Christopher Fifield: Play time

Conductor Christopher Fifield tells Victoria Purcell how he juggles his freelance musical career to keep Lambeth Orchestra in tune and on a high

“I wasn’t sure whether to be an academic or a practicing musician, so I studied both.” Christopher Fifield’s twin track approach to music is not dissimilar to the notion of having your cake and eating it too. But there are no negative connotations here, only an admirable devotion to the interpretation of musical masters.
Christopher, a professional freelance conductor, wields the baton for Lambeth Orchestra. “My role is guidance and inspiration, to keep the whole thing together and control it. It’s not a power thing; it’s having something to say and subtly persuading a large group to do it for you. Everybody plays the piece of music in front of them, and if they know the piece they’ll play it their way, but I want it done my way,” laughs Chris.
And he’s had it done his way for 25 years, during which time he’s seen the group go from strength to strength with almost double the number of members, more concerts per season and a constantly changing repertoire. How did he manage it? “Success breeds success. My predecessor often had to get extra players to boost numbers for a concert, but that was demoralising for the regular players who’d been rehearsing, so I asked the members, ‘Who do you know and what do they play?’ We built the orchestra up that way, but it took time, it didn’t happen overnight.”
Lambeth Orchestra played their first concert 35 years ago, and since Chris took the reins it has been performing minor works of major composers and major works of minor composers. It’s a crowd-pleasing formula of the familiar and less familiar, which, combined with the zeal of the conductor and support of his band of merry musicians, has seen the orchestra almost outgrow its original haunt of St Luke’s in West Norwood so that most performances now take place at All Saints’ Church in Dulwich.
Chris’ work sees him jetting off to various corners of the world conducting operas, orchestra concerts and studio recordings (he’s made five records for Swedish record label Sterling), yet it seems that home is truly where the heart is: “Lambeth Orchestra is a focal point of my professional life, it’s a huge pleasure. I look forward to rehearsals and concerts. Sometimes I get off the plane at Heathrow and go straight to rehearsal after working somewhere like Sweden or Germany.
“It’s all going really well and I’m really happy with it. We’ve finally achieved a high standard. It’s a friendly group, mostly young people crossing all professions, and Thursday night rehearsals are really good fun. I hate to use the word amateur, it implies a lower standard, but there’s no such thing as an easy version of Mozart. The members are only amateur in the sense that they’re not paid to play.”
And here unfolds the current orchestral issue – money. “The difficulty now is survival,” frowns Chris. “We’re financed by subscriptions, tickets sales, choral societies we hire ourselves out to and a grant from Lambeth Council. It’s a constant struggle but we’ve always managed to keep going and I can’t foresee us failing.”
Chris’ plans for the next 25 years involve doubling the audience and setting up a hands-on supporters group to help run and publicise concerts. With such a committed collection of individuals fighting for the same cause, rehearsing together every week and supporting each other through highs and lows, it’s hard to see how they could do anything other than succeed
Featuring Weber’s Euryanthe Overture, Reinecke’s Violin Concerto with soloist Alicja Smietana, and Brahms’ Symphony No 3, the first concert of the season is 20 October at 7.30pm at All Saints’ Church, Rosendale Road SE21. Tickets on the door £8 adults, £6 concs, £1 children. www.lambeth-orchestra.org.uk