Applying to the fund
You may return the form as a Word document, but if you do, please also print out and sign the second page and send it by post or as a scan.
Donations to the fund
In his memory, the Society of Recorder Players set up the SRP Walter Bergmann Fund. Many individuals and branches of the SRP have given to the fund generously over the years, but more young people can be assisted only if the resources continue to be increased, If you have already given, thank you. If you can do more, we shall be even more grateful.
1) By a donation Cheques payable to “SRP Walter Bergmann Fund”, sent to
The Administrator WBF, Samburu, Capel road, Bentley, Ipswich Suffolk IP9 2DW
2) By a regular gift under Deed of Covenant If you pay income tax, the Society can recover the tax paid on the amount of your gift at no cost to you, thus increasing the amount of the gift considerably. A Deed of Covenant will normally last for four years.
3) By a legacy As the Society is a Registered Charity there are, under the current law, potential Inheritance Tax benefits from making a gift by your will.
4) Other ways Many individuals and groups have raised money for the fund by organising concerts and sending us the proceeds. Have you a cupboard of music which you never play? Or recorders which you no longer use? These could be of use to young players or sold to raise money. Recorder Shop London can sell instruments for you to raise money for the fund.
All offers of help should be sent to: The Administrator at wbfsrporguk
Walter Bergmann 1902 – 1988
When Walter Bergmann died, recorder players lost a great friend whose musicality and scholarship, together with his characteristic dry humour, left a strong impression on all those who came into contact with him. Particularly close to his heart, in a lifetime of working for the betterment of recorder playing in Britain,were the many young people whom he helped. encouraged and advised at all stages of their musical development.
Walter Bergmann was born in Hamburg in 1902, the son of a German railway official. The family was musical but after studying flute and piano for a while at the Leipzig Conservatoire, Walter decided to study law in Halle, gaining his Doctorate in 1932. In 1938 he fell foul of the German authorities, having defended a number of Jewish clients, and he escaped to England, where he was only allowed to enter on condition that he did not work, with two suitcases and ten marks. His wife Greta and daughter Erica were able to follow him a few months later. After spending some months interned in the Isle of Man during the war, he was released and allowed, with certain restrictions, to take employment. However, his legal expertise was of no use in England, so he decided to make music his career.
Walter had already met Edgar Hunt, who was professor of flute and (later) recorder at Trinity College of Music in London and was also on the staff at Schott and Co., music publishers. When Edgar went into the army during the Second World War, Walter took his place at Schotts and at the end of the war they began to work together, preparing hundreds of recorder publications between them over the years. Walter’s most valuable contribution to the recorder scene was probably his work in rediscovering and editing. Baroque works by Barsanti, Blow, Dieupart, Purcell, Schickhardt and Telemann, although he also arranged Byrd, Haydn. Schubert, Dvorak, Slavonic and Russian tunes and took a practical interest in the Orff movement. Many musicians from all over the country owe some of their earliest musical experiences to his Handel, Purcell and Bach Albums. Unfortunately, much of his work is now out of print.
As well as publishing. Walter also conducted, accompanied and taught in the London area, meeting and working with such well-known musicians as Michael Tippett and Alfred Deller. He taught classes at different venues in London for many years and continued his interest and scholarship until his death in 1988.
Guidelines for applicants
These can be found on the forms. Individual applicants please note that it is your responsibility to ensure your reference reaches the committee by the correct date. Incomplete applications will not be considered.
Guidelines for referees
Please try to make your reference as informative and as detailed as possible, commenting on the following:
1. How long have you known or taught the applicant.
2. What has been their approach to their studies during that time.
3. What progress have they made and comment on future potential.
4. Aside from the applicants individual lessons do they contribute to the musical life of their school/college or provide support to other musical groups.
5. Is the recorder the main focus of their musical studies or is the recorder a second or third instrument or one of a number played?
6. Do you consider that a successful application would enhance the progress of the applicant and why.
7. Is there anything that makes the applicant particularly deserving of receiving an award over other applicants – they will be competing for limited funds.
8. The reference must be signed and dated.
9. We strongly recommend that the reference be provided on headed paper.