When did you apply for the Fellowship, and what led you to it?

I applied in 2015 to start in 2016. At the time, I had planned to go to Germany for postgrad study — everything seemed set, but at the last moment, the place fell through. It was the week of my graduation and a really stressful time. But sometimes things fall apart to make way for better things. I’d always been interested in the Fellowship but hadn’t expected to apply that year — and as luck would have it, the application deadline was that very week. I sent off my application just in time, had my audition in September, and honestly thought I’d blown it — I went home and cried! But I was wrong, and I’m so grateful I was. Looking back now, it’s one of the best things that could have happened to me.

What stood out to you about your year in the Fellowship?

It was such a positive experience. We had a great group of people, and that consistency — being with the same players for ten months — was amazing. You really get to know each other musically and personally. We covered so much repertoire with so many different conductors, and sometimes we even got to choose the programmes ourselves and run the projects, which gave us insight into the behind-the-scenes work: concert managing, promotion, everything. That range — from opera to chamber music to symphonies, even contemporary works like a concerto for orchestra and turntables — was brilliant. It kept me on my toes, and I loved it.

As a trumpet player, were there particular projects that stuck with you?

Definitely. One great thing was the rotation between principal and second trumpet — you’re always changing roles, which keeps it interesting. Sometimes chamber orchestra repertoire doesn’t give trumpets a huge amount to do, but then you get weeks that really stand out. I remember an unconducted side-by-side with St Martin-in-the-Fields that pushed us in different ways. I also loved doing the Telemann Double Concerto on piccolo trumpet with my colleague Etty during our Baroque week, and playing Sibelius 2 and Vaughan Williams’ Sea Symphony with full brass. That mix of repertoire was really satisfying.

You mentioned some travel during your time — any highlights?

So many! We played at Notre-Dame in Paris, and I’ll never forget stepping outside after rehearsal and seeing this huge queue snaking down the square — people waiting for our concert. We also went to Guernsey, to Ischia, and of course to Anghiari, which was just magical. I played in Madama Butterfly under the stars — completely unforgettable. And I was really grateful to be featured as a soloist at Cadogan Hall. It felt like the Fellowship gave me the space to grow in every direction.

After the Fellowship, how did your career unfold?

I never did a traditional postgrad. Instead, I feel like I built my own. Sinfonia Smith Square gave me that orchestral grounding, and then I used some funding from the Royal Philharmonic Society to study with Tine Thing Helseth in Norway, focusing on solo playing. That combination really shaped my next steps. After returning to the UK, I trialled with the Royal Philharmonic Orchestra and English National Opera, and started freelancing with groups like the Aurora Orchestra and Britten Sinfonia. In 2023, Britten Sinfonia offered me the principal trumpet role. It’s not a full-time position, since they often perform without brass, but it’s a core part of my career now, alongside freelancing with orchestras like the LSO and Aurora.

You’ve stayed closely connected to the Fellowship since — what’s kept that bond alive?

I stayed in touch with people like Simon Over (Sinfonia Smith Square Artistic Director) and James Murphy (former CEO of Southbank Sinfonia), and did bits of playing at St Clement Danes, where Simon’s the Music Director. I also decided pretty soon after finishing to become a Friend of the orchestra and give monthly. It felt important to give something back to a programme that gave me so much. I’d love to see that become a bigger part of the alumni culture — just £5 or £10 a month would make a difference. I’ve also been invited back to sit on audition panels, which has been a real privilege. Hearing new Fellows at the start of their journey is always inspiring.

Tell us about your new album — what made you want to create one?

I’ve always tried to balance orchestral and solo work. I love both, and I think doing one without the other would feel too narrow. Over the years, I’ve had pieces written for me, or formed deep personal connections to certain works. I realised I was the only person performing some of them, and I wanted those pieces to have a life beyond me — to be out in the world, performed more widely. So I started recording. At first it was just going to be videos, but it evolved into a full album: eight pieces, ten tracks.

How did you manage the self-release process?

It’s been a massive learning curve! I booked recording venues, chose engineers, coordinated with Britten Sinfonia, applied for funding, sorted licensing for YouTube, managed scores — some of which had to be reformatted for easier access — and of course, practised and recorded everything. I even designed the CD myself. It’s been a huge undertaking, but I’ve learned so much. I don’t know if I’d do it solo again — it’s a lot! — but I now feel equipped to advise others who want to.

What’s the theme behind the album, and how did you choose the title?

The title — Connection — came quite late. But it fits. All of the pieces have personal connections: to composers, to places, to moments in my career. Some were written for me; one by Peter Maxwell Davies I played in front of him in a masterclass. Roxanna Panufnik’s piece connects to a song her father began before he died. I wrote my A-level dissertation on his music, and met Roxanna while performing another work. The whole project has been filled with these kinds of threads. It feels like the right moment to release it — like I’m ready for these pieces not to belong just to me anymore.

And finally, what do you listen to when you’re off the clock?

I love musical theatre — Dear Evan Hansen, Wicked — and singer-songwriters like Sabrina Carpenter, John Mayer, and Lizzy McAlpine. I actually saw Lizzy live recently and was in tears for half the concert. I’ve also played with Jacob Collier, which was amazing, and his mum Suzie and I have become friends — she’s had me over for tea! That kind of feel-good, soulful music is what I unwind to. It’s the soundtrack to my warm-ups, my travel, my life.

Imogen’s debut album Connection is available now on CD and will be streaming soon. It features ten tracks written for or deeply connected to her, brought to life in collaboration with Britten Sinfonia. You can explore the full album — including some beautifully filmed live sessions — on her website: www.imogenwhiteheadtrumpet.com