or Why I Don’t Like Karl Jenkins
Guest post by David Lake
A few weeks before Christmas, I sang Karl Jenkin’s “The Peacemakers” for our choir’s Remembrance Day concert. Whilst I applaud the pacifism, multi-culturalism and the secularism which Jenkins demonstrates and it passed BoS (that’s Bums-on-Seats – we sold out for the first time many-a-concert), the more I sang, the more I actively disliked the music.
Here’s my first problem. I find that the work is repetitive, simplistic and lacking a personal, “Jenkins” voice. Many times, he simply seems to appropriate an idiom – Celtic prayer? Let’s have a Bodhran and a lilting Irish melody. Words of the Dalai Lama? Ha! Tibetan bells and a couple of “eastern” sounding modes! Plus it is just turgid and dull to sing at times.
Now I’m no classical-music-or-bust person – I’ve been bopping along at WOMAD for decades and appreciate most musical styles and genres. And the best-of-the-best have been taking folk music and crafting it into other works for centuries (Brahms’ Hungarian Dances, Ralph Vaughan Williams just-about-everything for example).
But here, there is very little in terms of development at all – most climaxes seem to be driven dynamically rather tonally and to be honest, very little happens beyond loud-soft-loud. Or vice-versa. And the repetition – again and again and again. Did I mention the repetition? “Adiemus” takes the prize there.
If I took a section of, say, Bruckner aside, I’m pretty sure most people would be able to correctly identify it in a few bars. Take a piece of Jenkins and you’re all at sea. Classical, new-age, cross-over, pop? Mozart, Vivaldi, Enya, the Gyuto Monks? It’s everywhere and nowhere baby…
I came out of the concert happy that we’d remembered the tragedy of war but musically bereft. The orchestra and choir performed to the very best of their abilities – we had put in the effort but personally, I got nothing out of it other than the joy of singing in a choir with my mates.
And now my second problem – the concert was deemed a success and much of the audience appeared to lap it up! This fact is made worse by every one of my much more learned musical friends agreeing with my point of view that this is essentially “un-music.”
We’ve a dichotomy here – when we next go begging for funding, the chief controllers-of-the-purse-strings are likely to point to this concert and say “You don’t need funding – you’ve reached your BoS nirvana and therefore the magic-money-tree does not need to produce for you. Simply go and do that again and your money worries are behind you.”
As a choir, what do we say? “Thank you – but we’d rather have some small, even brown leaves from the magic-money-tree to sing something we find more musically fulfilling and that challenges our audience more, even if there are fewer of them to be challenged.”
Who is the arbiter of artistic merit here? The musicians? The audience? The funding bodies?
What criteria defines “success” in music?
David is a research scientist, engineer, pianist, concert-goer and choral singer and sees the barriers between art and science as purely artificial and unhelpful. He is currently studying for his DipABRSM (piano) and a BA(Mus) whilst carrying on with the science-stuff in 5G mobile networks for the “day-job.”