Job Vacancy: Executive Administrator – Maternity Leave Cover
** DEADLINE EXTENDED ** Applications now due in October 22nd at 5pm
LCO is currently recruiting for Executive Administrator (Maternity Leave Cover) – working on a freelance basis to support the delivery of its artistic calendar, including concerts, tours, recordings and broadcasts.
JOB TITLE: Executive Administrator – Maternity Leave Cover
TERMS: Part-time [0.5 FTE] – four hours per day, five days per week
CONTRACT: Freelance, beginning 2nd January 2018, initially a fixed-term contract until October 24th 2018, with a possibility of creation of a new role at the end of this contract. Training to commence early December for approx. 8-10 hours a week, subject to arrangement.
LINE MANAGER: Artistic Directors
REMUNERATION: £16.25 per hour (equivalent of £33,800 per annum pro rata)
The Executive Administrator (Maternity Leave Cover) fulfills an essential role at the heart of the organisation, working remotely on a day-to-day basis with the Artistic Directors, Concert Manager, Chairman and LCO players. You will be the first point of contact for new business, general enquiries, player / performer queries and contractors. Once established in your role you will take the lead on many aspects of concert and recording production, and liaise directly with our producing partners, clients and their representatives, always in a highly professional and discreet manner. Whilst you will be working remotely for the majority of your week you will also be required to attend meetings in Central London with the Artistic Directors and Trustees, attend concerts and recordings and represent the LCO at ABO meetings, as and when required.
LCO is looking for a committed, dynamic, experienced individual to embrace this demanding role. In line with the orchestra’s 2018 structural expansion plans, we hope to be able to offer an alternative position within the organisation once this contract expires in Autumn 2018.
Responsibilities will include:
Concert and Orchestra Management
- Concerts: liaising with the Concert Manager; assisting with music preparation and archiving; all aspects of production support including client liaison; percussion hire, music hire and music stands, rehearsal venue hire, booking photographers and videographers; rehearsal and performance management; scheduling and diary management
- Touring support: schedule preparation; personnel and venue liaison; booking flights and accommodation; organising visas; organising transportation of instruments and / or local hires where required.
- Filming and recordings: assisting with production schedules and project liaison; preparation of MU / BPI session paperwork; client liaison; compilation of credits
Marketing, Communications and Fundraising
- Marketing: website and social media channel updates; assisting compilation of press and marketing materials; research and data management tasks; Front of House support; guest invites; complimentary ticket administration; specific digital projects and marketing plans
- Communications: external listings; reviews and communications updates
- Fundraising: assisting LCO’s fundraiser with administrative support; donor management and Gift Aid submissions.
General Administrative Support and Finance
- General administration: managing and administrating the company’s project management software ‘Teamwork Projects’; devising and maintaining office systems; meeting scheduling; taking minutes; diary planning; photocopying and printing; research tasks.
- Finance: liaising with the LCO’s accountants; assisting in the preparation of the Annual Return and quarterly VAT returns; managing project budgets; liaising with suppliers and contractors.
The Executive Administrator (Maternity Leave cover) may be required to work evening hours on concert days and accompany the LCO on tour.
- Some years’ experience in an administrative role
- Exceptional interpersonal and communication skills, both written and verbal
- Highly organised, self-motivated, and able to work well independently
- Excellent time management skills, with the ability to work across a range of different projects and areas simultaneously, prioritising multiple tasks, and working calmly under pressure and to tight deadlines
- Good numeracy, literacy, organisational and computer skills – including a strong understanding and experience of using social media channels
- Excellent attention to detail
- Committed to the role and a potential future within the organisation
- A demonstrable interest in the arts, preferably including orchestral and contemporary music
- Previous experience of arts management/administration, or developing and delivering creative projects and ideas
- Marketing expertise
- Strong research and analytical skills
Applicants will be shortlisted for interview on the basis of a CV and covering letter. Neither document should exceed 2 sides of A4. Candidates are reminded that they should use the covering letter to make explicit the connections between the skills and experience detailed on their CV and the person specification outlined above.
Applications should be submitted by e-mail (PDF format) to [email protected] by 5pm on Sunday 22nd October 2017 using the subject line Executive Administrator (Mat Leave) – Application. Shortlisted candidates will be contacted from Wednesday 25th October for interview, in London, the following week.
Applicants with queries should contact [email protected]
LCO x Spitfire Audio
We pride ourselves on continually testing what sounds can be created through acoustic means, partnering with some amazing collaborators in that process. We’ve been lucky to work over the last two years with our friends Spitfire Audio to develop a sample library of strings capturing many of these unique sounds. The library is available at a discounted price until March 9th. More info »
‘There Will Be Blood: Live’ UK Tour
“Sparse and at times just plain peculiar – but in a brilliantly original way. It’s magnificent.” ★★★★★ The Independent
In January 2017, the LCO will embark on a UK tour of Paul Thomas Anderson’s Oscar-winning film There Will Be Blood accompanied by a live orchestral performance of Jonny Greenwood’s score.
Monday 30 January 2017*
Royal Festival Hall, London
Sunday 5 February 2017^
Symphony Hall, Birmingham
Monday 6 February 2017^
Tuesday 7 February 2017^
Colston Hall, Bristol
*Jonny Greenwood (ondes Martenot)
^Cynthia Millar (ondes Martenot)
Galya Bisengalieva (violin)
Oliver Coates (cello)
Hugh Brunt (conductor)
Paul Thomas Anderson’s 2007 epic historical drama is regarded as one of the greatest films of the 2000s. It was voted at no. 1 in Total Film’s top ten films of the decade, no. 3 in the BBC’s 100 greatest films of the 21st Century, won 2 Oscars (nominated for 8), and won the Silver Bear at the Berlin Film Festival that year.
“…the effect was superb… a singular audio-visual journey into a heart of darkness.” ★★★★ The Times
Meanwhile Greenwood’s score is considered a masterwork of dramatic tension. While writing the script, Anderson heard Greenwood’s orchestral piece Popcorn Superhet Receiver and the alien experimental dissonance of the music set the unsettling tone for the film, based on the Upton Sinclair’s novel Oil!. It was Greenwood’s first of many soundtracks for feature film. It has passages extrapolated from Arvo Pärt Fratres and Brahms’ Violin Concerto (both major works in the classical cannon in their own right). Greenwood’s soundtrack was a frontrunner Best Original Score at the Oscars but was ruled out for featuring previously composed material.
LCO put together the ‘live-theatrical’ presentation of the film for the world premiere in 2014 for two sold-out performances at the 2,500 capacity Roundhouse in London. They have a unique working relationship with Greenwood, also providing orchestral support on multiple tracks on Radiohead’s album A Moon Shaped Pool. The show features over 50 orchestral musicians and uses the ondes Martenot, a rare early electronic instrument that resembles a cross between an organ and a theremin, which Greenwood has also used on various Radiohead tracks.
Following the Southbank show on Monday 30 January 2017, the orchestra plays Birmingham’s Symphony Hall on Sunday 5 February, Brighton on Monday 6 February and Bristol’s Colston Hall on Tuesday 7 February.
For press enquiries:
Seb Burford – Director, WFS Comms
By arrangement with Miramax, Park Circus Films and Faber Music. Original production commissioned by the Roundhouse.
Robert Ames and Hugh Brunt to share Principal Conductor post
Today the LCO announces that co-Artistic Directors Robert Ames and Hugh Brunt are to take up the role of co-Principal Conductor, effective immediately
Robert and Hugh established the LCO in 2008 and have since collaborated with artists as diverse as Actress, Radiohead, Vivienne Westwood and Terry Riley; recorded soundtracks to BAFTA-winning and Academy Award-nominated films; and performed at leading venues and festivals nationally and internationally. In 2015 the LCO won the Ensemble category at the Royal Philharmonic Society Music Awards, and Robert and Hugh together received the h.Club 100 Music Award, recognising the UK’s most influential creatives.
So far this year Robert has conducted the LCO in the world premiere of Daphne Oram’s Still Point at the Southbank Centre’s DEEP∞MINIMALISM Festival, Radio 3’s first Open Ear live broadcast from St John at Hackney, and Jonny Greenwood’s string arrangements on Frank Ocean’s new releases Endless and Blonde. Away from the LCO Robert regularly appears with the Symphony Orchestra of India, State Orchestra of Kazakhstan and keeps a busy schedule performing chamber and solo music as a violist. www.robertames.co.uk
Hugh’s recent work for LCO includes Ron Arad’s Curtain Call at the Roundhouse; BBC Radio 3’s ‘New Year New Music’ live broadcast from St John at Hackney; and conducting Jonny Greenwood’s string and choir arrangements on Radiohead’s new album A Moon Shaped Pool. Away from LCO Hugh appears regularly with the City of London Sinfonia, and Orchestra of Opera North, Britten Sinfonia, Iceland Symphony Orchestra, Bournemouth Symphony Orchestra and Royal Northern Sinfonia. www.hughbrunt.com
In Conversation: James Bulley on Daphne Oram’s ‘Still Point’
In 1948, whilst working as a radio programme engineer at the BBC Daphne Oram began work on a new and highly innovative symphonic piece entitled ‘Still Point’. Completed in April 1950, it was submitted to the BBC for the Prix Italia only to be turned down on the basis that the adjudicators wouldn’t understand the “acoustic variants and prerecording techniques” utilised.
Here we talk to artist and composer James Bulley about the complexities of reconstructing ‘Still Point’ from fragments of original score, and the how he’s preserved the integrity of Oram’s work whilst bringing it to a contemporary audience.
You’ve been extensively researching at Goldsmith’s Daphne Oram Archive for the last year in order to realise this world premiere of ‘Still Point’ on Friday June 24. What drew you to Oram’s work initially?
The sheer inventiveness of her compositional technique, the way there wasn’t any medium or experiment she wouldn’t try in order to further her practice. Her archive was really what drew me in to start with… it is incredibly consummate, almost as if she knew that in future decades people would be poring over her notes, research, draft compositions and correspondence for an insight into the ways she was thinking at different times in her life.
How did the collaboration with Shiva come about; who first suggested bringing this piece to life?
Collaborating with Shiva has been wonderfully natural. She came to visit me one day at the archive to have a look around. I showed her Still Point, and the work I’d been doing to begin piecing together the hundreds of pages of draft manuscript (and explained how hard it would be to realise it!) Shiva immediately decided that the work had to be performed; a few weeks later she called and said the piece had been commissioned and from that point to now we have been working together constantly on it.
The final copy of the score to ‘Still Point’ has been lost since Oram’s death, and you’ve been working from the detailed pencil draft pages remaining in her archive. What responsibility do you feel towards Oram and the legacy of her work when rebuilding this incomplete score piece by piece?
A huge responsibility – Oram was a wonderful composer, full of inventiveness and ingenuity, and for a variety of reasons this has only recently begun to be recognised. Still Point was one of her earliest works, and it is astounding, especially given her age and situation at the time. It is vital to us that we maintain the integrity of the work and that in all aspects we are as accurate to her intention as possible. It is important however to recognise that all performances of works are interpretations on one level or another. This is why we consider the piece a ‘realisation’ of Oram’s work. ‘Still Point’ was never performed at the time, and there are aspects of the concept that Oram may well have had to change if she had gone through the process of performing it. We have aimed to ensure that Oram’s influence dominates constantly, but where we have felt it necessary, our input has come to the fore.
Oram’s use of live electronics, turntable manipulation and sampling a live orchestra was radical. How is it that she was creating music in the 1950’s that was so far ahead of her time?
Oram was incredibly strong willed – often making things happen that her peers would have given up on. Throughout her life she took inspiration from an original copy of Francis Bacon’s 1627 utopian novel ‘New Atlantis’, and its musings on a futuristic sound world. She had an incredible imagination, fired by a passion for futuristic thinking and the breaking down of boundaries.
If you could describe the process of rebuilding this work over the last year in 4 words, what would those words be?
Joyous, Collaborative, Meticulous and Painstaking,
James Bulley spoke to Amy Dodero
Still Point by Daphne Oram, realised by James Bulley and Shiva Feshareki, with the LCO, receives its world premiere on Friday 24 June at St John’s Smith Square, as part of the Southbank Centre’s DEEP∞MINIMALISM festival.
Photograph courtesy of the Goldsmith’s Oram archive. Credit: Fred Wood / Oram Trust