By Diana Donaldson

The anticipation of attending the BBCM annual communal put me in mind of my last cello lesson.

I was rehearsing for the end of term summer concert. Tired and laden with study books for the summer holidays, I put my cello in the luggage compartment of the old Routemaster bus, ignoring the voice in my head that was shouting “this is not a good idea.” I thought I could cover any eventuality by sitting on the long passenger seat opposite.

As the Routemaster turned the sharp bend at the top of Whitehorse Road, I watched, as if in slow motion, paralysed to the spot, as my cello tumbled awkwardly from the luggage compartment into the busy traffic. I could not breathe. I could not speak. That night I lay beside the pieces of my fractured cello and never played again…

The spectator catches hints of the BBCM tradition instantly - through the diverse multi-cultural presence, from the musical program and the delicious dishes in the kitchen, prepared by the parents. The atmosphere is well attended and carnivalesque. The sun is shining. It is a beautiful day and a wonderfully appropriate location, kindly hosted by the Empson family.

The programme begins with the gentle utterance of “Shhh!” from BBCM director, Agnes Kory. I can see the inquisitiveness and expectancy in the eyes of the audience and participants. We observe Tallis’ Canon, sung in Sol-Fa unison, followed by an impromptu arrangement of the same melody from Benjamin Britten’s children’s opera, Noye’s Fludde. David Franklyn is on the piano with parents Peter Camilleri and Eric Pincemin on the violins. The Do-Re-Mi song from The Sound of Music follows and everyone joins in. The sound is lively and ebullient. Among the smiling faces I begin to see how Agnes’ instruction invokes the enchantment of music for children and adults alike.

Hush Little Baby, originally a Hungarian folk song about a little duckling, is next. All vocal cords are being exercised. The second part of this two part arrangement is by Lajos Bárdos and is sung confidently by the older children, accompanied by the ensemble - David Franklyn, Peter and Eric - who are beginning to improvise a little at this stage.

By the time we get to the Mosquito song, sung as a canon, everyone is buzzing. Agnes’ direction is feisty, her animated arms and fingers playing and dancing in the air. The accompanying violins are then called on unannounced to play the same piece as a canon which they attempt valiantly.

The second part of the workshop is about the individual offerings within the group effort. Many of the contributions are traditional folk music – the form closest to Bartók’s heart. It is difficult to highlight solo performances for praise. As the music weaves and binds the individual expressions within the ensemble of the group, each work alone and all together stand as a whole, echoed by the ubiquitous BBCM t-shirts.

The first offering is from Scipio, age five, and his mother Tatiana Andonovski who sing Makedonsko Devojce, a folk song in praise of the beauty of Macedonian girls. Next up is Francesca, age five, and mother Barbara Corrias, singing Italian children’s songs "Giro, giro tondo" and "Soldatini di piombo". Joseph, age four, and Molly, age seven, join their mother Margery to sing the English traditional song ‘I Like the Flowers’ and then with their father Colin Teague, they sing Yellow Bird, a lilting lament of unrequited love derived from a 19th century Haitian song. Conor Reynolds and his father David then play 'Round Dance’, a piano duet by Alan Bullard. Conor had just celebrated his ninth birthday and he enjoys a wonderful chorus of 'Happy Birthday'. His sister Lizzie, age twelve, on the saxophone, with her mother Theresa on clarinet, follow with Greensleeves.

The next intergenerational offering is from a BBCM parent, Eric (father of Alex and Theo) accompanied by his mother Chantal, playing the beautiful Berceuse by Fauré for violin and piano. Joshua Leonce-Weekes, age eight, and his teacher David Franklyn team up for ‘Foreign Trip’, a piano duet by Christopher Norton, followed by Chopin’s Minute Waltz for piano played by David.

Helen Karikari gave a dynamic vocal rendition of Handel’s Aria from Julius Caesar, accompanied by David Franklyn. A self-assured Miles Camilleri, age five, and his father Peter play Twinkle, Twinkle Little Star, arranged as a violin duet. Their second piece adds an interesting twist to the program. Laying down their violins, they perform John Cage’s “4 minutes, 33 seconds″, the three movements performed as one, without a single word or note in sight. The group is invited to participate and this well-received opportunity for reflection and meditation takes us to the mouth of Bartók’s clear spring.

The Bell Song, derived from a Swedish folk tune, unites budding violinists Oliver, Miles, Sophie and Scipio with fathers Eric and Peter plucking the bell fifths while the group sings the melody in a resounding four-part round.

Elegantly poised, Sophie Chow-Chin, age five, plays Ode to Joy on the violin. All present then sing and play Ode to Joy in harmony, accompanied by the full orchestra of two violins, Eric and Peter, and David making up the other ninety-eight instruments on the piano.

Sebastian, age five, and his brother Ben, age three, were inspired to take part at the end with an unscheduled rhyme, accompanied by their father, Joby.

The BBCM is a clarion call to the heart of every musician starting from the age of two. These young musicians bring their own stories, sounds and traditions from all over the world, enriching the BBCM musical family. Agnes’ approach to cultivating musicianship is at once inspired but not didactic or rigid. Her musical green fingers favour good vibes, excellent musical dialogue and honest endeavor.

As I bite into my all time favourite banana cake, baked by Sophie’s mother, Mandy, I dare to dream of playing the cello again, one day soon…

By Diana Donaldson (partner of Peter Camilleri)