Groups in the voluntary music sector are often privileged to premiere a new piece of music. Henry Bird looks at how composers and voluntary musicians can best work together.
Malcolm Cochrane
The UK has a great composing tradition, as shown by the established names at work today – from Sir Peter Maxwell Davies to Thomas Adès – and by the younger generation of outstanding composers currently making a name for themselves. At Making Music we see it as part of our mission to help maintain this tradition by connecting composers with another of the UK’s musical treasures: the flourishing voluntary music sector.
Write the music you want to write, but always make the tricky bits as hassle-free as you can
There are over 3,000 voluntary music groups in our membership and we thrive on encouraging them to be part of a vibrant multicultural scene. Part of this is creating new music to be performed by voluntary musicians, either through special commissions from well-known composers or through programmes such as Adopt a Composer (AAC). These projects are enormously beneficial to our member groups, which relish the chance to perform music written to suit their needs and abilities, sometimes even getting the chance to collaborate with the composer. The benefits are numerous to the composers as well. For one thing, there is nothing like the feeling of having your own compositions performed, be it in a small community hall or a world-class concert venue. The playing standards of voluntary groups can also be very high. There is unfortunately still a stigma attached to the word ‘amateur’ in music (we tend to prefer the term ‘voluntary music’), although we know from our own membership that many amateur groups play to a professional standard. The only difference is that they do not do it for a living.
The AAC scheme was set up in recognition of the benefits offered by voluntary music commissions to up-and-coming composers in particular. Run in partnership with the Performing Right Society (PRS), the scheme pairs a selection of our member groups with emerging composers. Over the course of twelve months, each composer creates a new piece of music specially for their twinned group, giving them vital exposure, not least through the prestige and promotion attached to the world premiere concert, which is broadcast on Radio 3.
We spoke to a variety of composers about what the differences are between writing for voluntary and professional musicians. Many said that commissions to amateur groups offer the chance to involve the musicians in the creation of the music, rather than just giving them the finished piece to perform as would be the case with professionals. Bernard Hughes, a composer from last year’s AAC scheme, points out another important difference: “You have to be aware with amateur musicians that they are doing it because they want to, not because they are being paid to. So you have to make your piece something they want to play or sing. It is an extra layer of audience.”
The voluntary groups’ levels of experience provide another difference. As they do not perform on a professional basis, they may be less familiar with more complicated musical language or notation. That said, the process can be as much of a learning experience for composers, particularly if they are writing for groups outside the more ‘traditional’ western classical genre (we count handbell ringing societies, samba bands and sitar ensembles among our varied membership).
We also asked the composers to give us their tips for writing for voluntary music groups. Many of them said that it is vital to develop a good relationship with the performers, as building a rapport with them is likely to enhance their performance, and you may discover a great soloist in the group for whom you can write a part.
Something that all of the composers mentioned was the importance of getting the level of difficulty right. As royal wedding composer Paul Mealor says: “Never write down to a group. Write the music you want to write, but always make the tricky bits as hassle-free as you can. There is a real craft to writing the music you want to write, without making it too difficult to play or sing.”
Henry Bird is Marketing Communications Executive at Making Music.
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