Future Classic Women Awards LIVE SHOW – Cordelia Williams

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. The program where we search for the most amazing new female artists on the classical panorama. Today on Future Classic Women Awards, we'll be talking to Cordelia Williams Charlton. Am I right? Well, Charlton is my married name. I'm still performing under Williams. All right, fantastic. So shall I just call you Cordelia Williams then? Cordelia Williams. She has performed all over the world, including concerts with the English Chamber Orchestra in Mexico City, the City of Birmingham Symphony Orchestra, Royal Philharmonic Orchestra. She already published 3 amazing CDs that we'll be talking about very soon. So hello, Cordelia. Hello, thank you for having me. Good morning. Cordelia, I was reading your very interesting biography, and I see that you also have a degree in theology. Yes. From Cambridge University. Yes. That's amazing. Yeah, that was a bit of a surprise choice, I suppose. But I had been studying piano very seriously for all of my childhood, and I attended a music school, which was fantastic. And, you know, I had the chance to really practice a lot and learn so much about music. And then when it came to the time to decide whether to go to music college or university, I thought maybe it would be interesting to study something else just for that short period of time. It's just 3 years, just to sort of broaden my horizons, as it were, because I knew that then I would be going back into music, and I thought it'd be nice to have that balance. Absolutely. And I mean, if we study, for people who studied music at the beginning, most of the commissioners of classical music were actually church. Exactly. Yeah. So it's very interesting to know what they were about. I remember when I was doing history of music, I had to learn the mass. Yeah. The order of the song that they played during the mass because they were part of the early music. And actually the music comes from the Do Re Mi Fa Sol La Si Do, Ut Re Mi Fa Sol La Ti. They are the first rhymes from Gregorio Magno, the Pope. And they were the first syllabus. There's so much over that. Yeah, from the songs. So it's really important to know also about theology. And also something very, very contemporaries in it. It's a very important matter. To me, I agree, yes. I felt like theology is about people and about our beliefs and how people manage, you know, living, being human. And to me, that's what music is also about. So it felt totally natural that they just really fitted together well, and I continue to think so. Absolutely. There is a beautiful piece that you chose to start our interview today, is Schubert's Impromptu Yes. It's one of the most famous ever, that is the Impromptu, Opus 90, in G-flat major. Yes. And I think that's one of the examples of how classical music can be transcendent, if you like, you know, go out of this world. Exactly, yes. Yeah, Schubert's always been very close to me, I feel. Growing up, I had a— I felt aligned with Schubert somehow. And I do feel that he has this wonderful grasp of what's beyond, you know, everyday experience. And this impromptu was on my first CD, which was all of Schubert's impromptus. And it was really a special thing to start recording with because I felt so much that this was me and my music. And it was— I still love playing it. Absolutely. Now, this is one of my favourite pieces too. I mean, it's something that when you listen to it, like, time stops. Exactly. Yeah. And it's really bringing you to another dimension. And what is amazing is that this composer, he died so young. And what he would have composed, you know, if he stayed, longer, like many other genius really. I know, can you imagine? Yeah, you know, it's actually my way to, you know, to go through the meaning of life. Music is really showing you that life is not just material needs. It's really something else. You got a soul, you got something inside that is telling you to stop. Yeah, I feel that with Schubert's music, you're always hovering between this world and a more, you know, supernatural— Absolutely. World. Shall we listen to it then? Yes. Let's listen to Schubert Impromptu Opus 90, No. 3 in G-flat major, played by Cordelia Williams. And this was Schubert Impromptu No. 3, Opus 90, played by the amazing Cordelia Williams. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, that's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableinternational.com, or my number is 0207 759 7541. Hi, I'm Sue Openshaw, owner of Ferme de Ciel, the luxury ski chalet in Samoëns in the Grand Massif. France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays. Single or multiple bookings, contact us on ferme-de-siel.com or 07733 100020. Do you need mediation? We are the A-Project charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea-project.co.uk. Women's Radio Station can give a voice to your brand with a wide range range of sponsorship opportunities, including individual programs, we can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women— the possibilities are endless. That's what makes us different. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Hello and welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists of the classical panorama. Today we are talking to Cordelia Williams, British pianist with an amazing career. Cordelia, you came to fame with BBC Young Musician 2006. You won the piano category. Yeah. How was being in television at such a young age? I think quite surreal, I would say. I think when you're young, you know, just a teenager, you don't really notice what is happening so much. It doesn't feel like it's a big deal, even though it was a big deal. I think I'd be more nervous now if I was doing it because there were, you know, cameras around everywhere, you know, in your face, zooming around while you're playing. Yeah, that's the most distracting thing ever, isn't it? Yeah. And I think though that I was so much in the zone that I didn't really notice it. I just, you know, accepted it. That was how it was. Okay. So, I think that's good. You know, good thing about being young. But it was, you know, there was so much excitement and adrenaline and it was nice because also a couple of my friends were also in it right up to the final. When I was from school. So that was— it felt quite fun. So you're talking about school. Do you want to tell us which school did you go to? I was at Cheetham School of Music in Manchester. That is one of the most amazing schools for— it was fantastic, yes— specialistic for music, isn't it? Yes. So would you recommend a young artist to go to one of these schools, or? I think it really depends on the person. I mean, I know that's a clichéd answer, but I think it's true because you can't— I can't say what would be right for someone else, but for me it was wonderful. I didn't feel homesick. I went when I was 11, and so it's quite young, and it might not be right for every child, but for me it was great. And you knew from the beginning you wanted to be a classical musician? Yes, I did. It was never really in question, you know, that was just always what I was going to be. Um, and I think I was just excited about going there and being with other young people who really loved music. Yeah. Because the difficult thing about being at a non-music school when I was younger was trying to find time to practise. Yeah. Because there's no provision for that. So if you are trying to practise seriously as a child, there isn't really space in the day, whereas at Chats, you know, that was scheduled in. Ah, fantastic. Yeah. So that really helps. And I think we, learnt how to practice properly, you know, how to be really effective, which is something that, you know, stood me in good stead later on when I had to be in charge of myself. Yes. So if you had to say, you know, about classical music today, do you think it's different than what it was before? Or, you know, it's like, is it changing now that we are in the 21st century? I think so. I mean, I— I can't really compare because I wasn't around before, but I do get the impression that it's quite a different world now. I think it's difficult to start off as a young musician nowadays, partly because it's just so intensely competitive. Yes. There are so many people wanting to do it and, you know, it's a much more global world in terms of music. So there are people from all different countries all competing with people, you know. Yes, I know, I know. And it's— so I think that sort of puts the pressure on more. I think also the way that a music career works is maybe different. Maybe I— from what I've read, 50 years ago or so, it was a bit more straightforward. You know, you would be amazing, be discovered by an agent. You would then do all the Carnegie Hall and the Wigmore Hall, and then it kind of just went in quite a linear fashion, um, as I understand it. Whereas now I think it's a lot more, um, unpredictable. And with the internet, YouTube, social media, there's a lot more factors that people have to take account of. Yeah. Which I think it makes it a bit more difficult because you have to be not just a pianist, but a business person. Yeah. And social media as well. Exactly. You have to do everything and it's— you can't just concentrate on practicing the piano anymore. Yes. And I think also it's pushing more any artist who wants to try to make a career in recording. Yeah. Because once upon a time it was enough, you know, to have amazing concerts, people would read the reviews and then come and look at your concert. Now you have to be also on Spotify or iTunes, on Amazon Play. Yeah. And have CDs there so people can really listen to you and then come to watch the concert. It's the other way round in a way. Yeah, yeah. I think the other thing maybe that's changed is this sense of perfectionism, which has been sort of augmented by access to new recordings and videos. I think, you know, YouTube is a fantastic resource for musicians and for music lovers. You know, you can see almost anyone performing anything, and that's absolutely amazing. But the flip side of it is that we have access to so much that I think musicians are expecting their playing to be perfect and there's no room for, you know, human being human. Yeah, I think that's changed since maybe 50 years ago. Totally. Yes, absolutely. And because when you're playing live, it's not going to be perfect, you know, that's just not real, that's not realistic. Yeah, let's say that out loud, you know, it can be a wonderful transporting experience, but it's not going to be note perfect. So to expect it to be like the recordings, puts on so much pressure, I think, for young musicians. I totally agree. So you are choosing now to play some pieces from your second album, yes, dedicated to Schumann. Yes. How is Schumann for you? Schumann, well, recording this album was a totally different experience for me from recording the Schubert. I think I mentioned earlier that the Schubert just came so naturally, and I felt that this is just what I'm supposed to be doing. When I recorded the Schumann, I felt incredibly passionate about this music and I knew that this is what I need to record right now. But the character of Schumann's music is so crazy. I know. And he is— it makes you mad, you know, trying to understand this man and his moods and his— all the different characters in the music. Yeah. It makes you go as mad as he was. I know. And so the whole experience of recording was really, you know, up and down. It was like climbing Mount Everest. Really emotional experience. But, you know, I'm very happy with the result, but it felt completely different at the time. Yeah. Do you like performing that in concert or? I do actually. Some of my most intense experiences have been performing the Schumann Fantasy. Somehow. I don't know what it is about that piece, but I go into it. It's a demanding piece. It's very demanding and it's very intense. Yeah. And I feel that I really go into Schumann's mind and, you know, that is scary in a way as a performer, but also I think very rewarding and very exciting for the performer and the audience. Then let's listen to it. Schumann, Tavisbündler Tanz, Op. 6, No. 10, 11, and 12. And this was Schumann-Davies-Bündler Dance, Opus 6, No. 10, 11, and 12, played by Cordelia Williams. We will be back after a short break. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. It's all about diversity, from opinions, career, ethnicity, education, We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, the UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalized service. This happens from the moment they inquire till they come back here. I work with luxury tour operators. You can contact me on 07825 44 12 12 and liz@hazelmyrtravel.co.uk. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money Or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash but just don't know where to start. At empowerandenrich.org, you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me at empowerandenrich.org and let's change your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness, or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turn2us.org.uk. Women's Radio Station is creating a global network for the empowerment of women, and we want you to be involved. Join us on Instagram and Twitter @WomensRadioStn or Facebook Women's Radio Station to keep up to date with all our exciting news. Women's Radio Station. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Cordelia Williams, a British pianist with a dashing international career. Cordelia, what would you say was the most exciting moment in your career, or the best moment in your career? Gosh, if you could choose. Yeah, that's a really hard question because there's so many different types of exciting moments. I think— I mean, I'm thinking of some of the performances where I have felt like I reached some level of, you know, this is going really well. And, you know, it's almost like not being in your body anymore, that kind of amazing performance. Feeling. Of course, that's what we're all aiming for. And it doesn't always happen in every concert. So when it does happen and you feel like you're sort of floating inside the music, that is very exciting. But then it's quite hard to remember because it's almost like not being in your mind anymore. But that could happen anywhere, you know, very small concerts it's not an important venue or whatever, it doesn't matter. But being more materialistic about it, probably the concert in Mexico City was quite fun because it was in this fantastic concert hall, had a big Tiffany crystal backdrop. Okay. And playing with the English Chamber Orchestra, we played Mozart Concerto. So that whole experience— Which Mozart Concerto? K.424. Ah. Which is really beautiful. We did it without a conductor, so it was very, you know, much like chamber music. That I really enjoyed, that whole experience. You know, got to look around Mexico City at the same time. Did you really? Ah, yeah. So that was fun. But I think in a more serious way, it could be any moment where I feel this is going right. This is why I do it. And if you had to choose the most challenging moment? In your career? I think it's not one specific moment, but when I had my first child, he's now 21 months. So, the last sort of year and a half have been a period of adjustment to try and work out how to continue this level of career, which is, you know, emotionally quite demanding. Yes. But also looking after a toddler. So, I mean, I'm still working on it, but it has been challenging, but in a wonderful and joyful way. Yes. But it's definitely not easy to do both, but I'm determined to do both. Does he like you playing the piano? He does, yeah. Luckily he likes music because he's always heard it since he was, you know, I mean, he came on stage with me when he was in the womb, so he's probably quite used to it. Absolutely. We played Emperor Concerto. When I was, I think, maybe like 8 months pregnant. So he's pretty experienced already. Mine, I was performing Rachmaninoff Second Piano Concerto, and she would be sleeping on the mat just under the piano when she was— I was performing again 4 months after when she was just 4 months. You know, you couldn't cancel the concert. Yeah, I think that's the tricky thing about the music because you can't cancel everything just because you had a baby, so I also, you know, I had to go back quite quickly. And, you know, at the time I felt like, this is fine, I can do this. I had my mother with me to look after the baby, but he was only, I think he was 8 weeks the first concert I did. And it, at the time I felt like, okay, we can do this. But now looking back, I think that is crazy. How did I do that? So I think just the The tiredness and the sleepiness. Yeah. And also just the emotional tiredness of caring for another person in addition to thinking about music in quite an intense way, which I anyway find quite emotionally draining. Absolutely. So I'm still, you know, I'm working out how to fit both around each other. I know very well. Mine is 4, so I'm in a better situation right now, but still. Okay. And so what would you say to an aspiring young student or a younger self if you could go back in time? Goodness. Gosh, I don't know if I've got any advice because I think it is so different for every person. I mean, if it was to me, I would probably say, try to trust yourself. You know, that you can only do what you can do, because I think it's very tempting. I suspect this is the same for every career, but I only know about music, and I think musicians are prone to being quite anxious. And so I would say trust that what you're doing is enough, and you know, who you are as a musician is enough. And just keep doing what you are, you know, what you're special at. Keep doing that because you can't go around, go through your life comparing. It's hard to do though with, you know, the internet and social media. Yeah. So you want to play now the part, the variation to the Healing of Arinushka. Can you tell us something about this piece? So this is from my latest CD that's just been released. Which was a very interesting project. I really enjoyed putting it together, combining the music of Arvo Pärt, who's an Estonian composer, he's still alive, with J.S. Bach, who was writing, you know, centuries ago. They are, in my view, writing about similar Similar concepts, I think. Bach was very much writing in praise of his God. He was a Protestant. And Peret also uses his music in quite a spiritual way. So for me, it made sense to bring them together. And this piece is a set of variations. His style of composing is very simple and very meditative. So it's lovely to play, especially when you've got a hectic toddler around. All right, let's listen then to Perth Variations for the Healing of Arinushka. And this was Arvo Pärt's variation for the "Ilingova Rinuska" played by Cordelia Willem. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, that's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableforex.com. Sableinternational.com, or my number is 0207 759 7541. Hi, I'm Sue Openshaw, owner of Ferme du Ciel, the luxury ski chalet in Samoies in the Grand Massif, France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays. For holidays, single or multiple bookings, contact us on ferme-de-siel.com or 07733 100020. Do you need mediation? We are the A-Project Charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities including individual programs, we can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you are looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Cordelia Williams, an amazing British pianist with beautiful, um, recording and performing career. Cordelia, um, it's now time for the odd questions. So do you have any strange hobby to free your mind or relax? Any strange ones? Oh, hobbies. Hobbies. Strange. I don't know if they're strange. I mean, I do love jive dancing. Oh. So, this is something that I do. My husband and I try to go to this thing called Jive Party where they have live band and it's all kind of 1950s style. Oh, beautiful. And I do, I love that era generally. So, that's something I do really enjoy doing. Um, what else? I don't think I have strange hobbies. I love cooking. Alright. Nowadays, obviously, I spend a bit more of my free time with my little boy. Uh-huh. And I have actually been spending quite a bit of time the last year or so on sort of physical rehabilitation because I have found that since having a baby, my whole body has changed completely. Hmm. You know, in such a physical career as being a pianist, yeah, it can be quite, you know, it can cause some issues because everything's so finely balanced when you're playing the piano that any change in any part of your body— I see— can have quite a serious impact. So I have been spending quite a bit of my time on trying to get everything, you know, relaxed and working properly again. Also the effect of carrying around a small baby. Oh, I know that. Yeah. So it's, you know, exactly. So you're— it's so crucial to have your shoulders, your neck, your hands, your arms all working properly to play the piano. So I've been prioritising that, but I am looking forward to that being less of an issue in the future. Absolutely. Yeah, because you don't realise the more the baby grows, the heavier it gets. And although in theory you're getting stronger, but we are already very strong because it's very physical playing the piano. People don't realise that maybe, but you really need to have, you know, all the muscles. And if something stops working or is, you know, overworked or tight or anything, then it can really affect things a lot. So it's important to prioritise. Yeah. So do you have any ritual or superstition before going on stage? Oh, um, yes, I think I probably do. I'm not sure if they're superstitions, but I do have a sort of a routine. Yeah, that's, um, I, um, you know, the type of food that I eat is always very similar. Um, I'm very quiet before I go on stage. I kind of withdraw into myself. Um, and I think it's more my my character that changes a bit before I perform. It's like trying to prepare my body and my mind for what is about to happen. It's happening. Yeah, I do. I find that each performance is quite a— it's like running a marathon. Yes. And so I need to take some, you know, quiet time Absolutely. To get ready. Yes. And do you have any fun moment, embarrassing moment you can share with us? Oh gosh. Well, there was one thing. It's quite embarrassing. I don't know if I want to tell you, but one concert I was not very well. I had a sort of, you know, nasty cold, a bit of a fever. Yes. But of course I still had to go on. And I was playing the Schumann Fantasy, which I mentioned earlier is very intense to play. And I had got to the end of a very energetic passage and then it came to a quiet moment and I noticed that I had some dribble just coming down from my mouth and onto my dress, and I don't think anyone noticed in the audience. At least I hope they didn't. But now everyone knows. That was quite embarrassing. That's pretty terrible. The main problem is that when you have a fever, you can't cancel a concert unless you're really dead. So basically you go on stage anyway. Yeah. And then people, you know, maybe they comment, "Oh, she was nice." "Oh, she was very red." It was like, well, I'm red because I got very high temperature, isn't it? The good thing is that I have noticed noticed that when I have been ill, often that's, you know, some of my best performances. I think it's because my body sort of shuts everything else out. You know, when you're ill, you can't focus on anything else, so you actually end up being very concentrated. Yeah, absolutely. Just like in the zone of the music. So it can be a positive thing, but not so enjoyable. Well, I don't know if you do it, but me, when I get this crazy awful cold or allergy— sometimes I get very strong allergies— And I just do the vapours with sea salt, the hot water with a towel on my head. And I do it like 3, 4 times before I go on the day of the concert. So it's like drying off everything. I mean, it's pretty terrible, but in a way it works. So that's a tip. Good tip, thank you. I can share. All right, wonderful. So do you want to tell us about your next project or a recording or— Well, I'm actually currently developing an idea for a recording, but I'm not going to tell you yet because I haven't quite finalised it. But I am hoping to do some more work with non-musicians, so poets and artists. I did a project a few years ago based around Messiaen, which was so exciting to do with two poets and an artist and all sorts of interesting people talking about Messiaen and his theology. And I would like to work again with Michael Simmons Roberts, the poet. So I have got some ideas, but they're still in development. All right, so to conclude our interview, our beautiful chat, you want to listen to back the preambulum? Prelude in C major, the BMW 924. Do you want to tell us about this choice? Yes, so this was something that I discovered when I was researching for my recent CD. I was looking at Bach's manuscript of his two and three-part inventions, and I found that in the same notebook that he'd written those in for his son, he'd also written this very small prelude. And I hadn't ever heard it before. And I just found it so beautiful that I wanted to include it. So I put it as a bonus track on the CD. But what I like about it is that it could almost be Peretz writing. You know, it kind of bridged the gap between those two composers. You can't quite tell whether it's Bach or Peretz. Fantastic. Let's listen to it. And this was Bach Prelude in C Major, BMV 924, played by Cordelia Williams. If you have any question that you would like to ask to our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioSTN. A big thanks to our guest Cordelia Williams. For the great chat and the beautiful music played today. Thank you for having me. It was a pleasure. You've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. If you would like to listen to it again or catch up on our previous programs, please head to my presenter page, Stefania Passamonte, Future Classic Women Awards, on womensradiostation.com. Thank you for listening. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. Is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, a UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalized service. This happens from the moment that they inquire till they come back home. I work with luxury tour operators You can contact me on 07825 44 12 12 and liz@hazelmaytravel.co.uk. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money, or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with of their cash but just don't know where to start. At empowerandenrich.org, you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me at empowerandenrich.org and let's change your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss? Illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turn2us.org.uk. Women's Radio Station is creating a global network for the empowerment of women, and we want you to be be involved. Join us on Instagram and Twitter @WomensRadioStn or Facebook Women's Radio Station to keep up to date with all our exciting news. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com.