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This little book was published 19 years ago, a year after Dr Simpson relinquished
his position on the BBC's Music staff. In this important and provocative
book Robert Simpson, for nearly thirty years a BBC Music Producer scrutinised
the methods by which the Proms were planned. This late in the day, it is
to a major extent taken over by events. Nevertheless, Simpson's thesis is
still relevant, despite the enormous changes that have taken place within
that (still) angst-ridden bureaucratic organisation. At the time, the BBC
allowed the Controller, Music the absolute right to decide Prom programmes
until death or retirement. Since it was largely a management appointment,
with succession virtually based on seniority rather than by musical
qualification, the succession of the imaginative William Glock by a non-musician
clearly rankled and brought Simpson's arguments to a head. Always ready to
express robust opinions, but usually based on careful reasoning and his long
experience inside the BBC, he argued that whoever the Controller might be,
the effects of his individuality are bound to colour the programmes over
time. He highlights in a convincing manner, the omission of many important
composers. He felt the only logical way to give the Proms the flair that
a single imagination can provide without the otherwise inevitable long-term
imbalances affecting both composers and performers would be to appoint a
separate planner of the Proms with a limited tenure of four or five years.
Dr Simpson further examines the artistic gains and financial savings to be
made from more extensive use of the BBC's own orchestras. Not only would
this produce a saving of a staggering 62 % on costs at that time, it would
give the planner almost total control over the repertoire. This would enable
the Proms to become more adventurous than ever before and a true realisation
of Sir Henry Wood's original vision.
Well, nothing changes. Due to his poor health in his final years, I never
had the courage to ask my old friend whilst visiting him, what he felt about
the appointment of a music critic to this important post, again without any
clear indication of the length of the tenure. The same appointee now has
sole control over the planning of the Proms. At least, it is no longer
automatically a choice based on seniority within the management structure.
That as much has been achieved. So we have to ask ourselves, does this book
have any bearing on what has passed in the intervening years? One of his
arguments was for the far greater use of the BBC house orchestras. The inevitable
consequence would be that whilst it might save money, this major festival
would have far less an international flavour with the present international
visitors omitted. Does one man as planner now leave out, any composers because
of the individual bias? And does he consult his music-trained colleagues
for ideas and suggestions? This was another of Dr Simpson's objections at
the time of his book, one he expressed forcibly once to me when visiting
my Society. The book is interesting, albeit somewhat out of date. But at
a modest £1.95, a fascinating insight into the BBC politics of the time
by someone, not only a fine writer, but who became one of the most distinguished
symphonic composers of our time. And, like I said…I don't think much
has altered within the BBC.
(photo: Robert Simpson with Horenstein at the Unicorn recording
of his Third symphony: courtesy of Reg Williamson)
Reviewer
Reg Williamson
FastCounter
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Reviewer
Reg Williamson |
Published by Toccata
Press 40 Floral Street London WC2 £1.95 ISBN 0 907689 00 0