From Both Sides of the Fence

Despite all the largely media driven doom and gloom (when hasn't it seemed as if the world is falling apart?), I've enjoyed the musical run up to this Christmas more so than in recent years. As a shopkeeper I see Christmas from both sides of the commercial fence and believe me, it is not a pretty site from behind a counter. The season brings out the best and the worst in people, who, by and large, simply want to survive the pre-rush and then, with a bit of luck, enjoy Christmas itself.  Needless to say the peace, calm and tranquility that lies at the heart of the Christmas message becomes buried - but sometimes glimpsed. For me, it's music that keeps me in touch with that still centre.

Timeless Music

Our orchestra sponsors an annual event in October for string players called "Play-for-a-Day" and in 2011 it was particularly successful. The theme was Baroque music and such a simple way of unifying the day had considerable appeal. There is something about this music genre that resonates clearly with our own times. Naturally, the beautiful music room at Pauntley Court, a sunny day and a great group of musical personalities all added their contribution but I also thought it would be worth a few words exploring where this particular music came from and why it is so relevant to our techno. age and discover where the resonance comes from.

When anything is put in a context it can become meaningful. In fact, unless "anything" has a context, connection, a place in the world, it is meaningless and irrelevant. During that day, I introduced one or two facts about the times in which the music was created to see if this affected our appreciation and enjoyment of it. For example, what has relatively recently become known as the Baroque period in music covers roughly 1600 to 1750. During the seventeenth century, there were two main influences at work, one in northern Germany and Holland, the other at the other end of Europe in Italy, more specifically in Rome. Prior to this period, musical harmony and counterpoint developed primarily in devotional church music. Then, in Northern Europe, this developed much further, especially in the art of fugue. In the Italian enclave, there was much more concern for the form of the music and this also developed - the concerto grosso, sonata form, etc.

The Final Score

A couple of years or so ago I had an idea for a piece of music and began to write a few ideas down. Somehow, the whole thing spiralled and before I knew it I had the makings of not only a new composition but a book to go with it. A few random notes turned into quite a major project. That was a while ago now and it has recently come to fruition. The book, called The Final Score, is available and the music will be published in a couple of weeks time or so.

The music is called and is inspired by Alchemy, the idea being that a wide variety of my experiences as a musician would go into an alchemical melting pot and out of it would come the new piece of music, the gold that I was aiming for. That process took me on a journey not only into my own musical past but also into the history of and the roots of music making. I was trying to discover, explore and understand the powerful effects of music and to achieve this, I went on my journey.

Orchestral Feng Shui

The Chinese call it Feng Shui. It's the art of "placement", of organising a work, leisure or home space so that the greatest benefit to the inhabitants is achieved. If the feng shui is right, health, wealth and happiness ensue. This traditional oriental art form has become debased in modern times by turning it into a pseudo-science.  Place a mirror on a south-facing wall and not facing an entrance and money will pour in. Clearly, if there is anything in feng shui, it doesn't work like that.

The converse approach is unscientific but more feasible. This is feng shui using your intuition, your feelings.  When you walk into a room, a hall, an office, a garden, you immediately have a sensation of whether it "feels right" and that is, clearly, in the main, down to the way surrounding objects have been arranged, how passage from one side to the other is achieved, how the lighting and colours, the interior design, have been formulated. If an office or a living room "feels right", then its function becomes much more productive or comfortable to be in.

That is all preamble to point out that the same principles can apply equally to a concert environment, to the concert hall. The atmosphere created by the hall space can greatly affect the experience of the audience, almost independently from the quality of performance that an audience may witness. A poor performance will never be perceived as great, but a great one can be ruined by poor feng shui. When our orchestra performs, I'm always aware of the hall that we are in, as a musician particularly the acoustics, but there are other factors as well, some more flexible than others. The lighting, for example, can be the single most effective way to create the right mood and that may or may not be controllable, depending on the venue's facilities.