The Best Classical Music at Christmas

By Chris Billingham 

Christmas is a time that most of us connect to music in some way, whether it’s standing outside supermarkets singing carols, singing along to previous Christmas number ones or putting on that Michael Buble Christmas CD that is seemingly reissued every year. Just to be clear that isn’t a complaint! His version of Silent Night is beautiful. On Tuesday The Telegraph selected its Top Ten best pieces of Christmas classical music, a lovely read that you can find here. As regular readers will know, the Southern Sinfonia team selected its favourite pieces of Christmas music last year and I’m pleased to say that some of our choices and the Telegraph’s choices matched! It turns out great minds do think alike.

Bach’s Christmas Oratorio appears in both lists, which is hardly surprising given how popular the piece is this time of year. The six-part piece was written to be performed in church over the Christmas season of 1734, a date confirmed in Bach’s autographed manuscript. It is widely believed that the piece was not performed again until Christmas 1857 when it was played by the Sing-Akademie zu Berlin under Eduard Grell. Each of the six parts was originally intended for performance on one of the major feast days of the Christmas period. However in modern times the piece is commonly performed as one with a running time of nearly three hours. Southern Sinfonia performed the full piece twice last year, once with Windsor and Eton Choral Society and once with Bath Minerva Choir. Both performances were rapturously received and as an audience member for the performance with Windsor and Eton Choral Society I have to say that when watching it, it doesn’t feel like 3 hours. The movements are captivating and the time goes by in an instant.

A piece we have played a number of times this Christmas that is unfortunately missing from The Telegraph’s list is Handel’s Messiah, which we performed with The Old Royal Naval College Chapel Choir. This isn’t that surprising given the fact that this piece isn’t solely a Christmas piece, despite the fact that it is performed most at this time of year. The piece is also performed at Easter because it deals with Christ’s death and resurrection. However as Richard Whittall said in a recent blog for The Guardian, the fact the piece is so popular at Christmas gives it a special place in everyone’s heart:

“Since it has become an annual Christmas tradition, most choristers have sung it in every venue, in every iteration, with every instrumentation and in every tempo, no matter how deranged or pseudo-experimental. And in that time they have come to know the strange miracle of Messiah: after years of the good and the bad and the ugly, there is always something new, something breathtaking, to be rediscovered in Handel’s writing and Charles Jennens’s libretto.”

A choice, exclusive to The Telegraph list is Tchaikovsky’s ‘Waltz of the Flowers’. As Ivan Hewett states in the article “What could be more appropriate for a child’s Christmas than a magic kingdom of sweets and presents? That’s the scene for Act 2 of Tchaikovsky’s last ballet The Nutcracker.” The connection between childhood and Christmas is perhaps the reason this time of year is so special, Christmas music and all the other elements of the season people love (the food! We can’t forget the food!) will no doubt take them back to childhoods filled with Santa’s and presents. Memories that are evoked by this exuberant and youthful waltz.

What are your favourite Christmas pieces? Let us know on our Facebook and Twitter pages what you will be listening to over the next few weeks! Southern Sinfonia has had a fantastic year and behalf off the whole team I would like to say a huge thank you to everyone who has attended a performance, played with us, sang with us and interacted with us online. We have a lot of surprises and treats coming up next year and can’t wait to share these with you. Keep an eye on our website for more. 

We hope you have a Merry Christmas and Happy New Year.

“Come back when you're older”

© facebook.com/chungkyungwha

By Richard Brewer 

From my previous blog posts, you have probably ascertained that I feel rather strongly about audiences in the concert hall, in particular young children. In writing about this once again, I am running the risk of repeating myself and sounding like a broken record. However, I'm afraid I just couldn't resist writing about this particular topic this week...



Reverberating through the classical music world this week was a concert at the Royal Festival Hall. The concert, dubbed 'The Legend Returns', was performed by violin legend Kyung Wha Chung. As the rather self-assured title suggests, this was her big comeback concert after 12 years away from the performing stage. Reviews were very positive about her performance, stating that she “gave a recital in which every note was brim-full of her impetuous, intense personality”. 



The focus point of all articles about the concert, however, was not so positive. Kyung had just finished one movement of a sonata and, as with every classical concert that has ever happened, and ever will happen, a cacophony of coughs began to ring around the hall. This then led to cause amusement amongst some of the audience, who had a light chuckle. Unfortunately one young girl had a prolonged tickle in her throat. We've all had this feeling, where you just can't stop yourself from coughing, it's not a nice feeling. The remedy is simple; cough more. 



Now, Kyung took particular offence to this innocent young girl and decided to shout something from the stage. 



“Come back when you're older”. 



I'm not quite sure where to start in response to this quote. As a professional musician, it is surely one of Kyung's responsibilities to actively ensure that all of her audience feel comfortable when at her concerts, especially young children. Also, after 12 years away, would you not just be grateful to have a full audience of 3,000 people? Whether they are young, old, animal or human, they all paid for their seat and made an effort to see her.



Kyung wrote an article on the Guardian in response to the criticism she received. Perhaps understandably, she began by commenting how classical music is still most definitely 'alive' in the 21st century. This is true, and it has been shown by the amount of national press this event has seen, despite it being negative. However, for Kyung to then go on to say how she still believed the child shouldn't have been at the concert was beyond me; as were her comments about the ways in which we should listen to classical music in the concert hall. 



Kyung believes that listening should be done in complete silence with no noise at all, as this is the only way to truly appreciate the beauty of what is being played in front of you. What she doesn't seem to understand, however, is that this is completely unnatural. Again, as I mentioned in my previous blog, I am certainly not suggesting that we should all make noise constantly through a performance. What I do believe though, is that we should all feel comfortable. Feeling uncomfortable at a concert will not lead to a positive listening experience. Kyung suggests that we need to educate young people on “the art of true listening”, also stating that children should only attend “children's concerts”. Is this not completely alienating them from the real classical music world? In doing so are we not further enhancing the pre-conceived ideas many people have about classical music concerts? It is not healthy. 



This is actually my final blog post of the year, and it is a shame to have to finish on a negative story in the classical music world. However, it has to be said that Southern Sinfonia do not feel the same way as Kyung. We want as many young children as possible to come to our concerts; we actively encourage and strongly believe that everyone has the right to experience musical excellence. I can't wait for 2015 to start so we can show our beliefs through the many exciting projects we have got coming up. 



Merry Christmas and Happy New Year!

You can find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram 

'Cultural Value and Artistic Importance' - Orchestras Potentially in Line for Tax Break

By Chris Billingham 

I’ve got to admit, I don’t usually pay a lot of attention to the Autumn Statement. I know I should, I know it’s important and I also know they even use words like ‘Beer Tax’ but the reality is it doesn’t usually grab my attention. However this week’s announcement caught my eye. I wasn’t alone either; a number of Orchestra or Classical Music related social media accounts and people I know had a lot to say about Wednesday’s speech from The Chancellor of the Exchequer George Osborne. 

The bit that caught people’s attention was: 

“The government is committed to supporting the creative industries so they continue to thrive in the UK. This government has introduced tax relief for high-end television programmes, animation, video games and theatre productions and has expanded the successful tax relief scheme for films. Building on this, the government will introduce a new tax relief for children’s television programmes from April 2015. The government will also launch a formal consultation in early 2015 about introducing a new tax relief for orchestras from April 2016, in recognition of their cultural value and artistic importance”. 

The fact that Orchestras and potential tax reliefs were specifically mentioned is a positive sign that the financial situation for Orchestras may be about to improve. When discussing this with a friend not connected in any way to the classical music world, the first question they understandably asked was “is the situation that bad for your industry?” Keith Motson, an executive at the Association of British Orchestras has helped clarify the situation by pointing out that "Orchestras earn well over 50% of their income from other sources so the chancellor’s commitment to tax relief can boost orchestras’ entrepreneurial efforts". He also explained “"British orchestras play more than 3,500 concerts a year to more than 4.5 million people. But they are facing one of the toughest periods in their history with cuts in public and, in particular, local authority funding”.

Researching into the subject, it does seem odd to me that Orchestras were not considered back in March when Osborne confirmed tax breaks of at least 20 per cent for commercial productions and regional touring companies, benefiting opera and dance organisations as well as plays, musicals and theatre groups. As previously explained my knowledge on the subject is not particularly wide but it seems unfair to differentiate between art forms and the financial advantages each one can have. Whilst it is fantastic that this consultation will take place next year, why is it that Orchestras aren’t paired with the “high-end television programmes, animation, video games and theatre productions” and “films” that already have various tax relief schemes. I suppose that is quite a naïve attitude, lines have to be drawn somewhere and the reality is if all forms of art were viewed by the government in the same way there wouldn’t be opportunities for tax breaks for anyone. However from the romantic viewpoint of someone that loves creativity it does seem a shame that imagination and art has to be judged and labelled in this way.  

 

Speaking of creativity and moving us firmly away from financing music and into the more comfortable territory of playing it, Southern Sinfonia have a number of exciting concerts on the horizon. On the 9^th December we join forces with the Windsor and Eton Choral Society for a performance of Handel’s Israel in Egypt at baroque pitch on ‘period’ instruments. After this we change locations to the candle-lit Old Royal Naval College, but stay with Handel and play his Messiah with the ORNC Chapel Choir on the 17^th December. To find out more about these concerts and next years events please click here for the What’s On section of our website. 

You can also find out more about Southern Sinfonia by visiting our main website, Facebook, Twitter or Instagram pages. 

A Year to Remember

By Richard Brewer 

It’s been an extremely busy month for us here at Southern Sinfonia; our Birthday concert on 31^st October in Newbury, two concerts on 8^th November in Wells and Romsey, another on 22^nd November in Bath and then finally tomorrow evening back in Newbury. Phew! With it being the 100^th anniversary since the start of the First World War, a lot of music performed in these concerts commemorated those who lost their lives.

A few of the pieces chosen have cropped up more than once. One that has recurred twice, in Romsey and in Bath, was Dona Nobis Pacem by Vaughan Williams. Translated as “give us peace”, the composer uses the phrase along with American poet Walt Whitman’s poem, Dirge For Two Veterans. The piece is extremely atmospheric, with the title frequently set to a haunting semi-tone fall. The final moments of the piece are given to the solo soprano who sings the semi-tone fall gradually lower and lower, dying away to pianissimo. When performed in venues like Romsey Abbey and Bath Abbey, the haunting feeling is accentuated; “give us peace” sounds like a strong heartfelt plea from soldiers on the frontline during the First World War.

Another piece that has occurred twice is Edward Elgar’s The Spirit of England, more specifically the final movement “For the Fallen”. Elgar was reportedly extremely affected by the events of World War One. His good friend, Sir Sidney Colvin, suggested that the composer set music to the poems by renowned war poet Lawrence Binyon. In a similar way to the aforementioned Vaughan Williams, the music and text evokes strong imagery from the battlefield. The text used is particularly striking in its solemnity. This is interesting given that the piece was premiered in 1917 when the public would perhaps have been expecting something rousing to raise their spirits during an awful time in their lives. Instead, they were presented with something of a remembrance; an elegy of those who had already fallen, and those who continued to fall in the war.

They shall grow not old, as we that are left grow old,

Age shall not weary them, nor the years condemn,

At the going down of the sun and in the morning,

We will remember them.

Music is such a powerful tool for evoking past memories. They can be in the form of people, places, events; I would go so far as to say that music could evoke memories of anything. But music that is used as a tool of remembrance for those who have died in the war is extremely poignant. The Last Post is perhaps the most striking pieces of music in this sense. Such a simple melody based on only harmonics, albeit extremely difficult to play, is heard at remembrance ceremonies and services all across the country. I travelled to see the poppies at the Tower of London a couple of weeks ago, as many of you may have done too. When I was there, a guardsman started playing the last post just as the sun was setting; everyone around me, of which there were huge crowds, fell silent. It really struck a chord with me, and demonstrated just how powerful music can be.

We have been extremely lucky to be able to perform music like this in venues as beautiful as Romsey and Bath Abbey. The Choral Societies did a fantastic job putting concerts on, with healthy audiences too. Long may music continue to evoke powerful memories for us all. 

If you would like to find out more about Southern Sinfonia, please click here for our website. You can also view images and find out the latest news by visiting our Facebook, Twitter and Instagram pages. 

Drawing Together Disparate Threads - A Look at the Life and Work of Purcell

By Chris Billingham 

Today marks 319 years since the death of Henry Purcell, one of the most renowned English composers this world has seen. With undeniable influence on not just classical but rock music, it seemed right to dedicate this week’s blog to his story and body of work.

As the son of a musician (a gentleman of the Chapel Royal) Purcell grew up with music and lived only a few hundred yards from Westminster Abbey. However when his father died at 5 years old, his mother Elizabeth had to move the family to more modest accommodation. Purcell did however return to Westminster Abbey in later life when he became organist. Purcell took the position over from Dr. John Blow who is said to have stepped aside from the post after he recognised how talented Purcell was. After Purcell died he returned to the role and wrote An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing) in tribute to his former pupil. It’s pieces like this that give listeners an insight into what Purcell was like as a person, historians have to turn to these pieces because not much is known about who he was a person. 

Whilst we know the basic facts listed above a number of other details are debated and not much is known about his personality and attributes. It is said for example that he began composing at 9 years old, however the earliest work that can be certainly identified as his is an ode for the King's birthday, which was written in 1670 when he was 21. However his music (and the music created in his memory) tells us a lot. Purcell clearly had a lust for life. This can be seen in his instrumental music that contains upbeat melodic inspirations that make the listener picture summer and other vibrant scenes.  

Not every piece created these images however, when discussing the influence that folk music had on Purcell, British conductor and broadcaster Charles Hazlewood states that he took phrases and ideas from folk music at the time and created “a quiet sense of melancholy”. When presented with the more vibrant scenes its easy to see why Purcell’s music has stood the test of time, as Hazlewood goes on to state “he was amazingly successful at drawing together disparate threads”. 

In the same way that Purcell took the sounds and themes of folk music and turned them into something different, modern rock and pop acts have used Purcell’s music as an influence for themselves. The Who in particular were influenced by Purcell’s harmonies, his influence can be seen in some of their most renowned work including ‘Won’t Get Fooled Again’ and ‘Pinball Wizard’. Sections of Music for the Funeral of Queen Mary were also adapted to be used as the theme music for the 1971 film A Clockwork Orange.  

When people think of English composer and Baroque music, Purcell is at the forefront of their mind because of a short but incredibly compelling body of work. Whilst we don’t know much about the man himself, the fact that he is so regarded and still influences so many artists confirms how much he achieved by composing beautiful pieces that listeners including the team at Southern Sinfonia still put on to relax and lift spirits. 

This lunchtime we will be putting on our final cafe concert of the autumn season. A continuation of the popular 'Secrets of the Orchestra' series, the concert will focus on the convivial yet complex brass section. 

If you would like to find out more about Southern Sinfonia, please click here for our website. You can also view images and find out the latest news by visiting our Facebook, Twitter and Instagram pages. 

An Early Christmas Present

By Richard Brewer

I'm a flautist, in case you didn't know. As part of the woodwind family, we don't tend to mix too much with other instrument sections, let alone become friends with them. In fact, I actually lived with a cornet player at University; he played his instrument a lot, and on numerous occasions paraded around the first floor blasting out a rather average version of William Tell when we were all trying to sleep. As you can probably tell, they aren't my favourites, brass players...

It may seem unusual, then, that I am actually writing this blog about brass. Next Friday 21^st, we have our final cafe concert of the Autumn series. Involving regular members of the brass section of the orchestra, the concert is a continuation of the popular 'Secrets of the Orchestra' series. 'Brass Unwrapped' will showcase the main four instruments of the orchestral brass section – trumpet, horn, trombone and tuba. In the chamber music repertoire that Southern Sinfonia regularly play, it is rare that we see the brass section in this sort of setting. Usually, they have been tucked away behind a pillar (ahem...because they play too loudly...ahem) due to space restrictions, or because they just aren't involved.

Despite my slightly less favourable feelings towards the brass instruments, this concert will be a fantastic experience. To see any sort of event in which a professional musician showcases their talents is a pleasure, and this will be no different. Whether you are young or old, it will no doubt be fascinating to learn new facts about the brass family. I am a firm believer that we should constantly continue to learn throughout our lives, and this is a perfect example of an event that is accessible for all.

We have 80 school children coming along next Friday. As an orchestra who prides itself on our work in education, it was music to our ears when the school expressed interest in coming along. What an experience it will be for them, too, given that the majority of them have been recently learning the trumpet! Hearing that year 3 pupils have been learning a new instrument, and are obviously keen to come and learn more about it, is very pleasing to hear on a personal level. I wish I had had the opportunity to be inspired at such a young age by an event such as this; I never really experienced music in this setting at all and only continued through a genuine passion. 

In light of these school children who are obviously so eager to be involved in music, it was upsetting to see the Education Secretary's comments this past week about music and the arts. Nicky Morgan warned pupils that choosing to study arts subjects at school “could hold them back for the rest of their lives.” Nonsense. The recent success of the BBC Ten Pieces initiative has shown just how many children want to be involved with music; how far are they going to be able to continue this interest if our Education Secretary says things like this? 

Southern Sinfonia will always to be committed to Education. No matter what anyone else says, the huge success of our Education projects have shown us that children want to learn. The concert next Friday is a chance for not only the young children, but for all of us to learn. Let's just hope the trumpet player doesn't send for the cavalry with William Tell, because a few of those angry thoughts may creep back in to my head...

Click here to book tickets for Friday's concert. You can also find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram.

Mozart and Mr Jones – A weekend of Concerts in Contrasting Settings

Rehearsals for last week's concert 

 By Chris Billingham 

As many of you know a week ago today Southern Sinfonia performed with up and coming soprano Sarah-Jane Lewis and our Patron Sir Roger Norrington. The concert took place at St. Nicolas Church in Newbury and was without a doubt, a fantastic way to start the weekend. The orchestra played both Mozart and Beethoven beautifully and Sarah-Jane Lewis stunned the packed crowd with her fantastic voice. As stated in the Newbury Weekly News, “the applause was rapturous with many cheering and stamping”.

A weekend of live music continued with a trip to Birmingham on Saturday to see American rock band Counting Crows at the city’s 02 Academy. Whilst this evening juxtaposed Friday in a number of ways (a little louder perhaps!) it was an equally thrilling concert with every instrument complimenting each other and playing in a harmony that matches the musicianship needed in an orchestra. Whilst the genres were different, for me the performances sat together in terms of excitement and spectacle.

The one unavoidable contrast that was apparent however was the venues, one a parish church built in the 16th century and one a music venue built in the 1970’s and recently renovated to hold concerts and act as a nightclub. Arguably both of these buildings are perfect for the concerts they held but why is that? If it’s the performances that matter the most why is a concert venue so important?

American rock band Counting Crows

First and arguably foremost are logistical reasons; because of the way crowds commonly react to classical music (discussed in last weeks fantastic blog by Richard Brewer) they are less likely to disrupt a church building. At rock/pop concerts however a crowd is more likely to be on their feet and moving, actions that can be dangerous in historical buildings! 

Surroundings create a certain atmosphere and that atmosphere can often lend itself to the pieces being performed. An example of this could be seen on Friday night, the captivating images of both the crucifixion and miracles of Christ featured on the stained glass windows reflecting the dramatic themes of Beethoven’s Aria: Ah, Perfido! Whilst the themes in the piece (the despair of a woman abandoned by a Greek hero) aren’t necessarily religious, the intense images created by the music become amplified when surrounded by dramatic images. In the same vein the sing along chorus of Counting Crows hit Mr Jones matches the atmosphere created by an audience of silhouettes directed to spotlights on the stage singing lyrics such as “Smilin' in the bright lights, Comin' through in stereo, When everybody loves you, You can never be lonely”. 

This connection between music venues and their impact on the music being performed doesn’t mean that certain genres have to be tied to certain venues. It also doesn’t mean that venues can’t be both. Brixton 02 Academy and Oxford Town Hall are two locations used for rock/pop concerts that I would love to see classical music performed in. The interiors of both buildings are incredibly striking and would compliment the power of Mozart and Beethoven brilliantly. It’s fantastic to see that classical music is already being performed in a number of venues that wouldn’t be seen as traditional venues for the genre. The Orchestra of the Age of Enlightenment have taken ‘The Night Shift’ to a number of contemporary locations including pubs such as The George Tavern and The Vauxhall Green.  The Multi-Story Orchestra have also been true to their name and performed in a number of car parks throughout the country! 

There is definitely a place for venues to both compliment the atmosphere of the pieces being performed and be unique and create a new and existing experience for concert attendees. The only think that should never happen is when a venue distracts from the music for negative reasons (whether its being trapped in the mud at Glastonbury or bad acoustics distorting certain movements!). Luckily for me, both of last weekend’s venues and performers were on amazing form, creating a fantastic few days that will be hard to beat tomorrow and Sunday! 

The interiors of Brixton 02 Academy (left) and Oxford Town Hall (right) 

Southern Sinfonia’s next event is our café concert ‘Brass Unwrapped’ on Friday November 21st. A continuation of the popular 'Secrets of the Orchestra' series, this concert focuses on the convivial yet complex brass section. To find out more including ticket details please click here. 

You can also find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram.

Clap, Rustle, Cough, Sneeze....and repeat?

By Richard Brewer

Last week, conductor Marin Alsop was on Desert Island Discs on Radio 4. She was fascinating to listen to, and had some really interesting choices of music – not just classical! I urge you to listen to it online if you haven't already.

One point she made really stuck out to me, about the etiquette of audiences at classical concerts. It's a heavily discussed topic, sometimes discussed in the form of a 'tut' and a disapproving look from an audience member, or  discussed in long newspaper articles online. Where the belief that we must sit up straight, arms folded, in complete silence and not make any sort of noise at all during a concert began, I do not know. What is interesting, however, is the difference in audience etiquette between different concerts; it is extremely dependant on many aspects of a concert, for example the venue, the repertoire and also the age of audience members.

I still vividly remember my first ever live classical concert. I was 16, and it was in Nottingham Royal Concert Hall, which really is a lovely venue. The Hallé orchestra were playing, with Sir Mark Elder conducting Rachmaninov Piano Concerto no. 2 and Rachmaninov Symphony no. 2 (what a start to my classical concert career, by the way!). I went with my best friend and his dad, and came away following one of the best concerts of my life with a list of 5 unwritten rules for attending a concert...

1. Do not cough, or sneeze, or blow your nose during the performance
2. Do not whisper to anyone around you
3. Do not hum the tune, however recognisable or lovely it is
4. Sit still at all times
5. Finally, and most importantly, do NOT under ANY circumstances clap between movements

I learnt the hard way, by doing just about all of these 5 things and getting more than 5 surly looks, quiet 'tuts' and a lot of head turns during the concert. As a first timer, it was a very odd experience. To think that I had to literally sit there silent and motionless for nearly two hours was a daunting task, but I went with it and have done ever since – all because of the unwritten rules. This is the case for pretty much all classical music concerts I have been to in the past 5 or 6 years since then, except for a few very special ones...

The BBC proms. Without doubt, in my mind, one of the most special music festivals worldwide. What an amazing 2 months it is; everyone coming together to watch some of the world's best orchestras blow us away with brilliant performances of the best-loved classics, along with some genre-setting world premieres. The audience at the proms are a special breed. Some sit there asleep, some read, some lie down, some cough, some sneeze, they do it all. The most noteworthy thing they all do (and I'm being extremely general here) is clap between movements. If they hear a rousing, loud movement of a symphony, they respond in the way they see fit – they clap. And why shouldn't they?! 

The other day I was chatting to our patron, Sir Roger Norrington (who conducts an evening of Mozart and Beethoven with Southern Sinfonia next Friday) who noted that he absolutely loves the audience to respond in the way they want to after hearing a wonderful movement. It almost feels unnatural to sit there silently after hearing something as rousing as the final moments of the first movement of Tchaikovsky's fourth symphony. Marin Alsop was also a firm believer in clapping after a movement if the situation merits it, stating that in Beethoven's time they would even clap mid-movement if a phrase was good! 

I'm not in anyway suggesting we should begin to clap in the middle of a movement if there is a really special moment (so please don't do that when you come to our concert next week)! I am also not meriting an outbreak of applause at the end of the slow movement of Mahler's fifth symphony, either, because that would just be awful. I also do know how annoying it can be when people make lots of noise, and I'm not suggesting we all hum along to every tune in the piece. What I do think, though, is that we should feel more relaxed during concerts; we are there for pleasure, after all. 

So, next Friday, when you are sat there in the second half listening to the mighty Beethoven's Eighth Symphony, remember this blog. Remember that if you feel like clapping at the end of a rousing movement, by all means, go for it. On the other hand, of course, if you want to stay silent, do it!

There shouldn't be such a set of unwritten rules for behaviour at a classical concert. Live classical music should be what you make of it. You can react in the way you want to, it affects people in numerous different ways, and that is a hugely powerful asset. Let's not go too mad, though; we don't want to see our beloved performers walk off stage like Michael McIntyre did in a recent gig, after a lady consistently talked and made loud noises all the way through - I'm not sure Sir Roger would approve of that! 

Click here to find out more about next Friday's concert in St. Nicolas, Newbury. There are still tickets available and it really is an evening not to be missed! You can also find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram. 

A New Team Member and a New Season

By Richard Brewer

Hello and welcome to the first blog of our exciting 25^th Anniversary season! I am the new intern here at Southern Sinfonia, and I am thrilled to be writing the first entry in the blog at the start of a very special, celebratory year.  

Firstly, let me give you a few facts I'd tell you if we were on a first date...I recently graduated this summer from the University of Sheffield with a degree in Music, and now I'm hoping to begin a career in the big wide world of arts management. I am a first study flautist, and have a big interest in Shostakovich – writing a 15,000 word thesis on his String Quartets Nos. 8 and 15 last year. Aside from the musical world, I am a keen, if somewhat average, cricketer. If any of you are cricket fans, please come over and find me at one of our concerts this season! The way English cricket is going, however, it might be a short and depressing chat. Nevertheless, I'm tall and approachable so come and introduce yourself regardless of whether you like cricket! 

With this being Southern Sinfonia's 25^th Anniversary season, our first major concert is “Classical Celebration”. Held on 31^st October in the beautiful St Nicolas Church in Newbury, the evening will contain an eclectic mix of Mozart and Beethoven. We are thrilled that our patron, Sir Roger Norrington, will be conducting some wonderful music. Fresh from his two outstanding performances at the BBC Proms this year, Sir Roger will be joined by winner of the Hampshire Singer of the Year 2013 – Sarah-Jane Lewis. It promises to be a fantastic evening of music and tickets are selling fast, so get yours soon! 

You don't have to wait until 31^st October to see some brilliant music, however. Our Cafe Concert series begins on Friday 26^th September with “one of the greatest up and coming young piano talents in the music world”, Martin James Bartlett. This year's winner of the BBC Young Musician of the Year, Martin will providing a wonderful repertoire including Bach, Liszt and Prokofiev. Looking further into the Autumn (uh-oh, depressing...think sunshine), Friday 17^th October sees the Villiers Quartet, our Quartet in residence, visit the Corn Exchange. Their programme promises to give a thrilling lunch hour for the audience members, including works by Delius, Britten and Bridge, as well as a multimedia performance of Chris Roe's 'Jetez!'. 

These concerts will be my first taste of Southern Sinfonia, and I am thrilled to be given the chance to work with such a diverse and exciting orchestra. Live classical music is something that I absolutely love, and feel everyone should experience. Over the summer I attended a number of the BBC Proms (as a Prommer, of course, as I'm still pretending to be a student). I really do love the atmosphere both in the Royal Albert Hall, and outside on the steps as the queue grows along with the anticipation for the evening's concert. A particular highlight for me was the performance of Mahler Symphony No. 5. The work is one of my favourite Mahler symphonies (along with 2, 6, 8 and 9, if you're interested!). Standing in the middle of a very warm, packed-out arena, I was completely transfixed from start to end. As the final chord of the powerful, sublime fourth movement died away, I looked around and saw nearly everyone staring intently, not making a sound. Everyone in the audience that night was mesmerised by what they saw and heard, and that is why live classical music is such a wonderful thing. 

@bbcproms

With this in mind, I can't wait for my first taster of Southern Sinfonia, and what an opening concert it will be! I look forward to meeting lots of you there on October 31^st as Sir Roger brings the baton down on Mozart and Beethoven. 

You can find more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram for more images and information! 

A summer afternoon with friends and supporters - in pictures

By Southern Sinfonia 

Continuing our summer theme, we wanted to share some pictures of a recent evening Southern Sinfonia spent entertaining supporters at Combe Manor...

Our Chairman John Horsey talks to guests

Managing Director Kay Lawrence entertaining guests

Close friends Mary and David Russell, who hosted the event 

James Sherlock and Benjamin Appl on stage about to perform

Hannah Medlam, Benjamin Appl and James Sherlock 

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Let's Keep the Ukeleles and the Recorders

Guest Blog

This week's guest blog comes from Nick Stringfellow, talented Southern Sinfonia cellist and member of our Quartet in Association, the Villiers Quartet. 

My thoughts have been occupied this week by the impact of systematic cuts to the Arts, and its effect on music in schools. I have recently experienced this first hand after visiting a handful of primary schools in different parts of the country.

The first thing that hit me was just how little instrumental teaching was happening in some schools. It is not unusual for a school musical evening to now consist primarily of children performing to backing tracks. Don't get me wrong, the performances themselves are often very creative and sometimes in the case of the dance ensembles, choreographed by the children themselves. The small instrumental element is represented by those children who learn their instruments outside school, privately or with a parent. I don't mean to generalise about this and I should point out that there is another side to the coin.

I also visited a school where instrumental teaching still appeared to be thriving. This school was obviously managing to cling on to its peripatetic music service. The class teachers (who probably remember how instrumental music in schools used to be) seem desperate to keep the home fires burning. But what becomes evident in this situation is the difficulty to maintain standards as the instrumental lessons get squeezed. Most of the time, we're talking about a 30 minute group lesson with 3 children. That's 10 minutes each! In real terms, after spending 2 minutes getting the instrument out of its case (and putting it away), a broken string would mean the end of the lesson!

Another model for instrumental music in schools is the huge sticking plaster known as "wider opportunities." This, I imagine, started life as a box ticking exercise, and on paper it looks pretty good. Alerted to the fact that instrumental music in schools was becoming extinct, the solution was to get everybody in a classroom playing the same instrument for a year. As a result, it's not unusual to walk into schools and find an arsenal of trumpets ready to “lock and load”. Unfortunately, there are some schools which acquired the instruments for wider ops, but now don't have the resources to properly support it. Then you’re left with a Performing Arts space which now houses a tenor horn graveyard...

Allow me to transport you back to the early eighties and to my primary school in Rotherham. I started learning the recorder using tablature like a lot of kids my age did. I can't remember a time when I wasn't playing chamber music in some shape or form, even if it was sharing a music stand with a flautist as we battled through "Cherokee Chief"! I was asked on the strength of those experiences (even with my "goldfish" recorder technique) whether I'd like to play the cello...and the rest (as they say) is history.

Rotherham music service was a crack team of enthusiastic and exciting professional teachers. They would come into school en masse and give ensemble performances displaying an infectious camaraderie and communication. This rapport existed because the teachers spent a lot of time working together. There were at least two youth orchestra rehearsals every week, which the majority of instrumental teachers would attend and coach their particular sections. I remember my very first experience of string quartet playing, after I had only been studying the cello a couple of years. It was a weekend chamber music course and the initiative of one of the string teachers who was passionate about quartet playing and wanted to share his burning enthusiasm.

I know from talking to many of my colleagues that this situation was not unusual and there were other notable music services in Leicester and Bedfordshire for example, who are now sadly struggling against cuts in funding.

I have to say at this point that there is an abundance of great teachers out there right now. They still have all that burning enthusiasm that they're desperate to share. I've seen amazing things happen in response to these cuts.... individual instrumental teachers holding 60 children spellbound with their charisma and instrumental virtuosity. In some ways these teachers have had to evolve with the environment and now need a comprehensive "tool kit" to deal with anything that might get thrown at them.

The problem is, morale is low in many areas of the teaching profession. These amazing people are now under so much pressure to get results that their passion and enthusiasm is waning. Many teachers are under much scrutiny from regulating bodies and effectively encouraged not to teach in a creative way. There is no longer space to nurture individual talent. This system of box ticking is eroding the rapport that existed between the teachers and making our schools soulless. My only hope is that somehow we find a way to increase the resources and inject life back into our music services and schools again.

Let's keep the ukuleles and the recorders. They are an entry point for children to quickly find a musical voice, and can be introduced in the classroom by every teacher. There comes a point, though, when some of those children need a leg up to the next rung of the musical ladder--the watchful eye of that teacher who recognises their talent and can say “How about trying the cello now? There’s one in the music cupboard with your name on it.”

Thank you to Nick for his very insightful words! We will be back in a few weeks' time with our next article. In the meantime, if you want to find out more about Southern Sinfonia, you can visit our website, Facebook, Twitter and Instagram.

Not to be missed - a look at autumn's Café Concerts

By Julia Hudson 

This week on the blog, I am delighted to announce the first events of our 25^th anniversary season – the Café Concerts. We have programmed a varied and fascinating selection of events, and I wanted to take the opportunity of having a little more space than in the various brochures to talk you through them!

As usual, all the Café Concerts take place in the auditorium of the Corn Exchange, Newbury on a Friday lunchtime at 1pm. First, on 26^th September, the winner of the BBC Young Musician of the Year 2014, Martin James Bartlett, joins us for an hour of piano music. Currently just 17 years old, the Royal College of Music calls him “one of the greatest up and coming young piano talents in the music world”, as he moves to take up his place there in September. On winning the competition, Martin said "It's such an amazing feeling. It's not just the highlight of my musical career, it's the highlight of my life." He was a worthy winner; reviews of his playing in the final mentioned “crisp articulation and playing of superb strength...a particularly individual performance of great character” (Bruce Reader, The Classical Reviewer) and we are very much looking forward to welcoming him to our series.

The second concert, on 17^th October, is the explosive and dynamic Villiers Quartet and their programme ‘Celebrating England’. The Quartet has established itself as one of the most charismatic and adventurous quartets of the British chamber music scene, and as such are bringing a this theme to their Corn Exchange recital. Their programme ranges from the evocative work of Delius, Britten and Bridge to a multimedia performance of Chris Roe’s ‘Jetez!’, and also features Britten contemporary and lesser-known composer Robert Still, who lived for 22 years and died in local Bucklebury, near Newbury. Hailed as "one of the best young quartets around today" (Jerry Horner), their concert, complete with projector and animation, promises to be a revolutionary approach to traditional string quartet performance.

Finally, on 21^st November, we welcome our second ‘Secrets of the Orchestra’ concert. Having had a wonderful hour with the winds, it is now the turn of the brass section, in ‘Brass Unwrapped’. Some of Southern Sinfonia’s most well-loved and prestigious brass players, curated by trumpeter Howard Rowntree, give an insight into the dynamics of playing trumpet, horn, trombone and tuba in the orchestra. An educational session in part, this concert will inform and entertain children from 10 upwards, while still being fascinating and beautiful for adults like you and I: the beauty being that, however knowledgeable we are about music, we have not spent years as professional brass players! The group will perform stunning music, written or arranged for brass quintet, and give an insightful and often amusing account of orchestral performance. A concert not to be missed.

As Southern Sinfonia’s season finishes, we say goodbye to our Administrator, Anita Forsyth-Forrest, as she retires this week. We will all miss her and we thank her for eleven years with the orchestra. In September, we welcome our new Intern, Richard Brewer, as he joins us upon his graduation from the University of Sheffield. He will be a regular contributor to this blog and we look forward to hearing his erudite thoughts and opinions!

As we continue to prepare for next season and take a well-earned summer holiday, our blog posts will become fortnightly. We promise, though, that we will be Promming and Glyndebourne-ing to the very best of our ability – and we hope you have a wonderful summer.

To find out more about Southern Sinfonia; click here to visit our website, Facebook, Twitter and Instagram.