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Sing Low My Sweet Chariot

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Sing Low My Sweet Chariot SING LOW MY SWEET CHARIOT The author in his heydey, with the London Chamber Orchestra Memories of a Musical John Honeyman was, for 40 years, a professional double-bass player, playing with many of the great Foot-Soldier orchestras and conductors, and closely involved with the formation and running of the London Chamber Orchestra 1947 to 1987 by John Honeyman 192 1 The Author inhisearlydays 2 191 Under Sir Adrian Boult, Tchaikovsky Hall, Moscow, 1954 CHAPTER SEVENTY THREE I was extremely fortunate in being around during the period when all these good musicians were performing. “I doubt we shall see their like again”. I also seemed to move from one fine orchestra to another at the right time, probably more due to luck than good judgement, which enabled me to see wonderful places and play in the finest venues in the World. As in all true adventure stories I have ridden off into the sunset -- well nearly --. The tranquillity of rural Devon is very similar to that of my origins in Fife, ...only warmer, where I am now able to do and enjoy all the simple things I never had time to do - AND I still have my memories. P.S. By beautiful co-incidence, my age on finishing this tale is 73. Honest, I did not count the chapters! John Honeyman - April 1998 190 3 Dartington College, but it was not the same, used as I was to the “West End” scene (Snob! Snob!) so in 1986 I “hung up my saddle” for good, moved to a lovely quiet village within minutes of Exeter. We are now lucky enough to have a Swimming Pool so I now have so much to do with Fly Fishing, Dog walking on the lovely Haldon Hills, Garden and House maintenance, I cannot understand how I managed to previously fit work in. Invitation to Birthday 50th Party for Dmitri Shostakovich, 1956 London Chamber Orchestra 4 189 CHAPTER SEVENTY TWO As mentioned before, Geoffrey Heggs was promoted to become an Adjudicator of Industrial Tribunals - and - I believe, subsequently a Circuit Judge, so he had to relinquish all business association. Rents etc. had increased some threefold in the popular area of Red Lion Square and we felt we “had had the best of it”. So, in 1980 John F. and I decided to wind up Concert Artists’ Representation. John carried on for a year or two with M.A.M. finally from his home in Surrey. Also, I felt it best to get out whilst “at the top” as I had seen too many of my older colleagues who had gone on that bit too long, often to the stage where younger chaps who had never heard them at their best couldn’t appreciate how good they had once been. In fact, when I made it known that I intended to retire The Author with his parents “gracefully” my younger colleagues were astonished, one actually saying, “But you are in the position we are all aiming at!” I still think I took the right decision, particularly when I see the situation “the business” is now in, especially the free lance session scene. Anyhow, in 1981 my wife and I moved out of London, first to a little cottage in Dorset which we bought a year before in preparation and from where I still “commuted” to London for a few sessions still mainly National Philharmonic. After a further year we moved to a thatched cottage some way beyond Exeter which I set about restoring and creating a. garden (including an ambitious water feature) out of the three-quarters of an acre wilderness around it. I still continued for a further couple of years or so to come to London for occasional special “reunion” sessions for old pals such as Laurie Johnson and Jack Parnell. These were booked by Frank Reidy (fine clarinettist in his day) and were thoroughly enjoyable, meeting all the “boys” such as 70+ year old Kenny Baker (playing as well as ever) and others of that ilk in Laurie’s large orchestras. I joked to Frank once that he got the hand together with a spade. I did the occasional “gig” around Devon, in Exeter and the famous A bit of fun during the Egypt trip. 188 5 All of this was enjoyable and I was busier than ever “wearing my several hats”, but I was getting more and more fed up with the Preface treadmill that was London, so different from when I came down in ‘47, and beginning to think seriously of retirement to the country. This climbing of my personal mountain is dedicated to my wife Anita, who pestered me until I did it, and I would like to thank my good friend Ronald Alan Smith of Dunsford in Devon - Associated Board Examiner, Pianist and Organist extraordinaire - for his support and encouragement, and particularly Ashley Allerton first- class musician, and enthusiastic computer buff who, despite the doubts of many professed experts, managed to rescue the original material from an old computer print-out (by guess-who?) to a current system. I consider myself to have been extremely fortunate in having had a musical career during a particularly important and exciting time, which by luck and “fortune’s smiles” enabled me to meet and play with famous musicians, conductors and soloists, many of whom were probably the last in the truly great tradition of European music and whose names continue to evoke an almost mystical aura. It is unlikely that all the circumstances will exist ever again for so many “Greats” to appear over such a relatively short period, and when I “go down Memory Lane” with this anecdote or that, many of my friends in and out of music keep asking me to set down my memories. The continuing interest and exhortations have finally, after ten years of procrastination, persuaded me to record this “Histoire” “as it seemed to me”. The events may not always he chronologically exact as it is difficult to remember every detail of forty years of varied activity. Leaving aside my personal opinions, which may be occasionally cynical, these details are factually correct. 6 187 situation existed with Klemperer in his last days where “Manny” CHAPTER ONE Hurwitz led the Philharmonia.... Shades of Russian First Secretaries and other World Leaders. Incidentally, Manny Hurwitz was a fine I was born in Cowdenbeath in Fifeshire, Scotland, on January 24th conductor, as was Pau1 Tortelier, but because they were known and 1925 and my Dad, Peter, was a journeyman tailor who also played wanted as Instrumentalists, they never got the chance of the the fiddle. The family “baund” was popular at weddings and recognition they deserved. dances, and they had two fiddlers. Dad was the main one and Uncle John, although much older than Dad, wasn't nearly so good. Being This farcial series apart, the “Nat.Phil” made many excellent senior, he was “the manager” so he would tell Pete to “keep it recordings with all kinds of artists, the best known being of Operas going” whilst he had a drink with and chatted up the clients. There such as “Otello” with Placido Domingo – “Pleasant Sunday”, lovely was also a flute, a cornet, a drummer and my Uncle George, the name, lovely man,- Sherril Milne and Mirella Freni, very well youngest of the three brothers, who played the accordion or, when conducted by James Levine. possible, “vamped” on a piano. Joan (“Joanie“) Sutherland was another real star we enjoyed My earliest musical recollections, around the age of three or four, working with in the countless operas conducted by her husband were of them practising in our front room when the drummer would Richard (Ricci) Bonynge. Ricci was a fine pianist and a sensitive play on our fender, (the fire surround, not the modern Bass Guitar) musician and Joan’s success was in no small way due to his as this saved him from bringing his drum kit. As with all small coaching - and selection of repertoire to emphasise her Coloratura. boys, the drummer was my favourite; also he had a “pin'” (wooden) possibilities. He was a somewhat ineffectual conductor but very leg which fascinated me and I remember, it seemed to me then quite pleasant and scholarly in his approach and with a good - and hilarious when he told me his toes were cold. To a four-year-old sympathetic - orchestra he got marvellous results. Joanie was this was a grand joke which he often repeated because it made me mostly very placid and easy going, (she would sit on stage, even laugh. It was many years before I learnt that men with wooden legs when not required, and listen whilst doing her needlework) unless could actually feel their toes cold. she disagreed strongly with Ricci when fireworks could fly between them. Other singers were of equal international standard such as I assumed that I would also become a fiddle player and I was fairly Scotto and the great Pavarotti, who was initially a protege of Joan good at music at Junior School. I could read music a little and was Sutherland. able to help others in the class with their Tonic SolFa. My father, however, was adamant that I should not be a musician as “it was too According to my wife, Anita, the members of the National precarious a profession” and despite years of pleading would not let Philharmonic Orchestra were the greatest stars of all -- a most me play his fiddle. He remembered the days well (and I was just old unlikely looking set of men who, when the red light went on, played enough to vaguely do so without appreciating the fact) when every like Angels.
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