‘I want to change perception about classical music’

Weekend Magazine: How did you get into music?
Chichi Nwanoku: I was fortunate to grow up in a household where music was enjoyed by my parents, and their shared passion was infectious amongst my siblings and I. Also, the schools I attended had fantastic music programmes, therefore I had every opportunity to get involved, learnt instruments and very soon discovered I had a natural aptitude.
WM: Why the name Chineke! Foundation?
Nwanoku: Having grown up in the world of classical music where most names of the orchestras are quite self-explanatory or predictable, and certainly Western-sounding, I knew the name of my foundation had to be significant and out of the ordinary. After months of trying to think of the name, I literally leapt out of bed in the middle of the night and exclaimed “Chineke!” For me, the sentiment I take from this wonderfully descriptive word from my paternal roots is that of ‘the spirit of creation of all good things in the world, including all diverse aspects.’ In many ways, especially because of the way it came to me in my dreams, I think the name Chineke! chose us rather than the other way round!
WM: What do you intend for the foundation to achieve and how far have you come with that?
Nwanoku: I wish to change perceptions of who can and who can’t play classical music, and in turn bring about systematic change. It is absurd to live in a 21st century multi-cultural society in which certain cultural aspects are deemed to be only achievable, understood, and/or appreciated by a small segment of the community. It is an understatement to say that following the removal of music programmes from all the state (free) schools (that form most of the student population) across the UK over 30 years ago, we have lost two generations of potential musicians from the lower income sector. And not just musicians! Countless recent surveys have proved the multitude of benefits to be had from the learning of classical music and an instrument; even to the most elementary level. These benefits include several transferable skills (listening, discipline, tolerance, compassion, to name a few) that serve people throughout their lives and in whatever their chosen profession is. I know that the status quo needs a wake-up call and Chineke! will go a long way towards levelling the playing field in the world of classical music.
WM: What was the most interesting part of being a judge on BBC 2’s Classical Star?
Nwanoku: Observing the round where the finalists had to present their programmes and perform to what they were told was a ‘hostile audience.’ This ‘hostile audience’ turned out to be young people of the same age as the competitors (teenagers), but who were all from a run-down and poorer part of town. They were largely of a black and ethnic minority background and needless to say, none had enjoyed the level of educational privilege as that of the competitors. The young audience members were asked questions relating to what they thought of ‘classical music’ and not surprisingly, all of the answers were something like ‘music for old white people,’ ‘music for rich people,’ ‘boring,’ ‘music to die to!’ There was assumed hostility on both sides therefore. However, as each performer took to the stage it became absolutely evident that as soon as they began to play with their absolute commitment, the audience were transfixed by the sheer level of expertise, as well as being visibly moved by the emotion within some of the music being played. During the Q&A with each performer and audience, the dialogue became unified, because of course, music, transcends all classes, gender, race, creed and politics, and reaches the hearts and minds of all who care to listen and be part of it. By the end of the round, every single one of the young people in the room had changed their perceptions of each other. It was a beautiful thing to see.
WM: Please tell us about launching Europe’s first Black and Minority Ethnic professional orchestra.
Nwanoku: This is possibly the most exciting, yet terrifying thing I have done in my entire life! Regardless of the hundreds of thousands of people I have performed to ‘live’ on every international concert platform, TV and radio over the years! I have been overwhelmed with the enormous amount of support ranging from the Southbank Centre in London, the Culture Minister Ed Vaizey MP, Sir Simon Rattle, the British Council, Arts Council, media interest includes the BBC, Arise, many newspapers and music journals internationally. This groundswell of interest and encouragement has confirmed to me the genuine need for Chineke! and the work it must do to create pathways for a greater diversity to move through and into the big wide world of classical music. Many of the barriers are invisible, unconscious and exist on both sides, so I am not expecting things to change overnight.
WM: How did you combine broadcasting with music and the home front?
Nwanoku: I am quite the multi-tasker! I have been fortunate throughout my performing career, with a wonderful variety of opportunities to add. Raising my children meant bringing them on tour with me everywhere (from day one!) until they were in full-time education. They have both grown to be wonderful adventurers, bright and open-minded young adults who are a credit to me and a blessing on this earth. Broadcasting on radio and TV has been a fantastic opportunity to continue talking about and sharing the thing I love!
WM: What’s the toughest part of being black and a woman in the industry?
Nwanoku: I have no experience of being anything other than myself, and I have never let either colour or gender define me as a person. It transpires that this attitude, that I learned from my parents and their complete belief in me since childhood has served me well.
WM: Wayne Marshall is a big name in orchestra. How did you get him to agree to conduct at your event?
Nwanoku: Wayne is a dear friend whom I have known for years, but rarely see. He lives in Malta. I wrote him an email and we chatted on the phone. He did not hesitate to say “Yes!”
WM: You are a Fellow of the Royal Academy of Music. Could you share with us your journey to attaining this height?
Nwanoku: When I entered the Royal Academy of Music in 1977 as an undergraduate in double bass, I barely scraped in due to having only taken up the instrument three years earlier; so unsurprisingly I was easily the worst bass player in the first year. I had played piano since the age of seven, but had been pursuing a career as a 100 metres sprinter since the age of eight, until a serious knee injury (playing football!) ended all serious aspirations during my final year at grammar school. I had wonderful support and guidance at school, where music was one of my ‘A’ levels. It was suggested to me that I had ‘what it took’ to pursue a career in music if I would take up an unpopular orchestral instrument, because I was nearly 18 years old. I had nothing to lose, and one of the most important lessons I had learnt from my parents had been to put my whole self into whatever I chose to do in life, and there would be nothing I could not do! On graduating from the Royal Academy of Music in 1981, I won the Eugene Cruft double bass prize and the Principal’s Prize, so I figured I must be on the right tracks. I won four further scholarships to pursue further studies with the inspirational maestro Petracchi in Rome for two years, and returned to London where I was in constant demand as a double bassist. I soon attained my first principal position with the London Mozart Players, and went on to play principal with many of the UK and Europe’s leading chamber orchestras, as well as solo and chamber music performances. I co-founded the Orchestra of the Age of Enlightenment in 1996 and continue as their principal bassist to this day. It was an honour to be appointed a Fellow of the Royal Academy of Music in 1998, and I continue to endeavour to deserve it. Three years later in 2001 I was the proud recipient of an MBE awarded by the Queen, in her Birthday Honours, for Services to Music.