ROMAIN MALAN was all set for a conventional training in music, first in France and then at the Royal College of Music in London. But, in his final year, his mother became ill and the experience of playing to her as her Alzheimer’s progressed changed his enire approach to music. 

The immense benefit, for both for musicians and listeners, of live music in a healthcare environment became the guiding light and, graduating from RCM he took a second degree in community arts at Goldsmiths. If the revelation was to play Bach to his mother as she was dying, the foundation for his World Music Orchestra project was laid by an extraordinary course for qualified artists who wish to work in community arts.

“I have always been deeply aware,” says Malan, “of the power of music in both healing and empowering people.” 

His initial work, organising ensembles in healthcare environments immediately ran into the Covid pandemic and evolved into what he calls “cuppa concerts” (pictured) when, as he says: “People in isolation needed the experience of live music even more.”

The experience of doing concerts by Zoom couldn’t match the challenge and the thrill of playing directly in the street, on the doorstep or in the front garden.

These were north London communities who, learning about the initiative, requested the concerts. 

“With the current economic crisis,” he says, “the cultural inequality has worsened. It is our duty as artists to respond to this cultural and economic emergency and to keep our art accessible to all.”

This has allowed him to create a second initiative, “Ignition Music Tuition” that differs from the way musicians normally offer lessons by allowing people to pay as they can afford it. “The idea was for this system to be sustainable thanks to students who can afford the normal price of our lessons or above it. Until now, I managed to make it work by donating a lot of my time as one of the main tutors.

“But,” he continues, “we implemented a new sliding scale called 'Equalise,’ meaning that students fill a questionnaire about their health, wealth and social life. They keep their answers confidential and only let us know their total score. Then, we tell them how much their lesson will cost.”

Who asks for such lessons?

“We have reached out to about 50 people so far, and while the majority are working class, the rest are adults who are not currently working for health and mental health reasons who access our lessons as an NHS socially prescribed activity.”

This has affected the teaching as the students learn only the music genres, songs and repertoire that they like and would like to learn, meaning very little classical music. And although a few follow the traditional curriculum to pass the ABRSM exams, most students learn aurally, without reading music.

And the feedback speaks for itself. 

B, who suffers from Asperger’s syndrome, had piano lessons with Malan and says: “You are the kindest person to me, and your patience is exceptional because other people wouldn’t give me a chance or spend time with me. You understand me and this is a huge thing.”

S, who has singing lessons with Rose, says: “Singing with Rose makes me feel better and able to get out of bed when I’m having depressive days. She makes me feel more comfortable in finding my singing voice.”

If there is little in the way of initiatives for music in the community like that of Malan in Britain, there is even less in his native France he says. And the ambition now is to demonstrate that such initiaives are economically sustainable and to expand the programme with support from unions, arts organisations and community groups.

This is a thrilling prospect.

For more information see: worldharmonyorchestra.com.