10am – 5pm at the Albert Hall, North Circus St, Nottingham NG1 5AA

Angela Kay, Rachel Parkes, Greg Treloar conductors

Angela Foan accompanist

Henry Parkes organ, New Classical Players

Any Covid security regulations still in place will be implemented in full.

   

 

 

 

 

Let’s open our lungs, exercise our vocal cords and sing together!

Music for Everyone invites you to a celebratory singing workshop at Nottingham’s spacious Albert Hall. The chosen music brims with joy and is guaranteed to lift your spirits:

Vaughan Williams Let all the World in every corner sing’ from Five Mystical Songs

Henry Purcell – Choruses from Come ye Sons of Art

John RutterI will sing with the Spirit, The Clare Benediction and Look at the World

Gustav HolstPsalm 148

 

Listen to tasters of the pieces here:


Music Scores

PDFs of the music will be sent to all singers in advance. Original copies of the music will be available at the workshop.


Optional Zoom Rehearsal Sessions

To warm up the voices and introduce you to the music, Angela Kay, Rachel Parkes and Greg Treloar will lead four optional Zoom sessions before the workshop.  They look forward to meeting you ‘virtually’ and then in person!

Dates and Times – link to the sessions will be emailed to all workshop participants.

Session 1 – Saturday 24 April

Session 2 – Saturday 8 May

Session 3 – Saturday 15 May

Session 4 – Saturday 12 June


Workshop Day Timetable – Sunday 27th June 2021

9:45 – 10:00am           Registration

10:00 – 12:30pm         Morning session (with refreshment break)

12:30 – 1.30pm           Lunch (please bring a packed lunch)

1:30 – 3.45pm             Rehearsal with orchestra and organist (with refreshment break)

4.00 – 5:00pm             Informal performance for friends and family


Informal Performance (any Covid security regulations still in place will be implemented in full)

This performance is designed to be part of the workshop experience for participants to enjoy.  Friends and family will be welcome to attend, although numbers may be limited.  There will be no tickets but contributions in support of MfE will be much appreciated via a retiring collection.


Workshop Fee

The fee includes all music copies, four optional online rehearsals, the workshop experience and coffee or tea at the morning and afternoon breaks.

MfE Subscribing Members – £30; Non-members – £35.

N.B. Should the workshop need to be postponed due to an extension of Covid measures, full refunds will be given.


How to enrol

Online – pay by card:

Just click here and fill in your details: Summer Singing Form Payment can be made via PayPal or debit/credit card. NB The venue can hold 200 singers so please apply ASAP to guarantee a place.

By post – pay by cheque:

Please download and complete this pdf form and post it, together with your enrolment cheque (made payable to Music for Everyone) to Music for Everyone, 10 Goose Gate, Hockley, Nottingham NG1 1FF

For any further information, email admin@music-for-everyone.org or telephone 0115 9589312 (Monday – Wednesday, mornings only)

The combined voices of Nottingham Community Voices and the Nottingham Concert Orchestra put on a show-stopping, dazzling performance at the Albert Hall, Nottingham yesterday afternoon of hits from the stage and screen – including the foot-tapping Mamma Mia medley which raised the roof! ‘Thank you for the Music’ to all our singers…

We also had sparkling solos from our guests Kate Taylor and Simon Theobald and an incredibly moving solo of the Love Theme from Cinema Paradiso from MfE’s very own String Animateur Abigail Smith.

P.S. Don’t miss Vicky McClure’s ‘Our Dementia Choir’ on Thursday night, 8pm, featuring one of our Open Voices members, Bernard Marshall! Our Dementia Choir

Have a good week!

Your friends at MfE.

29/04/2019

admin@music-for-everyone.org
www.music-for-everyone.org | 0115 9589312
10 Goose Gate | Hockley | NG1 1FF

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DSC01583 copyThe soloists – Paula Sides, Ciara Hendrick, Nick Pritchard and Tim Dickinson were a pleasure to work with, and superb singers, both individually and as a quartet. Thank you, Paula, for committing to come so soon after giving birth. Gorgeous baby, by the way! The orchestra was wonderful, and Helen Tonge played the violin solo so beautifully.

All the hard work put in by Angela Kay, the choir and orchestra over the weeks was well rewarded, and the odd minor glitch passed in a flash. A performance is not simply a matter of accuracy, rather of the musicians conveying the composer’s intent to the audience through their understanding of the piece, singing or playing it with feeling, variation in dynamic, tone, good diction etc. This musicality came across so well and fulfilled Beethoven’s inscription on the Missa Solemnis manuscript: From the heart – may it return to the heart. An audience member said afterwards, ‘I could just listen to that all over again. It was amazing.’ William Ruff, music critic for the Nottingham Post, seems to have agreed.

Many similar comments followed.  The choir had a real sense of achievement from having tackled one of the most challenging works in the choral repertoire. As the performance had proceeded without interruption, to enrich the audience’s experience, both audience and performers enjoyed a well deserved celebratory drink afterwards.

DSC01582 copy

 

The photographs were taken at the afternoon rehearsal.

Thanks too to the Albert Hall staff who were, as always, so obliging.

 

Our roving reporter interviewed Angela about Beethoven’s Missa Solemnis, which the Nottingham Festival Chorus will be performing in the Albert Hall, Saturday 6th February, 2016.

Here is the introduction, more to follow, including some very helpful guidance about learning the work at home, in the sectional rehearsal, and during the course.

HD: When did you first sing in a performance of Beethoven’s Missa Solemnis?

AK: Well it was in 1978, I think March, with the Nottingham Harmonic Society conducted by Andrew Burnham, in the old Albert Hall Institute. Nearly thirty years ago.

HD: Or nearly forty years ago?

AK: You’re right. How time flies!

HD: Tell us a little about that experience.

AK: It was the first time I’d heard the work, I didn’t even know it existed really, and I thought it was fantastic, quite hard. Some bits are really easy and then other bits are absolute killers – fugues, because they’re so quick. There are still about 8 bars I’ve never known anybody sing properly. If you’re an alto, like me, you get to a certain page and you hear, “Can’t sing that bit.” [Laughs] But… with lots of slow practising…!

 writing Angela's instruction into the score

Writing Angela’s instructions into a score

As you can see on my copy [from when I sang it], it has instructions written all over it, and beats in the bar for all the syncopated stuff. Fortunately, lots of it is doubled up in the orchestra.

HD: Do you have a favourite movement?

AK: Well the Credo and the Gloria are just wonderful, then from where the Praeludium starts and leads into the Benedictus, it has a divine violin solo, the basses sing a few notes and a quartet of soloists comes in, followed by the choir. A land of repose in all the excitement that’s going on. [Laughs again]

HD: What led you to choose this work for the Nottingham Festival Chorus?

AK: Well I thought it was about time we did something we could really get our teeth into, and I thought that no one else had done it for years, as far as I can remember. Or did the Bach Soc? Anyway, it will be a wonderful experience.

To be continued…