MikeWhat a day! The choir beavered away at their repertoire under the tution of Guy Turner, Mike Gregory, Jane McDouall and MfE’s Artistic Director, Angela Kay. Works being rehearsed are by Rutter Birthday Madrigals, Harris And will ‘a not, Deimer Three Madrigals and Vaughan Williams Serenade to Music. The choir then split into upper and lower voices for sectional rehearsals, where tips were also given about technique. The ladies particularly know a lot more anatomy than before they came, and about posture, breathing, core muscles, etc. Singers who normally sing in larger choral societies have expressed enjoyment in singing more intimate works, often sung by chamber groups.

percussion

The full orchestra rehearsed first thing under the baton (newly purchased from the Winblowers stall in the rehearsal hall) of Phil Smith, and played a medley from Kiss me Kate. Instrumentalist split later into the string orchestra and the windband. More about these groups tomorrow. And more in a second post about the Cox Quartet open rehearsal (masterclass in quartet playing) and their concert.

The sun shone again, so coffee, lunch and tea were taken outside by many. Times to chat with old friends and to make new ones.

After lunch, John Florance, a raconteur with a PhD in English Literature and Drama, and former Radio Leicester presenter, explored the importance of music to Shakespeare, and in his plays. He chose a Shakespeare inspired piece from each musical era from the Bard’s time until today, and showed how his words have inspired music of all genres – opera, song, orchestral, ballet, jazz, musical, rock and pop.

JohnFloranceThe man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.

The Merchant of Venice, William Shakespeare.

 

P1110328Imagine a very large rectangular hall, high-ceilinged. The orchestra filling a third of the space, the choir in four rows along a wall running the length of the hall, and an eager audience of about a hundred.

First Robin Reece-Crawford introduces the evening and comperes the concert with information about the composers and the musicians.

Every configuration of instrumentalists and P1110376singers from the Summer School perform several pieces with great enthusiasm. The atmosphere is fantastic. As I’m tucked away in a far corner, which is fine – love those tymps! – I’d handed my camera to Charlotte Pullen, daughter of one of the violinists. See what happens when you sit in the front row! During the concert she takes some wonderful photos to give us a collection of happy memories. Well done, Charlotte, and thanks.

P1110378There is music from Byrd to the Beatles, Pergolesi to Gershwin, Vivaldi to Rutter. In addition to the groups, tutor Owen Cox plays as he conducts Winter from Vivaldi’s Four Seasons, and tutor Gill Henshaw, accompanied by the orchestra, plays a movement of Weber’s Clarinet concerto. Stunning.

The choir sings in different configurations under the ‘baton’ of three conductors. (Not that we’ve have seen a baton all week, have they gone out of fashion?) Here is the lower voices’ moment of glory, with Mike enthusing them from the front. P1110356

The concert comes to an end with a rousing performance of Johann Strauss’s Radetzky March, and choir and audience clap along. Beat that for enthusiasm, Vienna Philharmonic!

P1110382And then our three amazing days of music making, learning new pieces and techniques, listening to first class music, being lead by dynamic conductors who worked so hard and brought out the best in us for the short time of the School, is over. Not forgetting the concerts and masterclasses. We trip off into the night with tired bodies but light hearts, new friendships made, challenges risen to, fine music and much laughter.

More photos to follow – it might take a few days!

Here’s hoping there will be another Summer School – this one was aided greatly by the generosity of the University of Nottingham (my alma mater), who provided the space and facilities. Thanks too for the Summer School go to the Assistant Artistic Director of MfE, Alex Patterson P1110368(I think this was his baby, if you see what I mean), Artistic Director Angela Kay, Adult Programme Co-ordinator Robin Reece-Crawford, Anne, Su and Gemma from the office, tutors and conductors Owen Cox, Mike Gregory, Gill Henshaw, Jane McDouall, Isobel Bounford, accompanists Stefan Reid, Tim Uglow and Martyn Parkes, and other musicians who kindly gave of their time to fill in the gaps or to encourage parts and sections, and of course to all the delegates. (Apologies if I’ve missed anyone.)

Now you might be wondering what happened to Quote of the Day. Well, it was awarded to Angela Kay, we had a titter about it but it is unprintable, so come along to a Music for Everyone event and join in the music making and fun. Thanks for reading – around the world, we gather!

P1110387

Helena 

The SATB choir turned to Mozart and Byrd, that latter being one of my favourites. There was a handy hint from Alex, “Get round it by cheating,” and praise for the altos, “That moved me somewhat.” I was so caught up in it all that I missed the saxophone group. Sorry about that.

P1110228Owen Cox is a violinist and alumnus of Music for Everyone. He played with the youth strings before progressing to the CBSO, BBC National Orchestra of Wales and many other orchestras and quartets around the world. He also teaches and is currently Assistant Head of Strings at Chetham’s and honorary lecturer in performance at the University of Nottingham. See what MfE can do for you!!

In his masterclass he helped Gar Yein find more volume in her violin and to see that over thinking can stifle a musical performance. He said, regarding tricky sections, ‘Start slowly, use lots of confidence and lots of bow. Every day imagine you’re starting all over again, and one day it will just happen.’

Owen, accompanied by Martyn Parkes, rounded off the day with the second concert. HP1110242e gave a light and beautiful performance of Mozart’s Violin Sonata K301 in G and a lyrical and lively rendering of a Franck Sonata – not, he pointed out, a Frank Sinatra. The movements alternate between slow and fast and are as demanding for the pianist as the violinist.

We have had a wonderful day of music in many styles, from many instruments, including the voice, gifted musicians and conductors, and talented accompanists. What could have been better? More tomorrow, and then we, the delegates give our own concert. I’m afraid that has already sold out, but do come and hear mezzo-soprano Carris Jones at 1.30pm, Djanogly Recital Hall.

Helena

P1110208Today’s blog posts will be the bread either side of the filling that’s my dinner. Chicken salad. What a day!

Jane McDouall led a warm up for the SATB choir – keep the shoulders down and your face bright – as though greeting someone you’re pleased to see. Alex took over and we sang movements from Vivaldi’s Gloria, shaking off all ‘not quite awake’ feelings.

I slipped out to see what the orchestra was up to and walked into the tranquillity of Elgar’s Nimrod being played with great sensitivity. Hang on, though, what an unusual configuration of instruments! Strings as you would expect. Then how many? Yes, 13 or so flutes and a similar number of clarinets, but no one blaring out, the orchestra blending well under Angela’s baton. There were saxophonists, a tympanist, and to add to the loan double bassist, Chris McDouall on electric bass guitar.

The choir then split in two (no pain was involved, you understand). Sops and altos staying put, P1110212and bases and tenors heading to another room. Jane and Angela introduced the ladies to music by Richard Rodney Bennett and Kodály – unison songs (written really for single voice) and songs for 5 part upper voices.

Once that was underway, I went in search of the lower voices – not all male, you understand, some women’s voices are naturally low enough to sing tenor.

P1110216Their session was being led by a new-comer to MfE (I think), Mike Gregory, who is awarded quote of the day: ‘Sing it like Jeremy Clarkson would.’

I’m sure you can hear it already. Then again, looking at the picture… But once the ignition was turned… !

Right. Dinner time. More for dessert.

Helena 

logo_GreenSometimes everything goes quiet in August, but not this year!

A large, brown envelope dropped through my letter box a few weeks ago brimming with information and music for the three-day Music for Everyone (MfE) Summer School. It starts next Monday, the 17th of August, at the University of Nottingham. I’m looking forward to excellent music-making with the other 203 delegates, lots of fun, and relaxing breaks (Ice cream!) in the beautiful surroundings of the University Park.

Visiting professional musicians, a cappella ensemble Apollo 5, mezzo-soprano Carris Jones, violinist Owen Cox and clarinetist Sarah Watts, will be giving workshops, masterclasses and short public concerts.

No doubt the tutors, Angela Kay, Alex Patterson, Gill Henshaw, assisted by Jane McDouall, Mike Gregory, Isobel Bounford, Owen Cox, and Stefan Reid, will bring out the best in us. Having sung with MfE before, I know it’s going to be great. MfE have invited me to blog about it, which I’ll happily do between singing pieces from Byrd to Rutter, Vivaldi to Kodaly, and a few surprises yet to be revealed. I’ll pop in on the instrumentalists too. They appear to have an exciting programme of classical music, jazz and swing awaiting them. Maybe I should dust off my flute… Did I mention we’ll also be learning how to conduct?!

Helena Durham

A note from the MfE office: Details of the concerts and tickets can be found here.