Last night our bass trombonist, Charley Reneau, told me about an op-ed piece in the New York Times that was about “this really bad orchestra”. So, today I checked it out. Turns out it was the “Really Terrible Orchestra“! Here’s the first paragraph or so of the complete op-ed:
WHY should real musicians — the ones who can actually play their instruments — have all the fun?
Some years ago, a group of frustrated people in Scotland decided that the pleasure of playing in an orchestra should not be limited to those who are good enough to do so, but should be available to the rankest of amateurs. So we founded the Really Terrible Orchestra, an inclusive orchestra for those who really want to play, but who cannot do so very well. Or cannot do so at all, in some cases.
My own playing set the standard. I play the bassoon, even if not quite the whole bassoon. I have never quite mastered C-sharp, and I am weak on the notes above the high D. In general, I leave these out if they crop up, and I find that the effect is not unpleasant. I am not entirely untutored, of course, having had a course of lessons in the instrument from a music student who looked quietly appalled while I played. Most of the players in the orchestra are rather like this; they have learned their instruments at some point in their lives, but have not learned them very well. Now such people have their second chance with the Really Terrible Orchestra.
I think that this sort of thing is amazing, wonderful, and entirely to be encouraged. There really are way too many professional musicians and amateurs who are neurotic about their performances to a fault and take themselves entirely too seriously. On the other hand, it’s a rare thing to find a top-rank professional or amateur who is willing the just do it purely for the love of it, and not take the whole thing too far. That’s why this is so refreshing to me.