CHOGM 2026 Day 1

CHOGM 2026 Day 1

CHOGM 2026 Day 1: Antigua’s interfaith service

1st November 2026

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The Commonwealth Resounds opened its programme for the Commonwealth Heads of Government Meeting (CHOGM) with music at the interfaith service in Antigua. The Antigua and Barbuda Youth Symphony Orchestra (ABYSO) and visiting musicians performed at St John’s Pentecostal Church House of Restoration in the presence of King Charles III and Queen Camilla.

In the days leading up to the service, our visiting musicians rehearsed with and mentored young members of ABYSO. The Commonwealth Resounds team of Ellen, Jamie, Natty, Daniel, Poppy, Lilly and Venelle was joined by three musicians from the University of Glasgow, four from the National Youth Orchestra of Canada and Nile, a young Anglo-Trinidadian harpist.

Nile brought her lever harp, and Cadi, one of the Glasgow musicians, brought a harp of her own. As far as we know, this was the first time two harps had played with ABYSO.
Guest conductor Daniel Bartholomew-Poyser led the orchestra, inspiring the players and keeping rehearsals moving smoothly.

The programme included A CHOGM Celebration, a short piece by the young Anglo-Jamaican composer Kaelan Bryden Johnson. It drew on music written by eight young Antiguan composers in workshops with The Commonwealth Resounds over the previous seven years.

‘I was very happy to hear some of my music in this piece.’

Jahfari, one of the young composers whose music featured in the piece

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National Youth Orchestra of Canada

The Antigua Team: National Youth Orchestra of Canada

NYO Canada: four musical journeys to Antigua and Barbuda

Find out more about our 2026 Antigua Trip

Four musicians from the National Youth Orchestra of Canada (NYO Canada) are due to join The Commonwealth Resounds in Antigua and Barbuda this November for the musical programme accompanying the 2026 Commonwealth Heads of Government Meeting (CHOGM). Meet violist Adélaïde Cadour, horn player Mathilde Lepage, trumpeter Toby Mar and trombonist Ilan Mendel.

The Commonwealth Resounds’ programme includes a World Orchestra, bringing visiting musicians together with members of the Antigua and Barbuda Youth Symphony Orchestra. NYO Canada has been preparing young musicians for orchestral careers through training, recording and touring since 1960. Ahead of the visit, we asked the four how they found their instruments and what they hope to share and discover in Antigua and Barbuda.

Adélaïde Cadour, viola

Adélaïde discovered the viola at six and went on to become the only musician in her family. She credits the people around her with supporting her on the way to her NYO Canada audition. Her first summer with the orchestra in 2025 made such an impression that she signed up for the 2026 tour.

My mother made me take some music courses at the age of six where I discovered music and especially the viola, an instrument for which I fell in love. I then continued my journey as the only musician in my family. I was lucky enough to be well surrounded until I managed to audition for the NYO in 2025, which led me to live the best summer of my life and therefore to register again for the 2026 tour.

I am very much looking forward to learning about the music of Antigua and Barbuda and to the cultural exchange of the forum.

Mathilde Lepage, horn

Mathilde followed a family connection to the music programme at Joseph-François-Perrault high school. After about eight years on the piano, she took up the horn there, and her love of orchestral playing led her to the Conservatory of Montréal. Her teacher introduced her to summer programmes, and several players she admired had already spent summers with NYO Canada. She earned a place in 2024 and returned for the next two summers.

I come from a classical music family: my parents played piano for ten years when they were kids and my dad went to the Joseph-François-Perrault high school, which still has a really strong public music program. I followed the same path and after playing piano for about eight years, I decided to play the horn at that same high school. I really fell in love with the instrument and particularly the orchestral world and decided to continue my studies at the Conservatory of Montréal. My teacher there sent me and my horn friends a bunch of summer programs to look into and that’s where I discovered NYO Canada. Some of the players I looked up to the most during those first years at the Conservatory all went there for a couple of summers and so I got really inspired by them. I auditionned a couple of times before getting selected for the first time in 2024, and I loved it so much that I decided to spent my 2025 and 2026 summers there again.

Toby Mar, trumpet

Toby played piano and viola before choosing the trumpet, with his older brother as his first musical role model. The instrument appealed to him for the range of moods it could convey, and its sound in an orchestra was what drew him most. Teachers introduced him to NYO Canada, where he was drawn to the recordings and faculty. He credits the training and the demands of touring in 2025 and 2026 with helping him grow as an artist.

I began my musical journey on piano at a young age and quickly transitioned to the viola. I was fortunate to have a older brother who remains a passionate musician and who became my earliest musical role model. Inspired by his dedication and love for music, I strived to follow in his footsteps. I eventually chose the trumpet as my primary instrument! I enjoyed the many genres and moods that the trumpet can convey, but the orchestral trumpet sound was the most convicing to me. I first heard of NYO Canada through my private teacher and my high school band directors. I was inspired by NYOC’s online recordings and was drawn to the program for its world-class faculty. I am honored to have participated in NYOC’s 2025 and 2026 programs. The exceptional training I received and the demands of the touring program allowed me to grow as an artist, and the experience remains one of my fondest musical memories.

Ilan Mendel, trombone

Ilan took up the trombone through a public school music programme in Nova Scotia. He first worked with Daniel Bartholomew-Poyser in the Nova Scotia Youth Orchestra, and they continued to work together after Ilan moved to Toronto to study. Ilan now combines playing with conducting, having taken up the Resident Conductor post at the Calgary Philharmonic Orchestra for the 2026/27 season. The Antigua visit offered another chance to work with Daniel, NYO Canada’s Music Director for 2026 and 2027.

I first started in music with piano lessons as a young child, and then playing trombone through the public school program in Nova Scotia, Canada, which is lucky to have strong public music system. While studying piano, I wasn’t very enthusiastic but once I started trombone something clicked and I realized this would be a big part of my life. When I was in the Nova Scotia Youth Orchestra, I had my first chance to work with Daniel Bartholomew-Poyser, who was one of our guest conductors. I enjoyed working with Daniel so much, and when I moved to Toronto to study at the University of Toronto and The Glenn Gould School at The Royal Conservatory of Music, I had the chance to work with him more. Now I work as the Resident Conductor at the Calgary Philharmonic Orchestra and remain active as a trombonist. I am looking forward to working with Daniel again and joining the NYO Canada team at CHOGM.

Listening and learning

The invitation took Mathilde by surprise. She was particularly keen to discover more about the musical traditions of Antigua and Barbuda and the history behind them. For Ilan, who had never visited the Caribbean, the trip offered a chance to hear how local musicians and colleagues from across the Commonwealth approach orchestral playing. Both looked forward to the conversations and friendships that could grow out of making music together.

When I first got offered to go to Antigua and Barbuda with NYO Canada, I honestly thought this wasn’t real. I feel so privileged to go to a new country and meet so many different musicians with tons of different musical backgrounds. I think being chosen for this project showed me that I’m someone who loves connecting with people both on the musical and the personal spheres and that the team at NYO really saw it too. This is a once-in-a-lifetime opportunity for all of us and I’m extremly excited to make the most out of it, both by playing with new colleges from all around the commonwealth, but also by discovering a new country and its history and traditions.

To be completely honest, I discovered just recently that Antigua and Barbuda had such a rich music tradition. I’m extremly excited to discover more about it and learn from the local musicians there. I’m someone who’s always looking forward to learn more about musical traditions and ideas different than mine; I think this can only enrich the musical vision of every musician present there and just knowing more about the history and musical background of the country is for sure going to enrich my own vision of music.

Finding a sound together

Mathilde wanted to share the flexibility she hears in Canadian orchestral playing. Ilan was interested in what happens when musicians compare their ideas about sound and create something none could have made alone. For Adélaïde, whose first language is not English, the promise of collaboration was especially personal: musicians could share an intense feeling and understand it together without exchanging a word.

What it meant to represent Canada

For Toby, representing Canada meant turning up ready to contribute and helping make the performance enjoyable for everyone involved. He was interested in how Canadian and Antiguan musicians might recognise a shared Commonwealth heritage while bringing different approaches to the music. Ilan traced his own openness to growing up in an international family. He saw playing together as a direct way for musicians to build on the links their countries already share.

I am so honoured to have this opportunity to collaborate with my NYOC colleagues and with this international orchestra! I look forward to representing Canada, which, to me, means bringing a spirit of collaboration and a commitment to making the performance an exciting and enjoyable experience. I am also excited to serve the Commonwealth as a whole, offer my artistry, and learn from those around me.

Having grown up in a commonwealth nation, this trip presents an opportunity to personally connect with artists who share that experience. Despite being far from home, Antigua shares this cultural heritage and I am keen to celebrate the diversity and continuity between the ways Canadians and Antiguans make music.

What they hoped would last

Adélaïde hoped young people would leave with good memories and a reason to keep making music for the pleasure of sharing it. She also wanted Commonwealth leaders to recognise the effort behind a performance and what they could do to make music more accessible. Toby hoped the exchange of ideas would give him a fresh approach to his own playing. That was the measure they set for the visit: people they would want to stay in touch with and ideas they could try at their next rehearsal.

Adélaïde Cadour

I hope to be able to live beautiful memories with these young people and the desire to continue making music for the pleasure of sharing

I would like this experience to remind leaders, with all the responsibility they must assume, that the simplicity of music is only possible thanks to the passion and effort of young people and that as a figure of their states, they can make it accessible

I would be happy to know that I had a unique experience and that I would have gotten to know musicians throughout the Commonwealth

Since English is not my mother tongue, a successful musical collaboration would be to experience intense shared emotions without exchanging a single word…

Adélaïde Cadour, viola

When I first got offered to go to Antigua and Barbuda with NYO Canada, I honestly thought this wasn’t real.

Mathilde Lepage, horn

The potential to bring home a renewed approach to music makes this trip such an exciting opportunity.

Toby Mar, trumpet

No matter someone’s background, culture, language, or country, we can all connect over music.

Ilan Mendel, trombone

Find out more about our 2026 Antigua Trip

Meet the team: Venelle Powell

Meet the team: Venelle Powell

The Antigua Team: Meet Venelle Powell

Venelle hopes the young musicians she meets in Antigua will leave feeling more confident in their own creativity. Preparing to represent Saint Kitts and Nevis at the Commonwealth Heads of Government Meeting (CHOGM), the Nevisian performer and educator is looking forward to musical experiences and friendships that could continue to inspire her students long after the visit.

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Venelle With her team in 2023

Venelle Powell wants young musicians to find their voices

In 2023, Venelle travelled to Antigua as a chaperone for students attending the Go Compose workshop. The visit brought her into contact with The Commonwealth Resounds team and gave her an opportunity to contribute musically within a wider Commonwealth setting. She brings to this return visit the experience of both a performer and an educator: a singer-songwriter and vocal coach, she is also a founder and teacher at the Samuel O. Powell School of Music in Nevis.

I am proud to represent Saint Kitts and Nevis through my passion for music. Music has been an important part of my life, not only as a means of creative expression but also as a way of connecting with people.

As an educator, I understand that music can help young people build confidence, discover their abilities, and find their voices.

The exchanges Venelle looks forward to grow through everyday encounters as well as rehearsals. TCR’s 2024 Go Compose account records her introducing visitors to soursop, sugar apple and sugar cane between workshop sessions. It is a small illustration of the cultural sharing that accompanies the music. Returning to Antigua, she is keen to encounter different perspectives and discover what musicians can create together. For Venelle, collaboration offers a way to appreciate the experiences people share while celebrating what makes each participant distinct.

Although our musical experiences and traditions may differ, music creates opportunities for us to find common ground, appreciate one another, and celebrate both our uniqueness and our shared humanity. It reminds us that our cultural differences do not divide us; instead, they can bring us together to create something beautiful.

The encouragement Venelle hopes to offer has a practical purpose. She wants young people to discover abilities they may not yet recognise and feel ready to share their musical ideas. Her message to Commonwealth leaders is that investing in music education supports personal development and helps preserve cultural identities. Back in Nevis, she hopes to share new ideas and experiences with her students at the Samuel O. Powell School of Music. A successful visit would leave her with meaningful connections and young people with the confidence to keep creating.

I hope to offer encouragement, inspire younger musicians, and build genuine connections with the people I meet. As an educator, I understand that music can help young people build confidence, discover their abilities, and find their voices. I hope those I work with leave the experience feeling encouraged to explore their creativity, believe in their potential, and recognize what they can achieve through music.

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Meet the team: Elijah Kiwalabye

Meet the team: Elijah Kiwalabye

The Antigua Team: Meet Elijah Kiwalabye

Sharing Uganda’s musical heritage and championing its young musicians
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Elijah Kiwalabye brings Uganda’s music to Antigua

Elijah Kiwalabye is a Ugandan music educator and founder of Thrive Music Academy Africa in Kampala. In November 2026, he will represent Uganda as a Commonwealth Music Ambassador at the Commonwealth Heads of Government Meeting (CHOGM) in Antigua and Barbuda. His programme includes performing with the special World Orchestra, contributing to the cross-cultural opening performance for the Commonwealth People’s Forum and taking part in the Commonwealth Music Conference. He hopes the visit will give international visibility to the talent and potential of the young musicians he teaches.

It validates years of grassroots work with young people in Uganda and shows that our local sounds have a global place.

If my students see that their teacher stood on a Commonwealth stage, they will believe they can too.

Elijah first discovered The Commonwealth Resounds in 2022 through its Platinum Jubilee project, which brought choirs together to sing A Life Lived With Grace across the Commonwealth. The idea of one song uniting people across borders resonated with his work in Uganda, where he teaches talented young people with limited resources. For Antigua, he will bring Ugandan instruments including the adungu, tube fiddle and drums, sharing polyrhythms and call-and-response singing as ways of exploring culture and telling stories.

I am particularly keen to share how music inspires grassroot young people in Uganda, I work with youth who have immense talent but limited resources. I have learned how to teach and arrange music with minimal infrastructure but maximum creativity.

Meeting fellow delegates is an opportunity to hear how Ugandan rhythms can interact with those of Antigua and Barbuda. Elijah is especially keen to learn about carnival music, steelpan traditions, calypso and soca, and how musicians keep their heritage relevant to younger generations. He recognises the same challenge in Uganda and wants to return with teaching approaches and musical ideas he can share with his students. The exchange is also a chance to build friendships that can support future collaborations.

I am particularly keen to share how music inspires grassroot young people in Uganda, I work with youth who have immense talent but limited resources. I have learned how to teach and arrange music with minimal infrastructure but maximum creativity.

I am very eager to learn about Antigua and Barbuda’s carnival music, steelpan traditions, and folk forms like calypso and soca. I want to understand how they preserve their heritage while making it relevant for young people today – that is exactly the challenge we face in Uganda.

Elijah wants Commonwealth leaders to see music education as an investment in young people’s skills, wellbeing and opportunities to earn a living. His ambitions for the visit extend beyond the performances: he hopes to develop lasting friendships, bring new ideas back to Uganda and show his students that their music belongs on an international stage. He would like the collaborations begun in Antigua to continue through online composition and cultural exchanges, supported by sustained investment in young musicians after CHOGM has ended.

I would like leaders to understand that music is not a luxury or just an extracurricular activity – it is education, it is employment, it is mental health, it is identity. When you invest in a young person’s music education, you are investing in peace, confidence, and entrepreneurship. If my students see that their teacher stood on a Commonwealth stage, they will believe they can too.

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Meet the team: Ellen Wilkinson

Meet the team: Ellen Wilkinson

The Antigua Team: Meet Ellen Wilkinson

Ellen has been a regular member of the Commonwealth Resounds Team for many years and it is a great to see her return with us for her latest trip to the island.
Find out more about our 2026 Antigua Trip

Ellen Wilkinson returns to Antigua

Ellen Wilkinson is an oboist, writer and arts educator who graduated from the Royal Academy of Music in 2023 with First Class Honours. She also founded the conservatoire’s student newspaper, RAMpage News. In November 2026, she will return to Antigua with The Commonwealth Resounds for the Commonwealth Heads of Government Meeting (CHOGM). She will perform with the World Orchestra alongside international instrumentalists and members of the Antigua and Barbuda Youth Symphony Orchestra, coach young wind players, and lead poetry and music workshops with the Commonwealth People’s Forum.

I am so touched to be invited to the Commonwealth Heads of Government Meeting 2026. Antigua and Barbuda is extremely special to me; its vibrant steel pan bands, gorgeous sands and sumptuous mangoes have shaped my growth into adulthood, as well as my development as a musician and community leader. I will be delighted to connect with my Antiguan friends at such an important international event, broaden my global connections with inspiring cultural leaders and, most importantly, play music!

Ellen’s connection with The Commonwealth Resounds began through community music projects with Alison Cox while she was a student at The Purcell School between 2017 and 2019. She joined the charity’s first visit to Antigua and Barbuda in 2019, coaching the oboes and wider woodwind section of the youth orchestra, and has returned several times to teach and lead creative workshops. She has also launched the Commonwealth Music Ambassadors programme, which aims to connect musical representatives who champion their culture and music education internationally.

I am also so excited to have recently launched the organisation’s Commonwealth Music Ambassador programme, which connects musical representatives of each commonwealth nation to champion their culture and education programmes on international platforms, such as CHOGM.

What does succesul musical collaboration look like to you?

Taking inspiration from different ways of working, and exploring how they can spark creativity. There is always more in common than not. Bringing laughter to the rehearsal space; ease creates connection, which translates to the music making and to the audience.

Ellen with her oboe students, Ja’Quan and David, 2024

What are you hoping to learn from musicians in Antigua and Barbuda?

I have always been struck by the advanced listening ability of Antiguan musicians, as well as their ease with improvisation and complex rhythms. British musicians are trained to be adept at and reliant on reading sheet music, and I hope to develop my freedom of expression away from that. Antiguan musical culture is built on intergenerational communities – steel pan band training sessions range from young children to experienced pan leaders, often within families, and practising into the evening multiple times a week. This gives sustainability to music making, which is integral to the nation’s wellbeing. I think British culture could benefit from this connective setup hugely.

Ellen’s message to leaders at CHOGM draws on her work with young people in a hospital school, an adolescent psychiatric ward, a nursery and a pupil referral unit. She sees accessible music-making as a way to help children express themselves, build confidence and learn to work with others. Her focus is on recognising what each child can contribute, and on the relationships and emotional skills they can carry into later life.

With accessible ways of working, music is an equaliser; it is a tool for self expression, building confidence, growing skills in collaboration and showing that you can have fun through work. A child who disrupts a maths lesson is able to keep a steady drum beat, a non-verbal child is able to make a loud noise by hitting a bell, a toddler learns how to hold an instrument with care.

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Meet the team: Natty Purbrick

Meet the team: Natty Purbrick

The Antigua Team: Meet Natty Purbrick

Composer and instrumentalist Natty Purbrick is preparing to join The Commonwealth Resounds in Antigua for the Commonwealth Heads of Government Meeting (CHOGM), which takes place from 1 to 4 November 2026.
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Natty Purbrick looks ahead to Antigua

Natty Purbrick is a composer, pianist and percussionist from Brighton whose music ranges from experimental ambient works to orchestral writing and jazz fusion. A former composition student at The Purcell School for Young Musicians, Natty also has a keen interest in collaboration and helping others explore their creativity.

This November, Natty will join The Commonwealth Resounds in Antigua for the Commonwealth Heads of Government Meeting (CHOGM), which takes place from 1 to 4 November 2026.

For Natty, the visit is an opportunity to share musical skills and learn from the people the team meets. It will also be a first experience of working internationally.

For me, this is my first international working opportunity so it means branching out, learning about different cultures and experiences. This means musical, but also environmental, as climate justice is very important to me.

“I hope that I can bring joy and creativity, and celebrate our differences.”

Natty’s recordings reflect that breadth. The release notes for Leo’s Piano describe a three-part ambient work developed from spontaneous late-night recordings by pianist Leo Lupascu, with music and mixing by Natty.

The connection with The Commonwealth Resounds began during Natty’s time at The Purcell School for Young Musicians:

From 2023-2025 I studied composition at The Purcell School for Young Musicians under Alison Cox as my head of department.
I displayed a keen interest in collaboration and outreach which was acknowledged by Alison, who then invited me to take part in teaching/workshop based activities in schools across the UK with a focus on music and composition.

That interest in collaboration is also reflected in BIRD SONG. In November 2025, The Purcell School reported that Natty’s jazz fusion piece had begun as a creative task on the very first day at the school. Two years later, it had developed into a studio recording bringing together current and former Purcell pupils.

In Antigua, Natty will bring that experience to both composition and performance.

I will be going as a composer and instrumentalist (in this case – drums/percussion, though I also specialise in jazz piano and production). With this, I will be writing music for the conference and assisting/leading group music work.

The chance to meet people and share a love of music is what Natty is looking forward to most.

I’m most looking forward to meeting new people and learning about the world through people’s experiences. I’m excited to spread a passion for music and celebrate people coming together for an important cause.

Natty hopes to return with a sense of having contributed to the wider community.

I’m hoping to come back with new experiences of my own, but also to know that I’ve made an impact in this larger community.

For the people Natty meets, the hope is simple.

I hope that I can bring joy and creativity, and celebrate our differences.

Sharing skills will be one way to put that into practice.

I’d love to teach something that people might not know, so that they have the opportunity of combining it with their strengths

That exchange will run both ways. Natty is keen to discover the musical history of Antigua and Barbuda and bring new ideas into future projects.

I’d love to learn about the unique musical language of Antigua and Barbuda – the history, and elements that make it unique. I would love to come home knowing more and having new things that can contribute to my own musical projects. There is an amazing opportunity of cross-fertilisation between our musical identities that can produce something beautiful.

Natty sees listening as the starting point for creating something together.

I think it starts with awareness and knowing each other’s strength and weaknesses, and then a great level of listening and open contribution. A successful collaboration should be something that one contributor couldn’t make on their own, but instead an amalgamation of every collaborator’s abilities and experiences.

Confidence, too, is central to Natty’s hopes for the young people involved.

I would love to see young people gain confidence in expressing themselves in different ways and celebrate what makes them unique, understanding, especially via music, that they have their own valuable creativity that should be celebrated.

These personal connections are also what Natty sees as music’s contribution to the wider Commonwealth.

Music has the undeniable ability of bringing people together; a universal language that can bridge gaps between cultures. Across the commonwealth, it can bring a sense of relatability between each other, and a way of celebrating that. By making it an accessible activity, it can be an easy way for people at opposite ends of the spectrum to come together and meet.

At CHOGM, Natty would like leaders to recognise the emotional support that music can offer young people.

I think the leaders at CHOGM should know that music has the ability to connect with people unlike many other things in the world. It has the power to spread hope, joy and positivity, as well as vulnerability, awareness and confidence. In a world that might seem daunting and overwhelming, we can use music to ground us and remember what is important.

When the visit ends, Natty’s measure of success will be the effect on the people who have taken part.

The knowledge that I have inspired someone – or a lot of people – to make music or art in any way, shape or form, and that people will remember our visit as something that can be looked back on with joy and positivity – spreading a message of kindness and optimism.

Looking beyond Antigua, Natty hopes to keep working with people who want to create.

More opportunities like this! I’d love to continue to teach and cultivate creativity in all sorts of areas around the UK and the world.

Find out more about our 2026 Antigua Trip