Not all the RTO’s fans managed to catch the triumphant performance at the Edinburgh Fringe, but for those who did, a small explanation is due. A few eagle eyed members of the audience spotted a reference in the programme notes to one Herbert Parry, composer of ‘Jerusalem’.

Now, as nearly everyone raised in an English school will confirm, the legendary hymn to William Blake’s words was the creation of Hubert, not Herbert, Parry. Many of you may have assumed that the RTO programme notes, therefore, contained a printing error. This is emphatically not the case.

The version of ‘Jerusalem’ performed by the RTO on August 27 was, in fact, the lesser known composition by Hubert’s younger and not so talented brother, Herbert.

History records little about the career of Herbert Parry. While Hubert found fame and recognition as director of the Royal College of Music, as professor of music at the University of Oxford and as composer, Herbert struggled to make a name for himself.

While Hubert, arguably the greatest English composer since Henry Purcell, was dreaming up gems such as the coronation anthem ‘I was glad’, Herbert had settled for a life as a coach driver, his love of music not matched by any ability.

Herbert’s take on ‘Jerusalem’ is plagiarised from the original with one or two inexplicable changes – a note missing here and there, a trumpet continuo, ahead of their time atonal passages on the strings, and something that sounds a bit like a car starting but could be clarinets.

Although members of the RTO prefer Hubert’s ‘Jerusalem’ (who doesn’t?), it was felt that Herbert’s was more suited to the technical capacities of most musicians and a decision was taken to go with the latter.

As this worked quite well on the day, it has been agreed that the RTO will wherever possible opt for a sibling’s efforts over those of their musical giant brother or sister (or indeed father or mother, son or daughter). Anyone deviating from familiar tunes will thus have a perfectly valid excuse.

Watch out for future airings of Vivian Williams’ ‘The Lark Ascending’ (by our new soloist on the violin, Morgan, who sang so finely at the Fringe concert), Edith Elgar’s ‘Enigmatic Variations’, and Alberto (father of Antonio) Vivaldi’s Concerto for Twelve Violins in F flat (that is very flat indeed!) major.

In this, the year of the RTO’s American debut, players have embarked on a rigorous rehearsal schedule in preparation for the big day (April 1!). We meet next week, for the first time since December 6, in what promises to be a lively session, especially if the musical director feels able to make an announcement regarding the New York programme.
Pippa Lockhart, first trumpet and musical secretary, will be filling in for the Chairman of the New York Committee, Zandra Macpherson (who is exploring future concert opportunities in New Zealand), and hopefully providing an update on ticket sales. All eyes and ears of the orchestra will be on you, Pippa!
The work of the committee has continued over the holiday period – in fact, has intensified – with a number of notable changes in strategy worth mentioning. Most significant is the rearrangement of committee meetings from Tuesday afternoons at Zandra’s to Monday afternoons at Pippa’s. This suits Pippa, though not necessarily all the other committee members. It has been suggested that shifting the meetings to St George’s School for Girls on Wednesday nights, half an hour before RTO rehearsals begin, would not only be more convenient for some of us but would also save on emissions, very much an RTO objective. But as several committee members cannot make the earlier time of 7pm, a practical solution has been put forward by Sir Richard, the musical director. Rather than having the meetings before the rehearsal, it might be more productive, said Sir Richard, to have them during the rehearsal (while sight reading, say, or playing scales) and this way add to the skill sets of everyone present. This is something that will be discussed, no doubt, on Wednesday.
Another slight change in plan concerns the hiring of instruments in New York. The committee’s director of instrument hire, Susie Stevenson (the RTO Chairman’s wife), believes she has found an excellent musical instruments store in New York but advises that because of the great demand for instruments in that city, some RTO musicians may not get exactly the instrument they have requested. For example, while there are plenty of double basses, there may not be enough horns to go round on the day. Violins, too, are obviously very popular and likely to run out. Of course, this is a worst case scenario and possibly everyone will get their first choice of instrument, but Susie just says we should be prepared to be flexible on this matter and take what we get.
There now follows a statement from the Chairman, Peter Stevenson: ‘A happy New Year to family, friends and fans of the RTO, without whom New York would not be possible. And a very big thank you to the committee, whose tireless efforts will go unrewarded.’

* For those who still haven’t bought their tickets for the RTO’s New York Town Hall appearance don’t delay – there are only 80 shopping days left!
* For all the latest RTO news in the countdown to April 1 watch this space!

STOP PRESS

Ticket sales for the RTO’s New York concert have passed the 450 mark – with 97 shopping days still to go before the April 1 curtain up! That leaves just 1050 seats to sell, which means we look like heading towards a full house (in keeping with RTO custom). The Chairman, whose blood pressure drops by the day, welcomed the latest figures but refused to let them go to his head. ‘We have much work to do, not least in the preparation of our musicians for this auspicious occasion. I would urge all players to practise over the festive period unless, of course, they are guests in someone else’s home or have people staying with them.’
The success of the RTO in conquering the American market* continues to inspire tribute bands, and it was felt that some kind of umbrella organisation should be set up – a sort of international network of musical nonentities.
To this end, the Chairman has already devoted much time and now is delighted to announce the formation of a League of Terrible Orchestras (LOTO), the inaugural meeting of which will be held on March 31st in New York**.
The possibilities for cultural exchanges, individual and whole section swaps, sharing of best practice (for those who do), and perhaps even an open season on visiting soloists, are infinite. ‘These are exciting times indeed,’ said the RTO’s Chairman. ‘With the combination of our extraordinary talents, imagine the contribution we could make to the world of classical music.’
Merry Christmas!

* To be confirmed
**To be confirmed

Christmas Oratorio – Ludus Baroque Chamber Orchestra, Soloists and Chorus directed by Richard Neville Towle Canongate Kirk, December 16, 2008

Every now and again as a reward for good behaviour our esteemed conductor, Sir Richard, is let out on day release for work experience with real professionals. His presentation of J S Bach’s Christmas Oratorio is becoming a ‘don’t miss’ event on the Edinburgh social calendar and unofficially marks the start of the festive season. This performance of parts 1 – 6 – with a suitably lengthy interval so large amounts of wine and food can be quaffed – was once again a triumph. New tenor on the block Ed Lyon which his creme caramel voice was an enlightened evangelist, Michael Chance’s sublime countertenor lines floated above the orchestra whilst the duets between soprano Sopie Daneman and bass Giles Underwood were just one of many highlights.

Sir Richard was in ebullient form, clearly relishing the eye contact from the members of the orchestra – something that never happens with the RTO – and thrilled that they not only played the right music in tune, but also came in on the beat. The valveless trumpets – or valueless as a misspelling in one review claims – were a lesson to our own trumpet section in how to razzle and dazzle, although sadly none of said section were to be spotted in the audience.

However, other members were out in full force. Chairman and really terrible clarinetist Peter Stevenson shook his head at the interval declaring he’d now heard the Christmas Oratorio four times and that alas he still ‘didn’t get it.’ Hugh Hillyard-Parker threw aside his oboe to open his lungs as a member of the chorus who sang lustily and were generally declared to be the best chorus yet. Our resident German, Felicitas Macfie was perplexed by the translation which she said completely failed to transmit the sheer joy of the original – a text she knows well, reciting it, as one does, before every Christmas meal. Speaking of which, this was truly a feast for the ears, not something one should expect in New York, although potential audience members will be relieved to note the RTO will not be singing – that we leave to the audience, so sharpen up your vocal chords now!