landline +44 1277 212625; based near Brentwood High Street, a short walk from Brentwood railway station (BRE) (served by Crossrail).
Confident sight-reader accustomed to short-notice engagements, who studied at Cambridge (incl. Advanced Keyboard Skills) and GSMD (incl. Interpretation through Improvisation with Prof. David Dolan for two years). I am an experienced soloist, chamber musician, improviser, accompanist, pit-band player, and répétitur. I have worked with musicians of various abilities (from the complete beginner to Andrew Kennedy) and in various contexts (including examinations, professional recitals, competitions, auditions, and functions that require background music). In many cases, I have had to sight-read a part, so I know how to deliver good results in situations with limited/no rehearsal time (such as when I am hired to accompany an audition or examination with only a 10-minute warm-up to familiarise myself with the repertoire and the candidate's interpretation).
I can improvise elaborations and interludes in various styles, either as a soloist or in collaboration with other performers. I can also realise figured bass (including on harpsichord or chamber organ), and, given sufficient preparation time, even transpose works of a reasonably tonal character. That said, I hasten to add that (unsurprisingly, seeing as I am a composer myself) I am also delighted to play more modern repertoire.
Over the years, I have been engaged by some of the UK's most distinguished ensembles and institutions, such as the Royal Scottish National Orchestra (as harpsichordist for a chamber concert in which I gave three world premières), the London New Wind Festival (as pianist in this contemporary-music ensemble), and the University of Glasgow (as its accompanist for BMus auditions). I am a member of the Incorporated Society of Musicians.
I have experience accompanying a range of instruments, voices, and repertoire, including atonal and serial music. A sympathetic chamber musician, I prioritise listening and maintaining good ensemble over burying one’s head in the notes: a good accompanist covers up the other player’s slips and mistakes (including any missed/early/late entries!) in performance.
However, having worked as a répétitur on several operatic productions, I am also familiar with the contrasting demands of that role, where the priority is to follow the conductor and furnish clear cues for the singers.
For more information, you can consult my website: http://sashamillwood.com/pianist
£ 36.00 Pounds Per Hour
£36 fee for accompanying at examinations, competitions, auditions, amateur performances, and amateur recordings, provided that the duration (that is, including warm-ups, sound checks, &c.) does not exceed one hour. Where it exceeds one hour, the fee is higher.
£36 per hour is my rate for rehearsal time, subject to a minimum charge of £18 per rehearsal (equivalent to 30 minutes) excluding any travel surcharge.
Professional engagements are subject to negotiation -- in such cases, the fee will typically be related to what you are being paid (assuming it is not unreasonably little) for the performance, as opposed to the number of hours' rehearsal. For a duo recital, I would typically expect a 50% share of the fee after promoter's commission.
Fees are levied on a per-booking or a per-hour basis, not on a per-person basis. This means that considerable savings may be available to individuals who combine their bookings. Discounts may be offered, at my discretion, for regular/large/shared bookings.
Typical travel surcharges (strictly without prejudice):
*£3 -- within the town of Brentwood (including Shenfield and Pilgrim’s Hatch);
*£8 -- Blackmore, Harlow, Ongar, Romford, Upminster, Hornchurch, Ingatestone, Billericay;
*£13 -- central London (assuming no travel required during morning peak), Southend, Chelmsford, Bishop's Stortford;
*£18 -- Cambridge.