Marios Papadopoulos reflects on the positive benefits that have come about through Oxford Philomusica's role as the Orchestra in Residence at the university

This is a season of celebration for great Oxford colleges, with Exeter marking its 700th year, and Merton its 750th. Both have had major anniversary concerts to mark the occasion and Oxford Philomusica is proud to have been asked to perform at both, first Elgar’s The Dream of Gerontius for Merton, and this month in a programme of music by Sir Hubert Parry, himself an Exeter alumnus. These pleasing invitations are a very positive side-effect of Oxford Philomusica’s role as the Orchestra in Residence at the University of Oxford. It took on this unusual role, which remains unique in the UK, in 2002. Since then the two organisations have enjoyed a close working relationship which benefits students, and ultimately the cultural life of our city too.

Our experience lies in the field of performance, and we seek to offer ongoing guidance and tuition in performance studies, as well as a platform for student composers with our annual Composers’ Workshops. Over the years a variety of Residency projects have been developed which now include tuition, orchestral apprenticeships, a concerto competition, and our Young Artists’ Platform, which offers an outstanding soloist or chamber ensemble a chance to perform a recital immediately prior to an Oxford Philomusica concert at the Sheldonian Theatre.

Oxford Philomusica has been fortunate to work with some of the finest international artists in recent years and wherever possible we seek to arrange a Masterclass, enabling outstanding students to learn from remarkable musicians, such as the conductor Valery Gergiev and pianist Lang Lang, and also allow the public a glimpse into a fascinating musical world. The recent appointment of Maxim Vengerov, arguably the world’s pre-eminent contemporary violinist, as Oxford Philomusica’s own Artist in Residence seems set to offer further collaborative possibilities.

Oxford Philomusica is always delighted to work with the world-renowned Oxford college choirs and we have released acclaimed CDs in collaboration with New College Choir and Christ Church Cathedral Choir. This season we have worked with the choirs of The Queen’s, New, Christ Church, Magdalen, Exeter and Merton colleges.

An exciting new venture, bringing musical opportun-ities for orchestra, students and audience alike, was a chamber music concert at the Ashmolean earlier this season. The fine soloists of Oxford Philomusica were joined by players from the University to perform against the great Sculpture Gallery’s stunning backdrop.

I was recently asked to give a lecture at the Saïd Busin-ess School as part of its ‘Engaging with the Humanities’ series. The basic premise was that the study and perfor-mance of music can reveal and inform perspectives on communication that will be valuable in other contexts, including the corporate and governmental worlds. This encouraged me to take time to reflect on the preparation and leading of a performance of orchestral music. Like running an organisation this requires co-ordination, skill, practice, communication skills, and many other things from different stakeholders. The leader, whether of an orchestra or a business, is part of this process but must also work with others to prepare and then perform to the highest standard possible. Not rocket science, but a sound basis for business and for a successful orchestra.