Mendelssohn on Mull

JAMES MUNRO looks at the history and wonders about the future prospects of the Mendelssohn on Mull festival, and enjoys this year’s musical offerings at a unique island event

SCOTLAND’S HERITAGE is awash with legend superseding fact. William Wallace bore no resemblance to Mel Gibson; despite Shakespeare the country enjoyed considerable peace and prosperity during the reign of Macbeth ; and was Mendelssohn really inspired to compose the Hebrides Overture by the sight of Fingal’s Cave on Staffa?

There is evidence that says not, but it has been obscured beneath the romantic notion. That is just as well, or we would not be celebrating poor seasick Felix’s wave-tossed melody with a vibrant annual festival of chamber music during which established stars guide young professionals out of the chrysalis to blossom as confident performers. Let the chairman of the Mendelssohn on Mull Trust, Robert Fleming, explain.

“The Festival was started in 1988 by the violinist Leonard Friedman, and his idea was to get young musicians away from the hullabaloo of life, let them relax in a peaceful setting and enjoy making music together. It has progressed in the intervening period and the Festival is now world-renowned, although people still just stumble across it.

“We bring fourteen young musicians who are a mixture of post-graduate and post-post-graduates from the music schools in the United Kingdom, with some from other parts of Europe. They come together on the Saturday and by the Monday they are performing their first concert. By the end of the week the performers and the audience have shared in a communal experience, bringing together some of the best of Europe’s young musicians in beautiful venues ranging from Iona Abbey to the castles of Glengorm, Duart or Torosay, and the tiny churches and community halls across the island, fourteen venues in all.”

The young professionals divide into groups, each led by established performers who act as mentors. The sessions are not lessons or master-classes; they are in-depth rehearsals by professionals playing together where the experience of the mentors is devoured by the fledglings. Within forty-eight hours of the group coming together, they are playing their first concert as an ensemble, and after each performance the standard goes up and up.

One of the violin mentors, Gaby Lester, commented: “We put everything together so fast. To put together a Brahms quintet in one day is an achievement; but we do a Mendelssohn quartet as well. We ended up at 11.40 on Sunday night with the Mendelssohn as we were having such a nice time with it.

“As I’m the only mentor in my group it really pushed the students and we got so many styles and ideas going. For the Haydn quartet I left them to it and they put it together by themselves in the morning. After all they are not fourteen; they are all twenty-four, but we’ll need to do a little bit more work on it and jack the tempo up.” By the end of the week the performance was flawless.

For the past eight years the Festival’s Artistic Director has been Levon Chilingirian, internationally celebrated both as a performer and as a teacher. He is proud to have worked with Festival founder Leonard Friedman and continues with the same philosophy of using the Festival to develop talented musicians, rather than leading an event of established soloists.

He says that twenty years ago, Friedman believed that “music students on the whole tended to be blinkered, and on the whole didn’t know much about music, and on the whole didn’t know much about listening to each other, but these are horrible generalisations that do not apply to any of our young artists now. We get them away to an isolated and beautiful place like Mull with great chamber music venues so they can get to know each other, get to rehearse properly, and also get an extra dimension added to their lives and to their training as professional musicians.”

With such an international career, Levon Chilingirian is able to meet many young musicians to bring to Mendelssohn on Mull, but he still asks the Head of Strings at the Royal Scottish Academy of Music and Drama to nominate a number of participants. However Levon says, “more often than not the people he nominates are not Scots, which shows that RSAMD has become a truly international music college. I have lots of Scots friends and colleagues in London and I am very keen for them to come, especially Ali Tait who is our cello mentor.”

As well as from Scotland, this year’s young professionals hailed from England, Germany, Sweden, Switzerland, Poland, Belgium, South Africa and Armenia. The mentors are also from all the airts, with the three violinists, Levon Chilingirian, Marcia Crayford and Gaby Lester being based in London, the cellist Alasdair Tait living in Manchester, the accompanist Richard Jeffcoat coming from Warwick and the violist Samvel Barsegian having the most awkward journey from Brussels.

The troubles at Glasgow Airport that Saturday meant that Sam’s flight was diverted to Newcastle. Two taxis later, he just made it onto the last ferry to Mull from Oban and collapsed into a seat. The next thing he was aware of was the announcement that the boat was about to leave Craignure on the way back to the mainland. After desperate begging, Sam joined that exclusive band of people who have managed to persuade the crew of a Calmac ferry to reopen the passenger bridge!

In recent years, Mendelssohn on Mull has expanded to take on two added strands. Under the leadership of Maggie Miller, the first week of the school holidays is filled by an intense class for the young string players of Mull, of all standards, who put on a public concert on the Friday afternoon of Festival week. More variety, and not a little comedy, is provided by the real proof that the Festival has become established, its Fringe.

Maybe not as varied as its Edinburgh counterpart, but under the direction of Richard Jeffcoat, a motley band of itinerant singers perform in unexpected venues under the name of “1685” and have even been known to turn up to entertain during the interval of Festival concerts. There is something delightfully bizarre for a visiting family of holiday-makers to stumble across a performance of medieval madrigals in an isolated café.

To get the real feel of the Mendelssohn on Mull Festival nothing can compare with actual attendance and joining in with its excitement, but perhaps a diary will give something of the flavour.

Monday 2 July

A leisurely breakfast in Inverness, then the journey down the Great Glen, past Urquhart Castle, Fort Augustus, Fort William and across the Ballachulish Bridge into Appin and the road works! Despite the delay, there was plenty of time for lunch in Oban before the ferry. Took a look at the menu for the seafood restaurant on the north pier, but decided someone else could help pay for the Bentley parked out the back!

Mused about the paradox that most of the seafood harvested out of the sea on the West Coast of Scotland goes straight to Spain where it is enjoyed by Scots on holiday at half the price they are expected to pay for it at home. Had a plate of pasta instead for about the same as I would pay in Italy.

Caught the afternoon ferry to Craignure and immediately felt less stressed as Mull appeared out of the mist. Torrential rain as I reached Salen and was made at home by Maureen and John (and their dogs) at Glenaros Lodge. That evening it had dried up, but the midges were out, and I had to decide which concert to attend.

Levon’s group at Glengorm Castle, Marcia’s at Dervaig Hall or Gaby’s in Salen Church. I chose the latter and was lucky to get the last free seat. All three groups were offering quartets by Haydn and Mendelssohn in the first half, followed by a larger piece by Brahms, Bruckner or Tchaikovsky after the interval.

For the Haydn quartet in D major (Op 20/4) the young professionals, Astghik Vardanyan, Vera Josephine Landtwing, Willem Mathlener and Robert Anderson, had prepared it for themselves without any input from their mentor. This was probably the first complete run through and more work on it was needed as it lacked pace and attack.

By contrast, for the Mendelssohn Quartet in A minor, the lead was taken by Gaby Lester, Astghik moved to second violin and Arun Menon took over the viola chair. The difference was remarkable, but as Gaby told me afterwards, they had been working on the piece until very late the previous evening. As indeed, the Brahms quintet (Op 88) when Willem rejoined the group was also well prepared and dynamic, although sadly missed by the member of the audience who had to leave to make sure the boat in which he had sailed from Tobermory was not high and dry!

Tuesday 3 July

The weather had cleared so the morning offered a little exploration and a gentle walk along the fantastic beach at Calgary. Then down to Torosay Castle for the reprise of the Monday evening concert in Salen. The room was intimate, and packed. What a joy it must be for the general visitor who suddenly finds a string quartet playing.

By this time the group had been able to rehearse the Haydn some more, and its delivery had improved beyond belief. Word on the grapevine was that the church at Gruline being used by Levon’s group in the evening was tiny, so get there early. So I did, and it is, but there was space to spare as most people had assumed the church would be full and had gone to hear Marcia’s group in Craignure Hall.

Because of the space in the chancel, the cellist Miranda Barritt sat in the centre of the quartet, changing places with violist Hannah Craib. It gave a very different and satisfying emphasis to the cello, with enhanced projection of its tone. Again, the opening Haydn quartet, this time the C major Op 54/2, was played without the mentors. Leo Schreiber took the first desk and was fully confident to lead the quartet in an accomplished performance.

For the Mendelssohn E minor quartet Op 44/2, he took over the second desk from Kirsty Orton as Levon Chilingirian joined the group and viola mentor Samvel Barsegian replaced Hannah Craib. The essence of Festival playing is that musicians are thrown together and have to perform as a unit straight away. This thrilling delivery was a prime example of how it should work.

In the second half, Hannah rejoined the quartet to perform the Bruckner String Quintet in F major. It is not a piece I had heard before, and I found the long third movement Adagio absolutely sublime before the presto finale brought the evening to a brilliant close.

Wednesday 4 July

A day of serendipity. People I had spoken to enthused so much about Glengorm Castle on the headland north of Tobermory, so I went to have a look. Levon’s group had played there on Monday evening to great acclaim. An enchanting estate run by the Nelson family who are great supporters of the Mendelssohn on Mull Festival, with a delightful walled market garden, a solid Victorian pile of a mansion with fantastic views and sumptuous accommodation, friendly Highland cows and a Steading Coffee Shop, Art Gallery and purveyor of delicious tracklements.

My delight overflowed as I sat on the terrace relishing a light lunch and a fresh coffee when a serenade of madrigals burst forth. I had chanced upon the Festival Fringe in the form of Richard Jeffcoat’s 1685 Singers. Half a dozen medieval (and I’m sure, bawdy) airs later, we were all encouraged to stroll through the castle grounds to the main hall to enjoy a couple of Dvorak piano duets and a selection of Schubert songs.

By this time, my face was familiar, so I managed to get into the Aros Hall in Tobermory to eavesdrop on some of the rehearsals, and I was stunned by the virtuosity of the party pieces being put together for later in the week. The evening concert was to be in Tobermory Church, and the harbour side restaurants were busy, so I joined the queue at the fish and chip van on the pier. This is no Greasy Pete’s; this is high quality fresh-caught fish and crispy, crunchy chips, cooked to perfection. If the Michelin inspectors ever get round to rating the humble chippie, this one will get three stars!

The evening performance was an opportunity for all the musicians to demonstrate to a large audience how their playing had developed since the start of the Festival. The programme opened with Gaby’s group playing their Haydn quartet, the third time I heard it in three days, and it was almost unrecognisable so much had it improved.

Levon’s group reprised two movements from their Mendelssohn quartet and the two final parts of the magnificent Bruckner quintet. After the interval, it was my first chance to hear Marcia’s group, and they played one of my favourite pieces, Tchaikovsky’s Souvenir de Florence. One word says it all. Wow! That fabulous final melody was still going round and round in my head as I fell asleep that night.

Thursday 5 July

An early start, and the drive across Mull to Fionnphort and the short ferry crossing to Iona for a morning concert in the Abbey of a selection of the slow movements from the pieces the groups had prepared. For an island that is primarily a place of retreat and welcomes the invasion of day-trippers as a necessity, the addition of a small orchestra and the Festival patrons practically resulted in overload.

But everyone was so helpful. Historic Scotland’s team at the Abbey made sure everyone was cared for, as the Abbey was packed out for the concert. The staff at the hotel were run off their feet catering for all who came in, and maintained the very high standard of their food. The clouds cleared, the sand between the toes warmed up, and the water was freezing! Truly, Iona is a little corner of Paradise.

For the evening concerts, Levon’s and Gaby’s groups stayed in the Ross of Mull to play in Creich Church and Bunessan Hall. If Gruline Church was small, Creich was tiny, but made warm and welcoming by the pictures by local children which adorned the walls, reminiscent of a school classroom.

My choice was to head for Duart Castle where we were received by clan chief Sir Lachlan Maclean for the concert by Marcia’s group, playing their programme for the third time. The Haydn quartet, one of his later ones, the E flat major Op 64/6, was played by the young professionals with the youngest of them all, the Swede Simona Bonfiglioli taking the lead.

A teenager she may still be (just), but a stunning player nonetheless. Second violin was played by Sijie Chen, one of Levon’s students from the Royal College of Music and a string finalist in the BBC Young Musician Competition in 2004. The violist was Emma Stevenson, a final year student at RSAMD who has already been heard in the ranks of the Scottish orchestras. Her Glasgow colleague, Barbara Misiewicz, filled the cello chair.

By this stage in the Festival the quartet was well played in, and it received a vibrant performance. For the Mendelssohn piece, his supposed Op 81, the two mentors, Marcia Crayford and Alasdair Tait were joined by violist Jessica Beeston and Simona moved to play second violin. The work was never written as a quartet, but was four individual pieces cobbled together by his publisher after Mendelssohn’s death.

They comprised two of his last works together with earlier compositions. The Main Hall of Duart Castle was packed to capacity for this concert, but during the interval everyone had the chance to enjoy Sir Lachlan’s generous hospitality. In the second half, the group came together t

lay Souvenir de Florence. Twice in as many days! My cup runneth over!

Friday 6 July

The Friday of the Mendelssohn on Mull Festival is party day. The groups have all played their regular programmes three times in varying venues, and individually the young professionals have also been rehearsing their party pieces for the Classical Ceilidh. But first it was time for Maggie Miller and her team, Marian, Heather and Rose, to show the achievements of the local youngsters that they had been coaching during the week.

The Aros Hall was filled with justifiably proud parents as both as an ensemble and as soloists these stars of the future took their early steps of public performance. Well done to Dougie, Amy, Rebecca, Georgina, Melissa, Alex, Charlie, Poppy, Nicola and especially to the wee scene stealer, Scott. The programme was varied, from Cielito Lindo to Ye Banks and Braes, from Stir Fried Centipedes to the Merry Widow. It was a charming afternoon.

Come the evening, it was time for the more adult musicians to strut their stuff in the Aros Hall, a highlight of Mull musical life. Whoever said that classical players were too serious needs their head examined. There was standing room only in the hall as individually and in groups all the Festival participants demonstrated their worth.

It was more than an evening of exquisitely played Mozart duets or Kreisler lollipops. There were songs from the 1685 Choir, there were musical tricks, there was sheer magic, there was a thrilling arrangement of the Shostakovitch Octet, for eighteen strings. There was a last example of the eccentric nature of the week for those who strolled out onto the waterfront of Tobermory bay during the interval.

Festival Friend Geoffrey Burford, impeccably dressed, had spent the day in mass preparation so he could serve up a delicious selection of dainty canapés and glasses of chilled fizz from the back of his car. Delightfully bizarre, but totally in keeping with the spirit of the Festival. And finally, there was the after-party party in the bar of the Mishnish Hotel (of which maybe the least said the better).

Saturday 7 July

The last day of the Mendelssohn on Mull Festival, but really one for packing up and making it back to the mainland, which is where the Festival trustees like to ensure that the word is spread. Ferry timings dictate that Oban and Lorne residents are denied attending concerts on the island, unless they can find a bed for the night as well. So for the Saturday evening the Festival takes over St John’s Cathedral in Oban and plays the highlights of the three programmes, plus the Shostakovitch Octet, for the benefit of the locals.

By this time, everyone was more than familiar with the programme and the result was phenomenal. All that was left was the late evening drive back up the Great Glen, and to slowly come down off Cloud Nine!

Whoever said “the best things in life are free” must have had the Mendelssohn on Mull Festival in mind. Leonard Friedman established it to develop young musicians rather than to provide a series of concerts for the people of the island, and so the tradition has become well established that admission to the performances is free.

Getting out is not so easy as there is always someone rattling the collection box, with good reason, and I should doubt that anyone would resent dipping into their wallets. Nonetheless, much of the time of Chairman Robert Fleming and his fellow trustees is taken up with fundraising, and there are several charitable foundations without whose support the Festival would flounder.

Then there is an active Friends of the Festival organisation who provide both financial and practical help. But public sector funding is thin. The educational programme for the children is supported with some money from the Scottish Arts Council, and some publicity is provided by Argyll and Bute Council.

It is no secret that the budget for the Festival is in the order of £50,000 which, to me, seems remarkably little for a week of fabulous music, from people of many races and countries, brought together in friendship and harmony, playing for an audience of which at least half holiday on Mull specifically for the Festival. When the parallel was drawn that £50,000 keeps our forces in Iraq for approximately fifteen seconds, Robert Fleming gave a wry smile and remarked “Unfortunately the Exchequer does not work that way”.

Is the future safe? Artistically, most certainly. Next year sees the twenty-first Festival and a collaboration is in place with Dartington International Summer School with help from the National Lottery and other funders for a new work by composer Stephen Montague. Levon Chilingirian’s position as Artistic Director is open-ended and Robert Fleming would be delighted if it is still open-ended after another twenty years.

On the business side, there is an energetic board of Trustees to generate the funding, there is an established audience who return year after year, there are local plans to expand on the choice of performance spaces. To return to the Michelin analogy, one star is worth a visit, two stars is worth a detour, three stars is worth a journey. Mendelssohn on Mull is worth a whole holiday, and I know where I will be spending mine next year.

© James Munro, 2007