Music Makers!

 In the celebrity culture that we have today the 'stars',   be they pop stars, footballers, actors or whatever rule supreme.  Look in any newspaper on a Sunday morning and you will find virtually all the football reports are about the Premiership teams and those that play in them. The rest of the football world is a 'non-world' – even though the majority of the population turn up week after week to watch their local team rather than the twenty Premiership outfits. It is the same in other walks of life – the West End dominates the theatrical life of the nation (or so the media would have you believe), events at the Royal Albert Hall or the Barbican or Covent Garden or wherever are apparently where it is at in terms of the classical music world. And in these worlds, as in the Premiership, it is the big stars, the diva’s, the Berlin Phil and the like who catch the headlines.

David Woodhouse gets them going! 

Don’t get me wrong - to see or hear the top stars is an important element in any activity. It is something to strive for, learn from and aspire to. But it is only the icing on the cake. It is not the substance and it certainly is not a measure of the 'health' of that activity within the nation as a whole. Some years ago, whilst driving, I listened to a radio programme which was considering why it was that in Great Britain we, historically, seem not well off for great composers. Of course, we have many, but compared with Germany or Italy, for example, we are poor relations. The presenter of the programme asked the 'experts'  if   it was that we are intrinsically, as a nation  'less musical.' The panel gave a number of reasons but all agreed it was basically to do with the fact that in countries like Germany and Italy each, historically, had many smaller states or palatinates or city states such as Florence or Venice  comprising  them  and each had its own duke and prince. Each of these had a royal court and employed court musicians. The result, a culture of compositions and performance developed across the nation. In Britain, we had only one royal court – in London – and the result was that there was less opportunity for musicians to ply their trade and develop their skills. Now I don’t know if that theory is true  but, certainly, the evidence that I have seems to suggest that it is so. One only needs to look at the career of Haydn or Mozart to know this. But, whatever, it seems to me that the musical health (or indeed the sporting health) of the nation is much more accurately measured or based in what is happening at the 'grass roots' rather than what is happening in the big stadium or great concert hall.

A few of the deeper voices!

At another level, I have to confess that I also prefer the smaller, more intimate setting for enjoying my music. Too often I find that if I attend a concert in, for example, the Royal Concert Hall in Nottingham to see and hear one of the country’s - or perhaps the world’s - great orchestras a different set of factors come into play. I enjoy the concert, of course, but it seems to become more of a social occasion, a place to be seen at and to enjoy a glass of wine rather than a musical event. People have 'got dressed up' to go to the concert or theatre and the impetus seems  to be rather 'I’m going to  hear and see' some great star perform rather than appreciate a piece of music. Added to this is the undeniable fact that, unfortunately, one is largely able to access only a  relatively restricted repertoire. Commercial theatres and concert halls are understandably  anxious to  fill seats so we tend to get the 'big hitters' – whatever is popular at the moment – Beethoven, Mahler, Brahms or whatever. There’s nothing wrong with this, indeed, local groups and theatres have just the same problem and response – but it is a factor.  But in the big concert hall another factor comes into play which exacerbates the situation: the Beethovens, Mahlers and Brahms et al  were written with the big venue in mind. The nineteenth century was increasingly the age of the concert hall and the paying public rather than the more intimate drawing room or church. It is relatively rare, for example, to hear Bach performed in a great concert hall – it wasn’t written for that setting, may not fill seats and all in all would probably sound ‘wrong’. So all in all my preference is for the local.

And some of the upper octaves!

I mention all this by way of introduction to my evening last night listening to Mendelssohn’s Elijah sung by the Ruddington and District Choral Society. (www.ruddington-choral.org.uk). The choir is, as its name suggests,  a local choir comprising of about eighty singers and next year (2012) will be its fiftieth anniversary.   During that time it has established itself as a major contributor to the local Nottinghamshire music  scene. It’s remarkable that a number of the original members of fifty years ago are still singing with the choir. Week in week out the choir meet together to rehearse in the local primary school hall for their concerts – usually one each term - and, as with all activities such as this, as the date of a performance looms, panic sets in, extra rehearsals are arranged – but of course, as the well worn phrase oft tells, it’s always 'alright on the night!'

One of the choir's
driving forces!
Brian Head-Rapson

But, of course, it’s not simply a question of rehearsing the music. For a performance to take place a myriad of other jobs have to be done – staging set out on the day (and put away again), programmes written and printed, tickets sold, scores obtained, soloists (if being used) arranged and given opportunities  to practise with the choir, refreshments for the interval considered. The list is endless, and of course underpinning it all is the matter of finance to keep the whole show on the road. Many decisions have to be made many months in advance so committee meetings have to be held, potential soloists contacted and 'booked' and venues arranged.  So not only is it about turning up each week to sing, it’s also about many people giving their time to ensure that the show can go on! My association with non-league football confirms this. As someone who has been a secretary of a local club for a number of years, I know just how difficult it is to get two teams plus match officials onto a pitch for a game, plus the ground ready before a ball is even kicked. These are considerations that Sir Alex Ferguson never has to be bothered with – but they are the critical factors in ultimate success at grassroots.

A young man at the start
of a musical career?
Soloist James Middleton

Of course, I would suggest that few,  if any,  see this as a chore – although I know from experience that occasionally everyone has a moan! The choir, as well as allowing people to enjoy their singing and their music, provides ordinary people with the opportunity to be involved in some capacity and to utilise skills and interests. My wife is publicity officer for the choir so enjoys spending time in this role.  I’m not a choir member but occasionally help her with writing the programme notes – a job I look forward to researching about composers and pieces. As they say, it keeps me busy and out of mischief. And this is an important spin off in local music or sport – it provides a framework for ordinary  people to be involved and to perhaps feel valued as well as enjoy their particular interest. It is about  providing a vehicle for participation and involvement rather than just listening or watching. I can listen to Elijah any time I want  by simply slipping a CD into my audio system – but that is a sedentary (although, of course, hugely enjoyable) activity – the choir’s concert, however,  provides something rather different.  In modern terminology I think we might call it 'interactive'!

And for me that is why groups and teams like this are a far better gauge of the musical or sporting life of the nation than the Royal Opera House or Manchester United where the big stars sweep in, strut their stuff and sweep out again with their bag of swag! And the rest of us? – we simply pay our SKY subscription or buy our ticket and watch – and when the show is over that’s it. In footballing terms it is why we do so badly at international level – we are obsessed with the stars and the top teams rather than the grass roots and the future. Recently, an old footballing friend died. He had given his life to local football and his obituary said  'he can be best summed up by saying that today’s players are yesterday's youngsters and today’s youngsters are tomorrow's players, and they all have one thing in common, they are all playing because of [his] determination and dedication to the club he loved so much.' In music it is the same – local groups and ventures provide the musical life  of tomorrow – be it in the Royal  Albert Hall or in St Giles’ Church.

Half time refreshments!

 So what about Elijah? I must first preface any comments by saying that it is not a favourite of mine. I’m not a Mendelssohn fan but it is undeniably one of the great choral works and retains a huge popularity. This is important, because for a choir like Ruddington it is important that the right balance is struck between popular pieces and introducing new works.   Selecting an annual programme that will attract a good attendance but at the same provide the choir with new challenges and the audience with a wide musical variety is a crucial element in planning. Last night’s concert was well attended – about  a hundred and thirty filled St Giles Church in West Bridgford (a suburb of Nottingham) and as the final  notes died away there were deserved  cries of  'Well done', 'More' and 'Hurrah' from the audience. From the first note, the choir had sounded  confident and on top form. They obviously enjoyed singing the oratorio and it showed. I have, over the years noticed that if a choir is less certain, less confident or unhappy with a piece then one can tell almost with the very first note and how well they 'hit it'. But not last night.  Everyone was smiling and looking confident  when conductor David Woodhouse first raised his baton, and two and a half hours later, when he exhorted the choir to the final uplifting chorus and with a sweep of his baton brought the final note to a close, I think the choir and he must have been well pleased.

Glad I brought my
glasses!
Concentration
from Margaret

As I mention, I am not  a huge fan of Elijah – I find it a bit Victorian 'twee' for my taste. Mendelssohn, of course, a hugely gifted musician and composer who in his short life wrote some of the world’s very great music was also the man who brought Bach back to world prominence. When he worked with the Leipzig Gewandhaus in the 1830s he was instrumental in reviving Bach’s music throughout Germany and wider Europe.   Today, the wonderful statue of Bach that stands outside the Thomaskirche in Leipzig is there because of Mendelssohn so although I’m not too fussed about Elijah, as a Bach fan I have to thank Felix Mendelssohn. Indeed, as I sat listening to the wonderful organ accompaniment provided by Philip Millward at last night’s concert I suddenly realised how many little Bach-like phrases there are in the organ accompaniment to the oratorio. Perhaps Mendelssohn was sub-consciously  paying his respect to the master!

The five soloists – including thirteen year old James Middleton, who, having  superbly sung his treble part as 'the youth'  fell asleep at the side of his mum and dad in the audience – were outstanding and certainly from  where I was sitting seemed to bond well with the choir. The soloists, some of them younger people climbing the ladder to a professional career turn up on the day of the concert and practise with the choir during the afternoon of the evening’s performance so there is little room for mistakes. Often they have travelled from London or Manchester or wherever for the concert and might be a graduate of one of the country’s great music schools such as the Royal Northern and their next performance might be at some more august place of music. For example, last night’s tenor, Anthony Gregory will shortly be performing in London’s Cadogan Hall, the alto (Katie Bray)  recently sang at the Wigmore Hall , Soprano Ella Kirkpatrick sings with the English National Opera and bass William Burn whilst holding down a teaching post at Nottingham High School undertakes solo and consort work across the UK and Europe. What is good is that these professional or aspiring professionals work with local choirs like the RDCS and perhaps bring an element of 'professionalism'. They  help to turn a good 'local performance' into a memorable one – and I believe learn something themselves from working with enthusiastic amateurs.

I don’t somehow see Wayne Rooney doing this with local football teams in and around Manchester – but there, perhaps I’m being cynical! Perhaps if he did he might learn a bit more about more about real football and real players!

Nearing the end.

It was good last night to see many of the 'regulars' at the concert – people who attend all the choir’s concerts - but also a number of new faces – attracted perhaps by the fact that they could hear one of the choral greats. At the interval there is a general rush for the cup of coffee and biscuit that is included in the price of the ticket and an opportunity for people to have a word with old friends – perhaps people who they have not seen since the last concert. Indeed, last night my wife and I we able to talk with an old work colleague who we hadn’t seen for many years and to wish him well as he told us of his plans to move away from the area to live nearer his married children 'now I’m old and doddery', he complained. And, amazingly, as my wife stood selling tickets on the door she came face to face with a lady who she recognised from the far past – they had both been schoolgirls together  and travelled to school across south London to school in the late fifties! A small world.  In fact the coincidence didn’t end there as her husband, also an ex-primary teacher like myself, was someone I had worked with and at one time done a job swop with - without ever knowing our lives were linked by our wives’ school days! But, again, all this is part of the local scene and another facet of its intrinsic worth.

As I sat at the back listening and enjoying the music I reflected upon all the hard work and effort that had gone into putting on the concert – and this in turn has given pleasure not only to the audience but to those taking part as well. And for me this is the critical thing. Music, like football or any recreational activity is about taking part in some way and as I mentioned above, in terms of the footballing life of the nation, the Premiership is only a tiny facet of the sport but it gets a disproportionate share of the funding and the fame. So, too, with music – it cannot be about the Royal Opera House or the Royal Albert Hall – it has to be about places like St Giles Church and organisations like Ruddington Choral Society. You will not hear the smooth, digital perfection of the CD performance or the highly honed qualities  of the Berlin Phil but you will hear music being made by highly skilled and motivated enthusiasts – and surely that is where music first came from hundreds or thousands of years ago – from ordinary people who hummed or sang a good tune as they went about their daily work. 

'More' they called!

And, importantly,  it is in places and events like this that aspiring musicians like thirteen year old James Middleton get their early performance  experience and perhaps one day move on to the Royal Opera House.  It is equally, at the same time,  about people like 87 year old Betty Kidd who has sung with the choir and undertaken various roles in the society for most of its fifty year life – and in doing so has made a huge contribution to the musical and cultural life of the locality and perhaps the wider  nation.