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The inclusion of amateurs as part of the orchestral ?community? of musicians has for many years been an integral part of the work of the City of Birmingham Symphony Orchestra (CBSO), writes Baz Chapman.

In addition to an extensive education and outreach programme and a new youth orchestra, we run an adult chorus and two symphony youth choruses. In 1999, we set up City of Birmingham Young Voices (CBYV), an unauditioned choir offering high-quality vocal training and performance opportunities to singers of any ability aged 13?21. Why did we do this, when we already had three other choruses? Mainly because there was a gap in the Birmingham market for a good-quality, multi-faceted choir that could cover lighter, non-symphonic repertoire and that could perform equally as happily with the CBSO as with pop musicians or with kids at inner-city schools. But it was also an opportunity to explore further the exceptionally high standards that amateur musicians can achieve when placed in a high-achieving professional environment.

Over the years CBYV has welcomed young people from virtually every cultural and geographical sector in Birmingham, many with no ability to read music. Coached by David Lawrence, one of the best choral trainers in the country, the Choir has consistently performed to its various audiences with energy, commitment and enthusiasm. Of overriding importance in all of the CBSO?s work is achieving quality, and we feel that there is no reason why this shouldn?t apply to our unauditioned choir in the same way as it does to our orchestra and other choruses.

A previous incarnation of CBYV in Birmingham failed because of a lack of adequate financial and administrative support ? it?s not always easy to keep amateurs attending regularly. What CBSO can offer is the best-quality environment, training and concert opportunities, which come through its management infrastructure and therefore, of course, its financial support. But it also provides vision and it?s this vision that not only maps out a varied range of activities for CBYV but also allows more external funding to be sought.

CBYV?s growing reputation has led to wide variety of engagements: over the years they have sung with Jools Holland, Richard Blackwood, the King?s Singers and a ?virtual? Elvis Presley; they have appeared three times on BBC?s Songs of Praise; and they have recently recorded the CD for Youth Music?s Singbook, which will go to every school in the country. They?ve also premièred works by composers such as Bob Chilcott and Tolga Kashif. And the engagements keep rolling in, not least an invitation to sing at Buckingham Palace.

The benefits that this type of activity can have on young people in their formative years are obvious, even if they never sing in a choir again. But we have also recognised the abilities of our most talented members and have given them solo singing, conducting and composing opportunities and training, and there is no doubt that some will go on to have professional careers in music. The feedback from professionals at the CBSO ? be it players, staff or board members ? has been very positive. This strand of the CBSO?s output, perhaps more than anything, shows that given the right environment, any amateur can achieve the most ambitious of aims, and stand alongside the best professional musicians the country has to offer.

Baz Chapman is Chorus & Projects Manager for CBSO.
e: bchapman@cbso.co.uk