By Sophia Viva Ivanetic, adult BBCM student

Sol-fa in a time of Corona
An ode to joy in singular circumstances

It’s 2020 and we are in a global pandemic. The country has experienced turmoil, lockdown, but also adaptation, community, and an inordinate amount of springtime sunshine. So too have the BBCM and its members, not least founder and director Agnes Kory, met with a full(-on) spectrum of ups and downs. This workshop, the culmination of a year of musical development, not only served to show-case the achievement of the pupils but also recognised a period of great adversity. Agnes’s strength cannot be overstated, and neither can the care of the BBCM community, who came together in support without hesitation when, back in March, Agnes endured a severe case of covid 19. In spite of everything, she was able to sing and talk for the two hours we were gathered on Hampstead Heath, and it was a wonder.

We started with a simple marching song, to get the young children and their parents moving in time

To preface, a detail. Much has happened in the past few months for the first time in BBCM history. With the invaluable help of Hester Goodsell, Agnes began holding classes online via Zoom. It was brilliant not to lose and to keep building on what we had been working on, and students – while practising sol-fa (aka solfège), polyphony and rhythm, honing their aural musicianship and analysing pieces in detail – also learnt about Guido and the iconic ‘Guido Hand’ which adorns the BBCM attire. Without Agnes’s Zoom classes, and without her tireless preparation, we could not have managed the workshop, and the academic year would have tailed away without a proper summer send-off.

And so, the setting: a sunny slope on Hampstead Heath. We gathered, socially distanced, in white BBCM shirts and maroon BBCM jumpers, with home-made face masks, hand gel, picnic blankets, print-outs, much-thumbed music books, and even a laptop fixed with a small synth keyboard. As for the “we”: adult ex-pupils Hester Goodsell and David Franklyn proving that their solid skills had not been (would not be) eroded; young pupils proudly rounding off the year, for some their first; amongst whom the children of alumni, bestowed the honorary title of Agnes’s grandpupils; the neophyte adult and the seasoned teen; and even one very small, sleepy human set to join the class of 2022.

A beautiful venue; in the centre BBCM alumna Amber Onat Gregory with her BBCM student sons Hugo and Riley

The three classes, from the so-called kindergarten upwards, took their turns to present what had been practiced in person, over Zoom and at home. There were workshop essentials such as Pease Pud-ding/Ram Sam, a merry feat of rhythm and instrumental imitation, and Lavender’s Blue, with a solo from young first-timer Margo Dench García, representing the BBCM marvelously in her maroon shoes. Of course, we did the Hungarian Mosquito Song (La-Ti-Do-Ti-Do-Ti-La), first in unison, then in a two-part round, and then in a full four-part round. It was a special moment to manage this, as we had been unable to practice polyphony online.

Next, we had the elder two classes performing a variety of two-part pieces from Kodáy’s Bicinia Hungarica (31, 48, 51 and 54) in sol-fa, in various modes of participation from students of varying levels, including clapping the melody, singing with sol-fa, and singing one part whilst clapping another. Then there was another great staple, Bartók’s Ne Menj El (Do Not Go Away), performed for the first time by some and relived by others. Also in sol-fa, featuring the lovely lydian “fi”, it was a delight to hear it finally come together.

We strictly adhered to family hubs and social distancing

Then came a new challenge: to perform the trickiest Bartók in our book for the first time without ever having sung it together before. Párnás Táncdal, the Cushion Dance, was performed by Konni (Konstanze) Rietsch, Juliette Majid and myself. Key, tempo and time signature changes abound in this piece of some length, with sol-fa constantly shifting to fit the harmonies. Never had I encountered a “ra” or “ma” before! But we had practiced diligently, the ever-spot-on mother-daughter duo of Konni and Juliette sending me a recording of their parts for me to sing along with at home; further testament to technology. It felt a privilege to be in the spotlight with two such top-notch singers after a year getting to grips with all these novel skills. Our slower, calmer rendition was a real treat to sing and, I hope, to listen to. We repeated it with the addition of a selection of current BBCM students and alumni, who sight-sung very admirably.

BBCM alumni Hester and David, also 10-week-old Eva Sophia (set to join the class of September 2022)

No BBCM workshop is complete without a rendition of Ode to Joy. This year was no different; despite all that had not been quite the same in the months preceding, this hymn remained, resounding and uplifting our assembly. As BBCM parent Harlan Zimmerman put it, the communal was “easily one of the best things we’ve done since lockdown started”. After months of isolation — physical, social, musical — this gathering was a breath of fresh (open) air and, to paraphrase Lauren, “meant a great deal” to many. Not the usual indoor affair concluded with a communal feast, but a workshop in another form, a real and necessary and meaningful joy, a respite and a celebration.

So here’s to the next one. Let’s continue, through weather foul and fair, to honour Agnes’s vision and absolute dedication, the spirit of this kind community and the beauty of the music we create together.

10-week-old Eva Sophia's first encounter with Bartók's Ne Menj El