Alumni Careers: Keep playing your instrument even if it’s not your day job – it can lead to interesting opportunities!
A conversation with alumnus Roberto Garcia (Music 1983) on his journey in music publishing.
Roberto Garcia was born in London to Spanish parents and studied classical guitar at Guildhall School from 1979 to 1984. After a career in teaching and performance, he entered the world of music publishing and is now London Director of the renowned German publishing house Schott Music.
Why did you choose to study at Guildhall School?
I had been studying classical guitar privately with Doug Rogers when I was at school and was determined to continue my guitar studies either at university or a conservatoire. Doug recommended that I study with Gerald Lee, so I applied to Guildhall, passed the audition, and was offered a place!
How would you describe the atmosphere and culture at Guildhall School during your time there? What did it feel like to walk into the building?
Walking into the building for the first time was nerve-wracking! I was so proud and delighted to have been accepted into music college, but at the same time, I was nervous and excited about where my music would take me in such an esteemed and prestigious establishment.
I was one of the early intakes to the new building, so there was still a lot of construction work going on too!
Are there specific memories or experiences at Guildhall School that had a lasting impact on you? And how did the School prepare you for your career?
There was great camaraderie among the guitar department under Gerald’s tutelage. Probably to the irritation of most of the other students, the guitarists used to have impromptu gatherings, sitting in the alcoves around the café, getting out our guitars to play anything from jazz, pop, and folk to classical!
After I left the School, I went on to study in Spain and Sweden, and my time at Guildhall certainly stood me in good stead for my ongoing studies and career.
What is a typical day in the life like for you?
As a Director of Schott Music London, most of my days are spent overseeing the various commercial areas of the company, particularly our composer, hire, licensing and print businesses. Budgets and strategic planning take up a lot of my time, as you would expect!
Where can people find out more about your work?
Schott Music was established in 1770 in Germany, and the London office was opened in 1835 and has been here ever since! Schott is the publisher of some of the most prominent 20th-century composers, including Sir Michael Tippett, Igor Stravinsky, and Carl Orff, to name but a few. It is also one of the longest-standing sheet music retailers with offices all over the world.
We have three main areas of activity: promoting our contemporary classical composers and their music, publishing and printing books, and publishing sheet music in physical and digital formats.
Anyone is very welcome to come and visit our office and shop on Great Marlborough Street and chat with our brilliant staff!
What has been your career highlight since leaving Guildhall School?
I’ve had so much fun and enjoyment from playing the guitar, which I still do now in my spare time. The highlight of my career is probably where I am now, having reached a senior position and worked my way up in the music publishing world.
What are your hopes for the future?
To continue to grow the business for Schott Music and to keep working in the sector I love!
What piece of advice would you give to our students/recent graduates who are starting out in your profession?
Mine is a particular journey. I started in the business working for Boosey & Hawkes before I moved to Schott, but many colleagues I know in the business have taken varied routes into the world of music publishing. However, what remains very common is that people will stay in the industry for many years.
There are a lot more ways to find job opportunities in the publishing industry now than when I first started out. Organisations such as the Music Publishers Association and the Independent Society of Musicians offer some very helpful advice for students and alumni interested in the profession, and they also offer some interesting courses. Some companies, such as ours, offer internships too.
Also, if you don’t end up as a full-time performer, keep playing your instrument or singing—it can lead to some interesting opportunities to play, even if it’s not your ‘day’ job!
How has the industry evolved since you graduated, and how have you adapted to these changes?
One of the biggest changes, which is to the detriment of the music industry as a whole in my opinion, is the decline in music instrumental provision and music education in state schools. I was lucky enough to be offered guitar lessons at age 12 through my state comprehensive school, and that is what got me started in my career in music. Of course, there are young people learning music in some fantastic state schools, but sadly, I am not so sure that route is as easily open to young students under the current education system.
As far as the publishing business is concerned, the most significant change is the development of digital downloads for printed music. Publishers are adapting to these developments in the world of iPads, but I still think printed music will be around for a while yet!
