We began the morning with two Viola classes, for Under 9, and then Under 11. I've talked before about how under appreciated the Viola is, so it is really great to see just how many young Violists there are in these two well represented classes. Some fine playing occurring in both of these classes, and I really hope these players stick with it. The class winners were Somchai Blondin in the Under 9 with a Highly Commended, and Gracie Swain in the Under 11 with Commended. Next we had the Folk Solo Boys & Girls Under 12, although on this occasion, no boys were present (which is a shame). Folk singing is a great skill, and adjudicator Adrian did comment on how he wished more young singers participated in Folk Singing. It's also a style which can be done many ways, as demonstrated by our youngsters, in particular the decision to either sing accompanied, or unaccompanied, both of which have their strengths and weaknesses. When you're accompanied you have support, but you can be confined by the accompaniment in what you can stylistically do. When unaccompanied you have total freedom, but you have no harmonic support. So great singing happening in this class: in particular, I feel that Lucy Appleton shows great promise with her voice, as it was clear and unforced, and I hope she continues to perform and develop. Isabella Marren brought a witty charm to her performance, with a clear sense of style, and class winner Isabelle Lees performed a haunting a cappella song (originally Norwegian, but sung in English) with great understanding and maturity. Well done girls, an excellent class all around.
Following on with another unusual set of classes we had the Keyboard 10 & Under 13, followed by the 13 & Under 17. Although they can look like the same instrument, Electric Keyboard has it's own technical elements unrelated to the Piano - there is melody, and then chordal harmony which controls the backing track. The performer also has the ability to change their sounds and the complexity of the track. A really fascinating class to watch, especially Under 17 winner Gabrielle Le Lerre, who showed excellent command of the keyboard and all its elements.
- Following the Keyboards we had a more traditional 'keyboard class' with the Piano Under 12, with four budding young pianists. Adrian adjudicated this from the piano itself in order to demonstrate a few technical elements for the pianists to consider, one of which was a technique in working on pedalling which I found very useful! My personal favourite from this class was Christie Sykes - I thought she played the Valse No. 11 by Chopin with emotion and a beautifully tender approach, and I thought her use of colour was also wonderful. On this occasion the winner of the class was Isabella Marren with her 'Carnival in Rio' by William Gillock.
The next class was the Orchestral Woodwind Ensemble, Junior School Age, featuring two different recorder ensembles: Melrose Recorder Club, and Amherst Recorder Club. A popular instrument for schools (although many will have not so popular memories of the instrument!), it is good to see it being used well as a school ensemble instrument, and well done to Melrose for winning the class with a Highly Commended. Rounding off the morning session we had the Country & Western Song Under 18 - a new class last year (like its Over 18 counterpart), and not yet very popular it would seem. Perhaps if we were American it would be! There are a lot of vocal tricks and colours that make country country, and like every style they are unique to the genre. None-the-less, some great work being done by these singers in exploring the style, as evident by the high quality and high marks with Erin Vaudin and Samantha Paines each receiving Highly Commended, and class winner Luella Taylor receiving Distinction.
The afternoon session started with some superb Violinists in the Under 16 and Under 18 classes. Adrian adjudicated this session by reiterating his statements about slow practice. "Practice something perfectly seven times, and it'll stick" - I think it's also worth noting however that, if you practice something wrong seven times that will also stick - something to think about! Some excellent work being done here, but I have to say, I think Adrian was a little on the stingy side with his marks, particularly for the Under 18s. I almost feel as though, particularly with Charlie Brewin, that he was listening to a different class than I was! I thought Charlie had amazing depth of colour in his tone, but showed a good ability to vary it throughout the piece. I also thought that he seemed to have stabilised his posture a little more, as there was a lot less moving his body weight between the feet. Overall I thought his interpretation of the well-known 'Czardas' was excellent, hence my surprise that he only received a Commended. Just goes to show - it really is one person's opinion in the end!
Next up we had three piano Jazz classes, which all compete for the same trophy: Under 14, Under 16, and Under 18. As a Jazz singer, my personal thought on these young pianists is that there needs to be a bit more 'feeling' and breathing with their pieces. Jazz needs space, and a real understanding about how to be laid-back in your playing without being out of time. A famous drummer once said, "I spent my entire career learning how to put the beat a fraction of a second late", which just reiterates how Jazz is a lot more complicated than people perhaps give it credit. That said, some great work being done here. Benjamin Fletcher's performance in the Under 18s was certainly spirited and showed off his technical wizardry and understanding of the technical elements of Jazz - now comes the time to chill out a little and be smoooooooth - trust in your technique and enjoy it! Under 14 winner (and overall winner of the trophy) Francois Cloete really impressed me, and I still can't quite believe the boy is only 14! His maturity at the piano is really quite astounding, and the technique his is developing is awe-inspiring. I overheard him at the end of the class reading the names on his trophy, which includes Tom Hicks - yes Francois, you are in fine company young man - keep up the good work!
Closing out the afternoon we had two choral classes, the last of the festival: Secondary School Choirs (Years 7-11), followed by Choirs Folk & Traditional, Secondary School Age. Particularly in the first of these classes, the excellent choral work was demonstrated yet again. Really lovely to see the SOPM Pop Choir (Juniors), who, because of illness and a radical depletion in numbers decided they wanted to perform, but not be adjudicated. Adrian Goss remarked on how pleased he was to see and hear this choir, and remarked on their great sound and extreme courage and determination for deciding to perform, a sentiment shared by the audience. I rather enjoyed Grammar School Lower Choir's piece in which they were unconducted, and accompanied themselves with a few Ukuleles. I really love hearing choirs like this try different things - it keeps the idea of choral music alive and fresh! The Music Centre Intermediate Choir really impressed, and Adrian Goss remarked how, "If I had only come to the island to hear this choir it would have been worth it." He also praised Rachel Wright's excellent tuition of this choir. Not surprisingly they were awarded the trophy with a Distinction. The following class started somewhat differently, with a rather interesting use of narration in a piece by Andrew Lawerence-King, whom I understand is an ex-Elizabeth College pupil who wrote the piece for the choir. This piece also made use of Guernsey's native language Guernesais (also known colloquially as 'patois') and sea-shell and other percussive instruments. A really unique performance which earned them a Highly Commended.
The Friday evening may have, on paper, looked a little sparsely programmed, but in actual fact is was probably the most epic night of music of the festival! It began with the last of the 'big-gun' piano classes, the Piano Sonata Over 18. Four local pianists (all of high skill), playing two movements of one sonata, with each of the pianists choosing a different composer: Mozart, CPE Bach, Clementi and finally Grieg. It certainly made for a wonderful concert of classical music, much of which, if not all, many of the audience will have not heard before. Sonata's are difficult - not just because of the amount of notes, or the technique required, but capturing the essence of the original composer is actually much more challenging, and much more vital and some musicians give it credit. If you approach a light Mozart piece with the force required for a Rachmaninov piece it loses all of the nuance and subtly - likewise if you play a Rachmaninov piece with the lightness of Mozart you lose the depth and passion. Some fine playing indeed from the four performers tonight, but I agree with Adrian on this occasion that the pianist who captured the original composers style (whilst putting across their own musical style) was Marilyn Pugh, who won the class with 85 Marks (Highly Commended).
And now.... the end is near.... we have reached the last of the Songs from the Shows classes, with the ever-popular Over 18s class. This class never fails to entertain, and many compare it to a 'West End revue' as it gives the audience a fantastic cross-section of Musical Theatre, and does so with a really high standard. Guernsey is so lucky to have so many talented Musical Theatre performers on this Island, as evident by any musical any of the theatre companies put on, and this class brings many of them together to perform their socks off for no other reason than that they love it! What I also love about this class is the camaraderie amongst the performers. When someone is nervous, everyone rallys round to lift them up - when someone comes off stage everyone is there to congratulate them, and everyone is either backstage watching on the monitor, or quietly in the wings, or out front watching from the audience. It really is the most wonderful atmosphere to be in, and I think a great example to be setting for our young performers. This class had so many highlights, but to pick out a few of my favourites that I managed to see (I had a lot of costume changing and accompanying to do!), I'd like to mention Catie Le Prevost, who hasn't performed at the Eisteddfod since she was a junior competitor 12 years ago, and managed to get up on stage and wow us with her hilarious (and well sung I might add) performance of 'Always a Bridesmaid Never a Bride', earning herself joint 3rd place and a Distinction Mark of 87. Bravo Catie! Another performer I thought really pulled something special out the bag was Dominique Ogier. Known better locally for her Rock-belt singing, I thought Dominique found a subtlety and warmth with the start of her song ('Burn' from Hamilton) which I hope she explores more as she continues singing Musical Theatre repertoire - but I think the audience will agree with me - WOW what a belt Dominique has! A hotly contested class this, as it always is - I feel like this class might be the hardest one to win, as the standard is so high you just can't predict which way any adjudicator will go. 3rd place was shared by three acts: myself & Mike Sullivan, Julie Tostevin & Kim Reece-Sheerin, and Catie Le Prevost all with 87 marks; 2nd place was shared by Jo Marsh and Lindsey Veillard both with 88 marks, and on this occasion I am delighted to say that I was the lucky winner of the class with an Outstanding 90, a real privilege indeed!
An incredible evening of music-making and entertainment, which rounded off the excellent day overall. Not long left of 2017's festival - let's cram in as much as we can!
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| Still can't quite believe it! Me and the Pauline Carre Memorial Trophy for Songs from the Shows Over 18 |
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