In praise of the London Mozart Players

This weekend feels like one of those important transition times. This partly down to the government eagerness getting us back to the good-old-British-pub, the busy-ness of the nearby South Circular, and the comfort our neighbours display welcoming a considerable number of pals into their garden this afternoon, people who are quite happy hugging and stroking one another – people I’ve not seen from my office window over the past three months. This is the kind of person I’ve turned into. Give me six months I’ll be reading the Daily Mail and ringing the police on a daily basis.

Others have moved on. I haven’t. Because in my head there are some who feel a little left behind. Friday saw Johnson tease a timeline announcement. Might there be hope? Maybe. As I’ve said before, when the people I care about – the art form I depend on – return to something like a solution for working, then I’ll feel more at ease with this idea that we’re ‘emerging’ from a global pandemic.

Until then, classical music is dependent on the videographer, digital content producer, marketing person and PR.

Not a bad segue as segues go.

It’s worth flagging the efforts of London Mozart Players in all of this. I think their efforts may well go overlooked, possibly because of their scale. I want to write about their achievements because I think that they are one of a handful of classical music endeavours who have amidst all of this craziness consistently surprised me.

My connection with them is (in my head) quite loose. A few years back I interviewed Howard Shelley for a podcast. He was charming and a captivating contributor. Since then, I’ve received emails from LMP’s lovely PR Jo, interviewed some players and former conductors, and three months ago set up a content partnership with the band for Scala Radio Online as they headed into lockdown.

Don’t get me wrong. Not exactly an earth-shattering strategy. More like working with people to capture a moment in time from the perspective of those who were experiencing it.

At the same time, I was impressed by their nimbleness as an organisation. It was almost as though they had anticipated the sudden change in fortune. Someone had made plans for a variety of different digital treatements whilst the orchestra’s core talent – the players – were denied a platform to play together.

They weren’t, of course, the only organisation to do this. But they were one of only a handful who appeared to respond quickly – pivoting effortlessly – delivering a broad range of content digitally.

Part of that willingness, I think, comes from a determined spirit rooted in the band’s psyche. Listen to the interview with Exec Director Julia Desbruslais in the Thoroughly Good Fairfield Halls podcast to get a sense of that unshakeable determination.

Where’s my evidence? It’s anecdotal, predictably. It’s to do with the responsive of individuals, the readiness to meet the needs of various third parites. Willingness. Determination. Spirit.

I interface (sorry, I can think of no other word that helps here) with one individual for LMP: their PR, Jo Carpenter. What many PRs forget is that they are as much the face of the organisation they represent as the organisation themselves and their output. That means that as someone who could write about the organisation they represent, they need to epitomise it. Something magical happens when the right PR is aligned with the right organisation. There are others (in case they’re reading – Rebecca J, Kenny, Tessa, Rebecca D, Nicky and George). Rapport is what drives this key relationship. I will, assuming I’m of value, as a content producer do whatever I can if the rapport is there. In this world, where everyone is thinking they need to cut back everything, remain convinced that the PR is vital to raising awareness of an arts organisation’s activities, strategies, and success.

What LMP has demonstrated to me is that self-confidence, determination, and knowing the right people will pay dividends. Also an understanding of the impact storytelling can have on a digital platform.

Because really, the sight of a group of masked string players (the full concert comes with a co-partnership with another radio station, though 360 Elgar with Tasmin Little is a Scala Radio digital promo), the majority of them women too (one in the eye of anyone who reckons classical is pale, male and stale), is nailing a number of different messages: we’re here; we’re getting on with it; we won’t be beaten by your nonsense – not any of you; and when the time comes we can charge for tickets we’ll appreciate the money you part with.

Live streams, bespoke video, and archive content from arts organisations and performers during COVID19

London Philharmonic Orchestra

On Thursday 26 March the London Philharmonic Orchestra announced its digital response to the COVID-19 crisis – LPOnline – including unique performances filmed remotely in the homes of orchestra members, concert playlists, and a range of online resources for schools, home learning, and social care projects.

Fenella Humphreys

Fenella is combining live streams with pre-records via her YouTube Channel
https://www.youtube.com/channel/UC_JlM05leyWyMXxUjiZBn6w

UPDATE: Pending her reaching the magic 1000 subscribers (at the time of writing she’s 90 off the target), she’s planning a live stream on Sunday 29 March 2020.

London Symphony Orchestra

The London Symphony Orchestra have a nifty offer. Streams on YouTube with accompanying digital programme notes, plus spotlights on movies where they feature in the soundtrack. Everything commenced on Thursday 26.

Royal Overseas League at Home

The annual music competition is publishing a series of home-based videos – charming personal pieces to camera with a performance – on its YouTube channel. 2019 ROSL Finalist Kris Garfitt’s touching arrangement of Portugal’s winning Eurovision song (above) from a couple of years back is the perfect tonic.

Royal Opera House

ROH and Royal Ballet announced plans to stream performances late last week. The first wave of content is scheduled for streaming is detailed below.

Peter and the Wolf, The Royal Ballet, 2010 – 27 March 2020, 7pm GMT
Acis and Galatea, The Royal Opera, 2009 – 3 April 2020, 7pm BST
Così fan tutte, The Royal Opera, 2010 – 10 April 2020, 7pm BST
The Metamorphosis, The Royal Ballet, 2013 – 17 April 2020, 7pm BST

Rotterdam Philharmonic Orchestra

Posted on 20 March, this cumulative video sequence of the Ode to Joy from Beethoven’s 9th is a bit of a tear-jerker. Beautifully put together. Heartfelt.

London Mozart Players

LMP have announced their ‘At Home with LMP‘ series featuring YouTube Premieres and Live Facebook Watch Parties. First concert on 28th March at 7pm.

7pm, Saturday 28th March
Craig Ogden guitar

Barrios Vals op.8 no.4
Scarlatti Sonata in E major, K.380
Excerpts from Rodrigo Concierto de Aranjuez

Belle Voci

Recorded in an empty church last week, The Voice participants Belle Voci release a pre-recorded concert on YouTube sometime this week. Subscribe to their YouTube Channel and Facebook page for more details and alerts.

Matthew Sharp

The ridiculously multi-talented cellist, actor, and now cook Matthew Sharp is reaching out to Chris Martin to get advocacy for change in the self-employment market mid-COVID19, and he’s offering #DinnerKaraoke. A good egg.

Garsington Opera #MondayMotivation

10am every Monday via Garsington’s YouTube Channel. Session from 23 March captured via Zoom embedded above.

Sean Shibe

Sean has plans to live stream, dates and times to follow
https://www.youtube.com/user/seanstshibe

Voces 8

The choir signed to Signum and Decca are releasing YouTube Premieres at different times on their channel.
https://www.youtube.com/user/vocescantabilesmusic

Support musicians affected by cancellations

Direct links to recordings by musicians, artists and composers affected by cancellations, from spring 2020 curated by the brilliant Adrian_Specs on Twitter.