A Day filled with the Talent of Tomorrow

Well, What a jam-packed fabulous Friday it has been!

The adjudicator Kenneth Ian Hytch (Ian) seems to be warming up nicely, and I must say I've warmed up to his style and the way he's marking quickly too - there's not been any 'out-of-whack' crazy 93's yet (which does happen sometimes!), he's very much marking each class to the criteria of that class, and the standard he expects of that age group/genre/instrumentation etc.
Another great quirk of this adjudicator are the brilliant quotes and hilarious anecdotes (which I will mention in just a little bit...), and of course some great advice, the focus of which today seemed to be on the importance of each performers commitment to communicate, and the importance of silence. The latter of which sounds odd, but its a very true statement - every piece of music should start and end with silence. Starting with silence is easier, much easier, but I know as a performer sometimes I really strive for that moment's silence at the end of a piece, from the stage it feels magical, and from the audience it can be incredibly moving - I know there are some people who like to be encouraging with their applause, leaping in quickly, and sometimes before the piece has actually finished (either with an incredible flourish or that epically sought-after golden moment of silence) - A little plea from me: Please hold back, and allow every performer to finish what they started. You won't regret it.

The morning session started off with the Music Making Infant School Age class, and a cracking distinction to boot! One thing I've heard Ian mention often, is how important it is for young musicians to play together in ensembles, particularly chamber ensembles, where the children are in essence, 'a group of soloists' - I agree: there are a lot of people out there who say music shouldn't be taught as a subject in schools, but you only have to look at a class like this and see the children playing together, listening to each other and taking direction (but also contributing their ideas to the piece) to see how incredibly valid and worthwhile 'music-making' really is.
The morning also featured some great young pianists, vocalists and a super set of violinists, but I think my special mention of the morning session goes to the Le Rondin School Choir and Le Murier School Choir - both of whom performed excellently. With such focus and joy for the music, it really was the highlight of the morning.
- And I must also mention the amazing multi-tasking Juanita Byrne, Le Rondin School Choir's director. Sure, there are people who conduct.... there are people who sing..... there are people who play piano.... and there are people who speak sign-language...... But this super-woman does it all at once! Someone give her a medal! Bravo!

The afternoon session kicked off with some more great string playing in the open concerto class - in fact, the high standard of string playing is definitely something to make a note of, and, as Ian did, the great teaching of string players that is coming out of the island - the young violinists of the morning class, and the slightly older cellists of the afternoon, all showing some great promise from solid foundation teaching. Amongst the vocal folk solos and orchestral woodwind, I want to mention Benjamin Fletcher, who competed in the U16 Jazz Piano and the Instrumental Jazz Open as a fretless bass guitarist - This is a jazz musician to watch, as at only 15, his technique is already well developed on both instruments, and his improvisational skills feel natural and organic. Well done Ben, keep up the good work!

The evening session gave us another program of great vocal/choral classes interspersed with technical piano work. One of the best moments of the night (and I'm sure audience would agree with me here) was the superb singing from the young lads of the evening. The Guernsey Grammar Lower School Boys Choir (who opened their program by stating "we got together of our own accord, and have arranged the music ourselves") went on to perform with great conviction and self-sufficient style that they got what had to be the biggest cheer of the festival so far. My praises especially go to their young pianist Jack Tostevin-Hall, who not only accompanied his friends expertly, but sang with them at the same time! Not to be outdone the Elizabeth College Close Harmony Group gave us some great barbershop-style singing, and a very memorable performance of 'La Cucaracha' involving moustaches and line-dancing..... (I think you had to be there for that one....)
- I do think (as suggested by the adjudicator) if the Elizabeth College lads focused on working more as a group with less conductor-driven direction and let it come from themselves they will shine brilliantly as a vocal ensemble. My special praise goes to Barney Thompson: what a voice! And such natural performance and acting skill - you, young man should be on the stage permanently!

Finally, the evening was rounded off with a fabulous array of classical style singing, across all the vocal types: from the very high (sopranos) to the very low (basses), the variety of music was engaging and the standard was high. Not competing in this style of music, I had myself a lovely little concert to enjoy, and best of all, it was a successful night for some of my nearest and dearest: My best friend Jo Marsh, my boyfriend Michael Sullivan and one of my vocal students Matt Fallaize all came away with trophies for their respective vocal classes - that's one very proud Pugh I can tell you.
- Kenneth's praise of the soprano section was particularly high, with him unable to split two competitors for the trophy, awarding it jointly to Jo Marsh (with a show-stopping character piece) and Deborah Bideau (with an equally impressive more traditional soprano song) with 87 - well done ladies, smashing job.

And finally, I'll leave you with a lovely anecdote that Ian told us while adjudicating the final classes, regarding sopranos and their true nature:

When sitting in the French Horn section of an orchestra, you sit in-front of the sopranos, and can hear their general banter and comments, particularly about soloists. On this one occasion when performing Handel's 'Messiah', the Tenor soloist comes forward for his moment, and from the sop-section we hear, "Oh... Oh isn't he handsome!" *general swooning*
- The Bass soloist comes forward, and from the sop-section we hear, "Oh, isn't his voice wonderful!" *general melting*
- The Contralto comes forward, and from the sop-section we hear, "Oh, isn't she motherly!"
- The Soprano come forward......
...... "Well, I don't like her dress!", they grumble *classic*

(L-R: Tenor Class winner Michael Sullivan, Soprano Class joint-winner Jo Marsh, 
and Baritone Class winner Matt Fallaize)

"Live Music is so Important"

This statement that could not be more true, and it's one that this year's adjudicator holds in high regard.

Kenneth Ian Hytch (Ian as he likes to be known) comes across as very positive, but also fair and helpfully constructive (the type of adjudicator I like the most!). He has lots of good things to say about everyone, and so far is proving to be an encyclopedia of helpful and inspirational quotes. Although I was not able to attend the afternoon session today, I heard from friends and parents of participating students that they also agreed with my sentiment that he is a very good adjudicator: "friendly, but firm" I believe was one expression.  He's also very engaging and likes to get young musicians trying new things and techniques that may ultimately help them improve - all good things!
- That being said, he's what I would call a 'low-marker'. He has commented on the high standard of the performances so far, but this 'high standard' seems to have peaked at an 86 (Highly Commended), whereas some adjudicators that have come previous years would be marking 88-90 for 'high standard' - However, I am rather liking that he is marking each class with it's own criteria, and quite rightly so. You can't compare off-the-wall jazz with classical piano, and he doesn't try to. 

From the performers tonight we had a very eclectic range of styles, as is customary with our Eisteddfod. From the Grammar School Senior Choir Singers kicking of the evening with a jam-packed musicals medley, through some power-housing solo piano through to the Vocal Classe Superieure. With the program focused mainly on vocal performances tonight I have to commend everyone on bringing their A-game and kicking off the 2015 Eisteddfod with a high standard and a positive atmosphere.  Great to see some familiar faces, and a few new faces stirring things up a bit!

Some of the best praise of the evening came in the Voice and Piano Class, where he felt he couldn't split the two participants, so awarded them both a trophy (Two trophies split between four people in the end - which also resulted in a lovely four-way hug!) Some of the key things that Ian mentioned he's looking for in a great performance include "naturally evolving dynmanics", and "making the audience listen by daring to be quiet." - Essentially, engaging with your audience and sucking them into your performance with your expression of the music. I love that phrase, 'dare to be quiet' - as we know, Beau Sejour stage is pretty dry and hard to sing quietly in, but I know what he means. If you sing with enough gumption and feel the music properly, that quietness will carry and you'll connect with your audience.

I have to say the highlight of my evening was seeing Niall McCathie back on stage. I love Niall's voice, and his rendition of 'E'en As a Lovely Flower' by Bridge was just beautiful, it gave me that butterflies feeling; a truly magical moment.
- Remember, you can read all the 1st, 2nd and 3rd results from each class by following the links to the right of the page.

It's been a great start to the Guernsey Eisteddfod 2015, and everyone (audience, performers and adjudicators alike) seem to be settling in and warming up nicely - can't wait to see how it all unfolds over the next 9 days - as was said before, "Live music IS so important" and I feel the best is yet to come.

The Eisteddfod Survival Guide

It's that time of year again - musicians of all ages, abilities and disciplines performing on the same stage; all the certificates, trophies, and unforgettable moments are nearly here - but before it all kicks off, I thought I'd share with you some information that I've gathered, from personal experiences of myself and various other 'seasoned regulars' of the eisteddfod that I think may help us all make this years festival run smoothly, and be as enjoyable as possible by performers and audience members alike.

- Be prepared: Make sure you know your music and that you've found and practiced with your accompanist (if you need one). Make sure you've practiced as much as you are able, because if you are under-prepared you won't perform as well as you can (and you will kick yourself for it). Make sure you've got everything for your class ready in advance: your music, your outfit, how you're getting to and from the theatre, and anything else that will take away unnecessary stress on the day.

- Stay hydrated: Beau Sejour is VERY dry space to perform in (both in acoustics and general airspace) and the surge of adrenaline will add to the dry-mouth, so make sure you have plenty of water with you, and any throat sweets you may require (I'm a big fan of Vocalzone) - I also recommend a good lip-balm.

- Be calm, relax and enjoy it: Yes, it's a competition, but it's a friendly competition - people will win, people will lose, that's life really. But that doesn't mean you can't enjoy it - If you don't do as well as you'd hoped, try to take on board what the adjudicator says in order to do better next time. And always remember that it is just one person's opinion, and there will always be someone in the audience who thinks you're fabulous

- If you suffer with nerves, there are two approaches you can take to disperse the adrenaline throughout your body and get yourself ready to go on stage:
1) Zoning: Very deep, slow controlled breathing (you can combine some tai chi style arms as well to control your energy)
2) Get excited: This is great if you have a particularly energetic number to do - jump up and down, star jumps, chanting over and over again "LET'S DO THIS!" - essentially, this will do the same thing as the breathing, but you'll also feel charged and ready to attack the number.

- DON'T turn up at the last minute - you should turn up 30mins before your class starts so you have time to prepare (or if you're an audience member, time to find you seat and order that interval drink!)

- DON'T be rude to the ushers and 'movers and shifters': These ladies and gents are doing their jobs for free, and they have a LOT to deal with - be nice to them and they will be lovely to you right back and help you when then can

- "Dress to Impress": It's not black tie by any stretch of the imagination, but image does make a difference. You want to be comfortable, sure, but at the same time you should present yourself in a way that is true to you, but also says 'I am here to perform' - sometimes it can be the difference between doing alright and doing really well. I was discussing this with the drummer of my band the other day - we play 40's/50's Jazz and Rock-n-Roll, and we agreed when we dress to reflect the music we play we give more into the performance. It's something to consider.

- Consider carpooling: Beau Sejour car park can be an absolute nightmare, especially for some of the evening sessions where there is another event or sports match going on - I HIGHLY recommend everyone consider carpooling. Nearly everyone knows everyone in Guernsey, and especially at such a big community festival like the Eisteddfod. Ask around the people you know who live near you as to whether you can sort a bunch of you all going in one car. That goes for parents with kids too! If your child is in a class and you notice that several of their friends or classmates are in that class too, offer to take them to and from school to save the other parents the hassle of getting to and from school before the class.

- Be supportive: Whether you're performing or just watching, be supportive of everyone involved. Some people are seasoned participants, others are first-timers, but they all deserve the same support and respect for getting up there and having a good old go! Best ways to support:
1) Turn you mobile on silent (or better yet, OFF!)
2) Don't be rustling sweet wrappers and crisp packets or opening fizzy drinks in the theatre when someone is performing onstage - seriously, you don't need to be grazing when someone is on stage bearing their soul! You would want the same respect were it you!
3) Keep the backstage noise to the barest minimum. You may need to practice/warmup which is fine, but shut the dressing room doors and keep the chat as quiet as possible.
4) Know when to clap: This sounds a bit silly, but sometimes an over-eager audience member can just dissipate a really beautiful moment! Sometimes a piece/song has a definite 'Ta-dah!' finishing moment - sometimes it's a much more subtle fade into the background or a hanging chord - DO NOT CLAP YET! - I can assure you, performer/choirs/conductors put more effort than you realise into creating that end of a piece atmosphere, so let them have it! You will know when the performer is finished as their body language will relax and they will 'come out of the moment' so to speak. It's much better to be late on the applause with this kind of moment than pre-emptive (and you will enjoy the rush of 'waiting for it to finish' as well!)

- And lastly: If you win, by all means enjoy the moment, but be humble and thankful - If you don't win, be a gracious loser. Take on board what the adjudicator has said (to everyone, not just you), and applaud your fellow performers for everyone's 'job well done'

Have a great Eisteddfod everyone, see you there soon!

Welcome to the Guernsey Eisteddfod Music Blog!

Guernsey's a very lucky place - we have an incredible amount of talent on this Island, and nowhere does this get showcased more often than at the Guernsey Eisteddfod. As a very, VERY active participant: as a performer, teacher, accompanist and even just a general music-lover and audience member, this blog is here to share with you all my insights of the ten jam-packed days of music at the Guernsey Eisteddfod - The performing, the class results, the adjudicator's opinions and advice, the audience enjoyment and even a cheeky look at what it's like backstage.

Thanks for reading everyone
- See you at the Eisteddfod 2015!

http://www.guernseyeisteddfod.com