), and other world-class orchestras and ensembles.
How did you get the opportunity to be part of FFF?
Japheth: I applied for the FFF audition in April, was shortlisted, and did the audition in July. I received a call a couple of days later saying I was offered a place. It definitely brightened up my grocery shopping after that!
Stien: There are yearly auditions held, and the successful candidate of each instrument category will then start the London Philharmonic Orchestra’s Foyle Future Firsts Professional Development Programme in September following the audition. For the audition itself, it is required to prepare a selection of orchestral excerpts and a solo piece, set by the audition panel.
How do you think your time studying at RBC helped you to get this opportunity?
Japheth: I had the most wonderful and supportive teachers in Marie-Christine Zupancic, Andrew Lane and Helen Benson while studying at RBC. They’ve given me all the tools I needed to win a spot with this coveted training programme. The Wind Rep sessions ran by Associate Head of Woodwind Dougie Mitchell helped expand my orchestral repertoire, and Head of Woodwind Jenni Phillips has always been encouraging in my hunting for external opportunities.
Stien: While studying at RBC, I won the harp audition for the City of Birmingham Symphony Orchestra (CBSO) Training Scheme, where I learned from principal harp Katherine Thomas. This experience improved my knowledge of orchestral playing, which requires skills not necessarily found in playing solo or chamber music.
I was also fortunate to be taught by Head of Harp Rita Schindler, Ruth Faber and Catrin Finch. Finally, I found inspiration and a chance to further refine my musicianship in the many masterclasses with international harpists, such as Parker Ramsay, Anne-Sophie Bertrand and Veronika Lemishenko.
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What does the programme entail? What have you been doing so far?
Japheth: It is an orchestral training programme that is jam-packed with incredibly wholesome activities that help to bridge the gap between education and professional life; We get to sit in and play in rehearsals with the LPO, take lessons and get advice from mentors from the LPO, take part in Education and Community projects, perform in chamber concerts alongside our mentors, and get to watch as many LPO concerts as we want throughout the year. It’s all very exciting!
Stien: The programme has many different features and offers several enriching experiences. I am entitled to 8 hours of private lessons with my mentor, principal harp Rachel Masters. I also participate in the FUNharmonics project, running front of house activities for children. I recently performed in a pre-concert performance at The Royal Festive Hall, in an orchestra made up of LPO Foyle Future Firsts and students from The Royal Academy of Music, conducted by Edward Gardner.
The programme additionally provides excellent initiatives such as the mock-auditions, held mid-year and at the end of the year, and Debut Sounds, the annual performance at the Queen Elizabeth Hall in collaboration with the LPO Young Composers Programme. Among the numerous opportunities offered by the Foyle Future Firsts Professional Development Programme I am particularly enjoying the many sit-ins, where I have the chance to play alongside LPO musicians during rehearsals and work with world-class conductors.
Do you have any advice for future RBC students looking for similar opportunities?
Japheth: To always be on the lookout for opportunities as they come and go so quickly. And never be afraid to ask for help.
Stien: Auditions can be scary and difficult, and an unsuccessful audition can certainly make you doubt yourself. Staying positive is the key! I believe you should also enjoy the process of improving your musicianship, rather than only focusing on the audition outcome. I would also advise to organise mock auditions with peers, as this will help to lower stress levels when playing in front of the audition panel.
