In 1974, the name over the archway was 'Chetham's Hospital School of Music'. The word 'Hospital' registered the proud bluecoat tradition of the 'forty poor boys' of the founder's will. But an extraordinary transition had begun. There were 109 girls in what had been a boys' school since 1653. They had been admitted on the basis of musical giftedness and needed specialised curriculum and tuition. And they came from all over the country, and so needed boarding accommodation and resident pastoral care. Some of the boys - those admitted since 1969 - were also boarders and specialist musicians. But many were local day-boys, proud to be part of the old Chetham's: they had come to the school for a conventional day-school pattern of work and sport. Conflicting needs and expectations demanded to be met.
'The Governors' decision to take the visionary leap, involving such radical change, had been remarkable. And the achievement of those who, in just five years, under Harry Vickers and Gerald Littlewood, had brought the school to the point where 50 local education authorities were already giving financial support, believing Chetham's to be the right place to nurture the talents of their young musicians, was equally so.
From the perspective of 2009 and 17 years' retirement in Somerset, it is hard to credit what has happened since.
My first task was to join the governors interviewing candidates for the post of director of music. We appointed the youngest and least experienced - Michael Brewer, and we were right.
Boys and girls who were offered admission in those days sought discretionary grants from their local education authorities. Some were granted payment of a small proportion of the cost, some full fees, and some nothing at all. So meetings with successive governments, seeking a fair, national scheme of grant aid, were crucial. And the acceptance of Chetham's into the grant scheme which already applied to the Menuhin and Royal Ballet Schools assured at a stroke future opportunities for generations of young musicians and for the school.
The first visiting conductor appointed to direct an orchestral course was John Elliot Gardiner, then relatively unknown. I recall his inspirational effect in a chamber orchestra performance of Dumbarton Oaks at the Bath Festival, one of innumerable performances, solo, ensemble, choral and instrumental, which, over 18 years, made it clear that, however formidable the difficulties to be overcome in a sometimes painful transition, it was hard to imagine a better place to be.
And it was not just the music. A level English lessons, as well as thousands of everyday meetings on the yard, with students who were witty, imaginative, demanding, lively-minded, straightforward, and (most of them) keen to learn, enlivened every day. The brown envelope which contained the A level results confirmed, year by year, that if a specialist music school was doing its job, academic results would be outstanding.
So heartfelt thanks to Chetham's - that is to say to all those truly remarkable people - students, parents, governors, musicians, colleagues, friends - who made it such a challenge and such a joy for eighteen memorable years.
John Vallins
Former Headmaster
