TIME was when many orchestral musicians' idea of relaxing after a heavy rehearsal session was to get stuck into a few pints and the contents of a packet of fags.

Even as recently as a decade ago, the writer Jilly Cooper used the experiences of spending a week with the Bournemouth Symphony Orchestra as background for her "bonkbuster" novel Appassionata.

The steamy tale of sex and torrid passions among orchestral types was of course completely fictious but later, on book tours, Cooper hinted that perhaps the real orchestral world was not as relentlessly clean-living as most people imagined.

One veteran told me that in those days the orchestra was split into two distinct camps.

When on the road those who liked a drink, a cigarette and a game of poker were generally found aboard the "smokers' bus" while those who liked to read, sleep and breathe clean air travelled on another vehicle known as the "pondlife" bus.

Not any more it seems.

The Association of British Orchestras has just launched a Healthy Orchestras Charter and the BSO is at the forefront of its move to tackle a range of health and lifestyle issues that affect professional classical musicians nationwide.

The ABO says that musicians, who often lead notoriously unhealthy lives, leave themselves at risk from physical and mental problems.

These can range from repetitive strain injuries to crippling stage fright and even dependence on drink and drugs.

String players fearing "the shakes" have been known to use beta-blockers or, more seriously, alcohol to get through performances.

BSO managing director Michael Henson, who is also the chairman of the Association of British Orchestras, says he is unaware of any drink-related problems at Bournemouth.

But he is adamant about the need to minimise the risks of musicians becoming injured or stressed.

"Within any industry or profession there can be health issues and in an orchestra, musicians have to hold their instruments, often in quite awkward positions, for long hours and that places certain stresses on the skeletal system," he explains.

To combat problems that can range from tennis elbow and damaged tendons to painful calcification, the orchestra's sub-principal double bassist Mark Thistlewood has introduced a series of body control pilates classes after rehearsals.

Thistlewood, who is also the BSO's health and safety representative, told me: "The emphasis is very much on prevention.

"Playing classical music can be very physical and it can lead to problems.

"Body control pilates is a great way to help people relax and realign their bodies."

Thistlewood should know.

The 40-year-old has, he says, been seriously fit and once completed The Ironman Triathalon but he still tells me: "Playing in an orchestra can be incredibly tough.

"Believe me, Beethoven's Seventh gives you a real upper body workout if you're a double-bass player."

The BSO pilates classes are proving incredibly popular. There is room for 12 people a session and they are regularly over-subscribed.

Henson is delighted with the initiative, saying: "I think we are leading the way here."

He says the orchestra, which part funds the pilates classes, is also actively working to improve the quality of the working environment of its musicians.

"Many issues that you get in the work place are going to be common to any industry.

"It is just good practice for employers to look after their staff, but it's also very nice when the arts world is seen to lead the way."