‘The anticipation of having our first glimpse of Nina’s composition set the orchestra buzzing. Nina smiled broadly, she is very personable, and we started off with some exercises to prepare us for a most unusual set of musical instructions. The first ‘chapter’ of the work was like nothing we had ever seen or heard before. There was the odd note here and there to be played within a five second bar but nowhere specific until chapter 2 came along where arrows marked the precise place. Some of us used our instruments in a most unconventional way (my heart went out to the cellists or cellos to be more accurate) to produce strange effects. I wouldn’t exactly say it was music, more a ’sound’ impression of what Nina interpreted a walk to be like. I’m afraid to say that I did not understand how I was supposed to react to this first connection with contemporary composition, and really found it difficult to relate to emotionally or musically, but there is more to come and, who knows, I might find revelation!’

 ‘new experience

different way of approaching music

learning new techniques – things I never knew my instrument could do!

takes me way out of comfort zone!

like idea of ‘chapters’ instead of movements – very inventive’

 ‘I enjoyed the rehearsal and the opportunity to show the capabilities of the instruments beyond the usual scope of the classics. The rehearsal was a challenge for Nina as time was required to explain techniques etc. The piece was relatively straightforward to follow and the soundscapes of chapters 1 & 2 presented some interesting images in my mind from footsteps and snapping twigs to heavy industry and the noises of derelict buildings.

While we no longer have Holst, Mozart, Handel etc with us, their pieces endure. Nina’s interpretation of modern day walks and industry into music is naturally not comparable but what they give us is something new, different and, whether the orchestra likes it or not, a talking point on our programme. Not forgetting the PR of Radio 3 :-) ’

 ’As a ‘former’ graphics artist and having graduated from Edinburgh College of Art many moons ago – I have (I hope!) always been open to progress in the graphic arts & music. But I have to say that there is a limit to which I am prepared to go…………………and Nina’s ’stuff’ reaches that limit for me……..and how! I am sure you are equally well aware of some of the ‘rubbish’ which is purveyed under the title ‘art’ and I have to return to my conservatism both graphically & musically when I a load of garbage is thrust at me. Nina’s ‘music’ (and I do hesitate to call it such) falls into this category and I am sure that – along with many of our orchestral colleagues – do resent having this trivia inflicted upon us. I therefore may be considered an ‘old fuddy-duddy’ at 76 years of age. If so, I am then content to remain in my rut! We all know that Ludwig v Beethoven was seen as a revolutionary in his day……………well, I shall stick with him until I turn up my toes!! He must be turning in his grave – if by chance he heard the tapping & scraping that passed for ‘music’ a couple of weeks ago up at Colinton!’

 ‘I enjoyed the evening. Generally, I don’t like recently-composed music though there have been exceptions and I’m always particularly glad to hear an exception because I don’t like the idea that I’m only capable of enjoying museum pieces. When the museum-pieces were newly written, people generally appreciated them, if they did appreciate them, as contemporary music. I enjoyed the idea that music could be written which did not interest itself in melody, harmony, rhythm or counterpoint but which, nevertheless, had structure, specific sonority and which, while not being programmatic, was evocative of feelings and scenes. The question of where music stops and sound-effects begins used to interest me but no longer does so because I’m now inclined to think that no-one has a useful answer.

Following Hector’s remarks about what Nina and modern composers generally ought to be forced to realize, I think there are three things that she and such folk ought to be forced to realize. The first is how very, very angry people who care about music commonly feel when exposed to such modern ideas of music, regarding them, as they often do, as the most utter, complete tripe. The second is that those who care at all about the matter commonly feel that music should carry its meaning on its face, that this sort of thing does not and that it may therefore respectably be rejected out of hand at first hearing. I have thought that way myself in the not so distant past but now reject this view as being needlessly restrictive of my own and other people’s enjoyment and appreciation. Other artistic forms such as poetry, painting, sculpture and mathematics don’t usually have this requirement imposed on them; why should we impose it on music? It is sometimes possible to learn to appreciate things that one didn’t appreciate on first acquaintance. And the third thing which I should like to force upon Nina and friends is that there is an absolute necessity for them to explain to their listeners/players in some detail, in advance of exposure to the music, what the hell they are playing at because such music commonly does not carry its meaning on its face. Hers didn’t. I made this last, third, point to her, not quite as bluntly as I’m making it here, in the interval of the rehearsal and she did make some attempt, when we reconvened, to explain herself to us. It did help. But many of us needed more. If we are to be deprived of melody, harmony, rhythm and counterpoint, then we must have it explained to us what it is that we are supposed to appreciate because very many of us are left with nothing whatever to relate to. We need to be persuaded in advance that a good deal of thought and knowledge has gone into such compositions. Otherwise we commonly feel completely swindled out of our time and money. And we can get extremely annoyed. Some of us did. I didn’t.

If you ask me where I get these views from, I can tell you that I have spoken and listened to people both in CAOS and out of it and that I have felt most of the feelings and held most of the views myself at one time or another.

And I’m on her side! I’m looking forward to more.’

 ’I'd just like to say that I did not find the “music” at all inspiring even with the new techniques we had to use, and I am sure it will not appeal to our type of audience.  However, it would be nice if we could manage not to be entirely negative on the blog but I can’t quite see how. Does Nina deserve some encouragement as it might not be too late to change it in some way – after all she hasn’t finished writing it yet.’

 ‘I really enjoyed the rehearsal with Nina. Her composition reveals a different perspective on every day activities which makes the composition refreshingly different from other, “classical” works.’

‘The adopt a composer scheme is a good way for the orchestra to promote itself. I would not support letting Nina down – if that is or will be discussed. Even if someone does not particularly like the music, I don’t see any harm in performing it at one concert. In my view, we can all learn from this rather experimental piece of music – even if it is only getting to know your boundaries (in terms of what you’re willing to play) and maybe overcoming them. This is my view on the rehearsal. I really enjoyed it.’

 ’I thought Nina’s music & rehearsal were refreshing. It compares favourably with classical II violin music which can be impossibly difficult without much reward on its own.’

 

‘This is an exciting and interesting venture but it’s not music as we know it. Leaving the decision of when notes are played to the players is a cop-out. The composer should be telling us when to play the notes to achieve the desired effect. Also found it difficult to know where I was in the bar when all I got was a down-beat every 5 seconds’

 

‘I had mixed feelings.

 As to the music itself, I found the first chapter generally disagreeable, the second less so; if either came on the radio, I would probably turn it off. However, I thought the second chapter, which was supposed to describe industrial archaeology was quite ‘interesting’, and indeed quite successful (so I felt distinctly more positive about it than the first chapter, despite Hector’s comment that it was ’simplistic(?)’). I have the general view, however, that music (and likewise works of art in general) should not have to have an accompanying text in order to be appreciated; in my view, without such a text, Nina’s music would be incomprehensible.
As to the playing, I was mighty relieved that I did not have to treat my clarinet like a drum or a dustbin lid, and I felt sorry for what the strings were being asked to do to their instruments; I thought that there was a real chance that it might be detrimental to the instruments. From the point of view of technique, it seemed vacuous: no precision was necessary in timing; the fingering etc was largely trivial. In view of the considerable freedom allowed as to when we made our various noises, I can’t see how we can meaningfully rehearse it, and indeed no two performances are ever likely to be similar; anyway one could not tell the difference, whether similar or not.
I can only hope that it might improve, but don’t have high expectations. I think it has been an interesting exercise and that we should see it through to its conclusion, but I am not sure that I would want to repeat it in a hurry. All it has really done is reinforce my rather jaundiced prejudices about much modern art (both music and visual).’
 
 

 

‘I’m not sure if I’m in a minority but I actually enjoyed rehearsing Nina’s music and I can see what she is trying to do. However I’m not sure how people will enjoy listening to it. My father was not very complimentary about this sort of music so I was brought up with a prejudice against modern music.’

‘I thought it was good to be taken out of my comfort zone but too many unusual techniques (less is more?) and not enough tune. Also the two movements we have done sound very similar to me – not sure it reflects what Nina says she is trying to represent. Good to try something new – just need to make sure there is not too much of it and we do not alienate our loyal audience!’

 

‘It’s not the kind of music I would ever listen to, but I did find it interesting to try something so completely different – probably the only chance I’ll get, unless we do this again!

I know that there are strong feelings around, but I just feel that it’s only a short spell of our time, so why not make the most of it?

Regarding the actual music, although the technique of counting is very unusual, the notes were pretty easy. Will the rest be in a similar vein, or are there going to be harder challenges ahead I wonder?’

‘I would be unhappy if Nina were to get very negative feedback – this is supposed to be her future livelihood, whereas it’s just a hobby for us (apart from Hector of course). Whether the piece fulfils our brief may be debatable, but if she had plagiarised Beethoven that wouldn’t do her reputation much good!

I also feel that you went to great lengths to organise this scheme and it deserves the orchestra’s support.‘

‘ Very interesting. I have never attempted to play anything like this before. I do not think I would like to do so again but I certainly DO think that we should try some different things. It will be interesting to hear how it actually sounds when played at the concert. In any case, I would not want to back out of any agreement we have, to play the music.

I have a concern at using the wood on my bow to hit the string and will be buying a cheap bow for that purpose!’

 

‘Not sure if I am allowed my tuppence worth but I enjoyed playing a really different piece and I thought Nina was really good in introducing us to a new concept in music. Something which possibly nobody had encountered before. She had clearly realised this was something most of us would find challenging but she got us all to play it. So well done Nina, and thank you for working with us. Oh and perhaps I should add that I look forward to more new music to complete the work. And my teacher thought it was good too and she and I had a great time working on how best to play it. Although it seems very simple, in fact it introduces a number of new techniques which I have not met before.’