The shock of the old: the EU Baroque Orchestra

by Andrew Hammond

There are still curmudgeons in the critical fraternity (note the gender) who think that catgut strings were better employed when still in the cat. Gut strings don't, of course, originate in cats, but the gag still has a life; if only because one of the most easily identified features of 'period' string instruments is the use of gut. Gut is more temperamental, which is why metal, and then synthetic, strings were developed.

Those curmudgeons, like traditionalists in so many other spheres, are in some ways more antiquarian than the musicians they love to snipe at. They hanker after the high-tech sound which developed all the way through the twentieth century, as the demands on instruments to be rich and loud grew and grew. They miss the treacly veneer with which particularly baroque music was decorated. The European Union Baroque Orchestra (EUBO) grew out of the flowering of the resistance to this veneering.

The EUBO began life in 1985, the year of three great anniversaries - JS Bach, Handel and Scarlatti. Like its older sibling the European Union Youth Orchestra, it has always been avowedly and intentionally orientated on the ideals of the EU, especially those ideals of developing mutual understanding and co-operation in young people through culture. Its 2007 programme[1] shows how embedded it is in the institutions, both in Brussels and in the member states.

The orchestra lives out its European credentials, indeed earns them, in the extensive reach of its auditions, and of its touring schedule. They have played not just across this continent but in Gaza, Soweto, Colombia, Botswana, Brazil and China. That shows a breathtaking ambition in its management, and much credit must go to EUBO's long-serving Director General, Paul James.

The EUBO draws young players from many different countries, but it still has the advantage of being much smaller than the conventional symphony orchestra (and especially the EUYO, which is truly enormous). This allows for a litheness and agility in its activities which properly match the litheness and agility of baroque music played period style.

Baroque music, with its roots in the music of dance, has a special affection for many. Perhaps this is because dance is a form of expression which reaches very deeply into us. It can express all our emotions, from simple joy to anguish, from madcap silliness to raging fury. This lives on into the music of the baroque period, sometimes directly in suites with dance-names for their movements; and sometimes much more subtly and intricately in the great works of JS Bach. Even at his most complex and devotional (solo Dei gloria), the foundations of baroque music in dance mean that he speaks to us body and soul.

If politicians or fonctionnaires are tempted to wobble in their appreciation of youth enterprises like the EUBO, one experience of them performing will galvanisingly restore their faith. The energy and enthusiasm is palpable. And when the performers are the best of their age in Europe, as in the EUBO, their sheer prowess is augmented by a lack of cynicism and of world-weariness - and this makes for an irresistible experience. This must be why people who work in such youth culture projects get hooked and stay there for years.

It's easy enough to become a bit self-indulgent and head-patting, as the last paragraph risks. What do the youngsters in the EUBO say themselves? I asked a few.

Josetxu Obregon, a Catalan cellist says:

EUBO has been the most amazing musical experience in my life. I was quite successful as a modern player, even playing often in Concertgebouw Orchestra, but EUBO has exceeded any previous project, changing my life completely. Touring with a wonderful group formed by outstanding people from every corner of Europe, so incredibly well organized and managed, with such amazing conductors… it has showed me how I want my professional life to be from now on.

Josetxu is an interesting example, having already begun professional life and at the highest level (in the Concertgebouw Orchestra in Amsterdam). Many of those who work in the period orchestra world find it a more rewarding life, especially if they play regularly with only one or two ensembles. The social dynamic of a smaller group, the more collaborative approach to rehearsal and performance - these can make a huge difference to a player's quality of life.

Patrizio Germone is a young Italian violinist, young even by EUBO standards. He is passionate in his comments:

At the age of 19 I decided to do the EUBO auditions because of my love for the music played on original instruments. I've done it like a game, just to have an experience and it was absolutely helpful and nice to know other musicians coming from all Europe. I had the possibility to know some of the most talented and virtuoso director of baroque music in the World: and Margaret Faultless. I learnt a lot of tastes in music from musicians coming from other countries. In those periods of full immersion and in this beautiful atmosphere I also made some friends which I'm still in contact with - for friendship and music works. Those are qualities that in a normal school of music or conservatory is not so easy to have and learn. I'm really proud to say "I was a EUBO member!"

These are the sorts of remarks which countless members of orchestras like EUBO and EUYO offer. They also enjoy the whole experience, of course: young people have legendary appetites. Aira Maria Lehtipuu, a Finnish violinist, explains:

For me EUBO was a very intense, inspiring time. I got to see amazing places, play with really great leaders and meet wonderful colleagues from all over Europe. EUBO time deepened my love for the music and culture of Europe. Despite being my first taste of how it is being a professional freelance musician, it also gave the opportunity for culinaristic tastings, from the wines of Portugal to Croatian seafood and a medieval feast in Tallinn.

I used to work with the EUYO and I remember such feasts quite vividly. Not for the faint-hearted… In the EUBO, the gut takes the strain in more ways than one. And that probably exhausts the gut theme.

As they approach the next Handel celebrations, in 2009, it is clear that the EUBO are as clear in their vision as they were for the last, 23 years ago. With the continuing support of the EU institutions, the horizon opens up.

Postscript

The EUBO's London concerts in 2008 are on Thursday 9 October at St Peter's, Eaton Square, with Enrico Onofri, and on Saturday 13 December at St John's Smith Square with Lars Ulrik Mortensen, further details available from www.eubo.org.uk

While you wait for the chance to hear them live, there are recordings. Here is one.

[1] See http://www.eubo.org.uk/documents/eubo07_part1.pdf, http://www.eubo.org.uk/documents/eubo07_part2.pdf, http://www.eubo.org.uk/documents/eubo07_part3.pdf

© Andrew Hammond. All views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to the European Commission.