Concert Review

It is a particularly British trait to downplay our achievements and to minimise our expectations of ourselves, and with such statements repeated to me (more than once!) in relation to Ashford Sinfonia, so I came to the concert on Sunday.
The Sinfonia is generally a well-balanced ensemble – good to see all string parts filled, along with proportionate wind and brass representation, all players being what I gather are either adult learners or those returning to their instruments after a time ‘resting’.
Under Wes’s baton and obviously thoughtful rehearsal techniques key elements of musicality were present and correct: the opening pianissimo of Calm sea and Prosperous Voyage, for example, was as good as would be heard anywhere. Dynamics – often the first thing to be lost in performance conditions – were pleasingly approached throughout, crescendi and diminuendi being particularly attractive.
The Scottish Symphony is not a straightforward work by any means, and whilst the second movement scherzo presented the players with perhaps their toughest challenge of the afternoon, the wit and humour of the folk-song melodies was carried with cheerful vigour.
There was never any suggestion or expectation that these would be particularly polished performances – and that doesn’t matter. The Ashford Sinfonia is clearly a much greater sum than its individual parts, and is a perfect example of what community music-making should be about: like-minded individuals coming together to enjoy themselves in a shared purpose.
Wishing you every success with your accommodation search, hope to see you again for the next one!
Lucas Elkin
Lucas is the Musical Director of Cambridge Operatic Society and regularly directs choirs and orchestras in the East Anglia region. He also happens to be Susan’s son and Carole’s nephew!

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Administration

At last evening’s rehearsal we had a short discussion about our plans for the near future. We have three possible venues for rehearsal – two are quite expensive options and the third has difficulty with access, in that instruments would have to be carried for 300 0r 400 yards from the nearest car park (fine for a piccolo, but not so much fun for a double bass!) It was agreed that we would go on looking.

We also discussed the venue for the concert in three weeks’ time, and agreed to stay at St Francis. There have been some further comments on this since; your committee may bring the subject up again next week.

Finally, we made a plea for a new Librarian to come forth. John has done sterling work, and we thank him for this, but can no longer cope with carting the heavy box of music around. We agreed to make a decision on this in two weeks – the new incumbent to take over once this term’s music has been safely returned!

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Bum Notes from the Brass

When are passages difficult?

We began the rehearsal with the 1st movement of Mendlesohn’s #3. We got as far as the 8th bar and started again, and again, and yet again. Why? Because Wes thought that we were not good enough. Why? What made this slow passage hard for us to play?

Normally, it is usual to think of a passage as hard because the notes are at the extreme end of our range; or the tempo is too fast. Sometimes the notes are hard to read, for example: it can be very hard to work out the rhythm with many dotted semi-quavers or triplets etc.; and the actual note required may be hidden with accidentals. (My particular bête-noir is when consecutive notes are shown differently but are in fact the same note – e.g. an A flat followed by a G sharp. Many a time I have wished my hands round the throat of the idiot that did this!)

Take a look at the following examples.

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These are the offending opening bars – and no, it’s not just me who has difficulty, the problems are across the board.

The next example is from Messiah (to be performed in a couple of weeks by the Ashford Choral Society) and was pronounced by our conductor Dr. Mark Deller as the most difficult passage in the entire piece.

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In both cases, the music is seriously slow, which causes identical problems for all players and singers – we must all sustain our notes without any variation of pitch, or dynamics. In your mind, conjure up an image of a candle flame that is still, not fluttering in a draught.

We must begin each note without kicking it, or slurring it, and when it comes out, it must be perfectly in pitch and dynamic to blend musically with every one else. And we must move together – which is difficult in itself, playing notes and looking at the conductor at the same time. When the orchestra has about 30 members, the choir 100, you can see why that guy with a white stick is important.

It takes hours of personal practice to bring our muscles to the state were we can each start and then sustain these notes. Which is why Andre (the Siberian horn player – another story) practices long notes for 3 hours everyday. Playing together also needs its own form of practice – listening to each other and looking at the conductor.

Horn

 

 

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Our Greek Family Odyssey

My sister Susan Elkin and I have mentioned before that at the heart of our musical background was our folk-fiddling father. In August 1966 he was invited to lead the band for a dance group to an international 10 day long festival in Greece. Mother danced and SuSan and I were included as musicians with our fiddles, guitar and recorder.

Our intrepid Father decided to make it a major family camping holiday and drive – to an unknown Greek island in the Ionian Sea. We could get by in French, but none of us had a word of Italian or Greek – unless you counted my three weeks of Ancient Greek in school the previous term. Holiday foreign travel was not the norm so it was an extraordinary and exciting adventure.
South east London/ Dover/Calais was straightforward and then our car was loaded onto the overnight sleeper to Milan. As the second hand clicked to 8.00 next morning the train glided to a stop. We admired this enormously – we were accustomed to British Rail. We drove that day across Italy to the Adriatic coast – Italy was way ahead of us in motorway building as well and we were enthralled by the fast roads with their immaculate and frequent service stations – stops were necessary because our wheels kept getting hot!
We set up our first camp on a seaside site near Rimini. Our parents had a gaily coloured frame tent, whilst we were in a grotty old ridge tent with no built in ground sheet. But it was all great fun and so different from our usual climate and surroundings. We made our progress down to Brindisi at the heel of Italy and without wanting to make us sound like the Von Trapp family, sometimes we would get our instruments and play outside in the balmy evenings amongst the olive trees.
From Brindisi we took the ferry over to Igoumenitsa on mainland Greece for the next leg of the journey. Topography demanded a route inland through the mountains and I doubt that this sparsely populated region saw many English vehicles and tourists. Our stop for lunch was interesting. We had no idea what the proprietor was telling us was available so with an enormous grin he ushered us all into the kitchen to see for ourselves. The final part of the journey was a chain ferry – the only vehicular access to Lefkas at the time – and thus we arrived at our destination.
The dance group, were, to me at least, quite elderly – although probably younger than I am now – and they were horrified on arrival to discover that the much anticipated accommodation was in fact a vast camp of old khaki army tents set up by the harbour into which the sewage was discharged – each one with a two bunk bedstead on bare earth. The temporary ablutions were not actually finished by the time the festival started and comprised open top wooden compartments. Several times we had to shoo away workmen who unashamedly sat on top of the female shower blocks. Each international group was assigned a local restaurant for meals and the offerings were not generally well received especially after my father told people with a perfectly straight face that they were donkey cutlets. A plea for egg and chips produced the chips – with a hard-boiled egg! Our family were better able to adapt since we were geared up for camping anyway and thought it all quite hilarious.
I recall very little of the actual performances but there were no disasters and all went as rehearsed. It was a big festival with dance and song teams from all over the world. Europe was well represented and I also remember an Israeli team and a clean-cut ever-smiling group of American Mormons from the Brigham Young University in Utah. Shows took place every evening on the temporary platform and there were lots of processions and parades. I suppose the ethos of these “Folklore Festivals” was to bring together post-war peoples through music and dance and to foster peace and goodwill. Did that happen? As a 13 year old it certainly made a great impression on me and I loved watching the various different nationalities performing.
It should not be too hard to spot us!

Greek folk

 

Our journey home was just as adventurous, but perhaps that should form another post!

Carole Collins-Biggs

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Excellent concerts right on our doorstep

Do try and get to some of Maidstone Symphony Orchestra’s fine concerts http://www.mso.org.uk if you’re not yet familiar with them. Conducted by Brian Wright for many years, the orchestra is over 100 years old. We’ve been subscription ticket holders for a long time and the standard just goes up and up.

One of the secrets of the orchestra’s excellence is the hiring in of fine professional soloists to play concerti. Over the years we’ve heard, for example, Guy Johnson, Freddy Kemp, Emma Johnson, Tom Poster, Chloe Hanslip, John Lill (who is the orchestra’s patron) and many more. Players range from professionals and semi-professionals including music teachers and students to bank managers and accountants for whom this is a hobby.

There are five concerts each season and the venue is Mote Hall, Maidstone. The next concert is on Saturday 12 March at 7.30 pm and presents Ulf Hoelscher playing the Elgar violin concerto along with Berlioz’s Le Corsaire Overture and Beethoven’s fifth symphony. See you there?

Susan Elkin

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Four go playing …

Quartet

 

Four members of Ashford Sinfonia met today to try out some Mozart and Haydn quartets. We were grateful to be able to meet at Susan Elkin’s home, and enjoyed a light lunch in the midst of heavy (musical) work. Only one of us forgot where he had parked his car and was to be seen forlornly searching Sittingbourne, ‘cello on back!

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Folkestone Symphony Poster

Folkestone Symphony

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Stories from the Orchestra Pit

Prince Igor – act 1: a vehicle for an amazing début.

I was playing in the Birmingham Philharmonic – then and now one of the country’s leading amateur orchestras. Just up the road was the Midland Music Makers – also one of the country’s leading amateur performing groups.

Every year or so the two groups collaborated, and this year they performed the opera Prince Igor by Borodin. Perhaps the fact that the principal woman was an alto and not a soprano is the reason that it isn’t often performed. Much of the score is well known ­- used in films, the concert hall and adverts. For example, today,(February 2015), the opening of the Polovtsian Dances is used in a trailer for Jump, a new TV programme.

Because of the popularity of the music, but scarcity of full performances, the great opera houses of Europe were intrigued. They detailed two or three of their own production teams to attend. What is it like? Is it worth a place in our own repertoire? As the requests for tickets came in, tensions rose. This would not be just another concert.

In a small town just outside Birmingham, a devout member of a local church was noticed by members of the chorus, and urged to audition. No, she would be too nervous. “But your voice is so pure”. “I couldn’t survive the audition”. After months (perhaps years) of badgering, she finally gave in, was accepted ­ but not for the chorus.

The second act opens with the heroine seated on a cushion surrounded by handmaidens. Her opening aria starts the act – just a few bars after the curtain rises. Sadly, every evening she was shaking with fright. We knew her fear and feared for her. Never had she sung in public, yet now she had an audience of dreams ­ German, French, Italian and English aficionados of the opera world.

With nothing to play, I craned my neck and became immersed. Although she was trembling from head to toe, her voice was deep and sonorous ­- a second Kathleen Ferrier. A truly beautiful sound. I was captivated every evening. We were told that before the end of the week, she had been offered contracts as a principal by three of the opera houses. Stupidly, I never committed her name to memory so I can’t follow her career. But those performances were a genuine joy – except one, which I’ll admit to in a later story.

David

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Rehearsal venue

Annette and I visited St Francis Church this morning and met Fr Anthony. The church is delightful inside, has plenty of parking and also on street parking if needed. There are toilets and heating, and he will let Annette have a spare key. There are no pews as such, but chairs which can be reorganised and pressed into use. We are welcome to use the church immediately, and can use it as an emergency measure while sorting out an alternative venue if we wish to.
The address is St Francis Church, Cryol Road, Ashford TN23 5AS.
We have agreed that we will meet there, and we can discuss it more fully when we are all together. However, we have a home for now, and at no cost!
Roger
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Sacconi Festival Flyer

SACCONI CHAMBER MUSIC FESTIVAL – INTIMATE VOICES  – 15TH – 17TH MAY 2015 – FOLKESTONE
Box Office Now Open!:  01303 760750 / www.quarterhouse.co.uk

Sacconi_Festival_Flyer_2015

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