HANDEL’S MESSIAH

The Echoing Air and Music for Awile

Thursday 19 December at 6pm at St Mary’s church, Bruton, Somerset

A rare intimate chamber performance of Handel’s great work, ‘Messiah’, featuring world-class musicians.

The Echoing Air, a vocal ensemble of eight singers will sing both the choruses and solos, accompanied by the instrumental ensemble Music for Awhile, a quartet of baroque string players, led by Margaret Faultless, a harpsichordist and a trumpeter. This is an abridged performance of Messiah, with significant cuts, but including the famous ‘Hallelujah’ chorus. Running time approx. 1.5 hours.

Performers: Amy Carson (soprano), Timothy Dickinson (bass-baritone), Frederick Long (bass-baritone), Emily Vine (soprano), Rebecca Leggett (mezzo-soprano), Edmund Hastings (tenor), David de Winter (tenor), Margaret Faultless (violin), Rachel Stroud (violin), Francesca Gilbert (viola), Jonathan Rees (cello), Katie Lodge (trumpet), Oliver John Ruthven (continuo).

This performance follows popular performances by The Echoing Air at Wyke House in Somerset, and at St Mary’s church, Bruton.

Praise for The Echoing Air (audience comments from previous performances)

‘Really great performance and we couldn’t have enjoyed it more.’

‘I came to the Messiah concert in Bruton. Absolutely superb! I have never heard it sung with such meaning or passion.’

‘Absolutely brilliant performance….such a high standard.’

‘Superb. The chamber music atmosphere made one really engage with the music. The standard of the players was amazing and the whole performance was totally engaging. I found it both emotional and hugely enjoyable.’

‘It was a huge privilege to attend a performance of The Messiah. An extraordinary experience.’

Thursday 19 December 2024, 6pm (doors 5.30pm)

Tickets £12.50 in advance/£15 on the door

Booking link: https://www.ticketsource.co.uk/theechoingair/handels-messiah/e-dqyjgq

This post is inspired by Episode 2 of Season 3 of The Bear, a drama series about a young chef, Carmy Berzatto, trained in the fine dining world, who comes home to Chicago to run his family sandwich shop after a heartbreaking death in his family. By the third series, the noisy sandwich shop has been transformed into an elegant fine dining restaurant and Carmy is seeking a coveted Michelin star. In this episode, Carmy draws up a massive list of what he calls “non-negotiables”: the things that the restaurant must do on a consistent basis to achieve greatness.

Jeremy Allen White as Carmy Berzatto in The Bear

Looking through the list, while some of the non-negotiables are explicitly related to cheffing and kitchen/restaurant management, a number could apply equally to the musician in pursuit of consistency and excellence in their practice and performance of music.

It is a truth universally acknowledged that noticeable progress, at whatever level you play, comes from a well-organised, consistent, focussed and thoughtful approach to practicing. It’s not quantity (of hours spent practicing) but the quality of practicing that counts.

This, for me, is where Carmy’s non-negotiables come in.

These principles, though originally used in contexts like culinary arts or other forms of craftsmanship, translate beautifully into music practice.

Change the Menu Every Day

Boredom is the enemy of progress, so incorporate variety into your daily practice routine. Instead of doing the same exercises daily or beginning with the same piece in the same place, try different approaches to challenge yourself in new ways.

No Repeat Ingredients

Avoid getting stuck in repetitive patterns. Constantly seek new skills, concepts, and exercises to enrich your practice. Challenge yourself with new materials rather than only practicing familiar ones. For example, if you’re used to playing pieces in a specific genre, try something completely different, like a jazz standard if you usually play classical repertoire.

Know Your Sh*t!

Fully understand the fundamentals of music, including theory, notation, and instrument mechanics. This knowledge helps you interpret music more intelligently and aids problem-solving

Respect Tradition

Appreciate and study the foundational pieces and techniques of your instrument. Understanding the work of past masters and traditional techniques gives you a solid framework of musical knowledge. BUT don’t let tradition or orthodoxy stand in the way of your approach to your music making or your personal interpretative choices. Remember, you can use the pedal in Bach!

Push Boundaries

Explore new techniques, unusual genres, or challenging pieces that lie just outside your comfort zone. This pushes your growth and helps you develop your own musical voice and autonomy as a musician.

Technique, Technique, Technique

Build a strong technical foundation. Mastering technique gives you control, precision, and freedom to express yourself without being limited by physical obstacles. But always remember that technique should serve the music, not the other way. Don’t let technique become the be all and end all of your music practice.

It’s Not About You

Remember that music serves a larger purpose – whether it’s storytelling, emotional expression, or creating a shared experience. Approach practice as a way to honour the music, not just to showcase your skills. If we become too emotionally attached to our music and instrument, it can cloud our objectivity: don’t let a bad practicing session translate into general negativity. Reflect and move on.

Additionally, be open-minded about taking advice from others – teachers, mentors, trusted colleagues and friends.

Less is More

Instead of overplaying or adding unnecessary elements, focus on clarity and purpose in each note. Embrace simplicity and avoid cluttering your performance or practice. For example, avoid false sentiment or the over-use of rubato to add more “expression” – it can sound contrived.

Details Matter

It goes without saying that we should pay attention to small details- dynamics, articulation, tempo changes, phrasing, pedal markings. These details bring music to life and distinguish good from great performances.

Confidence and Competence

Cultivate both confidence and competence through thorough preparation (“deep practicing”). Knowing you’ve practiced well allows you to play with conviction, which listeners can feel.

Constantly Evolve Through Passion and Creativity

Approach each practice session with curiosity, open-mindedness, and a willingness to improve. Use your passion to fuel your creativity and push yourself to develop.

Cecily Beer & the Chamber Orchestra of London, arranged and produced by Thomas Hewitt Jones. Conducted by Rupert Gough

SUSSEX CAROL, SILENT NIGHT, BELL CAROL

Thomas Hewitt Jones says, ‘It was a pleasure to arrange and produce these three new Christmas arrangements for the talented Cecily Beer. To accompany Cecily, I brought in players from the Chamber Orchestra of London with whom I have recorded many media projects, and Rupert Gough conducted the session at the chapel of Royal Holloway, University of London in September 2024. We are delighted that Vivum Music Ltd. is releasing this EP which we hope will showcase Cecily’s beautiful harp playing as well as offering a new take on these famous seasonal tunes.’

Cecily Beer says, ‘This new music from Thomas Hewitt-Jones has been the biggest joy to learn and record. We had both agreed we wanted something that sparkled but with familiar melodies which people know and love. For me, the upbeat tracks, Sussex Carol and Bell Carol, are exactly what I want to be listening to while dancing around my kitchen making Christmas lunch; while the final track, Silent Night, has the perfect balance of joy that comes with this sublime new string arrangement, and nostalgia for a melody we all know and love so well.’

Sussex Carol

A rippling harp introduces the famous Christmas tune with a ‘spinning wheel’ of broken chords with forward motion and delicate emotion. The intensity builds with interplay between harp soloist and strings during thematic development which propels the piece towards a satisfying conclusion.

Silent Night

This slow, reflective setting features a rippling version of the melody in the harp underpinned by warm, expressive strings. As the track unfolds a relaxed calmness expands to a quietly emotional feel as we modulate up a tone, leading us gently yet optimistically forward as we approach Christmas.

Bell Carol

The melody of Bell Carol comes from the song “Shchedryk” written by the Ukrainian composer Mylola Leontovych in 1914. We hope this new arrangement for harp and strings can be enjoyed by a wide audience during this challenging time globally.

Released 10 November on the Vivum Music Label. Available on AppleMusic, Spotify and other streaming platforms

(Image credit: A P Wilding)

Guest post by Charlotte Tomlinson

January 2025 will mark the 3rd anniversary of the Oxford Piano Weekends, and the thirteenth weekend. I can hardly believe that what started on the back of an envelope in late 2021, has developed into such a fixture in the piano course market that pianists return again and again.

We started in 2021 with the legacy of Covid and all the social and musical anxiety that came with that. It was essential to find a way of getting people to know each other quickly so I devised a mini workshop to be held before supper on the first evening, in which people get into pairs to chat about a particular musical and performing issue. Within a short space of time, the conversations are animated, social anxiety disappears and people feel relaxed and comfortable. By the time we start the evening session, a united and supportive group has already established itself.

It can’t be underestimated how important this group bonding is. A good number of pianists who come on the Oxford Piano Weekends struggle with performance anxiety and physical tension, and feeling emotionally safe within the group is essential to move through these issues.

I used to have crippling performance anxiety and now I really enjoy performing, something that would have been previously unimaginable. The weekends have helped me immeasurably.

Right from the start, Oxford Piano Weekends have had a wonderfully diverse pool of advanced and committed pianists taking part: bankers, medics, piano teachers, lawyers, choir directors, pianists returning after many years, battered and bruised pianists from a legacy of harsh teaching, students preparing for final recitals and many, many more. Pianists come from all over the UK, as far afield as Dublin, Finland, Malta and most recently, Canada.

The weekend is a chance to reflect deeply on your playing with expert guidance to take away and improve your practice.

On any one Oxford Piano Weekend, the numbers are kept deliberately low with six or seven as the ideal. Each pianist has twenty minutes teaching within the group, in rotation over the weekend, and it’s extraordinary how much can be packed into that short time. I listen to each pianist to see what they need, and then make sure that my response is valuable not just for the pianist themselves, but also for the group. Participants learn so much from watching and listening to each other, seeing their own challenges reflected in other pianists and then observing that pianist transform in front of their eyes.

A truly wonderful weekend. Charlotte is so caring, and teaches with such empathy, understanding & musical knowledge and expertise.

And what’s more important than the meal times? Homemade, tasty, nutritious food with free flowing wine in the evenings, the now-famous homemade flapjacks for coffee breaks, all provide a wonderful back drop for lively, stimulating conversations among like-minded people. They truly are full and rich weekends, and I, for one, come away at the end of each one feeling exhilarated and all ready to go for the next one.

Next weekend: January 17th -19th 2025

For more details go to: https://www.charlottetomlinson.com/oxford-piano-weekends

Watch a podcast with Charlotte Tomlinson and The Cross-Eyed Pianist