Making Music North West Newsletter            Home           

April 2008 Issue no. 45

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Contents

Adopt a Composer

RDO Report

How to Attract a Large Audience – 250 plus

New members

Advice wanted by 14 year old boy

Committee members’ list

Answer to last issue’s Quiz

More on Roger Wilkes - A drag show? Surely not!!

 

Hello everyone. In this issue you will read, in part, an interview I had with Roger Wilkes. He is quite well known in the North West by many and for many reasons. We talked about his early musical experiences, has the traditional choral society had its day? And much more.

L C Dunbar has written extensively on the Adopt a Composer scheme and provides much information and many links. This is followed by Sally Smith’s RDO report on her hard work in the region. Ideas for attracting and keeping a large audience are provided by Tony Woodhead, the chairman of Hoylake Choral Society.

Roger Wilkes has had a life long interest in early music – at the moment he is president of NWEMF www.nwemf.org.uk – I asked him how this interest began. I sang in a particular church choir, as a boy, which included in its repertoire anthems, motets etc. from the 16C. I found an affinity with that. I didn’t see it as Early Music. You saw it as music you liked? Exactly. So we should be wary of labelling music too much? Yes indeed. You told me years ago that your dad called you a Philistine for not liking Chopin. Yes. This kind of attitude can be very harmful especially with the young when an adult tries to impose their likes on children. It tends to have the opposite effect. We should allow children to like what they like, we can encourage them to encounter other music in a non-threatening way.

That’s very interesting. By pushing something we are putting them off. At the MM AGM last year a few of us argued that we are alienating the youth by not listening to them but we expect them to listen to us. I feel we should get out there and talk to them – build bridges. For info on Roger go to www.mostlymusic.co.uk there is not enough room here - read all about this interesting man on the net.

How to play contemporary music and why? L C Dunbar                top

In a previous article I looked at contemporary music, how to get to know it and direct more of your research on composers and pieces you may wish to know more intimately.

I am very aware that I am writing to an audience that is more knowledgeable than most – I know that you, my fellow players, do not just want to listen but are keen to get to know pieces from the inside, by playing them. Several of your societies have contributed to the spnm 'adopt a composer' scheme and have experience of commissioning new pieces. However, I have been to so many performances where new commissioned pieces were just 'more of the same'  familiar pastiche style. I wonder why that is? I suppose one big factor is ignorance of what other type of music is out there for the taking, which would be both new and as satisfying as a piece of traditional repertoire. Maybe this ignorance comes from the fact that it is difficult to access new music in general and, in particular it is difficult to locate and view scores to try it out.

The new music explorer will be pleased to learn that in recent times the music fraternity has become increasingly more sensitive to the needs of would be players. In parallel with making more excerpts available for free, it is now possible to find scores specifically selected for music makers at various levels of proficiency. It is also possible to preview some scores.

Before I go on to point you in the right direction I would like to spend a few words on why I regard it as important that a musician be able to play the music of his or her time. First ask yourself this question: do you really believe that musical talent is so unevenly distributed across the generations that great music cannot be composed today as it was at the time many of our classical favourites were created? Do you really think that there is no space for different forms, untried sound expressions? I don't think so. But I agree with many who understand that finding the gem among the enormous pile of stuff composed by one's contemporaries is very difficult. The truth is that it has always been difficult. The only difference between us and people in the past is that our predecessors have done the selection work for us of the music produced in their time. It is, however, exciting to think that it is us, the music makers of today, the amateurs as well as the professionals, who can ensure that the best of today's music is discovered and offered to the audience for their attention and enjoyment. By doing so we continue that timeless process of sifting the good from the bad and we can take pride in the fact that we will contribute actively to the future of art music. This requires a commitment, and can see us through the disappointing experiences we are bound to find along the way. I also happen to believe that the informed amateur is the best candidate for this job because non-professionals have no one to answer to but their audience and fellow players: no academic interest to serve; no musical career to defend, no CDs to sell.

Let's look now to how we can get started looking for new music to play. The easy way is to take advantage of the several schemes that are emerging to create collections graded for the willing amateur, from solo playing to ensemble performances.

A successful scheme which has generated music material now easily available in music shops around the country is the Spectrum piano collection www.abrsmpublishing.com/publications/4542 which is aimed at piano players of all grades. The scheme is now in its 4^th edition and has had excellent reviews.

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Another initiative, this time for small chamber like groups including strings, is the Chamber 2000 project led by the Schubert Ensemble – look at www.chambermusic2000.com. This is a great collection for piano and strings and the website is very helpful in presenting part of the scores for preview, as well as classifying the scores by players and grade. For example, Daryl Runswick's 'Follow, Follow', can be previewed (first page) and an excerpt can be heard online www.chambermusic2000.com/pieces?p_id=31.

For higher graded players, the British Music Information Centre (BMIC) is a great resource. Their service not only offers a comprehensive listing of pieces available from a variety of composers, but also enables the preview of some pieces and some have excerpts as well. See for example Paul Newlands's 'Being-as-it-is' www.bmic.co.uk/collection/pdfs/31998w.pdf, for chamber orchestra, first performed in the late 90' by the Scottish Symphony Orchestra, and Jiggadybox, by Joe Cutler www.bmic.co.uk/collection/pdfs/33186w.pdf, an excerpt of which can also be listened to online. You can also find a lot of pieces for smaller forces, including single instruments and duos.

Another outstanding resource for music makers wishing to explore new music playing is CoMA Contemporary Music Making for Amateurs www.coma.org. The ethic of this organisation is to be as inclusive as possible and to this end it has commissioned many pieces and collated an extensive library of works that can be played by a flexible mix of instruments. A limited collection of excerpts to offer sound exploration as well as scores is now available at the summer school site www.comasummerschool.org. Unfortunately it is not possible to preview the scores online at the moment.

CoMA is organised in regional ensembles, and the North West region is served by the small but dynamic CoMA North West, based in Liverpool, of which I am currently the coordinator. It is often possible to sample selected pieces together with the ensemble at their workshops. This is a very affordable way (workshops cost around £10 for an afternoon, sometimes a full day) to try pieces specifically devised to be ideal tasters for the uninitiated in a supportive and knowledgeable (contemporary music-wise) atmosphere.

In your quest for playable music, especially solo work, take into account that not all music written by published composers, let alone unpublished ones, is available in printed edition at the shops. Often this is not because it is not good but simply because the publisher has not been able to identify a profitable market for a particular piece and has decided it is too risky to invest in publication. If you identify a composer whose style pushes your buttons, it is perfectly alright to contact him or her directly to ask for suitable works. Believe me, they will be delighted and often will even send you the music for free, because all real composers are in it principally for the interest they have in music not just for the money.

The next workshop run by CoMA NW will be held at the Cornerstone, Everton, Liverpool on May 10^th 2008. The piece workshopped is Laurence Crane's Spa Town of Central England, suitable for all instruments and all abilities. Please contact  the Coma North West's coordinator from the Regional Page on the CoMA website www.coma.org or write to CoMA NW 124 Church Lane, Culcheth, Warrington, WA 3 5DP for information and booking.

Sally Smith - Regional Development Officer NW                        top

What a busy and happy year it has been for us so far! Myself and the NW Committee started off with a really good planning session, moving things forward and introducing a couple of new, exciting events and projects for the North West. So we’ll be in touch over the next few months about what’s coming up. Keep your eyes peeled!

We had a wonderful time at the Gospel Workshop in Lancaster with over 100 people from all over the region coming to sing with Scott Stroman. Thanks to all those who attended. Feedback was that it was a great day overall so we are planning further events like this in the future.

I continue to organise surgery advice sessions around the region and this past month have run networking/training sessions in partnership with Musicleader NW – who I am grateful for their funding support. I have also been busy travelling around the NW meeting groups, attending your concerts and other events such as Sale Choral Society’s Centenary celebration and Warrington’s Competition for Young Musicians. It really is great to put faces to names and to experience the wonderful array of great work that you’re all doing.

Attracting a Large Audience - Tony Whitehead, Hoylake Choral Society                top

I chatted with Ian some weeks ago and having heard that our concerts were playing to over 90% capacity he persuaded me to offer some tips to others.

What do we do to get it right? We make every effort to get it right. An item on the agenda of every committee meeting is a review of the previous concert: performance, soloists, attendance, publicity, and indeed anything which we can learn from for a future occasion. No one person is overloaded, we split duties as much as possible.

Membership. We try to ensure that new members are given a warm and helpful welcome. We encourage them to see how they like it before committing themselves to a subscription. We try to foster a family atmosphere. To encourage young people we have a nil rate of subscription for students. A membership card giving details of all the committee members and their roles helps to ensure that members feel part of the family.

Publicity. As the main source of our income, ticket sales are important, so thought has to be given to attracting customers. Publicity is important and needs advanced planning. Our dedicated publicity officer needs to know when press deadlines are and cultivates good relations with individuals who can be helpful. We employ a first class professional design artist who “themes” posters, leaflets, tickets and programme. i.e. they all match. He works with our publicity officer in the attempt to convey the idea that we are a “quality” organisation. In addition to concert-specific publicity we issue a pre-season brochure which has the dual purpose of attracting both prospective members and telling our audience what we are doing. We have recently upgraded our website and have a sub-committee to look critically at it every few months. www.hoylakechoralsociety.org.uk 

Audience.  We want people to come back to another concert so we try to see that they enjoy their experience. We have a few friendly folk on the door who give people a warm welcome and the concert always starts with a word of welcome from the Chairman.  We selected our main venue because of its acoustic and space for performers but also for its comfort: warm and upholstered seats as opposed to many with cold hard church pews. Much to people’s amazement we charge one price which covers admission, programme and refreshment! This has the advantage that there is not the constant dipping in the purse for change for this that and the other and our door stewards can concentrate on helping people rather than fleecing them! We serve refreshments AFTER the concert. This allows the audience to get away if they need to or come and meet choir and soloists at a leisurely pace.

Neighbours. Each week we display and announce details of neighbouring societies’ performances and we send them details of ours. We have reciprocal arrangements with some for the loan of music, staging, lighting and we give and receive other practical help e.g. stewarding. We also arrange concert dates to avoid clashing with neighbouring musical groups.

Thank you Tony. You can phone him on 0151 625 6827 he’s happy for people to pick his brains. Read more at  www.hoylakechoralsociety.org.uk  they’re celebrating their Diamond Jubilee Season at the moment. Also, I have posted a blog on MM MySpace on DDA and equal ops. By making our venues suitable for as many members of society possible then we can only improve our audience numbers. Even simple draught proofing would help from a general comfort point of view. Ian.

Last issue’s answer to Quiz question is Beethoven.

New Members       top

Keswick Choral Society, Keswick

Monton Voices, Eccles

Halton Music Society, Widnes

Kendal Concert Band, Kendal

Promenade Concert Orchestra, Morecambe.

Welcome to you

Advice re Singing/Acting Agents Wanted        top

Since the MM AGM at RNCM and as a result of discussion at a breakaway meeting I met with a 14 year old boy, in the company of his parents, and interviewed him. This was on a “building bridges” basis as mentioned on the first page here.

North West Region Committee Members             top

You are very welcome to contact regional committee members if you have a query or want advice, or wish to know more about Making Music and its services. The committee members and their key responsibilities are set out below. All committee members are volunteers.

Victor Sumpter  victor@sumpter.freeserve.co.uk - keeps website & concert list.

Back to Roger.              top

Roger, do you enjoy wearing ladies’ apparel? Ha! I think I know where this is going. I have been known to do – not a Hinge and Bracket – but a Binge and Racket at the College of Adult Education with Robin Allen (this act was hilarious by the way) and more recently you and I Ian, plus another gentleman, have dressed up in drag to do Three Little Maids From School. In our kimonos. In our kimonos, yes. It was one of my singing high points. The audience loved us and they asked for an encore. Yes. The point I want to make here is that the audience really loved it because it was a bit different, we performed it well – we threw ourselves into it. Some people were literally crying ( with laughter btw ) I feel that some concerts can be a bit samey and other choirs sing the same songs – same with orchestras and brass bands.

From all your experience Roger, how do you see the future? I see immense change in the choral market-place including the kind of choirs. One may see the, decline would be putting it too strongly I think, to speak of choral societies but their peak, I think, is past. There are fewer of them, they tend to be smaller and male membership is a problem as you know. On the other hand a tremendous growth industry, one which I commend not least because it includes a far broader spectrum of participants than used to be the case, is the growth of the community choir which pre-supposes no previous experience or ability. I think this new category of choirs or choral groups, however you want to describe them, can be nothing but good and I would predict that over the next 20, 30, 40 years is really going to blossom. That’s very interesting. Thanks for your input.

If you would like to learn more about Roger please look at his website where you can read all about him and his many musical ventures. Singing for the Tone Deaf is an interesting one. www.mostlymusic.co.uk

This is the last issue I will be editing. It’s been an interesting experience. Good luck to everyone with your music making. Bye.

Editor – Ian Coomber 26 Swan Road, Timperley, Altrincham, Cheshire, WA15 6BX  ian.coomber@ntlworld.com 0161 973 5018

Making Music, the National Federation of Music Societies. A company limited by guarantee. Registered in England no. 308632 Registered Charity no. 249219 2-4 Great Eastern Street, London EC2A 3NW. Tel. 0870 903 3780. © 2008 Making Music North West, Registered Charity Number 249219 and published by their Committee

Editor – Ian Coomber 26 Swan Road, Timperley, Altrincham, Cheshire WA15 6BX  ian.coomber@ntlworld.com 0161 973 5018

Making Music, the National Federation of Music Societies. A company limited by guarantee. Registered in England no. 308632 Registered Charity no. 249219 2-4 Great Eastern Street, London EC2A 3NW. Tel. 0870 903 3780. © 2007 Making Music North West, Registered Charity Number 249219 and published by their Committee

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