We are very much into the home stretch now for 2023's music eisteddfod, and after a morning off, we were back up and running with the afternoon session, kicking off with two Violin classes; The Violin Under 16, and Under 18. Some lovely playing on display. We started off with two violin classes; the Violin Under 16, and Under 18. A slight change to the programming, as Matilda Cole was actually moved from the in the Under 14 and Under 16 classes, to being in the Under 16 and the Under 18 classes, and her brother Sam actually competed in the Open earlier in the week rather than the Under 18. Some great playing on display here, although noticeably again, two much smaller classes than I would have expected. Matilda was on fine form today, as she won both of the classes, performing 'Allegro from Sonata in E Minor' by Veracini for the Under 16, and 'Schindler's List' by John Williams for the Under 18, earning herself Distinction for both.
Carrying on the afternoon we had run of piano classes, starting with 3 piano Jazz classes; Under 14, Under 16, and Under 18. Some fun pieces here on display, and as always with Jazz, some brilliantly titled pieces, such as 'Mr Trumpet Man' and 'Pink Minor' - I think it's a pre-requisite of Jazz composition, that the title needs to be a weird as possible! Some excellent playing all round, with clear understanding of the jazz idiom and the feel, with the winners being Mia Larbalestier for the Under 14 with Highly Commended, Harry Childs with Distinction for the Under 16, and Archie Purdue with Distinction for the Under 18. Carrying on the theme of pianos, we were then treated to a wonderful piano duet from brother Benjamin and Harry Childs, performing 'Popular Song' by William Walton for the Piano Duet Under 18 class. Duet playing on piano is really fun (I've yet to do my duet with my mum later this week), and it can be a challenge in a family dynamic, but these boys seem to have a good grasp on playing as an ensemble on the one instrument. They were awarded a Highly Commended for their efforts. Next up we had two woodwind classes; the Orchestral Woodwind Under 14, and Under 16. What I was really impressed by was the really great bassoon playing in general. I think bassoon is one of those instruments that gets forgotten about, it's a bit like the Viola of the woodwind family! But it has such a unique tonal colour to it, and when it's played well it really does sing in such a unique way. The winners of the classes were in fact two bassoonists, Freddie Furley for the Under 14 with Distinction, and Elizabeth Collenette for the Under 16, also with Distinction.
Finishing off the afternoon session, we were treated to a really lovely and soulful class, the Vocal Jazz, Blues & Swing Under 18 (one of my favourites!) As with the pianists earlier in the afternoon, a great selection of the jazz repertoire on display, and some good understanding of the style of techniques required for jazz vocals. Ben Costello did make a note in a small rant about making sure to credit the composer of the piece, and not the singer - for example, 'Autumn Leaves' is in fact written by Joseph Kosma, not Eva Cassidy as stated in the programme. As a composer myself, I whole-heartedly agree with this statement! I definitely want to be credited for my work. I would go further with this discussion though, as I think the particular arrangement that is being used is also important. So in the case of this 'Autumn Leaves', is was in fact the Eva Cassidy arrangement being used, so it's right to credit her as well. A simple fix for this (for anyone not sure what to do), is to use the surnames and write: Kosma arr. Cassidy (which means written by Joseph Kosma, but arranged by Eva Cassidy). That way everything is covered. It can get complicated when songs have lots of different writers (some have 4 or more!), so your best bet on your entry form is to write them all down in the order they appear on the sheet music, and then if space in the programme won't allow they'll leave it at just the first name, who is the main writer with the most credit. Anyway, I digress, back to the singing! Some wonderful work on display here, with my personal highlights being the lovely work on display from Freya Tardiff again, I really think here vocals have come on in leaps and bounds, and the surprising and gorgeous vocal tone from Rebecca Philp, it was a wonderful surprise, please keep singing Jazz Rebecca! Isabelle Lees also created a wonderful 'Jazz-Club' feel with accompaniment from double bass and finger clicks. All the top three in this class received a Distinction, with Sicely Mountford in 3rd for 'What a Wonderful World', Rebecca Philip in 2nd for 'Why Don't you Do Right?', and the winner was Isabelle Lees for her performance of Fever.
Starting off the Evening session, a couple of piano classes, starting with the Piano Sonata Over 18, with sole participant Marilyn Pugh, performing 'Sonata in G Minor; 2nd & 3rd Movements' by Clara Schumann, and yet again flying the flag for the female composer. Two well presented movements here, of a Sonata that definitely needs to be played and heard more, which earned her a Highly Commended mark of 86 and the Father Phillips Trophy. Continuing on, the Piano Solo Over 18, which by pure chance featured two competitors new to performing at the Eisteddfod, Deborah Lawson, and David Hutchins. Two very contrasting song choices here as well, with 'Mazurka in A minor' by Chopin (performed by Deborah), and 'Thrice in America (Medley)' by Ennio Morricone and arranged by David himself. On this occassion, David won the class earning a Highly Commended mark of 85, congratulations! Continuing the evening, two instrumental classes, starting with the Viola Open. Once again, tremendous variety between the two performers here; an epic movement from Hoffmeister's Viola concerto in D Major, and a short and sweet stylistic folk piece 'Broceliande' by Sasiedzi. In particular, George Walker's playing was, at times mesmerising in his command of the instrument, and very well supported from excellent piano accompaniment. George won with an Outstanding mark of 90. Following the violas, the Orchestral Woodwind Open featuring Madeleine Vaudin, performing an epic flute piece, 'Carmen Fantasie Brillante, by Borne. One thing the Open classes do tend to bring out is huge repertoire, and it's wonderful to see and hear. Madeleine received a Highly Commended mark of 86 and the RH Le Prevost Trophy.
After the interval, we started off the 2nd half of what would be a great 'mix-tape' of vocal performances, with the Barbershop Quartet Open, featuring the bizarrely named Hapax Legomenon.... apparently it translates as 'to say once', and according to the boys they said they literally formed for this performance... and one of them depped in today! Some good understanding from this young group of the Barbershop style, although I think some more attention to detail regarding part balance would be good for them to explore, but this will come as their voices develop. From the arrangement side, it's lovely to see that Archie Purdue did this himself for the group, and shows some promising in writing for the style - I do encourage him to look into the genre more though, moving forward, to really get into the nuances of the vocal barbershop arrangements. A fine performance, for which they won the class with a Distinction mark of 87.
Slightly later in the schedule, as Emma Lancaster kindly agreed to switch so that Dom and I could have a little break before the Jazz class, we next had the Country & Western Over 18, for which Emma sang 'Heartbreak Town' by The Chicks. Emma has a lovely feel for the country style, and brings her usual folk sound to it, which makes for a lovely warm and gentle style for the country genre that I think really suits her. She was awarded a Distinction mark of 87, and the Martyn Guille Senior Trophy. Closing out the evening, the Vocal Jazz, Blues, Swing Over 18 - probably my favourite class to participate in. Three completely different styles of Jazz on display here, with Lindsey Veillard performing a rock'n'roll style rendition of Blueberry Hill, Dominique Ogier performing a huge soul/blues version of 'I Never Loved a Man', and myself with a self-penned sultry slow-swing number 'Sigh No More' (which I did announce before performing, that it's a Shakespeare text that I have set as a jazz ballad). Lindsey was awarded 3rd with a Highly Commended mark of 86, Dominique was awarded 2nd place and an Outstanding mark of 90, and I'm delighted that I won the class with an Outstanding mark of 91! Ben Costello mentioned that he very rarely awards Outstanding to both 2nd and 1st place, so a wonderful rarity to be part of! What a cracking way to end the evening
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| L-R: Simon Howitt & Lindsey Veillard (Voice & Instrument), Emma Lancaster + Dave her accompanist (Country & Western) Dominique Ogier & Lydia Sullivan-Pugh (Pop Song Duet / Jazz Vocals), and Marilyn Pugh (Piano Sonata) |
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