Ayr Choral Union: a long history of resilience and musical ambition

As Making Music celebrates its 90th anniversary, we are shining a spotlight on those member groups whose histories stretch back through the decades, forming the bedrock of leisure-time music-making across the UK. Among the most venerable of these long-standing members is the Ayr Choral Union (ACU), a choir whose dedication to high musical standards and continuous existence spans three centuries. Remarkably, Ayr Choral Union is noted on Making Music’s very first ledger, underscoring the depth of this enduring partnership. 

The choir’s history is described as 'long and complicated,' yet their ability to simply 'keep going' through periods of immense challenge stands out as their defining characteristic. We spoke to Margaret Crankshaw, a long-term member and committed historian of the choir, about her four decades of involvement and the secrets to the ACU's extraordinary longevity. 

A passion rekindled 

Margaret Crankshaw’s relationship with Ayr Choral Union is a long one, beginning way back in 1979. Apart from a brief six-month absence when her daughter was born, she has been a continuous member throughout this time. Margaret’s commitment to singing began early, having participated in a very good school choir in Falkirk and later singing in a university choir. 

After a gap dedicated to teacher training, getting married, and establishing her teaching career, Margaret realised she was 'really missing' singing. Her choice of choir was pragmatic but fateful. Living in Troon, she had considered Kilmarnock Choral, which was nearby, but Ayr Choral was simply 'much more convenient' due to the railway line connecting Troon to Ayr, as she did not drive at the time. 

She discovered the choir through an advertisement in the Ayrshire Post announcing the start of their new term. Despite arriving not knowing anyone in Ayr, she found the choir members very friendly. A memorable moment came courtesy of the secretary, Vic McLeonard, who quickly arranged a lift for Margaret, meaning she only had to take the train once. 

Margaret joined a large choir, with membership ranging from 100 to 120 people around that time. Having previously only experienced smaller choral singing, she was immediately 'blown over' by the opportunity to perform 'big works' and engage in 'pretty advanced stuff'. She recalls the excitement of singing Fauré’s Requiem, a piece she had never even heard of before joining. 

Her involvement deepened dramatically around 1995 when she joined the committee. Since then, Margaret admits she has been involved in 'just about everything'. 

A history of steadfastness 

Ayr Choral Union boasts a remarkable history predating its connection to Making Music. Margaret highlights the choir's tenacious spirit, noting their ability to keep going even when other choirs halted activities. This resilience was particularly notable during wartime. Ayr Choral kept functioning through the First World War (though not in a normal fashion) and maintained its existence during the Second World War. During WWII, the secretary ensured the Making Music subscription was continuously paid, meaning the group was still in existence, albeit not terribly active. An ambitious attempt to perform Messiah was even made in 1944, while the war was still ongoing. 

This determination to 'hang on' meant the choir’s name remained consistent throughout its history. This contrasts with contemporary groups like Kilmarnock Choral, which stopped and restarted under a new name. This long history, however, has encompassed 'bad times, and there were good times'. 

Archival treasures and local rivalry 

Margaret’s passion for the choir's past was ignited in 2012, ahead of their 140th anniversary in 2016. The choir's archive, which had been collected since 1876, literally landed on her living room floor because there was nowhere else for it to go, following the retirement of the previous archivist. This vast collection now resides in her husband’s wardrobe. 

Handling this material led Margaret to write a book, which she describes as 'such fun,' and which has since been placed on the choir’s website and shared with local historical societies.  She found themes within the historical records that connected back to her own long tenure. 

One surprising historical theme Margaret discovered was the sheer concentration of musical activity in Ayr. At one point, there were as many as 14 choirs in Ayrshire. This density led to periods of intense competition. Between 1905 and 1939, Ayr Choral Union faced significant problems recruiting members and raising money due to fierce rivalry. 

A particularly challenging rival flourished after a 'fantastic' organist and choir master arrived from London. This competing group was so successful that in 1912, they travelled to Paris alongside prestigious groups such as the one that would become the RSNO choir and the famous Phoenix Choir. This intense competition had a palpable negative impact on the Ayr Choral Union, overcome by sheer determination from loyal members such as Frances Mansbridge, Accompanist for almost 50 years. 

Global experiences and local impact 

Despite these historical and ongoing challenges, the ACU has fostered many good things and memorable concerts. Margaret particularly cherishes the external relationships the choir has built. 

The choir developed a strong link with a French choir called Le Pincerais, who were part of Ayr's twin-town association. This relationship led to incredible opportunities abroad. Members of the ACU travelled several times to Provence to participate in the triennial event in the Vaison la Romaine, where they sang with 5,000 singers in an ancient Roman amphitheatre. Margaret describes this experience as 'absolutely wonderful,' noting they never would have been there had it not been for Ayr Choral. 

Closer to home, choir members have also participated in massed choral events, often scooting up to Glasgow or Edinburgh to join hundreds of other singers (sometimes up to 500 people) to perform repertoire staples like Handel’s Messiah or Mozart’s Requiem. 

Navigating repertoire and finances 

The choice of repertoire for the ACU is a complex blend of artistic aspiration, financial realities and internal politics. Decisions depend on how much money the choir has, what they can afford and the input from the Music Committee, the conductor and the wider membership. 

Financial concerns are a major factor. The high costs associated with hiring soloists and orchestras are the 'big money' barriers. The choir has learned caution; Margaret recalls a time when doing Dream of Gerontius nearly caused the choir to 'go bankrupt'. Increasingly, the cost of hiring music also takes a 'big slice' of the budget, encouraging the choir to rent scores rather than buy. 

The choir must constantly balance musical ambition with practicality. This negotiation often involves managing the expectations of long-term members who want to repeat familiar works, such as the B Minor Mass (which some might have done 300 times), alongside introducing tricky or advanced pieces like the Duruflé Requiem to newer members. Margaret notes that much of the internal debate about repertoire choices happens during the interval, known as 'cake time'. 

Despite the challenges, ACU membership is currently holding steady at around 95, having crept back up from a loss of older members post-COVID. 

The audience challenge 

Recruiting audience members for classical music in Ayr remains a real issue. Margaret notes that two-thirds of the audience are generally loyal supporters of a family member in the choir or the orchestra. The town is not one that generally favours classical music, evidenced by a previous visiting choir performing to just six people in the huge town hall. 

Furthermore, the recent 'resurgence of singing' in the community focuses primarily on groups like rock choirs, whose main objective is enjoying the rehearsal and 'having fun'. While this gets people singing, it doesn't necessarily prepare them for works like the Duruflé Requiem. 

Patronage and the 150th Anniversary 

Ayr Choral Union benefits from remarkable patronage: Sir James MacMillan is the patron of the choir. Sir James, whom Margaret affectionately refers to as 'Jimmy,' takes a strong interest in ACU and is currently commissioned to write a new Christmas carol using words provided by members of the choir. Margaret notes that with such a famous conductor nearby, the question of who to ask for a commission is easily solved. The link with MacMillan is strengthened by the fact that Ayr Choral members initially formed  three-quarters of the Cumnock Tryst Festival Chorus, which MacMillan started about 12 years ago. Members of  ACU have recently participated in intense rehearsals for the Cumnock Tryst Festival, working with highly respected conductors such as Eamonn Duggan from The Sixteen.  

Looking ahead, ACU’s 150th anniversary is rapidly approaching next year. Plans are emerging, including a large exhibition showcasing the extensive archive currently housed in Margaret’s home. The choir also hopes to interview old members who are no longer active in the group to collect oral histories. 

A key objective for the 150th, and a major challenge for the future, is youth engagement. Margaret notes that Ayrshire has a strong tradition in fiddles (the Ayrshire Fiddle Orchestra is fantastic), but choral singing at a school level is limited. Current conductor Andrew McTaggart is keen to establish a youth choir in Ayrshire, an ambitious project that could potentially be an outcome of the 150th celebration. The choir is currently succeeding in attracting some younger talent, having several members under the age of 30, which is considered a good and unusual achievement. 

Embracing Change: The COVID Challenge 

The resilience inherent in the ACU’s long history was fully demonstrated during the COVID-19 pandemic. When the shutdown arrived in March 2020, just days before they were due to stage a Messiah concert, conductor Andy McTaggart treated the crisis as a challenge. 

McTaggart immediately set up Zoom rehearsals. Although some older members initially reacted with scepticism, the support system within the choir ensured everyone got on board. This positivity became famous; the conductor then embarked on an ambitious virtual Messiah. The soloists and a small chamber orchestra were recorded separately, following social distancing rules, and then the chorus sang their parts from home. This production gained considerable recognition, including being featured in the Making Music magazine. The choir also successfully transitioned to singing outside in a school playground six months into the pandemic. 

Margaret notes that the positive spirit and determination during this time were 'very good for the choir'. Post-COVID, they managed to transition to a better rehearsal space, a former secondary school turned primary school. 

The future of collaboration 

When asked about an ideal future collaboration, Margaret immediately names Ellie Slorach. Margaret recently attended a Dunedin concert weekend where Slorach conducted, finding her 'wonderful' and 'so positive'. Slorach is described as making a huge impact, having recently done an environmental opera in Glasgow and being involved in various high-profile roles, including Founder of the Pantos Chamber Choir and Engagement Conductor with the Royal Scottish National Orchestra. Margaret admires Slorach’s ability to inject fun and positivity, even into the 'very difficult' avant-garde pieces they performed. 

Margaret also praises their current conductor, Andrew McTaggart, describing him as 'excellent' and a rising talent who works (amongst many other things) with the National Youth Choirs of Great Britain, and is Chorus Master for Sir James MacMillan’s Cumnock Tryst Festival Chorus.  

The Ayr Choral Union embodies the 'magic' that occurs when a group balances its emphasis on musical excellence and enjoyment. Through internal political negotiations, the balancing of budget sheets, and a historic determination to keep going through wars and local competition, the ACU remains a vibrant force in Scottish music-making, looking forward to its 150th anniversary as a testament to its long-standing connection to community and singing. 

To learn more about Ayr Choral Union, visit their website and follow them on Facebook