Let’s talk about Counterpoint
by Daniel Adler
Yes, Counterpoint. The kid brother of the Radio 4 quiz
cycle, sandwiched throughout the year between Brain of Britain and Round
Britain Quiz, Operation Yewtree permitting (all three are produced by the same
team, incidentally). It’s only been going since 1986 - both the other two
started in some form or another over sixty years ago - but it’s perfect for
radio: three music geeks at a time, going up against each other on questions
covering all forms of music, some being illustrated with the actual music being
played. In your face, Mastermind! (That’s enough of that – Ed)
I have loved this programme from the start. It began
around when I was a student, somewhat obsessed back then with collecting
records and CDs (remember them?). I marvelled especially at those contestants
who could not only name all of Wagner’s heroines, but also identify a recent
Smiths track or spot the obscure Genesis album. They seemed to be the ones that
won through – that first contest was taken by David Kenrick, who now
adjudicates the competition.
Fast forward to December 2011. I’m in the car with my
daughter, shouting the answers and getting frustrated when the supposedly
musical panel seem stumped. I say I could do better, the light of my life
retorts that I wouldn’t dare, so when I get home, naturally, I fill in the
application form. One phone audition (on a bus, as I recall), and a few weeks
later I find myself on the stage of the Radio Theatre, wondering if I will
acquit myself with honour, or crash and burn. In the event, I get 29 points –
usually a winning score – but I’m a split second behind on the tie break (Eric
Satie, for the record), and go home rationalising that I seemed to thrive under
the pressure, but that I’ve been robbed. Sitting in the audience a few weeks
later watching the final being recorded only confirms that (how I didn’t shout
out “It’s Schubert, you numbskulls!” I’ll never know), so in a fit of annoyance
I go and fill in the application for Mastermind. That goes reasonably well too,
and I get to study two opera composers into the bargain. Good preparation for
another go at Counterpoint.
Well, if you heard the final that went out
on Monday (now up on iPlayer), you’ll know how that turned out. I will
admit here and now that I did something very un-British: I went all out to win.
And so, rather than give a blow by blow account, I thought I would share with
you how I approached that aim, and sort-of gamed the system. Feel free to
follow my recipe, if you wish.
Know your strengths. And even more, your
weaknesses: I have been listening to music seriously for
nearly fifty years. I am fairly au fait with the canon of Western art music,
with some gaps – for example, I have never “got” Hungarians such as Liszt and
Bartok, and Strauss’s operas just leave me cold. I am pretty good on Italian
opera, British music (especially the “Cow Pat School”), and French orchestral
too. Pop and Rock between about 1960 and 2000 is another strong area for me.
Weaknesses were firstly more modern pop music (I made
Spotify playlists of recent number ones, asked my kids what they were listening
too, and went through every single Mercury winner, even that one by Speech
Labelle). Jazz needed a spruce, which I did by listening my way through the
fifty or so most highly regarded albums – some great, some fairly unlistenable
(I’m looking at you, Ornette), and reading Ted Giola’s History Of Jazz. And
musicals entailed going through my father’s extensive DVD collection and
monopolising the TV for about three weeks, much to my family’s unalloyed joy. I
now have more showtunes in my head than is probably decent for someone with
three kids, but I can now tell the good from the bad. For the record, Singin’
in the Rain, West Side Story, Chicago, My Fair Lady and anything by Sondheim in
the former, and virtually everything Andrew Lloyd Webber has ever touched can
be filed under “meh”, in my humble opinion. Oh, and The Sound Of Music? Just
about the only movie where it’s fine to cheer for the Nazis, I reckon.
I should also put in a good word for BBC4. They
constantly have outstanding documentaries on all sorts of music, and one in
particular (on French chansons) got me bonus point in my heat. Also, a new
admiration for Charles Aznavour – truly, a genius.
See Dead People: There
are always questions about recently deceased musicians. I kept a list running
from the end of the last series, and then spent a happy day going through the
Wikipedia entries for each one. At a particularly desperate moment in the
semi-final, this resulted in me literally punching the air with delight at the
words “Aphrodite’s Child”. You can hear it in the final edit.
Know your opponents: Some
quiz formats – Mastermind, for example – do not allow your score to be affected
by the performance of the other contestants, or for you to affect theirs.
Counterpoint is not one of those: you can take bonuses from questions others
can’t answer, stop them from answering questions if you’re quick on the buzzer
and steal whole specialist rounds from under their noses.
After I’d won my heat, I was given the option of being
in one of the first two semi-finals (recorded together), or the third (recorded
a week later, with the final right after). I chose the latter course, and then
got a ticket for the earlier recording. I sat at the back taking notes, and
figured that if I did get through to the final, one of my opponents was an
absolute whizz on pop music, films and musicals (but not too hot on anything
“classical”), and the other could be beaten on the buzzer.
But before that, I had to get through the semi. I knew
who one of my opponents would be, as his heat had been recorded on the same
evening as mine, but I had no clue about the other; his heat had yet to be
broadcast (luckily – he got through it on an intimidatingly high score). In the
event, the little information I had was crucial: Lying second after the first
round, I picked my specialist subject mainly because I knew the third placed
chap would ace it (I nearly did myself). I think you can just about hear him
groan.
Keep calm, don’t take chances: The
first round of my semi-final was dire. I remember looking at my wife sitting in
the audience, shaking my head and seeing her shrug a sort of “oh well” back.
But a few deep breaths, plugging away, picking up points where I could, and I’d
clawed back a lead by the end of the second (it helped that the leader after
the first round picked a truly terrible specialist round, appropriately enough
called ‘Dreams and Nightmares’, one I may well have picked myself if I’d had
first choice).
The final round is on the buzzer. I was anticipating
most questions, buzzing in before anyone else, but after a while I figured I
might be far enough ahead to stop taking chances (you lose a point for a wrong
answer), and let them go by. I should have taken a chance on Taylor Swift,
though (didn't even make it thought the edit, that one). Down with the
kids, me.
Have fun: It’s a game. The
BBC fund it because they believe it to be entertaining to someone out there. If
you take it too seriously, it comes across on the recording, and that makes bad
radio. I had immense fun recording all three rounds, and just as much swotting
up for it – I tried guessing some of the specialist rounds that might have come
up, and even though I spent ages on Stephen Sondheim, and Italian Film Music,
neither of which figured anywhere, I have no regrets. Horizons broadened.
So. Mission accomplished. I have a trophy, but talk of
acquiring an actual trophy cabinet results in hails of derisive laughter from
those who I find myself sharing living space with (there’s talk of a shelf in
the downstairs loo, though). I got to make a heartfelt speech about my old
school music teacher to a large and captive audience (if you’re out there,
Richard Hickman, that’s you). And I got to be involved in something the BBC
does particularly well, something that would not happen but for the BBC. It’s
exactly the sort of thing that needs to be preserved in an increasingly choppy
sea for the Corporation.
Mastermind again next year, probably. Brain of Britain?
Maybe. Now, that is some seriously tricky gig. Respect to anyone who’s done
that one. (Thanks – although I was only joint runner up on that one – Ed)
Respect
to you too Dan, and I offer you heartfelt congratulations on behalf of all of
LAM’s readers. Thanks also for your enlightening and entertaining article.