No, not that, and I know what you are thinking. The C-word I have in mind is both longer and more pernicious.

It’s ‘Council’, awful just about every time it’s capitalised. I’m sure you can think of an exception or two, but every time I come across the word, I assume I’m looking at an organisation wholeheartedly committed to subverting everything I hold dear.
The UN Security Council, The Council on Foreign Relations, any Council of Ministers, The Equality Council UK, any municipal Council – you name it, it’s committed to reducing the West to a purely geographical concept with no civilisational content whatsoever.
Some 20 years ago I co-owned a magazine funded by the British Arts Council (BAC). When the funding came in, we thought we were in clover. Instead we landed in a considerably more malodorous substance.
To continue to qualify for the funding, we had to appoint a leftist poet as editor who then spiked every article arguing a conservative case. That created unbearable tensions and the publication folded within a few months.
Currently in the news is BAC’s younger sibling, ACE (Arts Council England). Only 28 years old, ACE has brought youthful vigour to its assault on the ‘A’ initial in its nomenclature.
Its published strategy should terrify any sensible person. “By 2030,” said ACE, “we will be investing in organisations and people that differ in many cases from those that we support today.”
They were as good as their word. For starters, they withdrew all funding from English National Opera, London’s second opera house, and the Donmar Warehouse, a lovely and affordable small theatre where I’ve seen some splendid productions.
Those theatres failed to meet the criteria ACE specified as essential to their patronage. Artistic excellence is one of them, but way down the list.
Taking precedence are “inclusivity and relevance” (making sure that “England’s diversity is fully reflected”), “dynamism” (being infantile enough to appeal to aesthetically disadvantaged children) and “environmental responsibility” (self-explanatory).
To reflect England’s diversity fully, as opposed to partially or even predominantly, ACE demands that an institution be multi-culti in its staff, audience and repertoire. No perceived deviation is tolerated, be it in the direction of excessive whiteness or elitism (dread word).
The Britten Sinfonia, an acclaimed orchestra of long standing, failed to meet that criterion and as a result lost its meagre £406,000 annual grant. Actually, purveyors of classical, which is to say real, music find themselves on a losing wicket almost by definition.
This kind of music was created for few by fewer. That’s why it can’t really be wholly supported by box office receipts, not without losing sight of its high purpose. Bach, Haydn, Mozart, Beethoven and so forth all depended on patronage, as did most great 20th century musicians, certainly in the early stages of their careers.
Patrons, be it private individuals, charities or governments, pay their money and they call their tune, at least to some extent. By choosing the tune and those who play it, they affect public taste and the whole tenor of the musical scene.
Acting in that capacity way back then were aristocratic patrons, who themselves played musical instruments and appreciated those who played them infinitely better. Even then geniuses like Mozart bewailed the pig-headed obtuseness of assorted archbishops, princes and electors.
Yet I wonder what the protagonist of the disgusting play (and film) Amadeus would think of today’s patrons, such as ACE, should he come back to life. My bet is he’d utter one of his favourite scatological obscenities and insist on being taken back, even if that meant being bossed by the Salzburg archbishop Colloredo.
Divesting classical music of elitism (dread word) means reducing it to popular entertainment with pseud pretensions. And seeking predominantly multi-culti staffs presents another problem.
Granted, there are enough reasonably competent Asian musicians floating about to staff every orchestra in the world, with thousands left over for the marching bands and dance-hall combos. But that’s not good enough, is it?
Orchestras can’t fob off their benefactors by hiring mostly Chinese and Korean players, although that would be perceived as a step in the right direction. Yet no organisation is deemed diverse enough without a heavy black presence.
Therein lies a problem. For historical, social and cultural reasons that I shan’t go into, musically talented blacks tend to gravitate to genres other than classical. Such as jazz, which they’ve blessed with countless performers of genius, such as Art Tatum, Thelonious Monk, Charlie Parker – and I could keep you for hours just listing them.
On the other hand, in my decades of regular concert-going I recall only once having heard a black soloist, and even he was half-Hungarian. Orchestra musicians have to meet less stringent standards, but even so – putting diversity before artistic excellence can only come at a heavy cost to the latter.
ACE vindicates this statement, one I wouldn’t be able to make in any publication other than this one. Having removed its paltry grant for the Britten Sinfonia, ACE then pumped almost five times as much into the Chineke! Orchestra.
To its credit, that setup eschews lofty claims to offering deep musical insights. It’s proud to bill itself as Europe’s first orchestra where most players are black or otherwise ethnically diverse. The word Chineke, explains the group’s brochure, derives from the Igbo word meaning ‘God’.
This must be the deity ACE worships. In the past three years the orchestra’s funding has gone from zero to £2.1 million – this though by all accounts the Chineke! is so beset by internal squabbling that it’s unlikely to survive anyway.
How do those black musicians feel, knowing they just may owe their jobs not to their musicianship but to their race? Some of them may be gifted musicians, but even they may be beset by gnawing suspicions.
They, along with all other cultured people, know that music exists in the ‘ultra’ sphere soaring above petty quotidian concerns, especially politics. Any attempt to pull it down to our infested earth will land music in the putrid quagmire, sucking it into mediocrity.
But then I did tell you that any capitalised Council is out to achieve that very aim – at best. At worst, they all seek to expunge the last vestiges of what used to be history’s greatest civilisation.











