1 Sounds March 2016

March 2016 Organised 1/16 Too many pieces of music finish too long after the end Igor Stravinsky Time to Remember – a Fitting Tribute The Camberwell Chorale and text was expressed by the “parlando” This work, with its contrasts, power Camerata Orchestra under the baton singing of Ian Cousins in the final and poignancy demands future of Douglas Heywood presented a movement. The fortissimo entry of performances. The angular melodies powerful and sensitive performance the chorus crying out for peace at the and changing time signatures require of “Dona Nobis Pacem” by Vaughan words “Dona, dona nobis pacem” much rehearsal and focus for any Williams and of the Symphony No 1, gave a sense of urgency, which was choir, but the Camberwell Chorale “Unsung Heroes”, by Michael Easton. then followed by the pleading of the rose to the challenge, presenting a Although very different works in many soprano soloist, Lauren Oldham, very convincing performance of this ways, the works delivered the same singing her top notes effortlessly. work. message of the inhumanity of war. The chorus captured the futility of The First movement included the The Cantata “Dona Nobis Pacem” by war through its strongly supported poems “On receiving News of the Vaughan Williams commenced with and rhythmically precise singing War – Isaac Rosenberg, A Shropshire the pleading of the soprano soloist, commencing with the words “the Lad – A.E. Housman and “In the Lauren Oldham and the baritone summer is ended”. Although the Ambulance”. In this movement the soloist Ian Cousins, accompanied chorus experienced some difficulty juxtaposition of the mundane “two tenderly by the Camerata Orchestra. with a polyphonic section, the rows of cabbages” with the words In the next section “Beat! Beat! unaccompanied singing of the choir expressing the desolation of war was Drums!” the powerful chorus was at the end of this cantata with the extremely powerful and conveyed with given extra strength by the strong words “Dona nobis pacem” sung great sensitivity by the chorus and the lower brass, although at times the unaccompanied and with a beautiful, orchestra. Musical dialogue between enthusiasm of the lower brass made supported tone, made the work all the the baritone and soprano soloists also it very difficult for the chorus to bring more poignant. brought out the parlando character of the fortissimo singing to the forefront. This performance was marked by its the work. The Third movement “Reconciliation” skilled choir, beautifully rich tone of the In the Second movement, “Man’s allowed the chorus, soloists and soprano soloist, expert baritone, and anger at the enemy” the driving orchestra to express the desolation of very supportive orchestra. tempo conveyed the nervousness and war commencing with the beautiful The Symphony No 1, “Unsung anger. This was most ably supported violin solo answered by the mournful Heroes” by Michael Easton, was by the drive of the orchestra. oboe. The expressive power of soft composed to pay tribute to those In the Third movement, Adagietto “To singing was particularly apparent in involved in the war that was meant to the distant beloved”, the orchestra the stunning final section commencing end all wars. Dedicated to Douglas immediately captured the solemnity with the solo soprano singing with the Heywood, the Camberwell Chorale of the movement. The soloists full chorus “Word over all, beautiful and the Caulfield City Choir, in the responded to the tenderness of the as the sky”. The Camerata orchestra words of the composer, it was meant text and the sustained strings added captured the spirit of the dirge with to “paint a picture of the Great War to the tenderness of the Adagietto. its march-like precision in the opening and its effect on the community at of “Dirge for Two Veterans”. The large”. The work, for soprano and . . . continued at bottom of page 11 . . .  excitement of “I hear the great drums baritone soloists, chorus and orchestra, pounding”, expressed by the full contains settings of a number of Inside . . . choral sound, was supported aptly by poems, including “For the Fallen” by New Committee and President 2 the orchestra. All forces demonstrated Laurence Binyon (see page 11), the Vale Val Kerr 2 & 3 great control of dynamics, especially fourth verse of which is which is often The Murray Wine Cellar 4 leading into the powerful orchestral recited at Anzac Day ceremonies. Christmas Photos 6 interlude with a superb lyrical contrast The considered, sensitive recitation Musical Literacy 8 by the chorus commencing with the of the poems before each movement Reviews 10 words “In the eastern sky”. by Heather Sanderson added to the For the Fallen (poem) 11 The desolation and coldness of the effectiveness of the performance. A Touch o’ Humour 12

Correspondence: John Gregory (Editor), 43 Blanche Street, St Kilda 3182 • Ph – 9537 0153 2 3

March 2016 March 2016 Reprinted from Sounds Organised, August 2005. My father had been the Victorian Valerie Margaret KERR Rhodes Scholar in 1913, and he Val Kerr (alto) was keen for us to hear the carol 29 July, 1919 – 29 February, 2016 singing from the top of Magdalen The Camberwell Chorale has teaching career at MLC in How Music has Affected my Life Tower in Oxford at 6 o’clock on had the privilege of having the position of Chief-of-Staff. May Morning, a very old tradition Val Kerr as its member since Her gentle and thoughtful that is still kept up every year. This music director, Ruth Flockart, who 1985. manner was highly valued, I was fortunate to have a good was followed by Morris dancing, was well-known in Melbourne for Her enjoyment of the music and so it was when she joined start in life, with musical parents punting on the Cherwell and students the quality of the choirs she trained and the people in the choir Camberwell Chorale in 1985, who were always encouraging having breakfast along the banks. and conducted. I was fortunate to gave her much happiness. following her retirement from and understanding, especially of An unforgettable experience! be chosen for her school choir and She sang in the alto part MLC. Val continued to be an eight-year old not taking kindly smaller madrigal group of about I would also like to mention two and enjoyed the company of a friend and mentor to all, to piano practice. My mother had twenty singers. I can remember other special events I was fortunate those around her. regardless of age or situation. been a piano and singing teacher She listened, encouraged and before her marriage, and I can the enjoyment of preparing for the enough to attend with friends. Firstly, It was to be one of her supported all around her. never remember my family life Inter-House Music Contest each year, in 1978, we were in Venice for a great commitments for the particularly when I had the pleasure concert in San Marco to celebrate She loved music and without music seeming to be part of next twenty-five years until of conducting my House choir in my the tri-centenary of Vivaldi’s birth when the Christian Tongan everything we did. she retired from attending final year. (1678-1978). Secondly, in 1984, congregation came to her rehearsals and performing My mother had a light soprano we enjoyed a wonderful recital in church in Canterbury in 1991, As I look back, I can see that it was in 2010. Following this, she voice, and whenever she was invited the drawing room of Grieg’s home, she embraced the change the sight-reading training that was attended all performances as to sing anywhere, mostly gatherings Troldhaugen, near Bergen, where of music style and worship going to be the most valuable to a member of the audience in different homes, she would always the piano was one which had been traditions with her usual me in the future. As well as choral and often encouraged others accompany herself on the piano. played by the composer. It dated positive attitude. She loved items, part of the contest was a sight- to attend. This seemed to me quite normal from the 1840s, as did the beautifully the people too and, at her at the time, but I realize now how reading test where a blackboard She enjoyed every carved piano stool. final Thanksgiving Service on capable she must have been. She was turned round and we were performance and afterwards 7 March, the Tongan people and my father with his rich bass given a short time to look at it I consider myself greatly blessed to told everyone how well the shared their love for their voice were members of our local before singing the notes in sol-fa. A have had the opportunity of singing choir sang. “honorary Tongan”. Again, Congregational Church choir for group of about thirty girls took part in the Camberwell Chorale; and this Val had been associated with her pastoral care for others over forty years. From the time they in this. Dr Floyd, our adjudicator, widening of my musical experience Methodist Ladies’ College, and her patience in all things were first engaged my parents sang would allocate points for the has given a real purpose to my Kew, as a student in 1932, was so evident in her life. in “Messiah” performances as the various sections. His summing-up retirement. I would like to finish by later as a teacher and, We have said farewell to a soprano and bass soloists in different was always entertaining, but with reminding all my fellow-choristers finally, as a Patron of the Old good and gentle friend. churches. I joined my parents later his whimsical sense of humour he never to take anything for granted Collegians’ Club and the and had many happy years, initially enjoyed keeping us in suspense until as it is only when you see the end of was always Val who found the At the end of the service, the MLC Friends. singing soprano, before joining the the last moment. At this time I was your singing days approaching that mistakes with her expert reading of Tongan Choir sang farewell in altos. My present Uniting Church still having piano lessons, a subject I you truly appreciate how rewarding As an English teacher she was words, punctuation and grammar. their native language. has a wonderful Tongan choir and I took for my Matriculation, and I had and fulfilling it has all been. very thorough and, when the Anything that passed her careful Translated it is, “God be with you only sing with them when the anthem also begun learning the cello. proof-reading of our concert scrutiny, deserved its freedom! till we meet again.” Val Kerr programs was needed, it is in English. From 1954-56 we had two years in • • • Val Kerr completed her long Isobel North We began attending MSO concerts London when my father was one of in the Melbourne Town Hall in the the two doctors at Australia House 1930s. Our seats were in the examining prospective emigrants. COMMITTEE, 2016–17 balcony overlooking the orchestra, We attended many concerts at President – Di Camilleri Other members of the Committee are as my father felt it would be more the Royal Festival Hall and Royal STOP PRESS (Ph - 9855 1221) as below. ‘Portfolios’ are yet to be interesting for me and my two Albert Hall during that period and brothers to be close to the players. we were privileged to see and As of the AGM on 22 March, Di Secretary – Michael Coughlan allocated. In the early days my mother always hear in action such conductors as Camilleri is the new President (Ph - 0419 411 225) Marieke Van de Graaff wore an evening dress complete Sir Thomas Beecham, Sir Malcolm of the Chorale, replacing Adam Treasurer – Peter FitzRoy Stuart Hamilton with long white gloves, which was Sargent and Sir John Barbirolli, Brown, who has been in the position (Ph - 9827 6806) Rodney Van Cooten the custom for concertgoers at that as well as hearing Eileen Joyce since March 2009. A big welcome Non-Committee Positions Margaret Keighley in an unforgettable performance to Di (who of course has been an time. I can still hear my father Helen Brown of Rachmaninoff’s No. 2 Piano active member of the committee for Music Director – Douglas Heywood OAM calling out “Bravo” when he had (Ph - 9391 2086) Isobel North Concerto, which has always been a some years), and many thanks to been particularly moved by a certain Bronwen Lane favourite of mine. Elsie Morrison, an Adam, whose combination of quiet Assistant Music Director – Alexandra performance. I still attend MSO Cameron Jane Houghton Australian soprano, was performing leadership and financial acumen concerts, the only change being that (Ph - 9391 2086) Geoff Best have both benefited the choir I go to the Saturday afternoon series. leading roles in London at that time Maybe one or two others tremendously during his years at the All told, I have been a subscriber for and we heard her in “La Boheme” Newsletter Editor – John Gregory and “The Marriage of Figaro”, helm. A more detailed appreciation (Ph - 9537 0153 over seventy years. of his Presidency will appear in the both at Covent Garden, and also in Newsletter Assistant – David Dyson When I was a student at MLC in “Messiah” at the Royal Festival Hall. next issue. [Ed.] (Ph - 03 6259 5699) the 1930s there was a wonderful Ninetieth, 2009 4 5

March 2016 March 2016 rest of the under-the-house getting as the turnover and number of Finally I would like to comment on The History of Chris’ Wine Cellar overly warm. bottles in the cellar reached its James Halliday’s excellent Virtual peak. As one takes a bottle or I had long wanted to cellar wine, in bits and be reassembled under The first crisis came one very hot The next problem began as the Cellar Concept. This was based two out of one of the racks, holes and had read many articles about the house. ‘ no mean feat on summer. Hitherto I had been cellar began to grow. Currently very much on my own lines – like are created. As new cases come what not to do. Don’t store wine one’s hands and knees in the monitoring the temperature in the the eight racks I have will store most of us cellarmasters, we need in these holes are filled with odd under the stairs – easy for me dark. It became clear that light cellar with a TempTec max/min about 650 bottles. At the to know what we have and when bottles from a case or two. Over we don’t have any. Not in the on demand would be useful in the temperature probe. This showed beginning I would take a couple to drink it. But unfortunately not a period of years enthalpy (or the cupboard or the garage. We have cellar. Fortunately the previous that the temperature in the cellar of the initial dozens for drinking, all my wine has yet been reviewed increasing state towards chaos) cupboards but only a carport. owner of our house had the power during the winter and spring varied and store the rest. The cellar grew by the master – some may never reached its nadir. Theoretically I What we do have however is connected under the house. A only a few degrees – perhaps in nice order with groups of bottles pass his lips. It would help if one knew WHAT was in the cellar, but I under the house. But access is power board and a couple of 16 to 18°C. Then the heat wave neatly together. I introduced the could add such wines to complete had no idea WHERE any particular limited to a doorway of 600 x globes shone a welcome light on struck Melbourne. At that stage I “Can Ban” system whereby each the whole picture. I love the Wine bottle was. This is the challenge 550mm; everything (including my future endeavours. panicked. By then there were a bottle in the cellar had a label. I Companion and, like James, I now face. I suspect the answer people – more about that later) couple of hundred bottles in the would use “labels mail merge” face the ultimate challenge (on And now to stock the rack! My lies in identifying each separate must pass through this rather cellar in danger of being cooked. in Word® to print out sticky a somewhat smaller but equally strategy then was to buy in dozen location (yes all 600 of them as restricted opening. Inside the My immediate solution was to go labels which I then attached to important scale) of when to stop lots – guided by The Age Epicure, well as other sundry magnums, the door, whilst not exactly a Tardis, to purchase dry-ice in brick shaped cardboard labels. These labels collecting and winding it all back James Halliday, et al. The first odd bottle of Vintage port, and the space opens up so that at least blocks, and simply throw them were hung on the bottle necks with to a couple of old timber wine rack held forty-four bottles. It other boxes which don’t fit in the one can crawl on hands and knees through the cellar door. It worked brightly coloured rubber bands. racks. Whatever happens, the wasn’t long before more racks racks) and reprinting all the labels rather than belly – at least those of to a point, but was an expensive And the labels could be recycled journey has been wonderful fun were needed. I experimented with this crucial information. But us with small bellies. solution, and with the hidden with new information placed and my children regrettably have with bits of “2x1” pine screwed where to start? Volunteers are hazard of being asphyxiated over the original sticky label. been very spoiled to enjoy cellared Curiously, the trigger to start this together, other assorted bits of welcome to help relay the current trying to recover a bottle to drink. Simultaneously I logged the wine in wine since they enjoyed their first venture was a decision by my timber, and MDF. My final racks bottle description in each location So the solution was – Air Condition on a spreadsheet, including all the sip. Employer to sell off some old (numbers 6, 7 & 8) were made to a new spreadsheet – all 650 of the Cellar. details about winemaker, region, furniture. It struck me that one entirely of MDF cut in opposing them. But as described previously, vintage, etc., along with some of Chris Murray old bookcase could conceivably strips and assembled without My wife was dead against this only people of meagre girth need my own descriptive wine tasting be converted into a wine rack. I screws with reinforcing strips at the course of action stating that it was apply. We love having friends notes such as “hmm like this” or P.S.� the whole house was air offered $2 for this rather battered back to give rigidity. Of course more important to air condition over to dinner, and I always invite “beautiful, should buy more”. conditioned one month later – thus old bit of timber, and was pleased they had to be reassembled under the house rather than under the my guests to get down on hands saving our marriage. when my (the only) bid was the house – a task that would have house. My response to this was “ Thus I knew what wine was in and knees, get into the cellar and accepted. By careful use of the been easier with eight arms – but Frankly my dear, you can get over the cellar at any particular point choose whatever wine they would chain saw I deconstructed the the job got done. And regardless, a couple of hot days – the wine in time. As wine was taken out, like to drink. Only the slim ones bookcase and recreated my first all the racks were bespoke – to fit can’t”! The wine won. The new I collected the labels, and every avail themselves of the offer. rack. It had to pass the doorway the space. cellar had to be separated from now and then would update the the rest of the spreadsheet. As under-the-house the last of a case by a series of was consumed I stud walls which would archive the themselves were details. Major insulated with problems began pink batts. In when the rubber the wall closest bands began to the outside to perish. Dear wall of the wine cellarer house I installed – do not use the small air brightly coloured conditioner – just rubber bands a plug-in version for your labels. from one of the One day I saw appliance stores. that nearly all The key here was the labels had to also install an fallen off like extraction fan leaves blown at the outside by the autumn vent. This took winds onto away the warm the floor of the air from the cellar. Stick to air-conditioner heavy duty brown outlet and blew rubber bands. it outside – The penultimate stopping the challenge arose 6 7

March 2016 March 2016

Another

very

happy

Christmas

Party

2015 8 9

March 2016 March 2016 transferable, and analysable. A significant question the music rescue incoherent lyrics and an Musical literacy – a skill of some note(s) It connects us to well over a critic must ask, then, is: to what unimaginative melodic and rhythmic Music notation itself has changed can appear to some as merely millennium’s worth of historical extent is the music offering any design. It should flop, but it hasn’t. from the early modern period to the “just another brick in the wall”, music practice. above all, it allows resistance to its appropriation We should be asking ourselves, present day. as Pink Floyd would have it; a us to render music into objects of as a tool in social and economic why this is the case? heightened critical contemplation. domination? Earlier this year a story ran in means of subsuming individual Surely our capacity to make such the UK press which revealed that artistic freedom into predetermined Just as the printed word not Adorno was deeply distrusting of evaluative judgements depends it was Heather Mills who taught patterns of thought. only made it possible not just to what he thought was the pseudo in part on an educated musical her daughter music, not her ex- We thus end up with a rather preserve, but also deconstruct folk-culture around popular music. populace. Music notation is a key husband, Sir Paul McCartney, Orwellian notion educational idea and reflect upon the various ways In his analysis, this ethos concealed tool in being able to turn mere because he cannot read music Music production today is largely concerned with that here, at least, ignorance is we construct words to help give a commercial imperative that was opinion into forensic judgement. notation. McCartney and John technology rather than notation. meaning to our world, musical premised on manipulation and strength. Might an emerging lack of Lennon left the job of notating their notation gave us a similar capacity imposition of the populace from Preordained systems of confidence in the educational music for the Beatles to producer This shift reflects not so much the to reflect deeply on how music does above. communication like musical notation centrality of music notation really George Martin. example of McCartney and others. the same. are inevitably normative, and So the role of tertiary music be just another manifestation of the Rather, technological advances thus potentially oppressive to the institutions in preserving the forms cultural logic of late capitalism? in music production have all but creative expression of individuals and critical tools of musical culture obliterated the need for popular Whatever we think, maybe and minorities. is crucial. As musicologist Ian Pace music to be transcribed into musical educational debates like these wrote recently: notation for it to be exchanged The abolition of such norms has should occasionally be couched at between producers, performers, become, according to a recent (Tertiary music education such a level. Questions like these, and listeners. essay by the great theorist of should) provide arenas after all, are what higher education postmodernism, Frederick Jameson, where it is possible to carry in the arts should be about. Recall that it was not so long ago “a burning political issue”, often out intellectual and creative Questions about what it means to when the latest commercial musical associated with “identity politics (and other) work, involving be rational agents in civil society, hits could be bought as sheet music and the politics of secessionist genuinely independent and what kinds of investments – to be played at home on the piano groups and marginal or oppressed Robert Schumann’s draft for Des Abends from critical and self-critical educational and economic – we or guitar. Sheet music may still be Former member of the Beatles, Paul McCartney, cultures”. Fantasiestücke (1837), Op. 12, Nr. 1. thinking, in which few things need to make to sustain such a available today, but in the digital during a 1989 concert in London. are taken as read, everything society. era, neither the creation nor the Preserving music, preserving Rather than being a utopian is rigorously questioned on consumption of music demands The news was received with frisson culture moment of artistic (and thus a regular basis, with a fair mediation through a written score. in some quarters, suggesting that political) freedom, an emerging loss degree of autonomy from a central goal of traditional music of confidence in notated musical commercial or other external education, the ability to read music, culture might in fact foretell its very function. was, self-evidently, unnecessary for opposite: a loss of a particular a career, let alone a qualification, type of imaginative, historical, and Music and late capitalism in music. political capacity in our society. What might a world without a Given the ongoing threat to the As early as 1938, in the critical music culture look and sound funding of such music education in provocatively titled essay “On like? Some commentators suggest Music Notation has, and continues to be, essential for schools it certainly gives us pause the Fetish-Character in Music and we already know. preserving music. for thought. the Regression of Listening”, the For cultural historian Ted Gioia, German philosopher and social Oh, and just for the record, Lennon Should we teach music notation? music criticism is becoming mere critic Theodor Adorno suggested and McCartney may not have Should the ability to read music “lifestyle reporting”. Or as music what such a loss might mean in read music. But you can be quite be a prerequisite to take a music critic Jessica Duchen suggests, pop practice. The real dichotomy faced sure that pretty much everyone degree or, indeed, teach music? music itself is becoming “watered- by Western musical culture, he else involved in the transfer of their down tat with scant musical content, This is much more than simply an thought, was not between “light” musical ideas into monuments of using only a few basic chords.” academic question. After all, a and “serious” music but rather world culture did. specialist music teacher represents “between music that was market- a significant investment by the state. Popular sheet music: Wonderful World of Disney Peter Tregear, (1970). oriented and music that was not.” Symbolum Nicenum from the Mass in B minor (1749) Teaching Fellow, More than simply notes on a (BWV 232), by Johann Sebastian Bach. Royal Holloway, page? At the tertiary level, I suspect this emerging lack of confidence in University of London, To be sure, musical notation is Musical literacy is indeed no longer music notation can also be traced The Conversation indeed a reductive system that a prerequisite skill in many of the to a broader, utopian urge to November 3, 2015 inevitably shapes and limits what it Sam Smith won many Grammys in 2015. degree courses in music emerging rid the world of old-fashioned at major Western universities. This attempts to describe. hegemonic norms and institutional A good example might be found is particularly true of courses that values. But it still provides the most in Sam Smith’s Writing’s on the focus on popular musical genres powerful means yet developed The teaching of notation as a Wall (2015), the theme song for and music production. for turning the musical work cornerstone of music education the latest Bond film. Heightened into something preservable, Don t Jazz Me - Rag (1921), by James Scott. music production values cannot 10 11

March 2016 March 2016 Two views . . . For the Fallen Art and Music collide with Art talk leaves a lasting Poem by Robert Laurence Binyon (1869-1943), published in The Times newspaper on 21st September distinction impression . . . 1914. Our choir excelled in a unique concert on 18 October On Sunday 18th October, a captivated audience at the Hawthorn Arts Centre entitled “It’s an Impression”. attended Camberwell Chorale’s performance of ‘It’s What made it extraordinary was the combination of good an Impression’ at the Hawthorn Arts Centre. CC With proud thanksgiving, a mother for her children, music with two visual presentations by our own inimitable Tenor and Professor of Fine Arts, Dr John Gregory, England mourns for her dead across the sea. historian, Dr John Gregory, who imparted his knowledge to all Flesh of her flesh they were, spirit of her spirit, brilliantly exposed us to the with a visual presentation on Fallen in the cause of the free. Robert Laurence Binyon, by artist William Strang. connection between art and music Art Impressionism (form of Solemn the drums thrill: Death august and royal They mingle not with their laughing comrades again; of the Impressionist period. Doug art using rough brushstrokes Sings sorrow up into immortal spheres. They sit no more at familiar tables of home; Heywood, of course, came up of vivid colour on canvas and There is music in the midst of desolation They have no lot in our labour of the day-time; trumps with a lovely range of solo, encompassing artists’ ideas And a glory that shines upon our tears. They sleep beyond England’s foam. instrumental and choral music. and feelings, in particular, of They went with songs to the battle, they were young, France, Parisian life, nature and But where our desires are and our hopes profound, According to Wikipedia, Straight of limb, true of eye, steady and aglow. people) featuring more than Felt as a well-spring that is hidden from sight, “Impressionism in music was a They were staunch to the end against odds uncounted, thirty masterpieces from its birth To the innermost heart of their own land they are known movement among various Western They fell with their faces to the foe. As the stars are known to the Night; composers, mainly during the late and early life, c.1860-86 They shall grow not old, as we that are left grow old: 19th and early 20th centuries, whose (originating from French artist As the stars that shall be bright when we are dust, Age shall not weary them, nor the years condemn. music focuses on suggestion and Monet’s Impression – Sunrise Moving in marches upon the heavenly plain, At the going down of the sun and in the morning atmosphere, conveying the moods 1872, and continuing with works As the stars that are starry in the time of our darkness, We will remember them. and emotions aroused by the subject rather than a detailed from French artists, Morisot, Corot, To the end, to the end, they remain. tone-picture. Musicians were labelled Impressionists by Manet, Renoir and Degas) to its influence and analogy to the Impressionist painters who used colour, light later evolution c.1886-1926 (with works from Inspiration for “For the Fallen” th and blurriness to make us focus our attention on the overall British-based Whistler, Australian Impressionists, of Le Cateau on 26 August, and its participation with the impression”. Roberts, Streeton, Condor and McCubbin (from Laurence Binyon composed his best known poem while French Army in holding up the Imperial German Army at Heidelberg School) and Russell, Dutch painter, van sitting on the cliff-top looking out to sea from the dramatic the First Battle of the Marne between 5th and 9th September John covered the birth and early life of Impressionist painting Gogh, and French artists Seurat, Gauguin, Pissarro, scenery of the north Cornish coastline. A plaque marks the 1914. with numerous splendid examples of paintings by Monet, and with more paintings from Renoir and Degas location at Pentire Point, north of Polzeath. However, there Renoir, van Gogh and others, then Ruth Stone on flute, Laurence said in 1939 that the four lines of the fourth before finally finishing with Monet’s Nympheas is also a small plaque on the East Cliff north of Portreath, accompanied by Simon Stone, on the piano played three stanza came to him first. These words of the fourth stanza [Waterlilies]. further south on the same north Cornwall coast, which also short pieces by French composers have become especially familiar and famous, having been The Chorale, Soprano soloist, claims to be the place where the poem was written. adopted by the Royal British Legion as an Exhortation of the period (Ganne, Honegger Lee Abrahmsen, flautist, Ruth The poem was written in mid-September 1914, a few weeks for ceremonies of Remembrance to commemorate fallen and Mouquet). Next came some Stone and pianist Simon Stone after the outbreak of the First World War. During these Servicemen and women. music by the choir featuring a stunned all with a repertoire of weeks the British Expeditionary Force had suffered casualties variety of leading Impressionist pieces concentrating on works Laurence Binyon was too old to enlist in the military forces following its first encounter with the Imperial German Army composers (Sibelius, Holst, Elgar from numerous composers but he went to work for the Red Cross as a medical orderly at the Battle of Mons on 23rd August, its rearguard action and Debussy). that captured the essence of in 1916. He lost several close friends and his brother-in-law during the retreat from Mons in late August and the Battle The second half was no less Impressionism in the late 19th in the war. informative for Choir and audience and early 20th centuries through alike. John spoke – with more embracing non-traditional scales . . . continued from page 1 – A Tribute to the fallen, a warning to the world”) somewhat diminished in numbers, evocative illustrations – of the and tonal structures from its Enormous contrast was achieved again contained enormous contrasts it conveyed the intensity, tenderness global impact, and later evolution, French founder, Debussy, along in the Fourth Movement, Scherzo 2 that the choir and orchestra addressed and power of “Unsung Heroes”; it of the Impressionist style. Soprano with other French composers, (“Battle Scene”), with the fast 3/8 well. The opening string tremolo paid justice to the stunning, varied Lee Abrahmsen, accompanied by such as Faure, Ravel, Mouquet time. The orchestra drew on all its contrasted to the jubilant singing of poems and music. Simon, sang two works by Debussy and Gaston, Swiss composer, resources to present a powerful climax, the choir at the words “Ev’ry one The silence at the conclusion of and Ravel, before the Chorale Honegger, English composers, supported by the throbbing quavers suddenly burst out singing”. At the the performance demonstrated the finished the concert in fine style with Elgar and Holst and ‘Finland’s in the brass. Extreme contrasts were words “They shall grow not old” powerful impact the performance the chorus enhanced the poignancy five pieces by Gabriel Fauré. national composer’, Sibelius. handled expertly by the orchestra and had on the audience. Douglas contributed to the feeling of panic and through their full, rich sound, and Heywood is to be congratulated for This was both an enjoyable and Whether art or music enthusiast turmoil of a battle scene. again the soloists conveyed the pain his support of the writing of this work memorable experience, so much or novice, there was more than of the text through their beautiful The Intermezzo (“After the Battle”), and Douglas, along with the choir so that we are encouraging John enough to entertain and enlighten performance, which continued to the the Fifth Movement, gave the choir and orchestra, should be very proud to study the connection between very final note of the orchestra. all. the opportunity to show how it could to have presented this performance of psychedelic art and music of the swinging 60s, so we can handle largely unaccompanied It was an honour to be at the such a memorable work. insist that he and Doug prepare an appropriate concert Well done John, we look forward to the next chapter sections with excellent diction and a performance of this work that on Romanticism later in August! paralleling modern �art and beat music. full tone. The fine singing drew the demands more performances as a Ophelia Bryant Priya Mohandoss� audience to the text they conveyed. tribute to the countless who have Director of Music, been touched by the inhumanity Robert Fisher The final movement Finale (“A tribute Korowa Anglican Girls’ School of war. Although the choir was 12

March 2016 One Perception Let him who is without sin cast the first stone . . . of Messiah A little Prayer and Supplication I’ve just had a letter from a friend of mine, Almighty and most merciful Conductor, Mrs Jones. She got a free ticket for a We have erred and strayed from thy beat like lost sheep; performance of Handel’s Messiah, sung by the Huddersfield Choral Society. Well, We have followed too much the intonations and tempi of our own hearts, she’s never heard anything like it before. We have offended against thy dynamic markings, It’s not really her thing. Anyway, this is We have left unsung those notes which we ought to have sung, what she wrote. An we have sung those notes which we ought not to have sung, Eee well, she wrote, it were fair champion. And there is no support in us. I wouldn’t ha’ missed it for all the tea in But thou, O Conductor, have mercy upon us, miserable singers; China. When I got there the Town Hall Succour the chorally challenge; were crowded. Restore thou them that need sectionals; spare thou them that have pencils. It was chock full o’ folk, and I had a job Pardon our mistakes, to get a seat, but no winder – it was all And have faith that hereafter we will follow thy directions them – singers – they took up half the And sing in perfect harmony. Amen gallery. There was a chap larkin’ about on the organ. He weren’t playing nowt in particular, just runnin’ his fingers up and down as if he were practising like our George used to do when he started to learn to play the pianner. Well, after a bit, a lot o’ chaps came in carrying fiddles, then they brought in the Messiah. Well, that’s what I took it to be. It was the biggest instrument on the platform, and it was covered in a big green bag. Anyroad, they took the bag off it, and then a bloke rubbed its belly with a stick, and you should have heard it groan. It were summit like the last expiring moan of a dying cow. I was just thinking o’ going, when a little chap came on, all dolled up in a white waistcoat and wi’ a flower in his buttonhole and everything went dead quiet. You could have heard a pin drop. He had a stick in his hand and he started waving it about and all the singers stared at him. I reckon they were wondering what was the matter with him. Then they started to sing and they hadn’t been going long before they were fratching like cats. I reckon he should ha’ every mountain and hill should be laid After that they sobered down a bit and walloped one or two of them with that low. I thought they’d be sure to find ‘em if sang about a lass called Joyce Greatly stick. First one side said they were the they did that, as well as finding work for – I’ve never heard of ‘er myself, but the King o’ Glory, then t‘other side said they the unemployed. Then up jumped another chaps had, ‘cos they all looked mighty were, and they went at it hammer and bloke, an’ did he look mad. I wondered if pleased about it. tongs. But it fizzled out, so I’ve no idea they’d taken his sheep to make up for them Then some bloke got up and said he were which side won. he’d lost. He said they’d imagined a vain the King o’ Kings, and another one said Then there was a bit o’ bother about some thing. He was in a right state I can tell you. he was, and then blow me, they all started sheep that was lost. I don’t know who Then the organist started banging, and arguing about the matter, and they all they belonged to, but they must have been the rest o’ the band was just as mad ‘cos suddenly shouted, “Hallelujah, it’s going to champion twisters and turners – judging the way they was sawing them fiddles I rain for ever and ever”. by the words and fancy music. One set thought they was goin’ to go through ‘em. Well, at that I jumped up and made of singers must have been very fond o’ I bet everybody was glad when that bloke straight for the door. I’d had me money’s mutton, ‘cos they kept singing “All we sat down. worth, and besides I was thinkin’ that if it like Sheep”. I couldn’t help saying to a A lot o’ wimmen stood up after that and was goin’ to rain, for ever and ever, I’d bloke next to me that sheep’s alright in all of ‘em looked as if they were, well, better get home before the flood came. moderation, but I like a bit o’ underdone getting on a bit. Some of ‘em must ha’ bin beef meself, and he looked daggers at It was really good although you should ha’ 64 if they was a day.. They sang “Unto me, and said, “Shhh”, so I shushed. come. But, oh, I do hope they find them us a Child is Born”, and the chaps sang sheep! Then a chap stood up and sang by hisself. back “Wonderful”. I reckon it’s a bloomin’ They must ha’ been his sheep, ‘cos he said miracle.

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