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.