It's been a fantastic music Eisteddfod for 2015 - and after a few days of winding down and reflecting, I thought I'd look back and share with you all some of my favourite moments of the festival, and some of the valuable information passed on by the adjudicator Ian Hytch, as well as some of the most memorable quotes.
One thing we have in Guernsey is a fantastic array of choirs, ranging from primary school to *ahem* getting on a bit, we've a great tradition of singing in groups here, and it's certainly something we do really well. But I've picked three that I want to mention as my personal favourites.
- Forest School Junior Choir, led by Elaine Chapman performed a beautiful song, 'Can you Hear Me?', complete with sign language. What struck me most about this performance was not only how incredible their use of very quiet singing was, but the way the children were able to include the signing without help from Elaine, leaving her able to conduct the choir musically. I think this highlights some great teaching going on here - it really was a spell-binding moment for me.
- New to the Guernsey Eisteddfod, Alderney Community Choir (directed by Marilyn Pugh... AKA, 'Mum') took to the stage at St James, in their first ever competitive performance (and after forming only 15 months prior, these guys are still 'rookies' to choral singing). But what really shone for them was just how much they all really wanted to be there, and how proud they were to be singing at all, let alone on stage at St James. Opening their programme with a specially commissioned piece, 'The Alderney Anthem' (written just for them) their pride shone through, and in some way I think that gave them the edge and helped them win the class. On winning the class, the eruption of squeals and cheers was amazing. A really wonderful 'Cinderella Story' unfolded that day, and delightful it was too!
- My final mention of choirs is for Le Rondin's School Choir, directed by Juanita Byrne. I love hearing Le Rondin perform, because, like the Alderney Choir, they all appear so happy and proud to be performing, and really, that is what music should always be about, for anyone. I particularly enjoyed their song 'Blame it on Brian', which added a fabulous sense of humour into their programme. What was the cherry on the cake was for their director Juanita Byrne to receive a special mention during the special awards (in contention for the Longmire Baton) for her immense skill: conducting, piano playing, singing and signing - Juanita does it all, and all at the same time, whilst captivating young children and helping them perform. Simply amazing.
Winning the Miriam R le Page Prix D'Honneur Trophy was Marie-Claire Benoist for some outstanding Harp playing. Marie-Claire received the first outstanding mark of the festival with a performance of 'Nataliana' in the U18 Harp class. From her absolute command of her instrument and sense of maturity in her playing, you'd be forgiven for thinking she's older than she is, but when you remember she also won the U13 harp class, it only makes her playing more incredible. A very well deserved winner of the special award for 'most memorable/excellent performance' indeed.
Every year, people manage to impress everyone by being inventive with how they present things, and one such example that stuck in my mind was
GATE's musical scene 'Bonnie & Clyde', where the tap-dancers were in
fact used as gunfire. Amazingly percussive (and musical, in fact), I
thought this was an ingenious use of dance to compliment one of the most iconic scenes from the film - well done to them!
- Also in the category of 'inventive' was a certain Michael Sullivan and Josh Gabriel's rendition of 'One Day More': where, between the two of them, they covered all 8-parts, complete with the voices and some nimble footwork. What I think was the most amazing about this was, comedy aside, these guys still managed to sing it really well (including some hilarious, but 'beautifully' sung falsetto for the female parts). I think that's the key to music comedy, and these guys nailed it.
Some brilliant moments that spring to mind, often have no relation to music whatsoever - but they happened, and they made the festival what it is! For example, the bubbly wonderfulness that is Lindsey Veillard. Lindsey is a prime example of the local performer who supports the festival by being in it every year, and always upon always giving us a great show. Lindsey's also the type of performer who's not afraid to poke-fun at herself, be silly and enjoy entertaining, and waltzing onto stage in a kilt and an orange wig certainly stuck to that mould for this year's festival! Another such moment was the delightful sight of four adult women in pink tutus singing 'The Sugar Plum Fairy' - I'm not sure how many other musical festivals would let you get away with these types of antics, but I've not heard one complaint yet, so let's keep the fun in shall we?
- A wonderful moment for this festival was when our adjudicator Ian Hytch chose to present the ladies who move the piano and run the classes all outstanding certificates for their 'entertainment between classes'. One such moment (that blink and you might have missed it) was when one of them broke one of the theatre seats, completely removing the seat from the rest of the chair. I mean, I know we all complain about the theatre and are desperately wishing for a better one, but I'm not sure vandalism is the answer! - Still, incredibly funny, thank you ladies!
- I think what never fails to impress me is polite wit, and nowhere was this truer of Jack Colley. A young up-and-coming pianist, Jack showcased his gentlemanly wit whilst being adjudicated for the Open Piano Duet Class, in which he performed with his mum, Laura Colley. In discussing the tempo of the piece, Ian Hytch asked Jack, "Did mum go off a bit too fast?..." in setting the speed. With great style, Jack simply replied, "I couldn't possibly say..." #Classic
A relatively new class highlighting the fun of performing together is the Corporate Class. Featuring 5 organisations taking to the stage to show us what they can do, it was an excellent way to round off the festival, with my particular favourite being The Fire Department. Safe to say, these guys had me physically crying with laughter, and were pretty musically competent as well. If you missed it, there is actually a video circulating on facebook for which I've provided the link below:
https://www.facebook.com/GuernseyFireAndRescueService?fref=nfhttps://www.facebook.com/GuernseyFireAndRescueService?fref=nf
*HOWEVER - I really should point out, that video and photography that's not official (as in the Press/Media etc) is actually forbidden (Tut Tut, *slap on the wrists*) - BUT, hey, I've warned you for next year, so watch the video and enjoy yourselves.
And finally, for an incredibly personal favourite, I think being asked onstage whether the adjudicator could have a copy of my composition to perform in the UK with his own choir was definitely my highlight of the festival. As a composer, getting your work performed is incredibly difficult, and I certainly wasn't expecting someone to just outright ask for some of my work, let alone in the middle of adjudicating it! And, according to my mum, my face was an absolute picture, so I hope that's stuck in a few people's minds as well.
I'll leave you with a few phrases that were said by none other than this year's adjudicator, and hope you've all had a great music Eisteddfod for 2015
"They were jolly the Victorians, weren't they?..."
"Jazz cannot be written down"
"Smile & Yawn"
"Just because you can't write my chord down doesn't mean it isn't music (Debussy)"
"I'm a great believer in making your audience wait"
"Oh, I know what trumpeters are like, I'm married to one"
"Why is music in the curriculum? - Because it teaches children how to listen"
And of course, not to forget....
"Everything is really, really lovely."
Friday 13 March 2015
Monday 9 March 2015
"If you want to see Music in Education working... go to Guernsey"
On the final day of the Eisteddfod, one would think it would feel like everything was winding down. But no - we like to jam-in as much entertainment as humanly possible, right until the very last class!
The morning session started with two Viola classes, U9 and U11. The evidence of great teaching was very apparent in this class, with the winners of both classes (George Walker and Lucy Hockey respectively) receiving distinction marks for their performances. What was a shame was that there was no trophy for either of these classes. Although winning isn't the reason to enter the Eisteddfod, it is nice for the winner to be able to take something home, so I'm making a final plea that, if you really want to support the Eisteddfod, please donate a trophy to a class that doesn't have one! Thankfully, the U12 Double Bass class does have a trophy, and it was great to see highly commendeds for all three competitors. The morning continued with the U10 Piano Solos, U10 Piano Duets and later, the U12 Jazz Piano Solos. Again, the great tuition is showing itself, as Benjamin Fletcher and Maisie Belford received a distinction for their duet. Throughout the week Ian Hytch has talked about the importance of young people playing together, and (as he would repeat later for the U18's and adults) the importance of solo pianists playing duets. He stated that every soloist should have to learn to play duets in order to increase their musicality and ability to work with other musicians. And, apart from that, it's really fun!
- The rest of the morning session was taken up with super singing in the U12 Folk Song and U10 Vocal Girls Solo classes. Some superb voices coming through in this age bracket, that's for sure. The folk song class is, as Ian put it, 'deceptively simple'. The tunes sound effortless, but they really aren't, and it takes a lot of skill to put across a folk song with the right amount of feeling, story-telling and good vocal technique. What is great as that the 3 competitors in this class are doing a great job starting out in this genre, with the class winner Isabelle Lees really exhibiting the light-hearted, story-telling vibe of folk with a bouncy song 'Oats and Peas and Barely Grow'. The vocal girls U10 all performed really well, and it's great to see children in this young truly invest in the songs they are singing. Summer Domaille won the class with a great, characterful song 'The Frog' - I really liked the way she invested in the imagery of the words. I also want to mention Clemmie Reid who sang beautifully with her lilting song 'Good Morrow to you, Springtime', which left the audience with a positive and sunny atmosphere.
The afternoon session set off with the Piano U16. Some great playing here, as evident by class winner Charlie Brewin, performing Debussy's infamous 'Clare de Lune'. I think Charlie really has the sensitive touch for this type of music, and it's clear he understands it well (performing it all from memory I might add). This piece is one of my all-time favourite pieces of music, and I like where Charlie is going with this, although I do think that he needs to 'breathe' more, and allow the harmony to speak for itself at times, and he'll be well on the way to an outstanding performance. Moving on to the Versatility Class, the audience were treated to a fantastic variety of, not only music, but instrumentation. What was great about the two competitors is that they each performed on one 'typical' instrument, and one more 'unusual' - For Elizabeth Beacom it was voice and snare drum, and for Marie-Claire Benoist it was piano and harp. I would like to see this class with more competitors (same goes for the O18), because I know there are many musicians out there who play more than one instrument. It's definitely a challenge, but one many of you are certainly capable of. Go on... you know you want to....
After the U15 Vocal Duet class and another excellent Piano Duet class we
were back into the realms of 'light-entertainment'. The U18 Pop song
class, although not as well represented as the U15 class, still featured
some fine singing. Class winner Harry Guibileo (shown left) showcased his softer
side after winning the U18 Songs from the Shows with a comical song the night before, and created an emotional and magical atmosphere. Such a shame then
that someone felt it necessary to ruin his (and a few other performers
in the class) hard work with unnecessary sweet rustling. It seems to
escape people that the performers at the Eisteddfod often spend months
working on something that will be over in 3-4minutes. If you can't go
without a sweet for 3-4minutes, then please, don't bother turning up.
You're there as an audience member to offer support and appreciate what
every performer has to offer, so the least you can give is silence while they perform.
It was great to hear these people get a telling off from the Queen
herself (AKA, Barbara Minta MBE), which lead to spontaneous applause
supporting her.
Moving on to the Musical Scenes U12 (which was moved from Friday Afternoon), it's clear to see that the kids have such a passion for this genre. I particularly want to praise Maisie Webster for her brilliant portrayal as the Grinch (and emulating Jim Carrey very well), and the choreography of the scene was also of a very high standard. When it came to the U18 Musical scene, I hate to say it, but the issue of 'appropriateness' reared it's ugly head again. I've no qualms about the abilities and dedication of the performers - there were some great moments, like the tap-routine being the gunfire in 'Bonnie & Clyde', or Toby Giles' professionalism at not panicking when the backing-track failed (another bug-bear, but we won't go there today) - all great things, and there are some extremely talented performers in this age bracket. My issue is two-fold: 1) Subject matter - this isn't just an U18 class, it's a 12 & U18 class, which means any performer in the class could be nearer the primary school age than sixth-form, and 2) Language - the use of swear words and innuendo is definitely something that needs to be addressed. Some may argue that say, a 15 film would have bad language in it, but I make the point at the time of day this class is, and the fact that it is a 12 & U1 class. I think the whole concept of the 'watershed' needs to be considered here. By all means, students should be performing works they really enjoy and are passionate about, but some serious consideration needs to be done when writing the script and choosing the songs in order to fit the age category.
The evening session set off with a toe-tapping start from the Grammar School Swing Band, performing two jazz classics that had everyone in the right mood for the rest of the nights entertainment. After some more traditional piano duets (a class that my mother and I were lucky to win this year) the audience was treated to the wonderful world that is female-barbershop. It was a shame that this class only featured one competitor, as barbershop is an incredible art-form which requires beautiful 4-part a cappella singing, and a comical song.... that is still sung with beautiful 4-part a cappella singing. It requires immense skill, which was expertly showcased by Chord Blimey, receiving a well deserved 89 marks.
- Before the Special Awards, Bob Thompson (a vice-president of the Eisteddfod Society) gave a small speech to thank the various people who have helped make this festival as good as it is, such as the media, sponsors and all the volunteers who help organise the festival. Ian Hytch also praised the festival for it's organisation, and the friendly, welcoming atmosphere we create. Ian went on to congratulate the music teachers of the island, and talk about the importance of music in education, and how it's something we've got right, stating, "If you want to see music in education working.... go to Guernsey." - We've done ourselves proud there donkeys, let's keep up the good work and keep setting the very best example.
The Special Awards mark some truly great achievements of some of the participants of the Eisteddfod,
and in the case of the Juniors, those that have marked themselves as
having a lot of promise for great things in the future. One thing that I
loved was, this year, Ian Hytch decided to mention several people whom
he felt were worthy of winning an award, but on this occasion were just
pipped to the post. One such example was Juanita Byrne, the director of
Le Rondin School Choir who received a special mention for the Longmire
Baton, which I was immensely delighted with. Ian also went on to make his
own 'special mention' for competitors of a brand new class, the 'EBC'
class, which is short for 'Entertainment Between Classes' class. He went
on to present the volunteers Elaine Chapman, Anne Higgins, Julie Tostevin, Trish
Grover and Stella (pictured right with adjudicator Ian Hytch) for their hilarious, but also vital
antics in moving the piano, setting the stage, making announcements, and
(in one case) breaking the furniture! Of course, they all received an
Outstanding mark! (You can see the list of Special Award Winners and a picture by following the link to the right of the page)
Rounding off the evening was the Corporate Class - new the Eisteddfod last year, this class has really captured the Guernsey public, and even though there were a few deletions, it still featured 5 great performances, including a small rivalry between the Fire Department and the Police. I myself was playing piano for the Police, so I know how hard they worked and how much fun they have had working towards their performance, and I'm sure every other competitor feels the same. It was a great array of entertainment, featuring a comedic musical-routine, a musical scene, and three choirs. The Credit Suisse Choir won the class with there musically well-performed choral pieces (in 4-part harmony I might add), but I think the highlight for me (and a lot of others) was the Fire Department's hilarious music number that gave us a number song (of which I still remember the number), a good amount of fun-poking at themselves, and the use of a fair few props that I won't be forgetting anytime soon! Of course, the best thing about this class, it that it really showcases what the Guernsey Eisteddfod is all about: Everyone getting together to create music, getting up on stage and having a damn good go!
The morning session started with two Viola classes, U9 and U11. The evidence of great teaching was very apparent in this class, with the winners of both classes (George Walker and Lucy Hockey respectively) receiving distinction marks for their performances. What was a shame was that there was no trophy for either of these classes. Although winning isn't the reason to enter the Eisteddfod, it is nice for the winner to be able to take something home, so I'm making a final plea that, if you really want to support the Eisteddfod, please donate a trophy to a class that doesn't have one! Thankfully, the U12 Double Bass class does have a trophy, and it was great to see highly commendeds for all three competitors. The morning continued with the U10 Piano Solos, U10 Piano Duets and later, the U12 Jazz Piano Solos. Again, the great tuition is showing itself, as Benjamin Fletcher and Maisie Belford received a distinction for their duet. Throughout the week Ian Hytch has talked about the importance of young people playing together, and (as he would repeat later for the U18's and adults) the importance of solo pianists playing duets. He stated that every soloist should have to learn to play duets in order to increase their musicality and ability to work with other musicians. And, apart from that, it's really fun!
- The rest of the morning session was taken up with super singing in the U12 Folk Song and U10 Vocal Girls Solo classes. Some superb voices coming through in this age bracket, that's for sure. The folk song class is, as Ian put it, 'deceptively simple'. The tunes sound effortless, but they really aren't, and it takes a lot of skill to put across a folk song with the right amount of feeling, story-telling and good vocal technique. What is great as that the 3 competitors in this class are doing a great job starting out in this genre, with the class winner Isabelle Lees really exhibiting the light-hearted, story-telling vibe of folk with a bouncy song 'Oats and Peas and Barely Grow'. The vocal girls U10 all performed really well, and it's great to see children in this young truly invest in the songs they are singing. Summer Domaille won the class with a great, characterful song 'The Frog' - I really liked the way she invested in the imagery of the words. I also want to mention Clemmie Reid who sang beautifully with her lilting song 'Good Morrow to you, Springtime', which left the audience with a positive and sunny atmosphere.
The afternoon session set off with the Piano U16. Some great playing here, as evident by class winner Charlie Brewin, performing Debussy's infamous 'Clare de Lune'. I think Charlie really has the sensitive touch for this type of music, and it's clear he understands it well (performing it all from memory I might add). This piece is one of my all-time favourite pieces of music, and I like where Charlie is going with this, although I do think that he needs to 'breathe' more, and allow the harmony to speak for itself at times, and he'll be well on the way to an outstanding performance. Moving on to the Versatility Class, the audience were treated to a fantastic variety of, not only music, but instrumentation. What was great about the two competitors is that they each performed on one 'typical' instrument, and one more 'unusual' - For Elizabeth Beacom it was voice and snare drum, and for Marie-Claire Benoist it was piano and harp. I would like to see this class with more competitors (same goes for the O18), because I know there are many musicians out there who play more than one instrument. It's definitely a challenge, but one many of you are certainly capable of. Go on... you know you want to....
Moving on to the Musical Scenes U12 (which was moved from Friday Afternoon), it's clear to see that the kids have such a passion for this genre. I particularly want to praise Maisie Webster for her brilliant portrayal as the Grinch (and emulating Jim Carrey very well), and the choreography of the scene was also of a very high standard. When it came to the U18 Musical scene, I hate to say it, but the issue of 'appropriateness' reared it's ugly head again. I've no qualms about the abilities and dedication of the performers - there were some great moments, like the tap-routine being the gunfire in 'Bonnie & Clyde', or Toby Giles' professionalism at not panicking when the backing-track failed (another bug-bear, but we won't go there today) - all great things, and there are some extremely talented performers in this age bracket. My issue is two-fold: 1) Subject matter - this isn't just an U18 class, it's a 12 & U18 class, which means any performer in the class could be nearer the primary school age than sixth-form, and 2) Language - the use of swear words and innuendo is definitely something that needs to be addressed. Some may argue that say, a 15 film would have bad language in it, but I make the point at the time of day this class is, and the fact that it is a 12 & U1 class. I think the whole concept of the 'watershed' needs to be considered here. By all means, students should be performing works they really enjoy and are passionate about, but some serious consideration needs to be done when writing the script and choosing the songs in order to fit the age category.
The evening session set off with a toe-tapping start from the Grammar School Swing Band, performing two jazz classics that had everyone in the right mood for the rest of the nights entertainment. After some more traditional piano duets (a class that my mother and I were lucky to win this year) the audience was treated to the wonderful world that is female-barbershop. It was a shame that this class only featured one competitor, as barbershop is an incredible art-form which requires beautiful 4-part a cappella singing, and a comical song.... that is still sung with beautiful 4-part a cappella singing. It requires immense skill, which was expertly showcased by Chord Blimey, receiving a well deserved 89 marks.
- Before the Special Awards, Bob Thompson (a vice-president of the Eisteddfod Society) gave a small speech to thank the various people who have helped make this festival as good as it is, such as the media, sponsors and all the volunteers who help organise the festival. Ian Hytch also praised the festival for it's organisation, and the friendly, welcoming atmosphere we create. Ian went on to congratulate the music teachers of the island, and talk about the importance of music in education, and how it's something we've got right, stating, "If you want to see music in education working.... go to Guernsey." - We've done ourselves proud there donkeys, let's keep up the good work and keep setting the very best example.
Rounding off the evening was the Corporate Class - new the Eisteddfod last year, this class has really captured the Guernsey public, and even though there were a few deletions, it still featured 5 great performances, including a small rivalry between the Fire Department and the Police. I myself was playing piano for the Police, so I know how hard they worked and how much fun they have had working towards their performance, and I'm sure every other competitor feels the same. It was a great array of entertainment, featuring a comedic musical-routine, a musical scene, and three choirs. The Credit Suisse Choir won the class with there musically well-performed choral pieces (in 4-part harmony I might add), but I think the highlight for me (and a lot of others) was the Fire Department's hilarious music number that gave us a number song (of which I still remember the number), a good amount of fun-poking at themselves, and the use of a fair few props that I won't be forgetting anytime soon! Of course, the best thing about this class, it that it really showcases what the Guernsey Eisteddfod is all about: Everyone getting together to create music, getting up on stage and having a damn good go!
 |
| ('May the Force be With You' - myself with the Police force after performing their musical number, 'Northside Story') |
Saturday 7 March 2015
Music festival, or feats of organising genius?
Another day full of fab entertainment - honestly, we're being spoiled a bit here aren't we?!
The morning started with anticipated jigsaw puzzle that is 'getting 6 choirs in and out of the theatre to perform AND hear the others sing without annoying too many parents' - and actually, it was so smoothly operated the organisers really have to be commended on their methods or sorting everything out. I was informed by Barbara Minta that this year they implemented the use of a live video feed in the concourse so that parents that couldn't get tickets could still watch their children perform. Brilliant! I remember talking about this last year after the same class, and I'm so glad it's been tried out this year. From what I was told by Barbara, it was very successful - there will inevitably be some purists out there that would prefer to be in the theatre, but anything that helps parents see their child perform in whatever way is a great addition.
- This was an incredibly high standard of class, with every choir getting at least a Highly Commended, but the two distinctions went to Melrose and Forest schools, with the latter taking the trophy. I have to commend both these choirs, and I really thought it was a toss-up between them. Melrose performed a beautiful opening song (in German no less) before a slick, well-articulated piece called 'Don't Call Us, we'll Call You', whilst Forest school's opening song, 'Can you Hear Me?' was poignantly performed, with some exquisite quiet passages, coupled with a more relaxed rendition of 'You've got a Friend in Me'. For me, Forests opening song sold it for me, but I could have seen it being awarded either way. Well done to all the choirs performing, a most excellent morning of choral singing.
- The morning was completed with a great set of U11 Cellists, with Anna Moody taking the trophy with her performance of 'Danse Rustique' by W H Squire. I remember learning this myself (and being several years older than Anna at the time), so I think this made this all the more impressive for me, well done Anna. It was a truly enjoyable class to hear, some real promise coming up in the cello section that's for sure.
The Afternoon session opened with the U15 Popular Song Class. A popular class in itself, it featured some great performances of some well-known (and some not-so-well known) songs, and I think every performer really aimed to give their 100% to every song. What this class did highlight for me was that, in some cases (particularly with this age group), there is an issue with 'appropriateness of the song.' - It's something Ian Hytch has mentioned this week, although mainly in the context of getting the song in the right pitch for your voice. What I'm talking about here is subject matter. I see it all the time as a vocal tutor, I have students who bring me a song they want to learn and I simply cannot teach it to them because the subject matter is too old for them. The U15 category is the hardest, because you're not old enough to really understand some of the things mentioned in the songs, but you're old enough to not want to be doing disney-esque material. I think it's an area vocal tutors (and parents) really need to look at when helping kids/young teens in picking songs to sing.
- That being said, the standard of the singing was very good, and the expression put across in a lot of the songs was brilliant. The newly presented trophy went to Archie Fraser-Dale for his emotional presentation of 'Don't let the Sun go Down on Me'.
- The rest of the afternoon featured chamber ensembles, choirs and a lovely U18 folk song class. Folk songs, in themselves are deceptively simple, but I know from singing them and teaching them that they are, in fact, not! All three competitors in this class really showed great skill in delivering these songs with style and great technique. I really want to praise Kirsty Dempster - as a sixth-former she took on the role of directing the Grammar School Training Strings in the class before, and came back out almost immediately, performed beautifully and won the folk song class. It clearly meant a lot to her, and I know what it's like to have a day when you invest a lot of time and effort, and I'm so glad that she succeeded so well today. You're a hard working musician Kirsty with a lot of professionalism, keep up the good work!
The evening session, although only featuring two classes, contained some fantastic entertainment. The U18 Songs from the Shows class showed off these young performers at their best. Everyone in this class achieved a highly commended, which is a real testament to how well these kids are being taught, and how passionate they all are about this genre of music. Harry Giubileo took award the trophy with a fantastic performance of 'Why I like Movies'. What, I think, sold this performance was Harry's ability to take the audience from comedy to poignancy in the simplest of moves, and with great vocal control and delivery. The O18 pop class, which rounded out the evenings entertainment, featured a somewhat 'unusual' new face appearing on stage, in the form of none other than John Gollop. I have to mention John, more so for his support of the arts on this island. I do a lot of gigs, and I would say John easily attends at least 9/10 of them, so it was a real treat to actually be able to return the favour and support John on stage for a change.
- The class was, again, of a high standard, with four participants receiving distinctions. The class was won by Kim Reece-Sheerin, with a sensitively performed ballad 'I Know you Won't'.
The Eisteddfod is drawing to a close for another year, and it's been great to take part once again (as I'm sure a lot of you agree). However, I want to make people aware of something that's come to my attention. It's in reference to the muttering and mumbling that happens, often when a performer comes out onto the stage. Now, some of you might think you're being quiet, but in actual fact, we can hear a lot of what is said by the audience, and I hate to say it, but some of it isn't very nice. It's great that so many people come to support the performers, but that is actually what you're there to do: support. If you're in the audience, please remember that the person on stage is doing something incredibly brave that requires a lot of confidence: some performers have accumulated a thick skin and a good amount of confidence over the years, but there a lot that are still very new at this and could very well be badly effected by negative audience mumbling. So, I implore you all - think for a minute whether you could actually get up on the stage yourself before making an 'under-your-breath' comment, no matter how innocent or irrelevant (or quiet) you think it might be.
- In light of Ian Hytch's delightful quirk of thanking each and every performer after they've performed, maybe it's time we started applauding people onto the stage to thank them for just simply getting up there and having a go.
The morning started with anticipated jigsaw puzzle that is 'getting 6 choirs in and out of the theatre to perform AND hear the others sing without annoying too many parents' - and actually, it was so smoothly operated the organisers really have to be commended on their methods or sorting everything out. I was informed by Barbara Minta that this year they implemented the use of a live video feed in the concourse so that parents that couldn't get tickets could still watch their children perform. Brilliant! I remember talking about this last year after the same class, and I'm so glad it's been tried out this year. From what I was told by Barbara, it was very successful - there will inevitably be some purists out there that would prefer to be in the theatre, but anything that helps parents see their child perform in whatever way is a great addition.
- This was an incredibly high standard of class, with every choir getting at least a Highly Commended, but the two distinctions went to Melrose and Forest schools, with the latter taking the trophy. I have to commend both these choirs, and I really thought it was a toss-up between them. Melrose performed a beautiful opening song (in German no less) before a slick, well-articulated piece called 'Don't Call Us, we'll Call You', whilst Forest school's opening song, 'Can you Hear Me?' was poignantly performed, with some exquisite quiet passages, coupled with a more relaxed rendition of 'You've got a Friend in Me'. For me, Forests opening song sold it for me, but I could have seen it being awarded either way. Well done to all the choirs performing, a most excellent morning of choral singing.
- The morning was completed with a great set of U11 Cellists, with Anna Moody taking the trophy with her performance of 'Danse Rustique' by W H Squire. I remember learning this myself (and being several years older than Anna at the time), so I think this made this all the more impressive for me, well done Anna. It was a truly enjoyable class to hear, some real promise coming up in the cello section that's for sure.
The Afternoon session opened with the U15 Popular Song Class. A popular class in itself, it featured some great performances of some well-known (and some not-so-well known) songs, and I think every performer really aimed to give their 100% to every song. What this class did highlight for me was that, in some cases (particularly with this age group), there is an issue with 'appropriateness of the song.' - It's something Ian Hytch has mentioned this week, although mainly in the context of getting the song in the right pitch for your voice. What I'm talking about here is subject matter. I see it all the time as a vocal tutor, I have students who bring me a song they want to learn and I simply cannot teach it to them because the subject matter is too old for them. The U15 category is the hardest, because you're not old enough to really understand some of the things mentioned in the songs, but you're old enough to not want to be doing disney-esque material. I think it's an area vocal tutors (and parents) really need to look at when helping kids/young teens in picking songs to sing.
- That being said, the standard of the singing was very good, and the expression put across in a lot of the songs was brilliant. The newly presented trophy went to Archie Fraser-Dale for his emotional presentation of 'Don't let the Sun go Down on Me'.
- The rest of the afternoon featured chamber ensembles, choirs and a lovely U18 folk song class. Folk songs, in themselves are deceptively simple, but I know from singing them and teaching them that they are, in fact, not! All three competitors in this class really showed great skill in delivering these songs with style and great technique. I really want to praise Kirsty Dempster - as a sixth-former she took on the role of directing the Grammar School Training Strings in the class before, and came back out almost immediately, performed beautifully and won the folk song class. It clearly meant a lot to her, and I know what it's like to have a day when you invest a lot of time and effort, and I'm so glad that she succeeded so well today. You're a hard working musician Kirsty with a lot of professionalism, keep up the good work!
The evening session, although only featuring two classes, contained some fantastic entertainment. The U18 Songs from the Shows class showed off these young performers at their best. Everyone in this class achieved a highly commended, which is a real testament to how well these kids are being taught, and how passionate they all are about this genre of music. Harry Giubileo took award the trophy with a fantastic performance of 'Why I like Movies'. What, I think, sold this performance was Harry's ability to take the audience from comedy to poignancy in the simplest of moves, and with great vocal control and delivery. The O18 pop class, which rounded out the evenings entertainment, featured a somewhat 'unusual' new face appearing on stage, in the form of none other than John Gollop. I have to mention John, more so for his support of the arts on this island. I do a lot of gigs, and I would say John easily attends at least 9/10 of them, so it was a real treat to actually be able to return the favour and support John on stage for a change.
- The class was, again, of a high standard, with four participants receiving distinctions. The class was won by Kim Reece-Sheerin, with a sensitively performed ballad 'I Know you Won't'.
The Eisteddfod is drawing to a close for another year, and it's been great to take part once again (as I'm sure a lot of you agree). However, I want to make people aware of something that's come to my attention. It's in reference to the muttering and mumbling that happens, often when a performer comes out onto the stage. Now, some of you might think you're being quiet, but in actual fact, we can hear a lot of what is said by the audience, and I hate to say it, but some of it isn't very nice. It's great that so many people come to support the performers, but that is actually what you're there to do: support. If you're in the audience, please remember that the person on stage is doing something incredibly brave that requires a lot of confidence: some performers have accumulated a thick skin and a good amount of confidence over the years, but there a lot that are still very new at this and could very well be badly effected by negative audience mumbling. So, I implore you all - think for a minute whether you could actually get up on the stage yourself before making an 'under-your-breath' comment, no matter how innocent or irrelevant (or quiet) you think it might be.
- In light of Ian Hytch's delightful quirk of thanking each and every performer after they've performed, maybe it's time we started applauding people onto the stage to thank them for just simply getting up there and having a go.
Friday 6 March 2015
There's No Business Like Show Business
"What an incredibly high standard of talent" was the sentiment today, and my word, was it!
Tonight we saw, what I can only describe as an epic array of Musical Theatre, covering 9 decades of music, from West End to Broadway, from the Wizard of Oz to Wicked, and all manner for film/TV and show-tunes. Truly amazing things produced today. Before I talk about all the Musical Theatre, I'll mention the second half of the afternoon which featured the more classical side of things. Charlie Brewin opened with a Highly Commended performance on Classical Guitar, followed by two superb young choirs competing for the Ivygate Slaver. The Orchestral Woodwind Ensemble class featured a great selection of ensembles, in the form of Clarinet Ensemble, Flute Choir and Saxophone Ensemble. Sadly, the oomph was perhaps lacking with this class, which is a shame, but I'll admit, it's the kind of thing I forget about, woodwind ensemble, so perhaps the genre needs a bit of a revamp for players and audience to really get into it.
Everything else that featured today was good old Musical Theatre. We were all in for a real treat with the U12 Songs from the Shows Class kicking off the afternoon. 29 brilliant young performers took to the stage with sheer confidence and all round amazing entertainment. I think was great of Ian to say when he adjudicated was how well the kids sing, and that everyone is using their voices correctly. As a singing teacher I know how demanding the Musical Theatre genre is on the voice, and how a lot of singers can end up ruining their voices by trying to use it in the wrong way; namely 'Belting'. There is a way to belt, and it needs to be taught properly, and not everyone has the right voice to do belt either. What I think is a real testiment to everyone out there teaching this genre, whether they are private vocal tutors like myself or the big drama schools like GATE, young talent is being nurtured in the right way, and I really hope this continues.
- The U12 class was hotly contested, with so many of the kids getting highly commended and three distinctions, but it was a powerful and emotional performance of 'Empty Chairs at Empty Tables' performed by George Shuter that took home the trophy.
Along came the evening sessions, and my word did the Musicals continue! A relatively new class addition to the festival is the Songs from the Shows Open Class, which sadly has not yet quite taken off, but I think in time it will become quite popular. It's certainly a class I'm considering entering as a way of working with my students more and giving them more opportunities to perform, and I hope some other teachers might do the same. Featuring only two acts, in the form of Eisteddfod regulars Julie Tostevin and Kim Reece-Sheerin each pairing a young up-and-comer, it was a great opening to the night, and it was lovely to see Kim and Grace take home the newly presented trophy.
The next class featured something, let's say, a little bit different.
Any of you that grew up in the 80's and 90's may have fond memories of
Tim Burton's 'The Nightmare Before Christmas", and it's been a dream of
mine and my bestie Jo Marsh to perform this since we won the Musical
Scene trophy with "The Rocky Horror Picture Show" literally 10 years
ago. After doing a production of Summer Holiday back in November we
realised we had an amazing core group of people who literally cast
themselves, and our dream became a reality. It is not an easy lot of
music, and it certainly is a bit 'weird and wonderful', but it was so
much fun to perform, and I'm so glad we pulled it off, winning the
trophy with a distinction! I have to praise my dear friend Jo for her
incredible costume making and makeup (see opposite and below), thanks to Becky
Gabriel for her help with makeup on the night, and big thanks to the
band and, in particular, Scott Michel for playing Bass. Scott has never
performed in any type of musical theatre band, let alone at the Eisteddfod, and we're so grateful to him for his hard work and
determination (and for dressing like a zombie).
A little interval respite, and then we were off again for the O18 Songs from the Shows. I know a few people who come to watch this class to 'get ideas' about what to see at the West End, and there was certainly something for everyone. There were soft reflective songs, powerful ballads, and of course, the comedy. It is one thing I think we do well us donkeys, Comedic Musical Theatre, and no-where was this truer of Michael Sullivan and Josh Gabriel's rendition of 'One Day More'. Yes, that's right, they made this powerful ensemble number a comedic duo, and to rapturous applause. It's things like this that make everyone realise, we don't take ourselves too seriously, and we really know how to have a good time AND put on a good show.
- An incredibly high standard of music and performing in this class, with 6 acts sharing 2nd and 3rd place in the distinction category, but the super-star performance was the 'Webber Love Trio' receiving the adult sections first 90 (outstanding). I think what's particularly great about this for me was to see my good friend Dominique Ogier win the trophy with a 90 in her first ever Eisteddfod Performance. Well done Dom, absolutely deserved.
(Pictured Opposite, L-R: Julie Tostevin, Kim Reece-Sheerin & Dominique Ogier, winners of the Songs from the Shows O18 Class with an 'Outstanding')
All in all, Thursday has been an absolutely amazing day of music and entertainment at the Guernsey Eisteddfod. It's days like this that really do hammer home just how much talent it on this rock.
And to sum up, quoting our adjudicator Ian Hytch, who I think said it best....
"Wow!"
Tonight we saw, what I can only describe as an epic array of Musical Theatre, covering 9 decades of music, from West End to Broadway, from the Wizard of Oz to Wicked, and all manner for film/TV and show-tunes. Truly amazing things produced today. Before I talk about all the Musical Theatre, I'll mention the second half of the afternoon which featured the more classical side of things. Charlie Brewin opened with a Highly Commended performance on Classical Guitar, followed by two superb young choirs competing for the Ivygate Slaver. The Orchestral Woodwind Ensemble class featured a great selection of ensembles, in the form of Clarinet Ensemble, Flute Choir and Saxophone Ensemble. Sadly, the oomph was perhaps lacking with this class, which is a shame, but I'll admit, it's the kind of thing I forget about, woodwind ensemble, so perhaps the genre needs a bit of a revamp for players and audience to really get into it.
Everything else that featured today was good old Musical Theatre. We were all in for a real treat with the U12 Songs from the Shows Class kicking off the afternoon. 29 brilliant young performers took to the stage with sheer confidence and all round amazing entertainment. I think was great of Ian to say when he adjudicated was how well the kids sing, and that everyone is using their voices correctly. As a singing teacher I know how demanding the Musical Theatre genre is on the voice, and how a lot of singers can end up ruining their voices by trying to use it in the wrong way; namely 'Belting'. There is a way to belt, and it needs to be taught properly, and not everyone has the right voice to do belt either. What I think is a real testiment to everyone out there teaching this genre, whether they are private vocal tutors like myself or the big drama schools like GATE, young talent is being nurtured in the right way, and I really hope this continues.
- The U12 class was hotly contested, with so many of the kids getting highly commended and three distinctions, but it was a powerful and emotional performance of 'Empty Chairs at Empty Tables' performed by George Shuter that took home the trophy.
Along came the evening sessions, and my word did the Musicals continue! A relatively new class addition to the festival is the Songs from the Shows Open Class, which sadly has not yet quite taken off, but I think in time it will become quite popular. It's certainly a class I'm considering entering as a way of working with my students more and giving them more opportunities to perform, and I hope some other teachers might do the same. Featuring only two acts, in the form of Eisteddfod regulars Julie Tostevin and Kim Reece-Sheerin each pairing a young up-and-comer, it was a great opening to the night, and it was lovely to see Kim and Grace take home the newly presented trophy.
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(The Cast and Band, aka: 'What's This?!' for 'The Nightmare Before Christmas - 10 years in the making)
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(Pictured Opposite, L-R: Julie Tostevin, Kim Reece-Sheerin & Dominique Ogier, winners of the Songs from the Shows O18 Class with an 'Outstanding')
All in all, Thursday has been an absolutely amazing day of music and entertainment at the Guernsey Eisteddfod. It's days like this that really do hammer home just how much talent it on this rock.
And to sum up, quoting our adjudicator Ian Hytch, who I think said it best....
"Wow!"
Thursday 5 March 2015
The Turnip and the Snail
After a couple of shorter days it was another long one, jam-packed with a huge variety of music from all instruments, and all ages.
Starting the morning session we were treated to a fantastic array of Junior-School age Chamber ensembles, duos and trios (classes 1069, 1068 and 1079). Ian Hytch has been frequently praising chamber ensembles this week, and advocating the importance of it. I whole-heartedly agree! When you get kids working together in small ensembles they really start to develop their skills, and not just their musical ability - their cognitive and social skills, and they learn valuable lessons about team work and leadership. I can't tell you the number of times I hear about 'team-building' exercises for offices and the like, and I find myself thinking, "just, be in a band, you'll learn quicker!" - And that's what is so brilliant about what these kids are doing at such and early age. It really was a fantastic class as well, and what struck me most was how competent each ensemble was a directing themselves. My highlight across those three classes was The Purdue Brothers, two young lads on Violin and Cello. It's always great to see a sibling team working so well, and at such a young age. I expect great things from them in the coming years.
The morning continued with a real choral treat, as four infant school choirs took to the stage. I know it's classes like this that cause the most stress for the organising team (mainly, where on earth are the kids going to sit?), and in the past this has caused issue with some people who can't get a seat because the kids are taking up most of them and watching. But, as Ian has so often emphasized this week, it is so important for performers (children and adults) to hear other performers, because you learn from each other. And that's what taking part in the festival is really all about for performers at the end of the day: Going on stage to show people what you're doing at the moment, and seeing what others are doing so you can improve yourself. There's another class like this coming up Friday Morning, and be warned, there's 6 schools competing, so seats will be sparse - I'll make a suggestion now: As much as I'm sure everyone would like to see the whole class, maybe offer your seat to a parent of another school when your child's choir have finished?...
- Anyway, I digress - The class was indeed fantastic, and full of fun. Many of the groups got into their pieces by using props and costumes - we had a piano-top goat, a pizza delivery man and a jiggling jar of olives, and my personal favourites, the turnip and the snail, who were from the class winners Elizabeth College Junior School. And not only did the snail slide along the floor, he sang at the same time! Brilliant!
After the morning session concluded with a huge class of up and coming violinists, the afternoon focused on the woodwind players of the island. A mixed class of instruments, we had flutes, oboes, bassoons and clarinets across three classes. It was a lovely selection of music as well, my particular favourite being 'No Dice' for flute, which I was rather pleased I got to hear twice. I must say, I think Dan Madden the Flute teacher from Guernsey Music Centre is producing some fantastic young flautists, some great potential arising in the U14 age group for sure. The U16 and U18 woodwind classes, competing for the same trophy, featured three incredibly accomplished young performers - I actually wrote "wow" in my program a few times. The trophy was eventually won by Jack Tostevin-Hall with an impressive Concerto, but I must praise Peter Bourne's Clarinet Concerto piece as well, particularly the Cadenza which actually gave me chill. Bravo!
Unfortunately I was unable to see the rest of the afternoon (the results are listed in the link on the right), as I had to race home to do some music practice of my own for the evening sessions, namely, the Two Pianos class.....
Now, there's a big back story to the Two Pianos for me and my mum. Back when I was in my final year of LIPA, my mum bought a copy of 'The Planet Suite' by Gustav Holst, for two pianos. Interestingly (and, as not many people know), Holst wrote the two pianos score first. As a pianist it is a fascinating study, as you can really hear the instruments he was probably thinking about when he wrote it. My mum suggested we do one of the movements for the Eisteddfod in 2009, and I (jokingly at first) said, "Let's do one every year until we finish it!"..... Well, 7 years later we've finally finished it (If you're interested, in this order: Jupiter, Mars, Venus, Mercury, Saturn, Uranus, Neptune) - It's certainly been a challenge, and I'm really pleased to say that we've managed to get no lower than an 85 for any piece (and in one moment of adjudicating madness, I'm sure, a 93), giving us an average of a distinction over 7 years - We are looking for a new piece for next year now though.... any suggestions anyone?...
Continuing the evenings festivities, two great choirs (Guernsey Girls Choir) and the Guernsey Welsh Male Voice Choir, divided up by Piano film themes. That's another great thing about this festival, it really keeps you on your toes: you're never quite sure what's coming next! I am sad I didn't get to hear the Welsh-Guernsey Men, as I did have a rather busy night, so was trying to rehearse and keep myself composed backstage, but the feedback I've heard about their performance has been great. Another set of choirs performed after the interval, in the form of GYT Singers and The Accidentals. Both choirs were praised for their soloists, and their interesting and challenging programme of pieces - I myself am really pleased that my own piece, 'The Land where I was Born' was so well-received, by the audience and adjudicator. In the end, The Accidentals took home the trophy, but both choirs were highly commended for their performances.
- The other classes of the evening were both duet classes: one more traditional and the other pop. Both arising the same issues of blend and teamwork within a duet, and it was obvious that Ian was really looking for a duet that was a 'complete package' - two independent voices that can work as one: I always say the best duets are ones where you can't tell who is singing what! In the end, the winners who Ian felt had this package were Welsh-boys Guto Roberts and Gareth Williams for the Vocal Duet Class, and Julie Tostevin and Kim Reece-Sheerin for the Pop.
All in all, another fab day, with much to process and learn from. I hope that those of you who aren't even participating but just watching are also learning something. Who knows, maybe we can get the rest of you on the stage yet!
- And I think I'll close this post with yet another joke:
A Tenor dies and goes to Heaven. When he gets there, he finds a massive choir singing the Hallelujah Chorus, being conducted by God Himself. In this choir are all the Sopranos there have ever been, all the Altos there have ever been, and all the Basses there have ever been, but he is the sole Tenor. As he goes to join in, God turns to him and says....
..... "Tenors, keep it down would you?"
Starting the morning session we were treated to a fantastic array of Junior-School age Chamber ensembles, duos and trios (classes 1069, 1068 and 1079). Ian Hytch has been frequently praising chamber ensembles this week, and advocating the importance of it. I whole-heartedly agree! When you get kids working together in small ensembles they really start to develop their skills, and not just their musical ability - their cognitive and social skills, and they learn valuable lessons about team work and leadership. I can't tell you the number of times I hear about 'team-building' exercises for offices and the like, and I find myself thinking, "just, be in a band, you'll learn quicker!" - And that's what is so brilliant about what these kids are doing at such and early age. It really was a fantastic class as well, and what struck me most was how competent each ensemble was a directing themselves. My highlight across those three classes was The Purdue Brothers, two young lads on Violin and Cello. It's always great to see a sibling team working so well, and at such a young age. I expect great things from them in the coming years.
The morning continued with a real choral treat, as four infant school choirs took to the stage. I know it's classes like this that cause the most stress for the organising team (mainly, where on earth are the kids going to sit?), and in the past this has caused issue with some people who can't get a seat because the kids are taking up most of them and watching. But, as Ian has so often emphasized this week, it is so important for performers (children and adults) to hear other performers, because you learn from each other. And that's what taking part in the festival is really all about for performers at the end of the day: Going on stage to show people what you're doing at the moment, and seeing what others are doing so you can improve yourself. There's another class like this coming up Friday Morning, and be warned, there's 6 schools competing, so seats will be sparse - I'll make a suggestion now: As much as I'm sure everyone would like to see the whole class, maybe offer your seat to a parent of another school when your child's choir have finished?...
- Anyway, I digress - The class was indeed fantastic, and full of fun. Many of the groups got into their pieces by using props and costumes - we had a piano-top goat, a pizza delivery man and a jiggling jar of olives, and my personal favourites, the turnip and the snail, who were from the class winners Elizabeth College Junior School. And not only did the snail slide along the floor, he sang at the same time! Brilliant!
After the morning session concluded with a huge class of up and coming violinists, the afternoon focused on the woodwind players of the island. A mixed class of instruments, we had flutes, oboes, bassoons and clarinets across three classes. It was a lovely selection of music as well, my particular favourite being 'No Dice' for flute, which I was rather pleased I got to hear twice. I must say, I think Dan Madden the Flute teacher from Guernsey Music Centre is producing some fantastic young flautists, some great potential arising in the U14 age group for sure. The U16 and U18 woodwind classes, competing for the same trophy, featured three incredibly accomplished young performers - I actually wrote "wow" in my program a few times. The trophy was eventually won by Jack Tostevin-Hall with an impressive Concerto, but I must praise Peter Bourne's Clarinet Concerto piece as well, particularly the Cadenza which actually gave me chill. Bravo!
Unfortunately I was unable to see the rest of the afternoon (the results are listed in the link on the right), as I had to race home to do some music practice of my own for the evening sessions, namely, the Two Pianos class.....
Now, there's a big back story to the Two Pianos for me and my mum. Back when I was in my final year of LIPA, my mum bought a copy of 'The Planet Suite' by Gustav Holst, for two pianos. Interestingly (and, as not many people know), Holst wrote the two pianos score first. As a pianist it is a fascinating study, as you can really hear the instruments he was probably thinking about when he wrote it. My mum suggested we do one of the movements for the Eisteddfod in 2009, and I (jokingly at first) said, "Let's do one every year until we finish it!"..... Well, 7 years later we've finally finished it (If you're interested, in this order: Jupiter, Mars, Venus, Mercury, Saturn, Uranus, Neptune) - It's certainly been a challenge, and I'm really pleased to say that we've managed to get no lower than an 85 for any piece (and in one moment of adjudicating madness, I'm sure, a 93), giving us an average of a distinction over 7 years - We are looking for a new piece for next year now though.... any suggestions anyone?...
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('The Planets' as played by Lydia & Marilyn Pugh. 2009-2015 - RIP)
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- The other classes of the evening were both duet classes: one more traditional and the other pop. Both arising the same issues of blend and teamwork within a duet, and it was obvious that Ian was really looking for a duet that was a 'complete package' - two independent voices that can work as one: I always say the best duets are ones where you can't tell who is singing what! In the end, the winners who Ian felt had this package were Welsh-boys Guto Roberts and Gareth Williams for the Vocal Duet Class, and Julie Tostevin and Kim Reece-Sheerin for the Pop.
All in all, another fab day, with much to process and learn from. I hope that those of you who aren't even participating but just watching are also learning something. Who knows, maybe we can get the rest of you on the stage yet!
- And I think I'll close this post with yet another joke:
A Tenor dies and goes to Heaven. When he gets there, he finds a massive choir singing the Hallelujah Chorus, being conducted by God Himself. In this choir are all the Sopranos there have ever been, all the Altos there have ever been, and all the Basses there have ever been, but he is the sole Tenor. As he goes to join in, God turns to him and says....
..... "Tenors, keep it down would you?"
Wednesday 4 March 2015
Isn't it Lovely?...
That's the general sentiment floating around the Eisteddfod at the moment. Ian Hytch has an incredibly positive view on everything, and I think it might be rubbing off on everyone else!
The Tuesday afternoon session kicked off, quite aptly, with the ECJS Steel Band playing Stevie Wonder's classic, 'Isn't She Lovely?' - It's did occur to me that, in all my years as a musician and percussionist, I've never actually had a go on the steel drums, so I found myself fascinated trying to figure out how the kids were playing them, and was in fact hypnotized by the the almost dance-like motion of them moving from one drum to the other. Likewise with Flextet Melrose I was intrigued by the technique of hand bell playing. Both ensembles performed excellently and were praised for their performances and encouraged to keep playing, but it was the steel band that won the trophy. What was great was to see the return of another Steel Pan band from Beechwood and another hand bell team from Melrose later in the afternoon, so we could all have a second time round enjoying these unusual instruments. This time Melrose came out on top. Unfortunately there was no cup for this class, and in actual fact, after flipping through the program I counted 12 classes with no cup/trophy or award to win, and another few where some classes are sharing cups (and I'm sure there's a few more classes that weren't competed this year that don't have cups either). It really is great as a performer in a competitive (albeit friendly) setting like this to have a chance of winning an award. I myself presented a trophy this year for the Self-Accompanied Over 18, so it's never too late to donate one (*hint hint!)
After seeing the great teaching of young violinists and violists, it was nice to see the players of their larger counterparts, Cello and Double Bass take to the stage to show off their great education as well. What became apparent in these classes (and indeed supported by the adjudicator) is the importance of taking time to set up your equipment properly so you are comfortable and ready to perform your best: In the case of Cellos and Basses, the precise setting of their chairs and music stand positions. I think this is something that applies to all musicians, regardless of your instrumentation. If you're a singer you should take your time to position yourself where you want and get your breathing under control - if you're a pianist, take the time to adjust the seat and stand heights to where you want etc. It's little finite details like that that can just give you a little more security and a bit of a boost to perform your best. Also included in the afternoons programme was an emotionally put-across Marimba piece, an impressively effective voice and piano piece and the Pop Song Duet/Trio/Quartet Vocal Class U15. Two great young groups in that class, in the form of self-accompanied Hannah James and Anna Cliff, and trio Luchelli. Both groups show great promise in this genre, with the harmonies sounding effortless and well rehearsed. I really liked how Hannah and Anna self-accompanied themselves, I think it gave them the vibe of 'the complete package', and I look forward to hearing them in other settings. But, Luchelli's use of vocal harmony had the edge for performance, both for me and the adjudicator.
Fast forward to the evening session, the Guernsey Grammar School dominated proceedings with their Training Windband, Senior Windband and Orchestra taking home the trophies of each of their classes. The highlight piece for me was the orchestra taking on the challenge of Mussorgsky's 'Night on a Bare Mountain.' I was instantly taken to memories of watching (and not watching because my hands were over my face at times) Disney's Fantasia, and I think I played most of the animation in my head as they performed. A real challenge for a school orchestra, and Ian was certainly impressed, awarding them a distinction. What is really great to see is how well Deborah Bideau has taken on the challenge of taking over the legacy my Mum left when she retired from Grammar School. It's great to see that Deborah has maintained the standard and is pushing the students in new ways, and I truly expect great things to continue.
- The evening performance then went from the sublime to the ridiculous in the form of the O18 Vocal Trio/Quartet Class. Chord Blimey performed a beautiful rendition of 'An Irish Blessing', only for the atmosphere to be literally swept away by a 'corps de ballet' prancing onto the stage to perform 'Dance of the Sugar Plum Fairy'. Ian praised the performance aspect of the 'ballerina's', but decided that the best musicality belonged to Chord Blimey.
Continuing the night was the Gilbert and Sullivan Class, which I'll admit has not been one I've seen much of in previous years, but I'm glad I did. This genre really is, what I call, 'Traditional Musical Theatre', and I think more of it needs to be performed, and indeed taught to budding Musical Theatre performers (of whom we have so many!) It's a different type of singing, somewhere nearer to the classical style, but not as heavy as Opera, it's subject matter is often light hearted and I think all the performers really got that across to the fun of this style. Although not the class winners, I thoroughly enjoyed the Cheshire Cast's short excerpt of 'Trial By Jury', particularly Dennis Burns as the comedic Judge, and I hope that when 'Pirates of Penzance' is on next year that you'll all go to see it (and that Ian gets his flight booked for it like he promised!)
- Finishing off the night was the Senior Music Making and French Song classes, both showcasing great classics. Both classes featured a fantastic array of local singers, and the lovely voice of Genevieve Usher, who is not local to the Island, but from what she's said to me is thoroughly enjoying performing at the festival and the warm friendly atmosphere (well done donkeys!)
All in all, it has been yet another lovely day of music making at the Guernsey Eisteddfod. And, as Ian Hytch said, using his favourite word no less than 159 times on Tuesday (yes, I counted).....
"Lovely! - It's all lovely - really lovely!"
The Tuesday afternoon session kicked off, quite aptly, with the ECJS Steel Band playing Stevie Wonder's classic, 'Isn't She Lovely?' - It's did occur to me that, in all my years as a musician and percussionist, I've never actually had a go on the steel drums, so I found myself fascinated trying to figure out how the kids were playing them, and was in fact hypnotized by the the almost dance-like motion of them moving from one drum to the other. Likewise with Flextet Melrose I was intrigued by the technique of hand bell playing. Both ensembles performed excellently and were praised for their performances and encouraged to keep playing, but it was the steel band that won the trophy. What was great was to see the return of another Steel Pan band from Beechwood and another hand bell team from Melrose later in the afternoon, so we could all have a second time round enjoying these unusual instruments. This time Melrose came out on top. Unfortunately there was no cup for this class, and in actual fact, after flipping through the program I counted 12 classes with no cup/trophy or award to win, and another few where some classes are sharing cups (and I'm sure there's a few more classes that weren't competed this year that don't have cups either). It really is great as a performer in a competitive (albeit friendly) setting like this to have a chance of winning an award. I myself presented a trophy this year for the Self-Accompanied Over 18, so it's never too late to donate one (*hint hint!)
After seeing the great teaching of young violinists and violists, it was nice to see the players of their larger counterparts, Cello and Double Bass take to the stage to show off their great education as well. What became apparent in these classes (and indeed supported by the adjudicator) is the importance of taking time to set up your equipment properly so you are comfortable and ready to perform your best: In the case of Cellos and Basses, the precise setting of their chairs and music stand positions. I think this is something that applies to all musicians, regardless of your instrumentation. If you're a singer you should take your time to position yourself where you want and get your breathing under control - if you're a pianist, take the time to adjust the seat and stand heights to where you want etc. It's little finite details like that that can just give you a little more security and a bit of a boost to perform your best. Also included in the afternoons programme was an emotionally put-across Marimba piece, an impressively effective voice and piano piece and the Pop Song Duet/Trio/Quartet Vocal Class U15. Two great young groups in that class, in the form of self-accompanied Hannah James and Anna Cliff, and trio Luchelli. Both groups show great promise in this genre, with the harmonies sounding effortless and well rehearsed. I really liked how Hannah and Anna self-accompanied themselves, I think it gave them the vibe of 'the complete package', and I look forward to hearing them in other settings. But, Luchelli's use of vocal harmony had the edge for performance, both for me and the adjudicator.
Fast forward to the evening session, the Guernsey Grammar School dominated proceedings with their Training Windband, Senior Windband and Orchestra taking home the trophies of each of their classes. The highlight piece for me was the orchestra taking on the challenge of Mussorgsky's 'Night on a Bare Mountain.' I was instantly taken to memories of watching (and not watching because my hands were over my face at times) Disney's Fantasia, and I think I played most of the animation in my head as they performed. A real challenge for a school orchestra, and Ian was certainly impressed, awarding them a distinction. What is really great to see is how well Deborah Bideau has taken on the challenge of taking over the legacy my Mum left when she retired from Grammar School. It's great to see that Deborah has maintained the standard and is pushing the students in new ways, and I truly expect great things to continue.
- The evening performance then went from the sublime to the ridiculous in the form of the O18 Vocal Trio/Quartet Class. Chord Blimey performed a beautiful rendition of 'An Irish Blessing', only for the atmosphere to be literally swept away by a 'corps de ballet' prancing onto the stage to perform 'Dance of the Sugar Plum Fairy'. Ian praised the performance aspect of the 'ballerina's', but decided that the best musicality belonged to Chord Blimey.
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('Corps de Ballet' L-R: Michaela Gallienne, Amanda Hibbs, Sarah Dempster & Phillipa Nicolle
- participants in the O18 Vocal Trio/Quartet Class) |
- Finishing off the night was the Senior Music Making and French Song classes, both showcasing great classics. Both classes featured a fantastic array of local singers, and the lovely voice of Genevieve Usher, who is not local to the Island, but from what she's said to me is thoroughly enjoying performing at the festival and the warm friendly atmosphere (well done donkeys!)
All in all, it has been yet another lovely day of music making at the Guernsey Eisteddfod. And, as Ian Hytch said, using his favourite word no less than 159 times on Tuesday (yes, I counted).....
"Lovely! - It's all lovely - really lovely!"
Tuesday 3 March 2015
What's the difference between a Violin and a Viola?....
.... Which I will answer at the end of the post! :)
I must say, even though the music for the first three days of the Eisteddfod has been brilliant, I've been very glad to have a slight respite on Monday with no morning session (and I would think the adjudicator Ian Hytch possibly feels the same) - Time to recharge the batteries, reflect on everything that has been, and look forward to what's to come.
Monday's session started with an array of instrumental solos, kicking off with the U14 and U16 Viola classes. Small classes, as the Viola is often passed over for the Violin and, as Ian stated, is often "The Butt of the Jokes" in the orchestral world. The young performers performed well, and it's clear that, like their Violinist friends these young players are getting excellent tuition - I do take a slight issue with one performers use of a backing track however. It's a new thing, being able to use a backing track in the Eisteddfod, one I understand, but do not wholly agree with for various reasons. For a start there are plenty of excellent accompanists on this island, so finding one isn't really a chore (and if you don't know any, ask around or make a note of who you've seen this year). My other issue is the restrictions it places on your performing freedom. You can't interpret the music the way you really want to (even the best musician will struggle to do it exactly as they want with a pre-recorded track), and volume is inevitably always an issue. However, as much as I dislike the medium, I've come up with a few tips to help anyone who really feels they want to use a backing track.
1) Check the rules. Backing tracks are actually only allowed for the popular music, jazz and musical theatre vocal classes. If you use it anywhere else you leave yourself open for disqualification.
2) Make sure the instrumentation doesn't over-power your voice. You need to a) find a track that has no additional voices on it, and doesn't feature a guide-melody part - often the melody is added to the piano part (for example) on backing tracks to 'help' the singer. In truth, this only hinders your freedom as a performer.
3) Know your track, the volume(s) it has and inform the technician. Quite a lot of the time a track might start very quiet, so they'll turn it up so you can hear it, and then suddenly WHAM! In comes the band full pelt and you're drowned out. A simple note with your CD/ipod stating that 'it starts quietly and gets much louder 30 seconds in' will give the sound guy a fighting chance of adjusting the volume for you. Or better yet, find someone who is a bit technically minded who can edit your tracks volumes for you (or do it yourself if you have the know-how)
4) Always have a spare. Fran Bourget and her team are fantastically organised, but accidents can happen, and on the off chance that it's got lost in the post, or been misplaced, or perhaps your CD is scratched and just won't play, make sure you have a backup or two. Burn another CD and bring it with you, and/or make sure it's on your ipod etc.
The rest of the afternoon featured some lovely brass playing from the U16 and U18 classes, as well as some more excellent piano playing from Jack Colley, who, after his distinction worthy performance of 'La Cathedrale Engloutie' was invited onto the stage during the interval to be shown a pedaling technique that will help improve his performance even further. This has highlighted something that I'm really enjoying from the adjudicator Ian. He really wants to offer his time and help people improve. I've lost count the number of times I've heard him say 'come and see me after' - I don't know when this magical after is, because he really does have a very full schedule, but I hope some people have taken him up on that offer as he is a very knowledgeable man. The Vocal Jazz U18 class was a wonderful class featuring some great young singers, and from the mutterings and comments I heard after the session, class winner Elliot Hearne made an incredible impression with his rendition of Ray Charles' 'Hallelujah, and I love her so'. Elliot's ease at expressing himself in this genre is incredibly clear, and his confidence, stage presence and ability to scat (bearing in mind he's only 12 and he scats like he's been doing it for years) mark him as one-to watch in this style.
- The afternoon finished with the Junior Choirs Folk Song Class, featuring the Guernsey Music Centre Primary Choir. With 73 young singers on-stage and a flute choir to boot, it was quite easily the largest number of performers we will see on stage this year. It's really great to see so many young performers in one place enjoying themselves and learning through music.
Now, the evening session....
- It certainly started differently to anything else audiences might expect. As they walked into the auditorium they were treated to music playing through the sound system, which was later revealed to them as new compositions of local composers that would feature in the next class. Ian Hytch is himself a composer, and as I was in the O18 class I must say I've been looking forward to what he might have to say about my work. But I what I didn't anticipate was him inviting Elizabeth Beacom (from the U18 classes) and myself up onto stage to sit with him as he adjudicated us! It's a very surreal experience, being on that stage and not performing, you do feel very exposed. But, it was a very useful and worthwhile experience, and the highlight of this class for me was Ian asking if he could have a copy of my piece 'Can it be True?' to perform with his choir. It's not every day an adjudicator flat out asks you for your work, and as a composer, getting your work performed can be a chore (people do tend to want to perform stuff they know!), so I am delighted.
- I want to highlight Elizabeth's composition 'Bletchly Park', which won the John Longmire Trophy. Written for percussion ensemble, I got a real sense for the subject matter that she was writing about from the midi-recording, and I really hope she manages to get a local ensemble to perform this. Elizabeth seems to have found her niche in writing in the minimalism genre of composition, and it's great to see a composer blossom when they find their voice.
The evening continued with an excellent collection of choral music from the island's young choirs, a particular highlight being the Guernsey Music Centre Youth Choir's 'I'm a Train', before we headed into the territory of Lieder. Now, Lieder is a style of music that is, in all honesty, not everyone's cup of tea. My dad for one makes no qualms in making his lack of enthusiasm for the genre known. But it is one of technical difficulty, not only for the demand of the singer knowing German, but for the teamwork required of the pianist and singer. As Ian stated when adjudicating, it really is a team effort, and without that it simply doesn't work. Niall McCathie took the opportunity to introduce his piece and explain the song for the audience with delightful humour, which I think was a lovely touch to ease the audience into the class. I want to highlight Jane Martine from this class. I've heard Jane sing over many years, and I think tonight I heard her sing the best I've ever heard her. It's great to watch and hear someone develop, and this song really suited her. Well done Jane.
- We were then treated to a great mother-son duo of Jack and Laura Colley performing a piano duet to great success and style, before continuing with the Piano Sonata class. A demanding class that requires a pianist to explore two movements from one sonata, we were treated to two very different performances. John Morris' technical abilities were very apparent in his nimble-fingered Haydn Sonata, while Marilyn Pugh's subtle sense of style and elegance shone through in a Mozart Sonata. Ian praised both pianists, but on this occasion style won out over technique. Well done Mum!
The evening concluded with the Operatic Solo class: one Ian said he had been very much looking forward to. Like Lieder it is, again, a style that not everyone can really get on board with. With the likes of Katherine Jenkins and Britain's Got Talent Winner Paul Potts it's become more well-known and listened to than before, but a lot of fans of these singers will still tell you they don't like opera or don't even know what it really is. It was great to see this class well represented, and I think everyone sang well and conveyed the essence of the genre. One thing I would like to see more of in the Opera Class is for performers to treat it more like the Songs from the Shows classes are treated. I'm not saying come out in full costume and a set with choreography... but then again, why not?! It is, after all, the original form of 'musical-theatre'. The Adjudicator himself stated how the singers could move more to really get the essence of the piece and make it more like a snippet of a full opera, and I wholly agree. I think a move like that might make the Opera Class seem less stuffy and 'high-brow' and open it up to people who think they won't enjoy it. It's something for singers to consider at least.
All in all, Monday's sessions have been very interesting, insightful and, as always, highly entertaining. Well done everyone involved so far, it's turning out to be a great festival.
I'll leave with the answer to the post title, which, in response to the Viola's always being the butt of the joke, I thought they could use a pro-viola joke:
"What is the difference between a Violin and a Viola?....
..... There isn't actually any physical difference....
..... It's just that the Violin looks smaller next to the Violinist's head!"
I must say, even though the music for the first three days of the Eisteddfod has been brilliant, I've been very glad to have a slight respite on Monday with no morning session (and I would think the adjudicator Ian Hytch possibly feels the same) - Time to recharge the batteries, reflect on everything that has been, and look forward to what's to come.
Monday's session started with an array of instrumental solos, kicking off with the U14 and U16 Viola classes. Small classes, as the Viola is often passed over for the Violin and, as Ian stated, is often "The Butt of the Jokes" in the orchestral world. The young performers performed well, and it's clear that, like their Violinist friends these young players are getting excellent tuition - I do take a slight issue with one performers use of a backing track however. It's a new thing, being able to use a backing track in the Eisteddfod, one I understand, but do not wholly agree with for various reasons. For a start there are plenty of excellent accompanists on this island, so finding one isn't really a chore (and if you don't know any, ask around or make a note of who you've seen this year). My other issue is the restrictions it places on your performing freedom. You can't interpret the music the way you really want to (even the best musician will struggle to do it exactly as they want with a pre-recorded track), and volume is inevitably always an issue. However, as much as I dislike the medium, I've come up with a few tips to help anyone who really feels they want to use a backing track.
1) Check the rules. Backing tracks are actually only allowed for the popular music, jazz and musical theatre vocal classes. If you use it anywhere else you leave yourself open for disqualification.
2) Make sure the instrumentation doesn't over-power your voice. You need to a) find a track that has no additional voices on it, and doesn't feature a guide-melody part - often the melody is added to the piano part (for example) on backing tracks to 'help' the singer. In truth, this only hinders your freedom as a performer.
3) Know your track, the volume(s) it has and inform the technician. Quite a lot of the time a track might start very quiet, so they'll turn it up so you can hear it, and then suddenly WHAM! In comes the band full pelt and you're drowned out. A simple note with your CD/ipod stating that 'it starts quietly and gets much louder 30 seconds in' will give the sound guy a fighting chance of adjusting the volume for you. Or better yet, find someone who is a bit technically minded who can edit your tracks volumes for you (or do it yourself if you have the know-how)
4) Always have a spare. Fran Bourget and her team are fantastically organised, but accidents can happen, and on the off chance that it's got lost in the post, or been misplaced, or perhaps your CD is scratched and just won't play, make sure you have a backup or two. Burn another CD and bring it with you, and/or make sure it's on your ipod etc.
The rest of the afternoon featured some lovely brass playing from the U16 and U18 classes, as well as some more excellent piano playing from Jack Colley, who, after his distinction worthy performance of 'La Cathedrale Engloutie' was invited onto the stage during the interval to be shown a pedaling technique that will help improve his performance even further. This has highlighted something that I'm really enjoying from the adjudicator Ian. He really wants to offer his time and help people improve. I've lost count the number of times I've heard him say 'come and see me after' - I don't know when this magical after is, because he really does have a very full schedule, but I hope some people have taken him up on that offer as he is a very knowledgeable man. The Vocal Jazz U18 class was a wonderful class featuring some great young singers, and from the mutterings and comments I heard after the session, class winner Elliot Hearne made an incredible impression with his rendition of Ray Charles' 'Hallelujah, and I love her so'. Elliot's ease at expressing himself in this genre is incredibly clear, and his confidence, stage presence and ability to scat (bearing in mind he's only 12 and he scats like he's been doing it for years) mark him as one-to watch in this style.
- The afternoon finished with the Junior Choirs Folk Song Class, featuring the Guernsey Music Centre Primary Choir. With 73 young singers on-stage and a flute choir to boot, it was quite easily the largest number of performers we will see on stage this year. It's really great to see so many young performers in one place enjoying themselves and learning through music.
Now, the evening session....
- It certainly started differently to anything else audiences might expect. As they walked into the auditorium they were treated to music playing through the sound system, which was later revealed to them as new compositions of local composers that would feature in the next class. Ian Hytch is himself a composer, and as I was in the O18 class I must say I've been looking forward to what he might have to say about my work. But I what I didn't anticipate was him inviting Elizabeth Beacom (from the U18 classes) and myself up onto stage to sit with him as he adjudicated us! It's a very surreal experience, being on that stage and not performing, you do feel very exposed. But, it was a very useful and worthwhile experience, and the highlight of this class for me was Ian asking if he could have a copy of my piece 'Can it be True?' to perform with his choir. It's not every day an adjudicator flat out asks you for your work, and as a composer, getting your work performed can be a chore (people do tend to want to perform stuff they know!), so I am delighted.
- I want to highlight Elizabeth's composition 'Bletchly Park', which won the John Longmire Trophy. Written for percussion ensemble, I got a real sense for the subject matter that she was writing about from the midi-recording, and I really hope she manages to get a local ensemble to perform this. Elizabeth seems to have found her niche in writing in the minimalism genre of composition, and it's great to see a composer blossom when they find their voice.
The evening continued with an excellent collection of choral music from the island's young choirs, a particular highlight being the Guernsey Music Centre Youth Choir's 'I'm a Train', before we headed into the territory of Lieder. Now, Lieder is a style of music that is, in all honesty, not everyone's cup of tea. My dad for one makes no qualms in making his lack of enthusiasm for the genre known. But it is one of technical difficulty, not only for the demand of the singer knowing German, but for the teamwork required of the pianist and singer. As Ian stated when adjudicating, it really is a team effort, and without that it simply doesn't work. Niall McCathie took the opportunity to introduce his piece and explain the song for the audience with delightful humour, which I think was a lovely touch to ease the audience into the class. I want to highlight Jane Martine from this class. I've heard Jane sing over many years, and I think tonight I heard her sing the best I've ever heard her. It's great to watch and hear someone develop, and this song really suited her. Well done Jane.
- We were then treated to a great mother-son duo of Jack and Laura Colley performing a piano duet to great success and style, before continuing with the Piano Sonata class. A demanding class that requires a pianist to explore two movements from one sonata, we were treated to two very different performances. John Morris' technical abilities were very apparent in his nimble-fingered Haydn Sonata, while Marilyn Pugh's subtle sense of style and elegance shone through in a Mozart Sonata. Ian praised both pianists, but on this occasion style won out over technique. Well done Mum!
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(Niall McCathie and Helen Grand rehearsing for the Lieder Class)
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All in all, Monday's sessions have been very interesting, insightful and, as always, highly entertaining. Well done everyone involved so far, it's turning out to be a great festival.
I'll leave with the answer to the post title, which, in response to the Viola's always being the butt of the joke, I thought they could use a pro-viola joke:
"What is the difference between a Violin and a Viola?....
..... There isn't actually any physical difference....
..... It's just that the Violin looks smaller next to the Violinist's head!"
Monday 2 March 2015
How Can I Keep from Singing?
What... a.... day..... I am officially wiped from Sunday's sessions! What a brilliant day of music!
With no morning session, and a change of venue, and the added bonus of a beautiful sunny day (at least to start with) certainly added an air of freshness to the Sunday sessions, and the sacred classes performed at St James are, I'm sure, a highlight for many. The afternoon session started with a superb vocal class, the U18 sacred solo. It was a lovely array of the different types of sacred music, ranging from classical to gospel, and every singer truly capturing the reverence of the setting and the type of music they were performing. It was a particular highlight for me, as my vocal student Charlotte Hardwick won the class performing a beautiful rendition of Deep River by Moses Hogan. I've been teaching Charlotte (Lotte) for 3 years now, and it's been amazing for me to really see her progress as a singer and performer, and I'm very proud of her for winning her first every trophy at the Guernsey Eisteddfod. It's moments like that that make the eisteddfod.
The afternoon continued, and featured some fantastic organ playing, a lovely selection of young choirs and the prestigiously contested Oratorio Classes, but I think the absolutely highlight of the afternoon was the Church, Chapel and Religious Choirs Class. A somewhat special story which features the Alderney Community Choir. Formed only 15 months ago the choir was the initial idea of Caroline Kay-Mouat who approached locally renowned Musical Director Marilyn Pugh (or 'Mum' as I call her) to help run and develop a group of singers on the island. Louise Hayward took on the role of organiser and the community choir now stands at 35-strong, rehearsing once a week (weather permitting for my mum to get over there!). Mum decided to really push the choir, and entered them into the Guernsey Eisteddfod. Coming over with only 26 of them, the choir took to the stage with sheer enthusiasm and joy, as best reflected in their opening song 'Alderney Anthem', the lyrics and melody written by the Reverend Arthur Mignot which I arranged specially for the choir at his request. The adjudicator praised the choir on their choice of programme and their real sense of performance, and I was delighted to see them take home the trophy (well.... mum has to figure out how to get it through airport security first, but I'm sure it will take pride of place somewhere when it eventually gets to Alderney!) - My congratulations particularly go to Peter Baron who sang the opening solo for Alderney Anthem, and in essence the entire choir's performance. Peter has real potential as a solo singer, and I hope he can be persuaded (along with a few others) to come over for more of the Eisteddfod and compete as a soloist. Well done Alderney, you've done yourselves proud.
The Evening session, focusing entirely on vocal and choral work, just highlight how fantastic St James is as a venue. Ian frequently mentioned throughout the day the joy of the acoustics, and how in a venue like St James it does all the hard work for you. That doesn't mean you can slack off though - far from it. Things like diction and timing have to be immaculate in order to really sell every performance. But when you're not worrying about projecting, those things do become a lot easier to deal with! The Choirs O18 Sacred Songs class featured two great local choirs of complete contrast: The newly-formed Mixed voice 'Accidentals', and the long standing female-voice 'Bel Canto'. Both choirs chose stunning music programmes that set the evening up for the high standard of entertainment that was to follow. The Accidentals sang very well, praised highly for their word-painting and naturally evolving dynamics, but it was Bel Canto's precision and soaring vocal agility that won the cup. Congratulations girls, stunning singing.- A very interesting concept that arose in the O18 Sacred Solo Song class (a very popular one this year, not suprisingly - I'll take any chance to perform in St James, thank you very much!) was actually the arrangement of the accompaniment for songs. Ian had mentioned earlier in the day how the piano was sadly carrying a bit too much in the acoustic and therefore drowning out some of the singers, and so asked the pianists to be a bit more reserved in order to help combat the problem. In the evening class however he pointed out the issue of having the vocal melody line also played in the piano part. What this does is actually make it harder for the audience to hear, not necessarily the singers voice, but the words. As a composer this is something I really strive not to do - include the melody in a piano part when I can, or if it is in there it's subtly hidden. As a singer, not having the melody doubled, although it can be helpful for learning purposes will, in the long run, hinder you as a singer, as it will lessen the amount of freedom you can have with the melody. It's something for all singers to really think about when they choose their songs.
The evening then went on to finish on the high it started with, with the Gospel Choirs class, which was won by Johnny's Angels. I have to say it's this type of singing where I think Johnny's Angel's really shine. The collective vocal quality of this choir really suits the genre, and they are deserved winners of the trophy. Well done to all the choirs involved in this class. It's a fantastic genre of sacred music where singers get to just let loose - the perfect way to end the evening.
With no morning session, and a change of venue, and the added bonus of a beautiful sunny day (at least to start with) certainly added an air of freshness to the Sunday sessions, and the sacred classes performed at St James are, I'm sure, a highlight for many. The afternoon session started with a superb vocal class, the U18 sacred solo. It was a lovely array of the different types of sacred music, ranging from classical to gospel, and every singer truly capturing the reverence of the setting and the type of music they were performing. It was a particular highlight for me, as my vocal student Charlotte Hardwick won the class performing a beautiful rendition of Deep River by Moses Hogan. I've been teaching Charlotte (Lotte) for 3 years now, and it's been amazing for me to really see her progress as a singer and performer, and I'm very proud of her for winning her first every trophy at the Guernsey Eisteddfod. It's moments like that that make the eisteddfod.
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(Charlotte Hardwick, winner of the U18 Sacred Solo)
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(The Alderney Community Choir - winners of the Church, Chapel and Religious Choirs Trophy)
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The evening then went on to finish on the high it started with, with the Gospel Choirs class, which was won by Johnny's Angels. I have to say it's this type of singing where I think Johnny's Angel's really shine. The collective vocal quality of this choir really suits the genre, and they are deserved winners of the trophy. Well done to all the choirs involved in this class. It's a fantastic genre of sacred music where singers get to just let loose - the perfect way to end the evening.
Sunday 1 March 2015
Good Music shines through any Genre
Well, the weather's been pretty gloomy, but the Eisteddfod has not been!
Adjudicating the first classes of the day (the U13 and U18 Harp), Ian made a comment about how 'I wish more people were here to hear this' - and I agree. I'm not sure a lot of people understand the Harp outside of wedding receptions, but Marie-Claire Benoist is a musical talent with immense style, grace and technical wizardry, and was quite rightly awarded the first Outstanding (90+) mark of the festival. When justifying it (not that he needed to) he said that he asked himself, "would I pay good money to see that?.... Yes I would!" - And yes, Marie-Claire's performance of 'Nataliana' was stunningly beautiful and to a professional standard - Well done Marie-Claire!
- The rest of the morning was a lovely smattering of vocal solos and piano solos. I'd like to mention Jack Colley (winner of the U18 Piano Solo with a Distinction), a clear up-and-coming young concert pianist. When I watch Jack, I'm reminded of the likes of Sebastian Grand and Tom Hicks, and I predict great things for him in the future.
I think we really have to take a moment here and realise just how incredible the talent is here in Guernsey. I know we say it every year, and every adjudicator says how talented us Donkeys are, but I don't know if it's actually sunk in yet. Just think about it for a minute.... Every year they say this... EVERY YEAR! Surely that's a testament to a) how much talent there is, and b) how amazing the teaching is. And I dare to dream what the results would be with a proper theatre and a well-maintained piano (*hint hint.... - I do feel sorry for the 'Beast', AKA the Bluthener, because it only gets played for 10 days out of 365)
The afternoon kicked off with a somewhat unusual class: not for the content, but rather for the instrumentation - The Bach Instrumental Solo 16 and Over is a fantastic class for a young musician to enter, what with Bach being the mach-daddy of all things technical and harmonic (seriously, if you want to be a great musician, whether it's classical, jazz or even heavy metal, listen and learn some Bach!). What made this interesting was the fact that Elizabeth played the Marimba, and Benjamin was on the Bass guitar. Brilliant! If Bach was around today I think he would have loved it! - My congratulations go to Elizabeth for her win in this class. As a percussionist myself (and the sibling of a bass guitarist) I feel a bit of empathy and pride for a fellow percussionist overcoming a bassist! - Seriously amazing class though, bravo to both of you.
- And after some lovely vocal trios/quartets we were into the first of the incredibly popular classes: Songs from the Shows 12 & U15. Well, I can't fault the kids on their enthusiasm and commitment to each and every song. The costumes were amazing and in some cases hilarious, the confidence on stage brilliant, and yet another Outstanding mark for the winner.
..... I do feel I want to have a niggle about this class though. Not about the performance or anything like that, but backstage etiquette. I understand enthusiasm and the excitement that comes with this type of class, but I lost count of the amount of times I had to tell kids to keep their voices down and stop slamming doors (and walking in and out of dressing rooms hundreds of times. Honestly, it was like watching a moth bump into a light bulb) - I don't think it takes much to instill the concept of respect for the person on stage, and in fact the audience into the young performers (parents and teachers, I'm talking to you here). The theatre walls and door are (sadly) not that sound proof. Keep your voices down and stop wasting your energy in the dressing rooms - Save it for the stage!
- And while we're at it, clear up after yourselves please! I walked into dressing room 4 with my choir members to rehearse before the evening session, and found the room in a state of makeup, malted costumes and rubbish. Just not acceptable really.
Anyway, enough ranting, back to the music. Saturday evenings session started with a bit of a jolt for the audience, learning they were going to get the Folk Song Choirs class as a two-parter (Accidentals at 7.30, Johnny's Angel's to conclude at 9pm), but it was a lovely start to the night. The night had this strange feel of Jazz VS Folk genres about it, which I found as a participant (4 times I might add) really taxing, so how the audience received it I'm not entirely sure. But saying that, it was a fantastic night of entertainment. The Vocal Jazz class was a particular highlight of mine, and not just because I was in it (or was lucky enough to win it), but I loved the variety of it. We had singers who covered swing, blues, soulful ballad, country and the obscure in 20 minutes, and I really want to mention the amazing accompanists that appeared in this class, in particular Chris Taylor. I've had the great joy of working with Chris over the last couple of years, and he's a fantastic musician (and too modest for his own good) so I was very pleased that Kenneth highlighted him as a fantastic player.
- Another fantastic Jazz player worth mentioning is John Morris, who not only wowed us with his pianistic virtuosity, but also his brilliant mind in the Sight-reading class (yes, you read that right, sight-reading - John is actually mad enough to get up in-front of a paying audience and a judge and play something he's never seen before. The sheer bravery deserves praise from the off!)
I think what this evening showcased most to the audience was how difficult the Folk genre is to judge. Across the board in the classes this evening (Folk Choirs, Folk Groups, Folk Solo Over 18's), it was a really mish-mash of opinions as to who the audience liked and whether they agreed with the adjudicator's decision. But then, that's what folk should be. These songs are classics that in some cases have been around for centuries, and have been sung hundred of ways. Therefore anybody could win this class. It all comes back to what Ian said at the beginning of the week - "Commit to Communicate". Never was this more true than of the folk song. If you commit to the story, ok maybe your technique isn't perfect, but if you tell the story with utter conviction; physically, emotionally and whole-heartedly you'll shine through. My critical praise from this class, as much as I liked the winner actually goes to Lucy Cave. I thought her song 'The Lass from the Low Countree' was utterly stunning, and her high-notes were just eerily beautiful.
I do want to mention a few others from this class for other reasons.....
- Firstly, I want to point out Bob Galsworthy, who was a complete newbie to the Guernsey Eisteddfod until the Folk Song U18's class, but came out with a cracking rendition of 'I've got a brand new Combine Havester' by the Worzels which had the audience giggling and clapping along from the start. If you can find the time to rehearse with a live musician Bob, I think you'll start to excel at this genre. Brilliant!
- And my other mention goes to Lindsey Veillard. You, my dear, are one of the Guernsey Eisteddfod's grand institutions: The performer who comes back year after year and entertains everyone, both in sheer determination and sometimes utter silliness. I've been moved to tears by your performances, through drama AND comedy, and I dread to think of an Eisteddfod without you.
All in all, a great evenings entertainment. Perhaps in adjudicatory terms the most 'mixed-bag' in terms of opinions, but you can't deny that we do love a bit of good music, eh?
Adjudicating the first classes of the day (the U13 and U18 Harp), Ian made a comment about how 'I wish more people were here to hear this' - and I agree. I'm not sure a lot of people understand the Harp outside of wedding receptions, but Marie-Claire Benoist is a musical talent with immense style, grace and technical wizardry, and was quite rightly awarded the first Outstanding (90+) mark of the festival. When justifying it (not that he needed to) he said that he asked himself, "would I pay good money to see that?.... Yes I would!" - And yes, Marie-Claire's performance of 'Nataliana' was stunningly beautiful and to a professional standard - Well done Marie-Claire!
- The rest of the morning was a lovely smattering of vocal solos and piano solos. I'd like to mention Jack Colley (winner of the U18 Piano Solo with a Distinction), a clear up-and-coming young concert pianist. When I watch Jack, I'm reminded of the likes of Sebastian Grand and Tom Hicks, and I predict great things for him in the future.
I think we really have to take a moment here and realise just how incredible the talent is here in Guernsey. I know we say it every year, and every adjudicator says how talented us Donkeys are, but I don't know if it's actually sunk in yet. Just think about it for a minute.... Every year they say this... EVERY YEAR! Surely that's a testament to a) how much talent there is, and b) how amazing the teaching is. And I dare to dream what the results would be with a proper theatre and a well-maintained piano (*hint hint.... - I do feel sorry for the 'Beast', AKA the Bluthener, because it only gets played for 10 days out of 365)
The afternoon kicked off with a somewhat unusual class: not for the content, but rather for the instrumentation - The Bach Instrumental Solo 16 and Over is a fantastic class for a young musician to enter, what with Bach being the mach-daddy of all things technical and harmonic (seriously, if you want to be a great musician, whether it's classical, jazz or even heavy metal, listen and learn some Bach!). What made this interesting was the fact that Elizabeth played the Marimba, and Benjamin was on the Bass guitar. Brilliant! If Bach was around today I think he would have loved it! - My congratulations go to Elizabeth for her win in this class. As a percussionist myself (and the sibling of a bass guitarist) I feel a bit of empathy and pride for a fellow percussionist overcoming a bassist! - Seriously amazing class though, bravo to both of you.
- And after some lovely vocal trios/quartets we were into the first of the incredibly popular classes: Songs from the Shows 12 & U15. Well, I can't fault the kids on their enthusiasm and commitment to each and every song. The costumes were amazing and in some cases hilarious, the confidence on stage brilliant, and yet another Outstanding mark for the winner.
 |
(Elliot Hearne in his 'crazy-french-chef' outfit for the
Songs from the Shows 12 & U15) |
- And while we're at it, clear up after yourselves please! I walked into dressing room 4 with my choir members to rehearse before the evening session, and found the room in a state of makeup, malted costumes and rubbish. Just not acceptable really.
Anyway, enough ranting, back to the music. Saturday evenings session started with a bit of a jolt for the audience, learning they were going to get the Folk Song Choirs class as a two-parter (Accidentals at 7.30, Johnny's Angel's to conclude at 9pm), but it was a lovely start to the night. The night had this strange feel of Jazz VS Folk genres about it, which I found as a participant (4 times I might add) really taxing, so how the audience received it I'm not entirely sure. But saying that, it was a fantastic night of entertainment. The Vocal Jazz class was a particular highlight of mine, and not just because I was in it (or was lucky enough to win it), but I loved the variety of it. We had singers who covered swing, blues, soulful ballad, country and the obscure in 20 minutes, and I really want to mention the amazing accompanists that appeared in this class, in particular Chris Taylor. I've had the great joy of working with Chris over the last couple of years, and he's a fantastic musician (and too modest for his own good) so I was very pleased that Kenneth highlighted him as a fantastic player.
- Another fantastic Jazz player worth mentioning is John Morris, who not only wowed us with his pianistic virtuosity, but also his brilliant mind in the Sight-reading class (yes, you read that right, sight-reading - John is actually mad enough to get up in-front of a paying audience and a judge and play something he's never seen before. The sheer bravery deserves praise from the off!)
 |
(Myself and Chris Taylor after I won the Vocal Jazz/Blues/Swing O18 Class
with our version of "That's Life")
|
I do want to mention a few others from this class for other reasons.....
- Firstly, I want to point out Bob Galsworthy, who was a complete newbie to the Guernsey Eisteddfod until the Folk Song U18's class, but came out with a cracking rendition of 'I've got a brand new Combine Havester' by the Worzels which had the audience giggling and clapping along from the start. If you can find the time to rehearse with a live musician Bob, I think you'll start to excel at this genre. Brilliant!
- And my other mention goes to Lindsey Veillard. You, my dear, are one of the Guernsey Eisteddfod's grand institutions: The performer who comes back year after year and entertains everyone, both in sheer determination and sometimes utter silliness. I've been moved to tears by your performances, through drama AND comedy, and I dread to think of an Eisteddfod without you.
All in all, a great evenings entertainment. Perhaps in adjudicatory terms the most 'mixed-bag' in terms of opinions, but you can't deny that we do love a bit of good music, eh?
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