As part of Making Music’s 90th anniversary celebrations, we’re speaking to some of our long-standing member groups about their history, their impact, and their hopes for the future.
One such group is Farnborough Symphony Orchestra (FSO); a thriving leisure-time orchestra with a remarkable past and a strong sense of purpose. We spoke to Peter Birkett, who recently stepped down after 14 years as Chair. A violinist and long-time member of the orchestra, Peter has played a key role in shaping the FSO’s recent development; but his story with the orchestra began, as many do, with a nudge from fellow musicians.
‘Two violinists in my office more or less frog-marched me into a rehearsal’, he recalls. ‘I hadn’t played in an orchestra for about 20 years, but I realised how much I’d missed it.’ That rediscovery led to a deeper involvement. After serving as publicity officer for six years, Peter was elected Chair and began a period of leadership that would span over a decade.
A concert to remember
One of the most memorable moments of Peter’s early years as Chair came during the orchestra’s 90th anniversary concert in 2012. ‘We’d planned a very special programme,’ he says, 'but just days before the concert, our conductor fell ill. I had to find a replacement at very short notice.’
Despite the challenge, the concert was a triumph. ‘We opened with Malcolm Arnold’s Grand, Grand Overture, which is scored for three vacuum cleaners and a floor polisher. It was very much a last night of the proms-style evening, including Jerusalem, Rule Britannia, Fantasia on British Sea Songs.’
One moment in particular stands out. ‘During The Swan from Carnival of the Animals, our principal cellist played while the daughter of one of our members danced. What we hadn’t considered was that she was dancing on the same spot where the floor polisher had been used and she slipped as she made her exit!’
The conductor who stepped in, Ben Palmer, has since gone on to a distinguished career. ‘He’s now conducting at the Proms and with major orchestras. We like to think we helped him on his way.’
From aeronautics to artistry
The FSO’s roots lie in the Royal Aircraft Establishment (RAE), where it was founded in 1922 as the RAE Orchestral Society. ‘It was a time when brilliant scientific minds were coming to Farnborough,’ Peter explains. ‘Many of them were also musicians. There was an operatic society, a dramatic society and the orchestra.’
Some of those early members were achieving extraordinary success at work. ‘Maurice Hancock, a violinist, invented a predictive aiming system for Spitfires during the Second World War. It more than doubled their hit rate. He later used the patent money to buy a house, which just happened to be next door to mine.’
Another notable figure was Dietrich Küchemann, a pioneer of modern aerodynamics and the orchestra’s principal cellist. ‘It’s always fascinated me that people at the cutting edge of aeronautical science were also making music together.’
Over time, the orchestra transitioned from a workplace ensemble to a community orchestra. A key moment came in the early 1980s, when the orchestra appointed its first professional conductor. ‘That made an immediate impact on the quality of the music-making’, Peter says.
More recently, the FSO adopted a model that combines artistic leadership with variety. ‘We introduced the idea of an artistic director who would conduct a couple of concerts a year and help us bring in guest conductors. It’s been a great way to keep things fresh and stimulating.’
A reputation for quality and collaboration
Today, the FSO is known for its high musical standards and welcoming atmosphere. ‘We’re fortunate to have consistently strong players across all sections’, Peter says. ‘That’s something people really value; especially wind and brass players, who don’t always find those opportunities in leisure-time orchestras.’
The appointment of Julia Wilson as professional leader has also made a significant difference. ‘She’s played with orchestras like the London Philharmonic and the Hallé. She’s not only technically brilliant, but also incredibly practical — she knows what’s playable and how to help us get there.’
Guest conductors and soloists are often drawn to the orchestra for similar reasons. ‘We asked one of our guest conductors, Holly Mathieson, why she enjoyed working with us. She said it was a chance to conduct pieces from the classical repertoire that professional conductors don’t always get to do. And she valued working with musicians who are there because they love it.’
The orchestra also has a long-standing relationship with violinist So-Ock Kim, who began her solo career at 15 and is now a professor at the Royal Academy of Music. ‘She enjoys coming to play with us: it keeps her hand in, and we benefit enormously from her artistry.’
Connecting with the community
The FSO has made a concerted effort to build stronger ties with its local community. ‘We’ve worked with local schools. One project involved our conductor and players helping students compose music, which we then performed in concert. The hall was full of young people. It was fantastic.’ The orchestra also ran a Young Composer Competition, giving one winner the chance to hear their work performed by a full orchestra. ‘It was a very special experience. We’d love to do it again, and we’re hoping to secure funding to make that happen.’
To encourage younger audiences, the FSO offers discounted tickets, and recent years have seen a welcome influx of young string players. ‘Once you get a few, they bring their friends. It becomes self-refreshing.’
A long-standing partnership
The FSO’s relationship with Making Music (the National Federation of Music Societies) dates back to at least the 1950s. ‘I found a document from 1961 showing our subscription was £2.10 shillings’, Peter says. ‘The Federation underwrote concert losses up to £15. It was a safety net and it made a real difference.’
That support continues today, most notably through Orchestra Tax Relief, which Peter describes as ‘hugely important: it brings in around £7,000 to £8,000 a year, especially valuable now that corporate sponsorship has declined.’
Looking ahead
As the FSO enters its next chapter, Peter is optimistic about the future, and reflective about what makes a community orchestra thrive. ‘It’s about holding in balance the emphasis on excellence and enjoyment. If you push too hard for perfection, it stops being fun. But if it’s just a good time with no challenge, it’s not rewarding. The magic happens when you get both.’
To learn more about the FSO, visit their website and follow them on Facebook / X (Twitter) / Instagram
