FCWA – Matilda Lloyd

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 will be talking to Matilda Lloyd. She's an amazing British trumpet soloist. Hello, Matilda! Hello, Stefanie. I actually know Matilda from a few years ago. We met in an amazing competition called The Big Music Project, and she went to the final. I was her mentor and in the jury for the semi-final. So I'm very pleased to see you had an amazing career after that. And the most amazing moment, I guess, is when you won the BBC Young Musician of the Year. In 2000— when was that? I won the Brass final in 2014. Exactly, so a few years ago. So how are you? How would you say your life changed with that? I think my life changed a lot after that because I think that was the first time that I realised that having a career as a trumpet soloist could be a possibility and a reality for me. So it sort of opened my eyes eyes to that, and I realised that that was what I wanted to pursue. And I've been just taking as many performance opportunities as possible and playing with as many different orchestras and learning as many different pieces as I possibly can over the last few years. Well, let's say trumpet is not exactly the most usual instrument that you would see in a concert hall, isn't it? So how did you choose to become a trumpet player? So I actually first started learning piano when I was younger because my mum is a piano teacher. And then when I was 8 years old, I came across my dad's old trumpet in a cupboard at home because he played trumpet when he was at school. Oh, right. But hasn't played properly for many years now. But yes, I sort of discovered the trumpet and thought it looked very exciting and, you know, it was shiny and kind of cool. It is indeed. So I wanted to have a go on it and I really liked it and wanted to have lessons. So when did you start learning the trumpet? When I was 8. 8 years old. Oh my gosh, that's very early, isn't it? Yeah. Okay, and how did you think, when did you think you could become a trumpet soloist? I mean, one thing is to play such an amazing instrument and another thing is actually to take the stage. I think the moment for me when the trumpet became sort of my favourite instrument to play was when I got into the National Youth Orchestra when I was 16. I played in the orchestra for 3 years. I think being in that environment with so many other fantastic musicians, and we had such a lot of fun on the courses making music, and we had great coaches and worked with amazing conductors and got to play in some amazing concert halls. I remember playing in the Barbican and playing at the BBC Proms for the first time and working with conductors like Vasili Petrenko and Ed Gardner. And I think that was really when I realised that I wanted to have a career playing the trumpet. And then it was a few years later, sort of in my last year of school, when I won the two BBC competitions with the BBC Radio 2 Young Brass Award as well in the same year. So I think that was when the solo side really sort of became my dream. Mm-hmm. What did your mum think about you choosing the trumpet over the piano? I don't think she minded at all, actually. When she was younger, she— played the flute as well, but she was told, I think she was told that there were too many people that play the flute in her school orchestra, so she had to stop playing the flute and just play the piano. And I think she was always sad because with the piano, there's not as many opportunities to make music with other people. Obviously, there's chamber music, but I think she wished she'd had an instrument that she could have played in the orchestra. So I think she was very pleased when I chose the trumpet because it's such a versatile instrument. I've played in wind bands and brass bands and jazz bands and big bands, you know, you can do so many different things. So I think she was actually quite pleased. Well, I have many more questions to ask you about this, but now you would like to play from your debut album, Enescu, Légende. Why did you choose this piece? This piece is probably the most famous piece for trumpet and piano. Probably the greatest masterpiece that there is. It was written in 1906 by the Romanian composer George Enescu, but it's very French in style, sort of post-impressionistic, and he wrote it as a competition piece for the trumpet students of the Paris Conservatoire. So it sort of shows off everything the trumpet can do, from sort of the lovely lyrical melodies and also fast virtuosic chromatic passage work. And yeah, it's amazing. Fantastic. Then let's listen to it. And this was, uh, Enesco Légende, played by Matilda Lloyd. We will be back after a short break. WRS, Women's Radio Station, voice of women worldwide. Sarah's Universal Soul Show. What does your soul or spirituality mean to you? Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. Welcome back, I'm Russ Kane. You're listening to In Conversation With on Women's Radio Station. I'm Angie. And I'm Pat WC, and we're open! To see what other programs we have on Woman's Radio Station, head to our website, womansradiostation.com. Hi, my name is Michelle Bartlett, the founder of Live Laugh Love Ladies Club. We're looking for ladies to link arms across the globe. This is a new vibrant brand connecting women socially. Our club members enjoy great food, fun, and inspiring speakers while making friends of all generations. If you're a social butterfly in your community, this fast-growing franchise may be for you. Or we invite national companies to advertise within our close network of members. Please visit live laugh love ladies dot club. 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. Women's Radio Station, Voice of Women Worldwide, presents Future Classic Women Awards Nominates Concert, Friday 23rd November at 7 PM, hosted by me, Stefania Passamonte, with some of the most amazing nominees that we heard so far on the program. It will be at St. James Catholic Church, Marylebone. Please join us for a fantastic evening of classical music. 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. WRS, Women's Radio Station. Voice of Women Worldwide. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we're talking to the amazing Matilda Lloyd, the super trumpet player, uh, trumpet soloist, uh, that was launched to, you know, fame with the BBC Young Musician of the Year. Um, Matilda, um, How was, you know, being in television? Do you have, um, do you think it's different to perform on a television program like the BBC Young Musician or the Proms or, you know, in a band? I think it's with those competitions, you, you're still performing a concert and you still have a live audience, so the actual sort of physicalities and reality of it is very similar, but you've got that added— I think it's the added pressure of knowing that you've actually got a much bigger audience than the one that's immediately in front of you, particularly if there's TV cameras flying around, and they can be quite distracting when you're performing. So I think you really have to work hard just to sort of try and forget about that aspect of it and just enjoy making the music and get lost in the music and almost try to forget about the cameras and the other how many thousands of people that are going to be watching, watching your performance. Now, you were telling us before about performing in a jazz band, in the brass band, of course in the classical orchestra formation. Is there a difference in the sound that you have to produce when you perform with this different type of music ensemble? Definitely, and also you can use different instruments as well, which really helps that. So, for example, if you play in a brass class band, you would play on a cornet, which has a much bigger bell than a trumpet, and it makes a sort of warmer sound, and you'd use a lot of vibrato typically. And then with a jazz band, you might use a flügelhorn to make that sort of soft jazzy sound, or— and then in an orchestra, you would use a normal trumpet, and you tend to have a sort of brighter sound that can really cut through the orchestra so that you can still be heard and sort of project over the top of an enormous string section and So yeah, you do have to make different sounds and use different tools. Absolutely. I think the trumpet is like the most crossover instrument, if that's possible. What do you think about these different— I mean, with classical music, either you are a classical musician or you are a classical crossover, or for example, you are a jazz pianist. You see what I mean? But a trumpet player, a trumpet soloist, has kind of have to be everything, isn't it? Yeah, I think— I do think the trumpet is a very versatile instrument, and I think that you can wear a lot of different hats. I think one of the reasons for this is because the trumpet is so similar to the voice. And so a lot of— we can play a lot of songs and a lot of sort of arias, and, you know, we can really steal quite a lot of music from the vocal repertoire, and I think that really helps us. And so how did you— I mean, what would you say to a younger student who wants to choose the trumpet? I would encourage them to definitely, yeah, definitely to play the trumpet. Because what I mean is, in the beginning there was like this idea that because the trumpet wasn't a proper to court classical instrument, you wouldn't be able to have enough repertoire, for example, to make your voice shine as a soloist. I think that's definitely changing, and I mean, the repertoire over the last few years has been expanded massively. And also, we now tend to borrow works from a lot of other different instruments. That is something before wasn't really accepted. Yeah, there's a lot more arrangements now and new commissions being written for the trumpet every single year. For example, on my debut CD, I commissioned a piece by Alex Wolff, which I think you're going to hear in a moment, called Direct Message, which takes the traditional role of the trumpet as a messenger in mythology and in the Bible and in warfare as the sort of the bringer of news, and he sort of puts that into the 21st century by imagining the trumpet and piano as two characters in an online instant messaging exchange, sort of like Facebook Messenger or WhatsApp. Yeah, yeah. And He really has these two separate characters, so the piano is very confident and it interrupts a lot, and the trumpet's quite hesitant at first, and it's sort of— there's a bit of a battle between the two, and eventually the trumpet manages to get its message across. That's fantastic. Let's listen to it then. And this was Alex Wolff, Direct Message, played by Matilda Lloyd. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. Hungry? An average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's Radio Station, we want to hear from you. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen Nunn. I listen to Women's Radio Station. Women, the possibilities are endless. That's what makes us different. Hi, I'm Valentina Bravacci, and I'm the executive director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo. And we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own, and share information. To find out more and be part of this movement, come check out our website at MediaMattersForWomen.org. Women's Radio Station is passionate about communication and we'd love any thoughts and feedback on our programmes. Email presenters@womensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter. Do get in touch. WRS, Women's Radio Station, voice of women worldwide. 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. Let me tell you about Jermyn Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.germinstreettheatre.co.uk. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help work towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Matilda Lloyd, an amazing British trumpet soloist with a fantastic career, even if you are so young. I mean, how old are you, Matilda? 23. And that's amazing because, I mean, you're talking to us as if you were already doing this career from forever and ever, isn't it? Thank you. So what would you say was the most exciting moment in your career? I think my most exciting concert was definitely performing at the BBC Proms as a soloist in 2016. In Royal Albert Hall, I can think of. Yeah, exactly. It was completely full, 6,000 people and a lot of children as well, young people, because it was one of the 10 pieces proms. So that was really really great. And obviously it was being broadcast on the television and on the radio, and I performed the finale of the Haydn trumpet concerto, which is one of my favourite trumpet concertos. I think probably most trumpeters love this concerto. It's wonderfully— it was well, very well known. Yeah. And to play with the BBC Philharmonic and Alves Chauhan was just the most incredible experience. To play with such an amazing orchestra. I absolutely— and what would you say instead was the most challenging moment or worst moment? I think probably one of the most challenging things for me recently has been a change in my mouthpiece on the trumpet. I sort of outgrew my mouthpiece and I started having problems with tuning and just sort of pitching the notes, and so I had to make quite a big change, which was very frustrating because it meant I had to go back to the basics for quite a long time. But eventually it's, you know, you start passing that barrier and you realize that it's all been worth it. So it's— how do you outgrow your mouthpiece? Like, your mouth is changing? How is that? Yeah, basically my, my lips. I, I— when I started studying at the Royal Academy of Music after I'd finished my undergraduate degree at Cambridge, I suddenly started started playing the trumpet for many more hours a day because I didn't have to do any reading and writing essays and all of that anymore. So my lip and facial muscles got a lot stronger very quickly because I suddenly was doing 5 hours of playing a day instead of 2. Yes. So that's how I sort of outgrew the mouthpiece. That's amazing. I know the lips, they get very tired, isn't it? I mean, how— for how long is the maximum that you can play the trumpet? It really depends on what you're playing. If you're sitting in an orchestra playing some Mozart or Beethoven, you can probably play all day. But with solo pieces, you obviously play a lot more and, you know, more in shorter periods of time as well. So it is tiring. And I would say I would encourage people not to play more than sort of 4 or 5 hours a day, really. Yeah. For your muscles. Absolutely. Yeah. Each instrument has their, you know, problem physically speaking. Yeah, exactly. And you know, when you go to see a concert— I'm telling this because we got our audiences made not only from classical lovers, classical music lovers, but also by people that, you know, they've maybe never been to a concert. So it's very, very physical. So we used to say as a pianist that you have to train like an athlete, basically. So in this case, your face has muscles that a normal person wouldn't be using normally. And the breathing as well. That is something that people give by, you know, natural, it's a natural thing. It's not. Yeah, you do have to, especially for wind instruments, you do have to learn to breathe very well. Yeah. So what would you say are the pros and cons of being a classical musician and then specifically of being maybe a trumpet player? I mean, I don't— for me, there aren't very many pros— very many cons, sorry. Because otherwise I wouldn't be doing it. I love playing the trumpet and I love making music. I think the only real cons are probably the hours that we work, obviously. I mean, in a way it's great because we don't have to sit in an office and I would hate to do that. You can have a lot of late nights and there's a lot of travelling involved, which I enjoy. I like travelling and seeing different places and I'm really looking forward to travelling abroad with some concerts in the next couple of years in Europe and various other places, which is exciting. Absolutely. But yeah, no, there aren't very many cons for me. Many pro— uh, si cons, yes. Fantastic. So you did tell us you studied at Royal Academy. How is it studying while you're also making these amazing concert performances? I mean, does it change your mind by being, you know, when you walk in the Academy, or, you know, the fact that you already performed in stages where, you know, students that even years after they finished at the Academy yet have to go to? See what I mean? Yes, I think I think, I think it's quite actually quite easy to juggle doing both at the same time. Now I'm in my second year of my master's degree, so we don't have a fixed timetable, we don't have a lot of lectures that we have to go to, so I actually only really have to go into the academy 2 to 3 days a week for lessons or master classes. So that actually does leave me a lot of time the rest of the week which I can be doing concerts private practice, and so it's actually quite okay to do both. Do you think one day you would like to teach? I do. I did have a couple of pupils when I was still at school. I haven't at the moment just because I'm so busy and my timetable's always changing, but I'm sure that later on in my life I would love to teach. Pass on your experience and your— Yeah, definitely. I gave my first masterclass a few months ago and I really enjoyed doing that. Oh, wow. And I'd love to do more of that. More of that in the future. Absolutely. So the next piece that you would like to play, it's a sonatine by Jacques Castérade. Do you want to tell us something about this piece? This piece was written in the 1950s. I've chosen the finale of the sonatine because it shows off the sort of fun and cheeky side to the trumpet. It's very lively, and the piano and the trumpet interact kind of like a game of cat and mouse. Ah yes, absolutely. Let's listen to it then. This was Sonatine by Jacques Castérade, played by Matilda Lloyd. We will be back after a short break. WRS, Women's Radio Station, voice of women worldwide. Sarah's Universal Soul Show. What does your soul or spirituality mean to you? Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. Welcome back, I'm Russ Kane. You're listening to In Conversation With on Women's Radio Station. I'm Angie and I'm Patsy, and we're open to see what other programs we have on Womanz Radio Station, head to our website, womanzradiostation.com. Hi, my name is Michelle Bartlett, the founder of Live Laugh Love Ladies Club. We're looking for ladies to link arms across the globe. This is a new vibrant brand connecting women socially. Our club members enjoy great food, fun, and inspiring speakers while making friends of all generations. If you're a social butterfly in your community, this fast-growing franchise may be for you. You, or we invite national companies to advertise within our close network of members. Please visit live laugh love ladies dot club. 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.com, 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. Women's Radio Station, Voice of Women Worldwide, presents Future Classic Women Awards Nominees Concert, Friday, 23rd November November 7 PM, hosted by me, Stefania Passamonte, with some of the most amazing nominees we heard so far on the program. It will be at St. James Catholic Church, Marylebone. Please join us for a fantastic evening of classical music. 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. WRS, Women's Radio Station, voice of women worldwide. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Matilda Lloyd, an amazing British trumpet soloist with a beautiful career, although she's so young and amazing, amazing. So Matilda, now it's time for the odd questions. Do you have any free— pardon, any strange hobbies? To free or relax your mind? I've actually just started doing a boxing exercise class, which I find is amazing. It's really helping me definitely just free my mind of— you can't possibly think about anything else because you've got to remember all the combinations, otherwise you'll probably get punched in the head. So, it's really great exercise, really nice class. To release energy. Yeah, exactly. I feel very strong and like I can do anything after the class. I totally love boxing. I remember when I was little, I used to watch it and my dad kept saying, you know, this is like fencing. It's exactly the same as just done with— when it's done properly, not just, you know, a bad fight punch. Yeah, exactly. So it's a great discipline, isn't it? Yeah, it's really good fun. It's just a little dangerous maybe for your face. Yes, I don't actually hit any people. It's just like a sort of a boxing exercise class. Yeah, so you don't actually hit anyone or have anyone hit you. I won't see you on the ring, right? No, definitely not. No sparring for me. All right, fantastic. And do you have any ritual or superstition before going on stage? I don't have any superstitions, but I do— for me, the way to sort of relax and get my head in the right mindset before a concert, the way I do that is I do my makeup and my hair, and sort of that, that's my kind of ritual. I take a long time over it, and I really enjoy sort of doing that. I find it very therapeutic, actually, have all my different, you know, brushes and different makeups. Oh, well done to you. I have zero patience for the hair. I mean, it's a nightmare when you have long hair, and she— and you cannot see her, but might see that beautiful blonde hair. So it does take time. All right, and do you have any funny moment or embarrassing moment that you can share with us? I think probably the most embarrassing thing that's happened to me actually in a concert, um, was I— with the trumpet we use a lot of mutes, um, which go in the end of the trumpet and really change the sound. Um, you will have heard one at the end of the Enescu Légende and a different one, a straight mute in the Direct Message piece. And I was playing a concerto in Manchester and I was using a Harmon mute, which creates the sort of jazzy, almost duck-like noise. And halfway through a passage of music, the mute came loose and fell out of my trumpet while I was playing. And it was very strange because obviously I could hear the sound of the trumpet going from being muted to normal before I knew what was happening. And then there was just a thud on the floor as the mute hit the floor, and I just sort of had to carry on and Luckily, I was very lucky that I actually didn't need the mute for the rest of the piece. That was the last time I needed to use it. So I had to just sort of leave it on the floor. Leave it there. Sorry. Yeah, but that was definitely a bit embarrassing and not something that happens very often. Yeah, absolutely. Absolutely. So I actually wanted to ask you, I'm sure everybody's curious about this. How is it to practice at home? What do your neighbors say? Um, actually, I'm— I've always been very lucky. Where I grew up as a child, we live on a converted farm, so our house is actually quite far away from other houses. Wow. And we've, we've always had very nice neighbors that haven't really worried about it or minded very much. And also with the trumpet, like, you would never practice it. I know I would, I would never practice in late in the evening or early in the morning just because of the nature of it. So, normally I would practise when people are out at work or, you know, out at school. So, it hasn't ever really been a problem with neighbours. Wonderful. Now, I remember I have a friend who is an amazing jazz trumpet player and trumpet soloist, and he loved to open the window and play the trumpet. Oh no, I'm not quite as brazen as that. Very funny. And people would just enjoy, you know, passing by, you know. And say, "Yeah, the trumpets." Good fun. Good fun. Absolutely. So, do you listen to any other type of music? I listen to lots of different types of music. I'm particularly fond of Latin American music, salsa, all of that kind of stuff. Do you dance it? Not really. I've learned a few of the steps. I went to some dancing classes. I can do the cha-cha-cha and that kind of thing, which is good fun. I haven't done that for a while. And I also really enjoy sort of folk music, Irish, particularly Irish folk music. One of my hobbies while I was at school was playing the penny whistle. Okay. So I enjoyed learning all the sort of rigs and jigs and reels and, you know, those kind of fun folk tunes, which I listened to a lot. And I listened to a lot of classical music, a lot of pop music, some hip-hop, rap. I listened to a lot of different styles. So what would you think about classical music today compared to the other side? Is that opening up more? What do you think? I think it's definitely becoming more accessible to the wider public. I think the barriers that were there before, you know, you have to be a rich person to go to a concert, and you have to wear a particular kind of dress, and you can't clap between, you know, the sort of slightly stuffy idea of classical music is definitely changing, and people are doing all sorts of different things to change that— lowering ticket prices, having concerts in, you know, exciting venues, open, you know, outdoor venues. And I think people are programming more different music that appeals to a wider range of people. Yeah, yeah, so I do think, and I also in a lot of my recitals I try to give spoken introductions to the audience because I think it's really nice just to let them know, particularly with the trumpet repertoire, people don't know most of the composers that I would program in a concert. So I like to just tell the audience a little bit about the piece and about the composer and sort of just put it into context, and I think that really, I've had feedback that people really appreciate that and enjoy that. Yeah, no, I've seen, I've been to concerts where, for example, the performers, they forget to say what's the encore. So, you know, you heard the pieces there on the program and then you're left thinking, oh, I loved so much what was played at the end, that they don't know what is it. Yeah, exactly. Or they're not able to speak on stage and project the voice and actually being heard. So maybe they finish I was like, what? What did he say? And there is half an hour, I was just— what was going on? Yeah, no, totally. So thank you for doing it. That's all right. So what's your next project or collaboration? I've got a series of recitals at the end of this year with my pianist Leo Nicholson, who's also a postgraduate student at the Royal Academy. And then looking into next year, probably my most exciting project is I'm going to be making my international debut as a soloist with the Opera Orchestra of Rouen, with a tour of concerts playing the Haydn trumpet concerto in France in the spring. Beautiful. Oh, really wonderful. All right, we will be looking forward to that then. Okay, so now we want to play some des Soucrières Longueval et Poussières des Moulins from Seven Old. Can you tell us something about that? It's from Deborah Pritchard. Yeah, so this piece is called Seven Halts on the Somme, and it was actually written in 2014 for the centenary of the First World War. So it's very special to me to have recorded it in 2018 for the centenary of the end of the First World War, which was obviously celebrated yesterday on Remembrance Sunday. So this piece is very poignant, very atmospheric, very reflective, with themes of memory human identity, um, and it's based on 7 oil paintings by British artist Hughie O'Donoghue. And the 7 paintings represent the 7 stopping points along the Somme for the British Army during the First World War. Um, so the 2 you'll hear now, one is the Soukery, which is an old abandoned building warehouse, and it's got sort of very aggressive, strong rhythmic character. And then Posière le Moulin is an old windmill, and the music really reflects the sort of moving sails of the windmill with the running semiquavers in a 6/8 sort of lilting rhythm. So fantastic. Let's listen to it. And this was the Sucrerie Longueval in Posières-les-Moulins by— from Seven Old by Deborah Pritchard, played by the amazing Matilda Lloyd. If you have any questions 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 for a chance to win 2 tickets at our concert of the finalists of Future Classic Women Awards. And a big thank to our guest Matilda Lloyd for the great chat and the beautiful music played today. Thank you very much for having me. It was fantastic. Thank you, Matilda. Good luck with everything. 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 womensradiostations.com. Thank you for listening. Welcome to Women's Radio Station, the voice of women worldwide. Hungry? An average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's Radio Station, we want to hear from you. This is Women's Radio Station, you're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen Nunn. I listen to Women's Radio Station. Women, the possibilities are endless. That's what makes us different. Hi, I'm Valentina Barbacci, and I'm the Executive Director of Media Matters for Women. We're a registered charity operating operating in Sierra Leone and the Democratic Republic of Congo. And we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own, and share information. To find out more and be part of this movement, come check out our website at MediaMattersForWomen.org. Woman's Radio Station is passionate about communication and we'd love any thoughts and feedback on our programmes. Email presenters@womensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter. Do get in touch. WRS, Woman's Radio Station. Of women worldwide. 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. Let me tell you about Jermyn Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.germinstreettheatre.co.uk. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help.