Music Department Q&A with Luis Parés, Director of Music

What is your overarching vision for music at Alleyn's?

My vision starts with recognising what we already have: a school with a rich musical history and a department where every musical opportunity is open to everyone. We have an extraordinary instrumental provision, outstanding choirs and ensembles, brilliant bands, and a vibrant programme of concerts and events, and all of this is genuinely accessible to every pupil. There is no hierarchy of access here; whether you play in one of our orchestras or you are picking up a drumstick for the very first time, there is something here for every level and every ambition.

I want a department where classical traditions and contemporary genres sit side by side, where every pupil can flourish, and where music is understood as a fundamental part of life, not something reserved for specialists. Some of our students will go on to become professional musicians; others will discover that music gives them confidence, discipline, friendships, and a creative outlet that enriches everything else they do. All of these outcomes matter equally to me. My approach centres on three things: musicianship, diversity, and connection, equipping our students with the skills to become excellent musicians, offering a rich programme across all genres, and ensuring that music remains a force for connection between individuals, year groups, and our wider community.

What standards of musical excellence are you aiming to build or strengthen?

The standard of performance at Alleyn's is already remarkable, and I am determined to protect and build upon this. Our ensembles are thriving, our concert programme is ambitious, and the quality of individual musicianship across the school is something we should be immensely proud of. Our pupils benefit from an outstanding team of permanent and visiting music teachers, and what excites me now is the potential to explore new venues, to programme repertoire that will stretch our musicians and allow them to further develop their skills and musical understanding, and to cater for individuality so that every one of our musicians can flourish.

Two newly created roles, Head of Vocal Studies and Head of Popular Music, will sit alongside our current team from September 2026 to further develop our music provision, create new opportunities, and embed an appreciation and love for instrumental music and for singing across the school.

Are there particular genres, traditions or areas of repertoire you're keen to expand?

It is so important to honour our traditions and to ensure that we continue exploring some of the most extraordinary compositions ever written in the classical canon. It is crucial that all our musicians understand why these works matter and how they have shaped everything we know about music today. At the same time, contemporary music should flourish alongside, valued equally and serving as a vibrant expression of the best current trends. Composition and songwriting are areas I am also keen to nurture, allowing individual voices to emerge and new music to be heard.

I am also ambitious about the repertoire we programme for our major concerts. This year's Spring Concert at Southwark Cathedral features the finale of Beethoven's Ninth Symphony, marking 50 years of co-education at Alleyn's. This is simply one of the most significant pieces of

music ever written; a work about unity, about shared humanity, about the joy of being together. For our students to have the opportunity to sing or play this piece is a life-changing experience, and the reason we chose it for this celebration is that its message of togetherness mirrors everything our school community stands for. That kind of purposeful and thoughtful programming, where the music we choose says something about who we are, is what I want to continue building with the extraordinary team I am so fortunate to work alongside in the Music Department.

How do you see technology shaping the future of music education at Alleyn's?

Technology gives our students the means to bring their musical ideas to life in ways that were simply not possible a generation ago. Whether it is a young composer hearing a piece take shape on screen, a songwriter layering tracks in our recording studio, or a student exploring sound design and production for the first time, these tools unlock creativity and allow pupils to develop skills that are directly relevant to the world beyond school.

AI is certainly having an impact on everything we do, and music will be no exception. As AI tools strictly related to music continue to develop, we must ensure they are used in a way that always serves musicianship. Technology should always allow for individual thinking, nurture creativity, and help our students develop a unique musical language, rather than replacing any of those things.

What kind of performance culture would you like to cultivate, and how important is public performance in shaping a strong musical identity?

There is nothing quite like performing in front of an audience. Hours of practice, dedication, synchronisation, and imagination all merge in a single live moment, and it is a privilege to be on stage: we practise so hard because we want to express something, convey a message, and share something meaningful. I love performing. I love the electricity of walking on stage, the connection with an audience, the vulnerability and the exhilaration of it, and I want to instil that same love of performance in our students. When I invite a pupil to take the stage, I am inviting them to discover something I know to be one of the most rewarding experiences in life.

On average, we already have two concert platforms per week, and often more during our busiest periods. From intimate lunchtime recitals to major concerts at some of the most prestigious venues in London, I want our students to experience the thrill of performing in a wide variety of settings. As a school, I also want us to develop a real culture of listening, where our pupils learn to shape their understanding of what they are hearing, to recognise the craft and intention behind a performance, and to become active and attentive listeners who engage deeply with music. Understanding how to listen is one of the most powerful skills we can give a young person, and it transforms not only how they experience music but how they listen to the world around them; these are transferable skills that extend far beyond the concert hall.

What values do you believe should underpin a thriving music department?

Ambition, generosity, trust, and kindness. Ambition, because our students deserve to be challenged and inspired by the highest standards. Generosity, because music-making at its best is an act of giving: to fellow musicians, to an audience, to a community. Trust, because a young musician will only take creative risks if they feel safe to do so. And kindness, the K in our ROCCK values, which was one of the very first things I noticed when I came for my interview last year, and which certainly underpins everything we do, not only in the Music Department but at

Alleyn's as a school. If we are kind to one another, we can allow our students to flourish and become the best version of themselves.

I would also add collaboration, working as a team. I am privileged to work with an extraordinary group of people who make so much happen, and none of what I have described would be possible without them. They run ensembles, deliver lessons, mentor our young musicians, and facilitate all of the amazing opportunities we are able to offer our pupils. Our permanent staff, our Visiting Music Teachers, our Music Office team: each of them brings something unique, and the quality of what we do is a direct reflection of their dedication, expertise, and passion.

How do you foster both high standards and joy in music-making?

I do not believe these are in conflict; in fact, I think they are inseparable. The deepest joy in music comes from the moment when something genuinely difficult clicks into place: when an ensemble achieves perfect synchronisation in a passage they have been rehearsing for weeks and a beautiful phrase finally comes alive, or when a young composer hears their piece played for the first time and realises it sounds exactly as they imagined. That kind of joy is earned through rigour, and it is certainly worth it.

The key is to ensure that the pursuit of excellence never becomes joyless. Rehearsals must be demanding but also energising. Feedback must be honest but always constructive. And we must remember that not every musical experience needs to be a performance; sometimes the most meaningful moments happen in a practice room, or in the simple pleasure of playing through a piece with friends. I want our students to associate hard work with fulfilment, not with stress.

What has most shaped your own musical journey and leadership style?

I vividly remember my first piano recital as a child, playing a selection of Bach's small preludes and feeling something extraordinary happen. I was a naturally reserved, academically-minded student with a passion for maths, and in that moment music opened a door to a part of myself I did not know existed, a language that allowed me to express powerful feelings that had no other outlet. That discovery changed the entire direction of my life, leading me to the Royal College of Music, where I studied with Gordon Fergus-Thompson and Andrew Ball, both of whom shaped my understanding of what it means to be a musician and a teacher in profound ways.

My performing career has focused on solo and chamber music, and that experience of musical collaboration is something I see as truly defining how I aim to lead a department. I continue to work with extraordinary musicians, and as individuals, we all have so much to bring. The process of preparing a piano trio, for instance, learning my part, thinking about every detail, creating an individual vision that must then become a coherent whole with two other musicians, arriving at a unified interpretation that serves the music best, that is something I carry directly into my work at Alleyn's. The best music-making, like the best leadership, is about listening, trusting, and finding a shared purpose.

What do you find most rewarding about working with young musicians?

Their infectious energy, their thirst for learning, their ability to absorb and mould information, and their eagerness to create and craft their own opinions. Working with young musicians is endlessly inspiring because of the freshness and openness they bring to everything they do. And

then there is the moment when they discover what they are truly capable of, whether that is mastering a difficult passage after weeks of practice, or finding that music gives them a way to express something for which they had no other outlet.

Equally exciting is when music suddenly clicks in a young person's mind, when something as beautiful as a small phrase, a colourful chord, or a magical modulation makes their eyes light up. It is understanding why music is so special and unique, why we do what we do.

If a student leaves Alleyn's having been involved in music, what do you hope stays with them for life?

I hope they leave with the understanding that music is not merely an achievement to list on applications, but a lifelong source of joy, connection, and meaning. I want them to know that music is something that will always be there for them, in moments of celebration and in moments of difficulty, as a way of understanding themselves and of connecting authentically with others.

More practically, I hope they leave with the skills and the confidence to keep making music, in whatever form that takes. Whether they go on to study at a conservatoire, join a university orchestra or musical, start their own rock band, sing in a community choir, or simply sit down at a piano after a long day, I want the musical foundations we build here to endure. Music at Alleyn's should be a defining part of every pupil's journey, and I hope it will remain a defining part of their lives for years to come.