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Meta
Sacconi Festival Flyer
SACCONI CHAMBER MUSIC FESTIVAL – INTIMATE VOICES – 15TH – 17TH MAY 2015 – FOLKESTONE
Box Office Now Open!: 01303 760750 / www.quarterhouse.co.uk
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Do Check Benslow Out
In October, I attended a four day residential string quartet course at Benslow Music Trust http://www.benslowmusic.org at Hitchin in Hertfordshire. Warmly encouraged by my sister, Carole Collins-Biggs, who has been a Benslow regular for some time I was a bit apprehensive because I’m a pretty recent returner to the violin. I was afraid that everyone would be better than me – I’m sure many of us know that feeling. Would I let other people down? Would I look silly? We were told in advance that the set works would be Haydn op 62 and some short works by Kirchner. Well, I did my best with them beforehand but it all seemed a bit beyond what I was used to.
What a lovely place Benslow is! I need not have worried at all. The time is carefully plotted so that you work partly in a quartet – ours consisted of Carole and me, our own Judy Cohen from Ashford on viola and a very congenial and competent cellist named Jill – and partly in a whole course group. The tutors are highly skilled professionals who push firmly but gently with realism and humour. I treasure: “Susan, if you could manage a B flat in that third bar instead of a B natural that would be just great” said with a non-patronising smile. Five of them circulated during sessions so that each quartet got a good chunk of time with each of them. And by the fourth day I really could play Haydn op 62 and amazed myself by sight reading – yes sight reading – most of a Mozart one too. I don’t think I’ve ever made so much progress in four days as that since I started on fiddle at age 7.
The domestic set up works well too. There’s a Victorian house at the centre, part of whose large garden now has modern buildings such as a performance hall, practice rooms and accommodation blocks. Carole and I had a single en suite room each but there are cheaper options for people who prefer to share. The food is all home cooked and tasty and because we deliberately sat at a different table for each meal we got to chat to lots of interesting people too. We went there by train (five minutes from Hitchin station) but there is plenty of on-site parking if you prefer to drive.
Of course Benslow isn’t just for strings. There was a small flute course running alongside ours. Also on offer are piano, singing, wind band, chamber orchestra, big band, theory, various folk options and more – and much of it is run at different times at different levels. There are four day courses, weekends and single day options. My husband Nicholas, a non-player, is there next month for an Elgar appreciation weekend led by Roderick Swanston, my Christmas gift to him. And of course, well and truly hooked, I’m going back with Carole – for a quartet weekend in July and a longer course in the autumn.
If you’re looking for an immersive musical experience through which your skills will definitely improve, I really can’t recommend this enough.
Susan Elkin
Don’t come on Monday 16th February…
because it’s half term and there will be no rehearsal that evening!
Bum notes from the brass – further thoughts
First a definition: A bum note is a note that is wrong by pitch, dynamics or timing. It includes the correct note but played in the wrong octave, too loud, not loud enough or at the wrong time not to mention the wrong pitch caused by ignoring the key signature or an accidental. Wrong timing means misreading/miscounting note or rest values. And in some cases it’s a beautiful note, dynamically perfect, in tune, but at the wrong time (an inadvertent solo). Or of course it’s the absence of a note when one is written.
I was congratulating a violinist on his performance in the orchestra at a recent Ashford Choral concert. Enjoying the moment, he joked that he had played every note of the Sibelius violin concerto – “at one time or another”. I was reminded that like him, I have perpetrated every type of bum note – “at one time or another”.
A couple of our concerts ago, Wes introduced the next piece as ‘sounding like fog horns on the Thames’. Harsh. It starts with low notes on horns and trombones to be played softly. Had they been marked forte, then we would have enjoyed them. Brass players generally like blowing loud raspberries. But soft ones are difficult. Inexplicably, the instruments don’t ‘speak’ instantly under these circumstances. Thus, during rehearsals, we often began with unpleasant noises. In fairness, they might have seemed to resemble fog horns – but only by uncharitable people with warped senses of humour. No, I’m not accusing Wes of being uncharitable, nor of having a warped sense of humour. Where he may have gone adrift is in imagining that there were fog horns on the Thames during the lifetime of the composer.
Any road up, after the gratuitously offensive introduction, both trombones and horns made ‘false starts’. Genuine bum notes. Wes called a halt to proceedings – hoping for a better start the second time around. Recalling that we had all watched athletics on TV and watched the fate of runners who made false starts, I raised my hand and asked ‘Shall I be disqualified if I make a second false start?’
Luckily, we’ll never know the answer. Poking fun at myself had raised a laugh from the audience and released the tension for everyone. Which is my point in this blog. The atmosphere at our rehearsals is light. We often cause bum notes, but they are treated with sympathy. We all know that everyone of us often makes a bummer and that it would be counterproductive if we started pointing the finger at each other.
David Worsley
And now for something completely different…
The son of a friend had been accepted into the Music University in Warsaw to study clarinet. We were talking about the differences in playing horn v. clarinet and I was surprised to learn that they are supposed to maintain as steady a pressure whether playing notes that are high or low.
He then surprised me by introducing me to an x-ray of a horn player’s mouth as he played. Fascinating!
David Worsley
If only as a curiosity, follow the link to the YouTube video:
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Carolling with the Carrolls and co
It was with a mixture of incredulity, excitement and trepidation that I presented myself, dressed a bit like a Christmas elf, for Ashford Sinfonia’s Christmas Spectacular at the Tower Theatre in Folkestone on 21 December. I hadn’t played in a concert in a “proper” venue for over 40 years and I’d found much of the music very – ahem – challenging in rehearsal.
In the event it was an unexpectedly upbeat (pun very much intended) occasion with a full auditorium and a delightful family atmosphere. The orchestra was there as a guest of Hythe Salvation Army band, of which our conductor Wesley Carroll is a member and is conducted by his father Richard. Many Carrolls across three generations took part along with lots of other Salvation Army clans and we were all made to feel part of a joyful extended family – especially over a splendid buffet tea between the rehearsal and the concert.
The orchestra played three pieces and accompanied some audience carols. Of these the theme music to the 2004 film The Polar Express, by Alan Silvestri and Glen Ballard, arranged by Jerry Brubaker, was, from where I was sitting anyway, definitely the most demanding. Stringed instruments do not play comfortably in keys with half a dozen sharps or flats and in a very high register – and the piece requires all of that and more. We had, however, worked very hard at it both together on Monday evenings and in many manic practice sessions at home. On the night it seemed to come together surprisingly well, with some lovely work from the brass and woodwind sections, and was – although I never thought I’d say this – finally quite fun to play. It seemed to go down well with the audience too. Also enjoyable was A Most Wonderful Christmas, a collection of familiar melodies with lots of tempo and key changes. And as for the Christmas Medley, written and arranged by Wes, well it was such a joy to hear his fabulous piano continuo that it was quite hard to concentrate on one’s own part.
Wes’s outstanding pianistic ability also shone through in the semi-improvised accompaniments to the three Christmas songs warmly sung by Steve Hawkins and in music to accompany the collection taken by the Salvation Army – to be split between Folkestone and Hythe Operatic Society which runs the Tower Theatre and the Army’s own causes.
The Salvation Army band itself delighted us with Joy to the World as well as playing with us in A Most Wonderful Christmas and their choir gave a lot of strength to audience (and sometimes orchestra) singing.
Other highlights included children singing Away in a Manger, three young girls performing with tambourines, Richard Carroll’s expert compering, and thoughtful seasonal inputs from Salvation Army leaders.
All in all it was a highly successful evening and I hope very much that I can look forward to taking part in a similar Spectacular in eleven months’ time. I’ll keep practising my seventh position semi quavers in F sharp major meanwhile.
Susan Elkin
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Reminder from the Secretary
Dear fellow musicians
Our first rehearsal of the New Year will be this Monday, Jan 5th, at Highworth.
And just to remind you as you plan your holidays, our concert dates for the next two terms are Sunday March 29th and Sunday July 19th.
See you on Monday,
Helen
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2014 in review
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
A San Francisco cable car holds 60 people. This blog was viewed about 3,600 times in 2014. If it were a cable car, it would take about 60 trips to carry that many people.
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Folkestone and Hythe Orchestral Society
Another Christmas Concert…. FHOS Christmas Concert


