Variations on the theme of orchestral democracy

Classical music writer

Saturday 23 March 2013

While on leave over the past two weeks, I fell to musing on possible subjects for today's column.

Custom byline text:

Michael Tumelty

I've been keen, following several personal disappointments this season, to think about the business of democracy in performances, specifically about conductor-less orchestral concerts and the whole issue of concerto soloists who also direct the orchestra from the keyboard.

As far as soloist-directors are concerned, I was intrigued to consider the prejudices I felt as I listened to Richard Egarr playing a piano concerto by Dussek while directing the Scottish Chamber Orchestra, and to another pianist, Piotr Anderszewski, playing two Mozart piano concertos in one night while also directing the SCO. I admire both of these musicians immensely but, for me, the total effect of what they were doing was diluted. The absence of a conductor, I wondered? I'll be able to re-examine my prejudices next season as I see both are returning to the SCO to do it again.A long time ago I had a drink with a soloist who said he always preferred to work with a conductor at the front: "It gives you someone else to blame if it doesn't go too well," he laughed. Anyway, as I mused, I reminded myself that I must also take account of the fact that some orchestras operate in self-drive, without a guy waggling a white stick at them. The Scottish Chamber Orchestra is perfectly capable of that, especially if there is a strong leader sitting at the front of the first violins, whether it's Alexander Janiczek or one of their other regulars.And of course, the Academy of Saint Martin in the Fields is the example par excellence of the conductor-less orchestra. Since it was founded in 1958, the guiding principle of the Academy is that the musicians work together, without a conductor. Now they have a new music director, star solo violinist Joshua Bell, who leads and directs the orchestra from the leader's chair at the front of the first violins.I had just got to that point in my musings, mid-afternoon last Thursday, when that old synchronicity-thing popped up, big time. I was literally sitting thinking about the subject when an email arrived. It was from the lady whose PR company represents The Academy of Saint Martin in the Fields. I always get a wee shock when these things occur. The essence of the email was the announcement of a tour in the south by the Academy marking the 100th anniversary of the birth of Benjamin Britten. No surprises there: everybody's doing Britten this year.It got more interesting. The Academy has commissioned a new piece for string orchestra to sit alongside the Britten pieces it will play on its wee tour, which opens in Southampton on May 13. The new work is entitled Variations On A Theme Of Benjamin Britten. The theme is from one of Britten's Sea Interludes, and the composer is Sally Beamish. And at that point the story becomes a whole lot more interesting.Regular Herald readers might recall that Beamish moved to Scotland 20-odd years ago because she felt the urge to compose, and was advised that times were right in Scotland for composers, as proved many years ago by Sir Peter Maxwell Davies and which was being demonstrated big-time at that point by James MacMillan. Beamish is now a composer of international stature. But before moving to Scotland, she was a top-flight freelance viola player in London. Moreover, she was a member of the Academy of Saint Martin in the Fields, as was her mother before her. "My mother and I both played Britten's Frank Bridge Variations with the Academy so I was delighted to write a companion piece for the Britten centenary," she says. "My piece celebrates the Academy of Saint Martin in the Fields and explores its collective virtuosity and the special democracy of the orchestra." What a lovely story; much nicer than me moaning about soloist-directors. That can wait.

Contextual targeting label:

Arts and Entertainment

Commenting & Moderation

We moderate all comments on HeraldScotland on either a pre-moderated or post-moderated basis. If you're a relatively new user then your comments will be reviewed before publication and if we know you well then your comments will be subject to moderation only if other users or the moderators believe you've broken the rules, which are available here.

Moderation is undertaken full-time 9am-6pm on weekdays, and on a part-time basis outwith those hours. Please be patient if your posts are not approved instantly.

Variations on the theme of orchestral democracy

Commenting & Moderation

MOST READ

SPONSORED LINKS

MOST COMMENTED