The Music Workshop Company Blog 

Each month the Music Workshop Company publishes two blogs. One blog, written by the MWC team addresses a key issue in Music Education or gives information about a particular genre or period of music. The other blog is written by a guest writer, highlighting good practice or key events in Music Education. We hope you enjoy reading the blogs. 
 
We embed multimedia content in many of our blog posts, if you have rejected cookies for this website, you may have white spaces where the multimedia content should be. This is due to a recent change of policy by YouTube, Spotify and other platforms. We are in the process of updating all our posts. If you come across white spaces in a blog post, you can open the link in another browser or private browser and approve cookies to access all the content. We are sorry for any inconvenience this causes. 
 
To contribute as a guest writer please email Maria@music-workshop.co.uk 

Posts from January 2020

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The National Trust at 125 – Honouring British Composers

Posted on 28th January 2020 at 10:32
The National Trust was founded on the 12th January 1895 by Octavia Hill, Robert Hunter and Hardwicke Rawnsley.  
 
As the Trust reaches its 125th birthday, we share its celebration of famous British composers and the work it does to inspire a new generation. 
 
Leith Hill Place in Surrey was the home of Ralph Vaughan Williams from the age of two until he was 20, when he went to study at Cambridge. 
 
He arrived at Leith Hill Place with his mother after the death of his father, when they moved to live with his mother’s parents. 
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2020 – the year of Beethoven?

Posted on 14th January 2020 at 10:41
December 2020 marks the 250th anniversary of Beethoven’s birth. 
 
The event seems to have split the Classical Music community.  
 
Some individuals and organisations see the occasion as an opportunity to celebrate Beethoven’s musical achievements.  
 
Others suggest that Beethoven’s music is popular enough and performances and recordings of it are already so plentiful that audiences should be exploring new repertoire and lesser known composers, and particularly work by underrepresented groups. 
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