The amateur orchestra - a British phenomenon ? ... Arthur
Butterworth
Although musical life in London during the early 1800s seems to have enjoyed
a satisfying prosperity, attracting all kinds of distinguished continental
musicians - Handel had been attracted even before this time -and there was
a flourishing Philharmonic Society, numerous theatres:Covent Garden, Drury
Lane; and concert halls, such as the Hanover Square Rooms, Exeter Hall, the
Albion Rooms; the provinces, from all accounts, fared less well. Sometime
during the nineteenth century an attitude was widespread, in Germany in
particular, that England, and by implication the rest of Britain, was "Das
Land ohne Musik".
Unlike many parts of continental Europe we appeared to have had no aristocratic
courts, ducal palaces, or similar landed gentry establishments where any
kind of 'court orchestra' existed. The English aristocracy were, and perhaps
still are, more interested in outdoor pursuits. One of the legacies of artistic,
and especially musical, patronage enjoyed on continent seems to have been
that the state ultimately came to recognise a responsibility for the provision
of theatres and concert halls in a way that did not happen in Britain until
comparatively recent times.
There every town of any size had, and still has, its own fully professional
concert hall or opera house. Of course towards the end of the nineteenth
century and even more so in the twentieth, professional orchestras and somewhat
more belatedly opera, gradually came to be established in Britain too. By
comparison however, we appear to have had to rely far more extensively on
amateur musical endeavour. Now, in the twenty-first century, we certainly
have some excellent professional orchestras, not by any means all centred
on London, and permanent opera companies that could hardly be said to have
existed fifty years ago, in any way comparable to those of even the most
modest of continental towns aDd cities.
It is a widely-held belief that British orchestral players are the best
sight-readers in the world. Where continental orchestras by tradition, are
said to expect perhaps five or six rehearsals, British orchestra can achieve
equally efficient performances in less than half that time. Of course, it
must always remain a matter of opinion as to whether the ultimate artistic
outcome, regarding the level of technical efficiency and interpretative polish,
is as good. Nowadays the consensus seems to be that British orchestras are
as good as those anywhere else, and often even better. Much of the tradition
of British sight-reading expertise probably stemmed from the econ0omics of
paying for rehearsal time. Perhaps there is far more to it than that; differing
attitudes to the whole business of musical performance and its preparation:
the studious, not to say pedantic Teutonic approach, and the - probably -
more spontaneous way we have generally had to adopt in this country ("it'll
be all right on the night" syndrome).
One outcome of these differences seems to be in the matter of amateur orchestral
performance. Although the founding some fifty years ago of the National Youth
Orchestra of Great Britain proved to the musical world at large just what
young, relatively inexperienced players could achieve in a week or so of
intensive rehearsal, and which has led to similar youth orchestras everywhere
else, it is often forgotten, or worse still completely ignored, by the musical
'establishment' (meaning sophisticated arts promoting bodies: radio
organisations, concert agents, promoters, local authorities, - and perhaps
most of all critics) that amateur orchestras outside the youth orchestra
sphere: adult amateur orchestral players, whose professions or vocations
have no daily concern or connection with music making, have come to achieve
a standard in Britain that is quite remarkable.
There must always have been amateur music making; indeed there could never
have evolved any professional status without it. (What kind of 'professional'
orchestral players were available to Bach, Haydn, Mozart or even Beethoven,
Schubert, or Brahms, one wonders ?) In Germany however, and perhaps other
continental countries, the establishment of state-promoted professional players
might well have led to a state of affairs where there was no place for the
amateur to perform in public: the real amateur must have become redundant
in society. If he performs at all it needs to be restricted to the small
circle of family friends, certainly not addressed to a fee-paying audience
in a large professional-style concert venue.
In Britain, however, with our traditional ways of promoting orchestral music
as economically as possible, there seems always to have been a useful, and
appreciated platform for truly amateur orchestral performance. Not that this
has invariably been good, or even acceptable by discerning listeners. In
many places, especially where professional orchestras have rarely been affordable
propositions, the amateur orchestra has been a welcome, if not technically
comparable alternative.
At one time the technical limitations had to be accepted in the choice of
programmes. Technical limitations included the restricted abilities of individual
performers, and, hardly less significantly the availability of the necessary
instruments. At one time, it would seem that string players were numerous
enough, but that wind players, especially the rarer instruments cor anglais,
bass clarinet, contra bassoon, harp etc - were often just not to be had.
During the past thirty years or more there has been a quite remarkable upsurge
of interest in taking on the rarer instruments, while oddly enough, an apparent
lessening of the availability of dedicated amateur string players. But it
is difficult to explain how the technical efficiency of the amateur orchestra
has so increased. So much so that almost anything in the professional repertoire
is now possible and is regularly performed by good amateur societies. Not
confined any longer to the easier classics, amateur orchestras can now give
excellent accounts of twentieth century music. Where is the difference then?
The professional orchestra can be relied upon to give - almost - technically
flawless performances of anything you care to mention. The amateur orchestra
needs rather more rehearsal: instead of a couple of three-hour sessions that
might suffice for the professional orchestra, the amateur society perhaps
needs seven or eight once-a-week rehearsals. The end result will not be so
different as might be imagined; the technical security will be all right,
what could be missing is that final sheen and immaculate polish that some
professional orchestras can achieve. Another quality the amateur frequently
projects - that is sometimes lacking in professional performance - is a spirit
of enthusiasm and sheer pleasure; a quality which tiredness and ennui can
detract from the professional orchestra that has played the same work too
often.
It would be interesting to know how amateur orchestras fare in other countries.
This very brief review does not claim to be in any way an authoritative view;
rather the opposite: it asks the question. However, some evidence suggests
that nowhere quite matches Britain for its enterprise in the matter of amateur
orchestral performance. Visits to some European countries suggest that amateur
orchestras are either non-existant in towns of comparable size to British
centres, and certainly that the repertoire so confidently explored by many
British amateur orchestras - Stravinsky, Mahler, Sibelius, Richard Strauss,
Ravel, Shostakovich, Lutoslawski - to say nothing of the solid core classics
of Beethoven, Brahms, Tschaikowski, Dvorak, or English music, Elgar, Vaughan
Williams, Walton, Bax - is just not contemplated.
What is the situation in America, one wonders ? The American High School
Band is a well-known musical quantity. What happens to its players when they
leave school or university. All those lawyers, doctors, young business people,
workers in every kind of industry, teachers, commerce, transport, advertising,
scientists, researchers, drug-store assistants , office workers, bank clerks.
Do they, like their Britisg counterparts in - say - Sheffield, Peterborough,
Colchester, Huddersfield, Croydon, Cardiff, Leeds, Aberdeen or Winchester
play in good amateur orchestras ?
There is a notion- going around that in some places in Britain, the really
good amateur orchestra (and there are more than a handful), who engage
distinguished professional soloists and conductors, have begun to replace
professional orchestras that have become too uneconomic to invite. It is
also certainly the case that some towns that do have visits from professional
orchestras also have a local amateur orchestra to perform the expensive works
that the professionals can no longer afford to put on.
There could be many reactions to this superficial view. It does not, after
all, in any way claim to be the authoritative result of a thorough research;
it merely suggests that others might care to investigate the situation for
themselves. Most of all: it asks why amateur orchestral playing in Britain
is now so flourishing - and this despite
the multifarious other leisure and recreational distractions: sport, television,
travel, or whatever other interests take up people's spare time.
Arthur Butterworth