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?...

('The Planets' as played by Lydia & Marilyn Pugh. 2009-2015 - RIP)

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?"