reaches an important milestone this week when it chalks up the world premiere of its 75th Sound Investment commission.
The Sound Investment scheme is brilliant in its simplicity.
Supporters are invited to contribute 拢150 towards the commissioning of a piece of new work, and stakeholders then become involved in the creation of the piece along every step of the way.
They receive progress reports, they are invited to attend rehearsals in the presence of the composer, and they are presented with a score inscribed with their names.
Kathryn Lee-Cole, who became a first-time Sound Investor last October, when she supported a Param Vir commission, is full of enthusiasm for the idea.
鈥淚t gives a buzz to be listening to music that is so new, and sometimes hearing it being performed for the first time. It鈥檚 always stimulating and thought-provoking,鈥 she explains.
As is often the case with Sound Investors, the commission fell into Kathy鈥檚 lap as a present.
鈥淭his was a gift from my husband for my birthday. I was thrilled to receive it and greatly anticipated the concert.
鈥淲hen it was performed we had a great day. My husband and I went to the rehearsal sessions in the afternoon prior to the concert.
鈥淚t was fascinating to see the rehearsal and development of the performance. We felt very involved in the piece and the performance by the time the concert came.
鈥淗aving a deeper understanding of the piece through what the composer had said and seeing the rehearsal greatly deepened our enjoyment of the concert itself.鈥
Michael Squires is at the opposite end of the SI spectrum. Far from being a novice, he has supported most of the works commissioned to date.
He tells me what attracts him to contemporary music.
鈥淭he freshness and originality of the music. Many of the composers working today have a very interesting take on music so to misquote Forrest Gump 鈥楥ontemporary music is like a box of chocolates. You never know what you鈥檙e gonna get.鈥橰arely boring!
鈥淲ith 65 of my commissions having seen the light of day, and with six more in the wings, I can safely say that my reasons for being a Sound Investor have not changed over the years. Unfortunately, I have no discernible musical talent, which is a source of regret for me as I do have a great love for music.
鈥淎s a result, I wanted to be more than just a passive participant in the music making process and meeting the composer and musicians, being at rehearsals and so on was the next best thing for me. There鈥檚 a real sense of ownership that comes with being a Sound Investor.鈥
Michael then comes out with some candid reflections.
鈥淚 haven鈥檛 loved all the commissions I鈥檝e been involved with, and not every composer and musician I have met is someone I would like to spend too much time with but, I am glad to say, these are few and far between!
鈥淧erhaps the greatest disappointment for me is how few of the commissions ever see the light of day after their initial premiere. No doubt this was always so but it would be interesting to know how many Sound Investment pieces will be in the repertoire in 50 years time?
鈥淚鈥檓 in awe of the work carried out by the musicians and staff at BCMG and, in particular, Stephen Newbould. None of them will ever make their fortune doing this 鈥 a true labour of love!鈥
Fern Hodges is also a veteran Sound Investor, and explains what attracts her to contemporary music.
鈥淚 like a lot of minimalist stuff. My partner and I discovered Steve Reich when Music for Eighteen Musicians was used as scene-change music in a Belgrade Theatre production of Educating Rita.
鈥淲e both thought quite separately, 鈥榃ow! What鈥檚 that?
鈥淵ears ago I decided that every classical concert I went to should include one piece which was hard to listen to. Thus I discovered music that was intriguing, though not necessarily enjoyable. I鈥檓 not at all attracted to this unless I鈥檓 in a good mood.鈥
And it was Simon Rattle, no less, who drew Fern into the delights of becoming a Sound Investor.
鈥淚n truth, it was a flyer highlighting that a new piece (2002) would be conducted by Simon Rattle. I鈥檇 heard him interviewed on Radio 4 and seen him conduct the CBSO a number of times, sometimes from the choir stalls, and always thinking what a lovely bloke he seemed - seemed to have a warm relationship with the players. The opportunity to see him at close quarters working with the musicians was what drew me.鈥
鈥淪eeing the music being brought into life is fascinating. I think I was right in my idea that the musicians like a challenge. As a non-musician it鈥檚 a comfort to know that it鈥檚 not necessarily as easy as BCMG make it look. I find the process of final tweaks being made by the composers, the musicians getting to grips with it, different conductors working in different ways all bring something extra to seeing the piece performed.
鈥淒avid Lang鈥檚 Crowd Out, which a thousand of us performed at Millennium Point last summer was a brilliant experience. I have no friends who are interested in contemporary music, so over the years since 2002 it鈥檚 been gratifying to get to know other Sound Investors to talk to about the music.鈥
Birmingham Contemporary Music Group perform The Songbook by Gerald Barry at the CBSO Centre, Berkley Street on Friday, February 27 (7.30pm). Details on 0121 616 2616.
