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Profile: Clive Osgood, organist, pianist, conductor and composer

Who and/or what have been the most important influences on your musical career?

I have had a number of great teachers (instrumental and at university) who have inspired my interest in music. I could not easily name them all!

Are there any composers with whom you feel a particular affinity?

I’ve always had an interest in 18th-century music, so much so that I did a Masters in Musicology specialising in that era. My favourite composer is Mozart, but as an organist Bach has to come a close second. Quite by contrast, I also admire a number of contemporary composers who have explored new ways of expressing tonal music (e.g. Pärt, Richter, Glass etc.). My music is in the classical tradition: it’s injected with elements of jazz harmony and the rhythmic vitality of Latin American music.

What have been the greatest challenges of your musical career so far?

Covid-19 has been a huge challenge to achieving a good work/life balance, as I have had to step in to home-school my two children while my wife (a nurse) goes to a stressful job.

What for you are the particular pleasures and challenges of collaborating with other musicians?

I very much enjoy playing chamber music and working with choirs. I am currently writing music based on Alice in Wonderland, in collaboration with the composer Hugh Benham. This is being recorded in September by Convivium Records and which will be released early in 2021.

How would you describe your musical language?

Tonal: I am interested in the fusion of 18th-century forms with 20th-century rhythms and harmony.

How do you work?

I often head off to my church (where I am the director of music) where I can compose without distractions. I use Sibelius and tend to work through many drafts.

Which works/performances are you most proud of?

I am particularly proud of my Sacred Choral Music album under Robert Lewis, Excelsis Choir and the London Mozart Players which was launched last year.

Which works do you think you perform best?

I am an organist, so possibly Bach.

What are your most memorable concert experiences?

I have had the opportunity of having compositions performed in a complete concert last year in the Grayshott Concerts, as well as a big performance of my music in St Paul’s and on another occasion in front of the Queen at Reed’s School, where I teach.

What advice would you give to those who are considering a career in music?

Be reliable and careful about treading the line between self-promotion and modesty. And only do it if you enjoy it – it’s not generally very rewarding financially.

How would you define success as a musician?

Putting the music first.

How are you keeping yourself usefully occupied and sane under lockdown?

With difficulty – I have been home-schooling!

Where would you like to be in 10 years’ time?

In good health.

What is your idea of perfect happiness?

Achieving something, then sitting back to enjoy it – finishing a composition or watching the view from the top of a hill.

What is your most treasured possession?

My photo albums (I would also be inclined to rescue my Mozart CD box set from a burning building!).

What do you enjoy doing most?

Visiting new places.

What is your present state of mind?

Not too bad considering…

Clive Osgood is a composer, accompanist, organist and music teacher living near Haslemere. He is currently Director of Music and Organist at the Parish Church of St Bartholomew’s in Haslemere, Surrey and teaches ‘A’ Level Music at Reed’s School, Cobham. He is available for tuition in Piano, Jazz Piano, Organ and music theory. Visit to find out more about him and his compositions.

Susan Legg – mezzo soprano and pianist

Since winning the National Mozart Singing Competition, Susan’s flourishing career has taken her to major venues worldwide. Specialising in contemporary song, she has broadcast for BBC Radio 3 and Norwegian Radio. Legendary mezzo Christa Ludwig described Susan’s lyric mezzo as ‘a beautiful voice with a fine coloratura.’ Susan studied singing with Margaret Kingsley at the Royal College of Music and National Opera Studio and piano with Clifford Benson and Phyllis Sellick.

Susan has given vocal and piano recitals at the Wigmore Hall, Purcell Room and St. John, Smith’s Square with pianist Ann Martin-Davis and performed at Glyndebourne, Bayreuth, Wexford and Aldeburgh Festivals and the Walton Trust, Ischia. She has sung all Elgar’s choral works, Bach’s Passions, the Verdi and Mozart Requiems and toured Handel’s Messiah in Mexico.

For cinema and television, Susan recorded composer Stephen Baysted’s soundtracks for celebrated director Phil Grabsky’s feature films: The Impressionists and the man who made them; Renoir: Revered and Reviled; I, Claude Monet and The Young Picasso. For video games, Susan was solo vocalist and pianist on soundtracks for Project Cars and Project Cars 2. She was featured vocalist on Atari’s Test Drive: Ferrari Racing Legends and Need for Speed: Shift 2 Unleashed.

Recent engagements include a CD for Divine Art Label of Cilia Petridou’s new choral work Byzantine Doxology; world premiere of Nicholas Smith’s Chinese choral work Love, Friendship & Longing in Cadogan Hall; Beethoven’s Missa Solemnis in Queen Elizabeth Hall; Verdi’s Requiem in Eastbourne and Beethoven’s Mass in C in Arundel Cathedral. Susan is currently featuring on ITV’s Endeavour as the opera diva.

Who have been the main influencers on your decision to pursue a career in music?

I fell into music really! At Springfield Comprehensive School in Drayton I was taught by a wonderful violinist, Sam Coates, who was a musical guru and at that time I also started piano lessons with Barbara Sayer who brought my playing on really quickly. I then went to South Downs College for music A levels where I was a part of a small but really thriving musical community and most of the students in my year went on to the London Conservatoires.

Elizabeth Lewis taught me singing, having first spotted my voice in her sight-singing classes. I met the pianist Clifford Benson whilst still at South Downs College when he visited for a masterclass and he helped to prepare me for the audition process. At the time I was a first study pianist and second study violinist and singing was in the background. Clifford was an extraordinary musician and teacher and with his guidance I soon won places to the Royal College of Music, Royal Academy of Music and Guildhall School of Music and Drama.

The Royal College was my first choice, to study with the great pianist Phyllis Sellick and there I met Margaret Kingsley who trained my voice. I was extremely fortunate to have been musically shaped by such incredible musicians and also to have had encouragement and fantastic support from my parents.

What have been the greatest challenges of your musical career so far?

Balancing everything! Performing and teaching is a constant juggling act.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Musical collaboration is always the ideal musical scenario for me. I have been lucky to work in many exciting collaborations. With my long-standing duo partner pianist Ann Martin-Davis, I have given some exciting vocal recitals, including a food programme inspired and based on Nigella Lawson’s recipes.

We have commissioned song-cycles by Gabriel Jackson, Graham Fitkin and Howard Skempton and have toured Mexico, literary festivals, performed at Henley and Petworth Festivals and on music cruises around the world, including three trips down the Amazon! We have also performed extensively for Lost Chord, giving concerts to people with dementia and in the early years I gave numerous concerts on Menuhin’s Live Music Now! Scheme in schools, hospitals and hospices.

I’ve been lucky to collaborate with my husband Stephen Baysted who is a composer for TV, games and film. I have performed on his scores for Project Cars 3 (2020); Project Cars (2015) and Project Cars 2 (2017). I was featured vocalist on Atari’s Test Drive: Ferrari Racing Legends (2012) and Electronic Arts Need for Speed: Shift 2 Unleashed (2011).

Our collaboration with Producer & Director Phil Grabsky Exhibition on Screen has been especially enjoyable and we worked together to create the music for Matisse, The Impressionists, Renoir: Revered and Reviled and I, Claude Monet. I also played and sang on his film Young Picasso and his latest film Leonardo: The Works.

Which works/performances are you most proud of?

As a student at Royal College of Music, I learned Rachmaninov’s Second Piano Concerto with Phyllis Sellick and it was always extraordinary to me to think that she and her husband Cyril Smith knew the composer. It was a wonderful challenge for me and I have such vivid memories of performing it in Portsmouth Cathedral with the University Orchestra conducted by William McVicar. Phyllis travelled down for the concert and it was a really memorable occasion for me to be playing it on home turf.

More recently I sang the mezzo solo role in a world premiere of Nicholas Smith’s Chinese choral work Love, Friendship & Longing in Cadogan Hall (Autumn 2018) and was proud to pull off some apparently fairly passable Mandarin!

During Lockdown, with my composer’s hat, on I wrote a song – Hold on Tight – to raise money for the NHS and am proud to say that we are approaching £3000. You may donate here.

Are there any composers with whom you feel a particular affinity?

I have always loved Mozart and perhaps since winning the National Mozart Singing Competition when I was at RCM my love of his music grew even stronger. I love his musical language – Mozart can be simple but profound at the same time. I also love the romantics – Rachmaninov and Brahms and I really love singing the French repertoire.

Which works do you think you perform best? Why?

The role of the Angel in Elgar’s Dream of Gerontius will always be special to me. It sits perfectly in my voice and it’s always a thrill to sing the final aria Softly and Gently.

What is your most memorable concert experience – either as a performer, composer or listener?

After leaving College I went on to sing in the Glyndebourne Chorus which was amazing! Learning stagecraft from Directors such as Trevor Nunn for Britten’s Peter Grimes was a real highlight. Whenever I hear the Four Sea Interludes I am transported back to that stage – we performed it in the last season of the old House -and this production will always be special to me for the wonderful onstage camaraderie in the cast and chorus and the electrifying music that was brought to life that Summer with the London Philharmonic Orchestra.

It was a thrill to join the BBC Singers for the Last Night of the Proms in 2010. Nothing quite prepares you for that atmosphere in the Albert Hall!

Much more recently I had my first taste of performing opera on TV when I was chosen to sing the operatic heroine in ITV’s Endeavour for Series 7 in Summer 2019. It was a thrilling and extraordinary experience. I had to be on set early so was dressed in my Baroque costume, wig and makeup by 6am. Composer Matthew Slater wrote a superb short opera and the story shadowed the on-screen action throughout the series. It was such a buzz to sing that beautiful score on stage although we had to film my fainting scene so many times I thought my wig would fall off!

What advice would you give to those who are considering a career in music?

To be disciplined and practise. You really need strength of purpose and determination as well as talent to pursue a career in music.

How would you define success as a musician/composer?

To have the good fortune to be making music thirty years on and still enjoying it!


Profile: Andrew Cleary, organist, pianist, teacher and conductor

Who and what have been the main influencers on your decision to pursue a career in music?

Singing was always important in my family – my grandmother was a life-long member of the Hull Choral Union, I attended their concerts regularly from a young age, and my father still sings with the York Music Society – so it was not unusual that I become a chorister at the age of 7 at York Minster. When my family moved to St Albans at the age of 11, I sang in the Abbey choir there, and it was there that I had organ lessons with Stephen Darlington.

I gained an early interest in musical theatre in the Sixth Form at school, working with the National Youth Music Theatre, and going to the Edinburgh Festival to perform in the Band for productions of “Oliver” and “Annie”.

I read music, specialising in performance and conducting, at the University of East Anglia, where I was also organ scholar at Norwich Cathedral. I developed a love of the Baroque repertoire under Robert Wooley, and worked with the Norwich Philharmonic Choir and the Aldeburgh Festival Chorus.

Later I moved to study as a postgrad at the Royal College of Music, specialising in early music and performance. Nick Danby challenged me to play the organ with a glass of beer on my wrist!

I became Assistant Organist at St Martin-in-the-Fields Church, Trafalgar Square, making regular broadcasts for BBC Radio and television and directing the St Martin’s Scholars and the vocal Ensemble Le Nuove Musiche. One memorable experience was playing the organ in the memorial service for Frankie Howard, where Griff Rhys Jones and Rowan Atkinson gave some of the tributes.

After various posts teaching music at schools, I settled in Portsmouth as Director of Music at The Portsmouth Grammar School (PGS), where I worked closely with the Chamber Choir and the London Mozart Players, commissioning works from Sally Beamish, Cecilia MacDowell and Sir Peter Maxwell Davies. I also set up and then directed the Portsmouth Cathedral Girls’ Choir, Cantate.

When working with PMD on a challenging Remembrance Day commission, The Five Acts of Harry Patch, I was struck by Maxwell Davies’ lack of condescension having provided us with quite a challenging work: “do not patronise young musicians, they can always do it, however challenging!”

What have been the greatest challenges of your musical career so far?

The current lockdown has presented plenty of challenges for my musical groups, but we are starting rehearsals on Zoom shortly. We are keeping it simple, not doing whole performances but working on vocal technique, and enjoying the social side. It’s important to continue, to keep the flame alight amongst choral ensembles in preparation for times when it is safe to meet, rehearse and perform together.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Music-making is inherently sociable and creative, and it is great to work with such fantastic musicians, young and old, to achieve such rewarding and special opportunities together…

How would you describe your musical language?

It’s very varied! I enjoy most styles of music, from Renaissance choral works through to jazz and (some) pop! I have been lucky enough to have been exposed to the wonderful repertoire of the English cathedral tradition, but equally I am now involved with the teaching and production of music theatre and jazz.

Which works/performances are you most proud of?

I’ve already mentioned my association with the London Mozart Players. We did a St John Passion together which was highly memorable. Other memorable performances include Mahler’s Symphony No. 8, rehearsed over a weekend in the Royal Festival Hall; a production of Dido and Aeneas at the New Theatre Royal; a superb Christmas concert with the Milton Glee Choir and Royal Marines Association Band last year; and a recording of works for Remembrance with PGS, again with the London Mozart Players.

Are there any composers with whom you feel a particular affinity?

I’ve got wide interests in keyboard and choral music, from Tallis to Gospel, from Bach and Mendelssohn through to Gershwin, Sondheim and Freddie Mercury. Church organists have to improvise during services and this approach appeals to me, leading me to find an interest in jazz piano. During lockdown I have recorded and broadcast a series of well-known jazz ‘muses’ on YouTube and Facebook.

Which works do you think you perform best?

I love performing choral works, such as those by Bach, Handel and Mozart, as well as the wide variety of the English cathedral repertoire, but equally I enjoy performing solo roles such as Bach’s Brandenburg Concerto No. 5 and Gershwin’s Rhapsody in Blue!

What is your most memorable concert experience?

Conducting the PGS Chamber Choir at the Royal Albert Hall in the annual televised Festival of Remembrance on BBC television. I conducted the massed Bands and PGS Chamber Choir, in the work entitled They shall not grow old, with Bryn Terfel and Catherine Jenkins.

What advice would you give to those who are considering a career in music?

Keep an open mind on the kinds of music you will most like to perform, don’t put yourself in a box too early. Work and practice hard. Muck in, if only to gain credibility and experience. And listen to others’ advice!

How would you define success as a musician/composer?

Having an ability to inspire others, through listening and participation, to appreciate and experience the power and thrill of all kinds of music, and enabling inclusive music-making to all ages and abilities.

Andrew Cleary is a freelance teacher, accompanist, organist, choral director, conductor and examiner. He works at the University of Chichester as an Associate Lecturer, vocal coach and répétiteur, especially with students of musical theatre, and also at Portsmouth High School as a singing teacher. He conducts the Fareham Philharmonic Choir and the Milton Glee Choir, is the Assistant MD of the Lee Choral Society and is Music Director and Organist at St Peter’s Church, Bishop’s Waltham.

He always welcomes new members to join his choirs and even during his virtual rehearsals singers are encouraged to sign up and join.

The Fareham Philharmonic Choir has re-scheduled its performance of Bach’s St John Passion, postponed due to lockdown, to 6 March 2021 in Chichester Cathedral.

Andrew Cleary on MiP:

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