Belsize Square Synagogue, London

Report by Rob Ketteridge (first half) and Rachel Pincemin (second half)

This was our first BBCM workshop, having enrolled our daughter Maggie in the BBCM kindergarten class in September 2007 when she was just turning two. It was also our first chance to meet many of the older students and parents and to see the work of the BBCM in its entirety, from the youngest toddler learners through to highly proficient adult musicians, some of them pursuing professional musical careers.

So it was that we arrived at the Belsize Square Synagogue on a mild Sunday afternoon in the middle of March – Kate and me, Maggie and her grandmother, BBCM uniforms worn and food to contribute to the communal effort in a bag - full of curiosity and interest.

First impressions were what a lot of people! Young and old, a great diversity of backgrounds and types, but united by the maroon and white tops of the BBCM worn by both children and parents – and one or two grandparents as well. And what a hubbub! The synagogue’s small kitchen was filling up with generously prepared and donated food and drinks, a real feast in store. The hall itself was filling up: the youngest children with their parents at the front and proud older parents, grandparents and other observers towards the back; at the side teenagers and young adults in groups, getting ready to perform. I have never been to a more eclectic and inclusive musical gathering, bringing together in one room and on one afternoon of performances both the nursery school and the professional music group and all points in between. Maggie and I took seats at the front as instructed, Kate and her mum found space a little further back; we smiled at people we knew from the kindergarten class and said hello; and got ready to start.

The occasion was not just musical. It was also a commemoration of the life and work of Suzi Gold who very sadly died last year. Suzi was one of the prime movers of the BBCM, inspiring Agnes to launch the kindergarten class, helping to run several BBCM workshops and supporting three BBCM study trips on adventures of musical discovery in Europe. Members of Suzi’s family - not least of course Hollie and Matthew Gold - were there to take part. And the occasion also brought together others who - like Suzi and her family - participated in all of the study trips: Amber Onat-Gregory, Catherine Staples, David Franklyn and William Harris. As Agnes has told me, they were in a group which stayed together as a BBCM class for fifteen years and its members still maintain friendships among themselves and with Agnes.

The afternoon’s music-making began with a tribute to Suzi’s South African roots: a moving account of Nkosi Sikelel' iAfrika from the multi-generational talents of the Lazarus family and Matthew Gold.

Like Suzi’s life, the programme moved to Scotland - where Suzi lived for almost twenty years - with communal singing of the traditional Scottish song My Bonnie lies over the ocean - straight at first and then developing into various parody versions (I liked “clams and ice-cream” especially) which reflected the gentle sense of humour I have come to associate with Agnes and the BBCM classes.
Bartok and Kodaly are of course talismans of the BBCM and of Agnes’ approach - they were the subject of a BBCM study trip to Budapest in 1996 - and so it was fitting that they were at the heart of the first half of the programme, with a medley of performances of Hungarian folk songs and Bartok/ Kodaly compositions, conducted and choreographed by Agnes, drawing on the learning and talents of pupils of all ages. This moved from hand-signed pieces featuring some of the older children and adults through to the tinies delightfully playing the Candlelight game (with not too much chaos on stage!) interspersed by masterful piano renditions from David Franklyn.

Another BBCM study group visited Bayreuth in 1999 to study Wagner and Liszt and this prompted one of the really professional and accomplished treats of the afternoon: Michael Chacewicz’s beautiful account of Liszt’s Die drei Zigeuner accompanied by Claire Howard.

Amber Onat-Gregory and Catherine Staples - veterans of the study trips - paid a heartfelt and funny tribute to Suzi Gold and the experiences they had come by with her support.

The first half of the programme concluded with David Franklyn’s performance of Tchaikovsky’s Neopolitan Dance Tune - again with reference to a BBCM study trip to St Petersburg - and finally with another medley which brought together youngest and oldest: Aria Watts and Clara Heck singing one of Kodaly’s Nursery Songs, leading into Humperdinck’s duet from Hansel And Gretel, sung by Helen Karikari and Sarah Kaldor, interwoven with the kindergarten version of part of it - “With my hands I clap, clap, clap …”

Bringing together once again the toddlers and the mature musicians, this was a fitting way to bring the first half to a close - capturing the spirit of the BBCM and the continuity it promotes between early-years and professional music-making. It was time for a break, some drinks and for the kindergarten class to eat the fairy cakes they had kindly been given. And for a natter, a giggle and comparing notes on the performances so far.

We stayed for part of the second half - the words about Suzi from Janette Grant and some wonderfully multi-cultural family performances - but alas Maggie was coming to the end of her concentration-span and all too soon it was time for us to sneak out before she raised the roof in a completely unmusical way. But it had been a real eye- and ear-opener for all of us and we greatly look forward to more.

By Rob Ketteridge

This was also our first BBCM workshop (we enrolled our son Alex (four) two years ago while Theo (two) is a true fledgling to the group) so it was fascinating to see how some of the younger BBCM members are already sharing the diverse musical interests of their parents and families. Particularly wonderful for us – Eric is a violinist whilst I once liked to think I was one – was to hear four-year-old Miles and his father Peter playing their Baa Baa Black Sheep violin duet. Aria (aged three), Noor (two), Amaan (four) and Kata (eight) were equally inspiring with their Indian and Hungarian music.

This workshop wasn’t just a chance to hear about the contributions Suzi brought to music. Her daughter Holly was presented an award by BBCM chairman Andrew Dowell for her beautifully written opera reviews. Another (very poignant) reminder of how the passion for music is passed from one generation to another.

After a non-classical song – Suzi’s favourite, California Blue by Roy Orbison – we were regaled with a wonderful performance of Eli, Eli by the highly talented Lazurus family. Pianist Ilan impressed us throughout the workshop with his extraordinary ability to improvise when accompanying so many diverse pieces.

Helen Karikari and Sarah Kaldor then brilliantly led the BBCM chorus with Purcell’s ‘Fear no danger’ from Dido and Aeneas, a chance for us all to exercise our lungs before we heard an arresting interpretation of Schubert’s Der Tod und das Mädchen by Michael Chacewicz. His superb baritone stopped our sons’ fidgeting in their tracks!

For weeks in the run up to the workshop we had been listening to three-year-old Alina practising Beethoven’s An die Freude, wondering if she would really have the courage to stand up in front of a packed hall and sing her solo. She not only did it, but she pulled it off with aplomb - a moving end to a very moving, and inspiring, memorial workshop.

As we tucked into the post-workshop feast (it brought new meaning to the term global cuisine), it was fascinating to chat to pupils past and present, and congratulate them on their contributions to the workshop. Agnes had excelled in unifying so much talent, putting together a diverse and interesting programme. It was truly a fitting tribute to Suzi, who had clearly inspired so many BBCM pupils.

By Rachel Pincemin