May 2011 - Page 5 of 8

Prince Charles and I do not share the same tastes in music. He likes the old pomp and circumstance with a special preference for Hubert Parry, whom he is gifting to the nation in a forthcoming TV documentary on May 27.

I like to start the day with a dissonance and a 12-note row, saving the big tunes for funerals and barmitzvahs.

It’s a respectable difference of opinion, and one that we’ll never reconcile. I was arguing it out only last night at the Hatchards author’s party with Ian Skelly, co-author of his book on Harmony.

Still, I do admire Prince Charles for taking the high ground in matters musical and never stooping to curry favour with the music business, which would not know an ethical principle from a tub of lard. He keeps it serious and clean. He has even conducted an orchestra for his wife’s birthday.

Why, then, is his dearly beloved Duchess sailing out tonight to grace the Classic Brits? (announcement here)

The dumb-down show is a caricature of musical endeavour, a glam-fest for artists who can’t quite make the commercial big time and shelter instead under a leaking classical umbrella. Why is the Duchess of Cornwall giving royal cred to this sad crew? Is she secretly a fan of Il Divo? Does her husband know?

Her presence there can only undermine the good work he does.

The Scots have just announced another coup. They have hired not one but two new concertmasters for the RNSO.

But watch the small print.

James Clark is already leader of the Phil in Liverpool. He will do both jobs in future.

Maya Iwabuchi plays for the Mobius Ensemble and is listed as one of the concertmasters at the Philharmonia in London since 1994.

What’s going on here? I know that swagger bands like Berlin and Vienna have rotating concertmasters, generally because to get the leader they want they need to fit into his or her busy solo and teaching career. But lower down the celebrity chain, in smaller states and cities, the resident concertmaster is a really important feature and prominent citizen in the life of a society and its orchestra. See here.

So: whatever happened to the fulltime concertmaster?

What does an orchestra gain from part-timers?

Why does a proud band like the Phil need to share its striker? (You can bet the football club would never do that).

Can’t the RNSO find the right concertmaster in the whole of Scotland that it has to make a cross-border raid?

What happens to an orchestra’s brand when you never know who its prowhead is going to be?

You tell me…

Here’s the press release:

James Clark and Maya Iwabuchi appointed Leaders of the RSNO
Two of the UK’s finest orchestral musicians commit to Scotland’s national symphony orchestra

James Clark and Maya Iwabuchi have been appointed Leaders of the Royal Scottish National Orchestra (RSNO). The appointments make them the nineteenth and twentieth Leaders since the Orchestra began in 1891, and the first time in the Orchestra’s history that two musicians share the leadership of Scotland’s national symphony orchestra.

James and Maya will be familiar to regular RSNO attenders. Scottish-born James was recruited as RSNO Principal Guest Leader, a newly-created position, in June 2010 but has now accepted the invitation to increase his commitment to the Orchestra – he will now appear with the RSNO for up to half of the orchestral year. James’ position runs in tandem with his role at the Royal Liverpool Philharmonic Orchestra (RLPO), where he has been Leader since 2005. James has previously held leader positions with the Scottish Chamber Orchestra (SCO) and more recently the Philharmonia Orchestra.

Maya has appeared with the RSNO as guest leader many times over the past year and has a wealth of experience as an orchestral and chamber musician. She has worked with James Clark for many years, leading the Philharmonia Orchestra since 1994. Maya has also been performing as a member of the Mobius Ensemble from 2004. She will be leading the RSNO next week for its Naked Classics concerts in Dundee, Edinburgh and Glasgow.

Alongside their performance duties James and Maya will play a role in the organisation’s audition and appointment process, allowing the RSNO to benefit from their experience in the orchestral world.

RSNO Acting Chief Executive Kenneth Osborne: “The appointments of James and Maya are hugely significant and key to the RSNO’s continued development. These outstanding musicians’ track-records speak for themselves – they are two of the best orchestral musicians in Europe. Both James’ period as Principal Guest Leader and Maya’s as guest leader have made a major impact on the Orchestra and their leadership, both onstage and behind-the-scenes, will continue to bring concrete, tangible and satisfying results.”

RSNO Leader James Clark: “It is a marvellous honour to be appointed the Leader of this exciting organisation. With Maya, whom I have known and worked with for many years, I see many opportunities waiting to be explored and hopefully our long experience as leaders will give us the chance to further grow the Orchestra musically and dynamically. I certainly look forward to carry on working with Stéphane Denève for his final year as RSNO Music Director and I welcome Peter Oundjian, with whom I have already enjoyed working, and who I know will be a source of inspiration to us and a great benefit to audiences across Scotland.”

RSNO Leader Maya Iwabuchi: “’The wonderful musicians and staff of the RSNO have made me feel so welcome as guest leader and in the past year I have been impressed with, and moved by, their pride and passion for the organisation. I particularly admire the RSNO’s commitment in bringing new and younger audiences to the concert hall to experience the thrills of live performance. And I am especially pleased to work alongside Jim Clark again, with whom I’ve shared many invaluable collegial moments over the years. I very much look forward to my future with the RSNO.”

[ENDS]

You knew you’d read it here first.

Whispers from Sussex had been reaching me for several days but I was sworn to silence. Now, I can confirm those thrilling rumours.

Here goes.

Kate Royal has withdrawn from Glyndebourne this summer because she’s expecting a child, her second.

She was due to sing Governess in Britten’s Turn of the Screw.

She will be replaced by Miah Persson. Congrats to all.

That’s it. What were you expecting?

Kate

Miah

I put two questions to the UK Musicians Union this morning about the presence of the Brazilian conductor, Roberto Minczuk, who has sacked half his orchestra and will audition for replacements in London next week.

As expected, I received forthright answers.

Why, I asked, were Liverpool musicians not encouraged to boycott Minczuk when US unions were telling their members to do so?

MU: Unlike US labour law, punitive UK trade union law makes this very difficult. A ballot of all players would have had to be held, the proper notifications given etc. The players weren’t prepared to do this – but they have issued strong statements of support for their Brazilian colleagues.

What is the MU’s position, then, on next week’s auditions?

MU: Our line is that of the International Federation of Musicians (FIM), which says ‘FIM has called on all musicians to boycott these auditions which will be held in May 2011’. We’ll endeavour to notify people attending the auditions of the statements issued by Brazilian colleagues.

That seems to be as clear as it gets, under the eyes of the law.

More grassroots goings-on, this time from the north of England:

HALLÉ MEDIA RELEASE

Over 16,000 primary school children to perform alongside the Hallé at The Bridgewater Hall

Come and Play with the Hallé allows thousands of primary school children from across the North West to perform alongside the Hallé – one of Britain’s finest symphony orchestras – in eight special concerts throughout June.

The pupils have been working hard under the direction of their local music services to learn a specially devised version of Chuck Rio’s Tequila, which they will perform alongside the Hallé during these unique concerts. In each concert, over 1,000 young string, brass, woodwind and percussion players will sit in the Stalls and Circle levels of Manchester’s Bridgewater Hall – with their instruments – as they join the Hallé to fill the auditorium with an enormous massed sound.

A further 1,000 children will have the chance to sing Mark and Helen Johnson’s ‘Life is a Wonderful Thing’ from the Sing Up Songbank and join in with the other participatory elements. Each concert will be conducted by the Hallé’s Assistant Conductor, Andrew Gourlay and presented by Hallé horn player, Tom Redmond – known for presenting the Hallé’s Family and Hallé for Youth concerts.

The children have been taking part in the government’s Wider Opportunities scheme, which gives pupils in all primary schools the opportunity of learning to play a musical instrument as part of their weekly curriculum.

The Hallé’s Education Director, Steve Pickett, said: “Come and Play with the Hallé gives thousands of children not only the opportunity to watch an award-winning symphony orchestra, perhaps for the first time, but also to perform alongside one. Hopefully, with the dedication of the music services, this will encourage every young musician to continue playing their instrument for many years to come.”

During the concerts, the Hallé itself will also perform:

Grieg Peer Gynt Suite

Holst Mars from ‘The Planets’

Tchaikovsky Symphony No.4 (excerpts)

Nyman Miranda

Debussy Clair de Lune

John Williams ‘Harry’s Wondrous World’ from Harry Potter

Tchaikovsky 1812 Overture

ENDS

For more information, interviews and pictures, please call the Hallé’s Marketing and Press Officer, Liz Robinson on press@halle.co.uk / 0161 237 7008

or Sabina Wagstyl at Valerie Barber PR: sabina@vbpr.co.uk / 020 7586 8560

Members of the Kensington Symphony Orchestra, amateurs all but of very high standard, are mailing me this morning with their responses to playing Mahler’s fourth symphony for the first time. Here’s the first pair. More to follow (see below).

From Peter Nagle, cellist (and, I think, composer):

So what does a band like KSO get from playing Mahler? Well, of course there’s the satisfaction to be gained from having got our fingers round some very tricky notes and brought it all together into (I hope) a convincing performance. I thought we gave a very good account of ourselves tonight. There’s also that emotional aspect – no matter how much you may think you’ve heard it all, Mahler always seems to retain a capacity to get to you. There’s also, I think, an appreciation of the music that you get from participating that you could never get as a passive observer, and I’d like to think some of this rubs off on the audience too (who are, after all, largely our friends and so have a vested interest in us that they wouldn’t of a pro band).

But what I really want to say is that playing Mahler is great because it gives us a chance to play Lutoslawski. We got to perform a ravishing, wonderful work that was written within our own lifetimes, with a fantastic soloist in Katherine Watson. We can gush about Mahler all we like, but we need to experience him in a context like this, because then he becomes a part of a living tradition, one that can be renewed, and not just some dead 19th century guy paraded in a sonic museum. I think Mahler would have hated the idea that he might be the end of a tradition. By pairing his symphony with music of our own time we’re keeping him alive.

From Russell Keable, conductor:

Conducting amateur orchestras is one of the most exhilarating and
uplifting jobs. Wherever the players are on the ability range they can
always achieve more (than they think they can) and the process of
growth, both as individuals and as a group, is quite intoxicating. I’m
fortunate to have worked with one of the UK’s finest amateur
orchestras for most of my life. The potential within Kensington
Symphony Orchestra is quite extraordinary and many highly-experienced
soloists who have worked with us have been amazed at what this group
of people can achieve as a hobby.

There’s one other thing about this. Every concert is an event. Every
concert is played with total passion and commitment. Not always are
all technical hurdles jumped clean but the determination to
communicate the players’ love of music-making is infectious to an
audience.

My only regret is that this huge range of amateur music making is
undervalued in the UK and often dismissed as ‘just amateur’. KSO, this
season alone, has performed really tough modern works by Adès, David
Matthews and HK Gruber. Last night we played Chantefleurs et
Chantfables, Lutoslawski’s unfairly neglected song cycle on texts by
Desnos. In our last concert of the season we’ll be playing Richard
Ayres’ (really tough for us) No.37b.

From Ariane Todes, violnist, editor of The Strad:

What does it feel like as an amateur on the inside of Mahler’s Fourth?

Well, there are moments of pure elation, a sense of time standing still – the slow movement last night was one. There’s the joy at being part of such a huge sound, of being swept up in a luscious tune (but trying not to overmilk it). Then there are moments of frustration with one’s fingers and one’s brain, for not being able to do the things that you know Russell has been reminding you about during the rehearsals and for fluffing the runs that you’ve practised so hard when you’ve managed to grab some time after work. There are also moments – dare I say it – when one’s mind goes totally AWOL and starts dissecting what happened at work.

There’s the sense of discovery – KSO is particularly special for performing challenging modern works, so that for every old friend such as the Mahler, we get to meet something new, such as Lutoslawski’s Chantefleurs et Chantfables – a slightly mad but beautiful song cycle featuring turtles and alligators, brought off impeccably by Katherine Watson last night. And no, not all of these pieces come off. Sometimes rehearsals become pure note-learning and rhythm-bashing sessions, and the audience doesn’t appreciate ‘the bit before the good piece’. Occasionally, you even end up liking the new piece more than anything else on the programme. But we’re out there, challenging ourselves, and challenging our audiences.

I think that for all of us, being in the orchestra provides a magical alternative reality to our lives as teachers, administrators, accountants, managers, parents, executives, students, writers. It would be trite to say that all the cares of our working day disappear when we start our rehearsals at 6.30 on a Thursday. They don’t. But they go out of focus a bit as we struggle with our notes, our intonation, and Russell’s perennial complaint that we don’t play in time.

I’m a somewhat erstwhile member these days – a key quality-control rule means that you can only miss one rehearsal per run and work trips mean I often miss out – but whenever I come back I see the familiar faces, catch up with the life changes, queue up for coffee and jaffa cakes, and stare up at Russell on the podium, it feels a little bit like coming home. Most of us look a little older than when I joined 15 years ago, but that’s it – we’ve grown up together. And there’s always young, fresh talent making its way through, too, to keep everyone on their toes and to keep the life cycle going.

Russell’s right when he says that amateurs are underappreciated. There are fantastic players in KSO – the strings, of course, but the wind and brass are the best I’ve come across on the amateur orchestral circuit, and many of the group could have made it professionally if they’d chosen that difficult path. Artists of the calibre of Nikolai Demidenko and Jack Liebeck, who are happy to come and play with us, must know something. But I sometimes get a sense of sniffiness in professionals towards amateurs. No, we can’t necessarily play the Tchaikovsky and Brahms violin concertos. We don’t play consistently in tune. We don’t always listen to ourselves in the objective way that professionals are taught to do. Sometimes Russell has to repeat the same point a few times before we get it. But what we do, we do with love, commitment and a certain amount of wisdom. We’re also the ones who buy the CDs, go to the concerts, and buy the nice strings and cases. The music industry has a lot to thank us for. And as a member of KSO, I feel I have a lot to be grateful for – I can have my jaffa cakes and eat them.

From Toby Deller, viola playera:

Full disclosure: I do play (viola) professionally, just a regular freelancer. I’m not paid to play in KSO, though, in fact I pay my subs just like everyone else It’s good for my continuing professional development, to use the jargon. Mostly, though, I like – really like – playing music, and my tastes are wide, and KSO goes some way to catering for that.

Another confession: Mahler 4 is one of several pieces that make me cry a bit (sometimes just thinking about them leads the tear ducts to water). I have to make a bit of an effort not to get too involved with it as I’m playing or it can be awkward reading the music. Luckily for them, the audience don’t have that problem. They are free to be moved, and hopefully some were last night. Even if not by the orchestra, then by Katherine Watson’s singing, intoxicating right from the start of the Lutoslawski.

It’s not, as one might expect, the big climaxes that set me off in Mahler 4 but the final movement. It’s so cruel – the music and text paint this picture of an untroubled paradise. At the end, you’re all relaxed and ‘Ah, that’s lovely’, until it dawns on you that it’s all make-believe, you’ve been had. You must return to an imperfect world. Not a million miles from having to go back to the office the day after playing Lutoslawski and Mahler

Members of the Royal Liverpool Philharmonic Orchestra will present a protest to the embattled Brazilian conductor, Roberto Minczuk, who has sacked half his orchestra. They will not, however, jeopardise his concert.

Here’s a cautious statement, just in, from the Musicians’ Union:
LIVERPOOL PHILHARMONICSUPPORTS RIO COLLEAGUESRoyal Liverpool Philharmonic Orchestra (RLPO) musicians have expressed their solidarity with colleagues from the Brazilian Symphony Orchestra (OSB) by expressing concern at the dismissal of several OSB musicians to Roberto Minczuk, who is guest conducting with the RLPO for concerts in Preston on Wednesday 11 May 2011, and in the Philharmonic Hall in Liverpool on Thursday 12 May and Sunday 15 May.

Mr Minczuk is, in part, responsible for the summary dismissal of a large number of full time musicians from the OSB. The OSB, under Roberto Minczuk’s guidance is holdingauditions in New York and London to replace the musicians sacked from the orchestra.The Musicians’ Union (MU) has joined with other unions around the world in condemning the actions of the OSB and calling for members to boycott the auditions. The International Federation of Musicians (FIM) has also put out a statement.

RLPO musicians will hand Minczuk a letter urging him and the OSB to enter into proper dialogue with the Rio Union to find a mutually satisfactory conclusion. They also intend towrite to their colleagues in Rio, expressing solidarity.

Morris Stemp, MU North of England Organiser says:“Classical musicians from around the world have roundly condemned the action taken by OSB management, and the support our members have shown for their counterparts in Rio de Janeiro is to be applauded. Our members, through us, call upon the OSB to rethink their position and come back to the table for face to face talks with the Rio Musicians’ Union (SINDMUSI). The attitudes taken by the OSB Board and Mr Minczuk demonstrate that they do not understand how a modern orchestra functions.

The failure to pursue a mutually acceptable outcome could have a profoundly detrimental effect on classical music provision in Brazil, and could also affectRoberto Minczuk’s ability to work with our colleagues across the world. It is imperative that conductors have the support and co-operation of the musicians around them at any given time. Without this, conductors wave their arms in silence.

It’s Independence Day in Israel, Yom Ha’atzmaut.

Just the moment for the Israel Philharmonic to announce a new principal guest conductor, Gianandrea Noseda.

Well Zubin Mehta’s 75. Time to think of the future.

Noseda had ten good years with the BBC in Manchester and is putting in his opera years in Torino.

From the press announcement, it seems the Israelis think he might be the next Toscanini.

Here’s the text:

The Israel Philharmonic Orchestra is proud to announce the appointment of Gianandrea Noseda as Chief Guest Conductor beginning with the 2011 – 2012 season. Noseda will join a very prestigious list of Italian conductors to be associated with this great orchestra, including Giulini, Abbado, Sinopoli and Muti. It was seventy-five years ago that the legendary Arturo Toscanini founded the Palestine Symphony Orchestra which is today’s Israel Philharmonic Orchestra.

When the appointment was announced, Avi Shoshani, Secretary General of the IPO, said: “It was only the natural continuation of the beautiful relationship established between Gianandrea and the orchestra. The music-making and the harmony between us, has proven to be something quite creative and I know the future will lead us to many exciting concert performances and various activities”.

“I am honoured to have the chance to give continuity to my musical relationship with the members of the IPO”, said Noseda who has recently conducted the IPO in Jerusalem and Tel Aviv during the celebrations of the 100th anniversary of Gustav Mahler’s death. “To be a part of this great orchestra’s musical history and future is humbling for me. I thank Maestro Mehta, the orchestra and the administration for this exciting opportunity”.

As Chief Guest Conductor, Maestro Noseda will regularly appear with the IPO in Israel and participate in other future projects.

The Royal Liverpool Philharmonic, cheeky little chipmunks, have launched their new season on Youtube.

Has no-one told them this is classical music, serious stuff, not for browsers?

It looks like another first for those enterprising scousers, bless their cotton socks.

Here’s the link. Only 66 views so far… but watch for the Slipped Disc effect.

photo: Liverpool Daily Post

Is that a baroque bow you’re using, Alexandra Parker?

I mean, bad enough to play over Bond’s recorded track as if it’s your own, but you can’t surely be posing as a period performance expert?

You just don’t look the part. This is a baroque violinist:

And this is you:

C’mon girl. You’ve come clean on the Bond scam. Now get a new bow.

Mr Manze up there will show you how to use it.

Anything to get an audience, enterprising mezzo-soprano Claudia Herr and composer Susanne Stelzenbach are playing their new show from the bottom of a swimming pool filled with rubbish bins. The music comes to you through special body mikes, linked to poolside amps.

Here‘s what it looks like.

And here’s the link.

Non-UK readers, look away. This is strictly for citizens of the green and pleasant (I think).

The BBC, delving for grass roots, is appealing for amateur musicians from all over the land to play in a new recording of the signature tune of its longest-running daily soap – you know what it is: The Archers.

You can access the score and record any part for free. I would love to play an Ondes Martenot obbligato, but can’t find one. I’ll have to volunteer for a walk-on part in the show. Might write it myself: non-driving urban type, middle-aged gent, staggers into the Bull, desperate for a Nelson (work it out, used to be called a Johnny). Sid bars his way. Much comic embarrassment.

Here’s the press release:

BBC Radio 3 invites musicians to play The Archers’ theme tune for online orchestra performance

Radio 3 is inviting amateur musicians all over the country to be part of an online orchestra for a performance of The Archers theme tune. The melody Barwick Green is recognisable to millions of dedicated Radio 4 Archers listeners and is one of the great classics of British Light Music. Now amateur musicians can go to www.bbc.co.uk/radio3 and record one of the 23 orchestral parts under the direction of conductor Gavin Sutherland. The recordings will be mixed into a complete performance for broadcast as part of Radio 3’s Light Fantastic – a celebration of British Light Music taking place 24 – 27 June, 2011.

The orchestral parts of The Archers’ theme are available to download free at www.bbc.co.uk/radio3. Individual players are then invited to upload their performances which will subsequently form one online orchestra performance. Complete instructions are available online at www.bbc.co.uk/radio3 and to help everyone keep time, a guide video of the BBC Concert Orchestra and its conductor will be available to play along to.

Radio 3 Editor Edwina Wolstencroft said, ‘The Archers’ theme tune is one of the best known and loved pieces of British light music. The online orchestra performance is one way of involving people all over the country by re-connecting them with this rich and rewarding vein of music in a creative, practical and fun way.’

For further information Talia.Hull@bbc.co.uk
Notes to Editors

- Light Fantastic is a BBC Radio 3 festival celebrating British light orchestral music, centred around a summer weekend (24-27 June). During the weekend, live concerts will be broadcast from a working warehouse in Salford (a re-creation of radio’s long-running Music While You Work concerts, first heard during World War II) and from London’s South Bank Centre, as part of the SBC’s Festival of Britain 60^th anniversary celebrations. SBC concerts include performances conducted by John Wilson, with the BBC Symphony Orchestra and the John Wilson Orchestra.
- BBC Radio 4’s ‘The Archers’ – the world’s longest-running soap opera – celebrates its 60^th anniversary in 2011.
- The signature theme for the ‘The Archers’ is by Arthur Wood (1875-1953) an English composer and conductor; the theme’s proper name is ‘Barwick Green’, a maypole dance from the suite My Native Heath. The version available for download is an arrangement by Roy Moore.
- Recordings will be broadcast subject to Radio 3’s normal editorial criteria.
- Further information about Radio 3’s Light Fantastic is attached.