With Mervyn King telling us all that choppy times are ahead, and news of arts council cuts and the scrapping of the film council along with the prospect of cutting funding to the bbc and the possibility of strikes affecting the bbc proms it is easy to be down hearted about the state of the arts in the UK, and more specifically ‘classical music’.
With the prospect of spending two years in Zurich, friends and relatives have been asking how much better is the music in Europe and for some reason why is Germany SO much better at it than we are and why has it produced so many more and better musicians? They aren’t in the music business and aren’t avid followers of the ups and downs and comings and goings of the classical music business, but my heart always sinks and then I get excited.
I get excited as I can tell them just how good we have it. Yes, this is largely down to the people in the business, in fact let’s rephrase that it is basically all down to the people that day to day strive to produce world beating performances and look to somehow scrape the funding together, rather than the powers that be that hide in the big buildings on the north banks of the Thames. Every time I have answered the question, my answer has been longer as I have thought of more and more which we do so well. I have little, if nothing to do with 99.99 % of what happens but I am still immensely proud of the fact that there is little that anywhere can do better. I thought it was about time someone sang the praises of it all. SO here we go!
I am sure I have left out most of what goes on and I am shouting only about the big names but feel free to have your own little plug / shout-out below!
Starting from the bottom up. Ok, so education. Well in schools we have problems, funding for the arts always plays second fiddle to sport (it’s good for you don’t you know), school dinners and literacy. Maybe it should and maybe it shouldn’t but the sad fact of the matter is we need to do more. However, outside of that, nationally it all starts with the National Children’s Orchestra. The amount of friends that have been touched by such a great organisation, founded by the immortal Vivienne Price, is countless. I think what is more important (in a way) is the amount of people I know who played in NCO who have chosen not to become a professional musician, but who will never loose there love of music mainly through the start the NCO gave them. Who can forget the murder mysteries and playing Peterloo! Then there are all the other organistaions – Pro Corda, Music House, National Children’s Choir, National Children’s Orchestra of Scotland, NYOS, NYCCO and NYWE and I could go on and on. I suppose on the ladder of progression in between NYO and NCO should go the National Youth Chamber Orchestra. It might have changed its name more times than hot dinners have been served at Queenswood School, however it is a real gem. An orchestra of about 50 young musicians working without a conductor and lead under the oh so watchful eye of Chris Hirons. It is an example of what our young musicians can achieve. The wonders that have been discovered there: from an appreciation of just how hard the string parts in the scherzo from Mendelssohn’s Midsummer Night’s Dream to the joys of Ravel’s Tombeau de Couperin and Respighi’s The Birds.
Then comes something that everyone should experience in some form or another. The rumours are true, it is sacred and never mind whatever Dan Brown says, it is where the Holy Grail resides (certainly of the UK music world anyway), and that is the National Youth Orchestra of Great Britain. Speaking personally it was and I am sure it will be, the most important part of my musical education. Not only was I able to play such varied and large repertoire, but also being able to work with some of the greatest conductors alive (and sadly no longer – Britten’s War Requiem with Richard Hicox comes to mind) as well as seriously gifted ‘Profs’ and all the contemporaries that experience it with you, who you continue bumping into whichever concert hall in the UK you go to. That is the obvious side of the NYO, which is so important, but there is also so much more it does. Working with musicians outside of traditional Classical Music such as Davod Azad. They taught me so much more about what music is really about. It’s fantastic to see that side of the NYO flourishing at the moment. Making our young musicians think outside of the box will only seriously improve what is already inside the box! To hear that the NYO has been getting young children to sit in amongst the orchestra was really fantastic. It is something that can be really life changing. It is something that other orchestras, such as the London Chamber Orchestra are having success with as part of their project in conjunction with Barnados. Sitting in my first full NYO rehearsal, reading Shostakovich’s 5th Symphony conducted by Tadaaki Otaka was what made me want to become a conductor. All these activities define NYO as one of the great musical institutions of the UK. However, what makes it world beating is the quality of its concerts. When I don my objective hat, it is the best youth orchestra in the world – Simon Bolivar Youth Orchestra can eat their hats and multi coloured jackets!
I have already taken up too much space with the eulogy about out the ladder of UK youth orchestras that exist and I have not even mentioned things such as London Msuci Masters makers, Sistema Scotland all the county youth orchestras, bands and groups. One thing we can not forget is the part our professional orchestras play in education. It is crucial. I believe that we are world leaders and beaters in this respect. From, LSO Discovery to the BCMG’s zig zag ensemble and everything in between. So much more than a ‘children’s concert’. This is something to be proud of and trust me, those in Europe and America are jealous. I think this is a topic I might have to return to…(don’t groan!). I haven’t even mentioned the fact that London has 4 major conservatoires for music, of which at least two are world leaders.
So I have mentioned our professional groups, but let’s just think a little more about them. London : LSO, LPO, Philharmonia, BBC SO, RPO – five world class symphony orchestras in one city. ENO and Royal Opera House, Royal Ballet and English National Ballet, English Touring Opera, Sadlers Wells – and that doesn’t even scrape the surface of the one off productions, summer opera or touring productions that come out of the great metropolis. What about the smaller ensembles, period bands such as the OAE, modern groups such as the London Sinfonietta, or chamber orchestras such as the London Chamber Orchestra. That is just London and I know most of you will be able quickly reel off another 5 or 10 organisations which are on the tip of you tongue. Then, shock horror, if we dare to peak outside the M25 – the CBSO, Halle, RLPO, Bournemouth Symphony Orchestra, if we dare to inch outside of England and find the RSNO, BBC Scottish Symphony Orchestra, National Orchestra of Wales, Scottish Chamber Orchestra, Britten Sinfonia, the Ulster Orchestra and then the opera – Glyndebourne, WNO, Opera North, Scottish Opera. Oh and then I say to myself but I must say something about the best 2 international festivals in the world (BBC Proms and Edinburgh International Festival), and oh dear, I haven’t even mentioned any people – soloists, conductors, singers who call England home, or chamber music or concert halls or the other festivals and the community choirs and orchestras.
The list has gone on and on and I really could double all of that. However, we need to remember that these organisations aren’t just any old folk. They are among the best in the world. I don’t really care what lists made by organisations say, catch any of them and they will seriously impress.
It is so easy to fling superlatives around without any sense of proportion, however, it is so easy to take things for granted and that is when things suffer. To look abroad and wish that we had this, that, and something else is to really forget what is on our doorstep. We have the best, let’s not forget. People should know.