But for heaven’s sake don’t give me excess of it!

My uncle Bob was the conductor of the Keighley Music Club orchestra which in his day was quite a good outfit. I remember attending a number of concerts with my mother at Temple St Methodist Church in Keighley which was the venue they used. My cousin Allison played the Cello in the Orchestra and went on to study at the Guildhall School of music before being taken on by the Bournemouth Symphony Orchestra. Uncle Bob moved to Devon and became one of the leading lights in the Dartington International Music School and Festival which I note is celebrating its 70th anniversary this year.

Meanwhile my sister married the co-principal viola player in the London Philharmonic Orchestra which amongst other things played for the Glyndebourne Opera Series in Sussex. We were very fortunate to obtain seats for many of the operas as well as enjoying the upper crust picnic scene which was part of the Glyndebourne lure. During the long intervals we spent our time spotting senior politicians and celebrities. Often the seats were ones offered because the view of the stage was limited but the experience of attending was wonderful. Somehow we were always lucky with the weather. In all the many times we attended, only once did we experience a wet evening when we had to seek shelter away from the magnificent garden.

You would have thought that being a musician was quite a safe occupation. It is true that musicians do tend to over imbibe. Some of the brass section in particular are known for their capacity to down the pints. This was even more of a hazard when playing Opera. The orchestra are accommodated in the pit in front of the stage. A tuba player, for example, may only be required for a minority of scenes and seated at the back of the pit it is easy to come and go without causing disruption. Whilst the poor old strings have to leave the pub for the opening scenes, the brass players could have an extra pint or two before they were required.

Another potential hazard is a stage cast member falling off the stage onto orchestral members in the pit. In 2009 at Glyndebourne, Puerto Rican soprano Ana Maria Martinez found her feet entangled in some stage props and she fell backwards off the stage into the London Philharmonic Orchestra’s string section. Fortunately neither she nor any string player was badly hurt although Ms Martinez was taken to hospital as a precaution. The performance continued after a short break with an understudy summonsed urgently from London to resume the role in the third act.

Just recently a very different occupational hazard has been identified. Mr Christopher Goldscheider of Biggleswade, a viola player, has successfully sued the Royal Opera House when he suffered “acoustic shock” after sitting in front of an 18 strong brass section in a rehearsal of Wagner’s ‘Ring Cycle’. The fact is that some parts of the Ring Cycle are very loud and large orchestral forces are engaged. Judge Nicola Davies judged that musical establishments are subject to the same rules of any place of work. Employee safety is paramount and staff need to be protected.

It’s hard to see what steps will now be taken to protect orchestral musicians. Will ear plugs be provided or will Wagner’s fortes just have to be less forte? It remains to be seen. I have no doubt that some will say that this is health and safety gone mad, but on the other hand no one should suffer life changing injuries as a result of engaging in their employment. Count Orsino in Twelfth Night might have had a good point about music but excess of it might now be a problem.