RSM People: Jonathan Rennert
Organist Jonathan Rennert’s career has encompassed performing, training, examining and writing, as well as a huge amount of philanthropic work. In December 2022, he added RSM Treasurer to his oeuvre. Read on for a whistle stop tour of the many musical activities throughout his life and find out why he wanted to become more involved at the Society.
When did you first become interested in learning a musical instrument?
When I was five, my parents sent me for piano lessons. My over-competitive Austrian teacher entered me for a Festival when I was seven, and, to the surprise of the adjudicator, she mounted the stage before I played and announced: “Ziss boy is a prodigy. He is only three!”
Piano was my main instrument until my teens, but the organ gradually took precedence, despite the persuasive efforts of my superb piano teachers, Betty Parker at school, and John Barstow at the RCM.
Organs tend to be found in churches, and organists are expected to accompany services and train choirs. I was incredibly fortunate to serve my apprenticeship in Cambridge under one of the greatest choir trainers of the 20th century, George Guest: an emotional, intuitive, charmingly eccentric Welshman.
You have held several positions around the world, but seem to have been based in London, as Director of Music at St Michael’s Cornhill since 1979.
Yes, the very fine historic organ in St Michael’s (used in weekly recitals as well as services) and the professional singers have kept me grounded! But St Michael’s accounts for only one part of a freelance portfolio, which includes playing, conducting, examining and writing books. It’s hard work, of course, and not well paid, but very fulfilling – and there have been plenty of light-hearted moments: playing the organ for a boxing match in the Royal Albert Hall, dressed as a cowboy; conducting a choir and junior wind-band on a float in the Lord Mayor’s Show in the pouring rain; being woken up in Malaysia (where I was examining) by the sound of rats in the wardrobe; playing the part of Mendelssohn – fully constumed, with bushy sideboards and a German accent – in a ‘return recital’ by the great composer.
When did you first hear of the RSM and what made you want to become a member, and then a Governor?
Soon after I finished as a student, I was given a copy of the history of the Society and the application form. It seemed an excellent organisation, but I am ashamed to say that I did nothing about it until a friend, many years later, persuaded me at last to apply. The first time I attended a Members’ Meeting, I was greeted at the door by a violinist who said, rather accusingly, “You are obviously an organist!” And he waved me on with an imperious bowing arm. It reminded me of the RCM canteen, where the organists would sit at a table at one end of the room, the singers at the far end, and string players in between. (Pianists sat silently, and brass players were in the ‘Ninety-nine’.)
Now, at meetings of the Royal Society we gather, some of us a bit less fresh-faced, having more-or-less survived for years in our very tough profession. Looking through the list of Members, one can hardly fail to be impressed by the quality of the membership, the Court of Assistants, and especially the Governors. It may not generally be realised that the 12 Governors give a great deal of time to the work of the Society – completely unpaid. We have four full-time specialist members of staff, and one part-timer; but much of the decision-making falls to the Governors, who also set policy.
You are involved with several other charities. How has this prepared you for your work in the RSM and particularly for your role as Treasurer?
It’s true that I have some experience of charitable governance (of the Musicians’ Company, ISM, Organists Charitable Trust, Royal College of Organists, GT-B Trust and Arabesque Trust for blind musicians). It seems to me that Charlotte, our redoubtable CEO, manages the Society most efficiently, in line with Charity Commission requirements. Ruth Lorimer brought the accounting systems up-to-date, and I was sad when she announced that she was accepting a promotion outside the Society. Leon and Yinka deal with the grant-giving sensitively and indefatigably. Mark has been doing an excellent job of yanking our public image into the 21st century. Colin (whom I originally knew as a baroque violinist) looks after the archives with affection. Our stockbrokers have consistently achieved high returns on our portfolio, allowing us to increase our grant-giving each year.
(That said, the need is becoming ever greater. Members are, I know, generous in their donations and legacies, but you are particularly reminded that organising concerts in aid of the Society can be a good way to raise new funds which will allow us to assist even more needy colleagues.)
And in answer to your question, I have been Treasurer only since January. I should like to thank my immediate predecessors, George Vass and Chris Bain, for the frighteningly impressive example which they set.
Would you advise members of the Society to apply to be Governors?
Definitely, if you are able to give the time. Our founders in 1738 saw the Society as a group of healthy, compassionate musicians coming to the aid of colleagues in distress. That has not changed. Do consider putting your name forward!
