A string of successes: Project String Quartet

International violinist, teacher and chamber musician Graham Oppenheimer believes that string quartets are the perfect vehicle for introducing and exploring chamber music in schools: ‘I'm biased, because I played in string quartets throughout my career, but we have the greatest repertoire. There is so much repertoire, by so many fantastic composers. It's a very practical way of running a project too – string quartets can be transported easily, and don't require a piano. We can show up to any school hall and make a hugely powerful sound in a range of styles.’

Oppenheimer has coached string quartets at Chetham's School of Music, the Wigmore Hall, and a number of conservatoires internationally, and believes that there should be more emphasis on the possibilities of education work for chamber ensembles: ‘I feel like this is quite an untapped area,’ he says, ‘and younger groups might not be as aware of how to be involved in the community. There are all sorts of opportunities that become available through this type of work – whether it's performing, collaborating, or funding partnerships – and it's highly rewarding. The “artistic” nature of string quartets can mean getting focused on the minutiae, being in a bit of a bubble, and perhaps no longer being connected to the real world.’

As a founding member of the Schidlof Quartet, Oppenheimer gained a wealth of experience performing in school and community concerts. Following a residency at De Montford University, the quartet formed a music trust, and over a period of 10 years played for more than 25,000 school students across the country. Now, having worked as a chamber music teacher, Oppenheimer has combined these two strands of education work within his own organisation, both mentoring string quartets and employing them to create education projects for young school children. ‘Since starting a year ago we have presented Project String Quartet activities to almost 2,500 school children and have worked with four young quartets to achieve this, from Devon to Derbyshire. If many young quartets were doing this each year as part of their activities, that would be reaching a lot of school children!’

Always interactive

String quartets who are in the early stages of their career can request to be involved with Project String Quartet (PSQ), which results in coaching from an international artist as well as being part of a school project. The organisation aims to bring live chamber music to young people from a range of different ages and backgrounds, while simultaneously opening up new avenues of professional experience for emerging string quartets.

School projects range from a two-day visit to a longer residency over the course of the academic year, and Oppenheimer has ensured that the itinerary can be tailored to the needs of a school and its students: ‘I learned through my work over the years that different schools want different things because music departments vary from school to school. We can provide advanced string-focused sessions, or something more general if that's more appropriate.’ Activities for school visits are separated into three areas of practice: perform, create, and inspire. A visit may include interactive concert presentations, composition projects, masterclasses and coaching, an opportunity for instrumentalists to play alongside a PSQ Young Professional Quartet, or a large-scale event such as a Junior Strings Day, which invites children from several schools to be involved.

Visits to independent schools are always tied in with a visit to a state school in the area, and the activities available do not have to be aimed at music students or instrumentalists – the idea is that there is something suited to all needs. Oppenheimer emphasises that the work is interactive, whether it involves creating a new piece with the group from scratch, a presentation on the instruments, or rhythm games: ‘Classical music is often centred around listening, and while we encourage listening at times, we also encourage joining in and being part of the music making – not just string players, but all students. There are many other musical traditions wherein participating in the music is expected of everyone.’

PSQ performance of Symphony for String Quartet and Forest © COURTESY PROJECT STRING QUARTET

Playing the forest

A particular highlight this year was a collaboration with the National Forest and composer Jacob Fitzgerald. Fitzgerald wrote a Symphony for String Quartet and Forest which was performed live at Timber Festival in July by 160 school students from five different schools across Derbyshire, Leicestershire, and Staffordshire. ‘The idea behind the piece was to get everyone performing, and to expand what people might think a string quartet is capable of doing,’ says Oppenheimer. Leading up to the performance, workshops were carried out to explore the trees and wood that surrounds the local area, the sound of the forest, and its connection to the instruments of the string quartet.

PSQ presented to over 500 students in musical sessions centred around the making of cellos, violas and violins, the history of the instruments, and the materials that are used by luthiers today. For the final symphonic composition, natural materials were used as part of the soundscape alongside the Kyan Quartet, with students ‘playing’ the forest: twigs, leaves, roots and branches. ‘The logistics were bonkers,’ says Oppenheimer, ‘getting buses and parking and toilets to the middle of a forest for 160 school children! But I can honestly say that the performance was the best experience of my professional life to date.’

Cellist Rachel Spence, of the Kyan Quartet, had taken part in the workshops and performance of Symphony for String Quartet and Forest and explains that they were able to build a connection with the group: ‘The children were excited to recognise us again at each workshop, and the final performance was like a celebration of the work we had done together.’ The opportunity to perform in different settings is something Oppenheimer hopes will promote the work of emerging string quartets, and provide an alternative platform, allowing them the chance to play their repertoire to different audiences.

Building confidence in both directions

He is also keen that the experience provides a window into how to run a school project, and prior to a school visit he will work with the group and discuss good practice: ‘The main thing is the importance of structure. We decide on what excerpts of repertoire might be performed, and list them in order, so that the participants can follow the structure of the session. We also show videos of previous presentations which illustrate how things can work in different settings, so that the quartets can go on to feel prepared to work in schools both in terms of the session itself and the logistics.’ Spence agrees that being in one of the Young Professional Quartets at PSQ gave her the confidence to work within different education settings: ‘We've learned a huge amount about facilitating workshops in schools, and that was our reason for asking to be involved. My quartet was keen to develop our experience in the field of music education, as we felt strongly that it is really worth bringing this amazing repertoire to young people who may not have heard it live before – something we can easily take for granted as musicians.’

International artists, such as pianist Martin Roscoe, violinist Tamsin Waley-Cohen, guitarist Alexandra Whittingham, and horn player Stephen Stirling, provide mentoring for the Young Professional Quartets, and can perform alongside the players for school concerts or masterclasses. Mentors might offer coaching, a collaborative concert, or career advice and preparation for working in the music industry. According to Oppenheimer, who also mentors at PSQ, the insight into string quartet repertoire comes as much from feedback in school workshops as it does from mentors: ‘It truly offers a new perspective on the music, hearing what young people have to say about a piece. A 12-year-old boy, who hadn't heard a string quartet before, heard some late Beethoven and instantly said it reminded him of having tea with his grandad. There has been some fantastic imagery that the quartets can take away with them, gaining insight perhaps in a way they didn't expect – Janáček sounding like shopping trolleys crashing into each other, slow Shostakovich sounding like aliens landing on Earth.’

After an eventful year, from forest festivals to alien landings to school halls, PSQ is looking forward to continuing its mission to bring chamber music to as wide a range of ages and backgrounds as possible, and demonstrate the importance of education work to the next generation of professional string quartets.

www.projectstringquartet.co.uk