Ashford Sinfonia

Three of us – Carole Collins-Biggs, Roger Pinnock and I plus a new friend, viola player Leigh Kennedy from Hastings – are just back from a highly enjoyable string quartet weekend course at Benslow Music. We played together for a total for over 10 hours and benefited from four hours of intensive coaching from four different tutors, each of them excellent in his or her own way. Mostly we concentrated on Haydn Op 42 and Mozart K168 and we all feel that we made a fair bit of progress. The skill, as always, lies in listening to each other and getting it together. Well, we’re more together than we were although that may not be saying much …

Do check out Benslow Music (Hitchin, Hertfordshire) http://www.benslowmusic.org/ where there are courses all year round for all instruments at all levels, along with some singing, theory and appreciation options. The accommodation is more than acceptable (think small student hall of residence or budget hotel) and there’s certainly plenty to eat and lots of interesting people to chat to. Another bonus is beautiful gardens and lots of birds to listen to and watch. This was my second course there and I’m really looking forward to going back in October.
Susan Elkin

David Worsley

I need to make two changes to set the record straight about my last blog. In no particular order: the title should have been “At the heart of the orchestra”, and not “The heart . . .”. My apologies to all who make up the “engine”. My second correction concerns the new horn player, Malcolm. He read the blog and was, sort of, kind of, OK with it. But though I had referred to him specifically, I had not mentioned him by name. Sorry, Malcolm.

Some definitions: rehearsal – Oxford English Dictionary says “practice for later public performance”. A good definition, yet I prefer the French word “repetition” (should have lots of accents) – which says up front what we must do – repeat, repeat, repeat. Last night we did just that. This time it was the strings and woodwind, with Wes resorting to counting out each bar ‘1, 2, 3, 4. 1,2,3,4. ‘. Just as it worked for us last week, it worked again this. Minims started to reach their full length.

As did rests. Rests are important. Perhaps a better word should be used than “rest” which implies putting the kettle on and making a brew? Too often in music they are hardly long enough to take a breath. The counting helps us to play each note at the allotted time within the bar. Only when every player hits the right time does the noise become music. Pity that the standard we can reach at the end of a rehearsal doesn’t carry over to the next. Hey ho.

But I was not the only one to enjoy the results. My wife, who is Finnish, volunteered “Finlandia started to sound good”. Only started? A way to go then.

Dear Music Lover

For midsummer on Sunday June 21 at 7.30pm why not recall some of that old romance into your life with Primavera in a concert featuring piano quintets by Elgar and Grieg at the Ballroom in Herstmonceux Castle. As bookends they offer the perfect contrast to a quintet of a different variety – the jaunty Horn Quintet of Mozart, featuring Royal Opera House principal Roger Montgomery.

Tickets are available online at £23 by clicking on the link below
http://primavera-at-herstmonceuxcastle.eventbrite.co.uk

We look forward to seeing you there.

With best wishes, Paul Manley – Artistic director

More info, concerts and postal booking details on http://www.primavera-ensemble.co.ukMidsummer Concerte

This term is going to be good. Sibelius, Mussorgsky, Dvorak, Elgar, and a threat of Wagner’s Mastersingers overture – what’s not to love!

I recently made some discoveries: the French for a French Horn is ‘cor’. One notable composer wrote that “The French Horn is the heart of the orchestra” The English translation of ‘cor’ is ‘heart’. Last night at rehearsal, with one of the new horn players alongside me, we were rehearsing Finlandia by Sibelius. It has two passages that demonstrate ‘being at the heart of the orchestra’.

Apart from the opening blasts from the brass, there’s a section where all the brass have the dynamic instruction ‘cresc. possible fff’. In English that means: ‘It’s impossible to blow this loud enough’. A challenge – but frightening. I wonder if the public liability insurance will cover damage to the stained glass windows?

Later, Finlandia retreats into a truly melodic section of great beauty on strings and woodwind. Part way through there are three bars and a bit (repeated four bars later) of horns that you will not notice (bum notes excepted). They are a simple descending passage in perfect harmony. They add depth and texture to the piece and demonstrate the true genius of the composer.

At the third attempt, we got it right, looked at each other. And grinned. That’s what it’s all about – making music.

David Worsley

Tonight was the second rehearsal of this term, and we were very pleased to welcome Catherine and Malcolm, two new French Horn players. We are fast approaching a full brass section!

Sibelius’s Finlandia went well – if only the cellos could remember the repeats! I blame the panic which sets in when the notes have two black bars through their tails – all discipline disappears once such horrors loom up.

An arrangement of Elgar’s Pomp and Circumstance No 1 may only live a short life in our repertoire – altogether too few notes! Mussorgsky’s Pictures from an exhibition supplies a piece on the theme of politics. A prize for anyone who knows the composer’s first name (without Googling it!).

Please remember that next Monday is a Bank Holiday – no rehearsal.

RP